Grove's dictionary of music and musicians

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KOGEL ROGER 119
His son, Julius, waa born at Leipzig, May 9,
1855, and soon displayed a great gift for music.
His parents were his first teachers, and he afterwards
learned from Hauptmann, Richter,Plaidy,
and Eeinecke. In 1872 he went to Munich, and
remained there for some time studying counterpoint
and composition under Franz Lachner.
A tour with Stockhausen in 1873-74, during
which he played chiefly his own compositions,
launched him favourably before the world. [He
now lives in Amsterdam, where he was teacher
in the Conservatorium for some years before
succeeding Verhulst as director of the Maatschappij
tot Bevordering der Tonkunst in 1886.
He was also conductor of the Felix Meritis
society for the last two years of its existence.
Since 1898 Eontgen has devoted himself entirely
to teaching and composition.] His published
works amount to eighteen, almost all of a
serious character. They are, for the JF.—
duet for four hands, in four movements (op. 16)
two sonatas (opp. 2, 10), a phantasle (op. 8) a ;
suite (op. 7) ; a ballade (op. 5), a cyclus of
pieces (op. 6), and a theme with variations
(op. 17), etc. etc. ; a sonata for PF. and violin
(op. 1) and for PF. and violoncello (op. 3) ; a
concerto for PF. and orchestra (op. 18) ; a
serenade for seven wind instruments (op. 14) ;
'Toskanische Rispetti,' a Liederspiel (op. 9);
nine songs (op. 15) etc. etc. The violoncello
sonata was played at the Monday Popular
Concert of Feb. 14, 1881, and was well received.
G.
ROGEL, Jos6, Spanish conductor and composer,
born at Orihuela, Alicante, Deo. 24, 1829
began music under Cascales and GU, organist
and conductor of the cathedral, and made great
progress, till sent to Valencia by his father to
study law. The six years which he spent there
were, however, devoted much more to music than
to law, under the guidance of Pascual Perez, a
musician of ability, from whom he learned
composition and other branches of practical
music. After completing his legal course and
taking his degree at Madrid, Rogel was able to
indulge his taste, plunged into music without
restraint, and became, or at any rate acted as,
conductor and composer to several theatres.
The notice of him in Pougin's supplement to
F^tis, from which this notice is taken, enumerates
no fewer than sixty-one zarziielas or dramatic
pieces of his composition, fourteen of them in
three acts, eight in two acts, and the remainder
in one act, besides a dozen not yet brought out.
The titles of the pieces are of all characters,
ranging from ReVista de un muerto ' ' and Un
'
Viage demil demonios ' to ' El General Bumbum.
No criticism is given on the merits of the music,
but it must at least be popular. 6.
ROGER, EsTiENNE, an Amsterdam musicpublisher,
who was in a very extensive way of
business from 1696 to 1722. His work is of
the highest class of music-printing and engraving,
and is from copper plates. It is said that he
was one of the first to introduce the practice
of punching the notes on the copper as a substitute
for engraving. Walsh ' Hare are
stated to have taken this idea from him and to
have used pewter, a cheaper and a more ductile
metal. He translated the TraiU de la composition
of de Nivers into Flemish (1697).
Among other works Roger issued, cArca 1720,
a fine edition of Corelli's four sets of Sonatas,
and also of the same composer's Concertos.
Several collections of miscellaneous works are
mentioned in the Quellen-Lexikon.
Roger either died or gave up business about
1725 (his last dated publication is 1722),
leaving as his successor Michel Charles Le Cene,
who reissued many of his predecessor's publications,
r. K.
ROGER, GusTAVE Hippolite, eminent
French singer, born Dec. 17, 1815, at La
Chapelle-Saint-Denis, Paris. He was brought
up by an uncle, and educated at the Lyo&
Charlemagne for the legal profession, but his
studies were so neglected for an amateur theatre
of which he was the leading tenor and selfconstituted
manager, that he was at length
allowed to follow his real vocation. He entered
the Conservatoire in 1836, and after studying
for a year under Martin carried off the first
prizes both for singing and opera -comique.
He obtained an immediate engagement, and
made his debut at the Op^ra-Comique, Feb. 16,
1838, as Georges in ' L'ficlair.' To a charming
voice and distinguished appearance he added
great intelligence and stage tact, qualities which
soon made him the favourite tenor of the Parisian
world, and one of the best comedians of the day.
Ambroise Thomas composed for him Le ' Perruquier
de la R^gence ' and Mina,' Halevy gave
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him capital parts in Les Mousquetaires de '
la
Reine ' and Le ' Guitarrero,' and Auber secured
him for Le Domino ' '
Noir,' La Part du Diable,'
'
La Sii'ene, ' and Haydfe. ' ' Meyerbeer declared
him to be the only French artist capable of
creating the part of John of Leyden. In consequence,
after ten years of uninterrupted success,
Roger left the Opi^ra-Comique for the Academie,
where on April 16, 1849, he created an immense
sensation with Mme. Viardot, in Le ' Prophfete.
His acting was quite as good in tragedy as it had
been in comedy, but his voice could not stand
the wear and tear of the fatiguing riperUyire he
had now to undertake. During the next ten
years, however, he was invaluable at the Op^ra,
creating new parts in the 'Enfant prodigue,'
the ' Juif errant,' and many more. His best
creation after John of Leyden, and his last part
at the Op^ra, was Helios in David's Herculamim'
(March 4, 1859). In the following
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autumn he lost his right arm while shooting,
by the bursting of a gun ; he reappeared with
a false one, but with all his skill and bravery
he could not conceal his misfortune, and found