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Scan 23
Dictionary of music, 1900
38 lines. Read by computer on 3 September 2026. Printed page 15. See the scan on archive.org.
1his comic operas and vaudevilles were produced at Vienna at the "Kärntnerthor" Theatre (1826-29); he also wrote masses, a requiem, choruses for male voices, a quintet with flute, etc.
3Aimo. (Vide HAYM 2).
5Air, song, melody, Lied (Ger.); also instrumental melodies, dances (gavotte, musette, etc.), formerly were regularly called airs. (See ARIA.)
7Aireton, Edward, celebrated English instrument maker at London during the second half of the 18th century, d. 1807, aged 80; he successfully imitated the violins and 'cellos of Amati.
9Ajahli Keman, a Turkish stringed instrument with a foot, somewhat smaller than the 'cello.
11Ajolla. (Vide LAYOLLE.)
13Akeroyde, Samuel, popular and prolific English composer of songs at the end of the 17th century. His compositions are to be found in numerous English collections of that time, in "D'Urfey's Third Collection of Songs" (1685), in "The Theatre of Music" (1685-7), "Comes amoris" (1687-92), "Thesaurus musicus" (1693-96), etc.
15Al (Ital.) = a il ("up to") for ex., crescendo al forte.
17Ala, Giovanni Battista, organist at the church dei servitori in Monza at the beginning of the 17th century; he published canzonets and madrigals (1617, 1625); "Concerti ecclesiastici" (1616-28, four books); also the "Pratum Musicum" (1634) contains some of his motets. He is said to have died at the early age of 32, and according to Gerbert in 1612 (?).
19Alard (1), Delphin, violinist, b. May 8, 1815, Bayonne, d. Feb. 22, 1888, Paris; pupil at the Paris Conservatoire (Habeneck), and professor of the violin there (1843-75) as successor to Baillot; he was one of the most famous of French violinists, and an excellent teacher (Sarasate was his pupil); his playing was free and easy, and full of verve. A. published a great number of compositions for the violin (fantasias on operatic and original airs, concertos, études, duets for pf. and violin, etc.), as well as a highly meritorious "Violin School", which has been translated into Spanish, Italian, and German.—(2) César, excellent 'cellist, b. May 4, 1837, Gosselies (Belgium); pupil of Servais.
21Alary, Giulio, b. 1814, Mantua, d. April 17, 1891, Paris; pupil at the Milan Conservatorio; was for some years flautist at La Scala, but went in 1833 to Paris as music teacher, and made a name as composer in the shallow style of the period, but produced also nine operas and the oratorio La Rédemption (1850).
23Alayrac. (See DALAYRAC.)
25Albanese, b. 1729, Albano, Apulia, d. 1800, Paris; principal singer (evirato) in the Concerts spirituels from 1752-62; was in his time much in vogue as a composer of romances.
27Albani, Matthias, name of two celebrated violin makers (father and son). The elder, b. 1621, Botzen, pupil of Steiner, d. 1673, Botzen. The son worked for several years with the master violin makers at Cremona, and then settled down in Rome. The instruments which he made between 1702-9 are very celebrated, and considered almost equal to those of Amati.
29Albani, Marie Louise Cécilia Emma Lajeunesse (stage name, A.), famous dramatic soprano singer, b. 1850, Chambly, near Montreal, first sang in public at the cathedral of Albany (State of New York). She then studied at Paris under Duprez, afterwards under Lamperti, and made her début at Messina in Sonnambula (1870). She then sang for a time at La Pergola (Florence), and at the Italian Opera (Covent Garden) for the first time in 1872. She visited Paris, Petersburg, America, etc., everywhere becoming a centre of attraction. In 1878 she married Ernest Gye, lessee of Covent Garden Theatre. Madame Albani is also an excellent oratorio singer, appears at the principal musical festivals and concerts, and is, in addition, a good pianist.
31Albeniz, (1) Don Pedro, Spanish monk, b. 1755, Biscay, d. 1821, San Sebastian; was maestro of San Sebastian Cathedral, where he published in 1800 a Method of Music highly prized in Spain. A very large number of masses, motets, villancicos, etc., testify to his diligence as a composer; they brought him, anyhow, fame in his own country.—(2) An early master of modern pianoforte playing in Spain, b. April 14, 1795, Logroño (Old Castile), d. April 12, 1855, Madrid; pupil of H. Herz, for some years organist at San Sebastian, 1830 pianoforte professor at the newly-established Royal Conservatorio at Madrid, 1834 court organist, and loaded with honours of all kinds. A large number of pf. compositions (variations, rondos, fantasies, études, etc.) appeared in print, also a pianoforte Method, introduced into the Madrid Conservatorio.
33Albergati, Pirro Capacelli, Conte d', was a highly-esteemed composer at the end of the 17th and the beginning of the 18th century (2 operas, 15 oratorios, masses, motets, cantatas, psalms, also sonatas for 2 violins with continuo, dance pieces, etc.).
35Albert, Prinz von Sachsen-Koburg-Gotha, b. Aug. 26, 1819, from 1840 Prince Consort of the Queen of England, d. Dec. 14, 1861; he was a zealous cultivator and patron of music, and himself composed many vocal works, masses, an operetta, Les Petits du Premier (Paris, 1864), an opera, Jean le Fol (Bagnieres de Bigone, 1865), songs, etc.
37Albert, (1) Heinrich, b. July 8 (old style, June 28), 1604, Lobenstein, Voigtland, d. Oct. 6, 1651, Königsberg. He attended the Gymnasium at Gera, and went in 1622 to his uncle, Heinrich Schütz (q.v.) in Dresden, but at the
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