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Scan 11
Dictionary of music, 1896
26 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1published six violin concertos.—(4) Karl Friedrich, brother of the former, b. 1725, Cöthen, d. Jan. 22, 1787, London, the last performer on the gamba, and a composer highly esteemed in his time. He was a pupil of J. S. Bach's, at St. Thomas's School, Leipzig. From 1748 to 1758 he was member of the Dresden court band; after that he went on concert tours, and lived in London 1759–1787, with the exception of two years (1783–5) spent in Germany. In 1765 he was appointed chamber-musician to Queen Charlotte. His numerous sonatas, concertos for pf. and strings, quartets, overtures, and symphonies deserve mention.—(5) Ludwig, b. Jan. 14, 1835, Eckartsberge (Thuringia), received his artistic training at Weimar and Leipzig (Ferd. David), became leader of the orchestra at Munich in 1867, and is now one of the principal teachers at the Royal School of Music (violin, playing from score, etc.). A. has published violin compositions and also a violin Method.
3Abela, (1) Karl Gottlob, vocal composer, b. April 29, 1803, Borna (Saxony), d. April 22, 1841, as cantor of the "Francke" Institution at Halle; he published a book of songs for schools, as well as numerous choruses for male voices.—(2) Dom Placido, prior of the abbey of Monte Cassino, d. July 6, 1876, was an excellent organist and composer of church music.—(3) Pedro de, teacher of singing of repute, d. March, 1877, Barcelona. Tamberlik was one of his pupils.
5Abell, John, famous English evirato and lute player, b. about 1660, London, where already in 1679 he was member of the Chapel Royal, d. 1724. The Revolution of 1688 cost him his position; yet, after long journeys on the Continent, he returned to London in 1700, and gained fresh triumphs. A. published two collections of songs.
7A bene placito (Ital.), at pleasure.
9Abenheim, Joseph, b. 1804, Worms, d. Jan. 18, 1891, Stuttgart, a worthy member of the court band at Stuttgart (violinist), appointed musical director in 1854; he wrote many entr'actes, overtures, etc., but only some interesting small pf. pieces and songs have appeared in print.
11Abert, Johann Joseph, b. Sept. 21, 1832, Kochowitz (Bohemia), received his first musical education as chorister at Gastdorf and the Leipa monastery, but fled from the latter place, and, thanks to the aid of a relative, became a pupil at the Prague Conservatorium under Kittl and Tomaczek. In 1852 he was engaged as double-bassist in the Stuttgart court band, and in 1867 obtained, on the departure of Eckert, the post of capellmeister there; in the autumn of 1888 he retired from active life. Abert's c minor symphony (first performed in 1852), his Symphonic Poem "Columbus" (1864), also his operas, Anna von Landskron (1858), König Enzio, Astorga, Ekkehard, Die Almohaden (1890), besides overtures, quartets, songs, etc., have won for him a good name.
13Abesser, Edmund, b. Jan. 13, 1837, Marjolitz (Saxony), d. July 15, 1889, Vienna, a prolific salon composer, opera Die liebliche Fee.
15Abgesang (Ger., "aftersong"). (See STROPHE.)
17Ab initio (Lat.), from the beginning. (See DA CAPO.)
19Abos, Girolamo (also Avos, Avossa), composer of the Neapolitan school, born at the beginning of the 18th century at Malta, d. about 1786, Naples; pupil of Leo and Durante. He wrote operas (1742–63) for Naples, Venice, Rome, and London, which were highly esteemed by his contemporaries. In later years, after he had been appointed teacher at the Conservatorio della pieta di Turchini, Naples (1758), he wrote also many sacred works (7 masses, litanies, etc.). Aprile was his most famous pupil.
21Abraham, (1) see BRAHAM.—(2) Dr. Max, see PETERS.
23Absolute Music (i.e. music per se, without relation to other arts, or to any presentation whatever outside of it) is a limiting term, which, in recent times, forms the watchword to a great party among musicians and friends of music. A. M. is opposed to music-painting, to presentative or programme-music, i.e. to music supposed to express something definite. According to the opinion of a hyper-modern minority, all music which does not express some definite poetical thought is mere trifling with sounds. On the other hand, ultra-conservative musicians utterly deny to music the power of representing anything. As a matter of fact, when music becomes symbolic, i.e. attempts by means of certain formulae or artificial imitation of sounds intentionally to awaken certain definite associations of ideas, it goes beyond its own domain and enters that of poetry or of the representative arts (cf. Riemann, "Wie hören wir Musik," 1888, "Catechism of Musical Esthetics"), for the essence of poetry consists in awakening and linking together by means of conventional forms (words) certain conceptions, that of the representative arts by the direct imitation of objective phenomena; both, therefore, reach the aim of all art, that of moving the soul, by indirect means, of which music need not make use. The great power of music lies in the direct emotions which it awakens, in the fact that it is a free outpouring of feeling, and calls forth feeling from player and listener without the intervention of intellect. (See ESTHETICS.)
25Abt, Franz, b. December 22, 1819, Eilenburg, d. March 31, 1885, Wiesbaden, attended the St. Thomas School, Leipzig, and was to have studied theology, but soon turned his attention to music, conducted a students' "philharmonic" society, and made successful at-
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