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Scan 126
Grove's Dictionary of Music and Musicians, 1920
29 lines. Read by computer on 11 September 2026. Printed page 114. See the scan on archive.org.
1Dudley Buck, from 1899 Gerrit Smith, from 1902 S. P. Warren, from 1906 H. W. Parker, and in 1909–12 Arthur Foote; in 1912 the office was discontinued. The wardens have been successively Gerrit Smith, Sumner Salter, W. H. Hall, R. H. Woodman, S. A. Baldwin, J. H. Brewer, W. R. Hedden, Frank Wright, J. W. Andrews, Clifford Demarest and Victor Baier. The Clemson anthem-prize has been won by W. C. Macfarlane, S. N. Penfield, H. J. Stewart, J. S. Ford, W. Y. Webbe, Mark Andrews, Herbert Sanders and William Berwald. The general office is at 29 Vesey Street, New York.
3AMERICAN INSTITUTE OF APPLIED MUSIC, THE, in New York, was incorporated in 1900 to continue the work of the Metropolitan College of Music and other schools. Kate S. Chittenden, founder of the Synthetic Piano School in 1887 and on the staff of the College from 1892, has been the efficient dean from the first. In its regular curriculum the Institute aims at systematic thoroughness, with much emphasis upon pedagogical method, largely with reference to those expecting to teach. The enrolment averages about 350 per year. More than 1000 teachers have received certificates. The Institute is located at 212 West 59th Street.
5AMERICAN OPERA COMPANY, THE, was an enterprise organized in 1885 under the lead of Mrs. Jeannette Thurber of New York for the giving of opera in English with extreme artistic perfection and, so far as practicable, with American artists, not only in New York, but in several other cities. Theodore Thomas was secured as musical director, and no pains were spared in recruiting the orchestra, the staff of soloists and the chorus. The Academy of Music was tastefully renovated for the New York season, which opened on Jan. 4, 1886, and ran to sixty-six performances, with a later tour to Boston, Philadelphia, Baltimore, Washington, Chicago, etc. The répertoire included 'Orpheus,' 'The Magic Flute,' 'Martha,' 'The Merry Wives,' 'The Flying Dutchman,' 'Lohengrin,' Massé's 'The Marriage of Jeannette,' 'The Taming of the Shrew' and 'Lakmé.' The venture proved over-ambitious and its financial foundation insufficient, and in 1887 it was abandoned and was succeeded by a new organization, called the National Opera Company. See Mrs. Thomas, Memoirs of Theodore Thomas, pp. 279–96, and Krehbiel, Chapters of Opera, pp. 139–44.
7AMERICAN ORGAN. The English name for the type of reed-organ developed in the United States from about 1850–60. See Vol. i. 77–8, and pamphlet by Henry L. Mason, The History and Development of the American Cabinet Organ, n. d.
9AMERICAN PIANO COMPANY, THE, of New York, was formed in 1908, with a capital of $12,000,000, to unite the interests of Chickering & Sons, Knabe & Co., Haines Brothers, Marshall & Wendell and several other firms. It has not only carried forward the established business of all of these, but developed with marked success the player-pianos and similar devices connected with them. The name 'Ampico' is applied to the most perfect of these latter, which has exceptional facility in recording and reproducing tone-colors and nuances. Its inventor was Charles D. Stoddard, and it was first publicly shown in 1916.
11'AMERICAN SYMPHONY.' A name often given to Dvořák's Symphony No. 5, in E minor, 'From the New World,' produced in New York in 1893.
13AMERICAN SYMPHONY ORCHESTRA, THE, of Chicago, was founded in 1915 by Glenn Dillard Gunn, who has remained its conductor. Its object is to present American compositions exclusively. Among the important works thus far brought forward are the following:
15H. K. Hadley: Dramatic Overture, 'Herod.'
16Eric DeLamarter: 'Alice in Wonderland' Suite; 'Overture to a Comedy.'
17J. A. Carpenter: 'Gitangili,' songs for soprano and orchestra (texts by Tagore).
18Leo Sowerby: 'Homage to English Country-Folk.' settings of three folk-songs; Symphonic Poem, 'The Sorrows of Midath'; Concerto for violin and orchestra; 'Marching-Song,' for strings and piano.
19Clarence Loomis: Concerto for piano and orchestra; Fantasy for piano and orchestra.
20R. G. Cole: Symphonic Prelude, 'King Robert of Sicily.'
21Arthur Dunham: Overture, 'In Autumn.'
22George Colburn: 'Montezuma' Suite; 'The Song of the Drum,' for chorus and orchestra.
23Clarence Burley: Concerto for violin and orchestra.
24C. W. Cadman: 'Indian' Suite.
25Roland Leach: Overture, 'Legend.'
26Herbert Butler: Ballade.
28ANDERSON, ARTHUR OLAF (Jan. 30, 1880, Newport, R. I.), was a pupil of Norris in Boston, of Guilmant, Guiraud and d'Indy in Paris, of Dura in Berlin, and of Sgambati in Rome. In 1905–08 he taught theory in Berlin. In 1908 he came to Chicago and joined the faculty of the American Conservatory, with which he is still connected. He has composed an orchestral suite, 'The Brook'; other music for large and small orchestra; suites for piano, organ and violin; two sonatas for piano; twelve fugues; an 'Ave Maria,' for soprano and orchestra; two song-cycles, 'Pilgrimage to Kevlaar' and 'The Child's Garden of Verses'; fifty songs and various choruses. [R.9]
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