Bow & Bridge Violin and bow makers, as the old books printed them

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Scan 30

Biographical dictionary of musicians, 1940

16 lines. Read by computer on 5 September 2026. Printed page 10. See the scan on archive.org.

1she was also an oratorio-singer of the first rank, and a fine pianist. She sang in opera on the continent (Berlin, 1887) with great success. She publ. her memoirs under the title Emma Albani, Forty Years of Song (London, 1911).
3Albani (or Alban), Mattia. Violin maker, b. S. Niccolo di Kaltern (Alto Adige) Mar., 1621 (baptized Mar. 28); d. Bolzano, Feb. 7, 1712. Pupil of Jakob Stainer. Violins of his are extant dating from as early as the end of 1644. His best examples date from 1680 onward. Owing to the great vogue his violins enjoyed, many Albani forgeries are in existence. A son, Giuseppe, his pupil, worked from 1680 to 1722 at Bolzano, and another son, Michele (1677–1730) at Graz.—Other violin makers named Albani, or at least using the name on their instruments (perhaps for its commercial value) are the following, none appearing to have been connected with the family of the original Mattia: Mattia (Rome, c. 1650–1715); Nicola (worked at Mantua c. 1763); Filippo (active c. 1773); Francesco (active at Graz c. 1724); Michele (at Palermo, 18th cent.); and Paolo (at Palermo and Cremona, 1630–70).
5d’Albano, Ippolito. Pen-name of Giro-lamo Alessandro Biaggi.
7Albeniz, Isaac, brilliant pianist and composer; b. Camprodón (Spain), May 29, 1860; d. Cambo-Bains (Pyrenees), May 18, 1909. As a child his progress on the piano was so astonishing, that at the age of six Marmontel accepted him as a pupil. After extensive concert tours through Europe and America (as a child-prodigy) he entered the Brussels Cons. for further serious study under Brassin (pf.), and Dupont and Gevaert (comp.); subsequently studied also with Jadassohn, Reinecke and Liszt. The greater part of his life was spent on tours as a concert pianist. He was court pianist to the Queen of Spain. In his later works he shows himself strongly influenced by French impressionism, especially in his suites Iberia and Catalonia.—Works: The operas The Magic Opal (London, 1893); Enrico Clifford (Barcelona, 1895); San Antonio de la Florida (Madrid, 1895); Pepita Jiménez (Barcelona, 1896); the trilogy King Arthur [Merlin, Lancelot, Ginevra], of which only the first drama, Merlin, was completed (1897–1906); l’Érémitage fleurie (1905); an oratorio, Cristo, Concerto fantástico; and over 200 comps. for pf.—Cf. G. Jean-Aubry, I. A., in the ‘M. T.’ (Dec. 1917); H. Klein, A.’s Opera, Pepita Jiménez’, ib. (March, 1918); Henri Collet, A. et Granados (1925); E. Istel, A., in the ‘Mus. Quart.’ (1929).
9Albeniz [-nēth’], Pedro, b. Logroño (Old Castile, Spain), April 14, 1795; d. Madrid, Apr. 12, 1855. In early youth, organist in various Spanish towns; later, a pupil of Kalkbrenner and Henri Herz in Paris; app. (1830) pf.-prof. at Madrid Cons., and (1834) court organist. An early and powerful promoter of modern methods of piano-playing in Spain, a composer of some 70 piano-pieces (rondos, variations, fantasias, études, etc.), also songs; author of a pf. Method adopted by the Madrid Cons. (1840).
11Alberga’ti, Pirro Capacelli, Conte d’, comp.; b. Carrati, Sept. 20, 1663; d. Bologna, June 22, 1735. Comp. oratorios (Il Convito di Baldassaro, L’Innocenza di S. Eufemia, S. Catterina, S. Eustachio); Cantate spirituali a 2–3 v., with instrs.; Cantate morali a voce sola; Motteti ed Antifone della B. V. a voce sola; Messa e Salmi concertati; Messa Litanie d. B. V. a voce sola; Hinno ed Antifone d. B. V.; Corona di pregi di Maria (cantate a v. sola), etc. Instrumental pieces: Pletro armonico (10 sonate da cam.); Balletti, Correnti, Sarabande e Gighe for vln., 2nd vln. ad lib., and violone; etc.—See Q.-Lex.
13Albert, Heinrich, b. Lobenstein (Saxony), July 8, 1604; d. Königsberg, Oct. 6, 1651. In 1622 he went to Dresden to study music under his cousin, Heinrich Schütz, but his parents 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 Stobäus. 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 Kürbshütte, 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.
15d’Albert [dāhl-bär’], Eugène (Francis Charles), wrote his name in German style, Eugen] pianist; b. Glasgow, Apr. 10, 1864; d. Riga, Mar. 3, 1932. 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

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