Scan 136
Groves Dictionary Of Music And Musicians,vol.1 Ed.3, 1904
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1mention here as general editor of the Raccolta delle musiche italiane, a collection of ancient and modern musical works published in Milan by the Istituto Editoriale Italiano. Interest in old and forgotten masterpieces was stimulated in Italy by the description of Benedetto Marcello's 'Arianna' in D'Annunzio's 'Il Fuoco,' and probably the impulse which brought about the publication of the Raccolta delle musiche came from the glowing prose of the novel. Acting as co-editors with D'Annunzio are G. F. Malipiero, Carlo Perinello, Ildebrando Pizzetti, F. Balilla Pratella, and others, who deal with the technical aspects of the work.
3It should also be mentioned that during the poet's occupation of Fiume he drew up a constitution (Aug. 27, 1920), in which music was defined as 'a Religious and Social Institution of the Regency of Carnaro,' and provision was made for the establishment of choral and instrumental bodies subsidised by the State in all the communes of the Regency. It was D'Annunzio's intention to build in Fiume an arena capable of holding at least ten thousand spectators, with a wide pit for orchestra and chorus. There were to be held 'choral and orchestral celebrations' to which the people would be admitted without payment.
5ANSANI, GIOVANNI (b. Rome about middle of 18th cent.), was one of the best tenors of Italy. In 1770 he was singing at Copenhagen. About 1780 he came to London, where he at once took the first place; but, being of a quarrelsome temper, he threw up his engagement on account of squabbles with Roncaglia. He returned the next year with his wife, Maccherini, who did not succeed. He sang at Florence in 1784, at Rome the autumn of the same year, and elsewhere in Italy; and finally retired to Naples at the age of 50, where he devoted himself to teaching singing. He was still alive in 1815. He was a spirited actor, and had a full, finely toned and commanding voice. Dr. Burney says it was one of the sweetest yet most powerful tenors he ever heard; to which, according to Gervasoni, he added a very rare truth of intonation, great power of expression, and the most perfect method, both of producing the voice and of vocalisation.
7Ansani was known also as a composer of duets and trios for soprano and bass, with a basso continuo. Gerber reports that an opera of his composition, called 'La Vendetta di Minos,' was performed at Florence in 1791.
9ANSELMI, GIUSEPPE (b. Catania, Sicily, Nov. 16, 1876), operatic tenor and composer. His early studies included the violin and composition, and when a boy of 14 he appeared in public as a violinist in Tunis and at a court concert in Athens. At the age of 18 he began cultivating his voice, and in 1896 made a successful début in opera at Athens as Turiddu in 'Cavalleria Rusticana.' Engagements followed at Cairo, Alexandria, Genoa, and eventually the San Carlo, Naples. In May 1901 he appeared at Covent Garden for the first time in 'Rigoletto,' displaying a voice of pleasing quality and considerable power, besides an intelligent dramatic style. He again sang here at the seasons of 1904 and 1909, making a very successful appearance during the latter as Mario Cavaradossi in 'La Tosca.' As a composer of some merit he gained notice by writing a 'Poema Sinfonico' for orchestra, and several piano pieces and songs.
11BIBL.—NORTHCOTT, Covent Garden and the Royal Opera.
13ANSERMET, ERNEST (b. Vevey, Nov. 11, 1883), orchestral conductor, studied at Lausanne University and was for some years professor of mathematics at the college there.
15Musically he studied first with Dénéréaz at Lausanne, and later counterpoint with Otto Barblan and composition with Ernest Bloch at Geneva. Having chosen the career of a conductor, he worked with Francesco de Lacerda, of the Schola Cantorum, and afterwards had the advice of Nikisch and Weingartner. In 1914 he took charge of the Casino concerts at Montreux, which Lacerda had directed before him, and in 1915 he succeeded Stavenhagen at Geneva. He founded in 1918 the Orchestre de la Suisse romande, which has given several series of concerts at Geneva, Lausanne, Neuchâtel, etc., remarkable for the enterprising character of the programmes. From 1915 onwards Ansermet was intermittently engaged with the Diaghilev Ballet which he has accompanied to North and South America, Spain, Italy and England, directing the first performances of many of its most important productions in Paris and London. His name is closely associated with the works of Stravinsky, of which he has given noteworthy performances, both with and without the ballet, and to which he devoted a special concert in London, 1920, which was the first introduction to the composer's later manner. In recent years he has conducted concerts of the Royal Philharmonic Society in London, and also at Liverpool. His tastes are catholic and his repertory unusually varied, but circumstances have given special prominence to the scrupulous clarity of his readings of the most complicated modern scores.
17ANSORGE, KONRAD (b. Buchwald, near Liebau, Silesia, Oct. 15, 1862), studied at Leipzig Conservatoire, 1880-82, and under Liszt, 1885-86. After touring in America he returned to Weimar in 1893. In 1895 he went to Berlin and taught the piano at the Klindworth-Scharwenka Conservatoire from 1898 to 1903. He takes a high rank among modern pianists. He composed a Requiem for male
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