Raisa

(ri-é’-zi4), Rosa, b. Bielostok, Poland; soprano; studied at Naples Cons. with Marchisio; début, Parma, 1913; was member Chicago Op. for many seasons, singing Italian dram. réles principally, also “Elisabeth”; a voice of notable size and strong dram. talents; has also appeared at Covent Garden, La Scala (where réle Puccini’s “Tyurandot’’), Rome, Buenos Aires, Paris Op., Mexico City, Rio de Janeiro, Angeles, Detroit Operas, in Amer. prem iére of Rocca’s “The Dybbuk” (in English) with last organisation; m. Giacomo Rimini, barytone. (ra’-min), Lina, Mainstockheim, near Kitzingen, June 24, 1833—Munich, 30, 1912; pupil of Franz and Frau Brendel, Leipzig; 1858, founded a mus.seminary for female teachers, 186590, a mus.-sch. at Niirnberg; pub. treatises and composed. Author of life of Liszt (3 vols.), 1880-94, a translation of his literary works, and a “‘Liszt-Pddagogium’’ (5 vols.), his piano works (ri-mo), with annotations. (1) J. Philippe, Dijon, Sept. 25, 1683—of typhoid, Paris, Sept. 12, 1764; eminent as theorist, composer and organist. At 7 he could play at sight on the clavecin any music given him; from ro to 14 he attended the Jesuit Coll. at Dijon; but taking no interest in anything but music was dismi ed and left to study music by himself. He was sent to Italy, 1701, to break off a love affair, but did not care to study there, and joined a travelling French opera-troupe as violinist. Later he became organist at two churches in Paris, 1717. He studied org. with Louis March and, found his pupil a rival, and in a competition favoured his competitor, Daquin, as organist of St. Paul’s; R. to Lille, later to lived his brother (2) Claude, a clever organist, and his father (3) Jean Fran., a gifted but di ipated organist and poet). After 4 years he returned to Paris, and pub. a treatise on harm. which attracted some attention. He became Sainte-Croix-de-laBretonnerie; c. songs dances for pieces by Piron, at the went as organist Clermont (where Op.-Com.; 1726, he pub. his epoch making “Nouveau systéme de musique théorique,” based on his own studies of the monochord (v. p. pD.); in this work among many things inconsistent, involved and arbitrary (and later modified or discarded) was much of remarkable even sensational novelty, such as the discovery of the law of chord-inversion. He founded his system on (1) chord-building by thirds; (2) the cla ification of chords and their inversions to one head each, thus reducing the consonant and di onant combinations to a fixed number of root-chords; (3) a fundamental ba (“ba e fonda men tale,”’ not our thorough-ba ), an imaginary series of root-tones forming the real bases of all the chord-progre ions of a composition. His theories provoked much criticism, but soon won him pupils from far and wide and the pre-eminence as theorist that he enjoyed as organist. He followed his first theoretic treatises with 5 other treatises. He now libretto ‘Samson’ from Voltaire (whom he strikingly resembled in appearance) but the work was rejected on account of its biblical subject. “Hippolyte et Aricie,” libretto by Abbé Pelegrin, was prod. at the Opéra, 1733, with so little succ. that he was about to renounce the stage, but his friends prevailed and he prod., 1735, the succ. ballet opera “‘Les Indes Galantes,’’ and at the age of 54 his masterpiece ‘‘Castor et Pollux,’ succ. most of his later works for 23 years, “Tes Fétes d’ Hébé” (1739), ‘‘Dardanus” (1739), “La Prince e. de Navarre,” “‘ Les Fétes de Polhymnie,” and ‘‘Le Temple de la Gloire’’ (1745), “Les Fétes del’ Hymen et del Amour, ou les Dieux d’ Egypte’ (1747 7 “Zais’”’ (1748), “Pygmalion” (1748), “Platée ou Junon jalouse,”’ “ Neis’’ ‘‘Zoroastre’ (the ‘‘Samson’’ music with another libretto) (1749), ““A can the et Céphise,’ “La Guirlande,” and “‘La Nai ance d’Osiris” (1751), “Daphnis et Eglé,”’ ‘‘Lycis et Délie”’ and ‘‘Le Retour d’Astrée’”’ (1753), “Anacréon,” “Les Surprises de lV Amour,” and ‘Les Sybarites’? (1757), “Les Paladins” (1760). c. also others not prod. His mus. is full of richne , novelty and truth, though he wrote only fairly for the voice. He said himself that were he younger he would revolutionise his style along the lines of Per goles i. 1745 the King made him chamber composer. His patent of nobility was registered, just before his death. He c. also many books of mus. for clavecin, etc.; of these a complete ed. is pub. by Steingraber, edited by Riemann. In 1895 a complete ed. of his works was begun by Durand, Saint-Saéns and Malherbe, including his cantatas and motets. Biog. by du Charger (1761), Nisard (1867), Griqne (1876). Other, memoirs by Chabanon, Maret, Poisot, Pougin, Garraud, Brenet, Laurencie, and Laloy.