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See also:DUSSEK, JOHANN See also:LUDWIG (1761–1812) , Bohemian pianist and composer, was See also:born at Czaslau, in Bohemia, on the 5th of See also:February 1761. His See also:father, Johann See also:Joseph Dussek, a musician of high reputation, was organist and See also:choir-See also:master in the collegiate See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church of Czaslau, and several other members of the See also:family were distinguished as organists. Under the careful instruction of his father he made such rapid progress that he appeared in public as a pianist at the See also:age of six. A See also:year or two later he was placed as a choir boy at the See also:convent of See also:Iglau, and he obtained his first instruction in See also:counterpoint from Spenar, the choir-master. When his See also:voice See also:broke he entered on a course of See also:general study, first at the See also:Jesuits' See also:college, and then at the university of See also:Prague, where he took his See also:bachelor's degree in See also:philosophy. During his curriculum of two and a See also:half years he had paid unremitting See also:attention to the practice and study of his See also:art, and had received further instruction in See also:composition from a See also:Benedictine See also:- MONK (O.Eng. munuc; this with the Teutonic forms, e.g. Du. monnik, Ger. Witch, and the Romanic, e.g. Fr. moine, Ital. monacho and Span. monje, are from the Lat. monachus, adaptedfrom Gr. µovaXos, one living alone, a solitary; Own, alone)
- MONK (or MONCK), GEORGE
- MONK, JAMES HENRY (1784-1856)
- MONK, MARIA (c. 1817—1850)
monk. In 1779 he was for a See also:short See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time organist in the church of St Rombaut at Mechlin. At the See also:close of his engagement he proceeded to See also:- HOLLAND
- HOLLAND, CHARLES (1733–1769)
- HOLLAND, COUNTY AND PROVINCE OF
- HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
- HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
- HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
- HOLLAND, JOSIAH GILBERT (1819-1881)
- HOLLAND, PHILEMON (1552-1637)
- HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
- HOLLAND, SIR HENRY, BART
Holland, where he attained See also:great distinction as a pianist, and was employed by the See also:stadtholder as musical instructor to his family. While at the See also:Hague he published his first See also:works, several sonatas and concertos for the piano. He had already composed at the age of thirteen a See also:solemn See also:mass and several small oratorios. In 1783 he visited See also:Hamburg, and placed himself under the instruction of See also:- PHILIP
- PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
- PHILIP, JOHN (1775-1851)
- PHILIP, KING (c. 1639-1676)
- PHILIP, LANOGRAVE OF HESSE (1504-1567)
Philip See also:Emmanuel See also:Bach. After spending two years in Lithuania in the service of See also:Prince Radziwill, he went in 1786 to See also:Paris, where he remained, with the exception of a short See also:period spent at See also:Milan, until the outbreak of the Revolution, enjoying the See also:special patronage of See also:Marie Antoinette and great popularity with the public. In Milan he appeared not only as a pianist but also as a player of the See also:harmonica, an See also:instrument which was much sought after on See also:account of its novelty in those days. Towards the close of 1789 he removed to See also:London, where on the 2nd of See also:March 1790 he appeared at Salomon's concerts, and he married a daughter of Dominico Corri, herself a See also:clever harpist and pianist. Unfortunately he was tempted by the large See also:sale of his numerous compositions to open a See also:music-See also:publishing warehouse in See also:partnership with Montague Corri, a relative of his wife. The result was injurious to his fame and disastrous to his See also:fortune. See also:Writing solely for the See also:sake of sale, he composed many pieces that were quite unworthy of his See also:genius; and, as he was entirely destitute of business capacity, See also:bankruptcy was inevitable. In ',Soo he was obliged to flee to Hamburg to See also:- ESCAPE (in mid. Eng. eschape or escape, from the O. Fr. eschapper, modern echapper, and escaper, low Lat. escapium, from ex, out of, and cappa, cape, cloak; cf. for the sense development the Gr. iichueoOat, literally to put off one's clothes, hence to sli
escape the claims of his creditors. Some years later he was attached in the capacity of musician to the See also:household of Prince See also:- LOUIS
- LOUIS (804–876)
- LOUIS (893–911)
- LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
- LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian
Louis See also:Ferdinand of See also:Prussia, with whom he formed an intimate friendship. On the See also:death of his See also:patron in 1806 he passed into the service of the prince of Isenburg as See also:court musician. In 1809 he went to Paris to fill a similar situation in the household of Prince Talleyrand, which he held until his death on the loth of March 1812.
Dussek had an important See also:influence on the development of See also:pianoforte music. As a performer he was distinguished by the purity of his See also:tone, the combined See also:power and delicacy of his See also:touch, and the facility of his See also:execution. His sonatas, known as The Invocation, The Farewell and The See also:Harmonic See also:Elegy, though not equally sustained throughout, contain movements that have scarcely been surpassed for solemnity and beauty of See also:idea.
See also See also:Alexander W.• See also:Thayer's articles in See also:Dwight's See also:Journal of Music (See also:Boston, 1861).
End of Article: DUSSEK, JOHANN LUDWIG (1761–1812)
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