Grove's dictionary of music and musicians

64 E^MY RENAUD
ment ; the connection, In this last instance, is
attained by a kind of unconscions mental process,
involving a silent modulation through the
key of the tonic minor, B flat minor, and its relative
major, sharp major. This is an unusual
succession of keys, even with Schubert ; but
other examples, quite as strange, are in Beethoven's
'posthumous' quartets, and elsewhere.
Of the eleven semitones apart from the keynote,
six were now accepted as within the scope of
modulation without a long and complex process
two others, the whole tone above and below the
keynote, involve a double modulation, the tone
above being the dominant of the dominant, and
the tone below being the subdominant of the
subdominant. There remain, therefore, three
keys which are very remote, the semitone above
and below the keynote, and the augmented
fourth of the key. Even these are nowadays
brought within fairly easy distance, by the fact
that for the semitone above, it is only necessary
to regard the keynote as the leading -note of
the new key ; and for the semitone below, a
'
Phrygian cadence ' (such as is figured in the
last two examples in vol. i. p. 436, column a)
may be imagined. The semitone above the
keynote is used for the slow movement of
Brahms's sonata for violoncello and piano, op.
99, in F, where F sharp major is the key chosen
for the slow movement. As transition to the
augmented fourth of the key involves several
steps of modulation, this may be considered the
most remote part of the octave. (It is not quite
obvious why minor keys should almost always
be remote from other minor keys, but they
certainly are, from almost all excepting the key
of their subdominant minor. See Relation.)
In relation to any given major keynote, we may
recognise four degrees of proximity, besides ite
relative and tonic minors. In relation to the key
of 0, the notes F and G 'stand nearest of all
next come F flat, F, A flat and A, as standing
in the relation of thirds, major or minor ; next,
as requiring a double modulation, D and B flat
and farthest of all, C sharp, B, and F sharp,
the last being the extreme of remoteness. Before
equal temperament was a part of practical music,
the inherent error in the scale was confined by
tuners to the . ' remote ' keys, that term being
used simply of the keys which had many sharps
or flats, leaving the key of C perfectly in tune,
and F and 6 almost perfect. M.
B^MY, W. A. , the name by which an eminent
musician and teacher in Prague preferred to be
known. His real name was Wilhelm Mayer,
and he was the son of a lawyer in Prague, where
he was born, June 10, 1831. A pupil of 0. F.
Pietsch, he appeared at the age of seventeen
years as the composer of an overture to Sue's
'
Fanatiker in den Cevennen ; '
but in obedience
to the parental desires, he studied law, took the
degree of Dr.Jur. in 1856, and did not take up
music as his profession until 1862, when he
;
became conductor of the Steiermarkische Musikverein,
and earned experience as an orchestral
director. He kept the post till 1870, composing
many orchestral works during the period, among
them an overture to Sardanapalus,' and a symphonic
poem, 'Helena!,' as well as his first
'
symphony in F. The three works made their
way as far as Leipzig, where they were received
with great success. From the date of his
resignation he lived as an unofficial teacher, and
devoted himself to composition, until his death
at Prague, Jan. 22, 1898. His works include
two more symphonies (in F and E flat), a
'
Phantasiestiick ' for orchestra, given at the
"Vienna Philharmonic concerts under Dessofl';
a ' Slawische Liederspiel ' for solos and chorus,
with accompaniment of two pianos, another
work of the same kind, 'Oestliche Eosen,' a
concert-opera, ' Waldfraulein,' and many songs,
etc. Among his most eminent pupils may be
mentioned Busoni, Kienzl, Heuberger, von
Rezniozek, and Felix Weingartner. (Neue
MusHc-Zeitwng, 1890, p. 261.) M.
EENATJD, Maukioe Arnold, bom 1862,
at Bordeaux, studied singing at the Conservatoire,
Paris, and subsequently at that of
Brussels. From 1883 to 1890 he sang at the
Monnaie, Brussels, in a variety of parts,
making a great impression ; on Jan. 7, 1884,
as the High Priest in Beyer's ' Sigurd,' and
on Feb. 10, 1890, as Hamilcar in Beyer's
' Salammbfi,' on production of these operas
;
he also sang baritone or bass parts in 'Manon,'
'Lakm^' etc., and as Kothner in 'Meistersinger.'
On Oct. 12, 1890, he made his d6but
at the Opera-Comique, Paris, as Karnac in ' Le
Eoi d'Ys,' and sang on Deo. 3
as the hero of
Diaz's new opera ' Benvenuto.' On July 17,
1891, he made a very successful debut at the
Op&a as Nelusko, and remained there until
1902. On Feb. 29, 1892, he sang the modest
part of Leuthold, in ' Tell,' at the Rossini centenary
; he added to his repertory the parts of
Telramund, Wolfram, lago, Beckmesser, Hilperie
in Guiraud's ' Fr&l^gonde,' completed by Saint-
Saens, the Shepherd in Bruneau's 'Messidor,'
and, on Nov. 15, 1899, Chorebe in Berlioz's
' Prise de Troie.' On leave of absence, on June
23, 1897, he made his d^but at Covent Garden
as Wolfram and De Nevers in selections from
'Tannhauser' and 'Huguenots,' at the State
performance in honour of the Diamond Jubilee
of Queen Victoria ; and in the same season he
sang the above parts, Don Juan, and Juan in
D'Erlanger's * Inez Mendo. ' He fully confirmed
his Parisian reputation by his fine voice and presence,
and excellent singing and acting. From
1898 to 1905 he has re-appeared here frequently
at the above theatre, singing the part of Henry
VIII. in Saint-Saens's opera, July 19, 1898,
that of Hares in De Lara's 'Messaline,' July 13,
1899 ; and appearing as Hamlet, Eigoletto,
Valentine, Escamillo, etc. In 1903 M. Renaud