Books › Pratt (ed.), Grove's Dictionary of Music and Musicians: American Supplement (1920) — the Squier, Juhan, Gemünder and Elias Howe entries, 1920 › scan 133
Scan 133
Pratt (ed.), Grove's Dictionary of Music and Musicians: American Supplement (1920) — the Squier, Juhan, Gemünder and Elias Howe entries, 1920
24 lines. Read by computer on 9 September 2026. Printed page 119. See the scan on archive.org.
1AUDITORIUM
3AUDITORIUM, THE, in Chicago, is a complex building, including an opera-house, a hotel and numerous offices. Its erection was due to an association formed in 1886, of which Ferdinand W. Peck, a public-spirited man of wealth, was president. The building was dedicated on Dec. 9, 1889, with ceremonies that included Dubois' 'Fantaisie Triomphale,' La Tombelle's 'Fantaisie de Concert,' Gleason's 'Festival Ode,' several oratorio choruses and songs by Patti. The opera-house is one of the largest (over 4000 seats) and best-equipped in the world. From the first, especially under the efficient management of Milward Adams (till 1910), it has been famous as the headquarters not only for opera-seasons, but for every variety of superior concert.
5AUDITORIUM, THE, in Milwaukee, is an extensive building for exhibition and concert purposes, erected in 1909. The main hall has a seating capacity of 10,000, and there are six other halls. The Auditorium Orchestra of 45–50 players was organized in 1909 to give popular symphony concerts on Sunday afternoons. Until 1913 there were various conductors and the enterprise was supported by popular subscription. Since 1913 the conductor has been Hermann A. Zeitz, and the city has appropriated about $4000 annually to cover deficits in receipts. The average number of concerts is sixteen each season.
7AUDSLEY, GEORGE ASHDOWN (Sept. 6, 1838, Elgin, Scotland), was educated as an architect and followed that profession in Elgin until 1856. He then moved to Liverpool and became noted by designing many important public and private buildings. Since 1892 he has worked in the United States, adding to his reputation as architect, decorator and author. As early as 1865 he became interested in organs and organ-construction, the first result being the construction, by himself, of a house-organ of his own. This instrument, unique in specification and arrangement, earned the approval of Saint-Saëns, Hollins and others, and recitals were given upon it by distinguished players. In 1886–88 he published a series of articles on organ-making in 'The English Mechanic and World of Science,' and later gave a course of lectures, advocating flexibility and expression in all the divisions, manual or pedal, of the instrument. His large work is The Art of Organ-Building, 2 vols., 1905, and he has added The Organ of the Twentieth Century, 1919, a manual of 'the science and art of tonal-appointment and divisional-apportionment with compound expression, and a treatise on Organ Stops, 1920. The scheme of the large organ at the Louisiana Purchase Exposition at St. Louis, 1904, was made by him. He is author and joint-author of over twenty works on architecture, art and industry. [ R.9 ]
9AUER, LEOPOLD (June 7, 1845, Veszprém, Hungary). See article in Vol. i. 130. In May, 1917, he went to Norway for a vacation, but could not return to Petrograd because of chaotic political and social conditions. He decided to visit America, and reached New York in February, 1918. After giving recitals in New York, Boston, Philadelphia and Chicago, he located in New York, where he has since taught privately. He has lately revised and edited many old and new violin-works, composed new cadenzas to numerous concertos and made many transcriptions (being published by Carl Fischer). Among his many successful pupils may be named Elman, Zimbalist, Kathleen Parlow, Eddy Brown, Heifetz, Seidel and Rosen. [ R.10 ]
11AUERBACH, NANNETTE, née Falk (about 1838, Danzig, Germany), came with her husband to Baltimore in 1867 and on Jan. 18, 1868, appeared as pianist at a Peabody Concert. Her striking ability led to her engagement as teacher at the Peabody Conservatory in 1871, where she continued until 1881, highly regarded by her pupils (among whom was Harold Randolph, the present head of the Conservatory) and frequently heard in public. As indicating the solidity of her equipment, it is said that she had at instant command not only all the Beethoven Sonatas, but the whole of the 'Well-Tempered Clavichord,' the latter in any key. It is said that she was still living in 1917. [ R.5 ]
13'AURORA.' An opera by Ettore Panizza, produced in 1908 at Buenos Aires.
15AUSTIN, MRS. See Register, 3.
17AUSTIN, JOHN TURNELL (b. 1869) and BASIL GEORGE (b. 1874). See below and Register, 7.
19AUSTIN, T. MERRILL. See COLLEGES, 3 (Monmouth C., Ill.).
21AUSTIN ORGAN COMPANY, THE, of Hartford, Conn., was organized in 1899 to make instruments under the patents of John T. Austin and Basil G. Austin. Chief among these is the 'Universal Wind-Chest,' which is described in Vol. iii. 553–4 (and see i. 291), but to this have been added many other novel and ingenious mechanical devices. The Company has an extensive factory, equipped with the most modern appliances. They have made about 900 organs, including one five-manual (Medinah Temple, Chicago) and over 60 four-manual.
23AUTOMATIC APPLIANCES. The reference in Vol. i. 135–6, to the development of mechanical music-making would need to be greatly extended if completeness of statement were here possible. The number of devices that have been worked out by American
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