616
BAKER'S
BIOGRAPHICAL
DICTIONARY
of
MUSICIANS
FIFTH EDITION
Completely Revised by
NICOLAS SLONIMSKY
O. SCHIRMER
York
jp**r**Tr
PREFACE
TO THE FIFTH EDITION
The present edition is virtually a new book, with most of the entries re-
written, radically edited, and greatly expanded. Some 2,300 biographies have
been added, including not only contemporary figures but also many neglected
musicians of the past.
A maximum emphasis has been laid on the abundance of factual data. In
entries on composers, the titles of major compositions operas, ballets, symphonic
works are given as completely as is practical, with exact dates of first perform-
ances. In entries on musicologists, most of their published books in various
languages, and some of their significant articles in the musical press, are listed.
As to performers, their most signal accomplishments are brought out, with dates
of their European and American debuts. A similar service is done for outstand-
ing music teachers, with a list of their educational positions.
The design of the present edition is a self-contained biographical dictionary
of musicians. Bibliography is given in ample measure, but the reader is not
directed to other reference works for essential information.
I have received invaluable assistance from scholars and librarians in America
and in Europe during the preparation of this edition, but thr actual writing has
been clone by myself, and I must therefore accept full responsibility for the re-
sulting product.
A biographical dictionary ought to bo a democratic assembly of factual in-
formation. Great men of music an; naturally given preponderance, but the "little
masters" are also treated with consideration, Bibl, Kittl, LSekl, and Titl, and their
ilk, are tendered lexicographical hospitality, if not lavish accommodations.
Authorities have been consulted, but not trusted. In fact, many persistent
errors find their origin in authoritative, works of reference, compiled by illustrious
lexicographers whose great reputations have? for years discouraged independent
scrutiny.
Unfortunately, prime sources of musical biography, the memoirs of the
subjects themselves, are rarely reliable, Berlioz embellished his life by romantic
exaggeration, and often abused credulity. Wagner gave a fairly accurate account
of his life, but he deliberately omitted episodes that are of legitimate interest,,
for instance the fact that he was incarcerated for debt in the Clichy jail in
Paris from October 28 to November 17, 1840. These dates I have secured from
the Palais de Justice, Paris,
Reminiscences by members of the family and intimate friends of famous
musicians must also be treated with circumspection* In some cases, the censoring
of certain aspects of a musician's life is unavoidable. The standard biography
Hi
PREFACE
of Tchaikovsky by his brother Modest understandably leaves out the. true
reasons for the failure of his unfortunate marriage.
Some biographical materials that have been widely circulated an* plain
forgeries. Such are the notorious Chopin- Potocka correspondence (in which
Chopin appears as a gay Lothario) and the unspeakable edition of Atewoirt'S
(rune chantt'itw allcrnaudc, ascribed most foully to the famous singer Wil-
helmine Sehroder-Dcvrient; it still figures in most bibliographies as a source book
instead of the pornographic, fabrication that it is.
Many cherished legends of musical biography have been removed by recent
investigations, and 1 have tried to keep up with the corrective discoveries.
Sweelinek never went to Venice*. Corclli never went to Paris as Lully's rival.
Stravinsky's fuldnclla contains virtually no themes by Pcrgolesi (though they
are attributed to Pergolesi in Stravinsky's sources), Friedrieh Witt wrote the
"Jena" symphony, not Beethoven. PurcelPs trumpet voluntary was composed by
Jeremiah Clarke. Wagner did not invent the, term "Leitmotif ; 11 neither did Hans
von Wol'/ogen; it was originated by Friedrieh Wilhelm Jiihns, in the preface to
his book on Weber, published in 1871. And, of course, Bi/ct never composed
the famous Habanera from (!armen\ he transplanted it from a collection of
Spanish songs by Sebastian Yradier.
The commonly accepted story of Haydn's Farrwett Symplwny tells tis that
Haydn staged his musical act in order to induce Prince EstrrluV/y to grant his
orchestra a vacation. But a much more plausible explanation is contained in
u little-known book by an Italian friend of Haydn, (Jiacomo (Jotifrrdo Ferrari*
published at London in lft!$0, According to I'Vmvri*s version, Kstcrh;V/,y in-
tended to disband the orchestra and Haydn's Farewell Hymphtmy was a strata-
gem to move the patron's heart, and to save the orchestra. Obviously, it
succeeded.
It is usually stated that 20,000 persons attended Beethoven's funeral, and
the figure is supported by contemporary accounts. But th population of Vienna
at the time of Beethoven's death was alxmt 320,000, and it in hardly likely
that one jx^nton out of every sixteen^ including children, gathered to pay tribute
to the dead muster. I have therefore replaced 20,000 by thct non-committal
* 4 htmdred," On the other hand, the famoux account of Beethoven's dying during
a violent storm has brai triumphantly confirmed. 1 have obtained fmni the*
Vienna Bureau of Meteorology an official extract from the weather refKrt for
March 26* 1827, stating that a thimdcrxtorm, accompanied by twng wind*,
raged over the city at 4:00 in the afternoon*
A certain dement of informed gucmtwork is inevitable in any biography,
and in justified m long u*t it 4 Is dearly presented an conjecture, Jean Marie
Lcclalr, the 18theentury French violinist, was murdered in bin own house
iv
PREFACE
(by stabbing) ; his estranged wife was a professional engraver who owned sharp
tools; there was no sign of a struggle at the scene of the assassination; ergo * . .
The pursuit of accurate information has been long and arduous. To begin
at the beginning, i.e., at birth: musicians, through the centuries, have altered
their birth dates, invariably in the direction of rejuvenation. The chronicle
of falsification begins with Johann Jakob Froberger, who gave his date of birth
to his physician, Nicolaus Binninger, as May 18, 1620. When his baptism certifi-
cate was discovered, it revealed that he was baptized on May 19, 1616. A
plausible surmise is that he gave the correct day and month, falsifying only
the year; it is therefore fairly certain that the day of his birth was May 18,
and that he was baptized on the following day.
In his handwritten autobiographical notice for Matthcson's Grundlagc eincr
Ehrenpfortej Tclemann stated that he was born in 1682, whereas he was actually
born a year earlier; again, the day and the month of his birth, March 14, were
given correctly,
I have obtained hundreds of birth certificates from all over the world to
establish correct dates. The differences between the professed and actual ages
have ranged from one to nineteen years. A few exceptions should be noted,
Mozart's librettist, Emanuel Schikaneder, gave his birth year as 1748, but he
was actually born in 1751. It is suid that he married a woman some years his
senior and wished to bring their ages closer together.
Ethel Lcginska, pianist and conductor, wrote me to correct her date of
birth from 1883 to 1886. Her birth certificate confirmed the latter date.
The famous Brazilian composer Villa-Lobos apparently did not know
when he was torn, for when I told him during a meeting in Paris that he was
born in 1887, and not in 1881, 1890, or some other year, as variously given in
reference works, he seemed genuinely surprised* I obtained the 1887 date from
the registries of the school he attended as a child in Rio do Janeiro, Since then,
his birth certificate has been discovered, confirming this date.
In some cases it is possible to arrive at a complete birth date synthetically.
It is known, for instance, that Jacob Obrecht was born on Saint Cecilia's day,
November 22, and that he entered the University of Louvain on August 17,
1470. The nornial age of entrants being between 17 and 18, the year of
Obrecht's birth can be deduced as 1452, thus providing the full date of birth,
November 22, 1452. But a similar attempt to establish the birth date of the
famous Belgian theorist Johannes Tinctoris from the presence of a person of
that name among the entrants at the University of Louvain in 1471, fails be*
cause of false identification: Tinctoris was definitely known to be a native of
PREFACE
Brabant, whereas his Louvain namesake was from Flanders; also, the* real
Tinetoris was already a figure in scholarly circles at the time his namesake
entered the* University.
Vivaldi's year of birth seems to he hidden forever from the inquiring eye;
only an approximate date between 1(571) and 1678 is offered in his biographies.
But in an article published in 'Nueva Antologia' of August 1, 1942, Fausto
Torrefrunea makes this tantali/ingly cryptic statement: "Se e vera la data chr
ho ripeseato in tin veechio rcpcrtorio del qualc nessuno si e servito, Vivaldi
sarebhe nato n< % ! 1669, 1M1 giupno," Ncwuno? I have decided to accept this
date, even without palpable* certification, in the hope that further findings will
confirm it, for exact dates arc- rarely fabricated whole, and the year 1665) is
quite* compatible with the precisely known dates of Vivaldi's tonsure* and ordi-
nation to the priesthood.
Oases of mistaken identity complicate the search for birth certificates. The
bicentennial of Giovanni Hnttista Viotti was widely celebrated in 19511, but as
it turned out, the celebration honored Viotti's infant brother. A Giovanni Battista
Viotti was indeed born in Fontanetto, Italy, on May 2!i, l7fW, but he died on
July 10, 1754. On May 12, 1755, another child was lxrn to the Viotti.% and
in memory of their first-lx>rn, he was given the same* Christian names (a common
practice in Catholic families) plus two additional names, Guglirlmo Domentco.
This was Giovanni Battista Viotti, the composer.
Biographical notices for Giaeeune* Ensanguine list his year of birth variously
between 1712 ami 17*12, I applied for a copy of his birth certificate at the
registries in his native town of Monopoli, and received a document stating that
Giaeomo liwangiww was born there in 1712. However, this date did not iit
into the known chronology of his education and career, I pressed further; the
registries were searched again, and a death certificate was found showing that
u Giaeomo Insan^uine died in I72(i at the aj?e of 14, On March 22, 172M, a tniy
W;IH horn to the* bereaved parents, and wan named Cisaeosno Antonio Francesco
Paolo Mtt'hele. Thin was the* rewijxwrr Iwunguinr,
The Italian cowponer and conductor Angelo Marians, who was lx>rn on
October 11, 1821, tmt*ttii in bin communications to Fninerju^o Rtgli, editor of u
biographical dictionary, that hit wua born on Oeterfmr 11, H124, and that he had
an elder brother of th aaine name fwrn exactly three y*ur curling which l**d to
xnintsikrn idcrntitication. MurinnPx birth eertiticatet prcw^, however, that hr
lx>ni in 182K
A funumx t*asr of chuined miMttikcn identity is Uiat of Itrrthcwon, who was
to prove that h wu lx)rn in 1772 rattier than I770 t and that it wa
another Ludwig van Beethoven who was lw>rn ut an earlier dute, True, u Ludwig
vi
PREFACE
Maria van Beethoven was born on April 1 9 1769, but he died a few days later,
Beethoven was born in the following year.
The true dale of birth of Caruso will never be known with certainty; upon
inquiry, I have received from the Demographic Office in Naples 13 birth cer-
tificates for 13 Enrico Garusos, all born about the time that Caruso was born,
but none matching the known names of his parents. The chances are that the
birth of Caruso, who was one of 18 children, was never registered.
Discrepancies of a few days in dates of birth are very common, owing to
the substitution of the date of baptism for that of birth. Oddly enough, such
errors occur even when the actual date of birth is included specifically in the
baptism certificate. For over three centuries the date of birth of Lully was
readily ascertainablc, since his registry of baptism, indicating his birth on the day
before, was preserved in the state archives in Florence. Yet it is the date of Lully's
baptism, and not that of his birth, that is given in most reference works. Unless
a prior claim is made, I was the first to obtain the text of the baptism certificate
of Lully, and to establish his correct birth date-, November 28, 1632,
It has been repeatedly stated in various writings on Mahler that he was
not sure of his exact date of birth, and that his birth certificate was lost. Yet
a simple request addressed to the archivist of the municipality of Kalischt, where
Mahler was born, brought me a copy of his birth certificate confirming the
generally accepted date, July 7, 1860. His centennial will thus be celebrated
with the perfect assurance that the date is right.
Several reference works state that the birth of Sigismond Thalbcrg was
never registered, and that u search in the archives of Geneva, where he* was
born, proved unavailing. Yet I have obtained the supposedly lost birth certificate
without any difficulty, establishing his birth date as January #, 1812* Inquiring
still further, I learned to my disappointment that I was not the first to discover
the supposedly lost document; its text was published in a musical magazine
early in the 20th century, with the purpose; of refuting the claim of loss* But
there was more to the? Thalborg case than the mere matter of his birth date.
He openly asserted that he was the natural son of Count Moritas Dietrichstcin
and Baroness von Wctdar. Yet the birth certificate states unambiguously that his
parents were Joseph Thalherg and Fortune Stein, both of Frankfurt* The
certificate also indicates that both parents were married, but it does not state
clearly whether they wen*, married to each other. At this point, my investiga-
tion had to stop.
There is a fair percentage of illegitimate births among musicians. One
famous Italian singer, Lucrczia Agujari, was known as La Bastardclla; unless
the name under which she was registered at birth is ascertained, there is no
hope of obtaining her birth certificate. Delicacy compels me not to mark the
vii
PREFACE
established illegitimacy of musicians of more recent date.
When birth certificates cannot be secured, the next best sources of informa-
tion are, registries of birth in family Bibles, marriage, certificates, school reports,
and the like. The, date of birth of Kaspar Othmayr, March 12, 1515, is verified
by his astrological chart, and one may be sure that he gave the right date to
his astrologer.
Death dates are often listed a day late, owing to the delay in announcement,
or to a differences in time zones. Arnold Schoenhcrg's death is given as July
14> 1951 in most European sources, whereas he died on July IH, in Los Angeles.
The date is particularly significant since Schocnberg (who was l>orn on the KUh
of the month) held a superstitious belief that 13 was his unlucky number. He
was genuinely perturbed when he was told by a friend that the sum of the
digits of his ago (76) during the last year of his life was 13. According to an
intimate account, he died 13 minutes before midnight, Los Angeles time, which
of course was early morning July 14, in the Eastern states and in Europe.
Conversely, European deaths are occasionally reported in America as having
occurred on the preceding date according to local American time. For some
reason, the elate of Prokofiev's death was generally reported in the West as
having taken place on March 4, 195)3, although he died on March 5, 1953, at
6:00 in tht* afternoon, Moscow time, which was also March f> in Western
Europe and America,
Mclba died in Sydney in the early morning, on February 23, 1931, Australian
time, but her death was announced in New York papers that were on thr streets
on February 22. This wan, of course, due: to the day's advance of Australian time
over American time.
A number of musicians, including celebrities, have disappeared without
leaving a trace* It wa only in the 20th century that Vivaldi's place of death
was finally tmeed to Vienna. Kononemi, the rival of Handel, also went to Vienna
to die, but tins was not discovered until very recently. I Iwlievn that the
present edition is the first musical dictionary to contain this information and the
exact date of Bononcini*s death.
In order to ascertain the fute of musician* who were lost during the
cataclysm of World War II and the European revolutions preceding and
following it, I resorted to advertising in the German press and in the Russian
$migr newspapers. I received a numtxr of replies from relatives and frknds
of the subjtx'ts, and was able to establish the, death dates of several former
luminaries on the* musical scene, among them Count ShercmetSw, a musical
Maecenas in old St. Petersburg, who died in a poorhousc near Paris, and th
vili
PREFACE
once famous German tenor Paul Kalisch, husband of Lilli Lchmann, who died
at the age of 90 in an Austrian castle. Then there were the deaths in German
concentration camps, and in air raids. Several well-known musicians could not
be accounted for, and probably never will be.
One of the most fantastic episodes in my hunt for missing persons was the
search for Heinrich Hammer, conductor and composer, born in Germany in
1862, and active in Washington, D. G., about the turn of the century. He was
last reported in Pasadena in the 1920's, but inquiries there failed to provide
any information. I appealed for help to my favorite librarian at the Music
Division of the Library of Congress, and lie, always a man of instantaneous
action, placed transcontinental telephone calls (at his own expense!) to various
contacts in Pasadena, until he reached Hammer's son. This gentleman, an em-
ployee of the telephone company, happened to be working atop a telephone
pole at the time, but a connection was established on the road line. The climax
of the story was spectacular: a clipping from the Los Angeles Times* of October
25, 1953, was produced, carrying on its society page a picture of Heinrich
Hammer, 91, and his young bride Arlene, 22, whom he had married the year
before. Their address was given in the story, but when I wrote to him for further
information on his musical activities, the letter came back marked: "Deceased:
address unknown." It was relatively easy to find out that he had moved to
Phoenix, Arizona, where he died on October 28, 1954,
Some technical aspects of the present edition are enumerated hereunder:
INCLUSION AND EXCLUSION* Although this is technically a dictionary of
musicians, many other individuals connected with music are included, so that
the proper title of the book ought to be Baker's Biographical Dictionary of
Musicians, Librettists, Publishers* Impresarios^ and Sundry Other Men, Women,
and Children Who Have to Do with Music. Diaghilev was not a professional
musician, but his influence on the course of 20th-century composition was so
powerful that his name cannot be left out* The same consideration applies to
patrons of music, some of whom could not read notes, but who have promoted
rnuaic by generous donations. Whenever there was a question about inclusion or
exclusion, the benefit of the doubt was given to the candidate.
PROPORTIONATE REPRESENTATION, Theoretically, in a book of reference, the
amount of space should be proportionate to the importance of the subject. But
this is not practical Biographical information is very scant on important musi-
cians of the Middle Ages and Renaissance, and it would be pointless to try to
fill the space by unwarranted speculation in lieu of factual material. A prolific
composer of ephemeral works may command more space than his less prolific
PREFACE
but more inspired colleagues. Abundance of factual material being the para-
mount aim, the ideal of proportionate representation cannot be sustained.
MARRIAGES AND DIVORCKS, When a musician marries a musician, it is of
some enlightenment to the reader to bo apprised of this fact. The same holds
true for musical divorces. When there is a multiplicity of marriages (as in the
case of Kug< x ne d* Albert), only musical marriages deserve a listing. The unique
marriage* of the male soprano Tonducci (he was a triorclris) must be mentioned,
if for no other reason than its bibliographical consequences, for his wife wrote
a hook on the affair.
BODILY AND MUNTAL ILLH. Dictionary entries on the Wagnerian tenor
Schnorr von Carolsfeld inform us that he died of a chill contracted when he
sang at the world premi&re of Tristan und Isolde, but the fact is that he sang
three more performances within the next ten days, and died several weeks later
of a heart condition aggravated by overweight. The melodramatic, elaboration
of the 29-year-old singer's death is typical of the old-fashioned art of biography.
The new-fushioned biography is apt to emphasize unpleasant ailments, par-
ticularly the m^ finis /r////Vv. Hut is it necessary in a musical dictionary to say,
r.tf., that Paganini suffered from this affliction? One thinks not. On the other
hand, a mention of Chopin's tuberculosis, which affected bin entire earrcr,
cannot be omitted from his biographical entry; besides, consumption 5s a poetical
illness, Similarly essential is the mention of the paralysis and blindness of
Frederick Delius, and, of course, the deafness of Hrethoven and Stnrtana,
Speculation as to psychological causes of physical decline and death, ram-
pant In old-fashioned biography, has no place in u factual work of reference,
Accordingly, t have excluded from this edition such psychological diagnoses UH
the tttatrmrnt that the 18th-century composer Isouurd was so deeply "mortified"
by his failure to be elected to the French Academy that ("although a married
man,*' thoughtfully remarks n 19th-century reference* work) he "abandoned work,
plunged into dissipation, and died/'
As a tribe, musicians, and particularly eomjxwm, arc apt to IK* mentally
unbalanced to a greater degree than rnrtnlxro of other professions, The insanity
of Schumann, Smrtana, Hugo Wolf, and MacDowell i a tragic cowludmg
chapter in the biography of each of these composers, But temporary mental
derangements need not IK* reported,
BfM<KK)KA!*!fY, Particular attention ban torn paid to the tinting of little*
known publications containing factual material not available elutrwhcm AH u rule,
other reference Ixxik* are not listed a* bibliography; exceptiow have l>ern made
for autobiographical mtrif** in Dirt Muiik in HuMhitht* und (itgtntvwt and
I*oewtmbt*rg'a compendium, Annals of Opera, but thrnr* arc citrd mwtly for an
extension in detail rather than as n&cntiul supplement.
PREFACE
Titles of books, when inordinately long, are abbreviated, but without cut-
ting off the limiting clauses. It is quite improper to list Karl Grunsky's Die
Technik des Klavierauszugcs, entwickelt am dritten Akt von Wagners Tristan
simply as Die Technik des Klavierauszugcs, even though the author offers
valuable suggestions as to general techniques of piano reduction while analyzing
the specific problem of the third act of Tristan und Isolde.
Old spelling in various languages is often preserved, when a book is
particularly famous. For instance, Martin Agricola's work Kin kurtz dcudsche.
Musica is not made into Eine kurze dcutsche Musik, which would be an un-
warranted modernization. Varieties of spelling in different editions of some
old books are also given occasionally. For instance, the editions of a work by
Christopher Simpson are differentiated as The Principles of Practicle Musick
and Practicall Musick.
Practical sense rather than bibliothccarian pedantry is applied in borderline
cases. It would not serve the student or the scholar to spell David as Dauid,
just to bow to some old usages. Arbeau's Orchtsographie is listed with the
subtitle in modern French rather than in the form in which it appears in the
first edition of 1589: Et Traictt, an Forme da Dialogue, par laqucl toutvs Per-
sonnes peuuent facilement a^rcndrc & practiquer Vhonneslc cxerricc des dances.
To list or not to list? That is the question that befuddles the lexicographer.
One cannot guide oneself entirely by library curd catalogues, for they list im-
partially dissertations of great documentary value and worthless popular book-
lets. Besides, the title-page does not always correspond to the content, For
instance, A. A. Elwart published a booklet on Louis-Gilbert Duprcz, subtitled
"avee unc biographic authcntiquc dc son xnaltre A. Ghoron," The subtitle is
hardly justified, for there arc but a couple of pages on Ghoron, containing little
information. On the other hand, there arc books whose titles, sometimes overly
modest, gave no hint about the wealth of material contained in them.
TITLES OF COMPOSITIONS. Composers are notoriously inconsiderate of
biographers and bibliographers, With malice aforethought, they change the
titles of their works, produce their operas abroad under translated titles, or
convert original subtitles into titles, tinder such circumstances, compilers of
musical dictionaries cannot be blamed for duplicating works. Don Emilio Arrieta
y Corera wrote an opera, La Conquista d$ Granada* which was produced in
Madrid in 1850, and revived under the title Isabel la Gat6liw in 1855, The
opera got a double listing in the Cr6nica de la Opera Italiana en Madrid*
published in 1878; the index to this book listed the two titles as interchangeable,
but this precaution did not deter several biographers from listing two operas in
place of one. Charles Martin Loeffler's Poem for orchestra, inspired by Verlaine's
La bonne chanson, was first performed and published simply as JPo<?m; Loeffler
xi
PREFACE
reorchcstratcd it, and had it performed under the title La bonne chanson. As
a result, the work twinned in several dictionaries.
FIRST AND LAST NAMKS. Variants of spellings of celebrated musical names
(Des Prez, Dc-spr&s, etc.) are indicated in parentheses, and the selection of the
main entry is made according to the weight of scholarly opinion, frequency
of usage, etc.. In this edition Piccinni is preferred to Piccini, Janequin to
Jannequin. Alternative spellings are indicated by cross reference*, One of the most
vexing problems has born the decision to modernize the German name Carl to
Karl The tendency towards modernization has been strong in the last decades,
and has found its reflection in the successive editions of the present dictionary,
A special problem is presented by the changes of spelling effected by emigrant
musicians themselves. Arnold Schonbcrg changed his name legally to Schocnherg
when he became an American citizen. Carlos Sulzedo dropped the acute accent
that originally marked the antepenultimate letter of his last name. Carlos iSur-
inach dropped the tilde over the n. Other composers changed the form of their
names in order to insure correct pronunciation in the adoptive country. Pre-
ferred listing must l>e derided according to the. number and relative im]K>rtnnee
of works published under the old name or the new. Thus, the original name of
AladAr Szmdrei has hern retained, even though he changed it in America to
Alfred Scndrcy. Edgar Varfcsc began using the form Edgard about 1942, but
all his works are published without the terminal d in the first name.
The French music scholar Lionel de La Laurende used the capital letter
in La in the bibliographical sections of his books, but small 1 in the footnotes
in the same books, The listing under La Laurencie is preferred here to conform
to library catalogues. Another scholarly Frenchman, Cfadalgc, did not use thr
acute accent in most of his signed prefaces, but the accent is prawnt in many
title pages of his publications* The aceentlcss form appears to be more authentic.
NORKUAIIY PARTICLE**. When a nobiliary particle (de, van, von) is intimately
associated with the customary form of a name, then the corresponding entry is
given under such a particle, Alternatives arc given for reference, Victoria Pa
Los Angeles is listed under De Los Angeles, with references under Angclrs and
J*oH, Although Beethoven took pride in the supjxmed nobility represented t>y the
particle van, it would be preposterous to have such a listing under the letter V,
even for reference purposes. The numerous other vans are distributed either
under V or under the main body of the name. Usage, rather than consistency,
is accepted a* a guide*
The English composer Gustav Hoist was of remote Swedish ancestry, and
his original name was Von Hoist. At thfl outbreak of World War I, he followed
the suggestion of Percy A, Scholes and dropped the Germanic-sounding particle.
There seems to be no point in giving a cros reference under Von Hoist
xii
PREFACE
PSEUDONYMS. Real names of composers or writers on music better known
by their pseudonyms arc given in parentheses. In some cases the choice has
been difficult. In the last edition of this dictionary, the main entry on Edmund
Rubhra was under Duncan-Rubbra, the name under which he published some
of his early works. Duncan was the name of his first wife, which he adopted,
but his subsequent works were all performed and published under his real name
and there seems to be no reason for perpetuating the Dunean-Ruhbra form.
The primary entry for the Russian composer and musicologist Boris Asafiev is
placed under that name, with a cross reference under his pseudonym Igor Glebov.
Philip Headline published most of his music under the name Peter Warlock,
but Ileseltinc is preferred for the main entry.
TRANSLITERATION FROM THE RUSSIAN. Adequate transliteration of Russian
names into the Latin alphabet is as impossible* as squaring a circle, Russians
who have made their careers abroad have adopted their own transliterations,
which have become familiar, and which resist the logic*, of phonetics. There is
no reason for the compulsion to do violence to such well-established forms as
Rachmaninoff or Kousseviteky, On the other hand, there is no reason to follow
the German spellings Strawinsky and Tschaikowsky. Since Stravinsky has be-
come an American citizen, the spelling of his name in the Latin alphabet has
become established. As to Tchaikovsky, his name can be rendered with phonetic
fidelity in English as Chikovsky (chi as in China)-, but so drastic a departure
from the familiar appearance of a famous name can only lead to confusion. The
Encyclopaedia Britannica compromises on the*, half-German, half-English form
Tschaikovsky.
The s in Russian names is often doubled to avoid being vocalized into 2,
There is only one s in the Russian spelling of Mussorgsky, but the deletion of
the supernumerary s would run counter to established usage. On the other hand,
Russian names that have not established themselves in a unique form have
been traasliterated letter by letter, as Asafiev and Stasov.
The first name and patronymic arc given in the entries on most Russian
musicians who have made their careers in Russia, but not for emigrants. Russian
forms of the first name arc used in conjunction with the patronymicSergey
Sergeycvitch Prokofiev, Nikolai Yakovleviteh Miaskovsky, For Russian-born
musicians active abroad, first names usually arc assimilated with the correspond-
ing names in the language of the country of residence* But there are inevitable
exceptions. My own name Nicolas is an anomaly in this respect, being the
French form of the Russian Nikolai; there should be every reason for me to
anglicize it into Nicholas, but since I began publishing nay compositions and
my books under an aitchless first name, I might as well keep it so.
GEOORAFHICJAL NAMES. Changes of place names are annoying to lexicogra-
xili
PREFACE
phers and mapmakers alike. If the metamorphosis of St. Petersburg to Pctrograd
and then to Leningrad leaves no doubt in the minds of informed readers that all
three represent the same eity on the banks of the Neva, elsewhere on the Kuropean
map the befuddlement is considerable, One ean travel from Pressburg to Bratis-
lava to Pozsony without budging an inch. A person born in Klausenburg finds
himself nominally transported to Kolozsvar and then to Cluj, while living in the
same house all his life.
Sometimes a town resumes its former name* Perm was renamed Molotov
after the Soviet Revolution, but when Molotov fell into disgrace in 1957, the
name Perm was restored. In Poland, Katowice was renamed Stalinogorod in
1953, but resumed its old name in 1956.
Then there is the ease of Li&gc. For over a century, it bore an unnatural
acute accent on the middle letter. In 19-16 the Municipal Council resolved that
the accent be changed. Should we cling pedantically to the chronology of Xd&gc'n
orthography, we would find a Itelgian musician born in a place with an acute
accent, and dying there with a grave.
AmmKViATtoNs, All abbreviation* have hern removed from tins edition,
except those in common usage, cg,, vol., ed., prof,, Jan,, Feb., Aug., etc.; and
also the obvious ones, such as symph,, cnvh., publ., etc. No more the im]x<nr*
trahta consonant jungle of Xtsehr., Vsehr., vc%, Kchtu., mvt,, or Kgl.
APPARENT RKKOKM. Among tens of thousands of names, titles, and dates
errors seem inevitable* Yc*t some apparent errors arr not errors at all. The
words of /)<V FawHa of Schubert an: by Sehuhnrt; Rosclius edited works by
Raxrliw; II. Kcimann is not a misprint for II. Rirmaun. Two Czech-born
conductors, both named Adlrr hut unrelated, art* stated in the present edition
to have been respectively in charge of tho Kiev State Opera ami of the* Kiev
State Orchwtnt during the same period in the 1!)30'. This l<x>ks like flagrant
confusion of identities, but it is not, How many real errors, typographical or
otherwise, hav escaped notice? I ean only hope that the percentage i* low,
My heart overflows with gratitude to many wonderful people who have
helped me in putting together this edition, and have saved me from blunder*
that I might otherwise haw committed, to my everlasting horror and shame.
There arc first of all the anonymous (for their unmet are illegible on various
document* rrmved by nm) registrars, clerks, and keqwrs of archives, thank*
to whom I have l>ern nbte to establish correct dates of birth and death, ilmt
fjrrfwmanew <if imixirtant works> and othrr dctuiU, Among munic scholars who
have bww of amwtane^, I should mention Karl H. Warner in O**nwmy, Victor
Ik Rubrrtis in Argrntinii, Vasco Marix in Brawl, Kluu* Pringihaim in Japan*
xiv
PREFACE
Josip Andrcis in Yugoslavia, the Society of Polish Composers in Warsaw,, Pierre
Dcbiivre in Paris, and Ulisse Prota-Giurleo in Naples. I owe. especial gratitude
to Mme. W,-L. Landowski of Paris, who provided accurate and important in-
formation on French music, not accessible by ordinary means. Thfiodorc d'Er-
langcr, of Paris, secured for me some valuable documentation.
Nathan Brodcr, Associate Editor of The Musical Quarterly, has assumed
the overwhelming task of going over the entire manuscript, questioning every
suspicious item, scrutinizing factual discrepancies, providing missing information,
and also rewriting some entries. He has kept his vigil faithfully, from Aaron to
Zwyssig.
I have reserved for the end my testimonial for William Lichtenwanger,
Assistant Reference Librarian in the Music Division of the Library of Congress,
a man of fierce determination, who gets his historical, biographical, or biblio-
graphical quarry in the face of the most disheartening failures by others. Because
he treats no subject as trivial, and no musician as unworthy of the most tender
bibliographical attention, he has been able to furnish unique and precious data
(working on his own time, too!). His familiarity with a dozen or so languages
(including Turkish and Japanese) has increased enormously the scope of his
inquiry.
As for myself, I should like to quote from a letter that Alfred Einstein
wrote me shortly before his death, wondering ". . . ob wir und natiirlich vor
allem Sio--im Himmd dnrnal dufur bdohnt werclcn, dass wir cinige Unge-
nauigkeiten axis dor Welt gcschafFt habcn , , , M To which I would acid my
favorite Latin phrase, so conveniently self-exonerating: Pact quod potui
faciant tndiora polentas.
NICOLAS SLONXMSKV
GUIDE FOR PRONUNCIATION
Pronunciation of names is indicated in phonetic values of sounds in the
English language. Names of European musicians of nations using the Latin
alphabet are left without alteration, including diacritical marks over and xmder
vowels and consonants in Czech, Polish, and Croatian, Russian names (originally
written in the Cyrillic alphabet) arc transliterated according to sound, accepted
usage, or both. When a Russian-born musician has spelled his name consistently
in a French form (as Oulibishefl, Koussevit/Jky, Cui), or a (Jerman (Rach-
maninoff), such forms are given preference. The stress is indicated by an apos-
trophe, placed after the accented syllable*: rah-mah'-ne-nohf. Pronunciation is
not given for names familiar to every cultured person: Beethoven, Schubert,
Schumann. However, when mispronunciation frequently occurs (e.g., Paderoosky
for Paderefsky in the* Polish name of Paderewski), correct sounds arc* indicated,
The following table lists phonetic symbols xisecl as a guide for pronunciation
and their equivalents in English sounds;
nh aa a in *fathrr.'
ah a,i ah in *Shnh.'
a* a in *bat.'
U an a in 'harr.'
a* a in 'futr.'
a* f in 'pet, 1
% a* ce in 'meet. 1
I ;u i In *it'
I M i in *iclt\'
oh an o in 'old,'
flh as o in Vjlwy. 1
6 an aw in 'law.'
$ a* ot* in *Oo?the* (or ru in French
'feu').
oi a* oi in 'oil.*
oo an 00 in *ftK>d,*
ftft an c> in *foot,*
ow UK ow in *owl,'
u an u in 'but,'
U m \\ in I'rcnrh *rur. p
fl a u in 'UUP,'
y rt*|>r^rnt thr Russian vowri hi, which
ftountU midway hMwrrn d am! (I
g Imrd, an in *<>.'
h as rh in thr (rrntan '.u'h 1 or in Srntch
'loch. 1
n rcpr*n**nts tht^ Frrnt'h namti vowel*, &n
(main, h'n),ahn (rnfnnt),uhn (in<m) f
lin (un),
ft (with a tiUlt*) rfprfxrnt* thr SjwnUh
conionnnt mnuul an in Vuifion* (t'un-
yon).
as in Sound.'
eh n* in Vhurrh.*
nh n* in 'iihuU,'
th a* in 'thin* (/ in Cuitiliun Sp.tnuh ) ,
y an in *y r **
% m in 'x
zh an x. in
BIOGRAPHICAL DICTIONARY
OF
MUSICIANS
Aaron, abbot of the monasteries of St.
Martin and St. Pantaloon at Cologne, where
he died on Dec* 14, 1032. He was the author
of two historically important treatises ; D*
utilitat* cantut vocalis it di modo cantandi
atqui psalltndi and Di regulis tonorum it
symphoniarum. He is believed to be the
first cleric to introduce the Gregorian eve-
ning service (nocturns) into Germany*
Aaron, Pietro, Italian theorist; b, Florence
1480; d. Venice 1543. He was cantor at
the cathedral of Imola in 1321: at the
Rimini cathedral in 1323. In 1523 he was
'maestro di cm' in a Venetian house; in
1536 entered the Order of Jerusalem* He
published Libri tres da institution* harmon-
ica (Bologna, 1516) ; // Toscantllo in musica
(Venice. 1523; 4 reprints, 1325-62); Trat-
Mo diita natura it cognition* di tutti gli
tuoni di canto figurato (Venice, 1525; re*
produced In part in an English translation,
in O. Strunk's Souret Reading in Music
History* N.Y. P 1950); Lucidarto in musica
di Ahum opiniont anticht $ modtrnt
(Venice, 1343); Compindkto di molti
aubbit sigrtti, it stnttnxt intorno at canto
ftrmo $t flgurato * , * (Milan, posthumous;
title page bean the inscription; In mcmorit
ctcrna erit Aron 1 ).
Aavlk, Julian, composer: born Reval (Es-
tonia), Jan. 29, 1884, He studied at the
St. Petersburg Cons*; was a conductor in
Dorpat (1911-25): settled again in Keval
(192844) as mof. and dir. of the Con**
scrvatory; in 1944 be went to Sweden*
Abaco, Evaristo Felice dall' Italian
composer, b* Veronsu July 12, 1675? d* Mu-
nich, July 12, 1742. He wai in Modena from
1696-I70L In 1704, he was at the Bavarian
Court in Munich; then he followed the
Duke of Bavaria to Belgium and France,
where he became acquainted with French
music, which left some influence on his later
works. In 1715 he returned to Munich, and
was active as leader of the Court orchestra.
He wrote 12 violin sonatas, with cello or
cembalo, op. 1 (1706); Conarti da thitM
for 4 string instruments, op. 2 (1714); 6
Sonatt da chitsa and 6 Sonat* da camera
for 3 string instruments, op, 3 (1715); 72
Senate da camera for violm and cello, op,
4 ( 1716; arranged by Chldeville for musette,
flute, oboe and continue) ; 6 Concerti for 7
instruments (4 violins, viola, bassoon or
cello and bass), op* 5 (1717) ; concerto for
violin solo with instruments, op. 6 (1730),
his most important work* Sandbciger pub-
lished a biographical sketch and a selection
from op, 14 m vol. I of 'Denkm&lor der
Tonkust in Bayern, 1 and a second selection
in vol. IX 1; Ricmann edited 3 trio-iona-
tas* Bibl,; R, Brenzon, Un srande musicista
vtronnf^ *>> til Dalf Abaco (*Note d*
Archivio* XII, 1935), See also K* 0, FcUcr-
er*s article in 'Die Musik In Gtschichtc und
Oegenwart/
Abaco* Joseph Mark CUmEtv Belgian
violoncellist: son of Evariste Felice dalT
Abaco; b, Brussels, March 1710 (bap
March 27) j dTatAAteano di Volpolf
near Verona, Aug. 31, 1805* He st
with his father; as a small boy played in the
orchcitra of the Prince Elector at Bonn; In
1738 he was appointed music director there.
He was in England in 1740; in 1753 he
went to Verona; wai given the title of
baron by Prince Maximilian of Bavaria
(1766)* His works comprise 29 cello sonatas
and other compositions.
Abbadia, Natalc, Italian composer; b.
