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Scan 119
Grove's Dictionary of music and musicians, 1927
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1ALMENRÄDER, KARL (b. near Dusseldorf, Oct. 3, 1786; d. Biebrich, Sept. 14, 1843), a bassoon-player who improved the instrument in various ways, wrote a pamphlet on it and composed concertos, etc, with string accompaniment.
3He became professor in the Cologne music school in 1810, and in 1812 was engaged in the theatre orchestra at Frankfort-on-Main. After fulfilling various military appointments in the campaign of 1815–16, he started a manufactory of wind instruments in Cologne, but gave it up after two years and entered the band of the Duke of Nassau at Biebrich. (Riemann.)
5ALMÉRIE (anagram of Lemaire), a kind of lute invented by Jean Lemaire (M. de Marolles, Mémoires, 1755, iii. 206).
7ALMEYDA, CARLOS FRANCISCO DE (b. Burgos, 2nd half of 18th cent.), Spanish violinist and composer, in the service of the King. Six quartets by him were published by Pleyel in 1798; while a 'Sinfonia' for 2 violas, 'Violetta,' 2 oboes, 2 corni di caccia, and bass, exists in MS. at Dresden. J. B. T.
9ALMOROX, JUAN (c. 1500), a Spanish composer of both secular and sacred music. Three villancicos by him (for 4 v.) are printed in the 'Cancionero musical de los siglos XV. y XVI.', published by Barbieri from the MS. in the Royal Library at Madrid. One of these (No. 340, 'Gaeta nos es subjeta') refers to the capture of Gaeta, which surrendered to the Spaniards in 1504. Religious compositions by Almorox exist in MS. in the Cathedral of Tarazona. J. B. T.
11ALNAES, EYVIND (b. Frederikstown, Norway), pupil of Ivar Holter, at Christiania, and of Carl Reinecke, Leipzig, 1892–95, organist at Christiania, composer of orchestral and choral works, chamber music and songs.
13ALOISI (ALOVISIO, ALOVISIUS, ALOYSIUS), GIOVANNI BATTISTA (b. Bologna, c. 1565), a Minorite friar, bachelor of theology and director of music. He composed motets, sacred concertos, 4-8-part litanies, etc.
15ALOYSON, M. ANGLUS, an English 16th/17th-century composer. Fuhrmann published in his lute-book, 1615, a pavane of his.
17ALPENHORN (ALPHORN), an instrument with a cupped mouthpiece, of wood and bark, used by the mountaineers in Switzerland and many other countries to convey signals and to produce simple melodies. It is nearly straight, and three or more feet in length. Those in the Museum at South Kensington measure 7 ft. 5 in. and 7 ft. 11 in. long. (See PLATE LXXXIII. No. 9.)
19There is a Swedish instrument of this kind called Lur; another, of kindred nature used in the Himalayas; and another by the Indians of South America.
21The notes produced are evidently only the open harmonics of the tube, somewhat modified by the material of which it is made, and by the smallness of the bore in relation to its length.
23W. H. S.
25ALPHABET. The musical alphabet, which serves as the designation of all musical sounds, consists of the seven letters A, B, C, D, E; F and G, and, in German, H in addition. In the natural scale (i.e. the scale without sharps or flats) the order of these letters is as follows: C, D, E, F, G, A, B (or, in German, H), C. For the cause of this apparently arbitrary arrangement see NOTATION.
27ALPHORN, see ALPENHORN.
29ALQUEN, (1) PETER CORNELIUS JOHANN D' (b. Arnsberg, Westphalia, 1795), studied medicine at Berlin, and music under Bernhardt, Klein and Zelter. He settled as doctor at Mülheim on the Rhine, but gave up his practice to devote himself entirely to composition. His songs became very popular. (2) FREDERIC A. E., his younger brother (b. 1810; d. London, June 18, 1887), studied music under Ferdinand Ries. He went to Brussels in 1827 as teacher of music, but settled in London on the outbreak of the Revolution in 1830, where he published several compositions both for the violin and the pianoforte. E. v. d. s.
31ALSAGER, THOMAS MASSA (b. 1779; d. Nov. 15, 1846), one of the family of Alsager, of Alsager, Cheshire. He was for many years a proprietor and one of the leading men in the management of The Times, being especially concerned in all that related to music and the collection of mercantile and foreign news. The professionally trained musical critic, added at his suggestion to the staff of The Times, was the first employed on any daily paper.
33He was the intimate friend of Lamb, the Burneys, Wordsworth, Talfourd, Leigh Hunt, Mendelssohn, Moscheles, and many other celebrities. But what entitles him to mention here was his intense devotion to music, to which he gave all the leisure he could spare from a busy life. His practical ability in music was very great, and it is a fact that he could perform on all the instruments in the orchestra. The frequent private concerts given by the Queen Square Select Society at his residence in London were long remembered by his many musical friends, and were the means of introducing to this country many works and foreign musicians. The great Mass in D of Beethoven was given there, for the first time in England, Dec. 24, 1832, under the direction of Moscheles (Mus. T., 1902, p. 236). There, on Mar. 28, 1834, took place the first performance in England of Cherubini's Requiem, principal soprano Mrs. H. R. Bishop (see BISHOP); first violin Spagnoletti. In 1843 the society held a special musical festival in honour of Spohr, who himself led three pieces. One object of the society was to establish a taste for Beethoven's chamber music, by performing
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