Scan 32
Stokes Encyclopedia Of Music And Musicians Volume Ii, 1908
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1tached to the Church of Santa Maria della Passione. The regulations were drawn up by Gian Simone Mayr, and the first president was Bonifazio Asioli, the faculty consisting of Federigi, Secchi, Ray, Piantanida, Negri, Rolla, Sturioni, Andredi, Adami, Belloli, Buccinelli. During the occupation of Milan by the Austrians, 1848-49, troops were quartered in the Conservatory buildings, but the professors gave lessons at their homes, preserving the continuity of instruction. The following year, when the Conservatory reopened, the courses were enlarged by President Lauro Rossi. Since that time the Conservatory has given complete musical and literary education. In 1908 the faculty consisted of Giuseppe Gallignani, president; Vincenzo Ferroni, Gaetano Coronado, composition; Michele Saladino, Luigi Mapelli, counterpoint and fugue; Amintore Galli, Carlo Gatti, harmony; Alberto Leoni, Vincenzo Pintorno, Paolina Vanneri Filippi, singing; Vincenzo Appiani, Giuseppe Frugatta, piano; Luigi Maurizio Tedeschi, harp; Luigi Mapelli, organ; Gerolamo De Angelis, Marco Anzoletti, Enrico Polo, violin and viola; Giuseppe Magarini, 'cello; Italo Caimmi, doublebass, Antonio Zamperoni, flute, Alfredo Carlotti, oboe; Romeo Orsi, clarinet; Antonio Torriani, bassoon; Carlo Fontana, horn; Serse Peretti, trumpet and trombone; Ettore Pozzoli, theory and solfeggio; Guglielmo Andreoli, assistant, piano; Paolo Maggi, assistant, harmony; Amintore Galli, history and liturgy; Lodovico Corio, poetic and dramatic literature; Gin- evra Povoni, declamation and dramatic art; Eugenio De' Guarinoni, secretary of the faculty.
3Milanollo (Teresa) became one of the most noted of women violinists. Hearing the instrument played in church at four, she forced her father to give her one, and after a few lessons from G. Ferrero developed such skill that at six she was taken to Turin and placed under Gebbaro and Mora, played in concerts with success, and at ten appeared at the Opéra Comique concerts in Paris. She then toured Holland with Lafont, and subsequently throughout Europe; retiring after her marriage to Parmenier, a French military engineer, only appearing thereafter at a series of highly successful charity concerts. She composed an Ave Maria for male chorus and some pieces for violin. B. Aug. 28, 1827, Savigliano, near Turin; d. Paris, Oct. 25, 1904. Maria played violin, accompanying her sister TERESA on her many tours. B. July 19, 1832, Savigliano; d. Oct. 21, 1848, Paris.
5Milde, von (Hans Feodor) created the rôle of Telramund at Weimar; pupil of Hauser and Manuel Garcia. B. April 13, 1821, Petronek, near Vienna. Rosa Agthe created the rôle of Elsa at Weimar, where she sang with her husband HANS FEODOR for many years. B. June 25, 1827, Weimar. Rudolph sang bar. at the Weimar opera, debut 1883, Metropolitan Opera House, New York, 1886-88; taught Stern Conservatory, Berlin, until 1894, when he returned to the operatic stage. B. Nov. 29, 1859, Weimar; son of HANS FEODOR; add. Berlin.
7Mildenberg (Albert) composed "Michaelo," accepted for performance in the Vienna Royal Opera, and also for Munich, Prague, Salzburg and Budapest. This opera, composed in 1906, was based on the Life of Michelangelo, and was the first work of its kind by a native of the United States accepted for performance in Europe. An earlier opera, "Rafaelo," had not been disposed of in 1908, but in the fall of that year Mildenberg had undertaken an opera for the Mozart Theatre, Vienna, in collaboration with Dr. Wüllner. Pupil of Paul Hermann, and later of Rafael Joseffy, Mildenberg made his first success with his songs, "The Violet," "Ich liebe dich," "The Ivy Leaf," and the piano pieces "Barcarolle," "Astarte," and "Arabian Nights," which were followed by the successful comic operas "The Wood Witch" and "Princess Delft." B. Jan. 13, 1875, Brooklyn, New York; add. New York City.
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