Oakeley, Sir Herbert (Stanley)

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Otloh of St Emmeram

(b c1010; d c1070). Benedictine writer, composer and music theorist. A monk at St Emmeram in Regensburg, he was one of the most productive authors of his time, writing on a wide variety of subjects. He was heavily involved in the fabricated ‘discovery’ of the relics of St Dionysius (Denis of Paris) at St Emmeram in 1049. Although he is addressed as a partner in the music theory treatise of Wilhelm of Hirsau, whose teacher he appears to have been, no treatise by Otloh has survived. On the other hand, liturgical chants copied by him are to be found in a number of manuscripts from St Emmeram, and it is likely that he composed many of them, including a sequence for St Dionysius Exultemus in ista fratres, a troped Kyrie O pater immense and chants for the proper Office of St Dionysius (D-Mbs Clm 14083, 14871).


D. Hiley: ‘Some Observations on the Repertory of Tropes at St Emmeram, Regensburg’, Cantus planus IV: Pécs 1990, 337–57

D. Hiley: ‘The Regensburg Offices for St Emmeram, St Wolfgang and St Denis’, Musica antiqua X: Bydgoszcz 1994, 229–312

D. Hiley: ‘Musik im mittelalterlichen Regensburg’, Regensburg im Mittelalter, i: Beiträge zur Stadtgeschichte vom frühen Mittelalter bis zum Beginn der Neuzeit, ed. M. Angerer and H. Wanderwitz (Regensburg, 1995), 311–22

R. Hankeln: Historiae Sancti Dionysii Areopagitae: St Emmeram, Regensburg, ca. 1050 / 16 Jh. (Ottawa, 1998)


Ots, Charles

(b Brussels, 13 May 1776; d Brussels, 1845). Flemish composer. He probably received his musical education in Brussels, and settled in Ghent at the end of the 18th century. His opéra comique La ruse villageoise was performed in the municipal theatre there in 1796. Later he was active as a music teacher and was a member of the Société des Beaux-Arts et de la Littérature. His second opera, Le nouveau marié, ou Les imposteurs, was performed in Brussels in 1808. Between 1816 and 1818 he devoted himself chiefly to opera, writing two more works for Ghent. Of these, David Teniers was particularly successful, and he became conductor at the Ghent theatre for the 1819–20 season. He was extremely active in this post, but intrigues and rivalries caused him to resign. Disappointed, he abandoned opera and turned to composing sacred music. In form his operas were similar to Dalayrac’s, in one act and with arias of the romance type. Ots chose subjects popular at the time of the French Revolution and under the Empire – historical portraits, battle scenes and the glorification of the nation – contributing to the importation of French operatic trends into the Low Countries.

His daughter Emilie (b 24 April 1808) studied singing with him and embarked on a career that took her to the Opéra-Comique in Paris in 1827 (BNB, E. Beeckman).



opéras comiques in one act

La ruse villageoise, Ghent, 2 Jan 1796

Le nouveau marié, ou Les imposteurs (J.F. Cailhava), Brussels, Monnaie, June 1808

Jean Second, ou Charles V dans les murs de Gand, Ghent, 18 Dec 1816

David Teniers, Ghent, 28 Oct 1818

other works

La rose enlevée (cant.)

6 canzonette, hpd acc., op.5 (Mainz, n.d.)

Romances: Henri Quatre, Je l’aimerai, Les beaux arts, 6 romances, v, pf/hp

Sacred: Dixit Dominus, Laudate pueri, Tantum ergo, O salutaris, others, cited in FétisB


Ott [Ottler, Ottel, Otto], Hans [Johannes]

(d Nuremberg, 1546). German publisher. A bookseller in Regensburg until his expulsion in 1524, Ott continued his business in Nuremberg from 1525 until his death. In 1533, he received an Imperial privilege to publish music, and from 1534 to 1544 issued six anthologies. He commissioned the printing of the first five from Hieronymus Formschneider; this connection was severed sometime between 1539 and the early 1540s, and his next anthology was printed in 1544 by the recently-founded firm, Berg & Neuber. In 1545, he received an imperial privilege for Isaac's Choralis constantinus, a book of masses, and a pharmacological work; he died the following year, without having published any of them. His widow, Elsbet, returning to Formschneider as printer, published the first volume of the Choralis constantinus in 1550; she continued the bookselling business until 1554.

