Scan 97
Grove's dictionary of music and musicians: ed. by J. A. Fuller …, Volume 1, 1911
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1ALFONSO UND ESTRELLA
3indicates the repetition of the first part of a movement either from the beginning (da capo) or from a sign & (dal segno) to the place where the word fine stands. Frequently instead of the word fine the end of the piece is shown by a double-bar with a pause above it, thus 𝄐.
5ALFONSO UND ESTRELLA. An opera by Schubert, in three acts; libretto by F. von Schober. Dates on autograph (Musikverein, Vienna):—end of first act, Sept. 20, 1821; end of second act, Oct. 20, 1821; end of third act, Feb. 27, 1822; overture (MS. with Spina), Dec. 1823. First performed at Weimar, June 24, 1854. This overture was played as the prelude to 'Rosamunde' in Dec. 1823, and encored. The whole opera was first published in the complete edition of Breitkopf and Härtel, ser. xv. vol. 5.
7ALFORD, JOHN, a lutenist in London in the 16th century. He published there in 1568, a translation of Adrien Le Roy's work on the lute (see Le Roy) under the title of A Briefe and Easye Instruction to learne the tableture, to conduct and dispose the hande unto the Lute. Englished by J. A. with a woodcut of the lute.
9W. H. H.
11ALGAROTTI, CONTE FRANCESCO, born Dec. 11, 1712, at Venice, a man of varied accomplishments and learning, who studied at the Nazarene College in Rome, and the universities of Bologna and Venice. He travelled to Paris and London, and was for some years in high favour at the court of Berlin; ill-health compelled him to return to Italy about 1749, and he died at Pisa, May 3, 1764. His place in the history of music is due to an important treatise, 'Saggio sopra l'Opera in musica,' first published in 1755, and subsequently translated into French, English, and German; he points out the many serious defects in the contemporary presentation of operas, and foresees an ideal theatre for operatic music, the description of which reads like a prophecy of Bayreuth.
13M.
15ALIANI, FRANCESCO, violoncellist, born at Piacenza. He for a time studied the violin under his father, who was first violin in the orchestra, but afterwards devoted himself to the violoncello under G. ROVELLI, of Bergamo. He was appointed first violoncellist of the theatre at Piacenza, and was celebrated as a teacher of his instrument. He wrote three books of duets for two violoncellos.
17T. P. H.
19ALI BABA, OU LES QUARANTE VOLEURS, an opera of Cherubini's, produced at the Grand Opéra on July 22, 1833. The libretto was adapted and re-written from his 'Koukourgi' (1793), and the music was partly from 'Faniska' and partly from the ballet, 'Achille à Scyros.' The overture was probably quite new. For Mendelssohn's opinion of the opera see his letter of Feb. 7, 1834.
21ALIPRANDI, BERNARDO, born in Tuscany at the beginning of the 18th century; entered the Bavarian court band as violoncellist in 1732, was appointed composer in 1737, and afterwards was appointed director of the orchestra at Munich. He there wrote the operas 'Apollo tra le Muse' (1737), 'Mitridate' (1738), 'Iphigenie' (1739), 'Semiramide' (1740). A Stabat Mater a 2 is preserved in the Dresden Museum. BERNARDO, a son of the preceding, was, according to Lipowski, first violoncellist about 1780 in the Munich orchestra. He is said to have composed both for the violoncello and viol da gamba, though Fétis says that he wrote only for the former.
23T. P. H.
25ALKAN, CHARLES HENRI VALENTIN MORHANGE, called Alkan. Born at Paris, Nov. 30, 1813; died there March 29, 1888. Pianist and composer, chiefly of études and caprices for his instrument. His astounding op. 35 (12 études), op. 39 (12 études), and Trois grandes Études, (1) 'Fantaisie pour la main gauche seule,' (2) 'Introduction et Finale pour la main droite seule,' (3) 'Étude à mouvement semblable et perpetuel pour les deux mains,' have not yet met with the attention on the part of pianoforte virtuosi which they merit. They belong to the most modern development of the technique of the instrument, and represent in fact the extreme point which it has reached. Though they cannot stand comparison in point of beauty and absolute musical value with the études of Chopin and Liszt, yet, like those of Anton Rubinstein, which are in some respects akin to them, they have a valid claim to be studied; for they present technical specialities nowhere else to be found, difficulties of a titanic sort, effects peculiar to the instrument carried to the very verge of impossibility. Alkan was admitted to the Conservatoire of Paris in his sixth year (1819) and remained there until 1830, during which term he was successful in several competitions, and left the institution with the first prize in 1826, and honourable mention at the Concours of the Institut in 1831. After a short visit to London in 1833 he settled as a master of the pianoforte at Paris. His published compositions mount up to opus 72, and include two concertos, several sonatas and duos, a trio, a large number of pièces caractéristiques, and transcriptions and songs. Amongst these his works for the pianoforte with pedals, known in France as the 'Pedalier grand,' op. 64, 66, 69 and 72, take rank with his études.
27E. D.
29ALLA BREVE (Ital.). Originally a species of time in which every bar contained a breve, or four minims; hence its name. In this time, chiefly used in the older church music, the minims, being the unit of measurement, were to be taken fast, somewhat like crotchets in ordinary time. This time was also called Alla Cappella. Modern alla breve time simply differs from ordinary common time by being always beaten or counted with two minims (and not
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