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Scan 83
Grove's Dictionary of music and musicians, 1910
12 lines. Read by computer on 11 September 2026. Printed page 57. See the scan on archive.org.
1soldier until the close of the disastrous Italian campaign in 1859, when he returned to his musical studies. Art was certainly the gainer by his return. In due time he became a soloist of repute, and violinist in the much-frequented Trio Concerts given by him in conjunction with Barth the pianist and Hausmann the violoncellist; but he is chiefly known to fame as second violin in the Joachim Quartet, a position for which he was not only fitted by refinement of style, and musical knowledge, but also by his quite remarkable faculty of playing up to the leader. It is said that, in parallel passages, it was at times difficult to discern which of the two was playing. Amongst the posts held by him at Berlin were that of leader of the Royal orchestra and professor at the Hochschule under Joachim. He died in Berlin, Nov. 1, 1892. His sister, ELEANORA DE AHNA, was a dramatic singer of great promise, fulfilling mezzo-soprano rôles at the court opera. Born Jan. 8, 1838, she died at the early age of twenty-seven, on May 10, 1865.
3AIBLINGER, JOHANN CASPAR, born at Wasserburg in Bavaria, Feb. 23, 1779. His compositions are much esteemed, and performed in the Catholic churches of South Germany. In 1803 he went to Italy, and studied eight years at Vicenza, after which he settled at Venice, where in conjunction with the Abate Gregorio Trentino he founded the 'Odeon' Institution for the practice of classical works. In 1819 he was recalled to his native country by the king, wrote two ballets, and was appointed capellmeister of the Italian Opera at Munich, until 1823, when he conducted the court music. In 1833, however, he returned to Italy, and resided at Bergamo, occupying himself in the collection of ancient classical music, which is now in the Staatsbibliothek at Munich. His whole efforts to the end of his life were directed to the performance of classical vocal music in the Allerheiligenkapelle at Munich, erected in 1826. His single attempt at dramatic composition was an opera, 'Rodrigo e Chimene,' 1821, which was not successful. The bravura airs for Mme. Schechner and for Pellegrini were much liked, but the piece showed no depth of invention. In church music, however, he was remarkably happy; his compositions in this department are in the free style of his time, written with great skill, and full of religious feeling, tuneful, agreeable, and easy melody, and exactly suited to small church choirs. They consist of masses, some requiems, graduals, litanies, and psalms, with accompaniments for orchestra and organ, published at Munich, Augsburg, and Paris (Schott). Aiblinger died May 6, 1867.
5AICHINGER, GREGOR. Born about 1565; took holy orders, and in 1584 entered the service of Freiherr Jacob Fugger at Augsburg as organist. In 1599 he paid a visit of two years to Rome to perfect himself in music. He died Jan. 21, 1628. In the preface to his 'Sacræ Cantiones' (Venice, 1590), he praises the music of Gabrieli; and his works, both in this collection and in that of 1603, also betray the influence of the Venetian school. They are among the best German music of that time, bearing marks of real genius; and are superior to those of his contemporary, the learned Gallus, or Handl. Amongst the most remarkable are a 'Ubi est frater,' and 'Assumpta est Maria,' both for three voices; an 'Adoramus' for four; and an 'Intonuit de cælo' for six voices, the last printed in the Florilegium Portense. A Litany, a Stabat Mater, and various motets of his are printed in Proske's 'Musica Divina,' and a motet for six voices in Commer's 'Musica Sacra.' A complete list is in the Quellen-Lexikon. F. G.
7AÏDA. Grand opera in four acts; libretto by Antonio Ghislanzoni, music by Verdi. Commissioned by the Viceroy of Egypt for the opera-house at Cairo, and produced there Dec. 24, 1871. The first European performance took place at Milan, Feb. 8, 1872; and on June 22, 1876, it was given at Covent Garden. M.
9AIMON, PAMPHILE LEOPOLD FRANÇOIS, violoncellist and composer, born at L'Isle, near Avignon, Oct. 4, 1779; conducted the orchestra of the theatre in Marseilles when only seventeen, that of the Gymnase Dramatique in Paris 1821, and of the Théâtre Français, on the retirement of Baudron, 1822. Of his seven operas only two were performed, the 'Jeux Floraux' (1818), and 'Michel et Christine' (1821), the last with great success. A third, 'Les Sybarites,' was published in 1831. He also composed numerous string quartets, trios, and duos (Paris and Lyons), and was the author of Connaissances préliminaires de L'Harmonie, and other treatises. He died in Paris, Feb. 2, 1866. M. C. C.
11AIR (Ital. aria; Fr. air; Germ. Arie, from the Latin aer, the lower atmosphere; or æra, a given number, an epoch, or period of time). In a general sense air, from the element whose vibration is the cause of music, has come to mean that particular kind of music which is independent of harmony. In common parlance air is rhythmical melody—any melody or kind of melody of which the feet are of the same duration, and the phrases bear some recognisable proportion one to another. In the 16th and 17th centuries air represented popularly a cheerful strain. The English word glee, now exclusively applied to a particular kind of musical composition, is derived from the A.S. glīge, in its primitive sense simply music. Technically an air is a composition for a single voice or any monophonus instrument, accompanied by other voices or by instruments. About the beginning of the 17th century many part-songs were written, differing from those of the preceding century in many important particulars, but chiefly in the fact of their
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