Scan 48
Baker S Biographical Dictionary Of Musicians, 1900
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1Altnikol, Johann Christoph, German organist and composer; b. Berna (Silesia) in December 1719 (baptized Jan. 1, 1720); d. Naumburg, July 25, 1759. In 1744-48 he studied with J. S. Bach; was then organist at St. Wenzel's Church in Naumburg. On Jan. 20, 1749 Altnikol married Bach's daughter, Elisabeth. In a letter of recommendation Bach describes him as "quite skillful in composition." As Bach's copyist, Altnikol established authentic texts of many of Bach's works. See (passim) H. David and A. Mendel, The Bach Reader (N.Y., 1945); also F. Blume's article in 'Die Musik in Geschichte und Gegenwart.'
3Altschuler (ahlt-shoo'-lër), Modest, Russian conductor; b. Mogilev, Russia, Feb. 15, 1873. He studied cello at the Warsaw Cons. (1884-86), and later took courses at the Moscow Cons. with Arensky and Taneyev (comp.) and Safonov (piano and cond.), graduating in 1890. After touring Russia as a cellist, he emigrated to America. In 1903 he organized in New York the Russian Symph. Soc. and conducted its first concert on Jan. 7, 1904. This organization became an important cultural medium for performances of Russian music in America; Altschuler obtained from Scriabin the right of the world premiere of The Poem of Extasy and conducted it in New York on Dec. 10, 1908. At the same concert Mischa Elman made his American debut. Altschuler also gave the first American perf. of Scriabin's Prometheus, employing the 'color organ' prescribed in the score, which was built especially for this performance (N. Y., March 20, 1915); among other Russian composers whose works were presented by him for the first time in America were Ippolitov-Ivanov, Liadov, Rachmaninov and Vassilenko. Eventually Altschuler settled in Los Angeles as a teacher. In 1936 he was writing his memoirs.
5Alvarado, Alberto, Mexican composer; b. Durango, Dec. 10, 1864; d. there, June 18, 1939. He wrote nearly 1000 pieces of various types ranging from waltzes to symphonic works, mostly of a descriptive nature: (El principe de Asturias; Angel Mujer; Almas Destrozadas; La Fiesta encantadora; Suite Tropical, Corazon latino).
7Alvarca (ahl-vah-rä'), Albert Raymond (real name Albert Gourron), French tenor; b. Bordeaux, 1861; d. Nice, Feb. 26, 1933. He sang at various opera houses and at the Paris Opéra; made his American debut at the Metropolitan Opera, on Dec. 18, 1899, as Romeo. He remained there for three seasons, then appeared in London, and again in France. His repertoire comprised about 60 roles.
9Alvary, Max (real name Achenbach), German tenor; b. Düsseldorf, May 3, 1856; d. near Gross-Tabarz, Thuringia, Nov. 7, 1898. His father was a well known painter. Alvary studied with Stockhausen; made his debut at Weimar. On Nov. 25, 1885 he made his American debut at the Metropolitan Opera as Don José singing in German; later he specialized in Wagnerian roles, in which he was eminently successful in America and in Germany.
11Alwin, Karl, German conductor and composer; b. Königsberg, April 15, 1891; d. Mexico City, Oct. 15, 1945. He studied in Berlin with Humperdinck and Hugo Kaun; then became Karl Muck's assistant (Berlin and Bayreuth, 1912). He conducted in Halle (1913); Posen (1914); Düsseldorf (1915-17) and Hamburg (1917-20). From 1920-38 he was conductor of the Vienna Staatsoper, and guest conductor in England, France and Spain. He left Austria permanently in 1938. He was conductor at the Opera Nacional in Mexico from 1941 until his death in 1945. In 1920 he married Elisabeth Schumann (divorced 1936).
13Alwyn, William, English composer, b. Northampton, Nov. 7, 1905. He studied at the Royal Academy with McEwen; in 1928 became teacher there. In 1937 he was elected a member of the Worshipful Company of Musicians. He wrote a piano concerto (1930); violin concerto (1938); oboe concerto (1944); a symphony (1949); the oratorio The Marriage of Heaven and Hell (1936); several orchestral suites; Lyra Angelica for harp and string orch. (1954); sonic chamber music; piano sonata and songs. Alwyn has achieved his greatest success as composer of film music (Desert Victory, Odd Man Out, etc.) to which his ability to write effective music in a moderately advanced idiom is eminently suited.
15Alypios, Greek musical theorist, who flourished in the middle of the 4th century. His 'Introduction to Music' is the chief source of specific information regarding ancient Greek notation; it contains a summary of Greek scales in all their transpositions, both for voices and instruments. This treatise was published by Meursius (Leyden, 1616); by Meibom in his Antiquae musicae auctores septem (Amsterdam, 1652); and reprinted by F. Bellermann in Die Tonleitern und Musiknoten der Griechen (Berlin, 1847). A new critical edition is found in Jan's Musici scriptores graeci (1895). A graphic
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