DAVID. 811 DAVID. ■rals, ^vhich he presented to the Museum of I'aris. From 1S69 to 1S71, on behalf of tho mu- -cum. he made scieiitilic explorations in China
- iiid Tibet, discovering.' many new fjenera and spe-
1 ics of flora and fauna. Subsequently lie accom- I'lished a third journey, of whieli he wrote in I lie Journal de mon troisicine voijuije d'cxplora- lion dans Vempire chinois (2 vols., with maps, IS75). The results of his previous travels are to be found in the yoiivellcs Archives du Museum rflistoiic yatiirvlle (18150. 1808-70). His Lrs iseuux de la Chine (with 24 jjlates, 1S77) is 111 important work. DA'VID, CiiRiSTi.N (lCOO-1751). A Mo- ravian missionary, born at Senftleben, December 31, 1090. Brought up a Roman Catholic, he embraced Lutheran views and then iloravian (1717), and founded the Moravian colony of Herrnhut (1722), and was elected the first of the twelve elders. Henceforth he was a mission- ary in Europe, and even went to Greenland, ■where he founded the first mission (1747). See JMOB-WaANS. DAVID, da'vet, Edw.rd. A Flemish buc- caneer of the latter part of the seventeenth cen- tury. He early became one of the 'Brethren of the Coast,' as the West Indian pirates styled themselves, achieved prominence in that organi- zation, and in 1083 sailed aji leader of an expedi- tion of three ships for the Pacific. Reinforced by French filibusters with two vessels and a fire- ship, he devastated the coasts of Chile and Peru. A fieet of three galleons and two fire-ships was sent against him by the Viceroy of Peru, but after an indecisive battle he succeeded in making his escape. Subsequently he returned to the coast of Peru, pillaging towns, slaughtering, and exacting ransoms in true piratical fashion. H,i then transferred his depredations to Central America and Mexico. In 1088, under a genera! amnesty granted by King James II., he betook himself to England, where he lived for manj' years in undisturbed possession of his plunder. DAVID, da'ved'. Feliciex CiSs.r (1810-76). A distinguished French composer. He was born at Cadenet, Vaucluse. At first a chorister and later chapel - master in the cathedral at Aix, I lie entered at twenty the Paris Conservatory, where he studied with Benoist (organ), Fetis (composition) , and Reber (harmony). His uncle cut off his paltry monthly allowance of 50 francs, and David had to give lessons. He joined the , Saint-Simonists, but their commune broke up at i Menil-Montant in 1833 : with a number of fellow- [dreamers he went to the East — Turkey. Egypt, Land Syria. After two years of hardship ami suf- Ifering he returned to France, rich in novel expe- 1 riences. The fruit of his journeys. M<^lodics loricnfalcs, received scant notice, and David re- Itired for more serious study and composition, but [his first symphony (1838)" had a like fate. In 11844 his ■symphonic ode.' Le desert, was per- [ formed at tlie Conservatory amid tumults of ap- jplause. which continued day after day at the [successive performances of the work. His next [productions, the oratorio Moise au fiinni (1840), Ithe svmphonic ode Christophe Colomb (1847), land the mystery L'Edeii (184S). had little ■success. But he was now a recognized master: leven his earliest compositions found a hear- ling, and the doors of everi' theatre were open for liis new works, chiefly operas. La perle du Br^sil (1851) was received with acclamation, and a national prize of 20,000 francs was award- ed (in 1807) to his Ihrculanriint. jiroduced at the Grand Opera in 185!). Lallu lUtutch (18(>2) was equally successful, but Le Huphir (1805) found less favor. La captive was withdrawn by the composer before it was performed. In 1802 he w-as appointed an ollicer of the Legion of Honor, and in ISO!) elecled to succeed Berlioz at the Institute and as a librarian of the Conserva- toire de Musique in Paris. His compositions in- clude also eliambcr music, songs, and pieces for solo instrtmients. David, the ■musical Oriental- ist,' occupies a singular position in the history of music: he inaugurated a new movement. During his long years of wandering in the East he absorbed the quaint and weird Oriental melo- dies, and to express these in the most gorgeous orchestral colors that a rich fancy could think of was his task. It was the easier as Ber- lioz (q.v.) had already worked out orchestral elTecls that glowed and blazed, and it remained only to give them an Oriental setting, which David did in Le desert and subsequent works. His followers were numerous, and among them the most famous — Bizet (Djamileh ; Les pe- ehcurs des pcrles), Massenet (lioi de Lahore), and Delibes (Lakinc) — were the most directly in- lluenced. He died at Saint Germain-en-Laye. Consult Azevedo, Fclicien David (Paris, 1803). DAVID, Ferdinand (1810-73). A German violinist, born in Hamburg. For two years lie was a pupil of .Spohr, in Cassel, studying at the same time with Hauptmann. In 1825. when only fifteen .years old^ he made his first apjiearance as a violinist at the CJewandhaus in Leipzig. During 1827 and 1828 he played in the orchestra of the Konigsstiidtisches Theatre, Berlin. At this time he met ilendelssohn, with whom he formed a warm friendship. He left Berlin to become first violin of the private quartet of Baron von Lij)- hardt. of Dorpat, whose daughter he married. During his sojourn in Russi.a, which continued until 1835, lie appeared with great success in Saint Petersburg, Moscow, Riga, and other large cities. In 1830 he was, through Mendelssohn's in- fluence, appointed concertmeister of the famous Gewandhaus Orchestra in Leipzig, a posilion which he filled ably until his death, near Kloster, Switzerland. In Leipzig he was active as a virtu- oso, teacher, editor, and composer. As a virtuoso he had the solid foundations of Spohr's method, combined with the freer development of technique and feeling demanded by more modern taste. His leadership of the violins has left its traditions im- pressed upon the Gewandhaus Orchestra. Of his success as a teacher it is only necessary to say that Joachim and Wilhelmj were among his pupils. As an editor, he has left Dip /io7ic Schule des Violinspiels, a collection of standard works of old masters of the instrument which, together with his own Method for ^'iolill, has had much to do with determining the lines along which modern violin-pl.ayiiig has devchiiied. Though he was not a composer of the first rank, his violin concertos are highly esteemed, and his Bunte I'eihe is a charming series of short pieces for vio- lin with pianoforte accompaniment. When, in 1843. the Leijizig Conservatory of Music was establislied. David became instructor of violin there. While ^lendelssohn was writing his vio- lin concerto he was in constant communication with David, who was the first to play the work,
