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Scan 21
A biographical dictionary of musicians, 1905
27 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.
1operas; a "mystery," La Rédemption; numerous minor pieces.
3Alayrac. See Dalayrac.
5Albane'se,—, b. Albano, n. Rome, 1729; d. Paris, 1800; from 1752-62, principal singer (musico) at the Parisian Concerts Spirituels. Comp. songs ("romances") very popular in their day.
7Albane'si, Carlo, b. Naples, Oct. 22, 1856; pupil of his father (pf.) and Sabino Falconi (comp.). In 1893, app. prof. of pf.-playing at R. A. M., London, succeeding Wingham. Fine pianist.—Works: "Sei fogli d'Album," op. 13; a pf.-trio; 2 pf.-sonatas; 12 Preludes, and 40 or 50 minor pcs. f. pf.
9Alba'ni is the stage-name of Marie Louise Cecilia Emma Lajeunesse, a gifted dramatic soprano, b. Chambly, n. Montreal (Canada), 1852; trained in the Convent of the Sacred Heart at Montreal; removed to Albany, N. Y., in 1864, where her singing in the cathedral attracted such general attention, that her father was persuaded to take her to Europe for study; pupil of Duprez at Paris for 8 mos., and of Lamperti at Milan for a longer period (the latter's treatise on the Trill is dedicated to her); made her début at Messina in 1870 (Sonnambula), under the name of Albani, in grateful memory of the town where her public career began. After singing in Florence, London (1872), and Paris, she again studied with Lamperti for several months; sang at Covent Garden in 1873, also at St. Petersburg; returning to America, she revisited Albany, and sang in the cathedral; in 1874 sang again at Covent Garden, where she has since been permanently engaged. Married the lessee of the theatre, Mr. Ernest Gye, in 1878. Her principal rôles are Amina (Sonnambula), Marguerite (Faust), Mignon, Ophelia, Elsa, Senta, Elisabeth, Lucia; she is also an oratorio-singer of the first rank, and a fine pianist. She has sung in opera on the continent (Berlin, 1887) with great success. [v. Appendix.]
11Alba'ni, Mathias (father and son), violin-makers of Bozen (Tyrol). A. the elder, b. Bozen, 1621; d. there 1673, was one of Stainer's aptest pupils; A. the younger learned the trade of his father, and worked with the Amatis at Cremona, settling finally in Rome. His instruments, from 1702-9, are considered almost equal to the genuine Amatis; whereas his father's violins, though powerful in tone, are less remarkable in quality.
13Albeniz, Pedro, b. Logroño (Old Castile, Spain), April 14, 1795; d. Madrid, Apr. 12, 1855. In early youth, organist in various Spanish towns; later, a pupil of Kalkbrenner and Henri Herz in Paris; app. (1830) pf.-prof. at Madrid Cons., and (1834) court organist. An early and powerful promoter of modern methods of piano-playing in Spain, a composer of some 70 piano-pcs. (rondos, variations, fantasias, études, etc.), also songs; author of a pf. Method adopted by the Madrid Cons.
15Albeniz, Isaac, fine concert-pianist, grand-nephew of Pedro A.; b. Camprodon, Spain, May 29, 1861. Pupil of Marmontel, Jadasohn, Reinecke, Brassin and Liszt (for pf.), and of Dupont and Gevaert (comp.).—Works: Comic opera, The Magic Opal (London, 1893, v. succ.); opera, Enrico Clifford (Barcelona, 1895, do); 1-act zarzuela, San Antonio de la Florida (Madrid, 1895, do.); opera, Pepita Jiménez (Barcelona, 1896); over 200 publ. comp.s f. pf. (Concerto fantastico). Pianist to the Queen of Spain. Living in London.
17Albeniz, Pedro, Spanish monk; b. Biscay, 1755; d. in 1821 in San Sebastian, where he was maestro at the cathedral. Wrote many masses, motets, villancicos, etc.; also a Method of Music, highly esteemed in Spain.
19Alberga'ti, Pirro Capacelli, Conte d', comp., b. Bologna, towards end of 17th cent. His works, very popular at the time, were 2 operas: Gli amici (1699) and Il principe selvaggio (1712); an oratorio Giobbe (1688), and many minor oratorios and cantatas: also masses, motets, psalms, sonatas f. 2 vlns. w. continuo, Cantate morali f. solo voice, dances, etc. one of two readings
20Alberga'ti, Pirro Capacelli, Conte d', comp., b. Bologna, towards end of 17th cent. His works, very popular at the time, were 2 operas: Gli amici (1690) and Il principe selvaggio (1712); an oratorio Giobbe (1688), and many minor oratorios and cantatas: also masses, motets, psalms, sonatas f. 2 vlns. w. continuo, Cantate morali f. solo voice, dances, etc. one of two readings
22Albert, Prince of Saxe-Coburg-Gotha, Prince Consort of Queen Victoria; b. Schloss Rosenau, Aug. 26, 1819; married Feb. 10, 1840; d. Dec. 14, 1861. A zealous promoter and patron of art, he himself comp. an opera, Jean le Fol (Bagnières de Bigorre, 1865); an operetta, Les Petits du Premier (Paris, 1864); masses, songs, etc.
24Albert, Heinrich, b. Lobenstein (Saxony), July 8 (new style), 1604; d. Königsberg, Oct. 6, 1651. In 1622 he went to Dresden to study music under his uncle, Heinrich Schütz, but his parents soon decided that he should study law, and sent him to Leipzig. Going to Königsberg (1626), he was attached to an embassy to Warsaw and taken prisoner by the Swedes; returning to K., he became organist of the cathedral (1631), and resumed mus. study under Stobäus. He was a gifted composer, and a fine poet (of the "Königsberg school"), writing the words for the majority of the songs he set to music. He published 8 famous books of arias ["Arien"] (1638-50), and the "Kürbshütte" (1645), collections of chorales, arias and Lieder, for one or several voices; many of his hymn-tunes are still sung in Prussia. He is sometimes called the father of the German Lied. A selection of his songs, with the music, has been issued in the "Neudrucken deutscher Litteraturwerke" (Eitner: Halle, 1883-4).
26Albert, Max, a zither-virtuoso who inv. many improvements for his instr.; b. Munich, Jan. 7, 1833; d. Berlin, Sept. 4, 1882.
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