Scan 46
Baker's biographical dictionary of musicians, 1919
20 lines. Read by computer on 7 September 2026. No printed page number was found. See the scan on archive.org.
1and Kapellm. to the Duke of S.-Merseburg (1713–19); then retired on pension to Jena. Only extant works: Gast- u. Hochzeitsfreude, bestehend in Sonaten, Präludien, Allemanden, Couranten, Balletten, Arien, Sarabanden mit 3, 4 u. 5 Stimmen, nebst dem Basso continuo (1673).
3Asch’er, Joseph, b. Groningen, Holland, June 4, 1829; d. London, June 20, 1869. Pianist and composer, pupil of Moscheles in London and Leipzig (1846). Went to Paris in 1849, and subsequently became court pianist to the Empress Eugénie. Composed much popular salon-music (over 100 nocturnes, mazurkas, galops, études, transcriptions).
5Ashdown, Edwin, London music-publisher, succes or (1884) of Ashdown & Parry, who were the successors (1860) of Wessel & Co. (founded 1825).
7Ashton, Algernon (Bennet Langton), talented pianist and composer; b. Durham, Engl., Dec. 9, 1859. Pupil of Leipzig Cons. (Coccius, Papperitz, Jadassohn, Reinecke) 1875–9; and of Raff at Frankfort, 1880–1, for comp.; since then in London. Pf.-teacher at R. C. M., 1885–1910; similar pos. at London Coll. Mus. since 1913. Made numerous tours of England, Germany, Austria and Hungary.—His numerous publ. works have reached the opus No. 150, and include 2 pf.-quintets (C, E m.); 2 pf.-quartets (F m., C m.); 3 pf.-trios (E, A, B m.); Suite for 2 pfs. (op. 50); about 200 pieces for pf. solo (op. 36, 4 Idyls; op. 47, 3 Gavots; op. 67, Roses and Thorns; op. 69, 3 Fantasias; op. 101, Sonata in Eb m.); English, Scotch and Irish Dances for pf. 4 hands; 4 Sonatas for violin with pf., in D, E, C m., A; 4 Sonatas f. 'cello with pf., in F, G, A m., Bb; Sonata for viola w. pf., in A m.; also choral music, many part-songs, over 200 songs, organ-pieces.—In MS. he has 5 symphonies and 3 overtures f. orch.; a quintet f. wind; 2 string-quartets; a pf.-concerto; a violin-concerto; a cantata, Johanna Sebus; etc.—Author of Truth, Wit and Wisdom (London, 1904); More Truth, Wit and Wisdom (ib., 1905; a collection of over 1,000 letters to the press).
9Ashton, Hugh. See Aston.
11Asio’li, Bonifazio, b. Correggio, Aug. 30, 1769; d. there May 18, 1832. A prolific composer of wonderful precocity, and a pupil of L. Crotti, at the age of 8 he had written 3 masses and 20 other sacred works, a harpsichord-concerto and a vln.-concerto, both w. orch., and 2 harp-sonatas f. 4 hands. St. at Parma 1780–2, under Morigi; then visited Bologna and Venice, where he was much applauded at private concerts as a cembalist, improviser, and composer. Returning to Correggio, his first opera buffa, La Volubile (1785), was successfully produced; 1786, m. di c. at C.; 1787, attached to the Marquis Gherardini as maestro, going with him (1796) to Turin and (1799) to Milan, where his opera Cinna had been favorably received in 1793. From 1808–14 he was 1st prof. of cpt., and Inspector, at the newly founded Milan Cons., and then retired from public activity.—Works: 7 operas, an oratorio (Giacobbo), very many cantatas, masses, motets, duets, songs, etc.; a symphony, an overture, concertos, serenades, sonatas, chamber-music, organ-pcs., etc., etc. He was the author of several clearly-written textbooks: Principi elementari di musica (1800; French ed., 1819); L’Allievo al cembalo; Primi elementi per il canto; Elementi per il contrabasso (1823); Trattato d’armonia e d’accompagnamento (1813), with a posth. sequel, Il maestro di composizione (1836); Dialoghi sul trattato d’armonia (1814); Osservazione proprio al temperamento degli istruimenti stabili, with a supplement Disinganno sulle osservazioni ecc. Biography by A. Coli (Milan, 1834); also cf. Ancarani, Sopra alcune parole di Carlo Botta intorno al metodo musicale di B. A. (1836), and A. Amadei, Intorno allo stile della moderna musica di chiesa (1841).—See Q.-Lex.
13Aso’la (Lat. Asula), Giovanni Matteo, one of the first to use a basso continuo for the org.-accomp. of sacred vocal music; b. Verona, circa 1560; d. Venice, Oct. 1, 1609. Composed much church-music (masses, antiphones, psalms, etc.); 2 books of madrigals (Venice, 1587 and 1596; also later editions). Cf. Della vita e delle opere di Giammateo Asola, by Caffi (Padua, 1862).—See Q.-Lex.
15Aspa, Mario, opera-composer; b. Messina, 1799; d. there Dec. 14, 1868. Pupil of Zingarelli in Naples. Wrote some 42 operas; the best are Il muratore di Napoli (1850); I due Forzati (circa 1834); Piero di Calais (1872); Un travestimento (1846).
17Asplmayr, Franz, b. circa 1721; d. Vienna, May 29, 1786. Important as one of the first Viennese composers who adopted the style and forms of the Mannheim symphonists. (See Stamitz.) He wrote 6 Serenate, 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 publ. by Riemann in 'Collegium Musicum.' As court musician and ballet composer at the Italian Opera in Vienna, he prod. there the Singspiele Die Kinder der Natur (1780) and Der Sturm (1782), and several ballet-divertissements.
19Ass’mayer, Ignaz, b. Salzburg, Feb. 11, 1790; d. Vienna, Aug. 31, 1862. Pupil of Michael Haydn and Brunmayr; 1808, org. at Salzburg; 1815, st. with Eybler, Vienna;
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