Page:A Dictionary of Music and Musicians vol 4.djvu/80

61 Since the time of Wallenstein the Zapfenstreich in Germany has had a wider meaning, and is a sort of short spirited march played not only by drums and fifes or trumpets but by the whole band of the regiment. It is in this sense that Beethoven uses the word in a letter to Peters (1823?):—'There left here last Saturday three airs, six bagatelles, and a tattoo, instead of a march … and to-day I send the two tattoos that were still wanting … the latter will do for marches.' [See .] [ G. ]

TAUBERT,, one of those sound and cultivated artists who contribute so much to the solid musical reputation of Germany. He was the son of a musician, and was born at Berlin March 23, 1811. Though not actually brought up with Mendelssohn he trod to a certain extent in the same steps, learned the piano from Ludwig Berger, and composition from Klein, and went through his course at the Berlin University 1827–30. He first appeared as a PF. player; in 1831 was made accompanyist to the Court concerts, and from that time his rise was steady. In 1834 he was elected member of the Academy of Arts, in 1841 became music-director of the Royal Opera, and in 1845 Court Kapellmeister—a position which he held till his retirement from the Opera in 1869 with the title of Oberkapellmeister. Since that time he has conducted the royal orchestra at the Court concerts and soirées, in which he has distinguished himself as much by very admirable performances as by the rigid conservatism which has governed the programmes. In 1875 he was chosen member of council of the musical section of the Academy. Among his first compositions were various small instrumental pieces, and especially sets of songs. The songs attracted the notice of Mendelssohn, and not only drew from him very warm praise and anticipation of future success (see the letter to Devrient, July 15, 1831), but led to a correspondence, including Mendelssohn's long letter of Aug. 27, 1831. In these letters Mendelssohn seems to have put his finger on the want of strength and spirit which, with all his real musicianlike qualities, his refined taste and immense industry, has prevented Taubert from writing anything that will be remembered.

The list of his published works is an enormous one: 3 Psalms and a Vater unser; 7 Operas, of which the last, 'Macbeth,' was produced Nov. 16, 1857; Incidental music to 8 dramas, including 'The Tempest' (Nov. 28, 1855); 4 Cantatas; 294 Solo-songs, in 52 nos., besides Duets and Part-songs; 3 Symphonies and a Festival-overture for full orchestra; 2 Trios for PF. and strings; 3 String-quartets; 6 Sonatas for PF. and violin; 6 Sonatas for PF. solo; and a host of smaller pieces. The complete catalogue, with full details of Taubert's career, will be found in Ledebur's 'Tonkünstler-Lexicon Berlins.'

In this country Taubert is almost unknown. [ G. ]

TAUDOU,, composer of the modern French school, born at Perpignan, Aug. 24, 1846, early evinced such aptitude for music that he was sent to Paris and entered at the Conservatoire, where he carried off successively the first prizes for solfeggio, violin (1866), harmony (67), fugue (68), and finally, after two years' study of composition with Reber, the Grand Prix de Rome (69). The subject of the cantata was 'Francesca da Rimini,' and the prize score was distinguished for purity and elegance.

So far, no work of M. Taudou's has been produced on the stage, but his chamber-music and orchestral pieces have been well received. These include a trio for flute, alto, and cello; another for PF., violin, and cello; a violin-concerto played at the Société des Concerts du Conservatoire, of which M. Taudou is one of the best violinists; a string-quartet in B minor, often heard in Paris; and for orchestra a 'Marche-Ballet,' a 'Chant d'automne,' and a 'Marche-Nocturne.' He has published songs and pieces for PF., but a cantata written for the inauguration of a statue to Arago (1879) at Perpignan, is still in MS. In January 1883 he was chosen professor of harmony and accompaniment at the Conservatoire. [ G. C. ]

TAUSCH,, born April 15, 1827, at Dessau, where he was a pupil of F. Schneider's. In 1844 he entered the Conservatorium of Leipzig, then in the second year of its existence, and on leaving that in 1846 settled at Düsseldorf. Here he gradually advanced; on Julius Rietz's departure in 1847 taking the direction of the artists' Liedertafel, and succeeding Schumann as conductor of the Musical Society, temporarily in 1853, and permanently in 1855. He was associated in the direction of the Lower Rhine Festivals of 1863, 1866 (with O. Goldschmidt), 1869, 1872, and 1875. In the winter of 1878 he conducted the orchestral concerts at the Glasgow Festival.

Tausch has published a Fest-overture, music to Twelfth Night, various pieces for voices and orchestra, songs, and pianoforte pieces, solo and accompanied. His last publication is op. 17. [ G. ]

TAUSIG, (1841–1871), 'the infallible, with his fingers of steel,' as Liszt described him, was, after Liszt, the most remarkable pianist of his time. His manner of playing at its best was grand, impulsive, and impassioned, yet without a trace of eccentricity. His tone was superb, his touch exquisite, and his manipulative dexterity and powers of endurance such as to astonish even experts. He made a point of executing his tours de force with perfect composure, and took pains to hide every trace of physical effort. His répertoire was varied and extensive, and he was ready to play by heart any representative piece by any composer of importance from Scarlatti to Liszt. A virtuoso par excellence, he was also an accomplished musician, familiar with scores old and new, a master of instrumentation, a clever composer and arranger.

Carl Tausig was born at Warsaw, Nov. 4, 1841, and was first taught by his father, Aloys Tausig, a professional pianist of good repute [App. p.798 "add that his father, Aloys Tausig, died March 24, 1885"]. When Carl was fourteen, his father took him to