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Scan 821
Baker's biographical dictionary of musicians, 1919
14 lines. Read by computer on 4 September 2026. Printed page 800. See the scan on archive.org.
1intermezzo at the Cons. theatre in 1756, Fra Donato, with good success; then several small operas in Neapolitan dialect at minor theatres; in 1762 his Semiramide met with so warm a reception at the Argentina Th., Rome, that he remained in that city for 4 years in competition with Piccinni. The great success of Alessandro nell' Indie at Venice (1763), caused his appointment as director of the Cons. dell' Ospedaletto (for girls) there. In 1771, having written over 50 dramatic works, he went via Munich and Stuttgart (where he prod. 2 operas) to London, where he lived ten years (1772–82) as a successful opera-composer, but ran into debt, and fled from his creditors to Paris. His fame had preceded him, and some of his operas, in French versions, were produced at the Opéra (Armida e Rinaldo as Renaud, 1783; Il gran Cid as Chimène, 1784); he also wrote two new operas, the 'tragédie lyrique' Dardanus (1784), and Œdipe à Colone (1786, his masterpiece, and still played in 1844); and left a third, Arvire et Evelina, unfinished (Rey added Act iii, and it was successfully prod. in 1788). Besides operas, he wrote 6 oratorios, masses, and much other church-music; 2 symphonies, chamber-music (6 string-quartets, 6 trios f. 2 violins and 'cello); 12 sonatas f. harpsichord, violin-sonatas, etc.—Cf. J.-G. Prod'homme, Écrits de musiciens des XVIIIe–XVIIIe siècles (Paris, 1912).—See also Q.-Lex.
3Sachs [zähks], Hans, foremost poet of the Meistersinger; b. Nuremberg, Nov. 5, 1494; d. there Jan. 19, 1576. He wrote over 4,000 poems ('Meisterschulgedichte'), 1,700 tales, etc., and 200 dramatic poems; also invented numerous 'Weisen' (melodies). He is the central figure in Wagner's opera, Die Meistersinger von Nürnberg. The original melodies of a large number of the poems are preserved in Das Singebuch des Adam Puschmann (ed. by G. Münzer, 1906).—BIBLIOGRAPHY: Ch. Schweitzer, Un poète allemand au XVIe siècle: Étude sur la vie et les œuvres de H. S. (Nancy, 1889); K. Drescher, Studien zu H. S. (Marburg, 1891); R. Genée, H. S. und seine Zeit (Leipzig, 1894; 2d ed. 1901); B. Suphan, H. S.: Humanitätszeit und Gegenwart (Weimar, 1895); K. Drescher, Nürnberger Meistersingerprotokolle von 1575–1689 (2 vols.; Tübingen, 1898); H. Holzschuher, H. S. in seiner Bedeutung für unsere Zeit (Berlin, 1906); E. Mummenhoff, Musikpflege und Musikaufführungen im alten Nürnberg (Leipzig, 1908); H. Nutzhorn, Mestersangeren H. S. (Copenhagen, 1911).
5Sachs, Julius, b. Waldhof, Meiningen, Dec. 12, 1830; d. Frankfort-on-Main, Dec. 30, 1888. Gifted pianist and comp.; pupil of Ferd. Kessler and Ed. Rosenhain at Frankfort. Successful tours.—Publ. op. 26, Zigeunerballade for orch.; Serenade for tenor and orch.; op. 15, vl.-sonata in Eb; for pf.: op. 40, Suite in F# m.; op. 42, Marche triomphale; op. 45, Der träumende See; op. 46, Hochzeitsreigen; op. 50, Elfenmärchen; and many minor pcs.; pcs. for vl. and pf.; do. for vcl. and pf.; songs and duets.
7Sachs, Kurt, b. Berlin, June 29, 1881. While attending the Gymnasium there, he st. pf. and comp. with L. Schrattenholz and clar. with Rausch; then matriculated at the Univ. for hist. of music (O. Fleischer) and hist. of art; Dr. phil. 1904; after some years as art-critic he decided to devote himself to musicology, and st. with Kretzschmar and Joh. Wolf; living in Berlin.—Works: Musikgeschichte der Stadt Berlin bis zum Jahre 1800 (1908); Die Ansbacher Hofkapelle unter Markgraf Joh. Friedrich [1672–86] ('Sbd. I. M.-G., xi, 1; 1910); Musik und Oper am kurbrandischen Hofe (1910); Reallexikon der Musikinstrumente (1914; very valuable); Systematik der Musikinstrumente (with E. von Hornbostel, in 'Ztschr. für Ethnologie,' 1914); Die Musikinstrumente Indiens und Indonesiens….. (1915); Die litauischen Musikinstrumente ('Internat. Archiv für Ethnographie,' 1915).
9Sachs, Melchior Ernst, b. Mittelsinn, Lower Franconia, Feb. 28, 1843. Pupil of the Munich Cons. 1863–5, and of the reorganized R. School of Music, under Rheinberger's special tuition, 1867–9. Cond. of the 'Liederkranz' 1868–72; in 1871, teacher of harm. at the Sch. of Music, also founded and conducted the concert of the 'Tonkünstlerverein'; retired 1910.—Works: Opera Palestrina (Ratisbon, 1886); an oratorio in 7 parts, Kains Schuld und Sühne (text also by S.; Munich, 1912); ballade Das Thal des Espingo, f. ch. and orch.; Totenklage der Goten for male ch. and orch. (op. 15); Bethanien, cantata for soli, fem. ch. and harm.; a Paternoster; a symphony; pf.-pcs. and songs.
11Sach'se-Hof'meister, Anna, dramatic soprano; b. Gumpoldskirchen, n. Vienna, July 26, 1850; d. Berlin, Nov. 15, 1904. Pupil of Frau Passy-Cornet at Vienna Cons.; studied privately with Proch; début Würzburg, 1870, as Valentine in Les Huguenots; sang at Frankfort 1872–6, then in Berlin, where she married (1878) the tenor Sachse. Eng. at Leipzig, 1880–82; then, until 1889, at the Berlin Court Opera as prima donna. She excelled in the great dramatic rôles of Gluck and Wagner.
13Sack [zähk], Johann Philipp, b. Harzgerode, Anhalt, 1722; d. Berlin, 1763. In 1747 asst.-org., and from 1755 org. at the Berlin Cath.; founded in 1749 the 'Musikübende Gesellschaft.' In the history of the Lied he occupies a position of importance as one of the first to employ three staffs (vocal part
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