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Scan 32
Biographical dictionary of musicians, 1940
17 lines. Read by computer on 5 September 2026, twice; the two readings disagreed in places. Printed page 12. See the scan on archive.org.
1years of the Imp. Russian Opera, where in 1842, he conducted the world première of Glinka's Russlan and Ludmilla.
3Albrecht, Johann Lorenz, b. Görmar near Mühlhausen (Thuringia), Jan. 8, 1732; d. Mühlhausen, 1773. He studied at Leipzig, and in 1758 became cantor, music-director and teacher in the Gymnasium at M. Edited Adlung's Musica mechanica and Siebengestirn (Berlin, 1768), wrote an Abhandlung über die Frage: ob die Musik beim Gottesdienst zu dulden sei oder nicht (1764); Gründliche Einleitung in die Anfangslehren der Tonkunst (1761); and a treatise Vom Hasse der Musik (1765); contributed articles to Marpurg's 'Kritische Beiträge,' etc. Composed a Passion, some cantatas and harpsichord-lessons.
5Albrecht, Max, composer and conductor b. Chemnitz, March 14, 1890; studied in Leipzig (Reger, Sitt, Hofmann); cond. of the operas in Chemnitz (1911–13), Neisse (1914–15), then, again in Chemnitz; living in Dresden. Has written two symph. poems, op. 5 and 9; cantata, Marathon, for chor. and orch., op. 4; oratorio, Heroische Ballade, op. 12 (1926); chamber-music; pf.-pieces; many songs (with orch.); the operas Jeljena, op. 10, Neros Ende, op. 17 (1927), Rama und Sita, op. 20 (1929), Amosa (1930), Die Brücke (1932) all in modernistic style.
7Albrechtsberger, Johann Georg, famous theoretical writer, composer, and teacher; b. Klosterneuburg, near Vienna, Feb. 3, 1736; d. Vienna, Mar. 7, 1809. After holding positions as organist and music-master in smaller towns (especially 12 years in Melk, where his fine playing attracted the Emperor Joseph's notice), in 1772 he was engaged in Vienna as 'Regens chori' to the Carmelites; app. court organist in the same year, and, in 1792, Kapellm. at St. Stephen's cathedral. His important theoretical writings (complete ed. publ. by I. v. Seyfried) are: Gründliche Anweisung zur Composition (1790 and 1818; French ed., 1814); Kurzgefasste Methode, den Generalbass zu erlernen (1792; also in French); Clavierschule für Anfänger (1808); and some lesser essays. Of his 244 compositions, only 27 have been printed (pf.-fugues; pf.-quartet; a Concerto léger for pf., 2 vlns., and bass; organ-preludes; and quartets, quintets, sextets and octets for strings); the MS. scores (in the possession of Prince Esterházy-Galantha) comprise 26 masses, 43 gradualls, 34 offertories, 6 oratorios; 28 trios, 42 quartets, and 38 quintets, for strings; besides a great variety of church music. A selection from his instrumental works was publ. in 'Dkm. der Tonkunst in Österreich,' vol. XVI, 2. He was Beethoven's teacher in cpt., and expressed but a poor opinion of his pupil's talents.—Cf. A. Weissenbäck, J. G. A. als Kirchenkomponist, in 'Studien zur Musikwissenschaft' (vol. 14, 1927); R. Oppell, A. als Bindeglied zwischen Bach und Beethoven, in 'N. Ztschr. f. M.' 78.—See also Q.-Lex. one of two readings
