Grove's dictionary of music and musicians

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736 SUCCENTOR
SUCHER
Equally notiopable is the phrase in a similar
situation in the fourth Symphony :
while the melody whioh Schubert interpolated
as an afterthought in the Scherzo of his great
C major Symphony is too well known to require
quotation.
.These two last, however, are not worked, and
uan therefore hardly be classed as 'themes,' but
are more of the nature of ' episodes.'
In some oases a Subsidiary acquires so much
importance in the working out as to rank as
a third subject. The Italian Symphony of
Mendelssohn supplies a type of this. The
subject
fe
l^i^^e^S
which appears shortly aft§r the double bar in
the first movement, though properly speaking
merely a Subsidiary, is so insisted upon and
elaborated in the working-out and coda as to
rival the first subj ect itself in importance, f. o.
SUCCENTOR, i.e. Sub-cantor. -A cathedral
officer, deputy to the Precentor. His duty is
to supply his principal's place during absence,
in the regulation of the service, and other duties
of the Precentor. G.
SUCH, Hbxey, violinist, son of Edwin C.
Such, Mus. B. , was born in London on March
31, 1872. Commenced studying at the age of
six, and made his first public appearance when
eight years old. Following the advice of
Joachim he entered the Hochschnle at Berlin
in 1885, remaining there till 1892, in which
year his first public appearance in Berlin was
successfully made. After touring in Germany
he studied during 1895-96 with Wilhelmj, and
again travelled in Holland and Scandinavia. He
then visited Vienna, meeting and playing with
Brahms, and in 1896 made two public appearances
with Richter conducting. Settled in
London in 1898, and was appointed Professor
at the Guildhall School of music. He has a
large repertory and an excellent technique.
His violin is one of the Stradivari instruments
formerly possessed by Paganini. w. w. c.
SUCH, Percy Frederick, brother of the
above, was born in London on June 27, 1878.
In 1887 went to Berlin and commenced studying
the violoncello under HeiT Otto Ludemann,
pupil of Professor Hausmann, who accepted
him as private pupil in 1889, and continued to
give him lessons when he joined the Hoohschule
in 1892. In the latter institution he remained
until 1898, having the advantage of lessons in
ensemble-playing from Joachim. His first public
appearance in Berlin was with the Philharmonic
Orchestra in 1898. Besides playing as soloist,
he assisted the Joachim Quartet as second violoncello
at many concerts in Germany and Holland,
including the Beethoven Festival at Bonn in
1899. Appeared in London first at St. James's
Hall with the Joachim Quartet in 1901, and
followed with a series of recitals. Held the
post of principal violoncello during the two
final seasons of the Popular Concerts. His
training and purity of style fit him especially
for the performance of chamber music. He
plays upon«.n exceptionally fine Gagliano violoncello.
w. w. c.
SUCHER, JosEP, born at Dbbbr, Eisenburg,
Hungary, Nov. 23, 1844, was brought up in
the Lbwenburg Convict at Vienna, as a chorister
in the HofkapeUe, which he joined on the same
day with Hans Eichter, the conductor. On
completing his course at the Convict he began
to study law, but soon threw it aside, worked
at counterpoint with Sechter, and adopted
music as his profession. Beginning as subconductor
of a Singing Society in Vienna, he
advanced to be ' Repetitor ' of the solo singers
at the Imperial Court Opera, and conductor at
the Comic Opera, and in 1876 went to Leipzig
as conductor of the City Theatre. In the
following year he married Fraulein Rosa Hasselbeck,
the then prima donna of the same house.
She was bom Feb. 23, 1849, at Velburg in the
Upper Palatinate (Brockhaus's Lexikon ; but
Riemann gives the year of birth as 1845), and
is the daughter of one musician and the niece
of another. Her first engagement was at
Treves. Thence she went to Kbnigsberg and
thence to Berlin and Danzig, where she was
engaged by her future husband for Leipzig.
From Leipzig in 1879 husband and wife went
to Hamburg, where they settled as conductor
and prima donna, and where the latter attracted
immediate attention by her performance of
Chryssa in Rubinstein's 'Nero.' They visited
England in 1882, and Mme. Sucher proved her
eminent qualities both as a singer and an actress
by the extraordinary range of parts in which
she appeared at the German opera at Drury
Lane. She made her dftnt as Elsa on May 18,
and besides singing as Elizabeth and Senta, she
sang Eva on May 30, and Isolde on June 20,
on the respective productions in England of Die
'
Meistersinger ' and ' Tristan,' and as Euryanthe
on the revival of that opera. Her husband
produced a Scene ' ' or Cantata entitled Waldfraulein
' (' The Wood Maiden ') for soli, chorus,
'
and orchestra, at the Richter Concert of June 5.
Composition is no novelty to HeiT Sucher ;
even in his chorister days we hear of songs,
masses, cantatas, and overtures, one of which,
to an opera called ' Use,' was brought forward