Scan 53
Baker S Biographical Dictionary Of Musicians, 1900
17 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1ANDERSON — ANDRE one of two readings
3(no line here) one of two readings
4gave 70 concerts in the U.S. and South America, and again in Europe (1938-39). In Feb., 1939, Marian Anderson became a center of national attention when she was forbidden to sing at Constitution Hall in Washington. In protest against this case of racial discrimination, a distinguished group of citizens, headed by Mrs. Franklin D. Roosevelt, sponsored her concert at the Lincoln Memorial (April 9, 1939), which was attended by 75,000 persons. She was the first Negro singer to be engaged as a permanent member of the Metropolitan Opera Co., making her debut as Ulrica in The Masked Ball (Jan. 7, 1955). She received the honorary degree of Mus. Doc. from Howard Univ., Washington, D. C. in June, 1938. Cf. Kosti Vehanen, Marian Anderson (N. Y., 1941).
6Anderson, Thomas, English organist; b. Birmingham, April 15, 1836; d. there, Sept. 18, 1903. He served as organist in Birmingham churches; was also music critic there. He composed several cantatas: The Song of Deborah and Barak; The Wise and Foolish Virgins; The Wreck of the Hesperus; John Gilpin; The Three Jovial Huntsmen; The Norman Baron; and Yuletide; an English Requiem and instrumental music.
8Anderssen, Alfred, Finnish composer; b. Helsinki, July 4, 1887; d. there, Sept. 10, 1940. He studied in Helsinki and in Munich; settled in Abo as a choral conductor and music critic. In 1926 he married the singer, Karin Limnell. He wrote an opera Kohtalo (1932), 2 symphonics, 15 cantatas, and many choral works.
10d'Andrade (dähn-dräh'-dě), Francesco, Portuguese baritone; b. Lisbon, Jan. 11, 1859; d. Berlin, Feb. 8, 1921. He studied in Italy; made his debut in San Remo (1882); then lived in Berlin. He was well known as a successful singer in Europe; his most famous role was that of Don Giovanni.
12Andrade, Mario de, Brazilian poet and writer on music; b. S. Paulo, Oct. 9, 1893; d. there, Feb. 25, 1945. He studied at S. Paulo Cons.; in 1935 he was appointed director of the S. Paulo Dept. of Culture. Andrade spent much time on special research and reconstruction of Brazilian folk songs and dances; he was also active as music critic. Among his publications are Carlos Gomes (Rio de Janeiro, 1939); Musica do Brasil (1941); Pequena Historia de Música (1942).
14Andrè, Johann, German composer, publisher, and father of a musical family; b. Offenbach, March 28, 1741; d. there, June 18, 1799. He founded (Sept. 1, 1774) at Offenbach a music publishing house under his name and had publ. 1,200 compositions by the time of his death. For seven years (1777-84) he was Kapellmeister at Döbbelin's Theater in Berlin. He was a prolific composer, author of 19 Singspiele and 14 miscellaneous scores for the stage, among them Der Töpfer (Hanau, Jan. 22, 1773) and Der Liebhaber als Automat (Berlin, Sept. 11, 1782). Bretzner wrote the libretto of Die Entführung aus dem Serail, or Belmont und Constanze for him; the opera was produced in Berlin, May 25, 1781. The same text was used the following year by Mozart for his celebrated work, which elicited Bretzner's haughty protest against "a certain man named Mozart" for the unauthorized use of his libretto. Among André's songs, the Rheinweinlied ('Bekränzt mit Laub') was widely performed. André is credited with being the composer of the first 'durchkomponierte Ballade,' Die Weiber von Weinsberg (1783).
16André, (Johann) Anton, third son of Johann André; b. Offenbach, Oct. 6, 1775; d. there April 6, 1842. A precocious talent, he studied with Vollweiler in Mannheim (1793-96); was a fine pianist, violinist and composer before entering the Univ. of Jena; after completing his studies he made extensive travels, and on his father's death took charge of the business, adding particular lustre to its good name by the purchase (1800) of Mozart's entire musical remains. He publ. Mozart's autograph thematic catalogue, and supplemented it by a list of the works so acquired. By accepting the application of the lithographic process to music-engraving (1779), he took another long stride towards placing his firm in the front rank. He was also a composer (2 operas, symphonies, songs, etc.), a successful teacher, and a noteworthy theorist. He wrote 2 vols. on harmony, counterpoint, canon and fugue, (1832-43; new revised ed. 1875); and Anleitung zum Violinspiele.—His sons were: (1) Carl August, b. Offenbach, June 15, 1806; d. Frankfurt, Feb. 15, 1887; head (from 1835) of the Frankfurt branch opened in 1828, and founder of a piano factory ('Mozartflügel'); author of Der Klavierbau und seine Geschichte (1855).—(2) Julius, b. Frankfurt, June 4, 1808; d. there, April 17, 1880; a fine organist and pianist, pupil of Aloys Schmitt (his grandfather's pupil), author of a Praktische Orgelschule, composer of several interesting organ compositions, and arranger of Mozart's works for piano, 4 hands.—(3) Johann August, b.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.