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Scan 103
Grove's Dictionary of music and musicians, 1910
18 lines. Read by computer on 11 September 2026. Printed page 73. See the scan on archive.org.
1where he died, May 14, 1801. He was the author of a book entitled Versuch einer Anleitung zur heroisch-musikalischen Trompeter- und Pauken-Kunst (Halle, 1795), which, though poor in style, is so complete in its treatment of the subject, as to be of the greatest interest in relation to trumpet music.
3F. G.
5ALTENBURG, MICHAEL, born May 27, 1584, at Alach near Erfurt, the son of a blacksmith, studied theology at Halle in 1601, and was pastor at several places, finally at Erfurt, where he died Feb. 12, 1640. He worked at music from his student years and was one of the most eminent arrangers of church-music of his time. Of his chorale tunes, 'Macht auf die Thor der G'rechtigkeit' and 'Herr Gott nun schleuss den Himmel auf' are still used. But more important are the collections published by him, and his larger sacred works:—'Christliche liebliche und andächtige neue Kirchen und Hausgesänge,' for 6 to 9 voices, Erfurt, 1620-21, in 3 vols.; '16 Intraden' in 6 parts for violins, lutes, organs, etc., Erfurt, 1620; also psalms, motets, cantiones, etc., for 4, 6, 8, or 9 voices. His writings combine simplicity with religious grandeur; and the congregational and choral singing of his various churches was renowned and regarded as a model.
7ALTERATIO (Lat.), i.e. doubling, is the name given to a curious feature in the notation of the old unbarred mensurable music, by which the second of two similar notes, breves, semibreves, or minims, which were required to occupy the whole of a triple measure, was doubled in value in performance. Thus in the phrase , if it occurred in prolatio major, in which three minims were counted to the semibreve, the second minim would be doubled in value, thus and called a minima alterata. In the absence of bars some such device was necessary, for if the composer had written , the phrase would have been sung or played . Alteratio occurs constantly in measured music, both sacred and secular, down to the middle of the 16th century (see Point). J. F. R. S.
9ALTERNATIVO. A term of frequent occurrence in suites and other compositions of the 17th and 18th centuries, having precisely the same meaning as the more modern word Trio, when that is used of the middle movement of a minuet or scherzo. The name as well as the form evidently had its origin in the common use, for dancing purposes, of two more or less contrasting measures, which were played alternately as long as the dancers desired (see Grossvatertanz, Csardas, Magyar Music). The word seems generally to carry with it the direction 'Da capo,' since that sign is seldom found in conjunction with it, although the idea of going back to the first strain or measure is never absent from the Alternativo. The latest instance of its use is in Schumann's six 'Intermezzi,' op. 4, in four of which it occurs as the title of the middle section.
11M.
13ALTÈS, ERNEST EUGÈNE, violinist and conductor, younger brother of the flute-player, Joseph Henri Altès (1826-95), was born in Paris, March 28, 1830. Sons of a soldier and brought up in the regiment, the boys were taught by their father to play the violin and fife from their earliest years. In his 12th year Altès wrote an air with variations for violin and piano, which was shown to Habeneck, and procured his entrance into the Conservatoire. In 1843 he entered Habeneck's violin class; two years later he gained a second accessit for violin, in 1847 the second prize, and in the following year the first prize. In 1849 he obtained a second prize for harmony under Bazin, after which he spent some time in studying advanced composition with Carafa. From 1845 onwards he played in the Opera band, and in 1846 was admitted to the orchestra of the 'Concerts du Conservatoire.' In 1871 Altès was appointed deputy-conductor at the Opera in place of Deldevez, who had just given up his post after twelve years' work. G. Hainl was at this time conductor of the Opera, but at his death in 1873 Deldevez, who in the preceding year replaced Hainl as conductor at the Conservatoire, was recalled. In 1877 Deldevez was succeeded at the opera by Lamoureux, who being unable to agree with the new director, M. Vaucorbeil, retired at the end of 1879. Altès, who was still deputy-conductor, was now appointed conductor, and almost immediately gave up his post at the Société des Concerts, which he had held since 1877. In 1881 he was decorated with the Legion d'Honneur. His chief compositions are a sonata for piano and violin, a trio for piano and strings, a string quartet, a symphony, and a divertissement on ballet airs by Auber, written for the Auber centenary in 1882, besides operatic fantasias, mélodies caractéristiques, etc. On July 1, 1887, M. Altès, having, against his wish, been placed on the retired list, was rather roughly discharged by the directors of the Opera, and replaced by M. Vianesi. He died in July 1899.
15A. J.
17ALTHORN, a tenor instrument of the SAXHORN family, usually standing in Eb or F. It is used almost exclusively in military and brass bands, and often replaces the French horn, for which, however, it is a poor substitute as regards tone. [In a slightly modified form, however, as the tenor tuba, it is introduced by Wagner into the orchestral wind band. D. J. B.] It is much easier to learn than the horn, and presents greater facility in rapid melodic passages. The least objectionable way of introducing it into the reed band is to associate a pair of these instruments with two French horns, reserving characteristic holding notes for the latter. In the
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