Genoa, March 11, 1792; d. Milan, Dec* 25,
1861* He composed the opera Gutnnina di
Pontitu (1812), the musical farce L'imbrog-
1
ABBADO ABELL
lion* *d it castigamatti; masses, motets and
other religious music.
Abbado, Marccllo, pianist and composer;
h. Milan, Oct. 7, 1926. He studied at the
Cons, in Milan with Gavruzzeni (piano) and
Crhcdini (composition), graduating in 1947.
In 1051 he was appointed instructor at the
Cons. of Venice. He, has written a cantata
(,'iapo (19'15); Lento *r Rondo for violin
and piano (HH-f)) and piano pieces.
Abbatini, Antonio Maria, Italian
composer; b. Tifcrno (Citt& di Castcllo) c,
1595; d. there, Tan,, 1(580. He was maestro
di cappella at the Lateran (1626-28), and
other Roman churches; was at the church
of Lore to from March, 1667, lie wrote, 3
opera*, Dal malt al benc (Rome, ItkVtj one
of the earliest comic, operas, and historically
important as introducing the, final ensem-
ble) ; Innt (Vienna, I6f>6) ; Lti eornica dl
dtio or La Raltasara (Rome, 1668) ; and
it dramatic cantata // Pianto di Kodontont*
(Orvicto, 16W). He published 3 boob of
masses, 4 books of psalms, various anti-
phona (IftfQ, 1638, 1577) and 5 bmtki of
motets (HW5). Bihl.: H. Goldirhmidt, A'ftt
dun xur (rtschickt* d#r itaUaniwhtn Qpr
im 17. Jahrhundert (Leipzig, 1901-04); F.
Coradini, A, M. Abbatini (Arcxxn, 1922).
Abbey, John, noted English organ-
builder; b, Whiltcm, Northamptonshire, Dre.
22, 17ft5; d. Versailles, Feb. H), 1850. He,
went to Paris in 1826 at the invitation of
t6btuitic*ri Erard to construct *w orgnn for
thfc Parin Expedition. He remained in
France and built organs for the cathedrals
of many French cities. In 1831 he imtalled
an or^un at the Pitria Op^ra, II U innova-
tions in the Ennlinh type of brltow* were
mlopted by many French organ buildrrn.
His *on* t R, nnd J. Abbry, inherited the
xituatrd at Versaillrn,
Abbott, Knmm Amrricun loprano; b.
Chifttttu, Dec, ft, 1850; d, Salt Lnk City,
J?m. , 1801. Shr wu* taken to IVom u a
child; itudird mtiftic with her father who
Wilt a *inpr, and plitycd the guitur with
him and her brother, ft viollnUt, at hotels
;md clubs, ll^r ftr*t regular ernp>luyment wua
with Chapfa'i choir in New York (1870^72)
ut a unlttry of $1300 % year, In March.
1872 *hfc went to Europe where hr ntudlccl
with SMttKiovnnni in Milan and with Delle
Sedie in Paris, From then on, *hc rapidly
advanccti an *tn oprr;i u'n^rr. Her Ixindon
debut Wfii an May 2, 187$, Returning to
Anmdc.a, *h<* mitdc her ftm appeiumncc; in
New York on Fcb, 8* 1877, and ixng there-
after with great acclaim in the U.S. and
in Europe.. In 1875 she married E. Wethcrell
of New York (d. 1889). Bibl.: Sadie E.
Martin, The Life and Professional Carter
of ttmma Abbott (Minneapolis, 1891).
Abe, Konici, Japanese conductor and
composer; b. Hiroshima, Sept, 1, 1911. He
studied composition with Klaus PrinRfiheim
at the Tokyo Academy of Music; conducting
with Joseph Roscnstock; then became prot.
at the Elixabcth Music College at Kyoto.
Among his works are a cello concerto
(Tokyo, March 31, 19-10); piano concerto
(Tokyo, March 27, 1947); 8 string quartets
(1935-52); clarinet quintet (1943); diver*
timento for 9 instruments (1955), songs and
piano pieces.
Abcillc, Johann Christian Ludwijf, Ger-
man organist and composer; b, Bayrcuth,
Feb. 20, 1761; d, Stuttgart, March 2, 1838.
He was educated in Stuttgart* and was
leader of the private orchestra of the Dkr
of Wttrttcrnberg; in 180LI became court rnu-
RJC director, retiring in 1832. He published
several albums of songs which found their
way into vocal anthologies and wrote 2
light operas Amor und Pxyeh (1801) and
/*^*fr und Annchtn (1809); Also composed
concerted music for small groups, and
harpsichord pieces.
Abel, Karl Fricdrich, German viola da
garnha player and composer; b. CJttthen,
Dec. 22, 1723; d, London, June 20, 17B7,
He studied with bis father; then with J. H,
Bneh at the Thomasschule in Leipzig, He
was a member of the Royal Palish Hand at
Dresden (1748-58), 8etlwK in Lmulon in
1759, be became u friend of Johrt (Ihrifttinn
ttnch, With the Duke of York** assistance,
he was npjwmted t-hninber-mtuielan t
Queen Charlotte (1765). He composed two
operas: Lmw in a VilttiR* (London, 1760)
and tttreniet (London, 17(H); several sym-
phonies, many overture*, quartets and harp-
sichord sonata*, Abel is ftencrjtUy regarded
AS the last great vtrtuono on the viola dft
gambn,
Abel, Ludwig, German violinist: b,
KckurUberg, ThurinKift, Jan, 14, 1834; d*
Neu-Pasinjj, Hitvnm, Aug. 13, 1895, He
studied with Ferdinand David: plnyed in
the Ocwnndhftus orch, in I^eipzm, und wa$
later violinist in Wehnwr nd Munich. Hn
published A ntethod of violin playing,
Abel!* Arthur M* American music critic;
b, Norwich, Conn., April 6, 1868, He
studied in Weimar with Carl Hulir (violin),
Wilhelm Sad (j)lano), nnd Fritx Hartmann
(theory) ; remained in Europe for 28 yews
2
ABELL ABOS
(1890-1918) as a correspondent for 'The
Musical Courier* and other pxiblications.
He knew Brahms, and was a friend of Rich-
ard Strauss, Max Bruch, Joseph Joachim
and other celebrated musicians. Ujjon his
return to the U.S., he lived in retirement
in Hastings-on-Hudson. In 1955 he pub-
lished a book of memoirs, Talks With Great
Composers.
Abell, John, celebrated Scottish lute
player; b. Aberdccnshire, 1652; d. Cam-
bridge, 1724* He was a chorister in the
Chapel Royal in London; in 1679 received
a stipend from Charles II which enabled
him to study in Italy, He returned to Lon-
don in 1681; suspected of Roman Catholic
adherence, he was compelled to seek employ-
ment on the continent; served as intcndant
of music at Kasscl (1698-99); was back
in London shortly afterwards, able to re-
sume his career (he was described in a
contemporary report as "a harmonious
vagabond"). He gave his last London con-
cert in 1716, Abell published 'A Collection
of Songs in Several Languages* and *A Col-
lection of Songs in English 1 ; also 'A Choice
Collection of Italian Ayre.s.' Cf. H. G.
Farmer, John Abell in 'Hinrichscn's Music
Book' (vol. VII, 1952).
Abendroth* Hermann, conductor and
pedagogue,; b, Frankfurt, Jan. 19. 1883; d.
Jena, May 29, 1956. He studied m Munieh
(1900-1905); was active in Liibeck (1905-
11); Essen (1911-15); Cologne (1915-34);
also eonducted at the Berlin State, Opera
(1923-34). From 1934-42 he was director of
the Leipzig Cons, and conductor of the
Gewnndhnus Concerts, In 1947 he, wn ap-
pointed director of the Muaikhochsrhule m
Weimar; in 1949, music director of the Leip-
zig Radio.
Abcr, Adolf, musicologist; b. Apolda,
Germany, Jan. 28, 1893. He studied with
Kretzschmar, Stumpf and Wolf in Berlin;
was music critic in Leipzig (1918-33). In
1936 he settled in London and became con-
nected with the Novdlo publishing firm.
Publications; Handbuch dtt Musikliteratur
(1922) ; Die Musikinstrumente und ihre
Sprache (1924); Die Musik im Sehauspit>
GesMchtliches und Asthttisches (1926);
Verxeichnis d*r Werke von Brahms (1928);
also articles in various journals*
Abert, Anna Amalle, musicologist; b,
Halle,, Sept. 19, 1906. She studied at Berlin
Univ, (Ph. D., 1934). In 1943 was ap-
pointed instructor at the Univ, of Kielj
1950, prof, there; became assistant editor
of the musical encyclopedia 'Die Musik in
Gcschichtc und Gcgcnwart.' She edited
several collections of German choral music;
published an important book on Monteverdi,
Claudia Monteverdi und das musikalische
Drama (1953).
Abert, Hermann, German music scholar;
b. Stuttgart, March 25, 1871," d. there,
Aug. 13, 1927. He studied with his father,
Johann Joseph Abert; then at Tubingen
Univ. (Dr. phil, 1897). He was Dozent of
musical science at Halle Univ. (1902);
prof, there (1909). In 1919 he was ap-
pointed prof, at Heidelberg Univ; 1920, at
Leipzig Univ. (succeeding Hugo Riemann) ;
1923, at Berlin Univ. (succeeding Kretz-
schmar). Publications: Die Lehre vom
Ethos in der griechischen Musik (1899);
Die Musiknnschauung des Mittelalters und
ihre Grundtagen (Halle, 1905); NIC. /om-
melli ds Opcrn-Komponist (Halle, 1908);
NIC. Piccinni als Buffo-Komponist (1913);
biography of his father, Johann Jos. Abert
(1916); revision of Otto Jahn's biography
of Mozart (1919-21) ; Goethe und die Musik
(1922); Luther und die Musik (1924);
Illustriertes Musiklexikon (1927). His col-
lected writings were posthumously edited by
F. Blumc (Gesammette Schriften, 1929),
Abert, Johann Joseph, German composer;
b. Koohowitz, Sept. 20, 1832; d. Stuttgart,
April 1, 1915. He was a choir-boy; until 15
at Gastdorf and Ldpa monasteries; then
studied double-bass and composition at the
Prague Cons. (1846-53), In 1853 he was
engaged us double-bass player in the court
orchestra at Stuttgart; in 1867 he became
its conductor and also led the Stuttgart
Opera. He produced several of his operas
in Stuttgart: Anna von Lands kr on (1859);
Konig Enxio (1862) and the 'romantic
opera* Astorga, on the life of the composer
Astorga (May 27, 1866; very successful at
the time). Hm 5-a.ct opera Ekkehard (Berlin,
Oct, 11, 1878) also attracted considerable
attention, as did his 'musical sea picture 1
Columbus, in the form of a symphony
(1864). He also wrote 6 symphonies, several
overtures and chamber music, and pieces
for double-bass. Abert's style, influenced by
Mendelssohn. Schumann, ana to some ex-
tent Liszt, follows the romantic tradition.
His son, Hermann Abert, wrote a detailed
biography; Johann Joseph Abert, sein Leben
\d win* W* ~
un
Verke (Leipzig, 1916)*
Abos, Girolamo (baptismal name Gcronl-
mo), Maltese composer; b. Valrtta, Nov.
16, 1715; d. Naples, May, 1760, He studied
with Leonardo Leo and Francesco Durante
in Naples* In 1756 he went to London as
ABRAHAM ABRAVANEL
'maestro al cembalo* at the Italian Theater.
Returning to Naples in 1758 he taught at
the Cons, dclla Pict& de' Turchini. Among
his pupils was Paisicllo. Abos wrote 14
operas which were produced in Naples,
Rome and London; of these, Tito Manila
(Naples, May SO, 1751) was successful;
also composed 7 masses and other church
music. He is often confused with his con-
temporary, the Neapolitan opera composer,
Giuseppe Avossa (171 6-96 ) .
Abraham, Gerald, eminent English music-
ologist; b. Newport, Isle of Wight, March
9, 1904. He studied piano; became inter-
ested in philology; has mastered the Russian
language and made a profound study of
Russian music which has become his spe-
cialty. From 1935*47 he was connected with
the B.B.C, in London; then was appointed
prof, of music at Liverpool Univ. He has
publ, the following books; Borodin (1927);
This Modern Stuff (1933; revised edition
under the title This Modern Music, 1952);
Masters of Russian Music (in collaboration
with M. D. Calvocoresii, 1936) ; A Hundred
Years of Music (1938): On Russian Music
(1939); Chopin's Musical Sty I* (1939);
Beethoven's Second-Period uartets 1942
Beethoven's Second-Period Quartets (1942;;
$ Soviet Composers (1943); Rimsky-Kor*
sakov: A Short Biography (1945): also
edited collections of Articles on Tchaikovsky
H945), Schubert (1946), Sibcllut (1947),
Schumann (1952), Handel (1954). Abraham
has contributed Important biographical ar-
ticle* to the 5th edition of Grove's Dictionary
(1954).
Abraham, Mmx, German publisher; b.
Danzig. June 3, 1831; d. Leipzig. Dec, 8.
1900. He became A partner in C, F. Peters 1
'Bureau de MusiqueMn 1863, and sole pro*
prietor in 1680. On Jan. l y 1894, hit ne-
phew, Hcmrich Hinrlchicn, of Hamburg,
entered the firm and, upon Abrahams
death., became its head. The famous 'Edi-
tion Peters' was inaugurated by Abraham,
Abraham, Otto, German specialist in tone
penology; b. Berlin* May 31. 1872: d,
there, Jan, 24, 1926. He studied medicine;
became an associate of Stumpf at the Berlin
Psychological Institute from 1894; then col-
laborated with Hornbottel in building up
the Archive of Phonographic Recordings in
Berlin. Ho published several valuable trea-
UKI on acoustics and primitive music,
among them Wahrnehmung kvrxester T8ne
nnd Qertnsthe (1898); Studitn Kbtr dot
Tomyttem v*d die Musik der Japantr
(1904): Phonorraphbrte Indianermelodien
our Brititch-Columbi* ({90S; with Horn-
bottd). He alo wrote ttudiei on recorded
Turkish, Siamese and Hindu melodies; a
paper on Chinese musical notation, etc*
Abrfinyi, Cornelius, Hungarian pianist,
composer and writer on music; grandfather
of Emil Abranyi; b. Szcntgydrgy-Abranyi,
Oct. 15, 1822; d, Budapest, Dec. 20, 1903.
He came of an ancient Magyar family
whose name was originally Eordfigh. He
was first destined to a legal profession, but
in 1834 a meeting with me Hungarian na-
tional composer, Erkcl, made him decide
to study music. In 1843 Abrdnyi went
abroad; in Munich he met Liszt, and be-
came his lifelong friend. He went to Paris
and took lessons with Chopin and Kalk-
brenner for a short time, returning to Hun-
nin 1845. He took a leading part in the
lation and encouragement of the Hun-
garian national school of composition during
the second half of the nineteenth century.
His compositions (130 opus number*) emph-
asize the Hungarian national elements; the
most ambitious of these works being his
Hungarian Millennia^ $onata> op, 103. His
books (all in Hungarian) include: Art and
Revolution (1867); Biography t of Fran*
Lisxt and Survey of his Oratorio Christus
(1873); General History of Music (1886);
History of Hungarian Music in the Nine*
teenth Century ( 1900). He also wrote an
autobiography, From My Life and Mem*
ories (1897)*
Abrinyi, EmH, composer and conductor;
b. Budapest, Sept 22, 1882. Hi* father wai
Emil AbrAnyi, the poet, and his grandfather*
Cornelius Abrinyi, In 1902 he went to
Germany and studied under Niktich in
Leipzig. He was engaged a conductor to
the Municipal Theater at Cologne (1904)
and at Hanover (1907). Returning to Buda*
grit (1911) he became conductor at the
Royal Opera House; h# was also active as
music critic. He was director of the Buda-
pnt Municipal Theater (1921*26); eon-
ducted various orchestra* in the province*.
Ai a composer. Abrinyi follow* the tradition
of Wagner, The following stage work* went
performed at the Royal Hungarian Opera
House, Budapest: The King of the Mist,
ballet (Oct. 17, 1003); the operat Monna
Vanna (March 2 t 1907); Paolo e Frtnctsca
(Jan, 13, 1912); Don Quixote (Nov. 3D,
1917); Xwr Wtffto (1922J. Other oprrai
are Singing Dervithtj (1 939); The Prince
with the LUies (1938); Byrcntlvm (1942);
Sorceress Eve (1944) ; The Tatt of Balaton
(1943) and The Cantor of St. Thomas
Church (1947$ the firtt opera written on
thelifcof J. S. Bftrh).
Maurice, conductor; b. Sal-
ABSIL ACKTE
oniki (Greece), Jan. 6, 1903, He studied
at Lausanne Univ. ? and later in Berlin.
Leaving Germany in 1933 he conducted
ballet in Paris and London: toured Australia
with the British National Opera Co. (1934-
35). Conducted at Metropolitan Opera
(1936-38) and the Chicago Opera Co.
(1940-41). In 1947 he became conductor
of the Utah State Symph. Orch. at Salt
Lake City.
Absil, Jean, Belgian composer; b. Peru-
welz, Oct. 23, 1893. He studied organ and
composition at the Brussels Cons.; later with
Gilson. He won the Prix Agniez for his 1st
symphony (1921); in 1922 won a second
Prix de Rome for the cantata La Guerre;
also received Prix Rubens and Prix Ysajfe.
Appointed music dir. of the Academy of
Eterbedk (1923); from 1931, teaching at
the Brussels Cons*; is also one of the foun-
ders of the 'Revue Internationale de Mu-
siquc.' Absil has evolved an individual style,
characterized by rhythmic variety, free to-
nality and compact counterpoint. Works;
Fanson, musical comedy (1945); 2 ballets,
Le Miracle de Pan (1949) and Epouvantafl
(1951); 4 cantatas: La Guerre (1922);
rhilatelie for 4 voices and 15 instruments
(1940); Les Benedictions (1941) and Lt
Zodiague (1949). For orch.: 3 symphonies
(1921, 1936, 1943}; La mort de Tintagiles,
symph. poem (1926); Rapsodie sur des
themes populaires flamands (1928): violin
concerto (1933); piano concerto (1937);
Chants des Moris for chorus ana orch.
(1941); concertino for cello and orch.
(1942); viola concerto (1942); Rapsodit
roumaine for violin ana orch. (1943);
Jeanne d'Arc, symph, poem (1945)* Cham-
ber music: 4 string quartets (1929. 1934,
1935, 1941) ; wind quintet (1934) ; 2 string
trios (1935, 1939); Pantaisie for string
quartet and piano (1939); Phantasm** for
contralto, saxophone, piano, viola and per-
cussion (1950)* BibL: J, Dopp, Jean Abstt
^ ' le' (Oct-fiec*,
in 4 La Revue Musicale*
1937).
Abt, Frant, German song writer and
conductor; b. Eilenburg, Dec. 22, 1819;
d, Wiesbaden, March 31, 1885* His father
being a clergyman! he WAI sent to Leipzig
Thomasschulc to study theology; later ob-
tained an excellent musical education both
there and at the Univ. He became a choral
conductor In ZOrich (1841), In 1852 he
was appointed second conductor at the
Brunswick Court; in 1855 became first con-
ductor. In 1869 he traveled! as a choral
conductor, to Paris, London and Russia j
in 1872 he made a highly successful tour
in Americsu He retired on a pension from
Brunswick in 1882. Abt wrote over 600
works, comprising more than 3,000 num-
bers; the largest are the 7 secular cantatas.
His popularity as a song writer is due
chiefly to the flowing, easy and elegant
style of his vocal melodies, some of which
(Wenn die Schwalben heimw&rts t'uh'n,
Gut* Nacht, du mein herziges Kind, So
viele Tausend Blumen, etc.) have become
so well known as to be mistaken for genuine
folksongs. See B, Rost, Vom Meister des
v oiks tumlic hen deutschen Lie des, Franz Abt
(Chemnitz, 1924).
Achron, Isidor. pianist and composer: b.
Warsaw, Nov. 24, 1892; d. New York, May
12, 1948, He studied at the St. Petersburg
Cons, with Liadov (composition) and Mmc.
Essipov (piano). Alter the Russian Revolu-
tion he came to the U.S. and was active
in New York as teacher. He was the soloist
in his Piano Concerto with the N, Y. Philh,
Orch. (Dec. 9, 1937) ; he also wrote Suit*
Grotesque for orch. (St. Louis, Jan. 30,
1942) and solo pieces for piano.
Achron, Joseph, violinist and composer;
b. Lozdziejc, Lithuania, May 13, 1886; d.
Hollywood, Calif., April 29, 1943. He
studied at the St. Petersburg Cons* with
Auer (violin) and Liadov (theory), grad-
uating in 1904. From 1913-16 he taught at
Kharkov Cons., then was drafted into the
Russian Army. Between 1918-22 he gave
popular concerts in the Petrograd area: left
Russia and toured in Europe and the Near
East, coming to the U.S. in 1925. He lived
in New York until 1939, when he settled
in Hollywood. He wrote 3 violin concertos
which he played with the Boston Symph.
Orch. (Jan* 24, 1927} and the Los Angeles
Philharm, (Dec. 19, 1936: March 31, 1939).
His other works are: Hebrew Melody for
violin and orch* (1911; his most famous
composition, also published for violin and
piano); Haxan for cello and orch. (1912);
2 Hebrew Piecti (1913); Sh&r for clarinet
and orch. (1917); ana Golem Suit* for
orch. (1932) the lut section of which is
the exact retrograde movement of the first
section to symbolize the undoing of the
monster Golem* His chamber music includes
Chromatic String Quartet; Elegy tor string
quartet; 3 suites and Suite bizarre for violin
and piano; 2 violin sonata*. During his
American period Achron adopted a highly
advanced idiom of composition using atonal
and polytonal devices,
AckU (real name, Achtf), Abo. Finnish
dramatic soprano; b. Helsinki, April 23, 1876;
d, there, Aug. 8, 1944. She studied at the
Paris Cons, and made her debut at the
ADAM AD AM
Paris Opera as Marguerite (Oct. 8, 1897).
She sang the same role at her first appear-
ance in America at the Metropolitan Opera
^Fcb. 22, 1904), Her performance of
Salom6 in Strauss's opera at Covent Garden
(1913) led to an invitation from Richard
Strauss to fling the part in Dresden and
Paris. Her other roles were Juliette, pphlte,
Gilda, Nedcla, Elsa, Elisabeth and Sicplindc.
Her ^memoirs arc published in Finnish,
Swedish and German.
Adam (ah-d&hn), Adolphe-Charlcs, cele-
brated French opera composer; b, Paris,
July 24, 1803; d. there, May 3, 1856. He
entered the Paris Cons, m 1817 and studied
with Boicldieu, whose influence was a de-
termining factor in his career. His first opera
was Picrr* $t Gathtrint (Opera-Comiquc,
Feb. 9, 1829). The one-net comic opera,
Li Chalet ( Opfaa-Gomiquc, Sept. 25, 1834),
marked his first success (HOC performance!
of thin opera were given before 1899). With
the production of L* Petition, d* Long*
jurntau lOpfm-Comiqur, Oct. 13, 1836)
Adam achieved international furnr, Of his
other operas (he wrote 53 in all), the fol-
lowing, all produced at the Op^ni-Coiniqur,
tire the moat important: L* 1'idMe Bvrgtr
(Jan. 6, 1838); L /Irawur de Preston
(Oct. 31, 1838) ; JUjp'iu, ou Us Deux Nuits
(Jun. 17, 1839) i /* #* d'un jour (Sept.
19, 1839); L* Hoi d*YvM (Oct. 13,
1842) { dagtiostro (*>b 10, 1844); Lt
Torfaeor, ou L' Accord parfait (May 18,
1849}? Giralda, ou La Nouvcli* Psycht
(July 20, 1830); L* Farfadtt (March 19,
1852) { Li Saurd> ou UAuberRc pi tin* (Feb.
2, 1853), His comic opera <S'i j'ittih roi
(ThMtreLyriqut% Sept. 4, 1852) was nho
very popular; hU tragic opera Richard tn
Pattftin* was produced tit the Paris Opera
(Oct. 7, 1854) with considerable success,
but was not retained in the repertoire. Adam
was also A very successful Indict composer;
hii Ghfllf, prcKlucrd at the Paris Op^ra
(Junt; 28, 184!) tK*t!tmm one of the moit
rrlrbratrd arid rndiiring rhnrrngraphlc
scores. Hh ton# Cantiqu* dt NM f in numer-
ous ummKumr ati, rnjoyed rewt popularity.
In 1847 Adam vrnturrd into the field of
management with an oj>rratic enterpriir,
the Th&Ure Nutlonttl; the revolutkmury
outbreak of l$48 f hwrver ( brought financial
ruin to his undertaking. In 1849 he was
appointed prof, of composition at the Paris
Com. He traveled widely in fturope, visiting
London* Berlin and St. Petrnburg, As one
of the creator* of French comic opm Adam
ranks with Botetdfcu And AuUrr in th cx-
pretslvrness of his melodic nute rial if not In
originality or inventive power* Adam's mem-
oirs were published posthumously in 2
volumes under the titles Souvtmrs d'un
musician (1857), and Derniers souvenirs
d'un musicicn (1859). A. Pougin wrote his
biography (Paris, 1877).
Adam, Glaus, American cellist nnd com-
poser; born of Austrian parents in Sumatra,
Nov. 5, 1917. lie was taken to Europe as
a child (1923) studied in Germany and
Austria. In 1931 he came to the U.S. ; has
appeared in concerts as a Cellist. His piano
sonata was performed at the Sahburg
Festival in 1952.
Adorn, Jentf, Hungarian conductor, com-
poser and writer on music; b, Sxigetssscnt-
niiklt'is, Dec, 13, 1896. He studied with
Kod&ly, nnd was Inter associated with him
in a program reorganizing the system of
musical education; conducted several choirs
in Budapest, and in 1958 was appointed
prof, of choral singing at the Academy of
Music there. He has written 2 operas,
Hungarian Christmas (Budapest, Dec, 22,
1931) and Mdria Vtronika (Budapest.
1938): a *ymph. cantata Man on the Road
(19-16); 2 string quartets; a cello sonata
and unaccompumcd choral works* He hus
also published a number of musical text
books for schools.
Adam, Ixmis; Alan turn pianist, teacher
and composer; father of Adolphe-C lharles
Adam; b. Muttcrshoto, Dec, 3, 1758; d,
Paris, April 8, 1848. He: went to Paris in
1775; was later prof, of piano at the Pzuis
Cons. (1797-1845), He was th teacher of
Kalkbrenner and Harold; wa also known
as eomfx)st*r of virtuoso piano pieces, some
of which (especially variations on /** #01
Daftubtrt) were- very mtpulur, H wns the
author of two standard tnnnunls for piano:
Mtthode tfntrd* du doitf* (P;vri, 1798)
and Method* naiu^tU pour It Piano (5
editions, 1802*32), which he wrote for bis
pupils at the Paris Conservatory.
Adam dc la Hale (or Halle), called
*Lf? l)ossu d*Arras* (Hurtchhurk of Arras) : b.
Anrn r, 1240$ d. Nnpks, 12B7. A fmnous
trouve,re, many of whostt wtjrk* have been
prrservfd (publ. 1B72 by CoussrmAktr tut
Ocuurtx complins d*t Trouvfr* Adam d* la
Hah); the most intrre sting Is a drAmatic
pastoral L* }*u d* HMn *t d* Marion
(1 285) | written for the Aragoncim court at
Naples resembling nn op^ra wmiqtie in its
plan, He was gifted In the dual capacity of
poet and composer, Both immodfa and poly-
phonic works of his survive, HU rondeaux,
etc,, nre reprinted by Fr. Gennrkh. in Ron-
deaux, Vintaii und Rattadtn (I,
ADAM ADELBURG
Gf. . Langlois, Le jeu d* Robin et de
Marion (Paris, 1896); H. Guy, Essai sur la
vie et les csuvres litto retires d'Adam de la
Hale (Paris, 1898) ; J. Ticrsot, Sur le Jeu de
Robin et Marion (1897); A. Gucsnon, Une
Edition allemande des chansons d'Adam de
la Hale (1900); E. Lnnglois, Le jeu de la
feuilUe (1911); practical edition of Le Jeu
de Robin et Marion by J, Beck (Phila-
delphia, 1928; 1939).
Adam von Fulda, German theorist and
composer; b, Fulda, c. 1440; d. (of the
plague) Wittenberg, 1505. His tract on music
theory is^ published in Gcrbcrt's 'Scriptprcs
ecclesiastici' ; his works were highly praed
in their day, Bibl. : H. Riemann in
*Kirchenmusikalisches Jahrbuch* (Rcgens-
burg, 1879): W. Niemann (ibid., 1902);
W. Gurlitt in 'Luther Jahrbuch' (1932);
W. Ehmann, Adam von Fulda (1936).
Adamowski (ah-d&h-mov'-sk5) , Joseph,
cellist; b. Warsaw, July 4, 1862; d. Cam-
bridge, Mass., May 8, 1930. He studied at
the Warsaw Cons. (1873-77) with Gocbelt;
and at the Moscow Cons, with Fitzcnhagcn;
also attended Tchaikovsky's classes there. He
gave concerts from 1883-89 in Warsaw. In
1889 joined the Boston Symph. Orch. In
1896 he married the pianist, Antoinette
Szumowska. With his wife and brother, Tim-
othc*e, he formed the Adamowski Trio. From
1903 he taught at the New England Cons.
Adamowski, Timothe, violinist; b. War**
saw, March 24. 1857; d. Boston, April 18,
1943, He studied in Warsaw and at the
Paris Cons.,' in 1879 gave concerts in the
U.S. with Maurice Strakosch and Clara
Louiie Kellogg, and settled in Boston, where
he taught at the New England Cons, (until
1933). In 1888 he organized the Adamowski
String Quartet which gave about 30 con-
certs annually; he also conducted several
summer seasons of popular concerts given
by the Boston Symph* Orch. (1890-94 and
1900-07). He published songs and violin
pieces (Barcarolle* Polish Dance, etc*)
Adams, Charles, American dramatic tenor;
b* Charlestown, Mais., Feb. 9, 1834; d.
West Harwich, Mass,, July 4, 1900, He
studied !n Vienna with Barbicri; was en-
gaged for three years by the Royal Opera.
Berlin, and for nine years by the Imperial
Opera, Vienna; sang at La Scala, at Cfovent
Garden, and in the U.S. He settled in
Boston as a teacher in 1879.
Adams, Suzanne, American soprancj b*
Cambridge, Mass*. Nov. 28, 1872; d. Lon-
don, Feb. 3, J953, She studied with J,
Bouhy in New York,* went to Paris in 1889;
made her debut at the Paris Opdra as Juliette
(Jan. 9, 1895), and subsequently was en-
gaged to sing there for 3 more seasons;
appeared at the Metropolitan Opera House
as Juliette on Jan. 4, 1899.
Adams, Thomas, eminent English or-
ganist; b. London, Sept. 5, 1785; d. there,
Sept. 15, 1858. He studied with Dr. Busby;
was organist at various London churches.
His publ. organ works include fugues,
voluntaries, 90 interludes, and variations on
popular airs; he also wrote anthems, hymns,
and sacred songs.
Adaskin, Harry} Canadian violinist; b.
Riga, Latvia, Sept. 17, 190L He was
brought to Toronto at the age of two, and
studied at the Toronto Cons. (1912-18). He
then entered the Chicago Musical College
and later studied in Paris. From 1923-38
he was second violinist of the Hart House
String Quartet, which toured in Europe
and America. In 1946 he was appointed
violin teacher at the Univ. of British Co-
lumbia, Vancouver, His brother, Murray
Adaskin (b. Toronto, March 28, 1906) is
also a violinist; another brother. John
Adaskin (b. Toronto, June 4, 1908) is a
cellist.
Addinscll, Richard, English composer of
theater music; b. Oxford, Jan. 13, 1904. He
studied law at Oxford Univ.; later entered
the jEtoyol College of Music; then studied
music in Berlin and Vienna* He was com-
missioned in 1933 by Eva Le Gallicnnc to
write the music for her production of Alia
in Wonderland; later wrote for the films in
Hollywood. Among his cinema scores are
Fire ever England, Dark Journey^ Goodbye,
Mr. Chips and Dangtrous Moonlight. The
score for the latter includes the Warsaw
Concerto, which became enormously popular
as a concert t>i*ce for piano and orch. Dur-
ing World War II Addteseli wrote music
for a number of documentary films (Siege
of Tobruk, We Sail at Midnight, eta)*
Adelburg, August Hitter von, Hungarian
violinist and composer; b, Constantinople,
Nov. 1, 1830: d. Vienna, Oct. 20, 1873.
He studied the violin with Maysedcr in
Vienna (1850*54), and composition with
Hoffmann; then toured Europe as violinist.
He wrote 3 operas: Zrinyi (Budapest,
June 23, 1868: hi* moat successful work);
Martinuxzi (1870) and WalUnsUin (on
Schiller's drama); an oratorio War and
Peace; 5 string quartets and School of
Velocity for violin.
ADGATE ADLER
Adgate, Andrew, American church or-
ganist and choral conductor; b. Philadelphia
c. 1750; d. there of yellow fever, Sept. 30,
1793. In 1784 he organized, in Philadelphia.
an Institution for the Encouragement of
Church Music; in 1785 he founded there a
'Free School for Spreading the Knowledge
of Vocal Music/ reorganized in 1787 as
The Uranian Academy/ the purpose of
which was to urge the incorporation of
musical study with general education. On
May 4, 1786, he presented in Philadelphia
4 A Grand Concert of Sacred Music/ with
a chorus of 230 voices and an orchestra of
50, featuring works by Handel, Billings and
others. Adgate compiled several publica-
tions: Ltssons for tht Uranian Society
(1785); Stttct Psalms and Hymns (1787);
Rudimtnts of Music (1788); Selection of
Sacrtd Harmony (1788).
Adler, Clarence, American pianist; b.
Cincinnati, March 10, 1886. He studied at
the Cincinnati College of Muiic (1898-
1904); then in Berlin with Godowiky
(1905-09). He toured in Europe as pianist
in the Hekking Trio. Returning to America
in 1913, he settled in New York: made his
American debut with the N,Y> Symph*
Orch. (Feb. 8, 1914). In 1941 he broadcast
all of Mozart's 28 piano concertos* He has
published an album of piano pieces; also
arrangements of works by Dvorak and
Franck.
Adler* F. Charles, conductor; b* London >
July 2, 1689. He studied piano with August
Halm in Munich, theory with Beor*
Wsdbrunn, and conducting with Mahler.
He was assistant to Felix Mottl at the Royal
Oprra in Munich (1908-11); in 1913 he
became first conductor of the Municipal
Open, Dttiifldorf, Conducted symphonic
concert* Jn Europe (1919-33), He ww
owner of 'Edition Adlcr* In Berlin until
1933 when he came to America, In 1937
he founded the Saratoga Springs Music
Festival*, N.Y.
Adlcr, GuidOf musicologist; b* Biben*
ichtttx. Moravia, Nov. 1, 1853; d. Vienna,
Feb. 15, 1941. He studied at the Vienna
Cons, under Bruckner and Desaoff; entered
Vienna Univ. in 1874 and founded, in co-
ftpemtbn with Felix Mottl and K, Wolf,
the academical Wagner Society; took the
degree of Dr. far, in 1878, and m 1880 that
. (dissertat
monit), With Ohrysander and Spitta he
founded, in 1884, the 'Viertcliahrsschrift
fttr Musikwissenschaft. 1 In 1885 he was ap-
pointed prof, of musical science at the Ger-
man Umv, at Prague. In 1892 he was elected
President of the Central Committee of the
'Internationale Ausstcllung fUr Musik und
Theater. 1 In 1895 he succeeded Hunslick AS
prof, of music history at the Univ. of
Vienna, retiring in 1927. Important books
by Adlcr arc Mtthodt dtr Afusikgtschichtt
(1919); Dtr Stil in dtr Musik (1911; 2nd
cd., 1D29); Gustav Mahltr M914) ; Hand-
buch dtr Musik$*schichtt (1 vol.> 1924:
2nd ed. in 2 vols., 1930); WolUn und
Wirktn (memoirs; Vienna, 1935), He was
also editor of the monumental collection
*Denkm&ler der Tonkunst in Osterrcich* from
its inception (the first vqlume appeared in
1894) to its completion (in 1938; 83 vols.
in all), lie contributed many articles to
periodic music publications. Bib!.: C, Bngel,
Guide Adltr in Rttrosptct in the *Mus.
Quarterly* (July, 1941)*
Adler, Kurt, pianist and conductor: b.
Ncuhaus, Czechoslovakia, March 1, 1907.
He was educated in Vienna; studied mu-
sicology with Guido Adler and Robert Lach
at the Vienna Univ, ; was assistant conductor
of the Berlin State Opera (1927-29) and
of the German Opera in Prague ( 1929-32).
In 1933, with the advent ox the Naxii to
power, he went to Rusiifi* where he was
chief conductor at the Kiev State Opera
(1933*35); organised and conducted thf
Philh, Orch* of Stalingrad (1933*37). In
1938 he came to the U.S.; first appeared
as concert pianist; then conducted tn Can-
ada and Mexico. In 1943 he joined the staff
of the Metropolitan Optra a* choirmaster
and assistant conductor; edited the collec-
tions Operatic Anthology, Tht Prim*
Donna Album, Arias from Ltyht Optra* ,
Famous Optratic Chorus*** ftc. H is no
relation to Kurt Herbert Adler (q.v.).
si Dr.phU. (dissertation on Dit
Grundktesstn dtr ehristllch-Abtn
Musik bis 1600), and In 1881 qualified as
instructor* locturinff on musical t
(thwli, Studi* **r Gttffhkktt dtr
Adler, Knit Herbert, opera conductor;
b. Vienna, April 2, 1905. He itudird at the
Vienna Cons,*, wa* a theater tomtuctor in
Vienna (1923-28), in Pragttft und in Gr
many. He served ai asilstant to Toteanlnl
at the Sahtburf FcitJvaJ in 1936$ then
icttled In the U,S,; was with thr Chicago
Opera Company ( 193843) t tn 1943 Joined
thtr staff of the San Pranebeo Opera; In
1933 ho became its artistic director, Ho b
no relation to Kurt Adlcr (q,v.).
