Scan 37
Baker S Biographical Dictionary Of Musicians, 1900
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1music. At the age of 12 he entered the National Training School in London, where he studied piano with Pauer and theory with Stainer, Prout and Sir Arthur Sullivan. He made extraordinary progress both as pianist and composer, and after several appearances at the Popular Concerts, was the soloist in Schumann's concerto at the Crystal Palace, London (Feb. 5, 1881). On Oct. 24, 1881, when only 17, he played his own piano concerto at one of Hans Richter's concerts, arousing great enthusiasm; the press compared him to Mozart and Mendelssohn. He received a Mendelssohn fellowship, and went to Vienna; later he studied with Liszt, who was greatly impressed by his technique and often referred to him as 'the young Tausig.' In 1895, d'Albert was appointed conductor at Weimar; in 1907, became director of the High School for Music in Berlin. In the wake of his success, he repudiated his English birth, adopting German citizenship, and made repeated statements derogatory to English culture and even to his former English teachers. He was vocal in his enmity to England during the first World War, which led in turn to an understandable repugnance among British musicians to accept his music. D'Albert composed industriously. He published two piano concertos (in B minor and E); a cello concerto in C; 2 overtures (Hyperion and Esther); a symphony in F; an orchestral suite in 5 movements (1924); a piano sonata, a piano suite in 5 movements; 2 string quartets; Der Mensch und das Leben for 6-part chorus and orch. (op. 14); 4 piano pieces, op. 16 (Waltz, Scherzo, Intermezzo, Ballade), minor piano pieces and songs. However, his main interest was in the field of opera. Of his 20 operas, the most successful were: Tiefland, first staged at the German opera in Prague (Nov. 15, 1903), and Die toten Augen (Dresden, March 5, 1916). The list of his other operas includes: Der Rubin (Karlsruhe, Oct. 12, 1893); Ghismonda (Dresden, Nov. 28, 1895); Ger- not (Mannheim, April 11, 1897); Die Abreise (Frankfurt, Oct. 20, 1898); Kain (Berlin, Feb. 17, 1900); Der Improvisator (Berlin, Feb. 20, 1902); Flauto solo (Prague, Nov. 12, 1905); Tragaldabas (or Der geborgte Ehemann; Hamburg, Dec. 3, 1907); Izeyl (Hamburg, Nov. 6, 1909); Die verschenkte Frau (Vienna, Feb. 6, 1912); Liebesketten (Vienna, Nov. 12, 1912); Der Stier von Olivera (Leipzig, March 10, 1918); Revolutionshochzeit (Leipzig, Oct. 26, 1919); Sirocco (Darmstadt, May 18, 1921); Mareike von Nymwegen (Hamburg, Oct. 31, 1923); Der Golem (Frankfurt, Nov. 14 1926); Die schwarze Orchidee (Leipzig, Dec. 1, 1928); Mister Wu (unfinished; completed by Leo Blech; Dresden, Sept. 29, 1932). Despite a brilliant beginning, Eugène d'Albert did not justify his early promise, and his operas and other works are rarely revived. His musical idiom oscillates between the Italian melodic style and German contrapuntal writing, and fails to achieve originality. Eugène d'Albert's personal life was a stormy one. He was married six times; his first wife was Teresa Carreño (1892-95); his second was the singer, Hermine Finck.—Cf. W. Raupp, Eugen d'Albert: ein Künstler- und Menschenschicksal (Leipzig, 1930).
3Albert, Karel, Belgian composer; b. Antwerp, April 16, 1901. He studied at the Cons. of Antwerp; conducted a traveling theater company (1926-31); later was active as music critic. He has written a ballet The Magic Lantern (1943); a number of scores of incidental music; 4 symphonies; several symph. poems and smaller works.
5Albert, Prince Consort of Queen Victoria, b. Rosenau, Coburg, Aug. 26, 1819; d. Windsor, Dec. 14, 1861. He married Queen Victoria on Feb. 10, 1840; lent energetic support to musical activities in England, sponsoring orchestras and choral societies. He studied organ and theory, and acquired an estimable technique of composition; wrote Invocazioni alla armonia for chorus and orch. His songs were published in 1881 under the title The Collected Compositions of his Royal Highness the Prince Consort. They reveal a romantic musical temper, influenced by Mendelssohn.
7Alberti, Domenico, Venetian composer; b. Venice, 1710; d. Formio, or Rome, c. 1740. He studied with Lotti, and won considerable renown as singer and harpsichord player; wrote 3 operas, Endimione, Galatea, and Olimpiade. In 1737 he was a member of the Venetian Embassy in Rome, and made several appearances there as singer and player. His fame in music history rests on his reputed invention of the arpeggio style of keyboard accompaniment, which became known as the 'Alberti Bass'. His set of 8 sonatas, published by Walsh in London, gives many illustrations of this device.
9Albertsen, Per Hjort, Norwegian composer; b. Trondheim, July 27, 1919. He studied architecture, then turned to music; was church organist in Trondheim; later studied with Tarp in Copenhagen. He has written a concertino for flute and orch.; an oratorio Bendik og Arolilja; choruses and piano pieces.
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