Scan 132
Groves Dictionary Of Music And Musicians,vol.1 Ed.3, 1904
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11875) was organist and teacher at Mirandola in Modena and father of (2) and (3).
2(2) GUGLIELMO (b. Mirandola, Apr. 22, 1835; d. Nice, Mar. 13, 1860) was pupil at the Conservatorio of Milan, 1847-53, and a pianist of great distinction, remarkable for his soft and delicate touch, pure taste, and power of expression, as well as for great execution. He was well known in London, where he appeared at the Crystal Palace (Dec. 13, 1856), the Musical Union (Apr. 27, 1858), the New Philharmonic (May 9, 1859), and elsewhere. His compositions were unimportant. (3) CARLO (b. Mirandola, Jan. 8, 1840) was also brought up at the Conservatorio of Milan, where he became professor of the piano about 1875. He too was favourably known in London.
3ANDREOLI, GIUSEPPE (b. Milan, July 7, 1757; d. Dec. 20, 1832), a celebrated double-bass player, a member of the orchestra of La Scala and professor of his instrument at the Conservatorio of Milan; he also played the harp with success.
4ANDREOZZI, GAETANO, surnamed Jomellino (b. Naples, 1763; d. Paris, Dec. 21, 1826), a relative and pupil of Jomelli, wrote 45 operas, 3 oratorios, chamber music and songs which were very popular until the arrival of Rossini. Fétis describes him as lacking in genius and science, but gifted with a natural flow of melody (Fétis; Mendel).
5ANDREVI, FRANCISCO (b. near Lérida in Catalonia, Nov. 16, 1786; d. Barcelona, Nov. 23, 1853), of Italian parentage, was successively the director of music in the cathedral of Segorbe, the church of Santa María del Mar at Barcelona, the cathedrals of Valencia, Seville and Bordeaux (1832-42), where he fled during the civil war. He lived in Paris from 1845 to 1849, and finally retired to Barcelona. His sacred compositions were good and numerous: a Nunc Dimittis and a Salve Regina, printed in Eslava's collection of Spanish church music, Lira Sacro-Hispana, are his only published works. His treatise on Harmony and Counterpoint was translated into French (Paris, 1848). He wrote two oratorios, 'Juicio Universal: drama sacro' (Valencia, 1822 and 1827) and 'La Dulzura de la virtud' (Barcelona, before 1819), preserved in the Library of the Diputación at Barcelona; a Requiem (1834) and a Stabat Mater (Bordeaux), as well as music for the dance of the Seises in the Cathedral at Seville.
6ANDRIEN (ADRIEN), MARTIN JOSEPH (called 'La Neuville'; also Adrien l'Aîné) (b. Liége, May 26, 1767; d. Paris, Nov. 19, 1822), appeared as bass singer in the Stabat Mater of both Pergolese and Haydn at the Concert Spirituel (1781) with Chéron; then taking alternate parts with him at the Opéra from 1785-1804; afterwards director of the singing there, until he succeeded Lainé as professor of lyric declamation at the École Royale de Musique (Mar. 1822). He died a victim to the exaggerated system of declamation then in vogue. His voice was harsh, his method of singing bad, but he had merit as an actor. He composed 'Invocation à l'Étre suprême,' 'Hymne à la victoire' (on the evacuation of French territory), 'Aux martyrs de la liberté' (1794). (See Constant Pierre's Hymnes et chansons de la Révolution Française.
7His two brothers were J. ADRIEN (b. Liége, c. 1768; d. circa 1824), choirmaster of the Théâtre Feydeau (1794); FERDINAND ADRIEN (b. circa 1770; d. circa 1830) taught singing and became singing-master at the Opéra (1798-1800). Both were composers of songs. They might possibly be identified (owing to similarity, and perhaps confusion of names) with JACQUES FRANÇOIS FERDINAND ADRIEN (b. May 22, 1760), musician of the National Guard, 1793, professor of solfeggio at the Conservatoire, 1795-1800; and ARNOLD ADRIEN (aîné) (d. Dec. 2, 1825 ?), singing professor at the Conservatoire, 1795-1802. (See Constant Pierre, Le Conservatoire National de Musique et de Déclamation, Paris 1900.)
8ANDRIES, JEAN (b. Ghent, Apr. 25, 1798; d. there, Jan. 21, 1872), professor of violin and ensemble classes at Ghent Conservatoire. He was director in 1851, and hon. director in 1856 of the Conservatoire; also solo violinist. He wrote: Aperçu historique de tous les instruments de musique actuellement en usage; Précis de l'histoire de la musique depuis les temps les plus reculés (1862); Instruments à vent: La flûte (1866); Remarques sur les cloches et carillons (1868).
9ANDROT, ALBERT AUGUSTE (b. Paris, 1781; d. Aug. 19, 1804), a church composer, was admitted into the Conservatoire in his fifteenth year. In 1799 he obtained a prize for his exercises in harmony, and four years afterwards, having gained the Prix de Rome for his 'Alcyone,' he was sent to that city to study under Guglielmi. During the first year of his residence in Rome he made such progress that his master commissioned him to write a Requiem and another sacred composition. The latter, performed during Passion Week, excited so much admiration, that he was engaged to compose an opera for the autumn. He had scarcely completed the last scene when he died. In the following October a De Profundis of his composition was performed in his memory at the church of San Lorenzo in Lucinia.
10A short notice of this composer is to be found in the Dict. of Musicians (1827).
11ANERIO, the name of two brothers, eminent as composers of church music in Rome.
12(1) FELICE (b. circa 1560; d. Rome, Sept. 27, 1614 1), after being in the Papal Choir as a boy
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