Adler* Larry (Lawrence), harmonica
player; b. Baltimore, Feb. 10, 1914. He won
a harmonica contest at 13 for the belt
ABLER ADRJAENSEN
rendition of Beethoven's Minuet in G. He
has appeared in numerous revues; also gave
concerts as soloist with piano and with
orchestra, as well as command performances
for King George VI, King Gustav of
Sweden and Presidents Roosevelt and Tru-
man. In 1940, determined to learn to read
music, he took lessons with Ernst Toch.
Darius Milhaud wrote a Suite for harmonica
and orch. for Adler, which he played on
Nov. 16, 1945 with the Philadelphia Orch.
Adler, Peter Herman, conductor; b*
Jablonec, Czechoslovakia, Dec. 2, 1899. He
studied in Prague with Fidelio Finke,
Vitezlav Novak, and Alexander von Zem-
linsky; conducted opera in Brno (1923);
later was first conductor of the Bremen
State Theater (1928-31). In 1932 he went
to Russia; was chief conductor of the
Ukrainian State Orch. in Kiev (1932-37)
and taught conducting at the Kiev Cons.;
also conducted symph. concerts in Moscow
and Leningrad. He was in Prague in 1938;
then settled in the U.S.; made his American
debut as conductor at a concert for Czech
relief in N. Y., Jan. 24, 1940; appeared as
guest conductor with the Cleveland Orch.,
Detroit Symph., and other organizations.
He then became active in the opera; in 1949
he became musical director of the N.B.C.
Opera Theater,
Adler, Samuel* composer; b. Mannheim,
Germany, March 4, 1928* He studied at
Boston Univ. with Karl Gciringer, and At
Harvard Univ. with Walter Piston, Randall
Thompson and Paul Hindemith; also worked
with Aaron Copland and Kouiievitzky fit
Tanglcwood, In 1950 he joined the U.S.
Army; was sent to Germany, and there or**
ganized the Seventh Army Symph. Orch.;
this group toured Germany and Austria.
Wai awarded the Medal of Honor for this
work. While in Germany he appeared as
gueit conductor with numerous orchestral
and opera companies. In 1953 he was ap-
pointed music director at the Temple
Bmanu-El in Dallas, Texas. Worki: Amer
lean Comedy Overture (1946); Kinntnth,
symph. poem (1947); symphony (1953);
concertino for flute, bawoon and string
orch* (1949-50); Two Potms for viola and
string orch* (1953); sonata for horn and
piano (1948); 3 string quartets (1945-
1955): a cantata Thi Vision of Isaiah
(1949); several pieces for bran ensemble,
choruses, etc.
Adlgawcr, Anton Cajetan, organist and
composer; b. Insell, Bavaria, Oct 1, 1729]
d. Salzburg, Doc. 23, 1777. He studied
with Johann Ebcrlin in Salzburg; on Dec.
11, 1750. was appointed organist at Salz-
burg Cathedral, and held this post until his
death (he died of a stroke while playing
the organ). Adlgasser enjoyed a great repu-
tation as a musical scholar, and was admired
by the young Mozart. He wrote an opera
NitMi (Salzburg, 1767); several oratorios
and sacred dramas; 7 symphonies; piano
sonatas and church works. Bibl.: C.
Schneider, Die Oratorien tind Schuldramen
A. C. Adtgasstrs (Vienna, 1923); C.
Schneider. Musikgeschichte von Salzburg
(1936).
Adlung, Jakob, German music scholar; b.
Bindersleben. near Erfurt, Jan* 14, 1699;
d. Erfurt, July 5, 1762. He studied with
Christian Keichardt; in 1727 became or-
ganist at the Erfurt Lutheran Church; in
1741 was named prof, at the town school.
A man of wide erudition, Adlung; gave
language lessons as well as musical instruc-
tion. He built 16 clavichords with his own
hands. Among his writings, three have his-
torical value: Anleitung zu der musikal-
ischtn Gtlahrthtit (Erfurt, 1758; 2nd ed.,
revised by J. A. Hillcr, 1783; facsimile ed.
by H. / Moser, Kassel, 1953); Musica
mechanic a organaedi (1768; facsimile ed.
by Chr. Mahrcnhob, KasseL 1931); Mu-
sikalisches Siebengtstirn (1768). His auto**
biographical sketch was publ. by Marpurg
(Kritisch* tirigfa II). Sec E. Valentin's
article in 'Die Musik in Gcschichtc und
Gegenwart. 1
Adorno, Thcodor (real name Wlesen*
grund), mutic theorist; b. Frankfurt. Sept.
11, 1903. He studied with Seklcs in Frank-
furt and Alban Berg in Vienna, Wai music
critic in Frankfurt; then instructor at the
Univ. there. He emigrated to the U.S. in
1934; was connected with radio research at
Princeton (193841); then lived in Cal-
ifornia, In 1950 he returned to Frankfurt
and returned his professorship there. Adorno
published Philosophic dtr ntuen Musik
(Tubingen, 1949) and numerous article* on
music m relation to society (radio, jazz,
etc.) ; in hit early writings ho used the name
Wieiengrund-Adorno.
Adriaoroen, Emanuel (called Hadrianut).
Flemith luteniit, born in Antwerp; flourished
in the 16th century. In 1584 he published
Pratum musicum, a collection of song* and
dances for 2, 3 f and 4 lute; in 1592 he
brought out another collection entitled
Novum Pratum mwieum, containing can**
lonets, dance*, fantasias, madrigals, motets
and prelude* by Clpriuao de Rore, Orlando
ADRIO AGNEW
di Lasso, J. de Bcrchcm, H. Waclrant and
others, freely arranged by him for lute in
tablaturc.
Adriano di Bologna. Sec Banchieri.
Adrio, Adam, German musicologist; b.
Rssen, April 4, 1901. He studied at Berlin
Univ. (19127-34) and took his Phu D. there.
In 1951, appointed prof, at the Univ. of
Berlin-West. Contributor to 'Die Musik in
Gcschichte, und Gejjcnwart* Author of Di*
Anfange des geisthchen Konzerts (Berlin,
1935), and editor of collections of old
German music.
Aerde, Raymond Van, Sec Van Aerdc,
Raymond*
Aerts (ahrts), Egide, Belgian flutist; b,
Boom, near Antwerp. March 1, 1822; d.
Brussels, June 9, 1853* A precocious mu-
sician, he studied as a child at the Brussels
Cons.; gave a concert in Paris at the. age
of 15. In 1847 he was appointed teacher
of flute at the Brussels Cons* He wrote
numerous works for flute, most of which
remain in manuscript*
Acschbacher, Adrian, Swiss pianist; b
Langenthal, May 10, 1912. He studied at
the Ztirich Conn, with Emit Frey and
Andrea? ; later took lessons with Schnabel
in Berlin. He toured in Europe from 1934
to 1939; then taught and gave concerts in
Switzerland,
Aeichbachcr, Niklmin, Swiss conductor; b*
Trogcn, April 3D, 1DI7. He itudied in
Zurich and! Berlin. Was active AS theater
conductor in Germany; appointed conductor
of the Municipal Theater in Bern in 1949.
He wrote, a radio opera Die rottn Sehuht
(1943) and chamber music.
Acschbacher, Walther, Swiss conductor
and composer; b* Bern, Oct. 2, IDOlj
studied music theory with Ernst Kurth, and
conducting in Munich and then settled in
Basel, He hat written much choral music
and several orchestral pieces in old fonnt,
Afaniuiev (4h-tth*nah'-tyv) , Nlfcolay Ya*
kovlevlteb, Rusi.an cwwpowsr; b. Tobolsk,
1821; d. St, Petersburg, June 3, 189$, He
studied violin with hl father, an amateur
musician, and joined the orrhntrA of tbt
Moscow Opera at the age of 17. Later he
conducted ItuHan opera in Moscow and
St, Petersburg He traveled In Europe in
1857, Afan&ffffcv wns regarded a* the first
Ruitian fompoter to write, a string quartet
0860), but this it refuted by the discovery
of 3 string quartets by Aliabiev, He further
wrote a cantata, The Feast of Peter the
Great, and an opera Ammalat-Bek, whieh
was produced at the Imperial Opera in St.
Petersburg on Dec. 5, 1870, and three more
operas, Stcnka Razin, Vakula the Smith,
and Taras Bulb a, which were never per-
formed; also wrote some children's songs.
Afranio dc Pavia (family xiame Alboncsc),
Italian theologian, reputed inventor of the
bassoon; b. Pavia, HttO; d. Verrnra, c. 1560
as canon of Ferrara. His claim to the inven-
tion of the bassoon is based on the attribu-
tion to him of the instrument Phagotus, in
the book by^ his nephew Tesco Albonesc,
Intro duciio in chat dale am linvuam (Pavia,
1539).
Agazzari (ih-gaht-iith^rc) , Agostino,
Italian composer; V Siena, Dec. 2, 1578;
d. there, April 10, 1640. He. entered the
service of Kmperor Matthias an a profes-
sional musician; proceeding to Rome*, he
was in turn maestro di cHppclht at the
German College, there (1(>0!M)6), the, church
of St. Afwliimiriif, and the 'irminario ro-
nmno'; intimacy with Viiuiuna led to his
adoption of the, hitter's innovations in lacrcd
vocal music (writing church concerti for one
or two voices with instrumental harmonic
support). From 1<>30 he w.i* maestro di
cuppella at Sienti ClHthrdral. His works,
variously reprinted in Germany ami Holland,
were in great favor and very numerous
(madrigaltf pialmi^ motet* and other church
music). Htn treatise La music ^ <rr^jw;riVfl
(Siena, 1G3B) !M a theoretical rntlravor to
bring the. practice of church mu*i<* into
accord with the Resolution tf the CJauncil
of Trent; he WAS alw) nmHg the fiwt to
give written instruction)! for performing the,
Immo continue), prrtirnted in the tract t>*l
sonar* sopra it basso eon tuttl all strumtnti
e dtl faro uso nil concf.no (Bifna> 1607;
in English, O, Strunk, Source tt*adin&t in
Music History, N,Y,, 1950), Hit pn*Ural
drama, Eumelio (2606) is one of the earliest
operas* See A* Adrio** article in *>te Muiik
(Jesrhichte und Gegrnwart. 1
Affncw, Roy, Auxtr*ilian eompovr and
planmt; b. Sydney, Aug. 33, IBM; d, there.
Nov. 12, 1044, He went to I^ndtm and
studied with Ocrrard Williamj (1^23-28);
gave eonr.rrtx in Kngbnd (1931 -34). He,
then returned to AuitrHliaj wm appointed
<lir. of the Auftralhtn radio (1938-43) tnd
taught at thr: Sydney Com* Compoitk>ni;
Breaking of the Drought fur mex/o-u?prano
and orch, (1028); many piano work*, in-
dudinff Dane* of lA* Wild M*n (1020);
Fantasia Sonata (1927); Sonata Poem
10
AGOSTINI AGRIGOLA
(1935); Sonata Ballade (1936) and Sonata
Legend "Capricornia" (1940),
Agostini, Lodovico, Italian composer and
poet; b. Fcrrara, 1534; d. there Sept. 20,
1590. He served as maestro di cappella to
Alphonso II of Estc, Duke of Ferrara. A
number of his sacred and secular vocal
works (madrigals, motets, masses, vespers,
etc.) were published in Milan, Fcrrara and
Venice (1567-86).
Agostini, Mczio, Italian composer and
theorist; b. Fano, Aug. 12, 1875; d. there,
April 22, 1944. He studied with his father
and with Carlo Pcdrotti at the Liceo Rossini
in Pcsaro (1885-92); later became a har-
mony teacher there. He succeeded Wolf-
Ferrari as director of the Liceo Benedetto
Marcello in Venice (1909-40)* Agostini
wrote the following operas: lovo e Maria
(1896); // Cavaliere del Sogno (1897);
La penna d'Airone (1898); Alcibiade
0902); America (1904); Ombra (1907);
L'Anello del sogno (1928). He also wrote
a symphony^ 4 orchestral suites, a string
quartet, ^2 piano trios, a cantata A Rossini,
piano pieces and songs,
Agostini, Paolo, Italian organist and com-
poser; b, Vallerano, 1593; d. Rome, Oct
3 t 1629. He studied with Giovanni Bernar-
dino Nanino in Rome; was organist at S.
Maria in Trastcvcn* in Rome, and at S.
Lorenzo in Damaso. He succeeded Vincent
Ugoljni as maestro di cappella at the Vati-
can in 1626, Agostini*s published works, 7
books of psalms (1619), 2 books of magnifi-
cats and antiphons (1620) and 5 books of
masses (1624-28) arc only a small portion
of his total output* Most of his manuscripts
are preserved in various Roman libraries,
His music displays great ingenuity of con-
trapuntal structure; some of his choral
works arc written in 48 independent parts.
Agostini, Pietro Simone, Italian composer:
b. Rome, c* 1650* He was in the service or
the Duke of Parma as maestro di cappella*
He wrote 6 operas: Tolemeo (Venice,
1668) ; Ippolita (Milan, 1670) : La cost&nxa
di Rosmonda (Genoa, 1670); Adtlinda
(Arida, 1673) ; II Ratio dell* Sabine (Ven-
ice, 1680); and Pkridea (Venice, 1687),
Some of his operas were written in collabor-
ation with Busca, Ziani and others. He also
wrote oratorios, motets and secular cantatas.
Agrell, Johan Joachim, Swedish corn*
poser; b* Loth, Feb. 1, 1701 ; d. Nuremberg,
Jan* 19, 1765* He studied at Uppsala Univ.;
later he was active in Kassel (1723-46) and
in Nuremberg (from 1746). Among his
published works are 5 concertos for cembalo
and strings, 2 sonatas for violin and cembalo,
6 sonatas for cembalo solo, and pieces for
cembalo in dance forms. His symphonies
and cantatas are preserved in various Euro-
pean libraries (Stockholm, Uppsala, Brussels,
Berlin, Konigsbcrg, Munich and Darmstadt).
Agricola, Alexander, composer of the
Nctherland school; sometimes said to have
been of German extraction, but referred to as
a Belgian in his epitaph; b. Flanders, c.
1446; d. 1506 at Valladolid, Spain. He was
in the service of the Duke of Milan from
1472-74; then went to Cambrai: in 1476
he is mentioned as "petit vicaire" at Carn-
brai Cathedral. He later traveled in Italy;
entered the service of Philip I of Burgundy
in 1500 and followed him to Spain in 1502,
returning to Belgium in 1505. He went to
Spain again in January, 1506 and died
shortly afterward. Thirty-one of Agricola's
songs and motets were printed by Petrucci
(Venice, 1501-03) who also published a
volume of 5 masses based on chanson ma-
terial: Le Serviteur, Je ne dtmande, Mai*
heur me bat* Primi toni, Secundi toni (Ven-
ice 1503). Modern reprints of examples of
his works are found in O. Gombosi, Jacob
Qbrecht, fine stilkritische Studie (1925;
includes discussion of Agricola's style). Sec
also A. Schcring. Geschichte der Mwik in
Beispielen (1931) and G. Reese, Music in
the Renaissance (N.Y., 1954).
Agricola, Johann Fricdrich, German or-
ganist and composer; b* Dobitzschen, near
Altenburg, Jan* 4, 1720; d* Berlin, Dec. 2,
1774. He entered the Univ. of Leipzig as a
law student in 1738, studying music mean-
while with J. S. Bach, and later (1741)
with Johann Quanta in Berlin. In 1751
Agricola was appointed court composer to
Frederick the Great, and in 1759 he suc-
ceeded Karl Graun as director of the Royal
Chapel Agrirola wrote 8 operas (produced
between 1750-1772 at Berlin and Potsdam)
and church music; he also made arrange*
ments of the King's compositions. He taught
singing and translated (1757) Pier Tosi's
Opinioni de* eantori* Under the pseudonym
4 Olibr!o* Agricola printed some polemical
pamphlets directed against the theorist Fried-
rich Marpurg; he was also a collaborator
with Jakob Adlung in the latter 1 * Musica
mechanics organotdi (1768).
Agricola, Martin, a very important Ger-
man music theorist and writer; b. Schwiebus
(Brandenburg), Jan. 6, I486; d. Magde-
burg, June 10, 1556. His real name was
Sore, but he adopted the Latin name Agri-
11
AGUADO AHLE
cola to indicate his peasant origin. Matthc-
son says that he was the first to abandon
the old tablature for modern notation, but
this is not quite accurate; Agricola merely
proposed an improved system for lute tabla-
ture. From 1510 he was a private music
teacher in Magdeburg. In 1527 was cantor
at the first Lutheran church there. His
friend and patron, Rhaw of Wittenberg,
published most of Agricola's works, the mag-
num opus being Music a instrumtntaiis
dsudfch (i.e.. *sct in German'; 1st cd. Wit-
tenberg, 1529; 4th ed., considerably revised,
1545; modern reprint, Leipzig, 1896). This
work, although derived from Virdung's Musi"
ca gttutscht, contains much new material and
is set in couplet verse in the. German vernac-
ular. Further works are: Kin kurtz dtudscht
Musica (1529; 3d cd. as Music a choralis
deudsck t 1533) ; Musica figuralis, with a
supplement Von den prop or tic nib us (1532);
Scholia in music am planam Vtnctslai Philo-
math (1538); Rudtmtnta musices (1539);
Qu&tstion*s vulgatiores in music am (1543);
JDtto llbri musicts (posthumous; Wittenberg,
1561: includes reprints of Musica choralit
and Musica figuralis; And 54 Instrum/ntisch*
Gts&nR* a * * supplement)* Compositions:
Ein Sanfi&ehhin &IU* Sonntags-Euangetitn
(1541); Ntut dtutscht geisttiche Gtt&nR*
(1544); Hymni aliquot sacri (1552); A/*/0
diatt scholastics (1557). Cf. Hftin* Funck,
Martin Agricota (Wolfcnbtittd, 1933),
Aguado, Dkmiiio, Spanish guitar vir-
tuoso and composer; b. Madria, April 8,
1784; d. there, Dec, 29, 1849. He studied
with Manuel Garcia; went to Paris in 1825;
gave numerous concerts there, attracting the
attention of Rossini and Paganini, Return-
ing to Madrid in 1838, he became a teacher
of guitar. He wrote fistudio para la guit&rra
(Madrid, 1820) ; facutla o mJtotto d* gui-
tnrra (Madrid, 1825); also 45 waltxej; 6
minuet*, etc*
AguBar (Ih-gh6-llhr*), Emanucl Abra-
ham, English pianist and composer of
Spanish descents b, London, Aug. 43, 1824;
d* there Feb. 18, 1904* He wrote a collection
of canons and fugues a* preparatory cxcr-
f i*e for the playing of Barn j *}#> composed
9 symphonic*, S overture*, much chamber
music and the operas* Wau* King (1855)
and Th* Bridal Wr**th (1863).
AguUcra de Hercdia, Sebastian, b. In
Arngcm, c, 1565; d, In Saragom after 1620,
He was organist at Huesca (1335*1603)
and then *maettro de musiea* at Sarajptsa
cathedral. He published there his collection
Cantitum BtrtMma* Vkginis
Marias octo modis sen tpnis com posit urn,
quaternisque vocibus, quinis, senis ct octonis
concionandum (1618). It contains sacred
choruses in 4, 5, 6 & 8 parts, derived from
8 church models, A 'magnificat* by him cun
be found in Eslava's 'Lira Sacro-Hispana* ;
an 'ensalada 1 is in J. Bonnet's Historical
Organ Recitals, vol. VI (N. Y., 1940). His
music is notable for skillful use of disson-
ances ('falsas'). BibL: H. Angles, Org*l*
musik der Schola Itispanica von XV^XVIL
Jahrhundcrt* in *Pcte,r Wsigncr-Festschrift*
(Leipzig, 1926).
Aguirrc (5h-gr'-r^ ) e Julian, Argentine
conrooser; b. Buenos Aires. Jan. 28, 1868;
d, mere, Aug. 13, 1924. He wit* taken to
Spain as a child; studied at the Madrid
Cons., returning to Buenos Aires In 2887.
His works arc mostly miniatures for piano
in the form of stylixed Argentine dances
and songs. He wrote 61 opus numbers; Gato
and Hutlta (op. 49), his most popular
pieces, were orchestrated by Ansermet* who
performed them in Buenos Aires (April
tk 1930); the Huilla was also arranged for
violin and piano by Jasdm Hrifetz, Other
notable works are Airts nationals aretn*
tinos (op. 17) and Zamba (op. 40). Bu>l,:
* A /* **- j\- ' f >
J, F* Giacobbc, Julian Aguirrt (Buenos
Aires, 1945)-
Agujari (ih-goo-y&h'-rfi) t Lucrexia (known
as La Bastard(ma r or Bn*tardellti y Wing the
natural daughter of a nobleman), a brilliant
Italian singer; b. Fcrrara, 1743; d. Parma*
May 18, 1783* Her father entrusted her in-
struction to P. Lnrnbertmt; in 1764 she made
a triumphant debut at Florence^ followed
by a succession of brilliant apfieararttws in
Milan and other Italian elttes; also in Lon
don. Moxiurt wrote of her, that she had "a
lovely vote, a flexible thnwt, and an in-
credibly high range," In 1780 she nwrried
the Italian composer, Gitineppc Colin, whone
songs she constantly performed at her eon-
certs, Her compass was phenomenal, urn*
bracing 3 octaves (O*-0 4 ),
Ahlc, Johann Georg* Cennan organist
and composer (son of Johann Rudolf Ahlc) $
b, MuWnauaen, June. 1651 (buyrtixed Jwn
12); d, thejre, Dec, 1, 170A* He mcceeded
his father as organist in MUhlhaut^n, and
was made port laureate by Emperor Leopold
I. Among Ahle's works published during
his lifetime ait Mutikatiaeht Fruhlingi-,
Sommif-t fftrbtt*, un4 WinttrtMprfah*
(1695-1701; written to Illustrate his method
of composition); Inttrnmtntalttch* PrUh*
llnfsmuxik (1676); Anmuthit* Mhn Pitf-
ttimmig< VieLdi-gamb* Spitli (1681) and
12
AHLE AKEROYDE
many volumes of dances, sacred and secular
songs.
Ahle, Tohann Rudolf, German composer;
b. Mtthlhauscn. Dec. 24, 1625; d. there
July 9, 1673. From 1646 he was cantor in
Erfurt. He was organist of St. Blasius, Mxihl-
hauscn, in 1654, and in 1661 was elected
burgomaster of the town. Ahle was a diligent
composer of church music and writer of
theoretical works. His Compendium pro
tonellis (1648) ran through 4 editions; 2nd
(1673) as Breuis et perspicua introductio in
artem musicum; 3rd and 4th (1690 and
1704) as Kurze und deutlich* AnUitung,
His principal compositions include: Geist-
lich* Dialog*, songs in several parts (1648) ;
Thuringisch*r Lustgarten (1657); Gtistlich*
Fest- und Communionandachten (posthu-
mous) . Many of his songs are still popular in
Thurmgia. A selection from his works
was published by J. Wolf in 'Denkmaler
deutscher Tonkunst' (vol, V). BibL: T.
Wolf, Johann Rudolf Ahle in 'Sammclbande
der Internationalen Musik -Gescllschaft'
(Leipzig, 1920. II, 3); A. Adrio in 'Die
Musik in Geschichtc und Gegcnwart.'
Ahna. See Be Ahna.
Ahrens, Joseph, German composer; b.
Sommcrscll, Westphalia, April 17, 1904, He
studied with his father: in 1925 became a
church organist in Berlin: since 1950 prof,
of church music at the Berlin Musikhoch-
schule. He has written a great number of
organ works in a modern baroque style
(toccatas, partitas, fugues, etc.) wnich are
highly esteemed by organists; alio motet*
and solo cantatas and 5 masses with organ:
Missa ertgoriana, Missa dorica t Missa thor*
alis f Missa gotica and Missa hymnica, He
published ft Handbook on improvisation ai a
basic science in music pedagogy*
Aibl (ibl), Joseph, founder of a music
publishing firm, established at Munich in
1824; hii successor* were Bduard Spitzweg
(from 1836) * and his tons, Eugen and Otto.
In 1904 'Universal Edition 1 " "
firm*
bought the Aibl
vana, reo. sa, i//y; a. jviumcn, May D,
1867. He studied music in Munich, then at
Bergamo under Simon Mayr (1802); lived
at vicenza (1803-11), then became second
maestro di cappella to the viceroy at Milan;
founded the *Qdeon* (a society for the culti-
vation of classical vocal music) at Venice,
in collaboration with Abbe" Trentino; was
engaged (1019) for the Italian opera in
Munich as maestro al cembalo; returned in
1833 to Bergamo, and made the fine collec-
tion of ancient classical music, now in the
Staatsbibliothek at Munich. He wrote many
sacred compositions (masses, requiems, li-
turgies, psalms, etc.), which were very
popular. He also wrote an opera, Rodrigo
* Ximtn* (Munich, 1821), and 3 ballets.
Aichingcr, Gregor, important German
church composer; b. Regensburg, 1564: d.
Augsburg, Jan. 21, 1628* At the age ojf 13
he went to Munich where he was under
the tutelage of Orlando Lasso; then entered
the Univ. of Ingolstadt He made two jour-
neys to Rome; visited Venice where he
mastered the art of Venetian polyphony* He
eventually settled in Augsburg as choir
master and vicar of the Cathedral. He wrote
almost exclusively for voices, to Latin texts;
his sacred works are remarkable for their
practical value and for the excellence of
their musical content. Among his many
published works are 3 books of Sacra* can*
tionts (Venice. 1590; Augsburg, 1595; Nur-
emberg, 1597); Tricinia Mariana (Inns-
bruck, 1598); Divina* laudts (Augsburg,
1602) etc. His Caution** ecclesiastic a* cum
basso general! et continuo (Dillmjren, 1607)
are noteworthy as one of the earliest works
in which the term 'basso continue 1 appears
in the title* A selection of Aichmger's works
is included in vol. X of 'Denkmller der
Tonkunst in Bayern,* prefaced with a bio-
graphical article by the editor, Th, Kroyer.
See also E. Fr. Schmld'i article in "Die
Musik in Geschichte und Oegenwart.*
, Webster, American pianist; b.
Los Angeles, June 17, 1908. He studied in
Europe with Stiuer and Schnabel; made his
professional debut in Vienna (1929). Re-
turning to America* he played a concert in
New York (Nov. 17, 1935); in 1938 gave
a series of recitals in New York in programs
comprising all of Schubert's piano works.
He has also appeared with chamber music
ensembles*
Akeroydc, Samuel, English composer of
songs; b, Yorkshire, about 1650: d* London,
after 1706. He was in the service o! James
II in 1687 as 'Musician In Ordinary/ and
wrote songs for at least eight plays produced
in London between 1685 and 1706* His
songi were printed in several contemporary
collections: Purfey*s Third Collection of
Songs' U685): The Theatre of Mustek'
(1685-87); 'Vinculum Societatii' (1687);
'Gomes Amortf (I687-d4); The Banquet
of Mu*Jck' ( 1688) r, Thesaurus Muiicus'
(1693-96).
13
AKIMENKO ALARD
Akimcnko (ah-k-mSn'-koh) Fyodor Step-
anovitch, Russian composer: b. Kharkov.
Feb. 20, 1876; d. Paris, Jan 8, 1945. He
studied with Rimsky-Korsakov at the St.
Petersburg Cons, (1886-90); then lived in
Moscow and Kharkov, Alter the Russian
revolution he settled in Paris. He wrote an
opera The Queen of the Alps (unper-
formed); Potme lyrique for orch.; Pastorale
for oboe and piano; Petite ballade for clar-
inet and piano, 2 Sonata-fantasias and num-
erous character pieces for piano, many of
which were published by Bcluicv*
Abes, Nectt Kazan, Turkish composer;
b. Istanbul, May 6, 1908. lie studied cello
and theory at the Istanbul Cons* In 1926
he studied in Vienna with Joseph Marx;
in Prague, with Alois H&ba and Josef Suk
(1931)* Returning to Turkey in 1935, he
became instructor at the Teachers 9 College
in Ankara; he also took lessons with Hindc-
mith, who was teaching there at the time.
In 1936 Akies was appointed prof, of com-
position at the Ankara State Cons., and was
tts director in 1948-49. His music, derived
from Turkish folk rhythms, is in the modern
idiom. Works: Mete t one-act opera (1933);
Bay&nder* opera (Ankara, Dec. 27, 1934);
incidental music to Antigone and King
Oedipus (Sophocles) ; Qiftetelli, dance for
orch. (1933); Ankara Castle, tone-poem
(Ankara, Oct. 22, 1942); Poem for cello
And orch. (Ankara, June 29, 1946) ; Ballade
for orch, (Ankara, April 14, 1948); itring
quartet (1946); Allegro ft roc a for taxo*
phone and piano (1931); flute sonata
(1939) and piano pieces*
Akutagaw** Yasush!, Japan car composer;
b. Tokyo, July 10, 1925. He studied at the
Tokyo Academy of Music j ha* been pnrtJc-
ulwly successful in writing for the wallet
The following ballet* were produced in
Tokvo: The Dream of the Lake (New. 6,
1930); Paradise Lost (March 17, 1951);
Kappa (July 21* 1951). He has nine written
& symphonic triptych, which he conducted
in Tokyo (Sept. 26, 1948).
Alain, Johaa, French composer, b, Paris,
Fb, 9, 1911; killed in action at Pettts-Puisj
near Snumur, Juno 20, 1040. He composed
his first piece Stud* sur un thJme de quatr*
notts at tho ftra of B; studifd with hi*
father* HA organist ; later with Marcrl Dupre 1 ,
Paul Dukas and Roggr-Ducasst? . Alain wrote
127 opui numbers, mostly for organ or
piano. BJbl.i B. Oavoty, Jehan Alain*
Mvdtien P*mt*is (Paris, 1943).
Alateona* Doratlco f Italian theorist and
composer; b. Moatogtorgto, Nov. 16, 1881;
d. there, Dec. 28, 1928. He studied organ
and clarinet in his native town; in 1901
went to Rome where he studied piano with
Sgambatij organ with Renzi and tneory with
DC Sanctis at Santa Cecilia; was then active
as choral conductor in Leghorn and Rome;
in 1911 obtained the post of prof, of musical
esthetics at Santa Cecilia, He wrote an opera
Mirra (1912; produced in Rome, March
31, 1920, with critical acclaim, but not re-
vived) ; a Requiem; Sinfonia t italiana; 12
Canzoni italianc and 4 Laudi italitme for
various instrumental groups; a cycle of 18
songs Melodie Pascoliane and other works.
However, his importance, lies In hi* theoret-
ical writings. His valuable book Studii sutta
storia deW oratorio musical* in Italia
(Turin, 1908) wan reprinted in Milan
(1945) as Storia deW oratorio musicaU in
Italia, and is now a standard work. A be-
liever in musical progrcaa, he contributed
several original ideas to the theory of modrrti
music, notably in his arttclr L'armenia
modernissima (*Rivita Municnlf, 1 1911), and
originated the term 'dodctfttfoni&i* H also
confributed articles cn Italian ccnniK)itrnt to
Kaglefield-Huir Dictionary of Modern
Music and Musicians (London, 1924)* The
entry on Alalcona in that elie,tionnry rrmtnins
a complete list of his works and bibliography.
Alard (ah-LV), Jcan-Iklphin, a diitin-
guisbed vtolintst of the French rhol; b,
Ihtyonnr, March B f 1615 j d. !arl, Krb, 22,
1888, A pupil of Hnhrnrrk at l*ris CUmn.
(1827), hi celebrity dte from IB31; he
succeeded Ballbt a* prof, in 1843, and HI
lender of the royal orchestra, trarhinK in th
CUms. till 1875. A fine instructor (Saraiitttt*
w;u his pupil ), he pub!, a Vwlin Sthtwl of
high merit, n irleetiun from 18th-cemury
eluwici (Las maltw cluuinuti du vie* tun),
nnd numerous brilliant ana popular pieces
for violin (concertos, Etudes, fantiuilM, etc,).
Alary, Jules (CiuHo) Eugfne Abraham,
Italian-French cwntK>cr; b. MuntuR, March
16, 1814; d, Paris, Airil 17, 1891. Hr
studird at the Cons, of Milan ; then played
the flut<" at La Scuta, In 1838 he irtttrd in
Paris us n successful volrr teacher nnd com-
poser. lie wrote, numerou* uprras, mnong
them Rotamunda (Florence t June 10,
1840) ; &* tre now* (IVii, Mnrcti 1>9, 1$51 ;
a polkft-duft from it, sung by Hrnrlctttt
Sontftg and Lablache, was highly popular),
And Sardanapalo (St. Petersburg, Feb* 16,
1832)* His opera I** 00** humatn* hud the
curious distinction of Mn% st*cd nt the
Paris Opr>n (Dec, 30, 186!) with tim sole
purpow of making use of tbr sc^n*ry left
over after the fiasco of Tannh&user (ibo ac-
14
ALBANESE ALBENIZ
tion of Alary's opera takes place in Wart-
burg, as in Tannhauser). It held the stage
for 13 performances (Tannhauser had
three). Alary also wrote a mystery play
Redemption (Paris, April 14, 1850), much
sacred music and some chamber works.
Alayrac, d.' See Dalayrac,
Albancse, Licia, Italian-American soprano;
b. Bari, July 22, 1913. She studied with
Giuscppina Baldassare-Tedeschi ; made her
opera debut at Parma in Madama Butterfly
(Dec. 10, 1935); sang the same role in her
first appearance with the Metropolitan
Opera (Feb. 9, 1940). She lived in Italy
during World War II; returning to America
in 1945, she sang with Toscanini and the
NBC Symphony; also continued to appear
with the Metropolitan Opera.
Albani (&hl-bah'-n5), Emma, (stage name
of Marie Louise Cecilia Emma Lajeunesse)
Canadian dramatic soprano; b. Chambly,
near Montreal, Nov. 1, 1847; d. London,
April 3, 1930. She sang in a Catholic church
in Albany, N. Y. in 1864; was then sent to
Europe for study, first with Duprez in Paris,
and then with Lampcrti in Milan (Lampcrti
dedicated to her his treatise on the trill).
She made her debut as Amina in La Son-
nambula in Messina in 1870. under the
name of Albani, in honor of the American
city that gave her the first start. After
further appearances in Italy, she made her
London debut, again as Amina (Co vent
Garden, April 2, 1872). In 1873 she sang
in Moscow and St. Petersburg, Her Amer-
ican operatic debut was in the same role
at the New York Academy of Music, m
Max Strakosch's company (Oct. 21, 1874).
It paved the way for later successes with
the Metropolitan Opera, where ihe made
her first appearance as Gilda (Dec. 23,
1891). Her last Important operatic engage-
ment was as Isolde at Covent Garden (June
26, 1896), She sang in concerts, however,
for several years longer. Her repertoire in*
eluded Marguerite, Mignon, Ophelia, EIsa {
Elisabeth, Lucia and Desdemona, Albani
married Ernest Gye, the lessee of Covent
Garden, in 1878, In her singing, she com**
bined high technical skill with profound
feeling. She was equally successful on the
ratic stage and in oratorio. In apprecia*
of her services to British art, she was
made a Dame of the British Empire (1925).
She published her memoirs, Emma Albani:
Forty Years of Song (London, 1911).
Albani, Mattia (real name Math ins Al-
ban), violin maker; b. S. Niccolo di Kaltern
(Alto Adige) March, 1621 (baptized March
28); d. Bolzano, Feb. 7, 1712. Pupil of
Jakob Stainer. Violins of his are extant dat-
ing from as early as the end of 1644. His
best examples date from 1680 onward. Ow-
ing to the great vogue his violins enjoyed,
many Albani forgeries are in existence. A
son, Giuseppe, his pupil, worked from 1680
to 1722 at Bolzano, and another son,
Michclc (1677-1730) at Graz. Other violin
makers named Albani, or at least using the
name on their instruments (perhaps for its
commercial value) are the following, none
appearing to have been connected with the
family of the original Mattia: Mattia
(Rome, c. 1650-1715); Nicola (worked at
Mantua, c. 1763); Filippo (active c, 1773);
Francesco (active at Graz, c. 1724); Michele
(at Palermo, 18th cent.); and Paolo (at
Palermo and Cremona, 1630-70).
Albc"niz, Isaac, eminent Spanish com-
poser; b. Camprod6n, May 29, 1860; d.
Cambo-Bains (Pyr6ne'cs), May 18, 1909. He
exhibited precocious musical ability. When
he was six. his mother took him to Paris,
where he had a few private lessons with
Marmontcl. Upon his return to Spain, he
gave concerts with his sister Clementine,
also a child prodigy. In 1868 the family
moved to Madrid, and Albania entered the
Conservatory there. Possessed by a spirit of
adventure, he ran away from home at the
age of 13, and traveled in Spain, giving
concerts. He then stowed away on a ship
for Puerto Rico; from there he went to
Cuba and to the U.S., supporting himself
by playing concerts in private and In public.
