Scan 74
Baker S Biographical Dictionary Of Musicians, 1900
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129, 1843) and Il muratore di Napoli (Naples, Oct. 16, 1850). His last opera Piero di Galais was produced posthumously in his native town (Messina, March 6, 1872).
3Aspestrand, Sigwart, Norwegian opera composer; b. Fredrikshald, Nov. 13, 1856; d. Oslo, Dec. 31, 1941. He studied at Leipzig and Berlin and spent 30 years of his life (1885-1915) in Germany. Of his 7 operas Die Seemansbraut, produced in Gotha (March 29, 1894) and later in Oslo (March 18, 1907) was the most successful. His other operas, all in German, are: Der Recke von Lyrskovscheid; Freyas Alter; Die Wette; Der Kuss auf Sicht; Robin Hood and Perconte.
5Asplmayr, Franz, Austrian composer; b. 1728; d. Vienna, July 29, 1786. He was composer of ballets at the Austrian Court; the scores of his ballets Agamemnon, Iphigenia, Flora, Acis and Galatea and others have been preserved. He also wrote the Singspiel, Die Kinder der Natur and the music for two of Shakespeare's plays: Macbeth (1777) and The Tempest (1781). Historically, Asplmayr was important as one of the earliest Austrian composers to adopt the instrumental style established by the Mannheim school. He composed 6 Serenades, op. 1; 6 Quatuors concertants, op. 2; 6 trios, op. 5; 6 Quatuors, op. 6. A trio (op. 5, No. 1) and a quartet (op. 6, No. 2) were published by Riemann in 'Collegium Musicum.'
7Assmayer, Ignaz, Austrian composer; b. Salzburg, Feb. 11, 1790; d. Vienna, Aug. 31, 1862. He studied with Michael Haydn; in 1808 became organist at Salzburg. In 1815 he moved to Vienna, where he studied additionally with Rybler. In 1825 was appointed Imperial organist; in 1838 was made one of the court conductors. He wrote the oratorios Saul und David, Sauls Tod and Das Gelübde, and performed them with the Vienna Tonkünstler Society. He further wrote 15 Masses, 2 Requiems, other church works, and some 60 instrumental compositions, many of which were published.
9Aston, Hugh, English composer; b. 1480 (?); d. York, Dec. 9, 1522 (?). The dates given above apply to the son of a certain Richard Aston of Mawdesley in Lancashire, assumed to be the composer. After obtaining his B.A. (1505-6) and M.A. (Oct. 30, 1507) from Oxford, he moved to Cambridge to study canon law; he was throughout his life associated with St. John's College, Cambridge. On May 27, 1509, he became Prebend of St. Stephen's, Westminster, and in 1515, Archdeacon of York. Among Aston's authentic works are 2 Masses (Te Deum for 5 voices and Videte manus meas for 6 voices); two other vocal works for 5 voices (Gaudes Virgo Mater Christi and Te Deum laudamus) and 3 fragments published in Tudor Church Music (vol. X). More unusual for the time is Aston's Hornpipe for virginals, which is preserved in a manuscript at the British Museum and printed in J. Wolf's Sing- und Spielmusik aus alter Zeit (Leipzig, 1926). It is the earliest known piece for the instrument. Of the ten other dances in this manuscript, some, notably Lady Carey's Dompe (printed in S. Smith's 'Musica Antiqua') may also be Aston's work. Bibl.: W. H. Grattan Flood, Early Tudor Composers (London, 1925, pp. 30-33).
11d'Astorga, Emanuele (Gioacchino Cesare Rincón), Italian composer of operas; b. Augusta, Sicily, March 20, 1680; d. probably in Madrid, after 1757. Of a noble Spanish family which had settled in Augusta, Sicily, early in the 17th century; he was a baron in his own right, from his estate Oigliastro, nearby. Later in life he moved to Palermo; during the revolution of 1708 he was an officer in the municipal guard. In 1712 he went to Vienna; and was in Znaim in 1713. He was in London in 1714-15; and returned to Palermo where he became senator. It is known that he sold his Sicilian estate in 1744 and went to Spain, where he was in the service of the king. D'Astorga was widely known as a versatile and highly educated person; he was also adept as a singer and a cembalo player, but never regarded music as his primary profession. He composed at least 3 operas: the first, La moglie nemica, was produced at Palermo in 1698; the 2nd and most notable, Dafni, was staged at Genoa on April 21, 1709; it was probably also heard in Barcelona (1709) and in Breslau (1726); the third, Amor tirannico, was given in Venice in 1710. He also wrote numerous chamber cantatas and published himself 12 of them in one volume (Lisbon, 1726). His best known work is Stabat Mater for 4 voices; it was first heard in Oxford in 1752; a new edition of it was published by R. Franz in 1878. In his 2-volume biography of d'Astorga (Leipzig, 1911 and 1919), Hans Volkmann refutes the unsupported statement of R. Pohl in the 1st edition of Grove's Dictionary, that d'Astorga died at Raudnitz on Aug. 21, 1736; Volkmann also exposes the romantic account of d'Astorga's life published by Roehlitz in volume II of 'Für Freunde der Tonkunst' (1825) as a fanciful invention. An opera Astorga, based
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