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Scan 51
A Cyclopaedic Dictionary of Music, 1908
45 lines. Read by computer on 12 September 2026. Printed page 35. See the scan on archive.org.
1ATTRUP, Karl. B. Copenhagen, 1848. Succeeded Gade, 1869, as organ teacher at the Copenhagen Cons.; organist at several churches. His studies for organ are of educational value. D. 1892.
3ATTWOOD, Thomas. B. London, 1765; d. Chelsea, 1838. Chorister, Chapel Royal, and pupil of Nares and Ayrton, from 1776-81; sent by the Prince of Wales (afterwards George IV) to Naples, 1783-5. Pupil of Mozart, Vienna, until 1787. Appointed organist of St. George the Martyr, London, and a member of the Prince's private band; teacher of the Duchess of York (1791), of the Princess of Wales (1795); orgt. of St. Paul's Cathedral (1795); composer to the King's Chapel Royal (1796); orgt. of the King's private chapel, Brighton (1821), and orgt. of the Chapel Royal (1836).
5Works: 19 operas; anthems, services, glees, songs, pf.-sonatas, &c. He occupies a distinguished place among English composers, and was on friendly terms with both Mozart and Mendelssohn.
7Au (F.). To the, with the, in the, &c.
8Au mouvement. In time (tempo).
10Aubade (F.). (1) A short instrumental piece in song-style. (2) A morning-piece corresponding to the old English "Hunt's up," the opposite of a Serenade. (3) A morning military band concert.
12AUBER, Daniel-François-Esprit. A prolific composer of French operas. B. Caen, Normandy, Jan. 29, 1782; d. Paris, May 14, 1871. His father sent him to London to acquire a knowledge of his own business—that of an art-printer. Auber's inclination for music, however, proved irresistible, and he returned to Paris, 1804. His first opera, Julie, was produced in 1812, "with an orchestra of six stringed instruments." Cherubini, who was present, recognised Auber's talent, and undertook his further instruction. Le Séjour militaire (1813), and Le Testament et les Billets-doux (1819), were indifferently received; but La Bergère Châtelaine (1820) was a success. "From that date until 1869, scarcely a year passed without the production of one or several operas"—in all over 40. Masaniello, ou la Muette de Portici (1828), considered a masterpiece by Wagner, with Meyerbeer's Robert le Diable and Rossini's Guillaume Tell, "laid the foundations of French grand opera." Except Masaniello, all Auber's operas are comic, and in this style he stands first among French composers; his music is fresh and sparkling, "and has the true Parisian chic and polish." In 1842 he succeeded Cherubini as Director of the Conservatoire; in 1857, Napoleon III made him imperial maître de chapelle.
14His last opera, Rêves d'amour, was produced when he was 87 years of age. Auber, a thorough Parisian, never set foot outside the city boundaries during the latter years of his life.
16Operas: Julie (1812), Le Séjour militaire (1813), Le Testament et les Billets-doux (1819), La Bergère châtelaine (1820), Emma (1821), Leicester (1822), La Neige (1823), Vendôme en Espagne (1823, with Hérold), Les Trois Genres (1824, with Boieldieu), Le Concert à la Cour (1824), Léocadie (1824), Le Maçon (1825), Le Timide (1826), Fiorella (1826), La Muette de Portici (1828), La Fiancée (1829), Fra Diavolo (1830), Le Dieu et la Bayadère (1830), La Marquise de Brinvilliers (1831, with eight other composers), Le Philtre (1831), Le Serment (1832), Gustave III (Le Ball masqué, 1833), Lestocq (1834), Le Cheval de bronze (1835), Actéon, Les Chaperons blancs, L'Ambassadrice (1836), Le Domino noir (1837), Le Lac des Fées (1839), Zanetta (1840), Les Diamants de la couronne (1841), Le Duc d'Olonne (1842), La Part du Diable (1843), La Sirène (1844), La Barcarolle (1845), Haydée (1847), La L'Enfant prodigue (1850), Zerline (1851), Marco-Spada (1852), Jenny Bell (1855), Manon Lescaut (1856), Magenta (1859), La Circassienne (1861), La Fiancée du Roi de Garbe (1864), Le premier jour de bonheur (1868), Rêves d'amour (1869).
18AUBER, Harriet. B. London, 1773; d. 1862. Author of hymn, "Our blest Redeemer."
20AUBERT, Jacques ("le vieux"). Eminent French violinist (1668-1753). Leader in orch. of the Gr. Opéra and the Concerts Spirituels (1728). Wrote an opera, several ballets, and much violin music, &c.
22AUBÉRY du BOULLEY, Prudent-Louis. French composer (1796-1870). Author of a method for guitar, and a "Grammaire Musicale" (Paris, 1830).
24Auch (G.). But, also, so, likewise.
25Auch in Zeit'mass. But in time.
27Audace (F.). Bold, audacious, daring.
29Audiphone. A recent American invention for conveying vibrations to the teeth; said to be of great assistance in deafness.
31AUDRAN, Marius-Pierre. Operatic tenor and song composer; b. Aix, Provence, 1816; d. Marseilles, 1887. Pupil of Arnaud. 1st tenor at the Opéra-Comique, Paris. Settled in Marseilles as Director of the Conservatoire, and professor of singing (1863).
33AUDRAN, Edmond. Son of Marius. B. Lyons. 1842; d. 1901.
34Composed 37 operas, operettas, &c., chiefly of a light character, a mass, a funeral march for Meyerbeer's death, &c. His most popular works are Olivette (1879), and La Mascotte (1880; given 1,700 times up to August, 1897).
36AU'ER, Carl. (See Frotzler.)
38AU'ER, Leopold. Distinguished Hungarian violinist. B. 1845. Pupil of Joachim. Since 1868, soloist to the Tsar, and of the Imperial Orchestra at St. Petersburg, and Professor at the Conservatoire. He is one of the finest of living performers.
40Auf (G.). On, in, at, upon, near, &c.
41Auf'blasen. To sound a wind inst.
42Auf der Flö'te spiel'en. To play on the flute.
43Auf der Mit'te der Sai'te. (Bow) at the middle of the string.
44Auf ein'er Sai'te. On one string.
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