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Scan 29
Biographical dictionary of musicians, 1940
16 lines. Read by computer on 5 September 2026. Printed page 9. See the scan on archive.org.
1c. to the viceroy at Milan; founded the 'Odeon' (society for the cultivation of classical vocal music) at Venice, in coöperation with Abbé Trentino; was engaged (1819) for the Italian opera in Munich as maestro al cembalo, in 1826 as Kapellm.; returned in 1833 to Bergamo, and made the fine collection of ancient classical music now in the Staatsbibliothek at Munich. He was the foremost promoter of classical vocal performances in All Saints' church, Munich, and wrote many celebrated sacred compositions (masses, requiems, liturgies, psalms, etc.). His one opera, Rodrigo e Ximene (Munich, 1821), and 3 ballets, were less successful.
3Ai'chinger, [i-], Gregor, b. Ratisbon, 1564; d. Augsburg, Jan. 21, 1628, as canon and vicar-choral of the cathedral. Comp. much sacred vocal music; 3 books of Sacrae cantiones (Augsburg and Venice, 1590; Venice, 1595; Nuremberg, 1597); Tricinia, Divinae laudes (1602), etc., etc.; his Cantiones ecclesiasticae (Dillingen, 1607) are noteworthy as one of the earliest works in which the term 'basso continuo' appears. A selection of his works (ed. Kroyer) appeared in Denk. der Tonkunst in Bayern X1.—See Q.-Lex.
5Ak'eroyle, Samuel, Engl. song-writer, b. Yorkshire after 1650. Many of his popular comps. were printed in collections of the period; e. g., in D'Urfey's 3rd coll. of Songs (1685), 'Theater of Musick' (1685–6–7), 'Banquet of Musick' (1688), 'Comes Amoris' (1685–7), 'Thesaurus musicus' (1693–6), etc.
7Akimen'ko, Feodore, composer; born Kharkov, Russia, Feb. 20, 1876; pupil of Rimsky-Korsakov (1886–90) at the Petrograd Cons., and of Balakirev (1886–95) as chorister in the Court Choir, in which he also taught for some years; spent 3 years (1903–6) in France; lived later in Kharkov, Moscow and Leningrad (prof. at the Cons. in 1915); now living in Paris.—Works: Lyric poem and overture for orch.; string-trio in C (op. 7); 'cello-sonata; violin-sonata; pieces for pf. (Sonate fantastique, op. 44); songs and choruses; an opera, The Queen of the Alps (MS.); a ballet; more than 70 works.
9Alaleo'na, Domenico, comp. and musicologist; b. Montegiorgio (Piceno), Nov. 16, 1881; d. there, Dec. 28, 1928. Pupil, in the 'Liceo musicale' connected with the St. Cecilia Academy in Rome, of Bustini (pf.), De Sanctis (comp.), Renzi (theory). At graduation, in 1906, he directed his choral work for soli, chor. and orch., Attolite Portas, which attracted considerable attention. 1908–10, cond. the 'Società Guido Monaco' at Leghorn; 1910, cond. the 'Augusteo' at Rome; 1907–11, prof. at the Cons. in Rome, headed by Mascagni; 1911, at the 'Liceo di Santa Cecilia'.—Works: A requiem, Pro defuncto Rege; a 2-act opera, Mirra (Rome, 1920); songs in cycles; canzoni for strings and harp, for str., harp and woodwinds, for string-quartet, etc.; Fiori, 4 color-studies for orch.; Sinfonia Italica; etc.—Writings: Su Emilio de Cavalieri, in 'Nuova Musica' (1905); Studi su la storia dell' oratorio musicale in Italia (Turin, 1908); Le Laudi spirituali ital. nel secoli XVI et XVII, in the 'Riv. M. I.' (1909); L'Armonia modernissima: le tonalità neutre e l'arte di stupore, ib. (1911); Il libro d'oro del musicista (works of Palestrina; 3rd ed. Rome, 1923); Educazione musicale del popolo, in the 'Turin Kongressbericht' (1921); and other essays.
11Alard [ăh-lăr'], Jean-Delphin, a distinguished violinist of the modern French school; b. Bayonne, Mar. 8, 1815; d. Paris, Feb. 22, 1888. A pupil of Habeneck at Paris Cons. (1827), his celebrity dates from 1831; he succeeded Baillot as prof. in 1843, and as leader of the royal orchestra, teaching in the Cons. till 1875. A fine instructor (Sarasate was his pupil), he publ. a Violin School of high merit, a selection from 18th-century classics (Les maîtres classiques du violon), and numerous brilliant and popular comps. for violin (concertos, études, fantasias, duets for pf. and vln., etc.). His playing was full of fire and spirit, and his interpretation of classic German chamber-music was exceptionally fine.
13Alayrac. See DALAYRAC.
15Albani [-bah'-], stage-name of Marie Louise Cecilia Emma Lajeunesse, gifted dramatic soprano; b. Chambly, near Montreal, Canada, Nov. 1, 1852; d. London, April 3, 1930. Trained in the Convent of the Sacred Heart at Montreal; removed to Albany, N. Y., in 1864, where her singing in the cathedral attracted such general attention, that her father was persuaded to take her to Europe for study; pupil of Duprez at Paris for 8 months, and of Lamperti at Milan for a longer period (the latter's treatise on the Trill is dedicated to her); made her début at Messina in 1870 (Sonnambula), under the name of Albani. After singing in Florence, London (1872), and Paris, she again studied with Lamperti for several months; sang at Covent Garden in 1873, and also at Petrograd; returning to America, she revisited Albany, and sang in the cathedral; in 1874 sang again at Covent Garden, where she was permanently engaged until 1896, the year of her grand triumph as Isolde (in German), Jean de Reszké singing the part of Tristan; retired from active work in 1906. Married the lessee of the theater, Mr. Ernest Gye, in 1878. Her principal rôles were Amina (Sonnambula), Marguerite (Faust), Mignon, Ophelia, Elsa, Senta, Elisabeth, Lucia, Desdemona (Otello);
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