Scan 31
Baker S Biographical Dictionary Of Musicians Third Edition, 1919
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1parents soon decided that he should study law, and sent him to Leipzig. Going to Königsberg (1626), he was attached to an embassy to Warsaw and taken prisoner by the Swedes; returning to K., he became organist of the Cathedral (1630), and resumed music study under Stobaus. He was a gifted composer, and a fine poet (of the 'Königsberg school'), writing the words for the majority of the songs he set to music. He published 8 famous books of arias [Arien] (1638–50), and the Kurbshutte, a cantata consisting of 12 terzets (1645); collections of chorales, arias and lieder, for one or several voices; many of his hymn-tunes are still sung in Prussia. A selection of his songs, with the music, has been issued in the 'Neudrucke deutscher Litteraturwerke' (Eitner: Halle, 1883–4); the arias in vols. xii and xiii in 'Dkm. deutscher Tonkunst.'—See Q.-Lex.
3d'Albert [dähl-bär'], Eugène (Francis Charles), [writes his name in German style, Eugen,] pianist; b. Glasgow, Apr. 10, 1864. His father, Charles L. N. d'A. (b. Nienstetten, near Hamburg, Feb. 25, 1809; d. London, May 26, 1866), was a musician and dancing-master, and composed many popular dances; he was his son's first teacher.—Eugène was elected Newcastle scholar in the National Training School, London, in 1876, and was taught by Pauer (pf.), and Stainer, Prout and Sullivan (harm. and comp.); in 1881, he was elected Mendelssohn scholar, and studied under Richter (Vienna) and Liszt (Weimar); the latter dubbed him 'the young Tausig' on account of his remarkable technique. On Feb. 5, 1881, he played the Schumann concerto at the Crystal Palace, London, and, on Oct. 24, a concerto in A, of his own, at a Richter Concert. Since that time he has arrived at full pianistic maturity, one of his feats being the performance of 5 Beethoven sonatas (op. 31, 53, 90, 109, 110) at a Gewandhaus recital on Nov. 20, 1893, thus vying with Bülow's famous programs. Ever since his first appearance he has occupied a conspicuous place among the greatest of contemporary pianists. As a composer he has publ. 2 pf.-concertos, in B m. and E; 2 overtures (Hyperion and Esther); a symphony in F; a pf.-suite in 5 movements; a pf.-sonata in F# m.; 2 string-quartets (A m., Eb); minor pf.-pieces, and several songs; op. 14, Der Mensch u. das Leben (by O. Ludwig), for 6-p. ch. and orch.; op. 16, 4 pf.-pieces (Waltz, Scherzo, Intermezzo, Ballade). He wrote the operas Der Rubin [The Ruby] (Karlsruhe, Oct. 12, 1893), which had a favorable reception; text and music of the 3-act opera Ghismonda (Dresden, 1895, mod. success); opera Gernot (Mannheim, 1897; succ.); 1-act mus. comedy Die Abreise (Frankfort, 1898; succ.); Kain (Berlin, 1900); Der Improvisator (Berlin, 1900); Tiefland (Prague, 1903; v. succ.); Flauto solo (Prague, 1905); Tragaldabas (Der geborgte Ehemann; comedy-opera in 4 acts; Hamburg, 1907; succ.); Izeyl (Hamburg, 1909); Die verschenkte Frau (Vienna, 1912); Liebesketten (Vienna, 1912); Tote Augen (Dresden, 1916). He has also made piano transcriptions of several of Bach's organ works, edited the Well-Tempered Clavichord, and is one of the editors of the monumental Liszt edition brought out by Breitkopf & Härtel.—D'Albert married the celebrated pianist Teresa Carreño in 1892 (divorced 1895). From 1895–1910 he was married to the singer Hermine Finck; from 1910–12 to Ida Theumann. His winter residence is Vienna, his summer home is in Meina, Italy. 1895, app. 1st Kapellm. at Weimar, as Dr. Lassen's successor; but resigned speedily, being himself succeeded by Bernhard Stavenhagen.
5Albertazzi [-täht'sē], Emma, née Howson, stage-contralto; b. London, May 1, 1814; d. there Sept. 25, 1847. Pupil of Sir M. Costa; début 1829, Argyle Rooms, London. Engaged at King's Th., 1830; at Piacenza, Italy, in 1831, where she married Sgr. Albertazzi. Sang in La Scala (1831), Madrid (1833), and Paris (Ital. Op., 1835), her most brilliant period. Reappeared in London, 1837. She had a fine voice, but no passion or animation in singing or acting.
7Alber'ti, Domenico, b. Venice, circa 1717; d. Formio (or Rome), circa 1740, is still known to fame as the first to develop and extensively employ the style of broken-chord bass-accomp., in similar figures, named 'Alberti' or 'Albertinian' bass after him. He first attracted notice as an amateur singer, developing into a pianist and composer of easy popular piano-music, also 3 operas, Endimione, Galatea, Olimpiade. In 1737 he was attached to the suite of the Venetian ambassador at Rome, and was a much-admired singer and player.
9Alber'ti, Giuseppe Matteo, b. Bologna, 1685; d. after 1746. Violinist and comp. of great merit; pupil of Manzolini and Minelli (vln.) and F. Arresti (cpt.); 'principe' of the B. Philh. Academy.—Publ. works: 10 Concerti (sextets); 12 vln.-sonatas with b. cont.; 12 Sinfonie for 2 vlns., vla., 'cello and org.
11Alber'ti, Johann Friedrich, b. Tönning, Schleswig, Jan. 11, 1642; d. Merseburg, June 14, 1710. Pupil of Werner Fabricius, Leipzig, and Albrici, Dresden; org. at Merseburg cathedral till 1698. A learned contrapuntist, whose chorales, fugues, etc., were held in estimation.
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