He returned to Spain in June, 1875, and
was befriended in Madrid by Count Guil-
lermo Morphy, -who enabled him to under-
take serious study, first at the Brussels Cons,
with Bratsin (piano) and Dupont and
Gevaert (composition) ; and then at the
Leipzig Cons, with Jadassohn and Reinecke*
He went to Budapest in 1878 to meet Liszt,
but it is doubtful that he actually became
Liszt's pupil. Albiniz married Rosita Jor-
dana in 1883; their daughter, Laura Albania:,
became a well known painter. In 1893 he
settled in Paris: he also gave frequent piano
recitals in Spain, and visited London. His
early works were for the theater: he wrote
several operas: The Majde Opal (London,
Sn 19. 1893): Enrico Clifford (Barcelona,
ay a, 1895),* San Antonio d$ la Florida
(Madrid, Oct. 26, 1894; also staged in
Brussels, Jan. 3, 1905 under the title Er-
mitag* flturih Pipit* Jimtntt (Barcelona,
Jan. 5. 1896). He undertook the composi-
tion of an operatic trilogy King Arthur, of
which only the first part, Merlin, was com-
pleted. In the meantime he met Felipe
15
ALJBEN1Z d' ALBERT
Pcdrell. and was greatly influenced by
Pedrell a passionate championship of national
Spanish music. Alb6niz*s first nationalistically
inspired composition was the rhapsody Catal-
onia for piano and orch. (1899). In 1906-09
he wrote his most remarkable national work
Iberia, a set of 12 piano pieces: Evocaci6n,
El Putrto, Fttt-Ditu 4 Swill*, Rondena, Al-
mtrla, Triana, El Albaicln, El Polo, Lava*
ptis, Mdlaga> Jjrtz f Eritana. In this suite,
which is a brilliant example of virtuoso writ-
ing for the instrument, Albe*niz applied the
impressionistic technique as developed by De-
bussy. He left unfinished two other piano
works, AtuUjos (completed by Granados)
and Navarra (completed by D* de SeVeVac;
orchestrated by Fernandez Arb6s). Arb6s
ulso made effective orchestral transcriptions
of Evocaci6n, Triana, and Fttt-Ditu b
SJvitb (also ^ orchestrated by Stpkowski).
Among AlWniz's smaller piano pieces, the
Stguiaillas, Cordova, and the Tango in D
hive attained wide popularity. Bibl.: J. de
Marllavc, Etudts musicaUs (Paris, 1917);
G, Jeam-Aubry. haw Albinix, in the
'Musical TmW (Dec. 1917); H. Klein,
Albjnix's Optra, Ptpita }iminet> in the
'Musical Times' (March. 1918); 0, Jean-
Aubry, &a Musiquc it Its Nations (Pnris,
1922; English translation, 1923); Henri
Collet, Albtnix et C ran ados (1923); E.
Intel, Atbtnix, in the *Mus. Quarter!/ (Jan,,
1929); A. de las Ifrras, Vida d* AIM nix
(Barcelona, ^1940); M. Raux Dttlcdicque,
AlbJnix, su vida \nqulita y ardorosa (Burnos
Aim, 1950) { A. Sagardia, Isaac Alblnix
(Buenos Aires, 1931),
Mateo (Antonio Perez do),
Spanish composer; date of birth unknown;
4, St. SebastUn, Juno 23, 1831; was a
church organtat: published Instruction m*-
tddica tsptcutattua y practica para tnstnar a
cantar y A tantr la mdsica antigua (S.
Sebastian, 1802). Hii sonata for piano was
published by Joaqutn N(n in 76 Sanatts an-
d'auiturs tspagnols (Paris, 1925)*
AlWnta, Pedro, Spanish organlut and
composer; ion of Mateo Alb/nlz; b, Ix>-
lyrofio, April 14, 1793; d. Madrid, April 12,
1035. He studied with his father; from nil
early youth played the organ in various
Spanish towns; later studied piano in Parti
with Kalkbrenncr and Henri Hera, In 1830
he waa appointed prof, of piano at the
Madrid Cons.; in 1834 became court or-
ganist, He was an energetic promoter of
modern methods of piano playing in Spain,
He published a manual (1840) which wa*
adopted at th* Madrid Cons.; also wrote
soro* 70 piano pfaeet Jn a highly developed
technical style (rondos, variations, medleys,
etc.).
Albergati, Pirro Capacclli, Contc d* t
Italian composer; b. Carrati, Sent. 20, 1663;
d. Bologna, June 22, 1735. lie wrote 2
operas, Gli amid (Bologna, Aug. 16, 1699)
and // Princip* selvaggio (Bologna, 1712),
and numerous oratorios which were regularly
performed at various churches in Bologna
(1686-1732): Nabuccodonosor ; Giobbn; S,
Orsola; II convito di Baldassarrt; L'inno-
eenxa di S. Euftmia; S> Catarina; 3,
Eustachio; Maria annunciata dall* angtlo;
La mort* di Cristo; etc. Besides these works,
Albergati published during his lifetime 15
opus numbers, consisting of vocul and in-
strumental muftic, among them IlalUtti, Cor-
rtnti. Cant ate morati, Cantata spirituali,
Messa 9 salmi, Cant at* da camtra> Motctti
At antifont, Capricci, 12 sonatas for 2
violins and bass, etc,
Alberghcttl, Anna Maria, Italian soprano;
b. Rodi. May 5, 1936, She first sang in pub-
lic at the age of 6; gave rcdtnls in Milan
at 9. She cnmc to America in 1930; made
her debut In Carnegie Hall; has also
appeared in films.
Albert Helnrich, German composer; b.
Lobenstein, Saxony, July 8. 1604; d.
Ktimgftberg* Get, (>, 1651. In 1622 he
went to Drnden to study music with
his cousin Hrinrich Schliu; then stud-
ied law at the Univ. of Leipzig; traveled
to Warsuw with a pca<:c: delegation in !H^7 r
but was srfacd as a prisoner <*f war by th*t
Swedes: upon his release in 1628 he settled
in KSnlgtberg; was appointed cathedral or-
ganist in 163); took courses with Jfahann
StobSui. Ho publ, in K^nlgiberg a hooks of
arias (1 638*50); a cantata Mutikaluch*
Kilrbt-ttM* (1645) consisting of a cyrlr
of 22 tercets to Albert's own texts (a mod*
rrn reprint was issued by J. M, MUlltir-
Blattau in IP32). A selection of his songs
is found in the 'Neudruekc dttutsrhrr Littt?-
raturwertte' (Halle* 188S); the arins in vol-
umn XII and XIII of ^enkmilrr dtmtsrh*
er Tonkunit.' BH)!,? L, H. Kli^hrr, GtdiehH
d<t Ki>nigtlurt*r Mtht*rkr*i*** (Halle,
1883); H, J. Muter, Corydan (1933).
d' Albert (dahl-iar 1 ), Eugene (Frauds
Cbartai), Brhlih-lxirn German tiiimlit and
composer; b. Giafttpw, April 10, 1864; d,
RtgaTMarch 3, 1932, His father, Charles
Louis Napoleon d'Alhm (b. Niinstettan,
near Hnmbxirff, Feb. 23* 1809; d. London,
May 26, 1BS6), WM a dancimc maictr whc
wrote popular music; It was from him that
d'Albert received hi* early instruction in
ALBERT ALBERTSEN
music. At the age of 12 he entered the
National Training School in London, where
he studied piano with Pauer and theory
with Staincr, Prout and Sir Arthur Sullivan.
He made extraordinary progress both as
pianist and composer, and after several ap-
pearances at the Popular Concerts, was the
soloist in Schumann's concerto at the Crystal
Palace, London (Feb. 5, 1881). On Oct. 24,
1881, when only 17, he played his own
piano concerto at one of Hans Richter's
concerts, arousing great enthusiasm; the
press compared him to Mozart and Mendels-
sohn* He received a Mendelssohn fellow-
ship, and went to Vienna; later he studied
with Liszt, who was greatly impressed by his
technique and often referred to him as 'the
young Tausig/ In 1895, d' Albert was ap-
pointed conductor at Weimar; in 1907, be-
came director of the High School for Music
in Berlin* In the wake of his success, he
repudiated his English birth, adopting Ger-
man citizenship, and made repeated state-
ments derogatory to English culture and
even to his former English teachers. He was
vocal in his enmity to England during the
first World War, which led in turn to an
understandable repugnance among British
musicians to accept his music. D'Albcrt com-
posed industriously. He published two piano
concertos (in B minor and E) ; a cello con*
certo in C; 2 overtures (Hyperion and E$
ther); a symphony in F; an orchestral suite
in 5 movements (1924); a piano sonata, a
piano suite in 5 movements; 2 string quar-
tets; Der Mensch und das Leben for 6-part
chorus and orch. (op. 14) ; 4 piano pieces,
op. 16 (Waltx> Scherzo, Intermexxo, Bal
lade)* minor piano piece* and songs.
However, his main Interest was in the field
of opera. Of his 20 operas, the most success-
ful were: Tiefland, firit staged at the
German opera in Prague (Nov. 15, 1903),
and Die toten Aueen (Dresden, March 3,
1916). The list of hii other operas includes:
Der Rubin ?Karlsruhe, Oct. 12, 1893);
Ghismonda (Dresden, Nov. 28, 1895); G*r~
not (Mannheim, April 11, 1897); Di*
Abreise (Frankfurt Oct. 20, 1898); Kain
'Berlin, Feb. 17, 1900); JDr Improvisator
Berlin, Feb. 20, 1902) j Flauto solo (Prague,
**ov 12. 1905) j Tragaldabas (or Der **-
bortfe Ehemann; Hamburg, Dec, 3. 1907);
Ityl (Hamburg, Nov. 6, 1909); JDfr vtr-
schenkte Frau (Vienna, Peb, 6, 1912);
Liebesketten (Vienna, Nov. 12, 1912); Der
Site von Olivera (Leipzig, March 10,
1918); Rtvolutionshochxeit (Leipzig, Oct.
26, 1919) ; Sirocco (Darmstadt, May 18,
1921) ; Martik* von Nymwtgtn (Hamburg,
Oct. 31, 1923); D/r Colon (Frankfurt,
A(
I,
Nov. 14 1926); Dig schwarxe Orchid**
(Leipzig, Dec. 1, 1928) ; Mister Wu (un-
finished: completed by Leo Blech; Dresden,
Sept. 29, 1932). Despite a brilliant begin-
ning, Eugene d'Albert did not justify his
early promise, and his operas and other
works are rarely revived. His musical idiom
oscillates between the Italian melodic style
and German contrapuntal writing, and fails
to achieve originality. Eugene d' Albert's per-
sonal life was a stormy one. He was married
six times; his first wife was Teresa Carrcfio
(1892-95); his second was the singer,
Hermine Finck. Cf, W, Raupp, Eufen
d'Albert: ein Kiinstler* und Menscnenschic fa-
tal (Leipzig, 1930).
Albert, Karel, Belgian composer; b. Ant-
werp, April 16, 1901. He studied at the
Cons* of Antwerp; conducted a traveling
theater company (1926-31) ; later was active
as music critic, He has written a ballet The
Magic Lantern (1943); a number of scores
of Incidental music; 4 symphonies; several
symph. poems and smaller works.
Albert, Prince Consort of Queen Victoria,
b. Roscnau, Coburg, Aug. 26, 1819; d.
Windsor, Dec. 14, 1861. He married Queen
Victoria on Feb. 10, 1840; lent energetic
support to musical activities in England,
sponsoring orchestras and choral societies.
He studied organ and theory, and acquired
an estimable ( technique of composition;
wrote Invocation* alia armonia for chorus
and orch. His songs were published in 1881
under the title The Collected Compositions
of his Royal Highness the Prince Consort.
They reveal a romantic musical temper,
influenced by Mendelstohn.
Albert!, Domenlco, Venetian composer;
b. Venice, 1710} d. Formio, or Rome, c.
1740. He studied with Lotti, and won con-
siderable renown as linger and harpsichord
plaver; wrote 3 operas, Rndimione, Galatea,
ana Otimpiade, In 17S7 he was a member
of the Venetian Embassy in Rome, and
made several appearances there a singer
and player* His fame in music history rests
on his reputed Invention of the arpeggio
style of keyboard accompaniment, which be-
came known as the 'Albrrti Baas 1 . His *et
of 8 sonatas, published by Walsh in London,
gives many Illustrations of this device.
Albertsen, Per Hjort Norwegian com-
poier; b, Trondheim, July 27, 1919* He
studied architecture, then turned to music;
was church organist in Trondheim; later
studied with Tarp In Copenhagen* He has
written a concmuio for flute and orch*:
an oratorio Bendik og Arolilja; choruses ana
piano
17
ALBINI ALBRECHT
Albini, Srccko, Croatian composer and
conductor; b, Zupanja, Dec. 10, 1869; d.
Zagreb, April 18, 1933. lie studied music in
Vienna; then was theater conductor in Graz
ami Zagreb. He composed an opera Maricon;
a ballet Th Lake of Plotvice; the operettas
Nabob, Madame Troubadour, Baron Trttnk
(1908; achieved considerable popularity);
piano pieces and songs.
Albinoni, Tomaso, Italian violinist and
composer; b. Venice, June 8, 1671 ; d. there,
Jan. 17, 1750, Between 1694 and 1740 he
produced 45 operas, most of them in Venice.
He rarely absented himself from Venice, but
it ia known that he attended the premiere
of his opera Gristlda in Florence (1703);
in 1722 he was in Munich where he pre-
sented his festive opera / veri amid. It is.
however, as a comjx>scr of instrumental
music that he is significant; Bach, his close
contemporary, admired Albinoni** music;
made, arrangements of two fugues from AI-
hiwmi's trio-sonatas (Bach Oesellsehaft, Nos.
437, 43ft), Tlit following works are avail-
able In modern editions: violin concerto
(ed, by Vieweg) ; 2 violin sonatas and a
trio-sonata (rd, by Nagel): organ transcrip-
tions of 2 violin concertos fed. by Walther } ;
fhite. >nata (ed, by Schftffler) ; 3 oboe con*
eertos (ed, by B. Pmwigartner, London,
1948), A detailed catalogue of Albincmi't
works nnd & thematic analysts are given by
R, Ofazatto in his exhaustive monograph,
Tomase Albinoni (Milan,
Alboneae, Afranlo. See Afranto*
Alboni, Marietta (re.ul name, Murta Anna
Marriu Alhoni), famous Italian contralto;
b. Oaenn, March 6 I823; d, Ville d'Avray,
France, June 23, 1 894, 8he itwlied in Bol*
ogwi with MonbelH; in 1 84 1 waa introduced
to Rossini who agreed to gwe her lejwons.
She made her debut In Bologna, in Pwcim's
opera ,V//ft (Oct. 3, I $42) ; shortly after-
ward*, ftiing at La, Seuhi In Rmiim'ft Asstdfa
d\ (forint* (Dfc. 3{K 1842), 8h then sung
in Ruiii, and obtained great W<T during
the *enitm of 1844-45 in St, !Vtersburg>
uppearinj? at the Itnlinn o^rrit with Tatn-
burini* Rubini and Mirie. Vmrdot, After ap-
pffarm'r in Prw<* Brrlin anrl HamburK*
the appramJ m thi* upring of 1847 in Rome
and t Oownt Garden where h^ b^^ame
a r!va! of Jenny L!nd with the public. So
iitrrfwtful ww her l^oridon ttn^
that her feen were inrreaurd to 2,000
a leanon. She Rave, four Vftnt'erti
In I*ri in Oct., I847j made her Purls opera
debut In Rcmini 1 * Stmiramid* (!>ec 2,
1847). Autvrr wrote the opera, Ztrtinda for
her, and she sang at its premiere (May 16,
1851). She made an American tour from
June, 1852, till May. 185.% in eonecrt and
opera, appearing in New York, Boston and
other cities. On July 21, 1853, Alboni mar-
ried Count Pepoli (d, Oct. 10, 1W>7); on
Jan. 22, 1877 she married Charles Xi^g^
a French officer, and settled in France. Sxif-
fering from excessive obesity, she, gradually
retired from the stage, but continued to ap-
pear occasionally in concert, singing whuc
sitting in a large chair. Her vocal range
was exceptional, from thr contralto G to
high soprano C, enabling her to sing soprano
parts. She bequeathed a large sun; of money
to the City of Paris, In appreciation, the
City Council, on Oct. 15, 1895, named &
street in Passy after her. Arthur Pougin'a
monograph Marietta Alboni (Paris, 1912)
quotes many of her autobiographical notes
and presents a documented outline of her
career,
Albrecht, Evgeny Karloviteh, Ru**mn
conductor; son of Karl Albrceht and brother
of Konstantin Albrecht; b. St, Petersburg,
July lf> ( 18-12; d. there, Frit. 9, 1.894. He
studied violin with Ferdinand David nt the
Leipzig Cons, (1857-60), Upon his return
to Russia he conducted the Italian opera
in St. Petersburg (1860-77); wna also rnu
ideal director of military schools there ( 1B72-
77)* In 1877 he. became imtartttor of the
Imperial Orchestras; in Hi*);! was nutate
librarian of the Imperial Thenter*. He puth
Hahed 3 albums of Russian folksong* und
a book of 128 children'* gong*.
Alhrecht, Ham, Oerwan ttiunlrolttifht: h,
Mttgdeburg, March 31, 1002, He studied At
the Univ. of Berlin (1921-25); then taught
music In Essen (1925-37), f)virln; World
Wr XI wn* prof. t the Httite Imtitttttt in
Berlin (I93M5); from HH7 jrof. at the
Univ. of Kiel. He hni jnthl, it v**luable
monograph Kaspttr Othtnoyr t Lfbtn und
Wrk* (Kujwel, 1043 )i **verttl other \m\wn
of documentary jUKttiftram'e rc.nmln In
manuscript.
Albrccht^ Joharw Ixircn*. Oenu;tn musk
neholur; b. (r^rtttur (*rhurinU) $ Jun. 8,
1732; d. Mflhlhtnwn, \m> He midied nt
Leipxm; r<litrd Adltrng** Muiitti wteHunica
nnd $i*htnite*tirn (Hrrlin, !7tiB) ; wrote n
esu^y Ah hand tun % ttbtr dit 1 f ftt$: ob di*
Mutik btiw Cottttditntt J? duttltn sti vd*r
nicht (1764) t a mitntml arundluht Rln*
Utiuns in di* Anf finale hrvn d/r TonAunil
(1761), imd a tre*ije Warn //M# d*r
Muxik (J7$*); eontrlhuted urttele* to Mar*
purs'* 'Krltiichr Hritrfti^,* etc. He alw
eompoted several cuntattu.
18
ALBRECHT ALDA
Albrecht, Karl, German-Russian conduc-
tor; father of Konstantin and Evg. Albrecht;
b. Poscn, Aug. 27, 1807; d. Gatchina, Feb.
24, 1863. He came to Russia in 1838; for
12 years (1838-50) was conductor at the
Imperial Theaters, and gave the first per-
formance of Glinka's opera Russian and
Ludmilla (1842).
Albrecht, Konstantin Karlovitch, Russian
cellist; son of Karl Albrecht and brother of
Evgeny Albrecht; b. Elberfeld, Get, 4, 1836;
d. Moscow, June 26, 1893. He was brought
to Moscow by his father at the age of 2
and received his musical education from
him. In 1854 he became a member of the
orch. of the Moscow Opera. In 1860 he
collaborated with Nicholas Rubinstein in
organizing the Moscow Cons.; in 1866 he
was appointed inspector there; also taught
elementary theory. He was an intimate
friend of Tchaikovsky and was a notable
figure in the Moscow musical world. He
published a manual on solfeggio and com-
piled several collections of choral works.
Albrecht, Max, German composer and
conductor; b. Chemnitz, March 14, 1890*
He studied in Leipzig with Rcgcr; con-
ducted opera in Chemnitz (1911-13), and in
Neisse (1914-15); then lived in Dresden.
He wrote the operas Neros End* (1927);
Rama und Sita (1929) ; Amosa (1930) ; Die
Bruck* (1932); a cantata Marathon; 2
symph. poems, and a number of songs.
Albrecht, Otto Edwin, American musi-
cologist; b. Philadelphia, July 8, 1899. He
studied at the Univ. of Pennsylvania (A.B.,
1921; M,A,> 1925; PhJD., 1931); then be-
came lecturer in music and curator of the
Music Library there and in 1941 vice-pret*
of the Music Library Association. His writ*
ings include Four Latin Plays of $t, Nicholas
(Philadelphia and London, 1935); Brahms
and t von Billow; 18thc*ntury Music in th*
Univ. Library; Francis Hofkinson (Univ.
of Pennsylvania Library *Cnronicle,* 1934,
1936, 1938) ; Micro fdm Archives and Mu~
sic o logy (American Musicological Soc, Pa-
pars, 193B) ; A Ctnsus of Autograph Music
Manuscripts of European Composers in
American Libraries (Philadelphia, 1953).
Albrechtsberger, Johann Gcorg, famous
Austrian theoretical writer, composer And
teacher: b, Klostcrneuburg, near Vienna*
Feb. 3, 1736; d. yienna, March 7, 1809*
After holding positions as organist and
music-master m smaller towns (especially 12
years in Mclk, where his fine playing at-
tracted the Emperor Joseph's notice), in
1772 he was engaged in Vienna as 'Rcgcns
chori* to the Carmelites; app. court organist
in the same year, and, in 1792, Kapellm. At
St. Stephen's cathedral. His important the-
oretical writings (complete ed. publ. by
Scyfried) are: Grundhche Anwtisung tur
Composition (1790 and 1818; French cd.,
1814) ; Kurzgefasste Method* ^ den General"
bass zu erlernen (1792; also in French);
Clavierschule filr Anf anger (1808); and
some lesser essays. Of his 244 compositions,
only 27 have been printed (fugues; piano
quartet ; a Concerto Uger for piano, 2 violins
and bass; organ preludes; quartets, quintets,
sextets, octets for strings) ; the MS, scores (in
the possession of Prince Ester Imy-Galantha)
comprise 26 masses, 43 graduals, 34 offer-
tories, 6 oratorios; 28 trios, 42 quartets, and
38 quintets for strings; besides a great vari-
ety of church music. A selection from his
instrumental works was publ. in 'Denknialer
der Tonkunst in Ostcrreich/ vol. XVI, 2.
He had many celebrated pupils, among
whom was Beethoven (from Jan.* 1794 to
March, 1795). Scholars regard the quality
of instruction he gave to Beethoven as of a
very high order. Of. A. Weisscnback, /. G.
Albrechtsbtrger als Kirchenkomponist^ in
'Studien astir Musikwissenschaft' (vol. 14,
1927) ; R. Oppell, Albrtchtsbtrger als Bind*-
glied zwischcn Bach und Beethoven, in *Neue
2citschrift fur Muslk' (May 18, 1911).
Alcock, John, Sr M English organist; b.
London, April 11, 1715; d. Lieh&ld, Feb.
23, 18G6. He was a chorister at St. Paul's
Cathedral; then studied with the, blind
organist, Stanley. Subsequently he held posi-
tions as organist at St. Andrew's Church,
Plymouth (1737), St. Lawrence 1 ! Church,
Reading (1742), Ltehfield Cathedral
(1750), etc, In 1761 he, took the degree of
D, Mus. at Oxford. He published several
suites for harpsichord, and collections of
anthems and other sacred choral works. He
wrote numerous glees, for which he obtained
prizes from the Catch Club. His son, also
named John (b. Plymouth, 1740; d, Waliall,
Staffs., March 30, 1 79 1) was organist at
various churches and author of anthems*
Alda, Frances (real name Frances Davici) ,
lyric soprano; b. Christchurch, New Zealand,
May 31, 1883; d. Venice, Sept 18, 1952.
She studied with Marches? in Paris, and
made her debut M Manon at the Op6ra*
Comique (April 15, 1904)* She later sang
in Brussels, London* Milan, Warsaw and
Buenos Aires. Her debut at the Metropolitan
Opera was on Dec. 7, 1908 (opposite
Caruso in Rigolttto); her farewell appear-
ance there, on Dec. 28, 1929 in Manon
19
ALDEN ALDROVANDINI
Lfscaut. She also made numerous recital
tours in the U.S. Her principal roles in-
cluded Louise, Mtmi, Manon, Marguerite,
Juliette^ Gild a, Viole.tta and Aida. She mar-
ried (viulio Gatti-Oasaxza, manager of the
Metropolitan Opera, on April 3, 1910;
divorced, 1928; married Ray Vir Den in
1941. In 1939 she became an American
citizen. She wrote an autobiography A/en,
Women and Ttnors (Boston, 1937).
Aldcn, John Carver, American pianist
and teacher; b. Boston, Sept. 11, 1852; d.
Cambridge, Mass., Oct. 20, 1935. He
studied with Carl Faeltcn and wa Inter
uMOciatcd with him at the New England
Cons,; also took lessons with Pluidy at the
Leipzig CJons. He wrote a piano concerto
ana several songs to German texts.
Aldcrighi, Dante, Italian composer and
pianist; b. Tarunto, July 7, 189ft. He we.nt
to Rome, a* n child and studied with Gb-
vanni f Sg&mbati; from 1911-14 he wu* in
Leipzig, studying piano with IVichm tiller
turn theory with ^Krchl. Returning to Italy,
he. took Icwums in composition with Malt*
piero; gave many recitals and began to write
music criticism, In 1936 he wan appointed
prof, of piano tit Santa Cecilia in Rome.
Hts hat written two piano concerto*; Fan-
tasia for piano and chamber orch. (1932);
Rococo Suit* for band (1032; revised
1052) : oratorio, Maria & N<t*ar*th (WM ;
Divtrtimtnto for piano and airing* (193 2);
also many choral work.
Aldrich. Henry, English music scholar;
b, Wfstmlniter, ltM7; d. Oxford, I)c. 14,
1710, A man of vcrautilr talents, excelling
in nmiic, hut also distinguish^! an an archi-
tect, thwlogian, lmftuit und logician. He
was educated at Christ Church, Oxford, re-
ceiving the degree of M,A. in 1669; in
1681 he became a canon, and in 1689, Dean
of Christ Church, and exercised decisive in-
fluence on the teaching of music and other
arts* He wrote the learned work*: On tk*
Commtnctmtnt of ftrttk Music; Thivry
of Orftin-bvitdins; Thiory of Modtrn In*
itrvmtniff composed several services (ant!
of which, in O t 1* itill sung) j and, in a
lighter vein, gle0s nn4 catches (among
them th* popular Cotckts on Tobacco)*
The collections of Boyce, Arnold and Page
contain numerous pieces by Aldrlch.
Aldrfth, Perlcy Dunn, Amfrican voea!
teacher ; b* Blacktu>ne, Ma**,, Nov. 6, 1863;
4* PhiiadelpKia, Nov. 20, 1933, He ttudM
At the Now Wand Com, (1883-86);
th*n tcx>k ttnginf If son with WilUum
in London (189^-95) and
with Sbriglia in Paris (1903); acted as
Sbriglia's assistant in the summer classes
in li)(M and 1908. He settled as vocal
teacher in Philadelphia; was the first head
of the vocal dept, at the Curtis Inst, He
published a volume Vocal Economy (1895);
composed several choruses, among them
The Sleeping Wood Nymph for mixed
voices (1896).
Aldrich, Putnam (Galdcr), American
harpsichord player and musicologist; b.
South Swansea, Mass., July 14, 1904. He
studied at Yale Univ. (B.A., 1926); then
went to Europe and took piano lessons with
Tobias Matthay in London (1926-27) and
harpsichord with Wanda Landowska in
Pan* (1929-33); later took hi Ph. JX at
Harvard Univ. (1942). Hr ha* given harpsi-
chord recitals and played harpsichord solos
with the Boston Symph, Orch.; in 1950 he
was appointed ansormte prof, nt Stanford
Univ., California. He published A brief
treatise, Ornamentation in /. , Bach' a Ot-
gan Works (New York, 1950) which ii part
of an important ami much larger work (his
Harvard diftnrrtation) on 17th* und IBth-cen-
tury ornamentation, which has not yet been
published.
Aldrich, Richard, American muiic, critic;
b. Providence, July 51, 1S6:; 4. Rome,
June 2, 1937. lie nudicd with Puinc nt
Harvard Univ., graduating in ift#5. He then
wan music critk of the *Prvi|f 1 et Jour*
nal* (m$*fM) and ^Evening Hur' (i8a^-
91), From 189I-15H)! hr wua u^iaunt to H,
B. Krchhicl on the *N.Y, Trihunr,* thrn
hccnme music rditwr of thr *N, Y, TJnirs*
(1 902-23 ). A rfc*ticm of hit urtidrn from
tht* 'N* Y, Timrs* were nuhlinhed In Music d
Disfpurse (1928} and, twsthtmmualy, In
Concert Lift in Ntw York, 1902*1*23
(1941)* He alj wrote? 6'taW* to Parsifal
(19(H) und Co'uU* to tht /fine of th<
Nihctung (1905). Hit critirM writing were
urbane and witty; while liberal -minded in
regard to milder types of modern music, he
vehemently opposed iti cxtrentr trends.
Aldrovandml, Gluneppc (Antonio Vln-
ccnsto), lulbn comjxwer; h. 3Po!ogn%, 1665;
d, there, Feb. 9 1707, when* under the in*
Hucncc of alcohol, he fell into a canal *nd
wni drowned. Ho itudicd with Oiftftmm
Pert! At the Bolojrna PhUhnrmonlf Acudrnjy,
Uught thrrt from 16D3, and in 1702 l**cnmf
its head ('principt'), Among hU 15 oper**,
the following were produced in Bologna;
Cli inganni amoroti (Jan, 28. 1606) j jD<s/nt
(Au* 10, 1696) ; Li du* Aututt* ( Aug.
16, 1700); / tr* rivatl in wglio (jrotthu-
20
d' ALEMBERT ALEXANDRO V
mously, Jan. 2, 1711). He also wrote a
'sinfonia' and much church music (6 ora-
torios, motets, etc.) , some published in his
lifetime.
d'Alembert (dah-lahn-bar'), Jcan-Ie Rond,
French philosopher and encyclopedist; b.
Paris, Nov. 16, 1717; d. there, Oct. 29,
1783, He was the illegitimate child of one
Mmc. de Tencin and an artillery officer
named Destouchcs; his mother abandoned
him on the steps of the church of St. Jean-
Ic-Rond, which name was subsequently at"
t ached to him. Later, his father acknowl-
edged him, and enabled him to study. He
was sent to the Mazarin College, and pro-
gressed rapidly in mathematics. He also was
interested in theoretical musical subjects,
and published several treatises on acoustics
and on the theory of music: Recherches sur
la courbe, que forme une cord* Undue mite
en vibration (1749); Recherches sur Its vi-
brations des cordes sonores and Recherches
sur la vitesse du son (both in 'Opuscules
mathcmatiqucs,' Paris, 1761-80). He con-
tributed several articles on music to the
famous 'Encyclopedic/ which he edited with
Diderot. He publ. further, Reflexions sur la
musique an gtniral et sur la musique fran-
cats e en particular (1754); Reflexions sur
la thSorie de la musique (1777]. His best
known work on music was SUments de
musique t thJorique et pratique* suivant les
principes de M< Rameau (1752), which
went into 6 editions. Bibl.: T. JBcrtrand,
d'Alembert (Paris, 1889),
Alessandrcscu, Alfred, Rumanian com-
poser and conductor; b. Bucharest! Aug. 14,
1893. He studied with Vincent d'Indy at the
Schola Gantorum in Paris, graduating in
1914. He wai director ox the Bucharest
Philhu Qrch. (1926-40); music director of
the Bucharest Radio (1933-47). He has
written a symph. poem Acteon (Paris, 1920;
New York, 1938) ; an overture Didon;
chamber music and songs.
Alessandri, Felice, Italian opera com-
poser; b. Rome, Nov. 24 ; 1742; d, Casinalbo,
Aug. 15, 1798. He studied music in Naples;
then lived in Paris (1765-68) and in Lon-
don (1768). From 1784-89 he was in
Russia; then in Berlin as a second conductor
at the Royal Opera (1789-92), finally re-
turning to Italy. Alessandd wrote about 30
operas in all. Two were produced in Lon-
don: La Marti* feieli (1768) and 17 re
alia c&ccia (1769) : and two at La Scala in
Milan: Calliro* (Dec* 26. 1778) and Etio
(Feb. 1, 1782), In Potsdam he produced
// rftorno di ttttm (Jan* 25, 1790) ; Dorfo
(1791), and the comic opera La compagnia
d 9 opera a Nanchino (1790), which exhibited
the colorful effects 01 pseudo-Chinese music.
His opera Virginia was given in Venice
(Dec. 26. 1793). He also wrote an oratorio
Betulia liberata (1781); 6 sinfonie in 8
parts; 6 trio-sonatas for 2 violins and basso
continuo, etc., all in the then prevalent
Italian manner, Cf. L, Valdrighi, Felice
Alessandri (1896).
d'AIessandro, Rafaele* Swiss composer;
b. Gallen, March 17, 1911. He studied with
Victor Schlatter and Willi Schuh in Zurich;
then with Nadia Boulangcr and Marcel
Dupr6 in Paris. Gave concerts as organist
in Switzerland; eventually settled in Lau-
sanne. He has written a symphony (1948) ;
Concerto Grosso for string orch. (1950); 3
piano concertos; 2 string quartets, etc.
Alessandro. Victor. American conductor:
b. Waco, Texas, Nov. 27, 1915. He studied
the French horn with his father; composi-
tion with Howard Hanson and Bernard
Rogers at the Eastman School of Music,
Rochester, N. Y, He went to Italy and took
courses at the Santa Cecilia in Rome
(1938). Returning to the U.S. he became
conductor of the Oklahoma Symph. Orch.
(1938-51) and of the San Antonio Orch,
(1952).
Alexander, Josef, American composer;
b. Boston, May 15, 1910* He studied at the
New England Cons, of Music and at Har-
vard Univ.; was active as a pianist: then
devoted himself to composition. He has
written 2 symphonies; a piano concerto;
Epitaphs for orch.; Dialogue Spirituel for
soprano, chorus and orch*; Clockwork for
string orch.; Campus Suite for band; piano
quintet; string quartet; piano trio, etc.
Alexandrc, Jacob, French organ builder;
b. Paris, 1804; d. there, June 11, 1876. In
1829 ho established a firm of harmonium
manufacturers, which introduced the 'Alex-
andra' organ, a development of the so-called
'American organ' (1874),
Alexandrov, Alexander Vasflievitclj* Rus-
sian composer; b, Plakhino (Riazan Govt),
April 1, 1883; d, Berlin, during a concert
tour, July 8, 1946. He studied with Rimsky-
Korsakov and Glazunov at the St Petersburg
Cons. (1899-1901) and later at the Moscow
Cons, with Vassilenko (19094913). In 1928
he organized the Red Army Ensemble and
conducted it on numerous tours in Russia
and abroad. His song Hymn of the Bolshevik
Party> with a new set of words, was pro*
claimed as the Soviet national anthem on
March 15, 1944*
ALFANO ALFIERI
Alfano, Franco, eminent Italian composer;
b, Posilippo (Naples), March 8, 1876; d,
San Kcmo, Got, 126, 1954. He studied com-
position with Paolo Scrrao in Naples, and
with Jadassohn and Hans Sitt in Leipzig.
From the beginning of his musical career,
Alfano was interested in opera. His first
stage work Miranda was produced in Leip-
zig when he, wo* barely 20; another opera,
La Font*! di Knscir % followed (Urcslau, Nov.
8, 1808). In 1900 he went to Paris and
became fascinated by light theater music.
While, in Paris he wrote a folk bullet Natooli
which was staged at Folica-Bcrgcrcs (Jan,
28, 1901), proving so successful that it ran
for 160 Kticcesaivc performances. Returning
to Italy, he hrgan work on an opera after
Tolstoy** novel Resurrection. It was pro-
duced as Risurrexionc, in Turin (Nov. 4,
1904) with scxisatiorml acclaim; the Amer-
ican premiere (Chicago. Dec* 31, 11)25)
WAS equally successful; tnerc were also nu-
merous performances in Germany and
Fran<*c The opera wn widely pratactt for
its dramatic power and melodic richness in
the best tradition of realistic Italian opera.
Alfnno continued to compose industriously
for another half-century, but hii Inter 0f>ertu
failed to equal the* AUCCC** of ttisurrexitint,
They are: // Prindpfi Kilah (Genoa, Frb.
3, 190D) ,' L*ombrit di Don (!fot*anni (Ia
Scala, Milan. April 3 1914) ; La LeRetnda
di Sakuntata (Bologna Drr,. 10, 1921);
Madonna Imtottria, lyric comrdy (Turin,
May 5, 1927: Met. Oprrn, N. Y., Feb. 8,
1928) S JVr/Wiwa Lvrd (Napta, April 19,
1JWO) ; Cyrano da tttrttttrae (Home, Jnn. 22,
HWi i JlDvUor Antonio (Rome*, April 30,
HMO), Alfimu nlo wrote 'I aymphoniri
(1909; 19.12; 1934); 3 tiring quartet*. a
violin sonata, a cello sonnta, imd a ballet
Vtwirius (HUB; a nymphonic ptiem wi*
drawn frwn it in 1946')* One of Alfano**
ajgnal achievement* wait that he romplrtml
Pumni** Initt owrn, Turttntl&t, adding tht
lust *rew. Hii //ymn t# ttalittar, for rhorus
jknd web., written for th<* rrrUrnniftl of
Bolivar's deivth t wua jxrfornrd hi Ca
Vrnr^urla, n Her, 22, 1930. Hr
in th<* field of immic'si!
della Corte, Rittrato di Franco Alfano
(Turin, 1935), Kttore Desderi puhliRhed a
list of Alfano's works in 'ttolletina biblio-
grafico znusicalc* (Milan, 1931).
Alfarabi, or Alpharabius, properly Al
Farabi (abbr. Farani) so nained from his
birthplace Farab (now tramoxine Othrax),
Arabian music, theorist; b, e. 870; d. Damas-
cus, c. 9f)0. Of Turkish descent, he became
renowned through hu writings on nhiloso-
phy, political science and the art*. lie wa
a Greek scholar and attempted unsuccess-
fully to introduce the Greek muairal system
into his country. His principal work in Kitab
at-niusiqi &i-k&bir ('CJrnitrr Hook atxmt
Music') dealing with acoustirfl, intervals,
scales* instrument* and rhythm, Tlw 2ml
volume of this work wan lost, Kxcrpts from
this book are contained m K<>Ke^;irten' Alii
Ifpahanis Lib*r Cnntiltnarum Magnus
(UJ40) and in J, Land'* Kwhtwht* sur
t'histotrti d* la ffammt arabe (Lrydcn^ 1B84).
Ser also M* Steinnchnridrr, At*Farabi (8t.
IVtrwburg, IBM)) ; Baron d'Krlanger. La
Mwique ar<tb* t vol. I (Pariii, IMO) ; K. A.
