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Scan 74
Cyclopedia of music and musicians, 1888
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1fundamental mood, and thus every song forms an independent whole. No. 1 in E-flat, 5 verses; No. 2 in G, 3 verses; No. 3 in A-flat, 5 verses; Nos. 4 and 5 in do., 3 verses each; No. 6 in C, leading back into E-flat. Every song is strikingly characteristic in key, melody, and rhythm. (Vienna, Steiner.)—Marx (Berlin, 1875), ii. 159.
3ANDRÉ, JOHANN, born at Offenbach, Hesse, March 28, 1741, died there, June 18, 1799. Dramatic composer. His father, a silk manufacturer, intended him for the same business, but his love of music was too strong. He received lessons on the violin from a friend studying at Frankfort, and mastered the harpsichord without a teacher. He soon began composing, writing at first only fugitive pieces, but on visiting Frankfort in 1760 he heard operas, and this gave a new impulse to his taste. After the production of his first comic opera, Der Töpper, Goethe confided to him his operetta, Erwin und Elmire, which was given in 1764 with great success, and afterwards in Berlin twenty-two times in 1782. In 1774 he established at Offenbach a printing office for music, and in 1777 became musical director of the Döbbelin Theatre in Berlin, where two of his operas had been given with success in 1775; while there, he formed a friendship with and was much influenced by Marpurg, and composed many dramatic pieces. Unable to carry out a plan for transferring his printing office to Berlin, he returned to Offenbach in 1784, with the title of Kapellmeister, conferred on him by the Margrave of Brandenburg-Schwedt, and to the end of his active life devoted himself to composition, and his publications; from this press issued twelve hundred works before his death. Of his operas, one, with libretto by Bretzner, Belmonte und Constanze, oder die Entführung aus dem Serail, given in Berlin, May 26, 1781, became especially conspicuous from Mozart's setting of the same with his own music, with alterations in the text by Stephanie, July 12, 1782, which led to a quarrel between the two librettists. Works—Operas: Der alte Freier, given in Berlin, Döbbelin Theatre, 1775; Die Bezauberten, ib., 1777; Der Alchymist, ib., 1778; Das tartarische Gesetz, ib., 1779; Das wüthende Heer, Kurze Thorheit ist die beste, ib., 1780; Herzog Michel, Der Fürst im höchsten Glanze, Die Schadenfreude, Das Automat, ib., about 1780; Eins wird doch helfen, ib., 1782; Der Barbier von Bagdad, ib., 1783; Peter und Hannchen; Laura Rosetti; Claudina von Villa Bella; Die Friedensfeier; Prolog der Grazien; Azakia. Other works: Harlekin Friseur, pantomime; Music to Macbeth, King Lear, and some German plays; Three sonatas for pianoforte, violin, and violoncello, op. 1 (Offenbach, 1786); Songs with accompaniment of flute, or violin, viola, and bass, 3 parts (ib., 1793); Lenore (by Bürger), romance for pianoforte (ib., 5 editions); Die Weiber von Weinsberg, for pianoforte (ib., 1802); Ariettas, duets, and many songs, of which "Bekränzt mit Laub den lieben vollen Becher," is still popular.—Allgem. d. Biogr., i. 434; Allgem. mus. Zeitg., xvi. 869; Fétis; Gerber, Hist. Lex.; Mendel; Schilling; Schneider, Berliner Oper, 207.
5ANDRÉ, JOHANN ANTON, born at Offenbach, Oct. 6, 1775, died there, April 8, 1842. Dramatic composer, violinist, and pianist; son of, and first instructed in Berlin by, Johann André, pupil in singing of the tenor, Marschhäuser, then on the violin, at Offenbach, of Ferdinand Fränzl, 1787, at Mannheim of Franz Fränzl, 1789, and in composition of Vollweiler, 1792. Having frequented the University of Jena in 1796, he made two extended musical tours through Germany in 1798–99, and on his father's death succeeded to the publishing business at Offenbach, which he raised to a very flourishing
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