Books › Baker's biographical dictionary of musicians, 1919 › scan 963
Scan 963
Baker's biographical dictionary of musicians, 1919
23 lines. Read by computer on 4 September 2026, twice; the two readings disagreed in places. Printed page 942. See the scan on archive.org.
1TESCHNER—TEYBER
3[L’assedio di Firenze] (Rome, 1883); also prod. a Requiem mass, an Inno sinfonico, etc.
5Tesch’ner, Gustav Wilhelm, b. Magdeburg, Dec. 26, 1800; d. Dresden, May 7, 1883. Singing-teacher; pupil of Zelter and Klein at Berlin, and of Ronconi, Bianchi and Crescentini in Italy (1829); later of Miekisch in Dresden. Settled in Berlin as a vocal teacher after Italian methods. He publ. elementary vocal exercises, and solfeggi of his own; also many by Italian masters (Clari, 8 books; Crescentini, 5; Minoja, 6; Zingarelli, 10); edited much early vocal church-music. one of two readings
6Tesch’ner, Gustav Wilhelm, b. Magdeburg, Dec. 26, 1800; d. Dresden, May 7, 1883. Singing-teacher; pupil of Zelter and Klein at Berlin, and of Ronconi, Bianchi and Crescentini in Italy (1829); later of Mieksch in Dresden. Settled in Berlin as a vocal teacher after Italian methods. He publ. elementary vocal exercises, and solfeggi of his own; also many by Italian masters (Clari, 8 books; Crescentini, 5; Minoja, 6; Zingarelli, 10); edited much early vocal church-music. one of two readings
8Te’si-Tramonti’ni, Vittoria, celebrated dramatic contralto; born Florence, Feb. 13, 1700; d. Vienna, May 9, 1775. Her singing-masters were Redi at Florence and Campeggi at Bologna, where she made an early début. She sang at Venice in 1719, and in Dresden the same year, at the wedding of the electoral prince; up to 1738 she appeared chiefly at Venice and Naples, then had a long engagement with Farinelli at Madrid, and in 1749 was singing with great success at Vienna, ending her days in the house of the Prince of Hildburghausen.
10Tessarin, Francesco, born Venice, Dec. 3, 1820. Pianist; pupil of A. Fanno and G. B. Ferrari. He was intimate with Wagner. Devoted himself chiefly to lesson-giving and composition.—Works: Opera L’ultimo Abencerragio (Venice, 1858); a cantata, church-music, pf.-fantasias, etc.
12Tessari’ni, Carlo, famous violinist of the Corelli school; born Rimini, 1690; d. (?). Attained celebrity as early as 1724; was 1st violin at the cathedral in Urbino; in 1762 he still concertized in Amsterdam. His vl.-sonatas, which generally have 3 movements, were largely instrumental in fixing that number as the normal number of movements. He publ. several solo sonatas, trio-sonatas, duets, concertini, concerti grossi; also a vl.-method, Grammatica di musica (1741, in Fr. and Engl. tr.; orig. in MS.).—Cf. A. Schering, Geschichte des Instrumentalkonzerts (Leipzig, 1905).—See also Q.-Lex.
14Testo’re, Carlo Giuseppe; Carlo Antonio; and Paolo Antonio; father and two sons, Milanese violin-makers from about 1687–1754.
16Tetrazzini [trah-tse’ne], Luisa, famous coloratura soprano; born Florence, 1874. At the age of 12 she had learned perfectly the words and music of several operas by merely listening to her elder sister, Eva (Mme. Cleofonte Campanini); after some lessons from her sister, she st. 3 months at the Liceo Musicale in Florence with Ceccherini, continuing the study of répertoire with him privately. After her début as Inez (l’Afri-
18caine) at the Teatro Pagliano in Florence, in 1895, she sang in Rome and other Italian cities; then travelled with various companies in South America and Mexico, and in 1904 created a local sensation at the Tivoli Opera House in San Francisco. Although her name appeared in the prospectus of the M. O. H. for the season of 1905–6, she was not heard; instead she went again to South America. On Nov. 2, 1907, she made her first London appearance (as Violetta) and was so successful during that season that Hammerstein eng. her for his Manhattan Opera House in N. Y., where she was first heard in the same rôle on Jan. 15, 1908. During her first season there her success was not extraordinary; but on her return the next season she was hailed as a star of the first magnitude, remaining a powerful drawing-card until the closing of the house (1910); from 1910–13 she made extended concert-tours of the U. S., and sang frequently in opera in special engagements with the Chicago and Boston companies; in 1913–14 she was a regular member of the Chicago Opera Co. Since the outbreak of the war she has been in Florence, devoting her art exclusively to patriotic and charitable purposes. In private life she is Signora Bazelli. Although in the U. S. she has not been heard in more than about a dozen operas, her répertoire comprises almost 40 rôles, the most brilliant ones being those once specially identified with the Patti (Rosina, Violetta, Gilda, Lucia, etc.). Her voice is powerful and of extraordinary purity and beauty, her vocal technic well-nigh flawless. Although she is a greater vocalist than actress, her histrionic ability is above the average expected of coloratura singers.
20Teyber (or Tayber) [ti’ber], Anton, born Vienna, Sept. 8, 1754; d. there Nov. 18, 1822. Pupil of Padre Martini at Bologna. From 1792, cembalist at the Imp. Opera, Vienna, and assistant of Salieri; from 1793, court composer and music-master to the Imperial children.—Works: An opera, 2 oratorios, a Passion, a melodrama, many masses, symphonies, string-quartets, minuets and allemandes, etc.—See Q.-Lex.
22Tey’ber (or Tayber), Franz, brother of preceding; b. Vienna, Nov. 15, 1756; d. there Oct. 22, 1810. Pianist, pupil of Wagenseil; after a concert-tour in S. Germany and Switzerland, he cond. Schikaneder’s itinerant opera-troupe; was then Konzertmeister at Karlsruhe and Bern, and from 1799–1810 composer to Schikaneder’s Theater an der Wien. Two months before his death he was app. organist of the Imp. Chapel. Besides several operas and Singspiele, he wrote an oratorio, a mass and other church-music, songs, etc.
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