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Scan 22
A biographical dictionary of musicians, 1905
26 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.
1Albert, Eugène (Francis Charles) d', [writes his name in German style, Eugen,] pianist; b. Glasgow, Apr. 10, 1864. His father, Charles L. N. d' A. (b. Nienstetten, near Hamburg, Feb. 25, 1809; d. London, May 26, 1866), was a musician and dancing-master, and composed many popular dances; he was his son's first teacher.—Eugène was elected Newcastle scholar in the National Training School, London, in 1876, and was taught by Pauer (pf.), and Stainer, Prout and Sullivan (harm. and comp.); in 1881, he was elected Mendelssohn scholar, and studied under Richter (Vienna) and Liszt (Weimar); the latter dubbed him "the young Tausig" on acct. of his remarkable technique. On Feb. 5, 1881, he played the Schumann concerto at the Crystal Palace, London, and, on Oct. 24, a concerto in A, of his own, at a Richter Concert. Since that time he has arrived at full pianistic maturity, one of his feats being the performance of 5 Beethoven sonatas (op. 31, 53, 90, 109, 110) at a Gewandhaus recital on Nov. 20, 1893, thus vying with Bülow's famous programs. As a composer he has publ. 2 pf.-concertos, in B minor and E; 2 overtures (Hyperion and Esther); a symphony in F; a pf.-suite in 5 movements; a pf.-sonata in F sharp min.; an A minor string-quintet; minor pf.-pcs., and several songs; text (after Fr. Hebbel's fairy comedy Der Rubin) and music of an opera in 2 acts, Der Rubin [The Ruby] (Karlsruhe, Oct. 12, 1893), which had a favorable reception; text and music of the 3-act opera Ghismonda (Dresden, 1895, mod. succ.); opera Gernot (Mannheim, 1897; succ.); 1-act mus. comedy Die Abreise (Frankfort, 1898; succ.); op. 14, "Der Mensch u. das Leben" (by O. Ludwig), f. 6-p. ch. and orch.; op. 16, 4 pf.-pieces (Waltz, Scherzo, Intermezzo, Ballade).—D'Albert married the celebrated pianist Teresa Carreño in 1892 (divorced 1895), and now resides in Germany. 1895, app. 1st Kapellm. at Weimar, as Dr. Lassen's successor; but resigned speedily, being himself succeeded by Bernh. Stavenhagen.
3Albertaz'zi, Emma, née Howson, stage-contralto; b. London, May 1, 1814; d. there Sept. 25, 1847. Pupil of Sir M. Costa; début 1829, Argyle Rooms, London. Engaged at King's Th., 1830; at Piacenza, Italy, in 1831, where she married Sgr. Albertazzi. Sang in La Scala, '31; Madrid ('33), and Paris (Ital. Op., '35), her most brilliant period. Reappeared in London, 1837. She had a fine voice, but no passion or animation in singing or acting.
5Alber'ti, Joh. Friedrich, b. Tönning, Schleswig, Jan. 11, 1642; d. Merseburg, June 14, 1710. Pupil of Werner Fabricius, Leipzig; org. at Merseburg cathedral till 1691. A learned contrapuntist, whose chorals, fugues, etc., were held in estimation. one of two readings
6Alberti, Joh. Friedrich, b. Tönning, Schleswig, Jan. 11, 1642; d. Merseburg, June 14, 1710. Pupil of Werner Fabricius, Leipzig; org. at Merseburg cathedral till 1691. A learned contrapuntist, whose chorals, fugues, etc., were held in estimation. one of two readings
8Alber'ti, Giuseppe Matteo, b. Bologna, 1685; d. after 1746. Violinist and comp. of great merit; pupil of Manzolini and Minelli (vln.) and F. Arresti (cpt.); "principe" of the B. Philh. Academy.—Publ. works: 10 Concerti (sextets); 12 vln.-sonatas w. basso continuo; 12 Sinfonie f. 2 vlns., vla., 'cello, and org. one of two readings
9Alberti, Giuseppe Matteo, b. Bologna, 1685; d. after 1746. Violinist and comp. of great merit; pupil of Manzolini and Minelli (vln.) and F. Arresti (cpt.); "principe" of the B. Philh. Academy.—Publ. works: 10 Concerti (sextets); 12 vln.-sonatas w. basso continuo; 12 Sinfonie f. 2 vlns., vla., 'cello, and org. one of two readings
11Alber'ti, Domenico, b. Venice, 1707; d. Formio, 1740, is still known to fame as the first to develop and extensively employ the style of broken-chord bass-accomp., in similar figures, named "Alberti" or "Albertinian bass" after him. The specimen is the opening measures of one of two readings
12Alberti, Domenico, b. Venice, 1707; d. Formio, 1740, is still known to fame as the first to develop and extensively employ the style of broken-chord bass-accomp., in similar figures, named "Alberti" or "Albertinian bass" after him. The specimen is the opening measures of one of two readings
14Allegro moderato.
15tr.
17etc.
19a sonata of his (No. 6 of the "VIII Sonate per cembalo"). He first attracted notice as an amateur singer, developing into a pianist and composer of easy popular piano-music, also 3 operas, Endimione, Galatea, Olimpiade. In 1737 he was attached to the suite of the Venetian ambassador at Rome, and was a much-admired singer and player.
21Alber'ti, Karl Edmund Robert, writer on music; b. Danzig, July 12, 1801; d. Berlin, 1874. While studying theology and philosophy at Berlin, he also worked hard at music under Zelter. His compositions comprise only a few books of songs; his chief writings were "Die Musik in Kirche und Staat" (1843); "Andeutungen zur Geschichte der Oper" (1845); "Richard Wagner" (1856); "Rafael und Mozart" (1856); "Beethoven als dramatischer Tondichter" (1859); also numerous contributions to the "Neue Berliner Musikzeitung." one of two readings
22Alberti, Karl Edmund Robert, writer on music; b. Danzig, July 12, 1801; d. Berlin, 1874. While studying theology and philosophy at Berlin, he also worked hard at music under Zelter. His compositions comprise only a few books of songs; his chief writings were "Die Musik in Kirche und Staat" (1843); "Andeutungen zur Geschichte der Oper" (1845); "Richard Wagner" (1856); "Rafael und Mozart" (1856); "Beethoven als dramatischer Tondichter" (1859); also numerous contributions to the "Neue Berliner Musikzeitung." one of two readings
24Alberti'ni, Gioacchino, b. 1751; d. Warsaw, in April, 1811. About 1784, Royal Polish Kapellm. His Italian operas, Circe ed Ulisse (Hamburg, 1785) and Virginia (Rome, 1786), were extremely popular. one of two readings
25Albertini, Gioacchino, b. 1751; d. Warsaw, in April, 1811. About 1784, Royal Polish Kapellm. His Italian operas, Circe ed Ulisse (Hamburg, 1785) and Virginia (Rome, 1786), were extremely popular. one of two readings
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