Scan 76
Baker S Biographical Dictionary Of Musicians, 1900
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1ance before the Prince of Wales (afterwards George IV), he was sent to Italy for further study; there he received instruction in Naples from Filippo Cinque and Gaetano Latilla. He then went to Vienna, where Mozart accepted him as a pupil. In 1787 he returned to London and held various posts as organist. He was also music tutor to the Duchess of York (1791) and to the Princess of Wales (1795). A founder of the London Philharmonic Society (1813), he conducted some of its concerts. He occupied an important position in the English musical world; when Mendelssohn came to London as a young man, Attwood lent him enthusiastic support. Attwood was a prolific composer of operas, of which many were produced in London, including The Prisoner (Oct. 18, 1792); The Mariners (May 10, 1793); The Packet Boat (May 13, 1794); The Smugglers (April 13, 1796); The Fairy Festival (May 13, 1797); The Irish Tar (Aug. 24, 1797); The Devil of a Lover (March 17, 1798); The Magic Oak (Jan. 29, 1799); True Friends (Feb. 19, 1800); The Sea-Side Story (May 12, 1801); The Curfew (Feb. 19, 1807). In all, Attwood wrote 32 operas, in some of which he used material from other composers (he included music by Mozart in The Prisoner and The Mariners). He also wrote church music, piano sonatas, songs and glees.
3Auber (oh-här'), Daniel-François-Esprit, prolific French composer of comic operas; b. Caen (Normandy), Jan. 29, 1782; d. Paris, May 12, 1871. His father, an art dealer in Paris, sent him to London to acquire knowledge of business. Auber learned music as well as trade and wrote several songs for social entertainment in London. Political tension between France and England, however, forced him to return to Paris in 1804; there he devoted himself exclusively to music. His pasticcio L'Erreur d'un moment, a resetting of an old libretto, was produced by an amateur group in Paris in 1806; his next theatrical work was Julie, performed privately, with an accompaniment of 6 string instruments, in 1811. Cherubini, who was in the audience, was attracted by Auber's talent and subsequently gave him some professional advice. Auber's first opera to be given publicly in Paris was Le Séjour Militaire (1813). Six years later the Opéra-Comique produced his new work Le Testament et les billets-doux (1819). These operas passed without favorable notice, but his next production, La Bergère châtelaine (1820) was a definite success. From that time until nearly the end of his life, hardly a year elapsed without the production of a new opera. Not counting amateur performances, 45 operas from Auber's pen were staged in Paris between 1813 and 1869. He was fortunate in having the collaboration of the best librettist of the time, Scribe, who wrote (alone, or with other writers) no fewer than 37 libretti for Auber's operas. Auber's fame reached its height with Masaniello, ou la Muette de Portici, produced at the Opéra, Feb. 29, 1828. Its success was enormous. Historically, it laid the foundation of French grand opera with Meyerbeer's Robert le Diable and Rossini's Guillaume Tell. Its vivid portrayal of popular fury stirred French and Belgian audiences; revolutionary riots followed its performance in Brussels (Aug. 25, 1830). Another popular success was achieved by him with his romantic opera Fra Diavolo (Opéra-Comique, Jan. 28, 1830), which became a standard work. Despite these successes with grand opera, Auber may be rightfully regarded as a founder of the French comic opera, a worthy successor of Boieldieu and at least an equal of Adam and Hérold. The influence of Rossini was noted by contemporary critics, but on the whole, Auber's music preserves a distinctive quality of its own. Rossini himself remarked that although Auber's music is light, his art is profound. Auber was greatly appreciated by the successive regimes in France; in 1829 he succeeded Gossec at the Academy; in 1842 he was appointed director of the Paris Opera, by Louis Philippe, and retained this post until his death. In 1857 Napoleon III made him imperial 'maître de chapelle.' At the age of 87 he produced his last opera Rêves d'amour. Auber lived virtually all his life in Paris, remaining there even during the siege by the Germans. He died, during the days of the Paris Commune, in his 90th year. His memory was honored by the Academy. Among his operas (most of which were produced at the Opéra-Comique) are also the following: Le Cheval de bronze (March 23, 1835); Le Domino noir (Dec. 2, 1837); Les Diamants de la couronne (March 6, 1841); Manon Lescaut (Feb. 23, 1856); Le premier jour de bonheur (Feb. 15, 1868), etc. Bibli.: A. Paugin, Auber (Paris, 1873); A. Kohut, Auber (Leipzig, 1895); Ch. Mutherbe, Auber (Paris, 1911).
5Aubert (oh-här'), Jacques (called 'le vicieux'), celebrated French violinist; b. Paris, Sept. 30, 1689; d. Belleville, near Paris, May (buried May 19), 1753. He was a pupil of Senaille; in 1719 he became band leader to the Duke of Bourbon; in 1727 was one of the King's 24 violinists; he played in the
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