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Grove's Dictionary of music and musicians, 1927
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11882. The appointment to a professorship at the R.A.M. in London, in succession to Thomas Wing, followed in 1893, and in the same year he married the novelist, Mme. E. Maria Albanesi.
3Carlo Albanesi held the title of Cavaliere Ufficiale of the Crown of Italy; he was an honorary member of the R.A.M. and examiner of the pianoforte class of the R.A.M. and R.C.M. Associated Board, as well as of the Royal Academy of Music in Dublin; and a member and for many years director of the Royal Philharmonic Society. Albanesi trained a number of distinguished artists in his successful career as a teacher of the piano.
5His principal compositions are 6 piano sonatas, five of which are published, a string quartet, a piano trio, and some MS. orchestral works. He also wrote a number of songs and piano pieces.
7E. B.
9ALBANEZE (ALBANESE) (b. Albano, Apulia, c. 1729; d. Paris, c. 1800), a castrato with a fine soprano voice, who came from Naples to Paris in 1747. He was engaged for the Royal Chapel, and sang at the Concert Spirituel from 1752–63. He published many collections of songs; also some original compositions.
11ALBANI, MARIE LOUISE CÉCILIE EMMA née LAJEUNESSE (b. Chambly near Montreal, Nov. 1, 1852), distinguished opera and concert singer, the daughter of a French Canadian, a professor of the harp. She was educated at the Couvent du Sacré Coeur at Montreal. In 1864 the family removed to Albany, New York, where she sang in the choir of the Roman Catholic cathedral there with such effect that Lajeunesse was advised by the bishop and others that his daughter should adopt a musical career. The father and daughter went to Paris where the latter received vocal instruction from Duprez. Later, she studied with Lamperti at Milan. In 1870 she made her début at Milan as Amina ('Sonnambula'), adopting, as suggested by Lamperti, the name of Albani. She sang next at Florence, always with success. On Apr. 2, 1872, she made her début in London at Covent Garden as Amina. The beautiful qualities of her voice and the charm of her appearance were at once appreciated. She sang nearly every season there until 1896, in a great variety of parts, whereof the most noteworthy were Elsa (1875) and Elizabeth (1876) on the production of 'Lohengrin' and 'Tannhäuser'; later as Eva ('Meistersinger'), Desdemona ('Othello'), etc. 'The last and greatest triumph of her career' was June 26, 1896, as Isolde to the Tristan of Jean De Reszke, in German. On Aug. 6, 1878, she married Ernest Gye, lessee of Covent Garden on his father's death.
13Madame Albani was for many years a very great favourite at the Handel and provincial festivals and sang in many new works, notably in those of Gounod, Sullivan, Mackenzie, Cowen, Dvořák, etc.; and in 1886 in 'St. Elizabeth' on the occasion of Liszt's farewell visit. She also sang in opera and concerts in Paris, Brussels, Germany, United States and Canada, and later in tours in India, Australia and South Africa. Her voice was a rich soprano of remarkably sympathetic quality. The higher registers were of exceptional beauty, and she possessed in perfection the art of singing mezzo voce.
15On Oct. 14, 1911, she gave a farewell concert at the Albert Hall. Since then she has devoted herself to teaching the Lamperti method of singing. She has had considerable success, and several of her pupils are now before the public, doing very well. In 1911 she published her Memoirs, Forty Years of Song. In June 1925 the honour of D.B.E. was bestowed upon her.
17A. C.
19ALBANI, (1) MATHIAS (b. Botzen, 1621; d. there, 1673), a renowned violin-maker, was one of Stainer's best pupils. The tone of his violins, which are generally very high in the table, and have a dark red, almost brown, varnish, is more remarkable for power than for quality. His son, also named (2) MATHIAS, was at first a pupil of his father, afterwards of the Amatis at Cremona, and finally settled at Rome. His best violins, which by some connoisseurs are considered hardly inferior to those of the Amatis, are dated at the end of the 17th and beginning of the 18th century. (3) A third ALBANI, whose Christian name is not known, and who lived during the 17th century at Palermo, also made good violins, which resemble those of the old German makers.
21P. D.
23ALBANO, MARCELLO (17th cent.), a Neapolitan composer. His 'Madrigali a 5 voci' and 'Il 1° libro di canzoni e madrigaletti a 3 ed a 4 voci' were both published at Naples, 1616.
25ALBÉNIZ, ISAAC (b. Camprodón, Catalonia, May 29, 1860; d. Cambó les Bains, Pyrenees, June 16, 1909), made his first appearance as an infant prodigy at the Teatro Romea, Barcelona, and afterwards performed in Paris as a youthful pupil of Marmontel. At the age of seven he composed a 'Pasodoble' which was played by military bands in Barcelona. He began to study music seriously at the Conservatoire at Madrid, and received a pension from the King to enable him to pursue his studies at Brussels. He worked at composition with Gevaert and at the pianoforte with Brassin, and subsequently removed to Leipzig to complete his technical equipment with Liszt, Jadassohn and Reinecke. After accompanying Rubinstein on a tour in Europe and America, and appearing himself with great success as a pianist, about 1880, he settled down to teach, first at Barcelona and then at Madrid.
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