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Scan 24
Dictionary of music, 1900
18 lines. Read by computer on 3 September 2026. Printed page 16. See the scan on archive.org.
1wish of his parents was compelled to break off the musical studies which he had commenced with Schütz, and to study law at Leipzig. In 1626 he went to Königsberg i. Pr., started with an embassy to Warsaw, but on the road was taken prisoner by the Swedes, and only returned in 1628, after enduring many hardships. In 1632 he was appointed organist at the cathedral, and resumed his musical studies under Stobäus. A. was not only an excellent musician, but also a poet, and wrote the words to the greater number of his songs (others are written by Simon Dach, his contemporary and friend). Chorales, of which he wrote both music and words, are still sung in Prussia. His most important works are: 8 sets of Arias (1638–1650), of which the first seven were frequently reprinted, and the "Kürbshütte" (1645), collections of songs, Lieder and chorales, partly for one, partly for several voices.—(2) Max, b. Jan. 7, 1833, Munich; performer on the zither, and an improver of this instrument; he died Sept. 4, 1882, Berlin.—(3) Eugène Francis Charles d', distinguished pianist and gifted composer, b. April 10, 1864, Glasgow, son of the musician and dancing master, Charles d'A. (b. Feb. 25, 1809, Nienstteten, near Altona, d. May 26, 1866, London). He was elected Newcastle Scholar at the National Training School (E. Pauer, Dr. Stainer, E. Prout, and Sullivan). In 1881, as Mendelssohn Scholar, he went to study on the Continent, under Richter at Vienna and Liszt at Weimar. Already on Feb. 5, 1881, he played Schumann's Concerto at the Crystal Palace (London), and in October of the same year a pianoforte concerto of his own at a Richter Concert. At the present time d'A. stands as a pianist of the first rank (Tausig redivivus), and is held in esteem also as a composer (pianoforte concerto in B minor; overtures, "Hyperion" and "Esther," symphony in F, pianoforte suite, quintet for strings in A minor, charming songs, etc.). For the last few years d'A. has resided in Germany.
3Albertazzi, Emma, née Howson, celebrated contralto singer, b. May 1, 1814, London, d. there Sept., 1847, made her début in London in 1830, was afterwards engaged at Piacenza, Milan, Madrid, Paris, and London, and again in Italy, after her voice had begun to fail; she sang finally once again in London. Her singing, for the rest, was lifeless and without passion.
5Alberti, (1) Joh. Friedrich, b. Jan. 11, 1642, Tönning (Schleswig), d. June 14, 1710; studied first theology, then music under Werner Fabricius at Leipzig; he became cathedral organist at Merseburg, but in consequence of a stroke of apoplexy was compelled to resign the post in 1698. He was held in high esteem as a learned contrapuntist and a composer of sacred music.—(2) Giuseppe Matteo, b. 1685, Bologna, a celebrated violinist and instrumental composer (concertos, symphonies, etc.).—(3) Domenico, b. at the beginning of the 18th century at Venice, was an enthusiastic lover of music, and first appeared as an amateur singer, later also as a pianist, and finally as a composer (sonatas, etc., also three operas), he was admired by his circle of friends. (Cf. ALBERTI Bass.)—(4) Karl Edmund Robert, b. July 12, 1801, Danzig, d. in 1874 at Berlin; studied theology and philosophy at Berlin, but at the same time was a diligent student of music under Zelter. As pastor at Danzig he founded a musico-dramatic union of amateurs, and when in 1854 he became member of the school board at Stettin, was still zealously active in the cause of music. He composed only a few books of songs, but, on the other hand, was active as a writer on music: "Die Musik in Kirche und Staat" (1843); "Andeutungen zur Geschichte der Oper" (1845); "Richard Wagner," etc. (1856); "Raphael und Mozart" (1856); "Beethoven als dramatischer Tondichter" (1859). From 1866 he lived in private at Berlin, and contributed various interesting articles to the Neue Berliner Musikzeitung.
7Alberti Bass, a bass consisting of chords broken in a similar manner, as accompaniment to a melody played with the right hand, a form much in vogue at the present day in easy pianoforte music (e.g. Mozart's Sonata in F).
9It derives its name from Domenico Alberti, who first made extensive use of it.
11Albertini, (1) Giovacchino, b. 1751, d. April, 1811, Warsaw, royal Polish capellmeister about the year 1784; in his time a favourite composer of Italian operas: his Circe ed Ulisse was performed at Hamburg (1785) with great success; also Virginia in 1786 at Rome.—(2) Michael, called Momoletto, celebrated evirato at Cassel at the beginning of the 18th century, where also his sister Giovanna, called Romanina, distinguished herself as principal singer.
13Albicastro, Henrico (really Weissenburg). He was a Swiss by birth, and took part in the war respecting the Spanish Succession (1701–14). He published a series of chamber-music works (sonatas for violin, partly a tre, i.e. with 'cello and bass, partly a due with only continuo).
15Albinoni, Tommaso, prolific Italian opera composer, b. 1674, Venice, d. there, 1745; wrote 49 operas mostly for Venice, but also a number of valuable instrumental works (sonatas, a tre and a due, da camera e da chiesa symphonies, concertos, etc.). J. S. Bach, who esteemed A.'s music very highly, wrote two fugues (in A major and F minor) on themes of A.'s.
17Alboni, Marietta, celebrated contralto singer, b. Mar. 10, 1823, Cesena (Romagna), pupil
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