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Scan 28
He Biographical Dictionary Of Musicians, 1939
17 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1composed over 200 piano works including concertos and sonatas and many smaller pieces; after 1890 he undertook the study of composition in Paris with d'Indy and composed the operas "Pepita Jiminez," "Henry Clifford," a trilogy "King Arthur," and the orch. suite "Catalonia." Among other compositions are "Iberia" suite for piano (several numbers orch. by Arbos), an oratorio "Cristo," and many songs. His piano music carries on the traditions of Chopin and Liszt, but is endowed with quite individual folk-colour and intensity of feeling, and also has many impressionistic influences. His trilogy "King Arthur" was left unfinished at his death. In 1923 his "Pepita Jiminez" was restored with success at the Paris Op.-Comique.
3Albergati (däl-bër-gä'-tē), (1) Pirro Capacelli, Conte d'. Lived in Bologna, 17th cent.; composer. (2) Aldobrandini, lived in Bologna, 17th cent.; dram. composer.
5Albert, Prinz von Sachsen-Coburg Gotha, Schloss Rosenau, 1819—1861; consort of Queen Victoria, patron of music and composer of an opera, "Jean le Fol" (Bagnières de Bigorre, 1865), an operetta, masses, etc. one of two readings
6Al'bert, Prinz von Sachsen-Coburg Gotha, Schloss Rosenau, 1819—1861; consort of Queen Victoria, patron of music and composer of an opera, "Jean le Fol" (Bagnières de Bigorre, 1865), an operetta, masses, etc. one of two readings
8Albert (äl'-bërt), (1) H., Lobenstein, Saxony, 1604—Königsberg, 1651; poet, organist and composer, called the father of the German Lied, and, as he alludes to a "Comödien-musik" (1644), he must have been, with Schültz, one of the founders of German opera. (2) Charles L. N. d', Nienstetten, near Hamburg, 1809—London, 1886; dancing master and composer. (3) Eugen d', rightly Eugène (Francis Charles) (däl-bär, or däl'-bërt), Glasgow, April 10, 1864—Riga, March 3, 1932; son and pupil of above; pianist; Newcastle scholar in the London Nat. Training School, 1876; pupil of Pauer (pf.) and Stainer, Prout and Sullivan (harm. and comp.); 1881, Mendelssohn scholar and pupil of Richter and Liszt, who called him "the young Tausig"; 1881, he played the Schumann concerto at the Crystal Palace, London; Oct. 24, a concerto of his own, at a Richter concert; he performed [address hidden] sonatas (op. 31, 53, 90, 109, 110) at a Gewandhaus recital, 1893; he married the pianist Carreño in 1892 (divorced 1895); first conductor at Weimar, vice Lassen, but soon resigned; composed a symphony, 2 overtures ("Hyperion" and "Esther"), 2 pf.-concertos, libretto and music of the operas "Der Rubin" (Carlsruhe, Oct. 12, 1893), "Ghismonda" (Dresden, 1895), "Gernot" (Mannheim, 1897), 1-act mus. comedy "Die Abreise" (Frankfort, 1898); operas "Kain" and "Der Improvisator" (both Berlin, 1900), "Tiefland" (Prague, 1903), "Flauto solo" (Prague, 1905), "Tragaldabas" (Hamburg, 1907), "Die Verschenkte Frau" or "The Bartered Wife" (1912, Munich). His opera "Tiefland" (based on Guimera's play, "Marta of the Lowlands") has had immense success; in Berlin alone (prod. 1907) it reached its 400th performance in Feb., 1912; it was sung at the Met. Op., 1908, and throughout Europe; also c. the operas "Liebesketten," "Izeil," "Die Toten Augen" (1917); perf. also in N. Y. by German Op. Co., 1924); "Der Stier von Oliveira" (Leipzig, 1918); "Revolutionshochzeit" (do, 1919); "Scirocco" (Darmstadt, 1921); "Mareike von Nymwegen" (1923); "Der Golem"; "Die Schwarze Orchidee" (musical detective drama, using jazz effects); and a posth. work, "Mr. Wu," (prod. 1932); string quartets, violin concerto; pf. pieces, etc. His later marriages were to Hermine Finck, singer (1895—1910); Ida Theumann (1910—12); he is esp. remembered for his piano transcriptions of Bach organ works; his revision of the "Well-Tempered Clavichord"; his editions of various Liszt works and of the sonatas of Beethoven.
10Albertazzi (äl-bër-täd'-zē), Emma (née Howson), London, 1814—1847; operatic contralto.
12Alberti (äl-bër'-tē), (1) Jn. Fr., Toning, 1642—Merseburg, 1710; organist. (2) Giusi Matteo, Bologna, 1685—1746; violinist and composer. (3) Domenico, Venice, ca. 1717—Formio, 1740; singer then pianist; in his piano music he made use of the since-called "Alberti bass" (vide d. d.).
14Alberti'ni (äl-bër-tē'-nē), (1) Gioacchino, b. 1751—Warsaw, April, 1812; conductor and dram. composer.
16Albicas'tro, Henrico (rightly, Weissenburg), b. Switzerland, 17th cent.; court-violinist.
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