Scan 29
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.
1Alayrac. See Dalayrac.
3Albanese [-nā'zē], ——, b. Albano, near Rome, 1729; d. Paris, 1800; from 1752–62, principal singer at the Parisian 'Concerts Spirituels.' Comp. songs (romances) very popular in their day.
5Albane'si, Luigi, b. Rome, Mar. 3, 1821; d. Naples, Dec. 4, 1897. Pupil of Polidori and Lavigna; was a highly esteemed pianist and teacher; wrote pf.-pieces, many motets, masses, and the oratorio, Le sette parole di Gesù Cristo.
7Albani [-bah'-] is the stage-name of Marie Louise Cecilia Emma Lajeunesse, a gifted dramatic soprano, b. Chambly, near Montreal (Canada), Nov. 1, 1852; trained in the Convent of the Sacred Heart at Montreal; removed to Albany, N. Y., in 1864, where her singing in the cathedral attracted such general attention, that her father was persuaded to take her to Europe for study; pupil of Duprez at Paris for 8 months, and of Lamperti at Milan for a longer period (the latter's treatise on the Trill is dedicated to her); made her début at Messina in 1870 (Sonnambula), under the name of Albani. After singing in Florence, London (1872), and Paris, she again studied with Lamperti for several months; sang at Covent Garden in 1873, and also at Petrograd; returning to America, she revisited Albany, and sang in the cathedral; in 1874 sang again at Covent Garden, where she was permanently engaged until 1896, the year of her grand triumph as Isolde (in German), Jean de Reszké singing the part of Tristan; retired from active work in 1906. Married the lessee of the theatre, Mr. Ernest Gye, in 1878. Her principal rôles are Amina (Sonnambula), Marguerite (Faust), Mignon, Ophelia, Elsa, Senta, Elizabeth, Lucia, Desdemona (Otello); she is also an oratorio-singer of the first rank, and a fine pianist. She has sung in opera on the continent (Berlin, 1887) with great success. She publ. her memoirs under the title Emma Albani, Forty Years of Song (London, 1911).
9Alba'ni, Mathias (father and son), violin-makers of Bozen (Tyrol). A. the elder, b. Bozen, 1621; d. there, 1673, was one of Stainer's aptest pupils; A. the younger learned the trade of his father, and worked with the Amatis at Cremona, settling finally in Rome. His instruments, from 1702–9, are considered almost equal to the genuine Amatis; whereas his father's violins, though powerful in tone, are less remarkable in quality.
11Albeniz, Isaac, brilliant pianist and composer; b. Camprodón (Spain), May 29, 1861; d. Cambo au Bains (Pyrenees), May 19, 1909. As a child his progress on the piano was so astonishing, that at the age of six Marmontel accepted him as a pupil. After extensive concert tours through Europe and America (as a child-prodigy) he entered the Brussels Cons. for further serious study under Brassin (pf.), and Dupont and Gevaert (comp.); subsequently studied also with Jadassohn, Reinecke and Liszt. The greater part of his life was spent on tours as a concert pianist. He was court pianist to the Queen of Spain. In his later works he shows himself strongly influenced by French impressionism, especially in his suites Iberia and Catalonia.—Works: The operas The Magic Opal (London, 1893); Enrico Clifford (Barcelona, 1895); San Antonio de la Florida (Madrid, 1895); Pepita Jiménez (Barcelona, 1896); the trilogy King Arthur [Merlin, Lancelot, Ginevra] (1897–1906); l'Érémitage fleurie (1905); an oratorio, Cristo; Concerto fantástico; and over 200 comps. for pf.
13Albeniz [-nēth'], Pedro, b. Logroño (Old Castile, Spain), April 14, 1795; d. Madrid, Apr. 12, 1855. In early youth, organist in various Spanish towns; later, a pupil of Kalkbrenner and Henri Herz in Paris; app. (1830) pf.-prof. at Madrid Cons., and (1834) court organist. An early and powerful promoter of modern methods of piano-playing in Spain, a composer of some 70 piano-pieces (rondos, variations, fantasias, études, etc.), also songs; author of a pf. Method adopted by the Madrid Cons. (1840).
15Alberga'ti, Pirro Capacelli, Conte d', comp.; b. Carrati, Sept. 20, 1663; d. Bologna, June 22, 1735. Comp. oratorios (Il Convito di Baldassaro, L'Innocenza di S. Eufemia, S. Catterina, S. Eustachio); Cantate spirituali a 2–3 v., with instrs.; Cantate morali a voce sola; Motetti ed Antifone della B. V. a voce sola; Messa e Salmi concertati; Messa Litanie d. B. V. a voce sola; Hino ed Antifone d. B. V.; Corona di pregi di Maria (cantate a v. sola), etc. Instrumental pieces: Pietro armonico (10 sonate da cam.); Balletti, Correnti, Sarabande e Gighe for vln., 2nd vln. ad lib., and violone; etc.—See Q.-Lex.
17Albert, Prince of Saxe-Coburg-Gotha, Prince Consort of Queen Victoria; b. Schloss Rosenau, Aug. 26, 1819; married Feb. 10, 1840; d. Dec. 14, 1861. A zealous promoter and patron of art, he himself comp. an opera, Hedwig von Linden (London, 1840), and numerous vocal works, of which were publ. L'invocazione all' Armonia, f. solos and chorus; morning service in C and A; anthem Out of the deep; 29 Lieder und Romanzen, in 5 collections; 3 canzonets; etc.
19Albert, Heinrich, b. Lobenstein (Saxony), July 8, 1604; d. Königsberg, Oct. 6, 1651. In 1622 he went to Dresden to study music under his uncle, Heinrich Schütz, but his
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