8Albrechtsberger, Johann Georg, famous theoretical writer, composer, and teacher; b. Klosterneuburg, near Vienna, Feb. 3, 1736; d. Vienna, Mar. 7, 1809. After holding positions as organist and music-master in smaller towns (especially 12 years in Melk, where his fine playing attracted the Emperor Joseph's notice), in 1772 he was engaged in Vienna as 'Regens chori' to the Carmelites; app. court organist in the same year, and, in 1792, Kapellm. at St. Stephen's cathedral. His important theoretical writings (complete ed. publ. by I. v. Seyfried) are: Gründliche Anweisung zur Composition (1790 and 1818; French ed., 1814); Kurzgefasste Methode, den Generalbass zu erlernen (1792; also in French); Clavierschule für Anfänger (1808); and some lesser essays. Of his 244 compositions, only 27 have been printed (pf.-fugues; pf.-quartet; a Concerto léger for pf., 2 vlns., and bass; organ-preludes; and quartets, quintets, sextets and octets for strings); the MS. scores (in the possession of Prince Esterházy-Galantha) comprise 26 masses, 43 graduals, 34 offertories, 6 oratorios; 28 trios, 42 quartets, and 38 quintets, for strings; besides a great variety of church music. A selection from his instrumental works was publ. in 'Dkm. der Tonkunst in Österreich,' vol. XVI, 2. He was Beethoven's teacher in cpt., and expressed but a poor opinion of his pupil's talents.—Cf. A. Weissenbäck, J. G. A. als Kirchenkomponist, in 'Studien zur Musikwissenschaft' (vol. 14, 1927); R. Oppell, A. als Bindeglied zwischen Bach und Beethoven, in 'N. Ztschr. f. M.' 78.—See also Q.-Lex. one of two readings
10Alcock, John, b. London, Apr. 11, 1715; d. Lichfield, Feb. 23, 1806. At 14, a pupil of Stanley, the blind organist; in 1735, organist of two London churches; in 1737, at Plymouth, and 1740, at Reading. In 1748 he was app. organist, master of the choristers, and lay-vicar of Lichfield cathedral; in 1761, he took the degree of Mus. Doc. (Oxford). His publ. comps. comprise harpsichord-lessons, concertos, collections of psalms, hymns, and anthems; church-services; glees and catches.—His son, John (1740-91), was also an organist, and publ. several anthems (1773-6).
12Alda, Frances (stage-name of Frances Davis), lyric soprano; b. Christchurch, New Zealand, May 31, 1883. Pupil of Marchesi at Paris; début at Opéra-Comique, 1904, as Manon; subsequently sang at Brussels, London, Milan, Warsaw, Buenos Aires; member of the M. O. H. from 1908–29; then retired, appearing only occasionally over the radio; made numerous recital tours through the U. S. Created the chief soprano rôles in Princesse Rayon de Soleil (Gilson), Madame Chrysanthème (Messager), Louise (Charpentier), Le Villi (Puccini), Cyrano de Bergerac (Damrosch), Madeleine (V. Herbert), and Prince Igor (Borodin). Principal rôles: Mimi, Manon, Desdemona, Marguerite (Faust), Juliette, Gilda, Traviata, Aida, Manon Lescaut (Puccini), Margherita (Mefistofele). On April 3, 1910, she married Giulio Gatti-Casazza, director of the M. O. H.; divorced, 1928. She has written an autobiography, Men, Women and Tenors (Boston, 1937).
14Alden, John Carver, b. Boston, Mass., Sept. 11, 1852; d. Cambridge, Mass., Oct. 20, 1935. Pupil, in Boston, of Carl Faelten; in Leipzig, of Paul, Plaidy, and Papperitz. For some years associate-teacher (with Faelten) at the N. E. Cons.; after that, head of the piano dept. at the Quincy Mansion School, Wollaston, Mass.—Works: A pf.-concerto in G m., and other pf.-music; songs (Du bist wie eine Blume); anthems, etc.—A. was known as a very successful pf.-teacher.
16Aldrich, Henry, b. Westminster, 1647; d. Oxford, Dec. 14, 1710; a man of versatile attainments, being, besides a good musician, a theologian, historian, and architect. He was educated in Christ Church (Oxford), of which he became the Dean in 1689; thus he had great influence on musical instruction and practice in the college. He wrote learned works: On the Commencement of Greek Music, Theory of Organ-building, Theory of Modern
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