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Scan 41
A Biographical Dictionary Of Musicians, 1900
38 lines. Read by computer on 12 September 2026, twice; the two readings disagreed in places. Printed page 27. See the scan on archive.org.
1soloist at the Cons Concerts, and member of the Cons. Jury. After travelling (1852–61), he settled in Marseilles, becoming (1863) Director of the Cons. there, and prof. of singing
3Audran, Edmond, son of Marius, b. Lyons, Apr. 11, 1842; pupil of the École Niedermeyer, Paris, 1861, maître de ch. at church of St.-Joseph de Marseille. His début as a composer was at Marseilles, 1862, with the opera L’Ours et la Pucha; up to 1897 he has successfully prod. 36 other operas, operettas, etc., chiefly of a light character, in minor Parisian theatres, has also written a mass, a funeral march f. Meyerbeer’s death, etc. Now living in Paris. He has produced the operetta La Fiancée des Verts-Poteaux (Paris, 1887; v. succ.); operetta Olivette (given Berlin, 1895, as Capitain Caraccollo; succ.); opera Sainte-Freya (Paris, 1892; succ.); operetta La Mascotte (1880; given 1700 times up to Aug. 29, ’97); operetta Miss Helyett (Paris, 1890; succ.); operetta Madame Suzette (Paris, 1893; succ.); operetta Mon Prince! (Paris, 1893; succ.); 3-act lyric comedy Photis (Geneva, 1896; succ.); 3-act com. opera La Duchesse de Ferrare (Paris, ’95; mod. succ.); 4-act com. opera La Poupée (Paris, ’96; mod. succ.); comic operetta Monsieur Lohengrin (Paris, 1896; v. succ.); Les petites femmes (1897); and others one of two readings
4Audran, Edmond, son of Marius, b. Lyons, Apr. 11, 1842; pupil of the École Niedermeyer, Paris, 1861, maître de ch. at church of St.-Joseph de Marseille. His début as a composer was at Marseilles, 1862, with the opera L’Ours et la Pucha; up to 1897 he has successfully prod. 36 other operas, operettas, etc., chiefly of a light character, in minor Parisian theatres, has also written a mass, a funeral march f. Meyerbeer’s death, etc. Now living in Paris. He has produced the operetta La Fiancée des Verts-Poteaux (Paris, 1887; v. succ.); operetta Olivette (given Berlin, 1895, as Capitain Caruccolo; succ.); opera Sainte-Freya (Paris, 1892; succ.); operetta La Mascotte (1880; given 1700 times up to Aug. 29, ’97); operetta Miss Helyett (Paris, 1890; succ.); operetta Madame Suzette (Paris, 1893; succ.); operetta Mon Prince! (Paris, 1893; succ.); 3-act lyric comedy Photis (Geneva, 1896; succ.); 3-act com. opera La Duchesse de Ferrare (Paris, ’95; mod. succ.); 4-act com. opera La Poupée (Paris, ’96; mod. succ.); comic operetta Monsieur Lohengrin (Paris, 1896; v. succ.); Les petites femmes (1897); and others one of two readings
6Au’er, Leopold, distinguished violinist; b. Veszprim, Hungary, May 28, 1845. Pupil of the Conservatories at Pesth (Ridley Kohnetól) and Vienna (Dont, 1857–8); finally, of Joachim 1863–5, leader in Dusseldorf, and 1866 in Hamburg; since 1868, soloist to the Tsar, and of the Imp. orch. at St Petersburg, and violin-prof. at the Cons. He is one of the finest among contemporary performers.
8Au’er, Carl. See FROTZLER.
10Au’gener & Co., London firm of music-sellers and publishers, founded 1853 by George A.
12Au’gustine (Augusti’nus), Aure’lius, better known as St. Augustine; b. Tagaste, Numidia, 354; d. Hippo, Algeria, 430. Renowned father of the Latin Church, educated at Madaura and Carthage. His writings contain valuable information concerning Ambrosian song; that entitled “De Musica” treats only of metre.
14Aulet’ta, Domenico, produced the opera La Locandiera di spirito at Naples in 1760.
16Aulet’ta, Pietro, m. di c. to the Duke of Belvedere; between 1728–52 he produced 7 operas at Rome, Venice, Naples, and Paris.