Beirhertt Die WiMtnwhalt dtr Muiik bti
At-Fartibi (Rrrnbur, ^HKH); H. O,
Farmer, AWarabi'x ArttbicLtittn W filings
on Music (GlnK<w,
Alfcraky, AdiHIm Nikolaysvitch, Ruii,in
r,omm>ser of Crrrek or>Kw ; b, Taj^^nroff. Jtdy
3 1H46; l. PrtroffracL i20. lie Mtidifd
in Moscow with V. Suk (UUH); wrotn an
opera fit. ]t>hn*$ fit** and wwirwus nt>im$
and piano pieces of nwjwlrntUe mrrit, m
a romantic Kujuifcm style rtutittty inilucnrcd
by TrhaiknvAky; mt*l of thr?ir were pub-
lished by Brlatrv.
was
1 in
; of thtt Turin
Mawinm in Pnlrrtm (1 940*42 ) v and
from l947 L dirt?rtor of the Rowlni Conn, !
IV#aw,--BJhL: O. M, Gtti. fm^ ^//<rto
In <Mu*Mt! modrrni d'lulta e di fuor!/
(Bdoffaa. t920; alo In th *MuikaI Timci t *
Mnrfh, 1021)! O. C^rJ, /, tofffiiifa di
Sttkuntala 4i Franco Alfano in the 'RivUta
t Itnliana* (Turin, 1921); Andrea
Alfirrl, Ptctr0 Ititlutn ntunir
b, Rtf!i% June 2D HUH ; d. thrrc, Junr 12,
18C>.1, He wti n mrmb^r of thr C^muil<inlcac
()rd*r; taught Gregorian muaic at th<* Kn-
Hah ClollrKj* in Rotnr, Ilin major work i*
Rntevtta di musirtt jfrr (l84U4(J) f a <*-ol-
Irrtion of Ifith-crntury t'hinrh nmslf In 7
vuls, t which in<:lutir virtually nil rcprnrntii-
tivf work of Palratrma; othrr rotlrrtiom
arc* tfxeerptn *x ttfabrfanbtt* d# wmlaa writ
(Rome, 1840), containing work* hy Pal^ii*
triria, Victoria and Allrt<ri; ttttitflltn di
wntftti (IftH), etc. His ris^yn on OrrKortHii
chant aw very vnhtfible; Jtinttbititntntu (hi
canto <f </// muTtVrt fCtltsitntH'ti fI84!U;
Satynfl storico del tttntt* ^f^riano (Itt^fJ);
Prwramo *Wff r*$tdMfttit*n* d* HM di
cant& #ccl*%\ttrt\eti dtttn iff * /form no (IS^7),
eitr.,; h<? alno jmbl, a bloarnphy of N, Jon
inrfll (1845) and rontrfinitwl article on
mu*ical subjects to Itatmn
22
ALFORD ALIPRANDI
Alford, Violet, English writer and lecturer
on folk dancing; b. Bristol, March, 1881.
She studied at London Univ., and at the
Royal Academy of Music. She has published
valuable compendia on folk music and
dance: English Folk Dances (1923); The
Traditional Dance (with Rodney Gallop;
1935); Pyrenean Festivals (1937); Intro-
duction to English Folklore (1952). She
also composed A Folk Masque, showing
origins and development of the folk dance.
Alfv6n, Hugo, outstanding Swedish com-
poser; b. Stockholm, May 1, 1872. He
studied at the Stockholm Cons., and played
the violin in the Court Orch. He was then
sent by the government to Belgium where
he studied violin with C6sar Thomson
(1896-99). In 1900 he received the Jenny
Lind stipend for three years. In 1910 he
became musical director at the Univ, of
Uppsala and conductor of the student chorus
there until 1939 when he retired. His best
known work is Midsommarvaka (Midsum-
mer Vigil, 1904). the first of his three Swe-
dish rhapsodies tor orch. It was produced
as a ballet, La Nuit de Saint]ean (Ballets
Suldois, Paris, Oct. 25, 1925) and had over
250 performances in four years. He. has
written 5 symphonies: I in F minor (Stock-
holm, Feb. 9, 1897); II in E major (Stock-
holm, May 2, 1899); III in E major
(Goteborg, Dec. 5, 1906); IV in C minor
(Stockholm, Nov. 16, 1918) ; V in A minor
(Stockholm, April 30, 1952); contributed
a number of festive cantatas on various oc-
casions, patriotic anniversaries and the like,
among them a cantata celebrating the 450th
year since the founding of Uppsala Univ.
(1927) and another on the 500tn jubilee of
the Swedish Parliament (1935)* Ho also
wrote a ballad on Gustaf Vasa ( 1 920 ) for
soloists, mixed chorus and organ; and nu-
merous male choruses* He published 3 vol-
umes of memoirs; Tempo furioso (Stock**
holm. 1948) ; I dut och moll (1949) j Finale
(1952)* In Swedish music Alfyln occupies
the position of a late romantic composer,
representing the best traits of Scandinavian
national art, along the lines of Grieg and
Sibelius. BibU S. E. Svcnsson, Hugo
Alfvtn, som manniska och konsinar
(Uppsala, 1946).
Aljrarotti, Francesco. Italian musician and
scholar; b. Venice, Dec. II, 1712; d Pisa,
May 3, 1 764. The fame of his great knowl*
edge reached Frederick the Great who in-
vited him to Berlin in 1740 and gave him
the title of Count: and, in 1747, that of
'Chevalier de Porare pour le xnerite.* In
1753 Algarotti returned to Italy. His mu-
sical monument It the Saggio sopra V opera
in musica, published in 1755; also in many
later editions, including German and French
translations. The English text of the Saggio
... is reproduced in part in O. Strunk's
Source Readings in Music History (N. Y,,
1950). Bibl.: D. Michelessi, Memorie in~
torno alia vita ed agli scritti del Francesco
Algarotti (Venice, 1770); R. Northcott,
Francesco Algarotti, A Rtt print of His
'Saggio . , / and a Sketch of His Life
(London, 1917).
Aliabicv (&hl-y&h'-bycv), Alexander Niko-
layevitch, Russian song composer; b* Tobolsk,
Siberia, Aug. 15, 1787; d. Moscow, March
6, 1851. He left Tobolsk at the age of nine;
served in the cavalry during the War of
1812 and participated in the entry of the
Russian Army into Dresden and Paris. Re-
turning to Russia, he lived in Moscow* In
1825, he was arrested on suspicion of mur-
der after a card game, and was exiled (on
the express order of the Czar Nicholas I)
to his birthplace in Siberia (1828). In 1831,
he was allowed to return to European
Russia, and lived in the Caucasus, Oren-
burg, and in the Crimea, before settling in
Moscow. He wrote more than 100 songs,
of which The Nightingale^ became extremely
popular; it is often used in the music lesson
scene in the Barber of Seville, Glinka and
Liszt made piano arrangements of it. In
exile, Aliabicv wrote a symphony (1830), 3
string quartets and a violin sonata. Ilia
opera 2 he Prisoner of the Caucasus was
very popular in Russia, He also set to music
the stage ballads The Village Philosopher
(to 2agoskin's text) and The Moon Night;
with Vftrstovsky and Muurer he contributed
the music to Chmelnitsky's comedy A Novel
Prank* or Theatrical Combat* BibLt Dobro-
hotov, Alexander Aliabicv in 'Sovictftkaya
Musica' (April, 1951); Ilyin, Aliabiev in
Siberia (with a facsimile reproduction of
the registry of AHabicv's birth;, ibid* (Aug.,
1952)*
Francisco* Spanish composer; b.
Barcelona, March 21, 1862; d, there. March
31, 1908. He studied piano with Vidiclla
and composition with Ansclmo Barba, As
a composer, he was a determined believer in
the Spanish national type of music, and in
his piano pieces and songs brought out
native rhythms and melodies. He published
several albums of Catalan folk songs*
Aliprandi, Bernardo, Italian cellist and
composer: b. Milan, c. 1710; d, Munich,
c* 1785. He became a member of the Court
Orchestra In Munich (1732) j then was con**
ccrtmwter (1750); retired to 1780* He
23
ALKAN ALLEN
wrote 3 operas: Mitridat* (1738), Ifigtnia
(1739), Stmiramid* (1740) ; a divertimento
Apollo tra If Muse in Parnasso (1737), and
a Stabat Mattr (1749).
Alkan (ahl-kuhn) (real name Morhangc);
Charles-Henri Valentin, French pianist and
composer of Jewish extraction; b. Paris,
Nov. 30, 1813; d. there, March 29, 1888.
His three brothers were also musicians; his
father was the founder of a school for
Jewish children. Aikan's talent was pre-
cocious; he was accepted at the Paris Cons,
at the age of six and studied piano with
ftiimnrrmann. In 1833 he visited London,
then returned to Paris, where his main acti-
vities were playing concerts in the fashion-
able salons and teaching piano, He entered
the brilliant circle of musicians and litt^ra-
tcuri, among whom were Chopin, George,
Snnelj Hugo and Liszt. He died as a result
of injuries sustained when a heavy bookcase
fell on him as he tried to reach for a book.
Like Chopin. Alkan wrote almost exclusively
for piano; the ltt of his works include* 76
opus numbers, in addition to many pieces
not numbered by opus. Hit pieces art? pro-
grammatic, bearing such titles as tit sir; a
net of variations, L*$ Omnibus; Lt vent (op.
13) ; Li Tambour bat aux Champs (ojp. 50$ ;
he was the, first composer to write a piece* de-
scriptive of the railroad (Le Ghtmin <t fer,
op. 27). His 2 arts of e'tuclci, in nil major and
minor keys (op, 35 and 3D), of tranacendent
difficulty, pmrnt great interest n* rxampki
of modern piano technique. Other workt
ar $ tud*Jt dn brav&ur* (op. lf>) ; I**
prwx* 4twU dt wnctrt (op, I/); 3 pitas
pfiftiquts (op. 18) ; Bourrh d'Auwrgn* (op*
29) ; a wnata (op. 33, lubtttlrd Lts quatr*
*); Let mow (op, 8, 74), compiling 12
pfrc.e*, etr, He l*o wrotf? 2 pmno fn*
crrtos, ft piano trio, a cello nonnta and vaeal
nuuir, tfrnnr Frtinck arranged irvcrul of
his ^irerji for orjran. For u long time Aikan'i
imautt was complrtely forgotten, but hi* sig-
nificant- e a an inventive conipcS(*r lw*riwt
ttiora evident In thfl 2Dth century, Chapter*
dealing with Alknn i\re found m Sorntiji's
book Armtnd Music (London, 1932), and in
Bernard van Dlf*ren* Down Amon% the
Dt&d Man (London,
l, Domfnico, Italian mmpcwr: b.
Rome, 1585; d. there, Srpt, 5, 162^, He
wu mnwtro di cappclU tit S. Mam Muwftorc
from 1610-20, ana w onf of th* fint to
vorftl muttr. with an independent
ntnl mreompanimmt A few of his
*rr cxtJint (A toprno iolo with
* t^nor durt and a bus tolo,
by 2 vblira),
Allcgri, Grcgorio, Italian composer; b.
Rome, c. 1582; d. there, Feb. 17, 1652.
He was a choir boy in Rome from 1591-96;
then studied with Giovanni Maria Nanino
(1600-07), He entered the Papal Chapel in
1629, after serving for some years as choris-
ter and composer ior the cathedral at Fcrmo.
lie is chiefly known as the composer of the
celebrated Mistrtrc in 9 parts (i,c, for two
choirs singing 4 and 5 parts respectively),
regularly sung during Holy Week at the
Sistine Chapel, and surreptitiously written
out by Mozart after hearing it twice, though
its publication was forbidden on pain of
excommunication ; since then it has been
frequently published. Many other works by
Allegri are preserved in MS.; 2 books of
Conccrtini and 2 of Mattetti have been
printed, also a 4part sonata for strings
which mtyht be regarded as the prototype
of the itrmg quartet. Sec A, Cametti, /*
scuola dei pucri cant us di S. Luiffi dii
Francesi in Roma, in 4 Riviu Musicftlc
Italiana' (1915); J. Anunn, All^ris Mi-
strcrt und die Aufftthrungx praxis in dr
Sixtina (Regeniburg, 19Ii5) ; A* Kft
Hull, Th* E&rlitst Known Strina
in the *Mu$, Quurterly 1 (Jan,, 1929).
Alien, Orcitfhton, American pianist and
composer; b. Macun, Mils., March 2f> 1900.
He made his first public, appearance Hi the
itge of nine; itudircl with Hutehmtn in
New York; thr.n nettled there u* tencher
ami coni|xcr He, has written a piano con-
certo, ti violin concerto, 17 netting* of th
poems of Kdgar Allan Poe t pmno piecri
many nonjjs, *omr of which hvr
considerable popularity.
Allen, George Benjamin, KnglUh itin^r
and composer; b, tandem, April 21, 1822;
d, UrSslmnc, Qurf k nUiit(I Nov, 30* 1897, He
wna urtivf* surccwlvely an fhorJuttTi ton*
duetor nnd organist in Knftlant!, Ireland,
nnd Autr^lift; manned it light opera c<mt-
wny, proitucinw nfveral of Suliivtin'ii op?r*.
lie rowpogrtl thr op^r*: Cattl* Ortm
(I*on<i<m 1 18^5) ; Th* VIMnx (not perform-
ed): Th* Wickfaw
3 amtttto* Mn
Alien* Sir Hugh Perry, eminent Kn#lt*h
orfpinift and educator; b, Reitdlnff, Dec, 23.
1B69; d. Oxford, Frh, 20, 1946, lift studied
with Dr. F, Rrsid in Reading, and *t Ox-
ford Univ. (Mui. Doc,, im*)* At the, ajm
of U he meted m church orgfmint 2n Reaa*
ing, Therf After hr WM organic at various
churches nnd eathedrftl* until thr turn of
thf century. Hr wai wopolntrd organist at
New College, Oxford (1901-18), and later
ALLEN d'ALMEID A
(1908-18) director of music at University
College, Reading. In 1918 he succeeded Sir
Walter Parratt as prof, of music at Oxford,
and in the same year became director of
the Royal College of Music, London, from
which he resigned in 1937 (succeeded by
George Dyson). He was knighted in 1920.
For many years he conducted the London
and the Oxford Bach Choirs; he was an
ardent promoter of British music. Cf. C.
Bailey, Hugh Percy Allen (London, 1948).
Allen, Nathan H., American organist and
choral conductor; b. Marion, Mass., April
14, 1848; d. Hartford, Conn., May 9, 1925.
He studied organ in Berlin; was active as
church organist and teacher in Hartford,
Conn. From 1906-11 he was organist at
Worcester, Mass., then returned to Hartford.
He wrote church music (including a can-
tata, The Apotheosis of St. Dorothy)* and
concert pieces for organ, violin and piano.
Allen, Paul Hastings. American composer;
b. Hyde Park. Mass., Nov. 28, 1883; d.
Boston, Sept. 28, 1952* He studied at Har-
vard Univ. (A.B., 1903), then in Italy.
During World War I was in the American
diplomatic service there; returning to the
U, S. in 1920 and settling in Boston. A
prolific composer, he wrote 12 operas, mostly
m Italian, several of which were performed
in Italy. They include // Filtro (Genoa,
Oct. 26, 1912); Mtlda (Venice, Tune 14,
1913) ; L* Ultimo dei Mohicani (Florence,
Feb. 24, 1916); CUofatra (1921); La pie-
cola Figaro (1931)* His Pilgrim Symphony
received the Paderewski prize (1910) ; other
orchestral works are largely unperformed.
Allen wrote much chamber music, some for
unusual combinations, such as a quartet for
2 clarinets, basset-horn and bass-clarinet;
several piano sonatas and a great number
of other piano pieces; choral works and
songs. His writing is marked by technical
mastery in a romantic style.
Allen, Warren D., American musicologist:
b. San Jose*, Gal., Aug. 3, 1885. He studied
at the Univ. of CaL; later with Fiellte in
Berlin and with Widor in Paris* From 1913-
19 he was dean of music at the College of
the Pacific, San Jose*. In 1918 he became
choral director at Stanford Univ.; from 1940
till 1949. on the faculty there; 1949-55,
prof, at Florida State Univ.; retired in 1955
and settled in Seattle. Books: Philosophic
of Music History (1939) and Our Marching
Civilkatfon "^ A
Allcnde (ah-ySn-da) Sar6n, (Pedro)
Humberto, eminent Chilean composer; b.
Santiago, June 29, 1885. He studied violin
and theory at the National Cons, in Santiago
(1899-1908); then taught in public schools
there. Elected member of the Chilean Folk-
lore Soc. in 1911. He was in France and
Spain (1922-23); appointed Chilean dele-
gate to the Congress of Popular Arts in
Prague, under the auspices of the League of
Nations (1928)j in 1929 he took part in
the Festival of Ibcro-American Music in
Barcelona. He was prof, of composition at
the National Cons, m Santiago from 1928-
45. In 1945 he received the Chilean Govern-
ment Prize. In his music, Allcnde combines
authentic national sentiment with a modern
treatment, often in an impressionistic man-
ner. He has written a Symphony in B Flat
(1910,* awarded Chilean Centennial Prise);
Campesinas Chilenas for orch. (1913) ; cello
concerto (1915); La Vox d* las CalUs,
symphonic poem utilizing street cries of
Chilean cities (Santiago, May 2Q 1921);
La DCS pc did a for 2 sopranos, contralto and
orch. (Santiago, May 7, 1934); violin con-
certo (Santiago, Nov. 27, 1942); string
quartet (1947) ; 3 piano sonatas (1909-15) ;
12 Tonadas da cardcter popular chiUno for
piano (1918-22; his most distinctive work
m a national style; also arranged for orch.)
and songs. He aUp published a teaching
manual Mjtodo Original de Iniciaci6n Mu
steal (Santiago, 1937). Cf. special issue
of 'Revista Musical Chilena* (Sept., 1945);
N, Slonimsky, Humbtrto Atl*nde> First
Modernist of Chitt, In *Musical America,'
(Aug. 1942) ; V. S. Viu, La Crtacitn Mu-
sical *n CAt'fc, pp, 115-129 (Santiago, 1952).
AlHhn, Hclnrich (Max), German music
scholar; b. Hallc-on-Snale, Aug. 31, 1841;
d. there Nov. 15, 1910; from 1885 pastor
and school inspector at Allcnstrdt; edited
the 2nd edition (1888) of Tftpfer's Lhr-
buch der Orgtlbaukunst (Theorit und
Praxis dts Or^dbaues) publ. Dig Hausin-
strumtnt* Klavitr und Harmonium (1892),
and Dit PfUg* des musikalischts Toils dts
Gotttsdienstts (1906); contributed many
essays to De Wit's 'Zeitschrift fUr Instru*
mentenbau/
d'Almefda, Fernando, Portuguese com*
poser; b* Lisbon, c. 1618: d. Thomar, March
21. 1660* Distinguished pupil of Duarte
Lobo; in 1638, entered the Order of Christ
at Thomar. Of his many church composi-
tions, only one folio vol. in MS, is known:
Lamtntacdtt, Rtsponsorias t Misereres das
trts offlcias da Quarta, Quinta $ Sexta-ferU
da Stmana Santa.
25
ALMEIDA ALSTED
Almeida, Rcnato, Brazilian music histor-
ian; b. S. Antonio de Jesus, Bahia, Dec. 6,
1895* He studied law; worked as a journalist
in Rio de Janeiro. He is the author of the
standard work on Brazilian music: Htstoria
da musica brasileira (19126: new enlarged
ed., 19411).
Almcnradcr, Karl, German bassoon vir-
tuoso; b. Ronsdorf, near Dusseldorf, Oct. 3,
1786; d. Birhrich, Sept. 14, 18-13. Was prof.
of bassoon at Cologne, theater conductor in
Frmikfurt and regimental bandmaster ;
started a factory for wind instruments
(1820) at Cologne, but gave it up in two
yearn, entering the Nassau Court Oreh. at
Biebrkh. lie materially improved the 1ms-
soon, wrote a treatise on it (Main/, IftH),
and a method for it; publ. a bassoon con-
certo; variations for bassoon and quartet;
Duettinos for 2 bassoons, etc.; iincl the
popular ballad, Drs ftauMX It'Utt titundtt*
AInujui.it, Carl Jonas Love, Swedish com-
poser anfci writer on mimic.; b, Stockholm,
Nov. 28, 1793; <1. Bremen, Sept. 25, 1 WKJ.
lie studied at Uppsala Univ.; wrote soiijj*
to hi* own word*, but refused to study nmiur.
for fear that hi* instinct for simple melody
nught be destroyed by learning. Jte pub-
lished these ftonf?* in u collection Tib nr nMnt
bnk ^(1838); he al*o published 11 Albums
of piano nieces under the title /*V* /*V/
t&xier (IBM), Almquint 1 * life wa mi adven-
turous one; he, wan forced to leave Sweden*
where he was accused of forgery; lived in
America (1H5M&); then went to (S rummy,
where he. died.
AInari, Ryvind, Norwegian composer; I*.
Frrdrikiwud, April 20, 1872; d. Onto. Dee.
24, tf)32, He studied in Onto with Ivnr
1 loiter (HUHM)2) and in Lrhwiff with Cad
Reinecke (IWKMtt). From UW he occtt-
pird vitriouft position* ;u churcli orK^niitt in
Norwuy, Uijt work include 2 aymphomen
( I #90 ) ; piano coneer to ( < )!o, Feb, 7.
HM4) } Match* wmphvnitiu* for 2 pitino*,
nml neveral c!urue nnd n*mK H^ itJw*
a collection of Norwegian folk
FerJ<l, Tttrkih
b. IxtimbuL March 11, HK)ff, AH a child he
played native intitruinents; at IT* cimtpuMrci
n O|wreftm in <>riental ty!e, In t^27 he
went to Vienna, where he ntudird with
Joneph Mnrx (ccmt|>os2tion) nn4 OxwuUl
Kabimta (conducting}* Hetitrnin^ to Istan-
bul in 1932, hr t;uiht at thr Muniripnl
Com. Hr wnt ttt*oe,iate conductor of the
Pretidermal Philh* Orch, in Ankara from
1936-49, and its director from 1949-52. He
also taught composition at the Ankara Cons,
(1937-4(>). Alnur's music in mostly of native
inspiration, lie has written Prelude and
Two Dances for oreh. MlWf)); Istanbul
Suite, for oreh. (1938); cello concerto (An-
kara, Feb. 15, 11)43); concerto for Kanun
(Turkish psaltery) and oreh. (1951); etc,
Alpaerts, Flor, Belgian composer; b, Ant-
werp, Sept. 12, ia7J; d. there, Oct. 5, 1954,
He studied with Hcnoit and Ulockx at the
Royal Flemish Clou*, in Antwerp; in 1903
he became prof, there,; was its director from
1934-41. From 1919 he conducted the local
orchestra at the tfoological Gardens, also
conducted in France and Holland. Hi* music
is influenced by early impressionism* without
venturing into the field of modern harmony.
He wrote the opera tihytwk (Antwerp^ Nov.
22, 1913) ; -YyMp/KwtV du firinttmps; nymph,
poems ttv^ (1900); /^mn^rtu (19lM)j
Cyrux (1905); JW/iXi'r (1921); fttJw*
wmphoniqu* for flute und oreh. (1^03; re-
vised 19-10) ; incidental music to various
plays ; a violin concerto (UHB) wml several
school manuals in Flemish, (If. A. Corbet,
t f hr AlpMTts (Antwerp, 1941).
Alpaerti* Jcf Belgian conductor and
pianist; son of Flor Alpaerts; b. Antwerp,
July 17, 1004. He atwltcti in t*ari with
Junior I'hilipp and Clortot (piano) ami
with Vincent <rindy (c.omp,). In 1936 he
waa nnpm'nted prof, nt the, Antwerp Om*.;
in U)So he inmij<urutetl the Ccjllemtmi M*
sieimt Antverpiense for perf*nnnnce erf old
music.
Alslcbrn* Julius, (Jrnn.tn pianist am!
prtiitffo^ue; l>, Herlin, March 24 1IM2; !
there, Dec, ft v IB5M, He Mudietl juano with
Xech, ami the<ry with S. Dchn. in JBfiS h
l>ecmne president <f the Jierlin 'Twtkttn-
wtlerverein* ; in 1879 he was president of the
'Mti^iklehrerverein 1 of which he wa atwi a
founder. From IB74 he ctltie4 the
illwr Mu&ikftMchitht* (l*52); Mutr
MtrkiftttnR d*% Kltwiwsftittx (1870),
Lhht* und Wfndtpunkt* m aw Entwickf*
lunR dw Mutik (!80), He wrote a R
quiem, a liturgy, choral pJceca un4 mttt
orcheatrjd overture*,
Alstml, Johann Hemrleh, <9enf^n mutlc
5chtlari b, Hellrrnhitch, N^sHiut in 15HB;
d. WeiiwenhqrK. Trnmyivftntn. Ni*v, B, 1^38,
He tnught philosophy 1 and throlo*<y in
Welwenbufff. I! in nrttclen on music we
found in hli Rneydvp&dif d#t
Wisunschaften (1610) and in hi* A7
ALTAR ALTMANN
tale mathematicum (1611), translated into
English by Birchcnsha (1644).
Altar, Ccvat, Turkish writer on music;
b. Constantinople, Sept. 14, 1902. He
studied in Leipzig (1922-27); taught music
theory in Ankara (1927-35), and was a
founder of the Ankara State Cons. (1936).
In 1951 he was appointed director of Turk-
ish theaters; in 1954 he visited the U.S.
under the Educational Exchange Program.
He has translated several German books into
Turkish; wrote several essays on Beethoven's
use of so-called Turkish music, and initiated
a 6-volume edition of musical biography.
Altenburg, Johann Ernst, German trum-
pet player and composer; b. Wcissenfels,
June 15, 1734; d. Bitterfdd, May 14, 1801.
He was ficld-trumpeler during the 7 Years*
War; then became organist at Bitterfeld.
He wrote the first special manual on play-
ing the trumpet and kettledrums, Venuch
einer Anleitung zur heroisch-musikalischttn
Trompeter- und Paukerkunst (Halle, 1795;
reprinted, Dresden, 1911); also pieces for
2, 4, 6, and 8 trumpets, and a concerto for
7 trumpets and kettle-drums. Of. A. Werner,
Johann Ernst Altcrnburg ( 'Zeitschrif t fur
Musikwissenschaft, 1 1933).
Altenburg, Michael, German church mu-
sician: b. Alach, near Erfurt, May 27, 1584;
d, Enurt, Feb. 12, 1640. He studied theol-
ogy at Halle (1601); became pastor at
Trochtelborn (1611k then at Grftsa-Som-
mcrda (1621), and finally in Erfurt (1637).
He published a Wedding Motet in 7 parts:
a collection of songs 'for Church and Home*
in 6, 7, 8, and 9 voices (3 vols.; Erfurt*
1620-21); 16 instrumental Intradcn in o
parts (Erfurt, 1620) and numerous church
anthems some of which have been perma-
nently incorporated in the Lutheran service*
For a detailed list of works, see Adrio's
article in 'Die Musik in Gcschichtc und
GegenwarV
Altcs, Ernest-Eugene, French violinist and
conductor: brother of Joseph-Henri Altes;
b. Paris, March 28, 1830; d. St.Dye\ near
Blois, July 8* 1899. He studied with Haben-
rek at the Paris Cons,, where he won first
prize for violin playing In 1848. In 1871 he
joined the staff of the Paris Opc"ra as con-
ductor, retiring in 1887. He composed a
symphony, chamber music, and an orchestral
Divertissement on ballet airs by Auber on
the occasion of Auber's centennial (1882),
Altes, Joseph-Henri, French flutist; brother
of Ernest-Eugene Altes; b. Rouen, Jan. 18,
1826; d. Paris, July 24, 1895. He studied
at the Paris Cons.; then became flutist at
the Paris Opera. He was appointed prof,
of flute at the Paris Cons, in 1868, holding
this post to the end of his life. He published
a number of flute pieces.
Altglass, Max, lyric tenor; b. Warsaw,
Feb. 16, 1886; d. New York, Feb. 15, 1952.
He studied at the Berlin Cons.; sang in
Berlin and Prague, and made his American
clcbut with the Metropolitan Opera in 1924.
Later he was active as vocal teacher in New
York.
Althousc, Paul, American tenor; b. Read-
ing, Pa., Dec. 2, 1889; d. New York, Feb.
6, 1954. He studied with O. Saengcr, and
made his debut as Dimitri in the American
premiere of Boris Godunov at the Metro*
politan Opera on March 19, 1913; later
undertook Wagncrian tenor roles there j was
also for a time a member of the Chicago
Civic Opera and of the San Francisco Opera,
He sanp with Toscanini and the N. Y. Philh.
as soloist in Beethoven's Ninth Symphony;
also appeared with other U.S. orchestras,
lie gave two recital tours in Australia and
New Zealand, In the last years of his life
Althousc was mostly active as vocal teacher
in New York.
Altmann, Wilhclm, German music bibli-
oftraphcr* b. Adclnsvu, near Posen, April 4,
1862; d. HildcBhcim, March 25, 195L He
studied philology and government in Mar**
burg and Berlin, and in 1885 received his
Dr. phil He served as librarian in Greifs-
wald (1889-1900). In 1900 he was ap-
pointed a librarian of the Prussian State
Library in Berlin; in 1915 he became direc-
tor of the music dcpt., retiring in 1927. In
1906 he founded, in cooperation with Brcit-
kopf & Hilrtel, the 'Deutsche Musiks&mrn*
lungj 1 at the Berlin library. From 1945
he lived in Hildrsheim* Altmunn compiled
a number of valuable bibliographical works;
among them Chronik des Berliner Philh,
Orchtsters (1902); Richard Wagners Brief e
(1905; a list of 3143 letters with brief
synopses ) ; Brahms Briefwechsel ( 1 908 ) ;
Wagners Briefwechset mit seinen Vtrlegern
(2 vols,, 1911); Kammermusik~Literatur
Verxeichnis (1910; a list of chamber music
published since 1841: 6 revisions up to
1945); Max-Regtr-Katalog (1917 and
1923) ; catalogue of music for viola and
viola d'amore (1937) and a catalogue of
piano music for 4 and 6 hands and 2jH& no *
(1943) Altmann also edited Paul Frank's
TonhVnstler-Lexikon (1926, 1927 ? 1936,
1949). Furthermore, he published bibliogra-
phies of books on instruments; also made
arrangements of classical works*
27
ALTNIKOL ALYPIOS
Altnikol, Johann Christoph, German or-
ganist and composer; b. Berna (Silesia) in
December 1719 (baptized Tan. 1, 1720);
d. Naurnburg, July 25, 1759* In 1744-48
he studied with J. S. Bach; was then or-
ganist at St. Wenzcl's Church in Naumburg.
On Jan. 20, 1749 Altnikol married Baches
daughter, Elisabeth. In a letter of recom-
mendation Bach describes him as "quite
skillful in composition," As Bach's copyist,
Altnikol established authentic texts of many
of Bach's works, See (passim) II. David and
A. McndeL The Bach Reader (N.Y., 1945) j
also F. Blume's article in 'Die Musik in
Geschichtc und Gegcnwart.*
Altsclmler (ahlt-shooMSr), Modest, Rus-
sian conductor; b. Mogilev. Russia, Feb. 15,
1873. He studied cello at the Warsaw Cons.
(1884-86), and later took courses at the
Moscow Cons, with Arensky and Timevev
(comp.) and Safonov (piano and concl,),
graduating in 1890. After touring Russia as
a cellist, he emigrated to America. In 1903
he organized in New York the Russian
Symph. Soc and conducted its first concert
on Jan* 7 ; 1904. This organization became
an important cultural medium for perform-
ances of Ruttijm music in America; Alt-
schuler obtained from Scriabin the right of
the world premiere of The Poem oftixtasy
and conducted it in New York on Dec. 10,
1908. At the name concert Miicha Klman
wade his American debut. Altsehuler also
gave the first American pcrf. of Scriubm's
Prometheus, employing the 'color organ* pre-
scribed in the score, which wot built es-
pecially for this performance (N. Y. March
20, 1915): among other Russian composers
whose works were presented by him for the
first time in America were Ippolitov-Ivanov,
Liadov, Rnchmaninov and Vajiiulenko, Even-
tually AlUchulcr settled in Los Angeles as
a teacher. In 1956 he was writing his mem**
oirs*
Alvarado, Alberto, Mexican composer;
b. Durango. Dec. 10, 1864; d, there, June
18, 1939, He wrote nearly 1000 pieces of
various types ranging from waits?* to sym-
phonic works, mostly of a descriptive nature:
(Kl princips dt Asturias; Angel JUujtr;
Almas Destroxadas; * Fiesta encantadora;
Suite Tropic*!, Corai6n latino),
Alvarca (uhl-vah-ra 1 ), Albert Raymond
(real name Albert Gourron), French tenor;
b, Bordeaux, 1861; d. Nice, Feb. 26, 1933.
He sang at various opera houses and at the
Paris Opra: made nis American debut at
the Metropolitan Opera, on Dec. 18, 1899,
as Romeo. He remained tharc for three
seasons, then appeared In London, and
again in France. His repertoire comprised
about 60 roles.
Aivary, Max (real name Achenbach),
German tenor; b. Dttsscldorf, May 3, 1856;
d. near Gross-Tabarz, Thuringia, Nov. 7,
1S98. His father was a well known painter,
Aivary studied with Stockhauscn; made his
debut at Weimar. On Nov. 25. 1885 he
made his American debut at the Metro-
politan Opera as Don Jos6 singing in Ger-
man; later he specialized in Wngncnan
roles, in which he was eminently successful
in America and in Germany.
Alwin, Karl, German conductor and
composer; b. Konigsbcrg, April 15, 1891:
d. Mexico City, Oct. 15, 1945. He studied
in Berlin with Humpcrdmck and Hugo
Kaun; then became Karl Muck's assistant
(Berlin and Bayrcuth, 1912). He conducted
in Halle (1913); Poien (1914); Dttssddorf
(1915-17) and Hamburg (1917-20), From
191H)-3B he WAS conductor of the Vienna
vStaiuaopcr, and guest conductor in England,
France and Spain. He left Austria per-
manently in 1938. He was conductor at the
Opera Nucional in Mexico from 1941 until
his dc;uh in 1945. In 1920 he married
Elisabeth Schumann (divorced 1936).
Alwyn, William, English composer, b,
Northampton, Nov. 7, 1903, He studied at
the Royal Academy with McKwrn; in 1928
became teacher thrre. In 1937 h was
elected a member of the Worshipful Com-
puny of Musicians. H* wrote a piano con-
certo (1930) ; violin concerto (1938) : oboe
concerto ( 1 944 j ; a symphony (194&J; thr
oratorio The Marriage of Heaven and Hell
(1930); several orchestral suites; Lyra An*
getica tor harp and string orch. (1954);
some chamber music; piano sonata am
songs, Alwyn has achieved his greatest sue*
cess as composer of Aim music (Desert Vie-
tnry, Odd Man Out, etc.) to which his
Ability to write effective music in a xwxier*
ately advanced Idiom is eminently suited.
Alypios, Grtttk musical theorist, who
flourished in the middle of the 4th century.
His 'Introduction to Musk* is the chid
source of specific Information regarding an*
cient Greek notation; it contains a summary
of Greek scales in all their transpositions,
both for voices and instruments. This treatise
was published fay Meurtius (Ley den, 1616) ;
by Mmborn in his Antiquae musuae auc tares
septem (Amsterdam, 1652); and reprinted
by F. Bcllermann In Z)iV Tonleitern und
Mutiknoten der Griechen (Berlin, 1847).
A now critical edition is found in Jan**
Jtriptortt graeci (1895). A graphic
AMADEI AMBROS
explanation of the notation of Alypios is
presented by A. Samoiloflc in his article Die
Alypiusschen Reihen der altgriechischen
Tonbezeichnung in 'Archiv fiir Musikwissen-
schaft' (1924; pp. 383-400).
Amadei, Filippo, Italian opera composer;
b. Reggio, 1683; place and date of death
unknown. His claim to attention arises from
the circumstance that he, under the name
of Signer Pippo (diminutive of Filippo),
was the real author of the first act of the
opera Muzio Scevola, for which Bononcini
wrote the second act, and Handel the third,
and which was produced at the Royal
Academy of Music in London, April 15,
1721. Amadei's name was erroneously con-
verted into Filippo Mattei by Matthcson in
his Critic a music a and the mistake was car-
ried into reference works and Handel'*
biographies.
Amalia, the name of three German prin-
cesses who were musicians. See Anna Amalia
(Princess of Prussia), Anna Amalia (Duch-
ess of Saxe- Weimar) and Amalia Friederikc.
Amalia Friederikc, Princess of Saxony
who wrote comedies under the name of
Amalie Heiter; b. Dresden, Aug. 10, 1794:
d. there, Sept. 18, 1870. She composed
several light operas (Una donna, L ire
cinture, X)i* Siegesfakne, Der Kanontn-
schuss f etc.) and church music,
Amani, Nikolay Nikolaycvitch, Russian
composer; b, St. Petersburg. April 4, 1872;
d. Yalta, Oct. 4, 1904. He studied at the
St. Petersburg Cons, with Rimiky-Koriakov
and Liadov (1890*1900); then went to
Italy and played a concert of his piano
works at Naples (July 29, 1900) ; in 1901-
02 he traveled in Germany. Tuberculosis
forced him to stop working; he lived his
last two yean in the Crimea. Amani's music
is close in style to Tchaikovsky; but he wrote
only in small forms.
Amar, Ucco, Hungarian violinist; b,
Budapest Dec. 4, 1891* He studied with
Henri Marteau in Berlin, and later joined
the Marteau Quartet as second violinist, He
was subsequently concertmaiter of the Berlin
Philharmonic (1916-20) and at the National
Theater In Mannheim (1920*23). In 1922
he organized the Amar Quartet (with Wai*
ter Caspar, Paul Hindemith and Mturits
Frank) ; toured Europe with this group
until 1929* He left Germany in 1933: lived
in Paris, and eventually settled in Turkey
as prof, at the Ankara Cons*
Amat, Juan Carlos, Spanish physician
and writer on guitar playing; b. Monistrol,
1572; d, there, Feb. 10, 1642. His book
Guitarra Espanola en cinco or denes (Bar-
celona, 1596) has been reprinted many
times. See E. Pujol, Sienificaci6n de fuan
Carlos Amat (1572-1642) en la histona de
la guitarra in 'Anuario Musical,' vol. V
(Barcelona, 1950).
