Scan 19
Baker's biographical dictionary of musicians, 1919
22 lines. Read by computer on 7 September 2026. No printed page number was found. See the scan on archive.org.
1Acton, John, English singing-teacher and composer; b. Manchester (?), 1863. Pupil of Francesco Lamperti at Milan. Prof. of singing at the Manchester R. C. M. since its opening in 1893; since 1894, cond. of the St. Cecilia Choral Soc.—Works: 2 cantatas f. women's voices, Forest Bells, and The Rose and the Nightingale; a male chorus, For Home and Liberty, w. pf.-accomp. (prize from S. London Mus. Club, 1888); also duets, songs and pf.-pieces.
3Adalid y Gurre'a, Marcel del, Spanish composer; b. La Coruña, Aug. 26, 1826; d. Longara, Oct. 16, 1881. Studied with Moscheles in London and Chopin in Paris. Published 3 collections of Galician Folksongs; wrote an opera, Inese e Bianca (on an Italian text), and pf.-pieces.
5Adam [ăh-dăhn'], Adolphe (-Charles), celebrated opera-composer, was b. Paris, July 24, 1803; d. there May 3, 1856. He entered the Cons. in 1817; but made little progress until taken in hand by Boieldieu in his class for composition. After publishing various pf.-pieces, he brought out the 1-act opera Pierre et Catherine (1829), the success of which encouraged him to produce 13 more similar works in quick succession, the Postillon de Longjumeau (1836) gaining European celebrity for its author, and still keeping his name in grateful memory. In all, he wrote 53 theatrical works, the most popular operas after the Postillon being Le Châlet (1834), Le fidèle Berger, Le Brasseur de Preston (1838), Le Roi d'Yvetot (1842), La Poupée de Nuremberg, Cagliostro, and Richard en Palestine (1844); also the ballets Giselle, Le Corsaire, Faust, etc. In 1847, on account of difficulties with the director of the Opéra-Comique, A. founded the Théâtre National, but was ruined financially by the revolution of 1848, and entered the Paris Cons. as prof. of comp.—A. does not rank with the foremost dramatic composers of France, his style being distinguished by taking rhythms and light elegance and grace, rather than forceful originality. His forte was comedy-opera, in which he was a worthy successor of Boieldieu.—His autobiographical Souvenirs d'un Musicien and Derniers Souvenirs d'un Musicien were publ. at Paris in 1857-59 [1871]. Life by A. Pougin (1876).
7A'dam, Karl Ferdinand, b. Constappel, n. Meissen, Dec. 22, 1806; d. Leisnig, Dec. 23, 1868, as cantor and musical director there.—Works: Popular choruses and quartets for men's voices; songs; pf.-pieces.
9Adam, Louis, b. Müttersholz, Alsatia, Dec. 3, 1758; d. Paris, Apr. 8, 1848. He went to Paris in 1775, and from 1797-1842 was prof. of pf. at the Paris Cons. He was a close student of the German classic masters, an admirable pianist, a comp. of numerous pf.-pieces much in vogue at the time (especially the variations on 'Le roi Dagobert'), and an eminent pedagogue, the teacher of Kalkbrenner, Hérold, Henri le Moine and F. Chaulieu, and author of two standard instruction-books for piano: Méthode ou principe générale du doigté pour le Forté-piano (Paris, Sieber, 1798), and Méthode nouvelle pour le Piano (5 editions, 1802-32), written expressly for pupils of the Cons.
11Adam de la Hale (or Halle), called le Bossu d'Arras (Hunchback of Arras); b. Arras, circa 1240; d. Naples, 1287. A gifted Trouvère, many of whose works have been preserved (publ. 1872 by Coussemaker as Œuvres complètes du Trouvère Adam de la Hale); the most interesting is a dramatic pastoral entitled Le jeu de Robin et de Marion (1285), written for the Aragonese court at Naples, resembling an opéra comique in its plan. He was a master of the chanson, in the dual capacity of poet and composer; his works are of the utmost value as illustrating the music of the period.—Cf. E. Langlois, Le jeu de Robin et de Marion (Paris, 1896); H. Guy, Essai sur la vie et les œuvres littéraires d'Adam de la Hale (Paris, 1898).
13* A'dam von Fulda, noteworthy German theorist and composer; b. circa 1440; d. (?). His treatise on mus. theory is to be found in vol. iii of Gerbert's 'Scriptores ecclesiastici'; his compositions were highly prized in their day. Cf. H. Riemann in 'Kchm. J.' (1879) and W. Niemann, ibid. (1902).—See Q.-Lex.
15A'damberger, Valentin (not Joseph), b. Munich, July 6, 1743; d. Vienna, Aug. 24, 1804. Dramatic tenor, pupil of Valesi 1755-61; eng. at Venice, 1762, as 1st tenor; sang with growing success in other Italian cities, and assumed the name of 'Adamonti.' He sang in London in 1777, and in 1780 was eng. at the Vienna Court Opera, in 1789 also as 'Hofkapellsänger.' Mozart wrote for him the part of Belmonte, and some concertarias.
17Ada'mi da Bolse'na (or da Volterra), Andrea, b. Venice, Oct., 1663; d. Rome, July 22, 1742. Famed as the author of Osservazioni per ben regolare il coro dei cantori della cappella Pontificia (Rome, 1711), a work of historical value. Cantor of the Pontifical Chapel, and music-teacher.
19Adamon'ti. See ADAMBERGER.
21Adamowski [-mōhv'skē], Joseph, b. Warsaw, July 4, 1862. Pupil at Warsaw Cons. (1873-77) of Kontski and Goebelt ('cello); at Imp. Cons., Moscow (1877-83) of Fitzenhagen ('cello), Tchaikovsky (comp.), Pabst (pf.); studied at the University, receiving the degree of B. A. Began concert
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