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Scan 55
Cyclopedia of music and musicians, 1888
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1teemed works were bought for the royal library, Dresden, but perished in the bombardment of 1760. Among those still preserved are: Te Deum for 2 choruses, and small orchestra; Kyrie for 8 voices; Mass for do.; Symbolum Nicæum for 4 voices and instruments; The one hundred and fiftieth psalm for do.—Fétis; Mendel; Schilling.
3ALBUMBLATT, EIN, for pianoforte, by Richard Wagner, composed 1860, published as supplement to No. 41 (1871) of Musikalisches Wochenblatt. It has been arranged for orchestra by Reichelt; for violin and orchestra by August Wilhelmj; for violoncello and orchestra by David Popper.—Kastner, Wagner Katalog, 54.
5ALBUMBLÄTTER (Fr., Feuillet d'album; Album Leaves), by Robert Schumann, a collection of twenty short movements in varied styles, for pianoforte, op. 124. Composed in 1832–45; dedicated to Frau Alma von Wasielewski. Published by F. W. Arnold (Elberfeld, 1854).
7ALBUM FÜR DIE JUGEND (Album for the Young), by Robert Schumann, a collection of forty-three short movements in varied styles for the pianoforte, op. 68. Composed in 1848; published by J. Schuberth & Co. (Leipsic and New York, 1849–51).
9ALCESTE (Alcestis); or, Le triomphe d'Alcide (The Triumph of Hercules). Lyric tragedy in five acts, text by Quinault, music by Lulli, first represented in the theatre of the Palais Royal, Paris, Jan. 19, 1674. The plot, derived from the "Alcestis" of Euripides, turns on the restoration to life, through the efforts of Hercules, who struggles with and overcomes Death, of Alcestis, who had died in place of her husband, Admetus, King of Pheræ. This opera was always successful until eclipsed by Gluck's work. Hanslick, Moderne Oper, 23.
11ALCESTE, tragic opera in three acts, Italian text by Calzabigi, music by Gluck, first represented in Vienna, Dec. 16, 1766. The score was published in Vienna in 1769, with a dedicatory epistle to the Archduchess Leopold, explaining the composer's intention in its composition, which was to produce an opera in which the music should be perfectly adapted to the drama, and should faithfully interpret each situation without undue ornamentation. The new style was received with galling criticism, and in 1774 Gluck removed to Paris, where his work, with its text translated and adapted for the French stage by the Bailli du Rollet, was produced at the Académie de Musique, April 23, 1776. Alceste was revived in Paris in 1861, with Pauline Viardot, and in 1866, with Mlle Battu in the title rôle. Among its best numbers are: "Non, ce n'est point un sacrifice," "Divinités du Styx," and, "Ah! divinités implacables!" Other settings are by Strungk, Hamburg, 1682; by Antonio Draghi, Vienna, 1699; by Schurmann, Hamburg, 1719; by Lampugnani, London, 1745; by Schweitzer, text by Wieland, Leipsic, 1774; by Gresnick, London, 1786; by Portogallo, Venice, 1799; by Elwart, text by Hippolyte Lucas, Paris, 1847.—Marx, Gluck u. d. Oper, i. 337; Desnoiresterres, Gluck et Piccinni, 62, 129.
13ALCESTE, Handel. See Choice of Hercules.
15ALCHYMIST, DER (The Alchemist). German opera, text by Pfeiffer, adapted from Washington Irving's story of the same title, music by Spohr; first performed at Cassel, July 28, 1830, the elector's birthday. It had but a temporary success. Other operas by this title: By Johann André, Berlin, about 1765; by Schuster, Vienna, 1785; by Hoffmeister, about 1790; L' Alchimista, Italian opera, by Lauro Rossi, Naples, 1853; L'Alchimiste, French opera in one act, by Léon Paliard, Lyons, 1855
17ALCIBIADE (Alcibiades), Italian opera by Marc Antonio Ziani, Venice, 1680; by Ballarotti (with Gasparini), Venice, 1699; by Steffani, text by Ortensio Mauro, Brunswick, 1696, Hamburg, 1697; by Cordella,
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