Grove's dictionary of music and musicians

192 RUCKAUF EULE, BRITANNIA!
(Sea Jahn's List, Nos. 44, 45, 46, 122 ; Anhang
2, No. 27.) G.
EtJOKAUF, Anton, was bom March 13,
1855, at Prague, and died Sept. 19, 1903, at
Schloss Alt-Erlaa. He was a pupil of Proksch,
and studied at the same time at the Prague
Organ School, taught for a time at Proksch's
Institute till he went, at the expense of the
state, to further his studies in Vienna, where,
advised by Brahms, he learnt counterpoint with
Nottebohm and with Nawratil when Nottebohm
died. His connection with Gustav Walter, whose
permanent accompanist he was, had a great
influence over his development as a composer
of songs, and having been an excellent pianist
himself, he belongs unquestionably to the comparatively
small number of modem song-writers,
who give equal expression and effect ^o the
formation of the voice -part and accompaniment.
His compositions are of various sorts,
including songs, 'Balladen,' settings to five
Minnelieder of Walter von der Vogelweide,
gipsy songs, duets, choral songs with PF. accompaniment
and also a cappella, besides a
violin sonata (op. 7), a PF. quintet (op. 13),
somg piano solos and duets, and an opera, Die
'
Eosenthalerin,' which was produced at Dresden
in 1897, and attracted a considerable amount
of attention. H. y. H.
BUFFO, ViNCBNZO, a member of a noble
Veronese family, who flourished as a composer
in the 16 th century. His name is included by
Baini in his list of the good ' musicians ' of his
fourth epoch. Unless a five-part magnificat,
stated to have been published at Venice in
1539, and to exist at Liineburg, be a genuine
work, his first publication would seem to be a
book of motets dated 1542, where he is described
as musioo ' ' (i.e. castrato) in the service of the
Marchese Alfonso d'Avalli. In 1554 he became
maestro di cappella at the cathedral of Verona,
and in 1563 was appointed to a similar post at
the cathedral of Milan. In 1574-79 he was at
Pistoia in the same capacity, and in 1580 we
find him again at Milan. His last publication,
a book of masses, dated 1592, colitains no
mention of any official post, and it is argued
that he therefore held none in his latest years.
The other masses appeared in 1557, 1574, and
1580 ; motets in 1542, 1555, and 1583,
settings of the magnificat in 1578, and psalms
a 5 in 1574. His madrigals were published
in 1545, 1554, 1555, 1556, and 1560. The
psalms and a mass were written for his patron
Saint Carlo Borromeo in accordance with the
decrees of the Council of Trent. An Adoramus
is printed by Liick, and a madrigal, See from
'
his ocean bed, ' edited by Oliphant, is in Hullah's
Part Music. Torchi, in his 'Arte Musicale in
Italia, ' vol. i. ,
gives two movements from masses,
a motet, and two madrigals. The libraries of
Christ Church, Oxford, and the Royal College
of Music, contain specimens of his works in
MS., and for others the article in the Quellen-
Zemkon and an interesting monograph by Luigi
Torri in the Siv. Mws. Ital. iii. 635, and iv.
233, should be consulted. M.
EUGGIERI, the name of a celebrated family
of violin-makers, who flourished at Cremona
and Brescia. The eldest was Fkanoesco,
commonly known as ' Ruggieri il Per ' (the
father), whose instruments date from 1668 to
1720 or thereabouts. John Baptist (1700-
1725) and Peter (1700-20), who form the
second generation of the family, were probably
his sons ; and John Baptist (called ' il buono '),
who was indisputably the best maker in the
family, claims to have been a pupil of Nicholas
Amati. Besides these, we hear of GuiDO and
ViNCENZO Ruggieri, both of Cremona, early in
the 18th century. The instruments of the
Ruggieri, though differing vridely among themselves,
bear a general resemblance to those of
the Amati family. They rank high among the
works of the second-rate makers, and are often
passed off as Amatis. £. 3. v.
RUINS OF ATHENS, THE. A dramatic
piece (Nachspiel) written by Kotzebne, and
composed hy Beethoven (op. 113), for the
opening of a new theatre at Pesth, Feb. 9,
1812, when it was preceded in the ceremony
by 'King Stephen' (op. 117). It contains an
overture and eight numbers, and was probably
composed late in 1811. The 'Marcia alia
turca,' No. 4, is founded on the theme of the
Variations in D, op. 76, which was composed
two years earlier. The March and Chorus,
No. 6, were used in 1822, with the Overture,
op. 124, for the opening of the Josephstadt
Theatre, Vienna. The Overture to The Ruins
'
of Athens ' and the Turkish March were
published in 1823, but the rest of the music
remained in MS. till 1846. g.
RULE, BRITANNIA !
The music of this
'ode in honour of Great Britain,' which,
according to Southey, 'wiU be the political
hymn of this country as long as she maintains
her political power,' was composed by Ame for
his masque of
'
Alfred ' (the words by Thomson
and Mallet), and first performed at Cliefden
House, Maidenhead, August 1, 1740. Cliefden
was then the residence of Frederick, Prince of
Wales, and the occasion was to commemorate
the accession of George I., and the birthday of
Princess Augusta. The masque was repeated on
the following night, and published by Millar,
August 19, 1740.
Dr. Arne afterwards altered the masque into
an opera [and it was so performed at the Smock
Alley Theatre, Dublin, on March 10, 1744.
In the advertisement it is announced that
'
Alfred ' will conclude with a ' favourable Ode
in honour of Great Britain, beginning "When
Britain first at Heaven's command." ' It was
not- heard in London till March 20, 1745,
when it was given at Drury Lane for the benefit