Scan 32
Baker's biographical dictionary of musicians, 1919
26 lines. Read by computer on 7 September 2026. No printed page number was found. See the scan on archive.org.
1Belgium. He then sang at the 'Grands Théâtres' of Lyons and Marseilles, winning a reputation which caused his engagement at the Paris Grand Opéra in 1892 (début as Roméo). Since then he has sung the chief tenor rôles on that stage, creating leading parts in Thaïs, La Montagne noire, Frédégonde, Hellé, Messidor, Les Maitres-Chanteurs, Burgonde, and Gautier l'Aquitaine (Vidal). His repertory comprises about 60 rôles. He has appeared several seasons at the Metr. and Manh. Opera Houses, New York, and at Covent Garden.
3Alvárez [-vah'-rěth], Fermín María, song-writer; b. Saragossa, Spain; d. Barcelona, 1898.—Publ. some 100 vocal works, accomp. in part by pf., in part by other instruments; also a few piano-pieces.
5Alva'ry, Max, dram. tenor, b. Düsseldorf, May 3, 1858; d. at his country-seat Datenberg, near Gross-Tabarz, Thuringia, Nov. 8, 1898. His real name was Achenbach, his father being the celebrated painter. Pupil of Stockhausen; début at Weimar; he became famous in New York, 1884–9, as a Wagner singer (Siegfried was his finest rôle); then returned to Hamburg, but visited N. Y. during two subsequent seasons; later sang at Mannheim.
7Alvs'leben, Melitta. See Otto-Alvsleben.
9Aly'pios, Grecian musical theorist circa 360 A. D., whose Introd. to Music, containing all the Greek transposing scales both in vocal and instr. notation, is the chief source for our knowledge of ancient Greek notation. It has been publ. by Meursius (1616) and Meibom ('Antiquae musicae auctores septem', Amsterdam, 1652); the notation has been reprinted more recently by Bellermann, Paul, Riemann, etc.; a new critical ed. in Jan's 'Scriptores' (1895).
11Amadé, Ladislaw, Baron von, b. Kaschau, Hungary, Mar. 12, 1703; d. Felbar, Dec. 22, 1764. National poet, and composer of folk-songs, which were collected and published (Pest, 1836) by
13Amadé, Thaddäus, Baron von, b. Presburg, Jan., 1783; d. Vienna, May 17, 1845; a successful pianist and composer, who discovered Liszt's musical genius and provided means for developing it.
15Amade'i, Roberto, b. Loreto, Italy, Nov. 29, 1840. Organist and m. di c. at Loreto, succeeding his father.—Works: The operas Luchino Visconti (Lugo, 1869); Bianca de' Rossi (Bari); Il Bacchettone (comic); the 1-act Amore allegro (Loreto, '96; succ.); also much church-music, and pf. and vocal music.
17Ama'lia, the name of three artists, princesses by birth. (1) Anna A., Princess of Prussia, sister of Frederick the Great, b. Nov. 9, 1723; d. Mar. 30, 1787; composed a series of excellent chorales, and also wrote music to Ramler's Tod Jesu, later composed by Graun.—(2) Anna A., Duchess of Weimar, mother of the Grand-duke Ernst August, b. Oct. 24, 1739; d. Apr. 10, 1807; composed the operetta Erwin und Elmire (text by Goethe).—(3) Marie A. Friederike, Princess of Saxony, sister of King John of Saxony, b. Aug. 10, 1794, Dresden; d. there Sept. 18, 1870. As a writer of comedies she was known under the name 'Amalie Heiter'; composed also church-music and several operas (Una donna, Le tre cinture, Die Siegesfahne, Der Kanonenschuss, etc.). [RIEMANN.]
19Ama'ni, Nicholas, b. 1875; d. 1904. Russian composer.—Op. 1, string-trio; op. 3, Variations for pf.; op. 4, pf.-suite; op. 5, two pf.-valses; op. 6, 4 songs; op. 7, 4 characteristic pieces for pf.; op. 8, 3 Preludes for pf.
21Ama'ti, a renowned family of violin-makers at Cremona, Italy. (1) Andrea, b. 1530 (?), d. 1611 (?), was the first violin-maker of the family; his violins were usually of small pattern, but show a marked advance over the Brescia instrs.—His 2 sons, (2) Antonio, b. 1550, d. 1638, and (3) Geronimo, b. 1556; d. Nov. 2, 1630, worked for a time together, producing violins of nearly the same style as their father.—(4) Niccolò, b. Dec. 3, 1596; d. Apr. 12, 1684, the most celebrated of the Amatis, improved the model in several respects, and, though generally working with a small pattern, built some so-called 'grand Amatis'—large violins of more powerful tone, and in great request. The tone of his instrs. is clearer, purer, and more sonorous than in those of his predecessors. His label is 'Nicolaus Amati Cremonens. Hieronimi filius Antonii nepos. Fecit anno 16—.' In his workshop were trained both Andrea Guarneri and Antonio Stradivari.—(5) Niccolò's son, Geronimo, b. Feb. 26, 1649; d. Feb. 21, 1740, the last of the family, was far inferior to his father as a workman.
23Ama'ti, Vincenzo (called Amatus), Dr. of theol., and m. di capp. at Palermo cathedral from circa 1665; b. Cimmina, Sicily, Jan. 6, 1629; d. there July 29, 1670. Publ. sacred comps., and the opera L'Isaura (Aquila, 1664.)
25Ama'to, Pasquale, operatic baritone, b. Naples, 1878. St. at Cons. of Naples (1896–99); début as Germont in La Traviata at Teatro Bellini, Naples, in 1900. Subsequently sang at Buenos Aires, Milan, and in Russia, England, Egypt and Germany; since 1909 member of the M. O. H. Created the rôles of King Hadraot (Armida), Carlo Worms (Germania), Jack Rance (Girl of the
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