Grove's dictionary of music and musicians

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18 EAMANN BAMEAU
so that both these bars are exactly the same
the last two bars, however, have a little chromatic
cadence leading into the second subject. The
direction over the iirst two bars is 'poco ritenuto,'
and over the last two ' rallentando, ' by which
we may be quite sure that the composer intended
the repeated fragment to be played at the same
speed in each bar, and the chromatic cadence
to be slackened gradually.
Ritenente is used by Beethoven in the PF.
Sonata, op. 110, about the middle of the first
movement, and again in the Sonata, op. Ill,
in the iirst movement, in the seventh and fifteenth
bars from the beginning of the Allegro
con brio. It would seem that the same effect
is intended as if ' ritenuto ' were employed ; in
each case, the words meno ' mosso ' might have
been used. Beethoven prefers Sitardando to
Hallentando, which latter is common only in his
earlier works. M.
EAMANN, LiNA, musical writer and educationist,
was bom at Mainstookheim, near
Kitzingen, in Bavaria, June 24, 1833. Her
turn for music and her determination to succeed
were evident from a very early age. It was
not, however, till her seventeenth year that she
had any instruction in music. At that time
her parents removed to Leipzig, and from 1850
to 1853 she there enjoyed the advantage of
pianoforte lessons from the wife of Dr. F.
Brendel, herself formerly a scholar of Field's.
From this period she adopted the career of a
teacher of music, and studied assiduously,
though without help, for that end. After a
period of activity in America, she opened (in
1858) an institute in Gliickstadt (Holstein) for
the special training of musie-mistresses, and
maintained it till 1865, in which year she
founded a more important establishment, the
Music School at Nuremberg, in conjunction with
Fran Ida Volkmann of Tilsit, and assisted by
astaff of superior teachers, under Frl. Ramann's
own superintendence. The school was transferred
to Aug. Gbllerich in 1890, when Frl.
Eamann moved to Munich. With a view to
the special object of her life she has published
two works Die Musik als Gegenstand der
Erziehwng (Leipzig: Merseburger, 1868), and
Allgemeine Erzieh- und Unierrichts-lehre der
Jugend (Leipzig: H. Schmidt, 1869 ;
2nd ed.
1873), which were both received with favour
by the German press. From 1 8 6 she was musical
correspondent of the Hamburg Jahreszeiten.
A volume of her essays contributed to that
paper has been collected and published, under
the title of Aits der Oegcnviart (Nuremberg
Sohmid, 1868). In the early part of 1880 she
published a study of Liszt's ' Christus ' (Leipzig,
Kahnt), and later in the year the first volume
of a Life of Liszt, completed in two volumes in
1894 (Leipzig, Breitkopf). The first portion was
translated by Mrs. S. H. Eddy, Chicago, and
by Miss E. Cowdery, and published in two vols.
in 1882. This is an important work. It
suffers somewhat from over -enthusiasm, but
it is done with great care, minuteness, and
intelligence, and obviously profited largely by
direct information from Liszt himself. Slie
also edited Liszt's writings (1880-83, in six
volumes). Her cousin,
Bruno Ramann, was bom April 17, 1832,
at Erfurt, and was brought up to commerce,
but his desire and talent for music were so
strong, that in 1857 or 1858 he succeeded in
getting rid of his business and put himself under
Dr. F. Brendel and Riedel, for regular instruction.
He then for five years studied under
Hauptmann at Leipzig, and was a teacher and
composer at Dresden from 1867 until his death,
March 13, 1897. His works are numerous,
but they consist almost entirely of songs for
one or more voices, and of small and more or
less sentimental pieces for the pianoforte. He
also wrote poetry, and some dramatic pieces. 6.
RAMEAU, Jkan Philippe, eminent com'
poser, and writer on the theory of music, bom
at Dijon, Oct. 23, 1683,' in the house now
No. 5 Rue St. Michel. His father,^ Jean, was
a musician, and organist of Dijon cathedral, in
easy circumstances. He intended Jean Philippe,
the eldest of his three sons, to be a magistrate,
but his strong vocation for music and obstinacy
of character frustrated these views. According
to his biographers he played the harpsichord at
seven, and read at sight any piece of music put
before him : music indeed absorbed him to such
an extent when at the Jesuit College that he
neglected his classical studies, and was altogether
so refractory that his parents were
requested to remove him. Henceforth he never
opened.^ book, unless it were a musical treatise.
He quickly mastered the harpischord, and
studied the organ and violin with success, but
there was no master in Dijon capable of teaching
him to write music, and he was left to discover
for himself the laws of harmony and composition.
jVt the age of seventeen he fell in love with a
young widow in the neighbourhood, who indirectiy
aid nim good service, since the shame
which he felt at the bad spelling of his letters
drove him to write correctly. To break off
this acquaintance his father sent him, in 1701,
to Italy, where, however, he did not remain
long, a mistake which, in after life, he regretted.
He liked Milan, and indeed the attractions of
so gi-eat a centre of music must have been great
but for some unknown reason he soon left with
a theatrical manager whom he accompanied as
first violin to Marseilles, Lyons, Nimes, Montpellier,
and other places in the south of FranQg.
How long the tour lasted it is impossible to
ascertain, as no letters belonging to this period
are to be found. From his
' Premier Livre de
1 [The date of birth Is taken from the compoaer'fl momiment at
Dijon : the firat edition of this Dictionary gives the more usnal
date. Sept. S5, 1683.]
3 His mother's name was Claudine Demartin^oourt.