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Scan 115
Grove's Dictionary of music and musicians, 1910
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1one by Bretzner in four acts, 'Belmonte und Constanza, oder die Entführung aus dem Serail,' produced in Berlin on May 26, 1781, and often repeated with applause. Shortly afterwards, on July 16, 1782, appeared Mozart's setting of the same opera, with alterations and additions to the text by Stephanie. A paper war followed between the two librettists, during which André took occasion to speak nobly on the side of Stephanie, notwithstanding his having assisted Mozart in the preparation of an opera which had far surpassed his own. After André's death the business was carried on by his third son, JOHANN ANTON, the most remarkable member of the family. He was born at Offenbach, Oct. 6, 1775, and while almost an infant showed great predilection and talent for music. He was an excellent player both on the violin and piano, and a practised composer before entering at the University of Jena, where he went through the complete course of study. He was thus fully competent on the death of his father in 1799 to assume the control of the business, and indeed to impart to it fresh impulse by allying himself with Senefelder the inventor of lithography, a process which he largely applied to the production of music. In the year of his father's death he visited Vienna, and acquired from Mozart's widow the entire musical remains of the great composer, an act which spread a veritable halo round the establishment of which he was the head. André published the thematic catalogue which Mozart himself had kept of his works from Feb. 9, 1784 to Nov. 15, 1791, as well as a further thematic catalogue of the whole of the autographs of the master which had come into his possession. André was equally versed in the theory and the practice of music; he attempted every branch of composition, from songs to operas and symphonies, with success. Amongst other things he was the author of 'Proverbs,' for four voices (op. 32), an elaborate joke which was subsequently the object of much dispute, owing to its having been published in 1869 by Aibl of Munich as a work of Haydn's. As a teacher he could boast of a series of distinguished scholars. His introduction to the violin and his treatise on harmony and counterpoint were both highly esteemed. So also were the first two volumes of his unfinished work on composition (Lehrbuch der Tonsetzkunst, 1832-43). André was dignified with the title of Hofrath, and by the accumulation of musical treasures he converted his house into a perfect pantheon of music. He died on April 6, 1842. An idea of the respect in which he was held may be gained from various mentions of him in Mendelssohn's letters, especially that of July 14, 1836, and a very characteristic account of a visit to him in Hiller's Mendelssohn, chapter i. Of his sons mention may be made of JOHANN AUGUST, born March 2, 1817, died Oct. 29, 1887, the publisher of the Universal-Lexikon der Tonkunst of Schladebach and Bernsdorf; of JOHANN BAPTIST, born March 7, 1823, died Dec. 9, 1882, pupil of Aloys Schmitt and Kessler, and afterwards of Taubert and Dehn, a resident in Berlin, for some years capellmeister to the Duke of Bernburg; of JULIUS, born June 4, 1808, died April 17, 1880, who addicted himself to the organ, and was the author of a Practical Organ School, which has gone through several editions, and of various favourite pieces for that instrument, as well as of four hand arrangements of Mozart's works; lastly of KARL AUGUST, born June 15, 1806, died Feb. 15, 1887, who in 1835 undertook the management of the branch establishment opened at Frankfort by his father in 1828, adding to it a manufactory of pianos, and a general musical instrument business. He named his house 'Mozarthaus,' and the pianos manufactured there 'Mozartflügel,' each instrument being ornamented with a portrait of the master from the original painting by Tischbein in his possession. In 1855, on the occasion of the Munich Industrial Exhibition, he published a volume entitled Pianoforte-making: its history, musical and technical importance (Der Klavierbau, etc.). C. F. P.
3ANDREOLI, GIUSEPPE, a celebrated contrabassist, born at Milan, July 7, 1757, died Dec. 20, 1832; member of the orchestra of La Scala and professor of his instrument at the Conservatorio of Milan; also played the harp with success. T. P. H.
5ANDREOLI. A musical family, not related to the foregoing. EVANGELISTA, the father—born 1810, died June 16, 1875—was organist and teacher at Mirandola in Modena. His son, GUGLIELMO, was born there April 22, 1835, and was pupil at the Conservatorio of Milan, 1847-53. A pianist of great distinction, remarkable for his soft and delicate touch, pure taste, and power of expression, as well as for great execution. He was well known in London, where he appeared at the Crystal Palace (Dec. 13, 1856), the Musical Union (April 27, 1858), the New Philharmonic (May 9, 1859), and elsewhere. His health was never strong, and he died at Nice, March 13, 1860. His compositions were unimportant. His brother CARLO was also born at Mirandola, Jan. 8, 1840, and brought up at the Conservatorio of Milan, where he became professor of the piano about 1875. He too was favourably known in London, though since 1871 his health has confined him to Italy and the south of France. G.
7ANDREVI, FRANCESCO, born near Lerida in Catalonia of Italian parents, Nov. 16, 1786, died at Barcelona Nov. 23, 1853; was successively the director of music in the cathedrals of Valencia, Seville, Bordeaux (1832-42), where he fled during the civil war. He lived in Paris from 1845 to 1849, and finally held the place of director of the music in the church of Our
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