Amati, a renowned family of violin mak-
ers at Cremona, Italy. (1) Andrea, b. 1530
(?), d. 1611 (?), was the first violin maker
of the family; his violins were usually of small
pattern, but show a marked advance over
the Brescia instrs. His two sons, (2) Antonio,
b. 1550, d. 1638, and (3) Girolamo, b,
1556; d. Nov. 2, 1630, worked together for
a time, producing violins of nearly the same
style of their father. (4) Niccolo, b. Dec. 3
1596; d. April 12, 1684, the most celebrated
of the Amatis, improved the model in several
respects, and, though generally working with
a small pattern, built some so-called %r*nd
Amatis' large violins of powerful tone,
clearer, purer, and more sonorous than in
those of his predecessors. His label is 'Nico-
laus Amati Crcmoncna. Hierommi films An-
tonii nepos. Fecit anno 16.' In his work**
shop were trained both Andrea Guarneri
and Antonio Stradivari. (5) Niccol6's son,
Girolamo, b. Feb. 26, 1649; d, Feb. 21,
1740. the last of the family, was far inferior
to his father as a workman. See Ltitgen-
dorff, Die Geigen- und Lautenmachef vom
Mittelaltcr bis xur Geffenwart (Frankfurt.
1904; 4th cd. 1922, in dictionary form) ; 0.
de Piccoldlis, Genealogia degli Amati 9
Guarneri (1866).
Amato, Pasquale, Italian baritone; b.
Naples, Marchll, 1878; d, New York, Aug.
12, 1942. He studied at the Cons* of Naples
(1896-99); made his debut in La Travtata
in Naples m 1900. He later sang at leading
European opera houses, and in Russia, Eng-
land, Egypt and Argentina. He made his
American debut at the Metropolitan Opera
in La Traviate (Nov. 20, 1908) with Sem-
brich and Caruso* Amato remained a mem-
ber of the Metropolitan Opera until 1921
and then settled in New York as voice
teacher,
Ambros, August WMhdm, eminent musical
historiographer; b. Maum, near Prague,
Nov. 17* 1816 j d. Vienna, June 28. 1876,
He studied law and music; rapidly roie
in the legal profession; was appointed Public
Prosecutor in Prague (1850), but continued
to devote much time to music j published his
Die Greruten der Musik und Poesi* (Leipzig,
29
AMBROSE AMELLER
1856; English translation, N. Y., 1893) as
a reply to Hanslick's views on esthetics;
followed by a brilliant collection of essays
under the title, CulturhistoriMhe Bitder aus
dern MusiUt'ban dcr (trgrnwart (Leipzig,
1860) ; also published two collections of ar-
ticles, Aunt* Matt ft (1872-74; 2nd eel. by
K. Votfd, 189ti). In ltt<i!) Ambros was ap-
pointed prof, of music at Prague Univ. ami
Prague Cons.; in 1871i received a post in the
Ministry of Justice in Vienna; he also taught
at Vienna Cons. II is major work was the
monumental Gcschichta dcr Musik commia-
aionrd by the publisher Lcuckurt in IBM).
Ambros spent many years of research in the
libraries of Munich, Vienna, and several
Italian c.itict for this work, but died before
completing the 4lh volume, which was ed-
ited from his notes by C, F. Hecker and
O. Nottelwhm; a 5th volume wu* published
in 1882 by O. Kade from newly collected
materials. W, LmiKhnns wrote a irquel iu
a more popular style under the title J)if
Gtschithttt dtr Musik dts /7, If), und t!h
Jakrhundtrtx> bringing the work up to date
(2 volumes, 188JMW). A list of names and
general index were issued by W. Muniker
(1882)* A 2nd edition of the original 4
volumes (Leipzig, 1880) eontnmed the fol-
lowing: Vol. I, The Iirginnin#n of MUNJC;
Vol. It, From the Chrintuin Km to the First
Flemfoh School; Vol. III, From the Nether-
land* Mjtcm to Palcntrirw; Vol. IV, Piilea-
tnrui, his contemporaries and itwucdwtc
aucceasora. Volume I him been rewritten, not
nlwuya for the twttrr, by II, Sokolovnky ; 2nd
volume wua reprinted in a new revision by
Riemmtn (t8f)!i)j volume IV by Leiehteit-
tritt (1MW); volume V wan revised and
enlarged by O, Kade ( HM t ) . Ambroa wa
alto an excellent practical mwiieitw, a pro-
ficient pinnint* and composer, He wrote an
opera 2n C&ech, flr#tis!ttw t a Jttktt; overtures
to Othnlli* and the Mttflwv prottttffaw* nu-
mrmui nongit, nnl rcltgitmft inuHtc. Clf, (Juido
Adler, August Wilhetm Atnbnu in the 'Mui,
<Jwiy r
Amhroe (Ambrwtti*)
and creur f 4 AtnhroMutn Chant;* b, Trier
(Tr&ve), r. :H3; d. Milan, April 4, M7.
Hi* Wit elected Hihop of Milan JI74
rafioTkixrei after hi$ death. In U84 hi? wasi
jrwdr rrjiptmsible for the regulation and
(iffvrUmmrnt of ringing in the
Church, by the intrmhuuiwi and
of ritual nitg (antiphonal nnd
tiwtml) itt urartimi at the ttmr m th
Katern C'hurch. Ills indisputable authorship
of ieverut Kacrn4 non^jt h;w cnntctl hint the
title of *Fa*hrr e>f CihrJntlan Ifymrnitofly,'
but hit rrjiutcd <u>mpo*itbn of the 'Anibro-
sian Chant,' Te Deum laudamus (said to
have been sung by St, Ambrose and St.
Augustine at the baptism of the latter) is
mythical. ~- Bibl.: Biraf;hi, Inni sinvcri e
carmi di /?. Ambrogio (^filan, IHtil!); (.
M. Dreves, Aurclius AwbrtHius* drr V<tter
dcs KirtiktingfAtintfus (Freiburg, UU)3); A.
Mocqucrca.ii, Nt)tes *ur Vinflurncf dt V accent
ct du cur sus toniqut. latin* dam It chant
tiwhrosirn (l*ari, IH!)7) ; A. Steier, Untrr-
sudiunf<tin iibvr die Mtthfit dcr Ilyrnntin
dcs Anibtwius (Leip/if^ 1JHKJ) ; 1*. WuKner,
Introduction to the (itfftvrittn intltHlifs, part
1, Origin and Dnwlofinifnt </ the Farms of
Liturxictd Chant. (London, l ( J07); K, (Jnr-
ba^nuti, A'/fUltf J"// 1 an tic a &atm<*din aw-
brosiana (Rome, 1912); A. S. Parodi,
la $u<t ttt\ (Milan
Ambrose^ Paul, or^anim; !>. Hamilton,
Ontario, Oet, H 1868; d, there, June 1,
1JHL He studied with hi* father; wax <M'-
Kaniut at variotts rhurchnt in New York
(188b'-HU7) ; then taught in New Jerney.
He was fmr times president if the National
Afittociation of
d' Ambrose, Alfredo, Italian vinliitint and
comp<ier; b Naplen, June Ki, 1 87 1; d,
Nice f Dec, W, l!>H. He ntuiiircl with K,
Bojwi at the Conn. <f Naulen (romp*)*
violin with S;tr;is*itc in Madrid and with
Wilhelmj in London* Settled In Nice HI
teacher, ami lewder of n 3t^ri*( (|ii;irtrt, He
%vrtte an opera /** d<t Tvfatttti; a twllrt
Jfttxilw; a *triK quintet; ;t stuiii^ quartri;
2 violin foncrrtoy, And many nnutller com-
poattiom fr violin (fttnnttn-'d, dtinsvntttrt,
etc,).
AmhrojiJus, Hermnnn, Carman cnmm)*t*r;
li. Hamburg July 25 UW7, He ntutlfrcl ut
the Univ. of LCIP/IK; took ntaitrr tourura
with I*fit/ner in Hrrlitt (i^!t-;M1. From
HUM -"1 5 hr was Bcttvf in f*ri$i/iif *IM trucher
nd let'tttrer. After Wnrttl War II hr nettled
at Hen, A prolific composer of ymph<mirjt,
comrrtoa t chnmhrr tnuiic antl
Amrllcr, Andr^-Ctharlei, Frencti
h, ArttsivtUr, Jwn, 2, Hj;i, He atwiiruj com*
posit ttjii wtth Ro#*T4)urft*'r *4tui (Jjuibert
Ht the I'itri* tloni,; nino violm nm! double-
bitus. He wai it priHonrr of war in (trrtttfiiiy
in IfllO; thrn rrnmneil hJ utmlim. H* h,i
written tin oprra Stiiupmn (fana; Outwtw*
wlrnnfll* for orch*; VwttH
(l*;uU Radio, lW)j lmJlf ,
,w<f (H)^0); /*ftt* d* titbit for
liml piiwui U^5S)j T^rr^ Merit*, 6
for voitir jtnd orcn. (l$5(*}
30
AMENGUAL ANGINA
Amengual, Rene, Chilean composer; b.
Santiago, Sept. 2, 1911; d. there, Aug. 2,
1954, He studied with Humberto Allende
at the National Cons, in Santiago. His com-
positions are few, and mostly in small forms ;
their style shows influences of the modern
French school. He wrote a piano sonatina
(1938); Introduction and Allegro for 2
pianos (1939),- piano concerto (Santiago,
June 30, 1942); El Vaso for voice and
chamber orch. (Santiago, Aug. 25, 1944),
etc. His Burlesca for piano is included in
the album *Latin American Art Music for
the Piano 1 (N. Y., 1942).
Amfitcatrov, Danicle, composer and con-
ductor; b. St. Petersburg, Russia, Oct. 29,
1901; studied composition in St. Petersburg
with Wihtol, in Prague with KriSka, and in
Rome with Respighi. He stayed in Italy
until 1937 when he came to America as
assistant conductor of the Minneapolis
Symph. Orch. (1938-41). In 1941 he settled
in Hollywood as composer of film music;
became an American citizen in 1944. He
has written for orch. Poemn d&l Mare
(1925), Miracolo dells Rose (1927) ; Amer-
ican Panorama (1934), and some chamber
music, as well as numerous film scores.
Amlot (ah-myoh*), Joseph Marie, French
ecclesiastic; b. Toulon, Feb. 8, 1718: d*
Peking, Oct. 8, 1793* lie wa Jesuit mis-
sionary to China; while there, he translated
la Koang Ti'a work on Chinese music ; (7<?m-
mentaire sur U livre classique touchant la
musique des anciens; also wrote Mfanoires
sur la musique des Chmois, tant anciens que
modernes (vol. VI of *M6moires concernnnt
Thistoirc, lea sciences, lei arts, etc*, den
Chlnois'; Paris, 1780, edited by Abb
Rouflier).
Amirov, Fikrct Dzhamil, Azerbaidatfmn
composer; b, Kirovabad, Nov. 22, 1922. He
played native instruments; also studied com-*
position. His music reflects native folkways.
He has written a symph, poem To the
Memory of the Heroes of me Greek JVfl-
tional War (1944): several symph. poems
on national modes 'mugamas*; double con-
certo for violin, piano and orch, (1948);
The Pledge of the Korean Guerilla Fighter
for voice and orch. (1951); variations for
piano (1940), many arrangements of folk
songs*
Ammann, Bcnno, Swifts composer and
conductor; b. Gersau, June 14, 1904. He
studied at the Leipzig: Cons, and with
Honegger. Milhaud and Roussel in Paris.
He was choirmaster at the State Theater in
Basel (1936-39); at the Tcatro Reale in
Rome (1939-42); then, conductor in Switz-
erland and France. Among his works arc
a mass Defensor Pacts (Rome, 1947), a
string quartet and a saxophone sonata.
Ammerbach, EHas Nikolaus, German or-
ganist and contrapuntist; b. Naumberg, c,
1530; d. Leipzig, Jan. 1597 (buried Jan.
29). From 15(iO he was organist of the
Thomaskirche, Leipzig, He published Orgel
od$r Instrument Tabutatur (Leipzig, 1571),
a work of importance regarding progress
and development in the practice of tuning,
the fingering of keyboard instruments, ex-
ecution of graces, etc. (described by Becker
in Die Hausmusik in Deutschland, Leipzig,
1840) ; and Ein neu kunstlich Tabulator-
buch (1575; 2nd ed,, 1583). He also pub-
lished numerous compositions for organ and
clavichord*
Amuipn, Blasius, contrapuntist; b. 1560 at
Imst, Tirol; d. Vienna, June, 1590. He was
a choir boy in the service of Archduke
Ferdinand of Austria, who sent him to
Venice for his musical education. In 1578 he
returned to Innsbruck and joined the, Fran-
eiaenn Order. In 1587 he went to the Fran-
ciscan monastery in Vienna, where he
entered the priesthood. He printed a book
of 5-part Introits (Vienna, 1582); a book
of 4-port masses (Vienna, 1588) ; 2 books
of 4, 5 and G-part motets (Munich, 1590).
A number of works in MS are in the li-
braries of Mtmieh and Vienna. A voluxne
containing his church music was published
by Cfarcilianu* Huigens m 'DenkmUler der
Tonkunit in Ostcrrdch* (38, I).
Amon, Johann (Andreas), German mu
aiemn; b. Bambergj 1763; d. WaUerstem,
Bavaria, March 29, 1825. He atudied horn
with Giovanni Punto and traveled with him
on tours in France and Germany, From
1789 till 1817 he was music director at
Heilbronn; then became court conductor to
the; Prince of Ottmgen-Walleratein, He
wrote 2 operas, 3 Requiems (one of which
he intended for performance at his funeral),
and many pieces of chamber music.
Ancina, Giovanni Glovenale, Italian
ehoral composer; b. Foftiano. Get 19, 1545;
d, Salusso, Aug. 31, 1604. He studied med-
icine and theology; became interested In
music when he met Filippo Neri; in 1578
he joined the Congregaatione delP Oratorio,
founded by Neri* Ancina wrote church
music: published Tempio armonico delta
beata versine (Rome* 1599), Of, J. Bacci,
Vita di G. <7. Ancina (Rome, 1671): also
Pietro Damilano. G, G. Ancina e la lauda
cinqutcentesca (Milan, 1953)*
31
ANCONA ANDERSON
Ancona, Mario, Italian baritone, b.
Leghorn^ Feb. 28. I860: d, Florence, Feb.
22, 1931. He studied social science and law,
and started as a diplomat. He soon turned
to the study of singing, however, and made
his debut at Trieste; then sang at the prin-
cipal opera houses of Italy. He appeared
as Tonio at both the London (1892) and
New York (1894) premieres of PaRlincci;
for nine seasons he was a member of (.'event
Garden; he spent five seasons at the Metro-
politan Opera, and two at the Manhattan
Opera House. He also appeared in Spain,
Portugal, Russia and Argentina. His reper-
toire included such various roles as Anion-
nsro, Sachs, Wolfram, etc. After retiring
from opera ho was active as vocal teacher
in Italy.
Ancot (ahn-koh'), a family of musicians
at Bruges, Jean (plre) f b. Bruges, Oct. 22,
1779; <L there July 12, 1848; violin virtuoso,
pianist and composer; studied (1799-1804)
in Parii under Baiilot, Krcutzer, and Catcl;
then settled in Bruges as teacher. Publ. 4
violin concertos; overtures, marches, sacred
mime, etc. ; most of his works arc still in
MS. Taught his sons: (1) Jean (fUs); b.
Bruges, July 6, 1799; d. Boulogne, June 5>
1829; finished his mus. education at the
Paris Cons, under Pradher and Be.rton; tin
accomplished pianist, he was successful in
London (1823-25); eventually settled in
Boulogne. He was an astonishingly prolific
composer (225 works; * piano concerto,
sonatM, etudes, 4-hund fantasias, also violin
concertos); and (2) Xouls| b. Bruges, June
3, 1803; d, there, 1836; for A time pianist
to the Duke of Sussex, London; made ex-
tended continental tours, taught At Boulogne
and Tours, and finally returned to Bruges.
He wrote piano inuiie, in talon style.
Anda, Ge, Hungarian pumiit; b, Buda-
pest, Nov. 19, 1921, He ttudlfd with
DohninyJ tt the Royal Musta Academy in
Budapest; won the Liwtt Prize, During World
War II he escaped from Hungary and
settled in Switzerland, He appeared with
major symphony orchestras in Europe ; made*
his American debut with the Philadelphia
Orch, in Get* 1955. He has also given nu-
merous recitals in Europe and America; his
program* are built on contraiti of romantic
and modern music ; he is enfttdaUy ufm**
ful In the works of Brahms, Lim and Bartdk.
Anderson, (Carl) Joachim) Danish flute
player and composer; b. Copenhagen, April
59, 1847: d, there. May 7, 1909; son and
pupil of the flutist Christian Joachim Ander-
sen. From 1869-77; member of the Royal
Orch*; 1881 in Berlin, where ho w*s co-
founder, and for 10 years first flutist and
assistant conductor of the Philh. Orch.;
from 1893, cond. of the Palace Orch. at
Copenhagen. He wrote solo works for the
flute; also pieces with oreh. : Hungarian
Fantasia, Ballade; Dance of the Sylphs; 24
easy and 24 difficult etudes, etc* His prother,
Vigo, was an eminent flute playerj b.
Copenhagen, April 21, 1852; d. by suicide
at Chicago, J[an. 29, 1895. He was first
flutist in the Thomas Orch. in Chicago*
Andersen, Karl August, Norwegian com-
poser and cellist; b. Oslo, Sept. 29, 1903.
He studied cello in Oslo and later with
Hugo Becker in Berlin, Since 1924, cellist
in the Oslo Philh. Orch* He has written
a string quartet (1934); chamber tyniph.
(1936); suite for orch* 1937); trio for
flute, clarinet and cello (1939); and choral
works.
Andersen, Stall, American pianist; b. Lmn
Grove, lowtt. Feb. 28, 1897, of Norwegian
parentage. She studied at the American
C<m*. f Chicago, with Josef Lh&vinnc in
New York, and with Iiidor Philipp in Puns.
She made her New York debut at Town
Hull in 1921; then gave recitals in Europe.
Returning to America in 1939, she was ac-
tive a teacher (American Com,, Chicago)
a well AS performer; she Utter untied in
St. Paul, Minn.; after 1946 made several
European tours*
Anderson, Arthur* American tw*s; b* Har
vry, III, Aug. 16, ^98- He studied Ht ttfo*
citmtui Com, and later in Italy, He made
his debut in Malta; then toured Italy. Upon
his return to Amrriru he made hi* deliut
at the Metropolitan Opera M Dormer In
/>* Hhiinsold (Feb. 2B, 1932). Eventually
he settled m New York ft* vocal teacher,
Andcnon* Marian. American enmrako: b.
Philadelphia, Pa., Feb. 17. 1902, She itudled
voice wuh uiuieppc B<>hetti; won a vocal
<:ompetltitn a^ainit 3UO rntmnti and wai
ut at the I^wUohn Stadium with the
, Philh., on AUK- 27, 19M. Sh<? later
ejurd in prngrnrntf with ttol&nd Hnyct,
In 1930 the made her European debut b
Berlin. 1930-32, iltct gave $% etmeerti in
Sfftndinavm and again in 1^3-34 7i42
eancerti) ; lit 1934 he anK in Parii, J^on-
don. Holland and Belgium j in 1934-33,
made A tour of Poland* Ku^a, Latvia,
Switzerland. lielgium, AuttrU, Hungary,
Italy and Spain* From 1935-36 *ho toured
America, giving * concert In Carnt-glo Hall
on Jan* 30, 1936; another European tour
followed Including Vienna, Budapest ami
The Hague, From Jan, to May, 1938, ate
ANDERSON ANDRE
gave 70 concerts in the U.S. and South
America, and again in Europe (1938-39).
In Feb., 1939, Marian Anderson became a
center of national attention when she was
forbidden to sing at Constitution Hall in
Washington. In protest against this case of
racial discrimination, a distinguished group
of citizens, headed by Mrs, Franklin D.
Roosevelt, sponsored her concert at the
Lincoln Memorial (April 9, 1939), which
was attended by 75,000 persons. She was
the first Negro singer to be engaged as a
permanent member of the Metropolitan
Opera Co., making her debut as Ulrica in
The Masked Ball (Jan. 7, 1955). She re-
ceived the honorary degree of Mas. Doc.
from Howard Univ., Washington, D. G. in
June, 1938. Cf. Kosti Vchancn, Marian
Anderson (N,Y., 1941).
Anderson, Thomas, English organist; b.
Birmingham, April 15, 1836; d. there, Sept.
18, 1903. He served as organist in Birming-
ham churches; was also music critic there.
He composed several cantatas: The Song
of Deborah and Barak; The Wise and Fool-
ish Virgins; The Wreck of the Hesperus;
John Gilpin; The Three Jovial Huntsmen;
The Norman Baron; and Yuletide; an Eng-
lish Requiem and instrumental music.
Anderssen, Alfred, Finnish composer; b,
Helsinki, July 4, 1887; d. there. Sept. 10,
1940. He studied in Helsinki and m Munich;
settled in Abo as a choral conductor and
music critic. In 1926 he married the singer,
Karin Lirnncll. He wrote an opera Kohtalo
(1932), 2 symphonies, 15 cantatas, and
many choral works,
d' Andrade (dihn-dr&h'-dS ) , Francesco,
Portuguese baritone: b. Lisbon, Jan. 11.
1859; d. Berlin, Feb. 8. 1921. He studied
in Italy; made his debut in San Remo
(1882); then lived in Berlin. He was well
known as a successful singer in Europe; his
most famous role was that of Don Giovanni.
Andrade, Mario do, Brazilian poet and
writer on music] b. S. Paulo, Oct. 9, 1893;
d. there, Feb. 25, 1945. He studied at S.
Paulo Cons.: in 1935 he was appointed
director of the S. Paulo Dept of Culture.
Andrade spent much time on special re*
search and reconstruction of Brazilian folk
songs and dances; he was also active as
music critic* Among his publications are
Carlos Gomes (Rio de Janeiro, 1939);
Musica do Brasil (1941); fequena Hist or ia
de Mtsica (1942).
Andre*, Johann, German composer, pub**
Usher, and father of a musical family; b.
Offenbach, March 28, 1741; d. there, June
18, 1799. He founded (Sept. 1, 1774) at
OlFcnbach a music publishing house under
his name and had publ. 1,200 compositions
by the time of his death. For seven years
(1777-84) he was Kapellmeister at DSbblc-
lin's Theater in Berlin. He was a prolific
composer, author of 19 Singspiclc and 14
miscellaneous scores for the stage, among
them Der Topfer (Hanau, Jan. 22, 1773)
and Der Liebhaber als Automat (Berlin,
Sept. 11, 1782). Brctzncr wrote the libretto
of Die Entfiihrung aus dem Serail, or Bel*
mont und Constanze for him; the opera was
produced in Berlin, May 25, 1781. The
same text was used the following year by
Mozart for his celebrated work, which
elicited Brctzner's haughty protest against
u a certain man named Mossart" for the un-
authorized use of his libretto* Among
Andrews songs, the Rheinweinlied ('Bckranzt
mit Laub') was widely performed. Andr6 is
credited with being the composer of the first
'durchkomponicrte Ballade,' Die Weiber von
Weinsberg (1783).
Andre", (Johann) Anton, third son of
Johann Andre; b, Offenbach, Oct. 6, 1775;
d, there April 6, lt)42. A precocious talent,
ho studied with Vollweilcr in Mannheim
(1793-96); was a fine pianist, violinist and
composer before entering the Univ. of Jena;
after completing his studies ho made exten-
sive travels, and on his father's death took
charge of the business, adding particular
lustre to its good name by the purchase
(1800) of Mozart's entire musical remains.
He publ. Mozart's autograph thematic cat-
alogue, and supplemented it by a list of the
works so acquired. By accepting the appli-
cation of the lithographic process to music-
engraving (1779), he took another long
stride towards placing his firm in the front
rank. He was also a composer (2 operas,
symphonies, songs, etc.), a successful teacher,
and a noteworthy theorist. He wrote 2 vols.
on harmony, counterpoint canon and fugue,
(1832-43; new revised ed. 1875); and An-
leitunst xurn VioUnspiele*llit sons were;
(1) Carl August b. Offenbach, June 15,
1806; d* Frankfurt Feb. 15, 1887; head
(from 1835) of the Frankfurt branch opened
in 1828, and founder of a piano factory
('Mozartflugcl') : author of Der Klavierbau
und seine GesMcht* (1855), (2) Julius,
b* Frankfurt, June 4, 1808; d. there, April
17, 1880; a fine organist and pianist, pupil
of Aloys Schmitt (his grandfather's pupil),
author of a Praktische Orgelschule, com-
poser of several interesting organ composi-
tions, and arranger of Mozart's works for
piano, 4 hands. -(3) Johann August, b*
$3
ANDREAE ANDRIESSEN
Offenbach, March 2, 1817; cL there, Oct.
29, 1887; his father'* successor (1839) in
the publishing establishment. His two sons,
Karl (b. Aug. 24, IB53; d. June 29, 1914)
and Adolf (b. April 10, 1855; d. Sept. 10,
1910), succeeded to the business.- -(4) Jean
Baptist c (d*$t.GUU$) 9 b. Offenbach, March
7, 1823; d. Frankfurt, Dec. 9, 1882; pianist,
and composer of various pipers for piano
and voice, was a pupil of A. Schmitt, Tau-
bcrt (piano), and Kessler and I Mm (har-
mony); lived for years in Berlin; had the
honorary title of 'Hr-raoglic.h BernbrrKisohcr
Ho f kapellmeister.'
Andreae, Volkmar, Swiss conductor and
composer; b. Bern, July 5, 1879* He studied
music with Karl Muny.ingcr in Bern, and
later at the Cologne Cons, with Wvillner.
From 1901 cm, he devoted himself mainly
to conducting; was conductor at the Munich
Opera (1001); then chorus leader at Win-
terthur and /{Inch, where he settled in 1902,
He was director of the fttirich Cons, from
1914 till liKtt). He distinguished himself pur-
ticulariy by hi performances of oratorios
and beeamrt known as one of the best con-
ductors of Bruckner's music. In his compo-
sitions Andreae reflects the post -romantic
tendencies of {Jerman music. He wrntr 2
operas: Hateliff (Duishurg, May 25, 1914)
and Abenttwer des Casanova ( Dresden, June
17, 1924); several choral works (7>*r <*#
tick*) C/ttfrrtrtj A/W/f/w Atatpntalitdt etc,) \
2 symphonies* a violin concerto, a concertino
for oboe and oreh, ; 8 Chinese nongs for
tenor, LiTtti*P0: 2 string quartet*; 2 pinno
trios; u string trio, a violin sonata and pinno
pieces, See K. Seller, /)r, Valhnar And?****
. , > sum Jvbit&um $*in*r 25 j&hrigtn 7'ftijf-
koit (7<Urlrh, 1931).
AndrcV, Klfrida, Swedish tirKiinint ami
composer; b. ViHy. Feb. Hi, 1B41 1 d, Stock-
holm, Jan* tl, 1S29, She studied at the
Stockholm Con*, and with Cade in Copen-
hagen; at the ;vmr time studied telegraphy,
und was the lint woman telegrapher in
Sweden, In 18ti7 ahe obtained the pout f
organist at the Goteborg Cathedral, She
established ;t ttcrir* of popular concert*, and
prwnted about 800 programs. She wits u
member of the Swedish Academy of Music,.
A piwterr aiming wtnnen musician*, the
wan the first Swedish woman to write tin
organ symphony, and wrote a Swedish Maxi,
which h*id frequent performances, and
chamber imwe.
Cons. He was subsequently appointed prof*
there. He has written a music, history in 3
volumes (Zagreb, 1951-54) ; monographs on
ttcrlioz and on several Yugoslav composers;
became editor of a musical encyclopedia in
2 volumes (Zagreb, 1957).
Andrcvi, Francisco, prominent Spanish
church composer; b. Sanahuja, near I/rida,
Nov. 16, 178(i; d. Uarcrlona, Nov. 23,
1853. He started as choir l>oy> and from
his earliest years devoted himself to the
study of church music. At the atfe of 22
he became director of music at the Cathe-
dral of Scgorhc; then held similar jjosts at
the churches at Barcelona, Valencia and
Seville. During the civil war in Spain he
was in Bordeaux (1B3IM2); later m Paris
(l*M5-49)j where he published his 7'raiW
d'lfarrnanw ft da Ctwtfuwition (1848); in
the same year it was also published in
Spanish. Andrrvi returned to Barcelona in
1840. He wrote a sucred <lrnma Juwh n-
vtntit; also much choral music, most of
which is in MS,; two of hi sacred chciriuci
(N\tnt dimitiix and ti(ttvi rtftinaj arc in-
cluded in Kaluva'rt 'Lira S
Andrico, Michal* RumnnLin conmose.r;
b, Bucharest, Srpt. 1!2 18M He stxuhed at
the Bucharest (Ions,; won the Knescn Vth/et
(1924); later taught at the Academy of
Music. He han written a Vuftif fit ttt)r**qu
for ordi,; iiiann quintet; a strinK <iuartct
and piano piece*.
AndrJcx, Jcn Helinn inunicuin; li, Ghent*
April 2\ 1798; cl, there, Jan, 2t % IW2. H
plnyed violin m a Itn-al iheutrr from 1813
till 1848 at the name time taught at the
CJhent Cons.j tn 1851 became director, re-
tiring m 1859. He publinhrd the following:
treatises : Ap*r$u historitju* dt t*>ui /*r in*
atrunttntx dt tnuiiqu* (it'tutttrrntnt an uta$*
(185I); l*r/rw d* I'hirtuit* dt la wtuiqu*
dupuit hx temps It* plus r*<riiW (1862);
tnxtrumtntf 4 <rn<; La F/4tif (1S66); /6f
marques sur Us dnckf* #1 /* cttrittons
Andreh, jfonip. Croatian
b. Split, March Ul t 1909, ICc itutr pM-
ophy in Zagreb; then music at the Zagreb
, Htndrik, Dutch
(brother of Wttlmn); b*
Srju, 17. 2802. Hr itudM with hU brothrr;
then with tfwerr* (t'omjj<situm) at the Am*
wtrrdam Com. ; taught hnrnmuy there (1928*
34). He w* oriutnint t Utrerht Ckthrdral
(1934-42) and director of thf Utrecht Cow,
M 837*49)$ director of th Royal Cfcm> at
Thr UAK* (1^49), Kin works tnetudt* 3
ftymphoniri (1910, 1<)37, t<)4(>);
for <>rrh, (1949); Mim Mmpttx
Spans* Chr'uti (1933); Mit:<*
ANDRIESSEN ANFOSSI
tonica (1935); Psalm 47 (1945); cello
sonata (1926) ; violin sonata (1933) \ Sonata
da Chiesa for organ (1927); Miroir de
Pcine, song cycle (1923). His opera Philo-
mela attracted a great deal of attention
when it was produced at the Holland Festi-
val, in Amsterdam, on June 23,. 1950.
Andriessen, Jurriaan, Dutch composer;
son of Hendrik Andriessen; b. Haarlem,
Nov. 15, 1925. He studied with his father,
and later in Paris, returning to Holland in
1948. He has written many scores for the
theater; a piano concerto; Dutch Rhapsody
for 2 pianos; a violin sonata and other
chamber music for various combinations.
His style reflects the neo-classical trend, in
which Stravinsky's influence is much in
evidence.
Andriessen, Willem, Dutch pianist and
composer; brother of Hendrik Andriessen;
b. Haarlem, Oct. 25, 1887. He studied at
the Amsterdam Cons.; received a prize for
excellence, having performed his own con-
certo at the graduation ceremony (1908),
He was prof, of piano at The Hague Cons.
(1901-18),* later at the Rotterdam Cons.;
in 1937 he was appointed director of the
Amsterdam Cons. lie was also active as a
concert pianist, notable for his performances
of the classics. As a composer, he has written
mainly for piano (sonata, sonatina, etc.),
Anerio, Felice, Italian composer; brother
of Giovanni Francesco Ancno; b, Rome,
c. 1560; d. there, Sept. 27, 16 14. He studied
with G, M. Manni; was a chorister at Santa
Maria Maggiore in Rome (1568*75); then
sang at St. Peter's under Palestrina (from
May, 1575 to March, 1579). In 1584 he
became maestro di cappella of the English
College in Rome. After Palcstrina's death,
Anerio was appointed by Clement VIII to
succeed him an composer to the Papal
Chapel (April 3, 1594). His eminence as
composer is best attested by the fact that
several of his compositions were for a long
time supposed to be Palcstrina's own. Be-
sides MS$. in Roman libraries, many of
Anerio's works are extant in printed collec-
tions. They include: Madngali spirituali
a 5 (1585, reprinted 1598); Canton* tt
a 4 (1586, reprinted 1603, 1607) ; Madrigetli
a $ (1587) ; Madrigali a 6> book I (1590,
reprinted 1599) ; Conctrti spirituali a 4
(1593) ; Sacri hymni cantica a B 9 book I
(1596); Madritali a 3 (1598) j Madrigal*
a 5j book II (1602); Rtsfionsorii ptr la
Stttimana Santa a 4 (1602); Sacri hymni
cantica a 8, book II (1602) and Rspon-
soria a 4 (1606), BibL: L. Torri, JY*i partn-
tali di P*lic* Antrio ('Rivista Musicale
Italiana,' 1914): A* Cametti, Nuovi con-
tributi alle biografie di Felice Antrio
('Rivista Musicale Italiana,' 1915).
Anerio, Giovanni Francesco, Italian com-
poser; younger brother of Felice Anerio; b.
Rome, c. 1567; d. June, 1630, on his way
from Poland to Italy (buried in Craz, June
12, 1630). He was a chorister at St. Peter's
(1575-79) and sang with his brother under
Palcstrina; later he became maestro di
cappella at the Lateran Church ( 1 600-1 603 ) .
He was at the court of King Sigismund III
of Poland in Cracow (1607); in 1608 he
returned to Rome; then became choirmaster
at Verona cathedral (1609); at the Sem-
inario Romano (1611-12) and at the Jesuit
church of S. Maria dei Monti in Rome
(1613-20). He became a priest in 1616;
visited Treviso (near Venice) in 1624. He
was a prolific composer in all forms of sacred
music; many of his works were printed by
leading Italian publishers. He also arranged
Palestrina's 6-part Missa Papa* Marcelli for
4 voices (Rome, 1600). Bibl,: G, Liberali,
Giovanni Francesco Anerio* in *Notc d'Ar-
chivio' (Dec., 1940).
Anet (ah-na'), Jean-Baptistc, French
violinist, known as Baptistc; b. c. 1661; d.
LuneVillc, Aug. 14, 1755. lie was a pupil
of Corelli in Rome; returning to France,
became a member of the Royal Chapel in
Paris; in 1736 he -went to LuneViue as
musician to the former Polish King Stanislas
Lcszczynski. Anet publ. 3 sets of sonatas for
violin with basso continue (1729) and 3
albums of duos for musettes (1726, 1730,
1734, Cf. L. de La Laurencie, l?4col*
frangaist de violin (vol. 1, Paris, 1922).
Anfossi, Pasquale, prolific Italian opera
composer; b. Taggia, near Naples, April 25,
1727; d. Rome, Feb., 1797* Originally a
violinist, he studied composition under
Piccinni, and brought out two unsuccessful
operas, but with his third opera, L'incognita
perse guitata (Rome, 1773) won popular ap-
proval. This ojjcra was written on the same
subject as Piccmm's previously staged opera
ana Anfossi had a greater success, backed
by a powerful clique hostile to Piccinni,
Anfossi then proceeded to briny out opera
after opera. He wrote 76, whicn. were suc-
cessful In Rome for a time: later he sought
new fields: in Paris (1779), London (1781-
83, as director of the Italian Opera) ; then
in Prague, Dresden and Berlin* Returning
to Italy in 1784 he was appointed maestro
di cappella at the Lateran in 1791, and
turned his attention to sacred composition
(12 oratorios, masses, psalms, etc,)* Mozart
wrote two arias for use in Anfossi's opera
11 curioso indiscreto (Vienna, 1783) and
for Lt Gtlosit fortunate (Vienna, 1788).
35
d'ANGELI ANGLES
Angeles, Victoria dc Los. Sec DC Los
Angeles.
d'Angcli, Andrea, Italian composer and
writer on music; b. Padua, Nov. 9, 1868;
d. S. Michele, near Verona, Oct. 28, 1940.
He studied at the, Univ. of Padua; then
was instructor at the Licco Rossini in Prsaro.
He wrote several operas: IS Innocent* ; It
Negrom&nte; Al Ridotto di Vrnrsia; Fiori
Colombif Manrizio c Lazzaro; also a
number of libretti. He published monographs
on Verdi (Milan, 11)24) and Benedetto
Marcello (Milaiiy 1930), and numerous es-
say* on music in 'La Oonaea Musicalc* of
which he was editor (1907-14).
Angclini, Bontcmpi Giovanni Andrea. See
Bon tempi, Giovanni Andrea*
d'AngcIo, Louis, baritone; b. Naples, May
(i, 1888; brought to the U.S. as a child;
firnt apprenticed a* a glove cutter in (Jlover*-
ville, N. Y,, then sang in a local church,
He went to New York at IB and appeared
in vaudeville; then sang with the Savage
Optra Co,; joined the staff of the, Metro-
jwlitan Opera during the 1 91 7-1 B season,
retiring in 1046. Hr had more than 300
operatic roles in his repertoire and was par-
ticularly nuecfMnful an linrtolo in Tht Harbor
of Stmlt*.
Angclonl, Carlo, Italian composer; b,
IAICCA, July JO, 1834; cl. there, Jan. 13.
HK)L He wrote the following operas, all
performed at Lucca : (tar fa di Vianet ( 1853) ;
Asrwt* dfgli AbtnefTaf>i (1871); f)r<tmma
in mantagna (prrf. posthumously, 1902).
Bibl.: L. Lnnduec.L Gttrtn Anetfam (Lucca,
1905).
