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Scan 102
Grove's Dictionary of music and musicians, 1927
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1musical education—in Mozart and Beethoven—was due to her. He then had lessons in the piano from Kalkbrenner, and in composition from Dr. Wesley, and afterwards learnt dancing at the King's Theatre, London, and the Conservatoire, Paris. On his return to England he became ballet-master at the King's Theatre, and at Covent Garden. He soon relinquished these posts, and devoted himself to teaching dancing and composing dance music, in which he was very successful. He ultimately settled at Newcastle-on-Tyne, and married there in 1863. He published 'Ballroom Etiquette,' Newcastle, 1835; and a large number of dances, beginning with the 'Bridal Polka,' 1845; all of these were very great favourites, especially the 'Sweetheart's Waltz,' 'Sultan's Polka,' and 'Edinburgh Quadrille.' In the latter years of his life he removed to London, where he died.
3His son, (2) Eugène Francis Charles (b. Glasgow, Apr. 10, 1864), one of the most famous pianists of his time, is also the composer of various important works, more especially German operas. His genius for music showed itself from a very early age, and he was carefully taught by his father. In 1876 he was elected Newcastle scholar in the National Training School, London, where he learnt the piano from Pauer, and harmony and composition from Stainer, Prout and Sullivan. Here his progress in piano-playing, counterpoint and composition was rapid and brilliant, and he also occupied himself much in the study of languages. An overture of his was performed at a students' concert at St. James's Hall on June 23, 1879. His piano-playing was at that early age so remarkable that he was engaged and appeared three times at the Popular Concerts, Nov. 22, 1880, and Jan. 3 and 8, 1881. On Feb. 5 of the latter year he played Schumann's concerto at the Crystal Palace, and appeared at the Philharmonic on Mar. 10. He played a concerto of his own in A at the Richter Concert of Oct. 24, 1881, and in the following November, having in the meantime won the Mendelssohn Scholarship, entitling him to a year abroad, he went to Vienna at the instance of Richter, who had been very much impressed by his great promise in London. Very shortly after his arrival in Vienna he played the first movement of his own concerto at the Philharmonic Concert there. He then became a pupil of Liszt, who called him the 'young Tausig,' in allusion to his extraordinary technical ability. Thus D'Albert's musical life became associated with Germany, and as a pianist it is more particularly his interpretation of the German classics which has made him famous. His critical editions of works of Bach and Beethoven, and his cadenzas to the concertos of Beethoven are the outcome of this experience. His early operas were all written for and produced in Germany, though the most widely successful of them all, 'Tiefland,' had its first production at Prague. In 1907 he succeeded Joachim as director of the Hochschule at Berlin, where his influence as a teacher has been of the utmost importance. From 1892–95 D'Albert was the husband of Madame Theresa Carreño (q.v.). He has been three times married since.
5D'Albert has been one of the most assiduous of modern composers of opera. After 'Tiefland,' the two works which have created the greatest impression are 'Flauto Solo' and 'Die toten Augen.' His purely instrumental music, though small in amount, is important. The early symphony was regarded as a work of exceptional beauty when it first appeared. The violoncello concerto proved peculiarly acceptable since it enriched the literature of a solo instrument which is none too well provided with effective works for performance with the orchestra.
7The following is a list of his principal compositions:
9OPERAS
10'Der Rubin,' Carlsruhe, 1893.
11'Ghismonda,' Dresden, 1895.
12'Gernot,' Mannheim, 1897.
13'Die Abreise,' Frankfort, 1898.
14'Kain,' Berlin, 1900.
15'Der Improvisator,' Berlin, 1900.
16'Tiefland,' Prague, 1903.
17'Flauto Solo,' Prague, 1905.
18'Tragaldabas' (Der geborgte Ehemann), Hamburg, 1907.
19'Izeyl,' Hamburg, 1909.
20'Die verschenkte Frau,' Vienna, 1912.
21'Liebesketten,' Dresden, 1912.
22'Die toten Augen,' Dresden, 1916.
23'Der Stier von Olivera,' Leipzig, 1919.
24'Revolutionshochzeit,' Leipzig, 1919.
25'Scirocco,' Darmstadt, 1921.
27ORCHESTRA
28PF. Concerto, B minor, op. 2.
29PF. Concerto, E major, op. 12.
30V'cl. Concerto, C major, op. 20.
31Overtures: 'Esther' and 'Hyperion.'
32Symphony in F, op. 4 (produced by Richter, London, 1886).
34CHAMBER MUSIC
352 String Quartets, A minor, op. 8; E flat, op. 11.
36PF. Sonata, F sharp minor, op. 10.
37PF. Suite, op. 1.
39CHORAL WORK
40'Der Mensch und das Leben' (6 v.), op. 14.
42A. J. H., with addns.
44ALBERT, HEINRICH (b. Lobenstein, Voigtl. Saxony, June 28, 1604; d. Oct. 6, 1651), poet, organist and composer, was a nephew and pupil of the famous composer, Heinrich Schütz.
46He studied music in Dresden, but was compelled by his parents to give it up for a legal education at Leipzig. In 1626 he started for Königsberg, where Stobäus was at that time Kapellmeister, but was taken prisoner by the Swedes and did not reach his destination till 1628. In 1631 he became organist to the old church in that city, and in 1638 married Elizabeth Starke.
48As poet he is one of the representatives of the Königsberg school, with the heads of which he was closely associated.
50His church music is confined, according to Winterfeld, to a Te Deum for three voices,
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