Scan 77
Baker S Biographical Dictionary Of Musicians, 1900
13 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.
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2AUBERT — AUBRY one of two readings
4orch. of the Grand Opéra as first violinist from 1728-52, and took part in the Concerts Spirituels (1729-40). He published 33 separate instrumental works; was also the first in France to write instrumental concertos (scored for 4 violins and a bass). His music, distinguished by elegance, contributed to the formation of the French 'style galant.' Bibl.: L. La Laurencie, L'École française de violon de Lully à Viotti (Paris, 1922-23).
6Aubert, Louis-François-Marie, French composer; b. Paramé, Ille-et-Vilaine, Feb. 19, 1877. Of precocious talent, he entered the Paris Cons. as a child, and studied piano with Diémer, theory with Lavignac and advanced composition with Gabriel Fauré; he also sang in church choirs. His song, Rimes tendres was published when he was 19. His Fantaisie for piano and orch. was performed in Paris by the Colonne Orch. with his teacher Diémer as soloist (Nov. 17, 1901). His Suite brève for 2 pianos was presented at the Paris Exposition, 1900; an orchestral version of it was performed for the first time in Paris on April 27, 1916. Aubert's major work is an operatic fairy tale La Forêt bleue (Genève, Jan. 7, 1913); an American production was staged in Boston, March 8, 1913, attracting considerable attention. The Paris production of La Forêt bleue, delayed by the war, took place on June 10, 1924, at the Opéra-Comique. Aubert's style is largely determined by the impressionistic currents of the early 20th century; like Debussy and Ravel, he was attracted by the music of Spain and wrote several pieces in the Spanish idiom, of which the symph. poem Habanera (Paris, March 22, 1919) was particularly successful. The list of Aubert's works further includes: La Légende du sang for narrator, chorus and orch. (1902); 3 ballets, La Momie (1903); Chrysothémis (1904) and La Nuit ensorcelée (1922); 6 poèmes arabes for voice and orch. (1907); a song cycle Crépuscules d'automne (Paris, Feb. 20, 1909); Nuit mauresque for voice and orch. (1911); Dryade for orch. (1921); Caprice for violin and orch. (1925); Feuilles d'images, symph. suite (Paris, March 7, 1931); Saisons for chorus and orch. (1937); Offrande aux victimes de la guerre for orch. (1947); Le Tombeau de Chateaubriand for orch. (1948); Cinéma, ballet (1953); a set of 3 piano pieces Sillages (1913); a piano quintet, songs etc. Bibl.: L. Vuillemin, Louis Aubert et son œuvre (Paris, 1921); E. B. Hill, Modern French Music (1924); R. Bernard, Louis Aubert in 'La Revue Musicale' (Feb. 1927).
8Aubéry du Boulley (boo-lä'), Prudent-Louis, French composer; b. Vernouil, Eure, Dec. 9, 1796; d. there, Jan. 28, 1870. He studied at the Paris Cons. with Momigny, Méhul and Cherubini. He wrote much chamber music, in which he used the guitar; published a guitar method and a text book Grammaire musicale (Paris, 1830). He was an active teacher in his native province, and contributed much to the cultivation of music there. See J. de L'Avre, Aubéry du Boulley (Paris, 1896).
10Aubin, Tony, French composer; b. Paris, Dec. 8, 1907. He studied at the Paris Cons. with Paul Dukas; won the Prix de Rome in 1930. In 1944 he became a radio conductor; in 1946 was engaged as prof. of composition at the Paris Cons. He has written 2 symphonics (1937, 1951); Suite danoise for orch. (1945); a string quartet, a piano sonata, and incidental music. A utilitarian composer par excellence, Aubin cultivates a neo-classical style designed for immediate effect.
12Aubry, Pierre, French music scholar; b. Paris, Feb. 14, 1874; d. (following a fencing accident) Dieppe, Aug. 31, 1910. He began his education as a philologist; studied oriental languages, and traveled to Turkestan on a research project. He then became interested in medieval music; was, for a time, lecturer on music history at the Ecole des hautes études sociales. His theories of notation are based on a plausible interpretation of medieval writers. His many publications, distinguished by profound scholarship, include: Huits Chants héroïques de l'ancienne France (1896); Mélanges de Musicologie critique, in 4 vols.: I. La Musicologie médiévale (1899); II. Les Proses d'Adam de Saint-Victor (1900, with Abbé Misset); III. Lois et Descorts français du XIIIe siècle (1901, with Jeanroy and Brandin); IV. Les plus anciens monuments de la musique française (1903, with 24 facsimiles); Essais de musicologie comparée, 2 vols.: I. Le rythme tonique dans la poésie liturgique et dans le chant des églises chrétiennes au moyen-âge (1903); II. Esquisse d'une bibliographie de la chanson populaire en Europe (1905); Les caractères de la danse. Histoire d'un divertissement pendant la première moitié du XVIIIe siècle (1905); Au Turkestan. Notes sur quelques habitudes musicales chez les Tadjikes et chez les Sartes (1905); La Musique et les musiciens d'église en Normandie au XIIIe siècle (1906); Estampes et danses royales. Les plus anciens textes de musique instrumentale au moyen-âge (1907); Recherches sur les ténors français
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