Angekmi* Luljrj, Italian writer on muaiej
b, Fronionc, Patwl State*, 1730s d, I*omfun,
Feb. 5, 1842. H wrwc u valuable mono-
graph! Sopra la vita, tti </>*r* ed it sttptrt*
di (luido d'ArtKKQ, rttttiuttttnr* dtlla Mirnztt
% d?\V ana mtuta* (Purix, IBIl),
d'AnpfUbcrt, Jean-Hrnri, French clavecin
player i r. Farta, probably m HiiiBj d, there.
April M, 1691, He ntudird with Chnmpitm
dc (iluiilxmni>rc; In 1$64 hr succeeded
hfn teacher a* clavec,init to I*oui XIV. In
he publighod a coUce.thm, Pieces 40
ttvtff la manitre dft /iff jouer^ con*
oriKmal uitc, ftrrancrnrnti of air*
from JLuily'ft opera* and tvl*o ^12 vnrintinni
F&ttt* f'^ii4f<r (the, thcnte latrr urd
by CJorclH); thi* Mme vdtawc cc*ntijrt In*
itruction on %ttmi ba IVAnKlcbrrt con-
tributrtl flrentiv to thi* entabHthmrnt of the
Pwfttth method of pr rforwmnc.e on the clav-
rein, lib extant cwpoiititw* were published
in 1934 hy Marguerite RoesKcn-Clhanipion
in Publications dc la Soci^t6 Fran^aisn dc
Musicologie,' also containing biographical
information* His son Jcan-Baptistc Henri (h,
Paris, Sept. 5, 1661; d. there, March 9,
1747) succeeded his father as court musician.
(if, Ch. Houvet, L$ deux d'Anglchtrt in "La
Revue de, Musicologic' (May, 19iiB).
Angles, Higini ((Catalan form; in S]ianish,
Higinio Anglos), distinguishecl musicolo-
gist; b. Maspujols, (Catalonia, Jan. 1, Ittttft.
He studied philosophy at Tarragona (12)00-
13) ; musicology with Felipe IVclrell and
composition with V. M. Gibrrt in Barcelona
(1913-10). In 1917 he became head of the
Music Dept* of thn Brccl<n;t library. In
19U3 he went to (Germany and studied with
W. Crurlitt at Freiburg and F. Ludwig at
Gb'ttingen, In 191J4 lie returned to Ijarcelona
and in 1927, became, prof, of mimic, hUtory
at the Conn, With the outbreak of the Sjwn-
ish Civil War in 1036, he went to Munich;
returned to Barcelona in 193!), In 1943 he
wa appointed director of the trmituto Kn-
pailol <ie Musicologia; in 1917 he Itreantie
director of the Pontifical Iwtitute of Sacred
Music, in Rome, His mont important pub
licution is Kt Mdtx Munical d# Ltt* ttutlfttn
(3 vol.H., 19^H*3I) containing fai'sinu'lr* ;uid
transcriptions of Spanish music of the 13th
and 14th centuries. Part of the text of this
edition wax published in the 'Mun. Quar-
terly' (Oct., 1940), He ht pnbHsbed the
following bcmkn: (font i gat M IM N'Anftu
#t *Vtf/n" (Barcelona, 1927) ; //it^rm de I ft
miHiea fxpaHoltt (Barerlcnm, 1935) j /* w*
tira a Gatalunya fins at wgl* XIU (Hur"
celorta t 1935) ; f*d m^itVt iufHtn&ln dtwv In
fdad mtdlei hast A nutxtrnx dint (Hun'rlonw,
1941), nml ninny mnntter wwkn, He editrd
the collected works of J, Pujol (Ifl'W); the
organ works of C^hnniues (191***),* f : n Mu^
.trV ttn //i <Vorf* d* fox fttytx f/ffM/fcar (It
voh,5 Madrid, 1941, !Jrcelmn, i!H7)j
ropitariAn d* Xfin*t<** etc, by Juan
(IJwrceJona, 1946); AV <?/:iffo
d Pafatfa (HareeUmit, 1947), An^l^ii h
rrmtribtited to nmny muitk jmnrmta am)
h*ij written rtielr on Sjmru'nh ntuwie fur
l e 4 r
n *e* 4 cte nnti
He 2 regarded tin an tmtatftttdittf? rxprrt on
Spanttth muntc of the Middle Age*,
Angle*, Rafael, SpunUh or#an!it ant!
emnjw#er; ti. Hnfalei (1Vrel), i7fUi d.
VftlrnrU, Feb. 19, IHIIi; wn* orKwrtiut t
VleneU (Uuhedml from 1762-71 ft* de-
voted hi* life to Htuftfieal muir; ftlxo wrote
keyboard picce ftnir of whJch re printed
SJ, N!n in hi* collection, 17 *Ven/iMi et
, rw ancitnnts d'autwn txpttenotj (ParU,
36
ANIMUCCIA ANSERMET
Animuccia (ah-ne-moo'-tchah), Giovanni}
Italian composer of sacred music j b. Flor-
ence, c. 1500; d. Rome, March 25, 1571.
In 1555 he was appointed maestro di cap-
pella at St. Peter's as successor to Palcstrina
(who resumed that post after Animuccia's
death in 1571). In 1570 Animuccia joined
Ncri in the oratory of S. Filippo; his Laudi
spirituali were used by Neri, who expressed
his admiration for Animuccia's ability and
devout spirit. These Laudi were contra-
puntal songs in several parts, interspersed
with occasional strophes or lines sung by
a solo voice for variety's sake; the first book
of the Laudi was printed by Dorici (1563),
the second by Blado (1570). Other pub-
lished works are a book of masses (1567),
2 of magnificats, a 4-part Credo , 4 books
of madrigals. Modern reprints of a mass
and a 5-part madrigal are in Torchi's
'L'Arte musicale in Italia' (vol. I). Ani-
inuccia's compositions show a gradual eman-
cipation from the involved formalism of
the Flemish school in the direction of a more
practical style, which is in some respects
similar to Palcstrina's, That Animuccia pos-
sessed great skill in purely contrapuntal
writings is^ shown by his intricate canons.
His association with Ncri undoubtedly
played a role in the formation of the ora-
torio. See G. Reese, Music in the Renais-
sane* (N.Y., 1954; pp. 453-55).
d'Ankerts. See Danckcrts, Ghisclin.
Anna Anialia, Princess of Prussia, sister
of Frederick the Great: b. Berlin, Nov. 9.
1723; d. there, March 30, 1787. She re-
ceived her general musical training from
her brother; then studied with the cathedral
organist, Gottlieb Haync, and with Joh. Ph.
Kirnberger. She -wrote music to Ramler's
Tod Jesu which was later set also by Graun ;
she also composed some instrumental works
and many chorales, Her sonata for flute, a
trio sonata and 4 military marches have
been published. She assembled a great
library of manuscripts, including some of
Bach; a catalogue was published by Eitncr
(Berlin, 1884).
Anna Amalia, Duchess of Saxe-WeimAr:
b, Wolfenbttttel, Get, 24, 1739; d. Weimar,
April 1(X 1807, She -was the mother of the
Grand Duke Charles Augustus, who was
Goethe's protector. Goethe supplied her with
a ^libretto for Erwin und Elmire, a 'Sing-
spiel'; first performed at the Weimar Court
(May 24, 1776), it had numerous revivals,
Max Friedl&nder publ. its vocal score in
1921. She also wrote some instrumental
music (Divertimento for piano, clarinet,
viola and cello, etc.). See W. Bode, Amalie,
Her zo gin von Weimar (3 vols., Berlin,
1908); O. Heuschclc, Herzogin Anna
Amalia (Munich, 1947).
Annibale (II Padpvano, from his birth-
place, Padua) ; Italian organist and corn-
poser; b. Padua, c. 1527; d. Graz, March
15, 1575. He was organist at San Marco,
(155^66) ; from 1566 Kapellmeister ('Obris-
tcr Musicus') to the Archduke Carl at Graz,
His published works include: a book of
Ricercari a 4 (1556; modern ed. by N.
Picrront and J. P. Hcnncbains, 1934) ; a book
of madrigals a 5 (1564) ; a book of motets
a 5-6 (1567) ; a book of masses a 5 (1573) ;
a book of Toccate e Ricercari for organ
(1604). Two Ricercari for organ are re-
printed in vol. Ill of Torches 'L'Arte musi-
cale in Italia/ Cf, G. del Valle de Paz,
Annibale It Padovano, nella storia della
musica del cinquecento (Turin, 1933; con-
tains complete bibliography and musical
examples).
Anrooy (properly Anrooij), Peter van,
Dutch conductor and composer; b, Zalt-
BommdL Oct. 13, 1879. He studied with
Johan Wagcnaar; later went to Moscow,
where ho took lessons with Willem Kes and
Taneyev. He played the violin in the or-
chestras of Glasgow and Ziirich; then was
engaged as conductor in Holland (Gron-
ingcn, Arnhem). In 1917 he became con-
ductor of the Residentic Orch. at The
Hague, He retired in 1935* Anrooy has
written an orchestral rhapsody on native
themes Pint /fetn (1911), a ballade for
violin and orch., and chamber music*
Anschxitz, Johann Andreas, German mu-
sician; father of Karl Amchutz; b. Koblenz,
March 19, 1772; d. there, Dee. 26, 1856.
In 1808 he founded a school for vocal music
at Koblenz. He was a lawyer by profession,
but was also a pianist and conductor, ana
composed numerous vocal works.
Anschiitx, Karl, German conductor; son
of Johann Andreas: b. Koblenz, Feb., 1815;
d. New York, Dec, 30, 1870. He studied
with Friedrich Schneider. In 1844 he as-
sumed the directorship of the music school
founded by his father, in 1848 went to
London (where he conducted the Wednes-
day Concerts for a time). In 1837 he went
to America and settled in New York as
opera conductor* He was a cultivated musi-
cian,* apart from his activity as conductor
he published several piano pieces.
Anscrmet, Ernest celebrated Swiss con-
ductor j b* Vcvey, Nov. 11, 1883. He first
37
ANSORGE ANTES
studied mathematics with his father, who
was a teacher of geometry; received his first
musical training from his mother; after ob-
taining a degree, from a college in Lausanne,
Ansennet taught mathematics at the High
School (1906-10). At the same time, he
pursued his musical studies with Dcnlrcaz,
liurblan and Krnest liloch; later with Oe-
dalge in Paris. He also studied conducting
with Mottl in Munich and with Nikisch in
Berlin. He conducted popular concerts in
Montrcux (1911-14), where he met Stravin-
sky who recommended him to Diaghilev.
Subsequently, Ansermet conducted Dia-
fthilcv's Ballets Russcs in Europe and America
j[ 1915-23). On Sept. i>8, 1918, he presented
in Lausanne the world premiere of Stravin-
sky's ffistoifti du Soldat; in 19lfi he became,
permanent conductor of the newly founded
( >rehetre de la Suisse Romande in Geneva,
He hay made, numerous successful appear-
ances in the XJ. S. with major American
orchestras, His specialty is modern French
and Russian music; he is regarded as one
of the greatest interpreters of Debussy^ Ravel
and Stravinsky. He has composed a sym-
phonic poem FnuiUes dt Printtimps* a bal-
lade for piano and orch.; has also or*
chestrated Debussy 1 * 6 tpiRitxphts antique*
and 2 Argentinian dances by Julian Aguirrr.
He published /< geste du cncj
(Lciiuuinnr, 1943)*
Cj Conrad (Kdu&rd Rclnhold),
German pianist { h, Buchwaid* near Lo'buu,
Silesia, Oct. 15, IMZ\ d, Berlin, Feb. 13,
HUM, He studied at the Leip/ig Urns.
(1880*82) and wtw one of the last pupils
of Lis/t m Weimur (1883). He toured in
Russia and America; then lived in Weimar
(1693*95) and in Berlin (from m p >). Krtwn
1B9H he tiuitfht t the KHnd worth -Sehftr*
wenka Oous, In 1920 he gave courses at
the German Cant, in Prague,. Ansor^e ex-
celled a an interpreter of rwtwntic* rrwu-
ixMiticmi; he wns called "a meta|*hytemn
amontf pianists" for his Insight into the
inner meaning of the music of Beethoven,
Schubert and Schumann, He wrote u piano
concerto, n atrinK sextet. 2 string qusirtnt*
*md u eelto *mwt&; Mladfi, Truumbitdtr,
/V&fc /)<mi4U &nd 3 sonata* for piano, and
H Requiem.
An*0rg<* Joachim, Clernmn piantit,
, * kf*ittt>ifc) ****
of Clonrud; 1>. Wemi^r, July 24, 1893; d,
Vienna, July 22, UH7. II? studied with his
f*ithrr nnd his ntothrr, MorgHrrthe
schulc fiir Musik in Berlin; then went to
Vienna.
Anlcliffc, Herbert, English writer on
music; b. Sheffield, July :U) t 1875. He
studied organ with a local church organist ;
as a young man began writing music criti-
cism; in 19 Hi became music critic of 'The
Evening Standard.' In li)'^5 ho wont to
Holland as correspondent for 'The Daily
Mail'; in 19IW was elected President of the
Foreign Press Association; in 10 IB ^returned
to England. During his long sojourn in
Holland, he became an authority on Dutch
music and contributed many articles on
contemporary events in Holland to music
magazine^, He abo published miniature bi-
ographies of Urahnis ( 1 JH)f) ) und Schubert
(1910) ; brief manuals IMag Music ( 19111)
and llow to Knjvy Alutit: (11)^1), etc,
Antcgnati (;thn-u-n,ih'-tr) , (lostnnzo,
Italian organist and <'tMnposer; b. Bresciu,
c, 1549; d. there, Nov. Hi, 1624. He wus
descended from a family of organ builders,
and tfcrvrd as apprentice to his futhrr. In
1384 he became organist ;vt Hrrwt4 ejtthe,-
clraL His rnadrigjils and sacred composition*
(masses, motets, pauhns and cwn/oni) were
published in Venice (i371il>08) t with
pieces in organ tubhiturr; he aUo publishrd
an important treatise^ tSAttf cfrtfctniVct
(Hrrttna, IM)ttj new ed, by Ken;tu> l.unelH,
Muin/ T I9!ifl), HU ^ Rictrtttri for o
reprinted in voL HI of
*J/Arte musicak in halm, 1
Bibl.s D. Muoni,
Halle, Dec* 14, 1872; d. Berlin, Oct. 4,
1944), He* taught *vt the (loni. of KOnig^
l>rrg; in 1933 became prof* ut th<t Hoch*
Antes* John, 'Mtmtvi.**** minuter; b.
Frrdrrtrkntownnhipy l*a.| March 24 1740;
d, Uristol, Ktmliind, Dee, I7 t iaiL He left
America in lVt4, and wiis u minsioimry in
Kgypt where he, was beaten ami crippled
by order of u bey who tried to extort twwey
from hint, He spent the rest *f bis lifit in
England, Watc.hmnker by tr.ule, he w*u an
inventive nrtisun. He conntrucird several
string instruments; one violin, made by
htm in Bethlehem in 175# f fa preserved J
the Museum of the Munwuut Hifttoruutl
Society at Nwarrth. P. A contribution by
Antes tu the 'AurRemeinr Musikntiichc
2>itutt#' m IB06 describe* a device for
better violin tuning HI well M improvrftir nti
of the violin bow und of the keyboard hm-
tner. Antes a!t* invented 4i ttmchine with
which one could turn pagr* while phiying,
Ho wrote ntnuit 25 melodious short an-
thems to Cermiin or KnUh wwrtU for
ohoru*, winds, strings, und ar^iin. Alt of his
MS compositions are in th^ Archives of the
Church ut Bethlehem, Pa. and
ANTHEIL ANTOINE
Winston-Salem, N. G. His three string trios
were discovered in 194-9. They are the earli-
est chamber works by a native American, His
interesting autobiography was publ. in
'Nachrichtcn aus der Brudor-Gcmeine'
(1845). Cf. D. M. McCorkle, John Antes,
"American Dilettante" in the 'Mus. Quar-
terly 1 (Oct., 1956).
Anthcil, George, American composer; b.
Trenton, N. J., July 8, 1900. He studied
with Gonstantin von Sternbcrg and Ernest
Bloch; also with Glark Smith at the Phila-
delphia Cons. In 1920 he went to Europe,
where he played concerts of his piano
works, in an ultra-modern vein, with titles
such as Mechanisms, Airplane Sonata,
Senate sauvage. This emphasis on modern-
ism culminated in his Ballet mjcanique,
performed as an orchestral piece by Golsch-
mann (Paris, June 19, 1926). Upon his
return to New York, Anthcil staged a
spectacular production of the Ballet mc'ca-
nique at Carnegie Hall (April 10, 1927)
with the use of airplane propellers, which
created an uproar in the audience. A re-
vival of this work in a new version (with
4 pianos instead of 8 } and using a recording
of the noise of a jet plane (Composer's
Forum, N. Y., Feb. 20, 1954), passed with-
out incident, almost as a period piece. In
Europe, Antheil composed Zingareska for
orch. H921); Jazz Symphony for chamber
orch. (1925) ; Symphony in F major, No. I
(Paris, 1926) and a piano concerto (192(5).
His first opera Transatlantic (to his own
libretto), employing jaw: rhythm*, was staged
for the first time in Frankfurt (May 25,
1930) and aroused considerable! attention
as a curiosity of American modern music. A
second opera, Helen Retires (libretto by
John Erskine). wan produced in New York
(Feb. 28, 1934). In 1936 Anthcil settled in
Hollywood, In the meantime he had aban-
doned the extreme modernism of his early
music, and adopted an effective style com-
prising elements of classicism, romanticism
and impressionism, with moderately ad-
vanced harmonies. A number of works fol-
lowed: 'American* Symphony No. 2 (1937) :
Symphony No. 3 (1942): Symphony No. 4
(NBC Symph. Orch,, Stokowski conducting,
Feb. 13, 1944); Violin concerto (Dallas,
Feb. 9, 1947); Symphony No, 3 (Phila-
delphia. Dec, 31, 19*8); Symphony No* 6
(San Francisco, Feb. 10, 1949); Volpone,
opera after Ben Jonson (Los Angeles* Jan.
9. 1954) ; ballet, Th* Capital of the World
(N,Y., Dec. 27, 1953): and two short
operas. The Brothers (Denver, July 28,
1954) and The Wish (commissioned by the
Louisville Orch.; first pcrf., Louisville, April
2, 1955). Anthcil has also written 3 string
quartets, 2 violin sonatas, 4 piano sonatas,
a concerto for flute, bassoon and piano, and
many flute scores. He married Boski Markus
on Nov. 4, 1925. He is the author of an
autobiographical volume Bad Boy of Music
(N. Y., 1945). The poet Ezra Pound pub-
lished a pamphlet entitled Antheil and the
Treatise on Harmony, with Supplementary
Notes (Chicago, 1927), which, however,
has little bearing on Anthcil's work as
composer.
An till, John Henry, Australian composer;
b. Sydney, April 8, 1904. He studied music
at Sydney Cons,, and began to compose very
early. He has worked for the Australian
Broadcasting Commission; his compositions
have been mainly for the stage. His ballet,
Corrobboree (Sydney, Aug. 18, 1946) is
based on the. rhythms of Australian abo-
riginal music.
Antipov, Konstantin Afanasicvitch, Rus-
sian composer; b. St, Petersburg, Jan. 18,
1859; date of death unknown. lie was a
minor composer whoso works (mostly minia-
tures for piano) were published by Belaiev.
They include: 3 Etudes; 3 Waltzes; Varia-
tions on an original Russian theme ; 5 Pieces
(of which No. 1, Romance, is the best);
2 Preludes; 3 Miniature*, etc.; also an
Allegro symphonique for orchestra.
Antiquus, Andreas (also A. de Antiquiis
Vcnetus, or Andrea Antico); Italian music-
Erinter and composer; b. Montona (Istria)
i the latter half of the 15th century. He
printed music in Rome and Venice (1520},
and was probably one of the earliest in his
trade after Petrucd, who himself published
many of Anttauux'* FrottoU (Venice, 1504-
08). His collection of Canzoni, Sonetti*
Strambotti e Frottott, libra ttrtio, was edi-
ted by A. Einstein (Northampton, Mass,
Antoine, Georges, Belgian composer; b.
Liege, April 28, 1892; d. Bruges, Nov. 15,
1918 (of an ailment acquired during World
War I). He studied at the Cons, of Lifcge
(1902-13) with Sylvain Dupuis; joined the
Belgian Army in 1914. He wrote a piano
concerto (1914); Vtndangis for voice and
oreh. (1914) ; VtilMe d'Armes, symph. poem
(1918),* a piano quartet (1916): a violin
sonata (1912-15) and songs. ~~ Of. M.
Paquot, Georges Antoine (Brussels, 1935)*
Antoine, Josephine, American coloratura
soprano: b, Denver, Colorado, Oct. 27,
1908* She studied with Marcella Sembrich
at the Tuilliard Graduate School (1931-35).
After singing with the Philadelphia Opera
39
ANTOINE APPKNZELLKR
(1935), she, made her debut, Jan. 4, 1936,
as Philinc in Att^non at the Metropolitan
Opera, of which she became a member. She
ttlao sang with the Chicago Opera Co. dur-
ing the 1936-37 season,
Antoine, Paul. Pen-name of Ernest Clos-
son*
Anton, Karl, German writer on liturgical
music; b. Worms, June 2, 1887. He studied
theology and music at Halle Univ.; took the
degree of Dr. Phil, with the thesis n*itrag
xur Riofirapkie Carl Lonvts (Halle, IDlii).
From 1918 he taught music history at the
Mannheim Hoehsehule fiir Muaik. He pub-
lished a number of treatises on church
music, among them Luther und die Musik
(1917); Angewandt* Liturgik (1918) and
Rrntvervng der Kirchenrnusik (1932).
Anton, Max, German conductor and
pedagogue; h. BornstrcU, Aug. 2, 1877; d.
Bonn, Aug. 18, 1939. He studied with 8ta-
vrnhagen in Munich and James Kwn&t in
Frankfurt; then taught at Gladbach and
Drtmolcl. From 1922 was active in Bonn ju
choral conductor until his retirement in
J934 A prolific composer, he, wrote an opera
Die Gtrtu$n; an oratorio Kkkehardf sev-
eral iiifttrtirnental concertos^ piano pieces and
long*, Hr published Vcnuch tinttr Kunst*
Antony, Fran* Joseph, German organist
and writer on music-; b, Mttnitter, Went*
phuhX Feb. 1, 1790; d, there, Jan, 7, 1637.
He wa appointed music, director at MUnster
cathedral m 1BU>; in Hi 31!, succeeded his
father Joseph Antony (175B-1B3H) a or-
ganUt. He published At
tischtt GMitngbvch des
KiTch*nRewnx (Ift29) and
Darsttttunx der Kntxtthung und
mnung der Or^ti ( 1832).
Johann August, Germun icholur;
b, Leipasig, Sept* 17, 1771; d, thrrr { Aug*
9, 1816* He in important m mu^ic tusutry
/or hU collection tlttpensttrbuch (1810-14),
dealing with supernatural Ule, whie.h wan
the ituiplration For Wrbtr' ft*r FrtixchVix,
Apel Also published several tmtti.int on
mwic, amonK them a erie of nrtide* on
rhythm (In *Allgememrt muftikalUrhn Zci-
tunjc, 1 1807-8} and a large* work in 2 vol
uw*,M*lnk (1614*16).
Apd f WIU1, musU'ologiat; h. Konit^, Grr-
may t ^>ct, 10, lf>:*, He nudMi mathft-
matlet at Btmn Univ. (1912), Munich
(1913), and fr*rlin (1018*21), anil took
piano fefKms, He taught niathrmatiot and
music in (Jermany; in 1935 he came to
the U.S. lie ga,ve lectures at Harvard Univ.
(1938-4U); in 1950 he was engaged a
prof, of musirology at Indiana Univ., Bloom-
mtfton. While in (Jennany he edited 2
volumes of early muxic, Atusik aus friihcr
7,nt (Mainz, 1J)!M), and published li trea-
tises: pit' Fuge (1932) and Accidcnticn und
Tonalitat in den Mu&ikdtnkrntilfrn (t?s 75,
und 76'. Jahrhunderts (Strasbourg, 1!>3<5) ;
he al.so contributed to German music mag"
azincii. In America he publihed the ex
tremely valuable compilations* 77i* Notation
of Polyphonic Musir, MM- 1 GOO ((Jambridge.
Mas, 1942); The Harvard Dictionary of
Music (ibid,, 1944); //MfonVal Antlwtoxy
of A/.r>V, 2 vol (with A. T. Davinon;
ibid., 1946 and 15)40); Masters o/ thu Key-
board (ibid. ? 1947), Thit Harvard piV/ion-
wy of Music* comprising only nrtic'les on
forms and tcrrn.n, has r.itaMishrd it.ielf as a
prime reference work of inimical terminology.
Apo.itcl, Hans Krich, Austrian composer;
b. Karlsruhe, Jan. '-!',?, U)01, Hr atudird
with Schoenberg and Herg in Vienna;
adopted the lli-tone method in somr of hii
works. He hits written a Symphony, a
Rrqmew (to Rilkc's text), string quartet,
wind quartet, tiantita ritnncti for piano, r*tc
Appel, Richard Cilrnoro, music libr^rtun
atul organijrtt; b. Lnncastrr, !*,. April 25,
l0. He studied with Walbce <;iMulrirh in
Iicston and Karl Strautw in CSrrniAny. H
received his NC.A, from Harvarii Untv,
(HU!); was active an orp*mit at varioui
churr'h^s 2n Ifcmton ;mrl vicinity, Hf^ wwn
piHunted head f thr itutHtc tlrpt. of the
cNtt*n Tublio Library in If !!'; rrtirrd in
Appeldoorn Wna, Dutch cmnpo^rr; b,
Rotterdam, Feb. 2ft* !**; d, The HaftiM,
Der, *l J*K18. Khr was thr rmpmrr of i*v-
erttl works in romantic ntylr^ includinK 2
symphonic poems, M0rtaw and
hr nlo wrote charnirr music ami
and taught piano at The
Appttn*elden}> BfncdJctu*, Franco- F!eraih
rci!ti}xmrr of tnr* flntt half of thr Hith fi*n*
tury. lV>sibly a pupil of Jusrjum, hr itrrved
Mary of HtmK^xy ll * t>tH * rt wuiicmn and
of the choir IKW at hrr rlmintl In
<t, 1*154)
Bruundi (IS^^-<t, 1*154) and probably
hrr on her visit u Hpain (1531)*
worku wrre formerly attributed
Due in, a Carman ctMttpoKT
identity was ctmfuwd with hU, Amon^
7,eller' extant campoiitbnn are a (took
of cJunton* (1542$ two of the ehanft&ni
to
APRILE ARANYI
from this collection had been published by
Attaingnant in 1529 without being ascribed
to Appenzeller) ; a lament on the death of
Josquin (1521) which uses half of the
Musae Jo vis text; and a double-canon on
Sancta Maria embroidered on a tablecloth
for Mary of Hungary (1548). Pieces by him
arc included in the second Musyckboexken
of Susato; the Hortus Musarum, part I
(1552), published by Phalcse, contains a
transcription for two lutes of a piece by him.
liibl. : E. van dcr Straeten, La Musique aux
Pays-Bas (Brussels, 1867-8; volumes 3, 7,
and 8 ) ; D. Bartha, Benedictus Duels und Ap-
penzeller ( Wolfenbiittel, 1930); G. Reese,
Music in the Renaissance (N. Y., 1954).
Aprile, Giuseppe, Italian male contralto;
b, Martinafranca, Apulia, Oct. 28, 1731; d.
there, Jan, 11, 1813. From c. 1763 he sang
at the principal theaters of Italy and Ger-
many; then settled in Naples as teacher;
among his pupils was Cimarosa. Apr lie's
vocal treatise, The Modern Italian Method
of Singing> with 36 Solfeggi, first published
by Broderip in London (1791), has been
reprinted in many editions and several lan-
guages.
Apthorp, William Foster, American music
critic; b. Boston, Mass., Oct. 24, 1848; d.
Vcvcy, Switzerland, Feb. 19, 1913. A grad-
uate of Harvard Univ. (1869), he studied
tmuic with Paine. He taught music at the
New England Cons, and lectured on music
history at Boston Univ. He wrote music
criticism for the 'Atlantic Monthly* (1872-
77); wua music and drama critic on the
'Boston Evening Transcript 1 (1881-1903).
In his criticisms Apthorp violently opposed
new Russian, French and German music
(his intemperate, attacks on Tchaikovsky
elicited protests from his readers). Apthorp
was also the annotator of the Boston Sympn.
programs (1892-1901). He published several
hooks: Musicians ana Music Lovers (N. Y,
1894); By the Way, a collection of short
essays In 2 vola,: I. About Music, XL About
Musicians (Boston, 1898) ; The Optra* Past
and Present (N. Y, 1901). He was co-editor
of Scribnr>s 'Cyclopedia of Music and
Musicians 1 (N.Y., 1888-90),
Aptommas* See Thomas, John*
Ara, Ugo, Italian violinist; member of the
Flonasaley Quartet: b* Venice* July 19, 1876;
d. Lausanne, Switzerland, Dec, 10. 1936.
He studied violin with Tirindelli in Venice;
at the age of 13 played in theater orchs, In
1894 he went to Liege where he studied
with Ce*sar Thomson; he then took lessons
in composition with R Fuchs at the Vienna
Cons. When the Flonzalcy Quartet was
established, he joined it as a viola player,
(1903-17). He later returned to Italy.
Araja (ah-H'-ah), Francesco, Italian com-
poser; b. Naples, c. 1700; d, c. 1770. He
produced his first opera Lo matremmonejo
pe* mennetta in the Neapolitan dialect
(Naples, 1729) ; his subsequent operas were
Berenice (Florenee, 1730); La forza dell'
amore e dell' odio (Milan, 1734) ; Lucio
Vero (Venice, Jan. 4, 1735). In 1735 he
was engaged as musical director and court
composer in St. Petersburg. There he wrote
annual pieces for court occasions, beginning
with the cantata La gar a dell* amore e del
zelo (April 28. 1736). Among his operas
given at the Russian court were La $e-
mir amide riconosciuta (Feb. 9 1737) ; Arta-
serse (1738); Seleuco (1744); Scipione
(1745); MUridate (1747); Uasilo della
pace (1748); Bellerofonte (1750); Eudossa
incoronata (1751)* He wrote 22 operas;
La Clemenza di Tito, attributed to him by
some, was the work of Hassc. On Feb. 27,
1755, Anija presented in St. Petersburg the
first opera ever composed to a Russian text,
Ctphale et Procris (libretto by the famous
Russian dramatist Sumarokov). He, was in
Italy in 1741-42 and 1759-61; in 1762 he
revisited Russia briefly at the summons of
Peter III, his great admirer, returning to
Italy after the Czar's death. Nothing is
known of Araju's last years, Bibl: A.
Mooser, Annales de la rnusiqu^ et des mu-
siciens en Hussie au XV Ml sttcle, voL 1.
pp. 121-131 (Geneva, 1951),
ArakJshviH (ah-rah-k-shv6M6), Dmitri,
Russian composer; b. Vladikavkaz, Georgia.
Fcb, 23, 1873; d. TifhX Aug. 13, 19,53, He
studied composition at thn Moscow Phil-
harmonic Institute, graduating in 1901. He
lived mostly in the Caucasus; compiled na-
tive songs for the Musical Ethnographic
Committee of Moscow Univ. (1901 -08).
From 1917 on, he was prof, of music at
the TlHts Cons. He composed The Legend of
Shota Rustdveli (first national opera of
Georgia, perfonned in Tim's, 1919) ; 3 sym-
phonies; ymph. poem Hymn to the New
East (1933); many choral works and ar-
rangements of native songs.
d'Aranyi, AdlU. See Fachlrl, Adlla.
Aranyi, Francis, violinist: b. Budapest.
March 21, 1893* He studied at the Royal
Academy in Budapest, and later in Berlin
with Willy Hess and Henri Marteau, He
was a concert player and orchestral violinist
in Europe; in Vienna (1912-14), in Buda-
pest (1914-17); later in Stockholm (1921-
41
d'AR ANYI ARBUTHNOT
22), and Zagreb (1924-26). In 1935 he
came to America; was violin teacher at
Duqucsne Univ., Pittsburgh, Pn, (1935-40);
at Michigan State College (1940-41); con-
oertmaster of the Seattle Symphony Orch.
(1941-42), In 1942 he organized the Youth
Symph. Orch. of the Pacific Northwest, in
Seattle, where he settled.
d'Aranyi, YcIIy, violinist; rand niece of
Joachim, and sister of the violinist, Adila
Faehiri; b, Budapest, May 30, 1S05, She
studied with Hubay in Budapest; made her
concert debut in New York on Nov. 26,
1927; made her second American tour in
1932. She, has frequently appeared in joint
recitals with Myra He.ss. A pioneer in mod-
ern music, she has given first performances
of many new works, Bla Bartok's violin
sonatas* Ravel's Txigan* and Vaughan Wil-
liams 1 violin concerto are dedicated to her.
In 1937 she attracted considerable attention
by proclaiming that Schumann's spirit ap-
peared to her and revealed the secret of his
unpublished violin concerto; the MS of the
concerto, long known to have been preserved
at the Berlin Suite Library, was made* avail-
able to her, but the concerto was given its
firit performance by another violinist in
Germany in 1937; Yelly d'Arany! played it
tm Feb. 16', 1938 with the 1UJ.C. orch. in
London,
Arauxo (or Araujo}. See Carre* dc
Araujo,
Arbatsky, Yury, composer urn! music
scholar; b. Moscow, April 1$, 1911. Hit
family left Hu**m in H)24; he itudiird with
Lopittnikov in Berlin, find ulio took lesion*
with Rachmaninoff In Dresden; he gradu-
ated from Leipzig Cons, in 1932; in 1933
he nettled in YuKoslttvia where he wwi active
a* conductor and teacher. He accumulated
numerous materials on Bulkun folk munif ,
most of which were destroyed during the
bombardment of Belgrade in lf?4l, In 1942-
45, he was in Prague where he continued
his work cm Slavic folk music; in 1944 hr
iwHvrd hi dortoratr- from th Charles
Untv, In 1949 Arhatftky cimir to the U.S.A.,
and nettled in Chicago, In 1954 he trans-
ferred his vuluftblr collectum of folk muiic-
And deposited it At the Newberry Library^
Chienga. Dripite, conatant changes of resi-
dence, due to political vipheavfth, Arb^tsky
hai tompoird d greut number of worki:
8 symphonies, chamber and choral rnu*ir r
ftr. *Inf Newherry Libriry published his
PBWT R*ating thi Tup an in th* Ctntr&l
Balkans {('hicuRO, 19,Vl) f and ifveml of
hit sacred works, Of* 'The Arbatiky Colleo
tion,' in the *Bulletin of the Ncwbcrry
Library' (July, 1954).
Arbcau (iLhr-hfth), Thoinot (anagram of
real name Jehan Tabourot), French writer;
b. Dijon, c, 1519; d. Langres, r. 1595. He
owes his fame to his unique treatise in
dialogue form, Orchfaographie, *t traitJ en
forme <U dialogue par Ifqutl toutes pfrsann**
pcuvcnt faciUmfnt apprtndrt et pratiquitr
rhonnfte txtrcise dt$ dtmses (Langrcn, 1589;
2nd cd., 159(J), which contains not only in-
struction for dancing (indicating dunce
steps by a simple system of initial letters)
but also valuable observations on the dance
music of his time. It was puhl, in English
translations by (3. W. Heaumont (London.
1925) and M. Evans (N. Y., I9'lfl),
Arbo, Jens, Norwegian music, critic; b,
Kristiunsand, Aug. 20, 1835; d. Oslo, Jan.
B, 19'M. He studied in Oslo; then in Ger-
many (1911-14). He was music critic, of
'Musikbhulct* (1917-JM) ami of Morgw
bladet* (1924-43).
Enrique Fernandez, Spanish violin-
ist and conductor; b. Madrid, Drc, 24,
lr>3; d. San Sebastian, June 2, IfWfl. Hr
studied violin with Moiuuicrin in M.ulrid,
with Vieuxtrmpt in Bruwc-U, itncl with
Joachim in Berlin. After sucrri*ful tours in
Europe he returned to Spain in UWfl; taught
violin at the Madrid (Um,i, In I HBO hr wtu
concertnmster of thft <fbgt>w Symph, Orch,;
from !B?Mt9Iti he held the po*t of hon-
orary prof, at thr Rttywl Colleger of Muair
in Ltndon. Hr WAU ^ppatntrd ctmluc,tnr of
the new MutlrUl Symph. Orrh. in 1904;
conducted in the U.S. ( W8-IU ) ; then in
Europe, At the outbreak of thr Spanish
Civil War in 1#:U tut retired 10 Han 8-
bjwtinn, Artn'm wjwi th^ atlr *
t>prrii A7 Cfntro 4* M Titrrti
Dec, 22, 1895). Hr wun tt hriliuru *
trator; hi* arran^wrm of thr music from
Ibfrin by AIMnb ii vrry txipubr. Hihl:
V, Espm^s Molt6, El Mantra Arbtx
(Madrid,
Arhucklc, Matthew, Aineric.m cornet
player ami bandmaiter; h, ltt'^8; <1, Nt^w
York, May 23, 1883. Hr |uthl!hr4 a
manual under the title (lampltt* dQrntt
Method.
Arbuthnot, John. Brhiih phvutfian an4
musical ainftteur; b. Arbuthnoi. Hmtlan4
in 1667; d. London, Frb, 27, 171*. He
wu* one of thtt lounafrs of thr HmbJrru*
Cluh In London (1714) and wa frirndly
with Handrl during thr rompovr'* difHcuH
tics with his opera company. Arbmhnot's
ARCADELT ARDITI
publication entitled Miscellaneous Works
throws sharp sidelights on various persons
of interest at the time. He wrote several
anthems, glees, etc.
Arcadel t, Jacob (or Jachet Arkadelt,
Archadet, Arcadet, Harcadelt), great Flem-
ish composer; b. probably in Liege, c. 1505;
d, Paris, c. 1560. He was 'magister pucro-
rum' to the Papal Chapel (1539), and
choirmaster (1540). In 1544 he held the
office of 'Camerlingo.' He went to France
in 1546; returned to Rome in May, 1547,
In 1555 he again went to France, this time
with the Due de Guise. Arcadclt is men-
tioned in Paris as 'Regis musicus,' in 1557.
