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Scan 24
Biographical dictionary of musicians, 1940
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1Leningrad Artist's Union; 1922–24, toured Germany, Austria, Italy, Egypt, Palestine and France; came to the U. S. in 1925; 1934, in New York; since then in Hollywood, California, where he is living as composer, violinist and teacher. Has written about 80 original comps., 70 vln.-transcriptions, and many solos for stage and screen; translated Rimsky-Korsakov's Manual of Harmony into English (4th ed. 1937).—Major works for orch.: Hebrew Melody for vln. and orch., op. 33 (1911); Hazan for 'cello and orch., op. 34 (1912); [address hidden] (Dance and Lullaby), op. 35 (1913); Dance Improvisation, op. 37 (1913); Epitaph for chor. and orch., op. 38 (in memory of Skriabin; 1915); Shar, dance for clar. and orch., op. 42 (1917); Two Pastels for vln. and orch., op. 44 (1917); The Fiddle's Soul, op. 50 (1920); Belshazzar, op. 58 (theater music; 1924); 1st vln.-concerto, op. 60 (1925); Dance Overture (1932); Little Dance Fantasy (1933); Dance of the Tsadikin (1933); 2nd vln.-concerto, op. 68 (1933); 3rd vln.-concerto, op. 72 (1937); Golem Suite for chamber-orch. (1932); many works for voice and orch.—Choral works: Salome's Dance, op. 61 (1925); Evening Service of the Sabbath, op. 67 (1931–32).—Chamber-music: 3 suites for vln. and pf. (op. 21, 22, 25); Chromatic String-quartet (op. 26); 2 vln.-sonatas (op. 29 and 45); Suite Bizarre for vln. and pf. (op. 41); Elegy for str.-quartet (op. 62); [address hidden] for do. (op. 65); Sinfonietta for do. (op. 71); many vln.-pcs., pf.-pcs., and songs; also music for a ballet for the screen, Spring Night; incid. music to Maeterlinck's Les Aveugles and L'Intruse, to The Witch, The 10th Commandment, The Fiddle's Soul, The Golem, etc.
3Ackté, Aïno (Mme. Ackté-Renvall), dramatic soprano; b. Helsingfors, Finland, Apr. 23, 1876. Entered the Paris Cons. in 1894; made her début in 1897 at the Grand Opéra as Marguerite (Faust). The success of her tour of Germany in 1902 led to her engagement at the M. O H. in 1904–05. Her impersonation of Salome, in Strauss' opera, at Cov. G. Th. in 1913 was followed by an invitation from the composer to sing the part also at Dresden and Paris. She has since retired, and is living now in Helsingfors. In 1911 she founded the annual Finnish Opera Festival in Savonhima. Rôles: Marguerite, Juliette, Ophélie, Gilda, Nedda, Elsa, Elisabeth, Sieglinde, etc.—Books: Minnen och fantasier (Stockholm, 1917); Memoirs (in German and Finnish, 1925).
5Adam [äh-dähn], Adolphe (-Charles), celebrated opera-composer, was b. Paris, July 24, 1803; d. there May 3, 1856. He entered the Cons. in 1817, but made little progress until taken in hand by Boieldieu in his class for composition. After publishing various pf.-pieces, he brought out the 1-act opera Pierre et Catherine (1829), the success of which encouraged him to produce 13 more similar works in quick succession, the Postillon de Longjumeau (1836) gaining European celebrity for its author, and still keeping his name in grateful memory. In all, he wrote 53 theatrical works, the most popular operas after the Postillon being Le Châlet (1834), Le fidèle Berger, Le Brasseur de Preston (1838), Le Roi d'Yvetot (1842), La Poupée de Nuremberg, Cagliostro, and Richard en Palestine (1844); also the ballets Giselle, Le Corsaire, Faust, etc. In 1847, on account of difficulties with the director of the Opéra-Comique, A. founded the Théâtre National, but was ruined financially by the revolution of 1848, and entered the Paris Cons. as prof. of comp.—A. does not rank with the foremost dramatic composers of France, his style being distinguished by taking rhythms and light elegance and grace, rather than forceful originality. His forte was comedy-opera, in which he was a worthy successor of Boieldieu.—His autobiographical Souvenirs d'un Musicien and Derniers Souvenirs d'un Musicien were publ. at Paris in 1857–59 [1871]. Life by A. Pougin (1876).
7Adam, Louis, b. Mütersholz, Alsatia, Dec. 3, 1758; d. Paris, Apr. 8, 1848. He went to Paris in 1775, and from 1797–1842 was prof. of pf. at the Paris Cons. He was a close student of the German classic masters, an admirable pianist, a comp. of numerous pf.-pieces much in vogue at the time (especially the variations on 'Le roi Dagobert'), and an eminent pedagogue, the teacher of Kalkbrenner, Hérold, Henri le Moine and F. Chaulieu, and author of two standard instruction-books for piano: Méthode ou principe générale du doigté pour le Forté-piano (Paris, Sieber, 1798), and Méthode nouvelle pour le Piano (5 editions, 1802–32), written expressly for pupils of the Cons.
9Adam de la Hale (or Halle), called le Bossu d'Arras (Hunchback of Arras); b. Arras, circa 1240; d. Naples, 1287. A gifted Trouvère, many of whose works have been preserved (publ. 1872 by Coussemaker as Œuvres complètes du Trouvère Adam de la Hale); the most interesting is a dramatic pastoral entitled Le jeu de Robin et de Marion (1285), written for the Aragonese court at Naples, resembling an opéra comique in its plan. He was gifted in the dual capacity of poet and composer. Both monodic and polyphonic works of his survive. His rondeaux, etc., are reprinted by Fr. Gennrich in Rondeaux, Virelais und Balladen (I, 1921).—Cf. E. Langlois, Le jeu de Robin et de Marion (Paris, 1896); H. Guy, Essai sur la vie et les œuvres
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