Scan 31
STOKES, ENCYCLOPEDIA OF MUSIC AND MUSICIANS VOLUME 1, 1908
25 lines. Read by computer on 10 September 2026. No printed page number was found. See the scan on archive.org.
1AIGU
2Aïda; Act IV: "Chi ti salva," Amneris, "Ohimè morir mi sento," Amneris; "O terra addio," Radames and Aida.
3Aigu. Fr. Shrill, acute.
4Aimon (Pamphile Leopold François) composed "Michel et Christine," performed with great success in 1821, six other operas, much chamber music; conducted Marseilles theatre orchestra at 17. B. L'Isle, near Avignon, Oct. 4, 1779; d. Feb. 2, 1866, Paris.
5Air. Melody or tune.
6Ais. Ger. A sharp.
7A'Kempis (Nicholas) composed three books of symphonies and played organ at Ste. Gudule's church, Brussels, 1628.
8Akeroyde (Samuel) composed many popular English songs, 17th century.
9Akkord. Ger. Chord.
10A la. Fr. In the manner of.
11Al, All', Alla. It. In the manner of.
12Ala (Giovanni Battista) played organ in Milan churches and composed operas and sacred music. B. Monza, 1580; d. 1612.
13Alabiev (Alexander Nicolavich) composed "The Nightingale," nearly 100 songs, vaudevilles. B. Aug. 30, 1802, Moscow; d. 1852.
14Alard (Delphin) wrote an excellent "Violin School"; succeeded Baillet as professor of violin at the Paris Conservatoire, 1843; was among the foremost virtuosi of his day. B. Bayonne, Mar. 8, 1815; d. Paris, Feb. 22, 1888.
15Alamoth. Heb. Biblical music term occurring in Psalm lxviii, and of unknown meaning.
16Alarum, All 'Arm. It. A call to arms.
17Albani (Mathias) made violins modelled on those of Stainer, whose pupil he was. B. Botzen, 1621; d. Botzen, 1673. Mathias made violins, the best of which nearly equal those of the Amatis, with whom he studied after a long apprenticeship with MATHIAS, his father. B. Botzen; d. Rome.
18Albani (Marie L. C. E. Lajeunesse) sang sop. in opera and oratorio with very great success, her rôles varying from Lucia to Isolde. B. Nov. 1, 1850, Chambly, near Montreal, sang in Cathedral, Albany, N. Y., studied with Duprez, Paris, Lamperti, Milan; debut in "Sonnambula" at Messina, 1870, under name Albani, suggested by Lamberti; m. Ernest Gye, 1878; add. London.
19Albeniz (Isaac) wrote "The Magic Opal," comic opera, 1893, "Enrico Clifford" and "Pepita Jimenez," performed at Barcelona, 1894 and 1895; played piano. B. May 29, 1861, Comprodon, Spain. D. 1909, Cambo.
20Albeniz (Pedro) conducted music at Cathedrals of San Sebastian and Logrono; wrote church music and book of solfeggi. B. Biscay, 1755; entered the Church; d. 1821.
21Albeniz (Pedro) wrote piano method in use at Madrid Conservatoire, 70 piano compositions, and songs; secretary to the Queen of Spain, 1847. B. Logrono, April 14, 1795; d. Madrid, April 12, 1855.
22Albergati (Count Pirro Capacelli) composed operas, church and instrumental music, while in service of Emperor Leopold I. B. Bologna, 1663; d. 1735.
23Albert (Heinrich), "Father of the German Lied," was poet, organist, and composer, and aided in establishing German opera, although his "Comödien Musik," as well as the "Daphne," composed by his uncle, H. Schütz, regarded as the earliest German operas, are both lost. First trained in music by Schütz, he became a pupil of Stobäus in later life. "Gott des Himmels und der Erden" is one of the many hymns still sung for which he wrote both words and music, and his secular songs, published under royal and imperial patronage, were widely circulated. B. Lobenstein, Saxony, June 28, 1604; d. Oct. 6, 1651, Königsberg.
24Albert (Prince) used the influence of his position as consort to Queen Victoria to advance the cause of music in every way; composed songs, church music, and an opera; directed the Ancient Concerts; introduced many great works to England, among them Schubert's symphony in C, and Wag-
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