Books › A cyclopædic dictionary of music .., 1925 › scan 59
Scan 59
A cyclopædic dictionary of music .., 1925
31 lines. Read by computer on 7 September 2026. Printed page 43. See the scan on archive.org.
1positions as organist, teacher of singing, &c.
2Well-known as a composer of men's-voice music.
3Cantatas: Hegelingentahrt, 1890, and Frühlingsfeier; also masses, songs, violin-etudes, &c.
4ATTERBURG, Kurt. B. 1887. Engineer. Conductor and composer in Stockholm.
5ATTERBURY, George L. Celebrated English glee composer. B. about 1735; d. 1796. Composed an oratorio, Goliah.
6At'to (I.). An act (of an opera).
7At'to Pri'mo. Act I.
8At'to Secon'do. Act II.
9At'to Ter'zo. Act III.
10At'to di Cadenza (I.). The place where a cadenza is introduced.
11Atto're, Attri'ce (I.). An actor; an actress.
12AT'TRUP, 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.
13ATTWOOD, 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).
14Works: 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.
15Au (F.). To the, with the, in the, &c.
16Au mouvement. In time (tempo).
17Aubade (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.
18AUBER, 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. His 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.
19Operas: 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 Bal 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), 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), Revés d' amour (1869).
20AUBER, Harriet. B. London, 1773; d. 1862. Author of hymn, "Our blest Redeemer."
21AUBERT, 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.
22AUBERT, Louis. French composer; b. 1877, Paramé. Pupil of Gabriel Fauré. Works: La Forêt bleue, opera; Poèmes arabes (voice and orchestra); Habanera (orchestra); songs and pianoforte pieces.
23AUBÉRY 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 an'dern Ton'arten. (Practise) also in other keys.
26Auch in Zeit'mass. But in time.
27Auch so zu spie'len. Also to be played, practised, Auch so zu ü'ben in the following manner.
28Audace (F.).
29Con auda'cia (I.). Bold, audacious, daring.
30Audaz' (S.).
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