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Scan 936
Baker's Biographical Dictionary of Musicians, 1919
10 lines. Read by computer on 11 September 2026. Printed page 8. See the scan on archive.org.
1Ch.; at Scarborough he sang in All Saint's Ch. as soloist, and later was articled to the organist, Dr. John Naylor; Mus. Bac., Oxford, 1878. From 1879–81, organist and choirm. at St. Michael's, Whitby; 1882–5, in Scarborough as org. at the Parish Ch. and cond. of the Philh. Soc.; 1885–7, org. at Parish Ch., Folkestone; 1887–91, org. and choirm. at St. Mary's, Clapham. In 1891 he was app. mus. dir. of the old Globe Th. in London, and for several years filled similar positions in various London theatres. Later org. and choirm. at St. Patrick's, Soho, Downside Abbey, Somerset, and St. Mary's, Sheffield; is now (1917) living in Waterford, Ireland, as org. at the R. C. Cath. and prof. of Plain-Chant at St. John's Ecclesiastical College; there he founded the W. Acad. of Music and a permanent opera company, the outcome of a series of successful performances of Wallace's Maritana, which he had arr. for the celebration of the Wallace centenary (1913). In 1886 he was made Mus. Doc. by Trinity Coll., Toronto.—Works: The operas The Punchbowl (London, 1887) and Gretna Green (ib., 1889); an oratorio, Deborah and Barak (1881); The Tournament, overture for the Folkestone Expos. (1886); 2 symphonies, The Holiday (1909) and Vita (1914); a str.-quartet (1907); several masses (in F m. for 3 choirs, org. and orch.); services; anthems; songs; part-songs; organ-pieces.
3Stö'we, Gustav, born Potsdam, July 4, 1835; d. there April 30, 1891. Pupil of the Stern-Marx Cons. at Berlin; also of Marx (comp.) and Zech (pf.). Founder (1875) and lifelong director of the Potsdam School of Music.—Publ. Die Klaviertechnik, dargestellt als musikalisch-physiologische Bewegungslehre (1886; thorough analysis of the elements of piano-touch); also papers in Breslaur's 'Klavierlehrer'; pf.-pieces; songs.
5Stradal [strah'dahl], August, pianist; b. Teplitz, Bohemia, 1860. Pupil of Door (pf.) and Bruckner (comp.) at the Vienna Cons.; in 1884 of Liszt at Pest, Rome and Weimar. From 1893–5 he taught in Horak's piano-school in Vienna; since then has travelled as a concert-pianist (Austria, Germany, France and England); especially fine as a Liszt player. He has publ. numerous pf.-arrs. of Liszt's orchl. works, also of earlier masters (Bach, Handel; Frescobaldi, etc.); his orig. comps. consist of pf.-pcs. (Ungarische Rhapsodie) and songs.
7Stradel'la, Alessandro, famous Italian composer of the 17th century. His career is shrouded in mystery, not even place or date of his birth or death being known. It is supposed that he was born in Naples or Venice about 1645, and died in Genoa after July 6, 1681 (the date borne by his cantata Il Barcheggio). The only positively established fact is, that in 1677 an attempt was made on his life during an operatic performance in Turin (cf. A. Einstein in 'Das Bayerland,' 1910, p. 173). He is the hero of Flotow's opera, which is founded on a story narrated by Bonnet-Bourdelot in Histoire de la musique et de ses effets (Paris, 1715).—Extant works: Oratorios San Giovanni Battista, a 5 w. instrs. (publ. 1676), and Susanna (1681); the operas Corispero (1665?), Orazio Ccole sul ponte (1666?), Trespulo tutore (1667), La forza del amore paterno (1678); the cantata Il Barcheggio (1681);—148 MSS. in the Modena Library, incl. 8 oratorios and 11 dramas; cantatas in the Naples Cons. Library; 21 cantatas in the library of San Marco, Venice (10 publ. by L. Escudier, w. pf.-accomp. by Halévy);—others in the Paris Nat. Library, and at the Cons.;—1 motet and 8 cantatas at Christchurch Library, Oxford; a number of cantatas, madrigals, arias, duets, etc., in the British Museum; etc.—The churcharia Pietà, Signore, and the arias O del mio dolce ardor and Se i miei sospiri, have been wrongly attributed to S.—Cf. A. Catelani, Delle Opere di A. S. esistenti nell' archivio musicale della R. Biblioteca Palatina di Modena (Modena, 1866); P. Richard, A. S. (Paris, 1866); H. Hess, Die Opern A. S.'s, in 'Beiheft' II, 3 of 'I. M.-G.' (1906); F. M. Crawford, S. (London, 1911).—See Q.-Lex.
9Stradiva'ri [Stradiva'rius], Antonio, b. Cremona, 1644; d. there Dec. 18, 1737; divides with Guarneri the honor of being the most skilful of violin-makers. It is probable that he worked for Niccolò Amati from about 1667–79. He purchased the house in which, for half a century, his workshop was situated, in 1680. His finest instruments were made in the period from 1700–1725; but he still worked up to 1736. Grove says of him: "S. marks the culminating point of the art of making stringed instruments. It was he who perfected the model of the violin and its fittings. No improvement has been made since his time, and subsequent makers . . . have mostly copied him." His label reads: 'Antonius Stradivarius Cremonensis. Fecit Anno . . . (A † S).' His violoncelli command even higher prices than the violins. Of his eleven children, two sons, Francesco (born Feb. 1, 1671; d. May 11, 1743) and Omobono (b. Nov. 14, 1679; d. July 8, 1742), were his co-workers. S. also made violas (equally prized with the violins), viols of the earlier types, guitars, lutes, mandolins, etc.—Cf. P. Lombardini, Cenni sulla celebre scuola Cremonense degli instrumenti ad arco . . . e sulla famiglia del sommo Antonio Stradivari (Cremona, 1872; with genealogical table from the 13th century to date of publica-
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