Scan 95
Groves Dictionary Of Music And Musicians,vol.1 Ed.3, 1904
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1AKIMENKO
3AKIMENKO, FEODOR STEPANOVITCH (b. Kharkov, Feb. 8, 1876), composer, a pupil of Balakirev from 1886–95 in the court choir at St. Petersburg, and of Rimsky-Korsakov at the St. Petersburg Conservatoire. For a time he was a teacher in the court choir, but from 1903–06 he lived in France. He is now (1924) living in Moscow. Akimenko is distinguished as a composer. The following is a list of his principal works:
5Lyric Poem and Overture for Orchestra.
6Chamber music: String trio in C (op. 7); violoncello sonata; violin sonata.
7Pianoforte: Sonate fantastique (op. 44).
8Songs and Choruses.
9An Opera: 'The Queen of the Alps' (MS.).
11He has produced more than 60 works in all.
13ALA, GIOVANNI BATTISTA (b. Monza, about the end of 16th cent.; d. aged thirty-two); organist of the Church dei Servitori, in Milan, and composer of canzonets, madrigals and operas (Milan, 1617, 1625), 'Concerti ecclesiastici' (Milan, 1618, 1621, 1628), and several motets in the 'Pratum musicum' (Antwerp, 1634), and in the 'Luscinia Sacra' (Antwerp, 1633).
15ALABIEV, ALEXANDER NICHOLAEVICH (b. Moscow, Aug. 30, 1802; d. there, 1852), a talented amateur of the pseudo-national school which preceded Glinka.
17He entered the army, but being led by his fiery temper into some breach of discipline, was exiled to Tobolsk. On his return, he settled in Moscow. In collaboration with Verstovsky and others, he produced several vaudevilles which were popular in their day. Encouraged by the success of 'Atterino' ('avos, he attempted a Russian fairy-opera: 'A Moonlight Night, or the Domovoi' (House Spirit). Probably the task was beyond his amateur resources, for the work proved a failure. Alabiev composed about a hundred songs, pleasing melodies in the popular style, but exceedingly elementary as regards form and accompaniment. One of these, 'The Nightingale,' became widely known from having been introduced into the 'Singing-lesson' in 'Il Barbiere' by Viardot, Patti and Sembrich.
19R. N.
21ALAIN, see GROOTE, Alianus de.
23ALAIN (ALANI), JOHANNES (c. 1450), composer. In Codex No. 37 of the Liceo, Bologna, is his 'Sub Arturo plebs vallata plaudat melos, 3 voc.'
25ALALÁ, one of the typical forms of folk-song of Galicia and the N.W. corner of Spain, and that which preserves the traditional air and manner of execution in the most pure state. It consists of a short melody adapted to four 8-syllable lines of verse, the melodic formula being nearly always repeated in the second half, and the last note held indefinitely. Being in free rhythm, it easily lends itself to ornate passages, but it is always diatonic. Many alalás seem to be recollections of plain-song melodies, and follow the liturgical formula note for note, the differences being rhythmical, not melodic. (See SONG: Spain (4).) J. B. T.
27ALALEONA, DOMENICO (b. Montegiorgio, Piceno, Nov. 16, 1881), historian and composer. He showed early remarkable aptitude, and at the age of ten was already employed as organist in the church of his native town. After receiving first instruction from local teachers he went to Rome to study at the Liceo di S. Cecilia under De Sanctis (theory), Bustini (pianoforte), and R. Renzi (organ). He concluded his studies in 1906, since when he has conducted choral and orchestral societies at Leghorn and Rome. His compositions include melodies for voice and piano and orchestra; a Requiem for 4 voices; a string quartet; two symphonic works; and an opera, 'Mirra,' performed in Rome (1920). Of his many critical and historical essays, the most important is a collection of studies on the history of Oratorio in Italy (published by Bocca, Turin). At present (1926) Alaleona is professor of musical aesthetic at the Liceo S. Cecilia in Rome.
29F. B.
31ALAMIRE, PETRUS (early 16th cent.), composer. His 'Tandernack, 4 voc.' MS. 18810, is in the Hofburg, Vienna.
33ALARD, DELPHIN (b. Bayonne, Mar. 8, 1815; d. Feb. 22, 1888), an eminent violinist.
35He was educated at the Paris Conservatoire under Habeneck where he won prizes for violin-playing, and from 1831 began to make a great reputation as a performer. In 1843 he succeeded Baillot as professor at the Conservatoire, which post he held until his death. Alard was the foremost representative of the French school of violin-playing current then at Paris. He belonged to the class of remarkable teachers (Lambert, Massart, Dancla were his contemporaries) who perpetuated among the younger generation the traditions of their art. He published a number of concertos and operatic fantasias in a brilliant style, also études, duos, etc., specially adapted to his instrument. His École de violon, translated into several languages, is a standard work in pedagogic literature. He also edited a selection of violin compositions of the most eminent masters of the 18th century, 'Les Maîtres classiques du violon,' etc. (Schott), in 40 parts.
37P. D; addns. M. L. P.
39ALARDUS, LAMPERTUS (b. Crompe, Holstein, Jan. 27, 1602; d. Meldorf, May 29, 1672), wrote a book on the music of the ancients containing the best Latin version of the treatise of Psellus (Fétis).
41ALBANESI, CARLO (b. Naples, Oct. 22, 1858; d. London, Sept. 21, 1926), pianist and composer, studied the pianoforte with his father, Luigi Albanesi, harmony and composition with Pinto and Sabino Falconi. He toured in Italy and France until 1878, settling down permanently in England in
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