Scan 34
Baker S Biographical Dictionary Of Musicians Third Edition, 1919
23 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Naples; m. di capp. at Turin; then lived 4 years in Paris, and after revisiting Italy went to London (1768), producing the comic operas La moglie fedele and Il Re alla caccia, and appearing as a pianist. Later in Italy, Russia, and (1789) Berlin, where he was 2d Kapellm. of the R. Opera (1790–2), and brought out 2 operas, Il Ritorno d’Ulysse (1790) and Dario (1791), and in 1792 the comic opera l’Ouverture du grand opéra italien à Nankin, at Potsdam; after which nothing more is known of him.—Works: 32 operas (prod. 1764–94); a ballet, an oratorio, 6 sinfonie a 8 (op. 6), 6 Trio-Sonatas for 2 vlns. with b. cont.; none of lasting value. (See Valdrighi, F. Alessandri, 1896.—Also Q.-Lex.)
3Alexandre, Jacob, b. 1804; d. Paris, June 11, 1876; founder (1829) of the celebrated firm of harmonium-makers, by whom the ‘Alexandre’ organ (an improvement of the so-called ‘American organ’) was introduced in 1874.
5Alfa’no, Franco, b. Naples, 1876. Pupil of Jadassohn at the Leipzig Cons.; composer of the operas Die Quelle von Enschir [La Fonte d’Enscir] (Breslau, 1898), Risurrezione (Turin, 1904), Il Principe Zilah (Genoa, 1909); a symph. in E m.; Suite Romantica; wrote also meritorious pieces for pf.
7Alfara’bi, or Alphara’bius, properly El Farabi (abbr. Farabi), so named from his birthplace Farab (now transoxine Othrâx). Famous Arabian mus. theorist; b. 900 (?); d. Damascus, 950. His works contain descriptions of the different Arabian mus. instrs., of the mus. scales, and of the different systems of music. He vainly attempted to introduce the Greek system into his own country.
9Alfera’ky, Achilles Nikolaievitch, b. Kharkov, June 21, 1846, has written meritorious piano works and songs. Especially fine is the Sérénade Levantine from op. 25. His songs, which number over 100, frequently show the influence of Ukrainian folk-melodies.
11Alfié’ri, Abbate Pietro, Camadulian monk, prof. of singing at the English College, Rome; b. Rome, June 29, 1801; d. there June 12, 1863. His fine collection of 16th-century church-music, Raccolta di Musica Sacra (1841–6), in 7 vols., is very valuable, being the first edition of the collected works of Palestrina, and is supplemented by later and less extensive ones: Excerptia ex celebrioribus de musica viris [Praenestino, Vittoria, Allegri] (Rome, 1840); Raccolta di Mottetti [Palestrina, Vittoria, Avia, Anerio] (Rome, 1841), etc.; his essays on plain song: Accompanamento coll’ Organo (1840); Ristabilimento del Canto e d. Mus. eccl. (1843); Saggio storico . . . d. Canto Gregoriano (1855); Prodromo sulla restaur. de’ libri di Canto detto Greg. (1857); and many other articles in mus. periodicals on eccl. music, are of noteworthy historical interest; as also his biogr. sketches of N. Jommelli (1845), B. Bittoni, and others. one of two readings
12Alfié’ri, Abbate Pietro, Camadulian monk, prof. of singing at the English College, Rome; b. Rome, June 29, 1801; d. there June 12, 1863. His fine collection of 16th-century church-music, Raccolta di Musica Sacra (1841–6), in 7 vols., is very valuable, being the first edition of the collected works of Palestrina, and is supplemented by later and less extensive ones: Excerptia ex celebrioribus de musica viris [Praenestino, Vittoria, Allegri] (Rome, 1840); Raccolta di Mottetti [Palestrina, Vittoria, Avia, Anerio] (Rome, 1841), etc.; his essays on plain song: Accompagnamento coll’ Organo (1840); Ristabilimento del Canto e d. Mus. eccl. (1843); Saggio storico . . . d. Canto Gregoriano (1855); Prodromo sulla restaur. de’ libri di Canto detto Greg. (1857); and many other articles in mus. periodicals on eccl. music, are of noteworthy historical interest; as also his biogr. sketches of N. Jommelli (1845), B. Bittoni, and others. one of two readings
14Alfvén, Hugo, b. Stockholm, May 1, 1872. Pupil at the Cons. there of Lindegren in theory, and member of the court orch. Aided by the government stipend for young composers he studied the violin with César Thomson at Brussels (1896–9), lived for a time in Paris, and travelled in Germany. In 1900 he won the Jenny Lind stipend, which he held for three years. Since 1910 he has been musical director at the University of Upsala, where he conducts an excellent students’ chorus, ‘Orpheidrängar.’—Works: 3 symphs. (F m., D, E); 2 symph. poems, En skargårdssägen and Drapa; a Swedish rhapsody, Midsommarvaka; 2 choral works with orch., Sten Sture and The Lord’s Prayer; lyric scene with orch., The Bells; a cantata for the Linné bi-centennial (1907); Triumphal March; a vl. sonata; a romance for vl.; pf.-pieces; songs.
16Algarot’ti, Francesco, b. Venice, Dec. 11, 1712; d. Pisa, March 3, 1764; a man of versatile ability and wide knowledge, a favorite of Frederick the Great, who induced him to come to Berlin in 1746, and gave him the title of Count. His musical monument is the Saggio sopra l’opera in musica, publ. 1755, and in many later editions, and transl. into German and French.
18Aliabievy [ahl-yah’b’yev], Alexander, well-known Russian song-composer; b. Moscow, Aug. 16, 1787; d. there, Mar. 6, 1851. Publ. 111 songs and romances, the Nightingale (Salavei) being a special favorite. In collaboration (more or less) with Verstovsky, Wielhorski and Maurer he set to music the ballad-operas of Chmelnitsky (The Village Philosopher, and others); and several operas (The Moonlight Night, or The Brownies; The Prisoner of the Caucasus [very popular at the time]).
20Aliprandi, Bernardo, b. early in the 18th century at Milan; d. after 1780. Violoncellist in the court orch. at Munich (1732); concert-master in 1750; pensioned 1780. He wrote the operas Apollo tra le Muse in Parnasso (1737); Mitridate (1738); Ifigenia (1739); Semiramide (1740); also a Siabat Mater for soprano, alto and orchestra (1749).
22Alkan [-kahn’], (recte Morhange), Charles-Henri-Valentin (Alkan l’aîné), b. Paris Nov. 30, 1813; d. there March 29, 1888; a pupil of Zimmerman in the Paris Cons., to which he was admitted when but 6 years of age; took the first piano-prize at 10, and after 1831 occupied himself with composition
The computer misreads some letters and numbers. Where a name matters to you, read the scan.