18Aurelia’nus Reomen’sis, monk at Réome in the 9th century; wrote a treatise, “Musica disciplina,” publ. by Gerbert in “Scriptores,” vol. i.
20Aus der Ohe, Adele. See Appendix.
22Au’spitz-Kolar, Auguste, b. Prague abt. 1843; d. Vienna, Aug. 23, 1878; daughter of J. G. Kolar, actor and dramatic poet. Excel lent pianist, pupil of Smetana, then of J. Proksch, and of Mme Claus-Szarvady in Paris; married H. Auspitz in 1865. Publ. a few pf.-pcs.
24Aute’ri-Manzoc’chi, Salvatore, composer of operas and songs; b. Palermo, Dec. 25, 1845; pupil of Platania at Palermo, and Mabellini at Florence—Operas Dolores (Florence, 1875; very succ.); Il Negrurero (Barcelona, 1878); Stella (Piacenza, 1880; v. succ.); Il Conte di Gleichen (Milan, 1887); and the 3-act opera seria Graziella (Milan, ’94; mod. succ.) Resides in Trieste, as a singing-teacher His first opera, Marcellina, was never performed.
26Auvergne, Antonio d’, b. Clermont-Ferrand, Oct. 4, 1713; d. Lyons, Feb. 12, 1797. Violinist, pupil of his father. He went to Paris in 1739, played next year in the Concerts Spirituels, joined the King’s band in 1741, and the Opéra orch. in 1742. He cond. the latter 1751–5; was Director until 1790, and retired at the outbreak of the Revolution to Lyons. His first stage-work was a ballet, Les amours de Tempe (1752); in 1753 he made a sensation with Les troqueurs, the first genuine opera comique; it resembled the Italian intermezzi with spoken dialogue instead of recitative, and soon superseded the comédie à arrière (vaudeville with incidental music). He produced 9 other stage-pieces, and left 3 more in MS. one of two readings
27Auvergne, Antonio d’, b. Clermont-Ferrand, Oct. 4, 1713; d. Lyons, Feb. 12, 1797. Violinist, pupil of his father. He went to Paris in 1739, played next year in the Concerts Spirituels, joined the King’s band in 1741, and the Opéra orch. in 1742. He cond. the latter 1751–5; was Director until 1790, and retired at the outbreak of the Revolution to Lyons. His first stage-work was a ballet, Les amours de Tempe (1752); in 1753 he made a sensation with Les troqueurs, the first genuine opéra comique; it resembled the Italian intermezzi with spoken dialogue instead of recitative, and soon superseded the comédie à arrière (vaudeville with incidental music). He produced 9 other stage-pieces, and left 3 more in MS. one of two readings
29Aventi’nus, Johannes (real name Thurnmayer or Turmair), b. Abensberg (whence Aventinus), July 4, 1477; d. Jan. 9, 1534. Author of “Annales Boiorum” (1554), containing considerable information, not wholly trustworthy, about mus. matters; editor of Nicolaus Faber’s “Musicae rudimenta admodum brevia, etc.”
31Av’ison, Charles, Engl comp., org., and writer; b. Newcastle-on-Tyne, 1710; d there May 9, 1770. St. in Italy; then under Geminiani in London. Organist in Newcastle.—Works: Concertos f. organ or harpsichord, do. f. strings and harpsichord; violin-sonatas; songs, also “An Essay on Mus. Expression” (London, 1752, ’53, ’75); also publ., with J. Garth, Marcello’s “Psalm-Paraphrases” (1757), with English words.
33Ayrton, Edmund, Engl. comp. and org.; b. Ripon, Yorkshire, 1734; d. Westminster, May 22, 1808. Pupil of Nares. From 1780–1805, Master of Children of the Chapel Royal. Wrote 2 full services, also anthems.
35Ayrton, William, son of preceding; b. London, Feb. 24, 1777; d. there May 8, 1858. Writer on music; 1813–26, critic of “Morning Chronicle”; 1837–51, of “Examiner”; 1823–33, editor of the “Harmonicon.” Also edited “Knight’s Musical Library” (1834), and “Sacred Minstrelsy” (1835).
37Azve’do, Alexis-Jacob, French writer and critic; b. Bordeaux, Mar. 18, 1813; d. Paris, Dec. 21, 1875. Author of several valuable
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