Page:A Dictionary of Music and Musicians vol 4.djvu/633

DOLES. would seem to have been more affected by the Italian Opera, with which he became familiar by constant attendance at performances given for the Saxon court at Hubertsburg. His light, pleasing, and melodious compositions, together with the charm of his manners, rapidly brought him popularity at Leipzig. In 1743 he was appointed conductor of the first ; and on March 9, 1744, he was commissioned to write a Festival Cantata in celebration of the anniversary of their foundation. In that same year he was appointed Cantor at Freiburg, where he wrote, in 1748, on the occasion of the hundredth anniversary of the Peace of Westphalia, the Singspiel, out of which arose the famous dispute between Biedermann, Mattheson, and Bach. In 1755 he succeeded Gottlob Hasser as Cantor of the Thomasschule and also as director of the two principal churches, which posts he held until 1789, when old age and failing health compelled him to resign them. In the spring of 1789 Mozart visited Leipzig, and on April 22 he played on the organ at St. Thomas's Church, and made his well-known remark to Doles about Bach's music. [See, vol. ii. p. 392 b.] It was probably on the same occasion that J. C. Barthel played before Mozart at Doles's house. [See, J. C. ] And in the following year Doles published his cantata to Gellert's words, 'Ich komme vor dein Angesicht' (Leipzig, 1790), dedicated to his friends Mozart and Naumann. Special interest attaches to this work, because its preface records Doles's opinions as to the way in which sacred music should be treated, and those opinions have little in common with the traditions of J. S. Bach. It is plain, indeed, that although Doles was proud of having been Bach's pupil, and therefore unwilling to depreciate him openly, he took no pains whatever, during his directorship at Leipzig, to encourage and extend the taste for his great master's works. Bach's church-music was almost entirely neglected both by him and his successor, J. A. Hiller. Doles died at Leipzig on Feb. 8, 1797.

His compositions consist principally of cantatas, motets, psalms, sacred odes and songs, and chorales, many of which have been printed, including some sonatas for the clavicembalo. His 'Elementary Instruction in Singing' had, in its day, considerable reputation as a useful practical method. Among his many unprinted works may be mentioned two oratorios (the Passion-music according to St. Mark and St. Luke), two masses, a Kyrie, a Gloria, a Salve, and a German Magnificat. [ A. H. W. ]

DOMMER,, born Feb. 9, 1828, at Dantzig, was brought up to theology, but in 1851 went to Leipzig and learnt composition from Richter and Lobe. After some time passed as a teacher of music, he forsook Leipzig for Hamburg, where he spent seven years as a musical critic and correspondent, and in 1873 was made secretary to the Hamburg city library, a post which he still holds (1887). In 1865 he published an enlarged edition of H. C. Koch's Musikalisches Lexicon of 1802, which is a sterling work, perhaps a little too sternly condensed. Besides this his Handbook of Musical History (1867, 2nd ed. 1878) is highly spoken of by Riemann, from whom the above is chiefly obtained. [ G. ]

DON CARLOS. Line 4 of article, for Demery read Mery. Line 7, for Her Majesty's read Covent Garden.

DONIZETTI. For date of birth read Nov. 25, 1797. (Partially corrected in late editions.) P. 453 a, l. 10 from bottom, for 1834 read 1833. Page 454 a, l. 38, add day of death, April 8. In lines 39 and 40, read he was disinterred on April 26, and reburied on Sept. 12, 1875, in Santa Maria Maggiore, Bergamo. The following corrections are to be made in the list of works:—The title of No. 4 is 'Zoraide di Granata.' That of No. 13 is 'Alahor in Granata.' The date of 'Otto mese in due ore' is 1827; the works of 1828 begin with No. 20. The date of 'L'Esule di Roma' is 1828; the works of 1829, omitting 'L'Elisire d'amore,' which belongs to 1832, begin with No. 25, 'Il Paria.' The title of No. 30 is 'Isnelda di Lambertazzi.' The date of 'Anna Bolena' is 1830, and that of 'Fausta' 1832, among the works of which year 'L'Elisire d'amore' is to be included. No. 40, 'L'Assedio di Calais' is identical with No. 22, 'Gianni di Calais'; the date here given is that of its production in Paris. The date of 'Lucrezia Borgia' is 1833, and the works of 1834 begin with 'Rosamonda.' The date of 'Gemma di Vergy' is 1834, the works of 1835 beginning with 'Marino Faliero.' 'Roberto Devereux' belongs to 1837. The title of No. 51 is 'Pia di Tolomei.' The works of 1843 begin with 'Maria di Rohan,' not with 'Don Pasquale.'

DORN,, L. E. Line 20 from bottom of page, for 47 read 49.

DORSET GARDEN THEATRE. This house was erected upon the garden of a mansion belonging to the Earl of Dorset, situate upon the bank of the Thames at the bottom of Salisbury Court, Fleet Street. Sir William (then Mr.) Davenant had obtained a patent for its erection in 1639 and another in 1662, but from various causes the building was not erected in his lifetime. His widow, however, built the theatre, from the designs of Sir Christopher Wren; and the Duke's company, removing from Lincoln's Inn Fields, opened it Nov. 19, 1671. It became celebrated for the production of pieces of which music and spectacle were the most prominent features, amongst which the most conspicuous were Davenant's adaptation of Shakspere's 'Macbeth,' with Lock's music, 1672; Shadwell's adaptation of Shakspere's 'Tempest,' with music by Lock, Humfrey, and others, 1673; Shadwell's 'Psyche,' with music by Lock and 