Most of the 291 works in Ott's series of secular anthologies are by composers from the imperial or Bavarian courts or in the employ of the Nuremberg Council; just over half are by Senfl. The series of sacred anthologies contains 100 motets and 13 mass ordinaries, with other volumes of mass ordinaries and propers planned at the time of his death; he intended the series to be dominated by the works of the three composers whom he singled out for special praise – Josquin, Senfl and Isaac. Ott's political and business acumen caused him to take particular care when editing the motet texts; by careful choice or revision, he ensured that the secular motets were all in praise of members of the family of the dedicatee, Ferdinand, King of the Romans, and that the sacred motets would cause no offence in Lutheran Nuremberg. His success as an editor is clear, for his anthologies are among the most important and influential German musical sources from the first half of the 16th century.


all published in Nuremberg; printed by Formschneider unless otherwise stated

Der erst Teil: hundert und ainundzweintzig newe Lieder (153417), 82 ed. in Ludwig Senfl: Sämtliche Werke, iv (Wolfenbüttel, 1940/R), 11 ed. in DTÖ, lxxii, Jg.xxvii/2 (1930/R)

Schöne auszerlesne Lieder (15369), 27 ed. in EDM, lxx (1981), 7 ed. in Ludwig Senfl: Sämtliche Werke, v (Wolfenbüttel, 1949), 3 ed. in DTÖ, lxxii, Jg.xxvii/2 (1930/R)

Novum et insigne opus musicum (15371/R), ed. R.R. Gustavson (forthcoming)

Secundus tomus novi operis musici (15383/R), ed. R.R. Gustavson (forthcoming)

Missae tredecim, 4vv (15392)

Hundert und fünfftzehen guter newer Liedlein (154420; Berg & Neuber), ed. in PÄMw, i–iv (1873–6/R)


ADB (R. Eitner)

MGGI (T. Wohnhaas)

O. Kade: ‘Einleitung’, Einleitung, Biographieen, Melodieen und Gedichte zu Johann Ott's Liedersammlung von 1544, ed. R. Eitner and others, PÄMw, iv (Berlin, 1876), 1–35

K. Schottenloher: ‘Vom ältesten Buchhandel in Nürnberg’, Unterhaltungsblatt des Fränkischen Kuriers (15 Sept 1912)

R. Wagner: ‘Nachträge zur Geschichte der Nürnberger Musikdrucker im sechzehnten Jahrhundert’, Mitteilungen des Vereins für Geschichte der Stadt Nürnberg, xxx (1931), 107–51

H.J. Moser: ‘Hans Ott's erstes Liederbuch’, AcM, vii (1935), 1–15

B.R. Butler: Liturgical Music in Sixteenth-Century Nürnberg: a Socio-Musical Study (diss., U. of Illinois, 1970)

R. Redeker: Lateinische Widmungsvorreden zu Mess- und Motettendrucken der ersten Hälfte des 16. Jahrhunderts (Eisenach, 1995)

R.R. Gustavson: Hans Ott, Hieronymus Formschneider, and the ‘Novum et insigne opus musicum’ (Nuremberg, 1537–1538) (diss., U. of Melbourne, 1998)

T. Göllner: ‘Lassos Lektionskompositionen und ihre neu-entdeckten Vorlagen im Ott-Druck von 1538’, Compositionswissenschaft: Festschrift Reinhold und Roswitha Schlötterer zum 70 Geburtstag, ed. B. Edelmann and S. Kurth (Augsburg, 1999), 69–84


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