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Scan 574
A biographical dictionary of musicians, 1905
15 lines. Read by computer on 3 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1born in Naples or Venice about 1645, and died in Genoa after July 6, 1681 (the date borne by his cantata Il Barcheggio). He is the hero of Flotow's opera, which is founded on a story narrated by Bonnet-Bourdelot in "Histoire de la musique et de ses effets" (Paris, 1715).—Extant works: Oratorios San Giovanni Battista, a 5 w. instr.s (publ. 1676), and Susanna (1681); the operas Corispero (1665?), Orazio Coele sul ponte (1666?), Trespulo tutore (1667), La forza del amore paterno (1678), the cantata Il Barcheggio (1681);—148 MSS. in the Modena Library, incl. 8 oratorios and 11 dramas (cf. Catelani, "Delle opera di A. Stradella" in the above library; Modena, 1866);—cantatas in the Naples Cons. Library; 21 cantatas in the library of San Marco, Venice (10 publ. by L. Escudier, w. pf.-accomp. by Halévy);—others in the Paris Nat. Library, and at the Cons.;—1 motet and 8 cantatas at Christchurch Library, Oxford; a number of cantatas, madrigals, arias, duets, etc., in the British Museum; etc.—The church-aria "Pietà, Signore," and the arias "O del mio dolce ardor" and "Se i miei sospiri" have been wrongly attributed to S.—See Catelani's work above, and the monograph by P. Richard, "A. Stradella" (1866).
3Stradiva'ri [Stradiva'rius], Antonio, b. Cremona, 1649 (1650?), d. there Dec. 17 (18?), 1737, divides with Guarneri the honor of being the most skilful of violin-makers. It is probable that he worked for Niccolò Amati from about 1667–79. He purchased the house in which, for half a century, his workshop was situated, in 1680. His finest instruments were made in the period from 1700–1725; but he still worked up to 1736. Grove says of him: "S. marks the culminating point of the art of making stringed instruments. It was he who perfected the model of the violin and its fittings. No improvement has been made since his time, and subsequent makers . . . have mostly copied him." His label reads: "Antonius Stradivarius Cremonensis. Fecit Anno . . . (A†S)." His violoncelli command even higher prices than the violins. Of his eleven children, 2 sons, Francesco (b. Feb. 1, 1671; d. May 11, 1743) and Omo-bono (b. Nov. 14, 1679; d. July 8, 1742), were his co-workers. S. also made violas (equally prized with the violins), viols of the earlier types, guitars, lutes, mandolins, etc.—Monograph, with genealogical table, by P. Lombardini: "Cenni sulla celebre scuola Cremonense degli strumenti ad arco . . . e sulla famiglia del sommo Antonio Stradivari" (1872); Fétis wrote "Antoine Stradivari" (1856); an interesting article is in Grove's Dict.; see also works by Vidal, Wasielewski, and August Riechers.
5Strae'ten, van der. See VANDERSTRAE'TEN. one of two readings
6Strae'ten, van der. See VANDERSTRAEETEN. one of two readings
8Stra'kosch, Moritz, b. Lemberg, Galicia, 1825 (1830?); d. Paris, Oct. 9, 1887. Pianist; pupil in comp. of Sechter at Vienna; after concert-tours, he lived in New York 1845–60 as a teacher and concert-pianist, and from 1856 as an impresario. He was the teacher and brother-in-law of Adelina Patti. His opera Giovanna di Napoli was prod. in New York; he also wrote salon-pieces and other music f. pf.—After his departure from New York, his brother Max carried on the management of concert- and opera-troupes; he died in New York in 1892.
10Strauss, Joseph, b. Brünn, 1793; d. Karlsruhe, Dec. 1 (2?), 1866. Violinist; pupil of his father, Blumenthal, Urbani, and Schuppanzigh, at Vienna, also of Albrechtsberger. Played in the court opera-orch., Vienna; was eng. in 1810 as solo violin at the Pesth Th., 1813 as Kapellm. at Temesvar, 1814 to conduct the German opera at Hermannstadt. In 1817 Kapellm. at Brünn; in 1822, of German opera at Strassburg; in 1823, mus. dir. at the Mannheim court theatre; and 1824–63, court cond. at Karlsruhe.—7 operas: Armiedan (1836), Berthold der Zähringer (1838), Der Währwolf (1840), Die Schlittenfahrt nach Nowgorod (1846), etc.: incid. music to dramas; the oratorio Judith; sacred and orch.l music; he publ. a string-quartet, variations f. violin, and songs.
12Strauss, Johann (Sr.), "The Father of the Waltz"; b. Vienna, Mar. 14, 1804; d. there Sept. 25, 1849. His father, who kept a beer-house and dance-hall, apprenticed him to a bookbinder; after S. had run away, his parents consented to his becoming a musician. He st. the violin under Polyschansky, and harmony under Seyfried; at 15 joined Pamer's orch. in the "Sperl" dance-hall, and the Lanner Quartet in 1823, later acting as deputy conductor of Lanner's orch.; organized an independent orch. of 14 in 1826, playing at various resorts, and producing his first waltzes (op. 1 is the "Täuberl-Walzer," for the garden-concerts at the "Zwei Tauben"). His renown spread, and his orch. increased rapidly in size and efficiency; from 1833 he undertook concert-tours in Austria, and in 1834 was app. bandmaster of the 1st Vienna militia regiment. His tours extended to Berlin in 1834, and to Holland and Belgium in 1836; in 1837–8 he invaded Paris with a picked corps of 28, and had immense success both here and in London. In 1845 he was made cond. of the court balls at Vienna. Among 152 published waltzes, the "Lorelei-," "Gabrielen-," "Taglioni-," "Cäcilien-," "Victoria-," "Kettenbrücken-," and "Bajaderen-Walzer," the "Electrische Funken," "Mephistos Höllerrufe," and the "Donau-Lieder," are prime favorites; he also wrote 24 galops, 13 polkas, 32 quadrilles, 6 cotillons and contredanses, 18 marches, and 6 potpourris. Both as a comp. and cond. he distinctly raised the level of dance-music.
14Strauss, Johann (Jr.), "The Waltz-King"; b. Vienna, Oct. 25, 1825; d. there June 3, 1899. His father, though a tender parent, could not bear the idea of professional rivalry within the family, and intended all 3 of his sons for business; but the mother privately procured instruc-
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