Scan 87
The MacMillan EncyclopEdia Of Music And Musicians In One Volume-I, 1938
30 lines. Read by computer on 10 September 2026. Printed page 79. See the scan on archive.org.
1ccived the above mentioned award has been recorded by an orchestra under the direction of Thomas Beecham, and two of his works have been played by the Philadelphia Orchestra.
3Atterbury, Luffman, English composer, died [address hidden], Westminster, June 11, 1796. He was originally a carpenter, but became a musician-in-ordinary to King George III, composed catches and glees, and sang in the Handel Commemoration of 1784.
5Attern, Wilhelm, German composer, died 1843. He was Count Bentheim's music director, and composed symphonies, overtures, and other instrumental works.
7Attey, John, English lute player, died Ross, about 1640; the last of the English school of song composers for the lute.
9Atto (It.), act of a drama; attore, an actor; attrice, an actress.
11Attrup, Karl, Danish composer and organist, born Copenhagen, Mar. 4, 1848; died there, Oct. 5, 1892. He was a pupil of Gade, whom he succeeded as organ teacher at the Copenhagen Conservatory; also the writer of valuable organ studies.
13Attwood, Martha, contemporary American soprano, born Wellfleet, Cape Cod, Mass., the first American singer to make her début in a première at the Metropolitan Opera, New York. She has been heard with some of the leading American orchestras and oratorio societies.
15Attwood, Thomas, English organist and composer, born London, Nov. 23, 1765; died Chelsea, Mar. 24, 1838; a pupil of Mozart in Vienna, organist of St. Paul's and composer to the Chapel Royal.
17Atwater, Kent Foundation Contests, American competitions for radio performers, conducted from 1927 to 1932. Cash prizes totalling $25,000 were awarded during the six years they were conducted. Among the winners who have subsequently attracted attention, out of a group of sixty, are Josephine Antoine and Raoul Nadeau.
19Aubade (Fr. from aube "the dawn"), morning music (opposite of nocturne or serenade), music performed in the morning. A title for short instrumental pieces in lyric style; also the ironic title for a noisy parade or serenade of which the principal feature is the use of discordant instruments.
21Auber, Daniel François Esprit, French composer, born Caen, Normandy, Jan. 29, 1782; died Paris, May 14, 1871. When he produced an opera in Paris with a company of amateurs and an orchestra of six stringed instruments, Cherubini, who happened to be in the audience, was so impressed with Auber's talent that he took him as a pupil. Wagner considered his opera, Masaniello, a masterpiece. Its portrayal of popular fury is so graphic that the "Brussels riots" followed its performance there. This work, together with Robert le Diable (Meyerbeer) and William Tell (Rossini) laid the foundations of French grand opera. Among his forty-five operas, one in lighter vein, Fra Diavolo, is still a popular favorite.
23Auberlen, Samuel Gottlob, German composer and violinist, born Fellbach, near Stuttgart, Nov. 23, 1758; died Ulm, June 6, 1817; writer of numerous songs and a choir-training method.
25Aubert, Jacques (called le vieux), French violinist, born about 1683; died Belleville, near Paris, May 19, 1753. He studied under Senaillé, becoming violinist in the Royal Band and first violinist at the Opéra. He was astonishingly prolific as a composer, writing thirty-three orchestral works and many compositions for the violin.
27Aubert, Louis, French violinist, teacher and composer, born Paris, May 15, 1720; died about 1800; eldest son of Jacques Aubert. He joined the Paris Opéra orchestra at the age of eleven; his compositions comprise concertos and smaller pieces for the violin.
29Aubert, Louis François Marie, French composer and pianist, born Paramé, Ille-et-Vilaine, Feb. 19, 1877. His father was a musician of real culture and considerable accomplishment, and his son made astounding progress under such proficient training. He was prepared to enter the Paris Conservatory by the time he was ten years old, and here his excellent fundamental training soon enabled him to distinguish himself by winning prizes in elementary theory, piano playing, harmony, sight-reading, and transposing. His earliest works, a few songs and smaller piano pieces, written at the age of seventeen, revealed the influence of Franck, Chausson and Schumann, the great masters who were his ideals at the time. His advisers and teachers were so disappointed in these early works that they suggested his adopting the career of a concert pianist. In accordance with this advice, Aubert concertized for some time, but the lure of composition was too great and he soon abandoned the recital platform. At the turn of the century his personality was beginning to assert itself, and he began work on more pretentious compositions. About this time he was disqualified for the award of the Grand Prix de Rome on account of the fact that he had just married. In 1902 he attempted a more ambitious work than any that had preceded, La Legend du Sang, a curious series of historical scenes for recitation, chorus and orchestra, one scene of which has been published. Four other works of smaller dimensions were more successful during the next two years. The six years following were devoted to the composition of one opera, La Forêt bleue, the libretto of which, by Jacques Chenevière, is based on familiar fairy-tales in which the characters and incidents are adroitly blended into a harmonious whole. The composer did not succeed in having the work staged in his own country, but it was eventually produced and favorably received at Boston, Mass. Aubert did not attain genuine significance as a composer until he turned to the expression of the Spanish idiom. Critics agree
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