In the domain of secular music, his Roman
period was, in the main, devoted to the
madrigal; his Paris period to the French
chanson. He wrote 20 motets, about 120
French chansons and 200 madrigals. Of his
extant works, the most important are 6
books of 5-part madrigals (Venice, 1538-56;
his finest and most characteristic composi-
tions) and 3 books of masses in 3-7 parts
(Paris, 1557). Modern reprints include the
4-part *Madrigale parlando' // del che rado
(Ricmann, Handbuch der Musikgeschichte,
Part II] ; the 4-part madrigal // bianco e
dole* ci#no (W, B. Squires *Ausgewahltc
Madrigale') ; others in Eitncr (vol. XXIII ) ;
Schering's *Geschichte dor Musik in Bei-
spielen'j Maldeghcm*s *Tr6sor Musical/ Sec
also The Chansons of Jacob Arcadelt f ed.
by E. B. Helm (*Smith College Music Ar-
chives/ vol V, 1942), Bibl,: W, Klefisch,
Arcadelt als Madrigalist (Cologne, 1938);
A. Einstein, The Italian Madrigal (Prince-
ton, 1949).
d'Archaxnbcau (dar-shShn-boh') I wan,
Belgian cellist; member of the Flonzalcy
Quartet; b. Hervf, Sept. 28, 1879; d. Ville-
franche-sur-Mer, France, Dec. 29, 1955. He
studied music at home,; played in a family
quartet with his father and two brothers*
He then studied cello with A. Mamu in
Verviers and with Hugo Becker in Frank-*
furt. In 1903 he became a member of the
Flonzalcy Quartet, until it disbanded in
1929; in 1935 he joined the Stradivarius
Quartet tn New York. From 1939 until 1950
he lived in Cambridge, Mass.; then returned
to Belgium.
Archangelsky (ar-hahn'-gSl-ske") , Alex-
ander, Russian choral conductor; b. near
Penza, Oct. 23, 1846; d. Prague, Nov. 16,
1924. He studied singing and theory of
music at the Court Chapel in St. Petersburg;
in 1880 organized a chorus there, toured
Russia with it in 1899-1900, presenting 110
concerts; also gave concerts with his chorus
in Western Europe (1907 and 1912).
Archangelsky was the first choir leader in
Russia to include women's voices in per-
formances of sacred works. He supported
(with Grctchaninov) the reform movement
in Russian church music; wrote a number
of choral pieces for his organization and
made transcriptions of Russian church
hymns. In 1923 he went to Prague as con-
ductor of a students' choir, and died there
the following year.
Archer, Frederick, English-American or-
ganist, conductor and composer; b. Oxford,
June 16, 1838; d. Pittsburgh, Oct. 22, 1901.
He studied organ in Leipzig, and in 1873
was appointed organist of Alexandra Palace
in London; then became conductor of a
Glasgow choir (1878-80). In 1881 he came
to America; was active as church organist
in Brooklyn and, from 1895, at Carnegie
Institute: in Pittsburgh. He was the first
conductor of the newly organized Pittsburgh
Symphony Orchestra, from Feb. 27, 1896,
to 1898, when he was succeeded by Victor
Herbert. A prolific composer, he published
a cantata, King Witlaf's Drinking-horn;
organ and piano pieces and songs. The bulk
of his music remains in MS. He was the
author of the manuals The Organ (1875)
and A Complete Method for the American
Reed Organ (1899), and founder and editor
of the music magazine The Keynote* ( 1883 ) .
ArdeVol, Jose*, Spanish-Cuban composer;
b. Barcelona, March 13, 1911. In 1930 he
went to Havana, Cuba, settling there as
composer and teacher and conducting a
chamber music society. He has written a
ballet Forma, with chorus (Havana, May
18, 194.% composer conducting) ; 3 conccrti
grossi (1937-46); concerto for 3 pianos
?1938); 3 symphonies (1943; 1945; 1946);
6 sonatas for 3 instruments (1937-46) and
3 piano sonatas (1944)* Bibl.: CX Mayer-
Serra. Mdsica y Mtisicos de Latino-America
(Mexico, 1947, I, pp. 44-54). <
Ardld. Luigi, Italian composer and con-
ductor; b. Crescentino, Piedmont, July 22,
1822; d, Hove, near Brighton, England.
May 1, 1903. He studied violin, piano and
composition at the Milan Com., where he
also produced his first opera, / Briganti
(1841). He then embarked on a career as
operatic conductor. From 1846 he traveled
in Cuba (where he produced his opera II
Corsaro, Havana, 1846). and visited New
York and Philadelphia. In New York he
produced his opera La Spia (March 24,
1856). He finally settled in London (1858)
as conductor and vocal teacher, while mak-
43
ARKL ARIBON
ing annual toum with the Italian Opera
in Germany and Austria. He conducted in
St. Petersburg in 1871 and 1 873, His operas
and other works were never revived, but
be created a perennial success with his vocal
wait/ // llacio. He wrote his autobiography
My Rtminucmccs (N. V., I89<>).
Arel, Biilcnt, Turkish composer and pian-
ist; b. Constantinople, April 23, 1918. He
studied composition with Nre.il Kft'/im Aksc.s.
Since 1951, musical dir. of Radio Ankara.
Among hin works are 2 symphonies (1951
and 1952) ; Cain and Abd, music for radio;
piano concerto (19'K>); Suit* Intime for
orch. (1949) and chamber music.
Arms, Fran/. Xavirr, German-American
comtxwr; b. Necf (Rhenish Prussia), Oct.
2ft, 1856; d. Los Annies, Jan. 28, 1932.
Hiit family came to the U,S, and settled in
Milwaukee when he was very young; he.
studied with his father and later in Germany
with Rheinberger, t Upon his return to
America he was active ai conductor of var-
ious choral mid instrumental group*. Ho.
led the ftrftanKVrrrin in Cleveland (IBH5-
*Ui) ; from 1890-92 he was again in Kurope;
he* was the first to present complete pro-
gram* of orchestral works by American
composers in Germany. Hr was president
of thr Indiiinapolia College of Music (189*!-
96*), and Ititrr settled in New York tu vocal
trstchrr* In 1900 hr established ;t series f
IVopIr*i iSyttwh, Concerts. with low admis-
sion prices (from 5# to SOtf), Hr wrote
orchestral imisir, a string quart rt ttml
nutnercnis
Areniky, Anton Stepunovitch,
^er: b. Novdrml Aug. 11. Itttil j d.
^kJ, FinhmcL Ftb, 23, I90fi t He studied
at th* 4 St. Prtrrjibum CJoiw. with Jfohawurn
and Ritnuky-Komkov ( 1 H79-B2 ) ; then
taught harmony At the Mmniw (lon.n.
(1882-94), Rrtnrnlnu t At. IVtrabwrtt;* h*
mndurtrd thf choir of thr Imperial C*napel
(1895-1901)"; u vtetim of tuWitlmin, hn
spent his lat yrr In A sanatorium in Fm-
land, In bis music h followed Trhuikovnky^
lyric itylr, Arenky wrot* 3 openut A ttwttrn
on th* Vt>la>& (Moeaw t Jan, 2. IHfll);
Raphtxl ( Moscow, Mny 6, 1894); Nat and
ftam&yanti (Moicow Jan. 22 lt)CH)i nnd
2 nyntphonieii, Hr conducted the fiwt per-
formance of kth In M<ctw (Nov. 24,
1883 and !)rc. 21, 1889), lie wa niorr
lUfCMtfut in bii work* for *wuUrr fomu,
Kin V#tiattt>ns for itring orrh, ^n Trhal-
koviky'i nong. Th Chtist Chi td had &
Garden (orJgmslly the Vttri<iti&ns formed
the *Jcnv movement of Awniky'i quartet,
op, 35, in A minor for violin, viola and 2
cellos) became a standard work. His piano
trio in memory of Tchaikovsky also retains
its popularity. I lift 4 suites for 1! piano*, ex-
pertly written, are often heard ; he also ar-
ranged the.se suites for ori'h. Some of his
are included in vocal anthologien.
Other works are: music to Pushkin'* poem
7V*r Fountain of ftnkhtchitMtay; ballet
Nifjitx (St. PetersburK, 1000) ; Tht
r, ballad for voices and orch.; CVrontf-
fion Cantata; Mtire,h wlrnntlh for orrh. ;
/n^i'FMrt^o f<r string orch.; piano concerto;
violin concerto in A minor; a fantasy on epic.
Russian song*, for piano and ordt.; piano
quintet in I); string quartet (op, ll t in <);
pieces for eello, for violin, and many pieces
for piano solo. He also published a Manual
of tfafinuny (translated into German) and
of Musical / f *rm*.
, (Undo, See (iuido <rAresc/,o.
Argcnta, Ataulfo* Spanish conductor; b,
Castro Urdiales, Sauitmiclrr, Ntv, 1{, I'M;?,
lie first S;UK in n church rhoir; in l!Hi6
hr entered the Madrid Cons., fttmiyinn piano,
violin and composition. He continued his
musical education in Ctennauy and studied
conducting* Returning to $piin in IM'W, he
conducted vanouti small Krf/up.it in l*)tft
becntne director of thr; National Orch. in
Madrid.
Aria, Ocimr* 1 , Italian singinK trather; b.
BoloKiiH, Sept. JJ1, JUtfttj t, thrrr Jjut, 50 t
IftfM. He studied ut the llulotfn.i Clons, with
Mjittri, Rossitu hrlpetj him in bin career.
For a number of ye+tr* hr WM n voirf
teaehrr in Prwu'e and Knlaml, Hr t?otn
jinr church numir; hii /)^Vi iVfl* is
mtt^wttrthy.
Arlbon (Aribo ScholaitJeu*),
nrhctUr, known also Arllmtt tfw
Arllnm de Ffeiimfl and ArJfm
b, prolmbly in Uffl*, about thr yrar 1000 j
<L in CWitnii, about I07H, In 10^4 hr w*
chttrrllor tt> th Jlishop of t.ityjr; ftff a
short rwrioil of *rrvirr he* wrnl to July,
wht*rt* n uctmirrtl a knowledge tf tht* tnrth
oda of Guido d'Arr/vo, From 10<it)-?() hr wns
AK^in in Liege #* prrccptor at thr CUtthcttral
school j thru went to Orlfnn, Arilwm wan the
nuthor of th<* imimrtant trrntijw />^ A/tirtVff,
written by him in U*#<t ulnmt UHi?>, It in
reproduced in Oi*Hw*rt* ^rrlptorr^j 1 vol. U,
ip, 197-2110; iiml hy J, 8mlt_v*n ~'
( Romfti <>r foSU / Ilr rWm
44
d'ARIENZO ARLEN
d'Arienzo, Nicola, Italian composer; b.
Naples, Dec. 22, 1842; d. there April 25,
1915. He composed an opera in the Neapol-
itan dialect at the age of 18; a series of
Italian operas followed: / due mariti
(Naples, Feb. 1, 1866); // cacciatore delle
Alpi (Naples, June 23, 1870); // cuoco
(Naples, June 11, 1873); / Viaggi (Milan,
June 28, 1875) ; La figlia del diavolo (Na-
ples, Nov. 16, 1879; his most successful op-
era which aroused considerable controversy
for its realistic tendencies) ; / tre coscritti
(Naples, Feb. 10, 1880), etc. He also wrote
2 symphonies and much choral music. He
published a treatise Introduzione del sistema
tatracprdale nella moderna musica, favoring
pure intonation; a historical essay, Dell 9 opera
comica dalle origini a Pergolesi (1887; Ger-
man translation, 1902), several monographs
on Italian composers and numerous articles
in periodicals.
Ariosti, Attilio, Italian opera composer;
b. Bologna, Nov. 5, 1666; d, c. 1740. He
joined the Scrvitc Order in 1688, but later
abandoned it. He served as organist in
Bologna in 1693; in 1697 he was in Berlin
as court musician. From 1703 till 1711 he
was in Vienna, then returned to Bologna.
He was in London in 1716 and again from
1723-27. A volume of his cantatas and
lessons* for the viola d'amorc, on which he
was an accomplished performer, was publ.
in London in 1728. Ariosti then disappeared,
the most probable conjecture being that he
returned to Italy and died there in obscurity.
Burney's attribution to Ariosti of one act
of the opera Muzio Scevola (produced in
London on April 15, 1721) is an anachron-
ism, for Ariosti was not in London at the
time* A list of his known operas includes
the following: Tirsi (erroneously named
Dafne by many music historians,* Venice,
1696. in collaboration with Lotti and Gal*
dara); Mars und Iren* (Berlin, July 12,
1703); Mart* ptacato (Vienna, March 19
1707); Artwrs* (London, Dec. 1, 1724);
baric* (London, April 5, 1725) ; Lucio Vero,
impirator dl Roma (London, Jan. 7, 1727).
He also wrote 5 oratorios, some instrumental
works and numerous cantatas (many of
which are preserved in various European
libraries), etc.
Aristides Quintilianus, Greek writer on
music; lived about 200 A.D. in Smyrna. His
treatise DC Music a libri VII was printed in
Mcibom's 'Antiquae Musicae Auctores Scp-
tem' (1652} and by A. Jahn (1882); fc
SchSfte published it in German (1937)
with a commentary. Despite the dubious
authenticity of some of his descriptions of
Greek scales, the work is one of the basic
sources of our knowledge of ancient Greek
music.
Aristotle, famous Greek philosopher, pupil
of Plato; b. Stagira, 384 B.C.; d. Chalcis,
322 B.C. The 19th section of the Problems,
once ascribed to him, is the product of a
much later follower of his theories; the
English translation, by E. S. Forstcr, is
found in The Works of Aristotle, vol. 7
(Oxford, 1927) ; the Greek text with French
translation and commentary by F. A*
Gevaert and 0. VollgrafT is published in
Les problbmes musicaux d'Aristote (3 vols.,
1899-1902). Aristotle's actual writings on
music are reproduced by K, von Jan in his
Musici Scriptores Graeci (1895). The name
Aristotle was also used by a writer on men-
surable music of the 12th-13th centuries,
whose treatise is published by E. dc Cousse-
maker in his Scriptores, vol. L
Aristoxenos, one of the earliest Greek
writers on music; b. Tarcntum, 354 B.C.
His Harmonic Elements (complete) and
Rhythmical Elements (fragmentary) are
among the most important treatises on Greek
musical theory that have come down to us.
They have been published by R. Wcstphal
and F. Saran (2 vok, 1883, 1893) ; also by
H, S, Macran, with English and Greek text
and a commentary (1902). The Harmonic
Elements ore included, in an English trans-
la turn, in O. Smmk's Source Readings in
Music History (N. Y., 1950), See also L,
Laloy, Aristoxtne d* Tarente (1904); C.
F. A* Williams, The Aristoxtnian Theory of
Musical Rhythm (Cambridge, 1911),
Arkwrlght, Godfrey Edward Pellew,, Eng-
lish music editor; b Norwich, April 10,
1864; d, Highclcre, near Ncwbury, Aug. 16,
1944. He studied at Eton and at Oxford*
His most important publication is 'The Old
English Edition* in 25 volumes (1889-1902)
containing masques, ballets, motets and
madrigals by English composers of the 17th
and 18th centuries, He alto edited Purcdl's
church music published by the Purcell So*
cie.ty. He was the editor of 'The Musical
Antiquary 1 from 1909-13.
Arlen, Harold (real name Hyman Ar-
lucfc), American composer of Popular music;
b* Buffalo, Feb. 15, 1905, He received hii
elementary music training from his father,
a cantor of the Buffalo Synagogue. As a
youth, he went to New York, where he
earned his living by playing and singing
in nightclubs, He began to compose songs
in the course of his professional occupation;
his greatest success was Stormy Wtather
45
ARMA ARNE
(1932), a aong that has achieved enormous
popularity. From 1943-55 Arlen lived in
I lolly wood as composer of film music; in
11)55 settled again in New York.
Anna, Paul (real name, Imre Weisshaua),
composer; b. Budapest, Oct. 22, 1904. He
studied with Be"la Bartrtk at the Budapest
Arademy of Music (1921-24). He then
went to New York (1925-30); later settled
in Paris, where he assumed the pseudonym
Paul Anna, under which he published a
Nouwau Dictionnairc de Musiqut (Paris,
1947). A composer of empiric, music, explor-
ing the ultimate in complexity, he has de-
veloped a compromise method evocative of
folk ongn in an advanced rhythmic style,
Among his works are a concerto for string
quartet (1947); sonatina for solo flute
(1947) ; violin sonata (1949) ; 5 movements
for solo viola; 31 instttntanfx for woodwind,
percussion, celesta, xylophone and piano
(1951),
Armhrufttcr, Karl, conductor; b, Antler-
nat'h-cm-Rhsne, Germany, July 13, 1B46; d,
London, June 10, 1917, He studied piano m
Cologne; at the aige of 17 settled in London,
where he made propaganda for Wagner by
means of numerous lecture*, He wan Han*
Richtcr's tumistant at the Wagner concerts
in London in 1804; Inter conducted operas
at London theaters, He wan tilao one of the
conductors of the Wagner cycle* at Hayrcuth
(tWH-94).
Armrji, Philip* ftugliah organist and com-
poirr; 1>, Norwich, Aug. 15, IttlUi; d, J)ur
nnm, Feb. 10, 190B, lie received hi* early
muiintl education front hi* father, u linger;
wan chorister at the Cathedral* of Norwich
(IfMti) and Rochester (1848); for hi* work
a w tioy wtlolftt he received the gift <rf a
grtmd piano, He xuharqurntly was orgaftiat
in London, Chichenter and Durham, retiring
shortly before his death. He wrote the
oratorio* Mexekiah (1877), M, John th*
UH81), Barnabas (lafH), Hi*
madrigal Victoria wan the tint priir of the,
Society in 1897.
Anmin, Gearg (real name Hermann}.
Gemun singer aiul pedagogue; b. Bnm$-
wirk, Nov. id, 171. He nudtrd archltec.
ture; then turned to Jtinglng. He nettled in
Berlin & voit-e trachrr; from 1935 he edited
the periodical *Der Stirnrnwnrt,' Hii home
wi tlentrtjyrd in Berlin during nn air raid
in World War IK; in 134 hr settled In Den*
mark, He pubtUhed iteveritl papen on voice
production, ttmonw them fias titaubrintib
(1903) And Vm dr Vrkraft 4*r
(1921). Of. J. Berntsen, Kin Mttsttr d*r
Stimmbildungskunst (Leip'/ig, lJ>3f>),
Arniingaud (ahr-m&n-goh 1 ), Jules, French
violinist; I). Bayonne, May 3 1B20; d. Paris,
Feb. U7, 1900. He began hU career a a
meml>er of thr <>rch. at the Pari ()j>er.i. In
1855 he organized a string quartet, which
he later enlarged by adding wind instru-
ments, and named the 'Soeietc" elansique, 1
He published nome violin pieeen, and !i
imiflioo-philoflophicul lKK>k,s 01 rs.nayn; Cam*
sonancts ft dimtnnncts and Modulations.
Anmtrong, William Daw son, American
organist and composer; b. Alton, 111., Feb.
11, 1866; d. there, July <\ 1<I3. He nudied
with Clarence Kdcly; occupied pom at var-
ioun rluirchrs in Alton and St. Louitt from
1890-1908; rutablinhrd a mu.itc chool at
Alton. Hr w;w active in local pedagogical
group. He, wrote an opera 7 Air A'/wlcr
Bridegroom (St. Loui, ll$9f)); |nblihed
tome church muitic aud ntimy pieces for
organ, and aongu, He wna the author of The
Romantic World of A/wuV (N, Y M IM2)
and Rtulimfats of AStutn;/ Ni)ttitwn t tun
Rtitntntary Handbook* Cf, W, T. Norton.
W. />. XrmifrfiA* (N,Y,,
Arnc (ahrn), Michnel, Knglinb opera
eoitipojier (natural son of *I\ A. Arnc ) ; b.
Ixmdon, 1741 j d. there Jan. 14, 17M, He
wax trained in bin youth a* an ftvtor and
a singer, nd nude htn debut in L<md<m
on April 2, 1750, He ulK* acquired rtmnider-
able skill ui a hftrpiurhtirti plwyer. He wrte
much tage mmic; ^mong hti i>peia (all
pmdueed t I>rry Le r iit (Jovent t*r"
den) Are: //yw#n (Ja, I^f), i7<t4)* Cywart
(Jfn, 2, 17<i7); 7'Ar Artifa* (April 14,
1780); r*t Choice of Harlequin (f)e* 2ft,
J781) and K^r^wwwwi */ /*won*f (Feb.
!l 17B2). He cotUtnifHted with other com*
iKttcri in the munit- of 14 otber produrtiotii,
In 1771-72 he traveled in Germany m cott-
ductor; from 177$ he: WHSI In Dublin; from
1 784 ngat'n in London* He wan itn eccentric
person, and tuwwK hi* v**Karir< wa* n pre-
oecu|nuion with alchemy, and A aruruh for
the phitoiophcr'tt Ktotte to convert
metal* into
Arnc, f ITu>mju Awrwitlne, f^mmu
drmati com|m*erj It. Umdon, M^
1710 j d, there, M*rrh ( ft v 1778, Hi futher,
an wpboliterrr, urnt him to Eton (Jotlrgr;
he then *i>ent three yearn in A ftolinitor'*
office, He ntudtrd nuwJe on h *ile murh
Kfcamit hit f;ithrr' wiihrj and nc^uired
conilderable ikill on the violin, He aoem
began to write fnuikal ettini?i "iifter the
Italian mnmier, H to v^rioui pUy*, Hi* first
d'ARNEIRO ARNOLD
production was Addison's Rosamond (March
7, 1733). He renamed Fielding's Tragedy of
Tragedies as Opera of Operas, and produced
it at the Haymarket Theatre (May 31,
1733) ; a masque Dido and Aeneas followed
(Jan. 12, 1734). His most important work
was the score of Comus (Drury Lane, March
4, 1738). On Aug. 1, 1740, he produced at
Glivedon, Bucks., the masque Alfred, the
finale of which contains the celebrated song
Rule Britannia, which became a national
patriotic song of Great Britain. In the mean-
time Arnc married Cecilia Young (March
15, 1737), daughter of the organist Charles
Young, and herself a fine singer. In 1742
he went with her to Dublin, where he also
stayed in 1755 and 1758. Of his many
dramatic productions the following were
performed at Drury Lane, London: The
Temple of Dullness (Jan. 17, 1745); Har-
lequin Incendiary (March 3, 1746); The
Triumph of Peace (Feb. 21, 1749); Bri-
tannia (May 9, 1755) ; Beauty and Virtue
(Feb. 26, 1762); The Rose (Dec. 2, 1772).
The following were staged at Covcnt Gar-
den: Harlequin Sorcerer (Feb. 11, 1752);
The Prophetess (Feb. 1, 1758); Thomas
and Sally (Nov. 28, 1760); Love in a Vil-
lage (Dec. 8, 1762) ; The Fairy Prince (Nov.
12, 1771). He further contributed separate
numbers to 28 theatrical productions, among
them songs to Shakespeare's As You Like
If, 'Where the Bee Sucks' in The Tempest,
etc. He wrote 2 oratorios: Abet (Dublin,
Feb. 18, 1744); and Judith (Drury Lane,
Feb. 27, 1761), the fatter remarkable for
the introduction of female voices into
the choral parts. He also wrote numerous
glees and catches, and miscellaneous in-
strumental music. He received the honorary
degree of Doc. of Mus. from Oxford Univ*
(July 6, 17S9) ? which accounts for his
familiar appellation of 'Dr. Arne 1 ,
d'Arnciro, (Joti Auttwto) Fcrrcira Ve!#a,
Viscount, distinguished Portuguese composer;
b. Macao. China, Nov. 22, 1838; d. San
Remo, July, 1903, He studied with Botclho,
Schira and Scares in Lisbon. The production
of his ballet Oina (Lisbon. 1866) attracted
attention; he then produced an opera
UEMrt di Giovinexxa (Lisbon, March 31,
1876), followed by La berttitta (Lisbon,
1885). Te Deum, performed in Lisbon and
in London in 1871 was very successful; it
was later given in Parii under the somewhat
affected title of 'Symphonie-Cantate,'
Arnell, Richard, English composer; b.
London, Sept. 15, 1917. He studied with
John Ireland at the Royal College of Music
(1935-38). He wat in New York from
1939-47; was active as conductor there.
He composed Prelude and Flourish for brass,
performed for the reception of Winston
Churchill at Columbia University in 1946.
He wrote 3 ballets: Punch and the Child;
Harlequin in April; and The Great Detec-
tive (about Sherlock Holmes); 4 sym-
phonies; a symph. poem, Lord Byron; a
violin concerto; Abstract Forms^ for string
orchestra; 2 string quartets, piano pieces
and several film scores. Since 1948 he has
been living in London.
Arnold, Byron, American composer; b.
Vancouver, Washington, Aug. 15, 1901. He
studied at Willamette Univ. (B.A., 1924);
taught music at Oregon State College
(1934-35); then went to the Eastman
School of Music, where he took lessons in
theory and composition with Rogers and
Hanson (1935-37). He became asst. prof,
of music at the Univ. of Alabama (1938-
48). He has written Five Incapacitated Pre-
ludes for Orchestra (Rochester, N. Y., April
19, 1937, Hanson conducting); Three Fan-
aticisms for Orchestra; piano pieces and
songs. He has published Folk Songs of
Alabama (1950).
Arnold, Frank Thomas, English music
scholar; b. Rugby, Sept. 6, 1861; d. Bath,
Sept. 24, 1940. He studied at Trinity Col-
lege, Cambridge, and was lecturer in Ger-
man literature at the University College of
South Wales at Cardiff (1886-1926). He
wrote a valuable book, The Art of Accom-
paniment from a Thorough-Bass* as Practiced
tn the 17th and 18th Centuries (London,
1931), and contributed numerous papers on
Bach, Viadana, Cordli, etc. to various music
journals. He was also a collector of rare
editions. Cf. D. R. Wakeling, 'An Interesting
Music Collection* ('Music & Letters/ July,
1945).
Arnold, Georg, Hungarian composer; b.
Pak, June 5, 1781; d. Subotica, Oct. 25,
1848, Adopting an operatic method in re-
Hglous music, he created some unusual ef-
fects. Hi* 3 operas were never performed,
and the MSB teem to be lost, but nis church
music is extant. Arnold completed a music
dictionary (1826) which, however, wa
never published. His songs, in the Hungarian
style, were once very popular. See K. Iioz,
Georg Arnold (Budapest, 1908)*
Arnold, Gustav, Swiss organist and com-
poser; b, Altdorf, Uri, Sept. 1, 1831; d.
Lucerne, Sept 28, 1900. He studied at
Innsbruck; in 1850 he went to England,
where he waa choirmaster and organist at
various churches. He returned to Switzcr-
47
ARNOLD ARNOLD
land in I8(5 and settled in Lucerne a.1
organfacr of choral festivals and conductor.
He wrote aortic sacred music and piano
pieces,
Arnold, Johann Gottfried, Oennan violon-
cellist and composer; b. Nicdcrhall, near
Ohringrn, Feb. 15, 1773; <L Frankfurt, July
ti6 l0f>. Hr studied with Willmann and
JJcrnhard Romberg; after a brief concert
carrrr hr became a theater cellist in Frank-
furt* Ha wrote a tfytnphonitt eonctitantu for
2 flutea and orch, ; several cello concertos;
6 sru of variations for cello, and various
pieces for the guitar and other instruments,
Arnold, Karl, Gorman pianist; 1>. N<*u-
kirchen, near Mergentheim, WtirttcmbrrK,
March t>, 171*4; d. Chriitiania (Oslo), Nor-
way, Nov. II, 1873. He studied with J. A.
Andrf and Karl Vollweilcr in Frankfurt;
then occupied various positions in St. Peters-
burg (1819), Berlin (1824), and MUnster
(1835). In 1849 he settled in Norway,
where he conducted the Philharmonic. So-
ciety in Ohritumi;v, and was also nctive
as church orgimift. He wrote ;m opera fr*nt
(Berlin, 1832), ft piano sextet, and numer-
ous works for piano solo.
Arnold, Malcolm, English composer; b,
Northampton, Oct. 21, 1921, Hr studied
at the Royal Collctfc of Music, in London;
has written a nymph* porw Larvh Trtrn
(1943); e<mc<*rt for horn ami oirh.
( 1 ?M<> } ; symphony for string ( I fM7 ) ;
rtstwitf Owning (1948) ; rowcrto for clar-
inet and *trin# (1948); Symphony No, 2
(Bournemouth, May 25, 1953); ballet,
ffflm<tft<i (o th Ctt#ift (!ondon June 2,
1&5.1); Concerto for oboe twd string; orch,
(London, June 9^ 1933); hantmic.A con*
certo (I^ndcm, l*rtuenmir CJ<meert
14, 1954, Lurry Adler soloist) ; violin
**mnta ami non^s,
Arnold, Maurice (rrtt) mime
Arnold Strathottc), American vtalmtit und
comtxiser; b, St. Ixmin, Jan. UK 1H55; d,
New York, Ckt 83, !<W. He utmiird in
Clincinttutij then J (lernmny with nrveml
teachers, including Miix ttrurh, Thct pr*
of HU ortrhrtttra! w#rk American
fiaMM (New Yrk t 1894)
thn interest of Dvorak* because of
the Negro melodic* used in it, end he* on**
ftagfd Arnold to tench at the National Com,
of which DvoUk wan then head, Arnold
subsequently wan active & conductor of
open*, and ft* vtolln teacher, Hr wrote
comic oper* The Afmy $*n*d*ett (Bmoktyn t
I89(i); % rm! oper Cl*&fintr<ii A sym*
phony; A mnuu Tht Wild Chan;
Serenade for violin and piano; and u
for piano-f) hands.
Arnold, Richard, (Jerm.in-AmenYan vio-
linist; h. Kilenhcrtf, rrussia. Jan. 10, 1845;
d. New York, June 111, 191 H. He rtuiKratrd
to the U.S. in lft5H, but returnetJ to (cr-
inany in HU>4 to study with Ferdinand
David in Leip/iK- He wa a violiimt in the
Theodore Thonuui Oreh. (Iim9-7(>). k and
conccrtinaster of the New York Philhar-
monic Orch, (UmO-HH)!)). Then lived in
New York aa violin teacher.
Arnold, Samuel, celebrated KuKlish rotn-
twwr, orKantAt and inuiic scholar; b, Lon-
don AUK. tO 1740; d. there, t)rt, 22, I02.
He received his inu.ntcal traininn from fatrs
nd Nares a a chorintrr of the Clhnpel
Royal. He early ithowed a ift f<r conijKml-
tinn, and wa,i C(unttti.H<tiiined to arrange tltr
music fur a play 7*Ai* Maid </ tht Milt; for
thitt he selected AOIIKM by sotne *!(> c*tnpo*rr t
irichulinK Hach, and anded several nutnbern
<if hia own; the reuniting pastict'io wait pro-
duced with nuccr-M at (Jovrnt Ct*trili*n (Jan.
:M f I7ti5), Thw WUH the firm <f hi annual
prodttcttonff for <!ovent (Garden nd other
thenterji in London, of which the following
were ctnnponed mainly !y Arnold: ttatlrquin
/>r, /'*niuifiii (New, l, I7h
(ttttlantl (CVt, tO I7fnv,
fjuttt* 27, 1771); -4 /^/f^fir n
(June If>, 17115); 7Vii* 6'n^m^
!7J)H) ; Mw $(win> <*r /f^#^ in Afirtirtt tjuly
Hi, 1700); 7Vt^ *Vfr^ttf/<*r i*/ C/rtir (July
ly
M, 17<H; 7 4 /if Kwh<Mt*4 '!/ (July
17!ia); * 4 A .ViWfyTAfrrf J>tf*r (J
He itlHf* wrote nrvrrtil
them 77itf Cwrif M/ JPnw/ (17f*7);
Jfrm; urn!
On the wcttnum of a {irrfoiftutrtcr* of
t*rndi$fil Stin at Oxford Univ, in
Arnold W;H foVcn the <lt*^rrr of t>, Mui, l
I7HH, he brcjimr the iwveswor of Nnrri n
compwer to th* < *>>tA|irl ttoynl, f<*r whkh his
wrote* nrv(*rtl cJej nd uuthernn, In I7B9
Arnold w^i rnKU^ett * nmduct^r of the
Acwdrmy rf Ancirut Mutici t 17*)1 he br*
* <irifan!it of Writmh^frr Abbey* Iff
burird in WrCittlntrr Abbey, *ir to
rfrfl ami Blow. Arnold'! rditicn of
Ha mid** work*, l*rj<un In 17IMJ, wit* ritrrkd
out by him in 3ti voUtrnen l rt
1BO nutnl*erj it U, htiwr\'er
itiftceurtite! Jn nmnv rrj*m flin
work in Cnlhtdral Mum (17%. 4 voln.) ; Itt
lubtitle drfitt'rllxii h* rcttttftRttt! **A i'oU^thm
in *eore of the mott vtiiunbln urul uwfui
cojpoHltIon for that Hcrvlrr t*y thi* w*vitrl
Mttttrn of the U*t 200 yrnri, 11 It
ARNOLD ARRIAGA
forms a sequel to Boycc's work of the same
name. A new edition of Arnold's Cathedral
Music was issued by Rimbault (1847).
Arnold, Youri von (Yury Karloyitch),
Russian opera composer and theorist; b.
St. Petersburg, Nov. 13, 1811; d. Karakash,
Crimea, July 20, 1898. Pie studied in Dres-
den; and later at the German Univ. of
Dorpat, Estonia; went to Germany in 1855;
from 1870-94 was in Moscow, where he
founded a music school; in 1894 he settled
in St. Petersburg. He wrote a vaudeville-
opera Treasure Trove (St. Petersburg, Fe.b.
1, 1853), the MS of which was lost in the
fire at the Imperial Theater in 1859, to-
gether with the MS of his other opera St.
John's Eve. He also wrote an overture.
Boris Godunov. Arnold was the author or
the first book in Russian dealing with the
theory of composition (1841) ; he also pub-
lished Theory of Old Russian Religious
Chants (Moscow, 1880), and many articles
in the German preas. In 1867 he published,
in Leipzig, thejpcriodicai 'None, Allgememe
Zcitschrift fur Theater und Musik/ Two of
his papers from that journal were issued
separately^ Der Einfluss des Zeitgeists auf
die Enttvicktslung der Tonkunst and an essay
on Der Freisch&tz in 24 auserlesene Qpern-
Charactere. He also translated into German
the libretti of operas by Tchaikovsky, GUI
and others. H<* was friendly with Glinka
and ^many other celebrated composers, and
published historically valuable Reminiscences
(3 volumes; Moscow, 1892).
Arnoldson, Sigrid, Swedish dramatic so-
prano j b. Stockholm, March 20. 1861; d*
there, Feb. 7, 1943, She was the daughter of
the celebrated tenor Oscar Arnoldson (b.
1830; d, Carlsbad, July 8, 1881). She stud-
ied with Maurice Strakosch and Dlsirle
Artot; made her debut in Moscow in 1886
as Rosin a in II Bar Here di Siviglia; then
sang as prima donna in London (June 20,
1887), at the OpeYa-Comique in Paris, In
Nice and Rome with brilliant success. In
1888 she was engaged at Covent Garden as
successor to Pattl On Nov. 29, 1894, she
made her debut at the Metropolitan Opera.
In 1910 she was elected member or the
Stockholm Academy; in 1922 settled in
Vienna as a singing teacher; later taught
in Berlin. On June 16, 1888, she married
the Austrian impresario, Alfred Fischhof, a
nephew of Maurice Strakosch*
Arnould (ar-noold'), (Madeleine) So-
phie, French operatic soprano; b. Paris. Feb.
14, 1740; d. there Oct. 18, 1002. She
studied singing with Mme. Fel and acting
with Mile. Clairon; made her debut at the
Paris Ope*ra on Dec. 15, 1757. She created
the title role in Gluck's IphigJnie en Aulide
(April 19, 1774), and after a highly suc-
cessful career retired in 1778 with a pension
of 2,000 livrcs. Bibl.-: Arnouldiana, a large
collection of anecdotes, published anony-
mously (Paris, 1813; real author, A. De-
ville) ; E. and J. de Goncourt, Sophie
Arnould d'apres sa correspondance et ses
mtmoires (Paris, 1877); R. B. Douglas,
Sophie Arnould, Actress and Wit (Paris,
1898). Gabriel Picrn6 wrote a one-act 'lyric
comedy' Sophie Arnould (1926), based on
incidents of her life*
Aron, Pietro. See Aaron.
Arquicr (ahr-kyS), Joseph, French opera
composer; b. Toulon, 1763; d. Bordeaux,
Oct., 181(5. He played the cello in a theater
at Lyon; then lived in Marseilles and Paris,
After 1800 he went to New Orleans as
director of an opcrra troupe, but failed and
returned to France in 1804, holding various
positions in Paris, Toulouse, Marseilles and
Pcrpignan; he died in poverty. Arquier
wrote about 16 comic operas,
Arrau, CLaudio, Chilean pianist; b. Chil-
ian, Feb. 6, 1903. He played in public at
the age of five, and in 1910 was sent by
the Chilean government to Berlin where
he studied with Martin Krause, In 1914-15
he played recitals in Germany and Scan-
dinavia, attracting a great deal of attention
by his precocious talent. He made an exten-
sive European tour after World War I,
returning to South America in 1921. His
U.S. debut was in 1923, Between 1925-40
he lived chiefly in Berlin, where he taught
at Stern's Cons. He won the Grand Prix
International des Pianistes at Geneva in
1927. In 1941 he settled in the U.S., making
frequent European and South American
tours. In his playing Arrau combines a
classical purity of style with the rhapsodic
breadth requisite for romantic music.
Arrcgui Garay (ahr-ri-gS-gah-ri*), Vi-
cente. Spanish composer; b. Madrid, July
3, 1871; d. there, Dec. 1, 1925, He studied
in Paris and Rome ; was active in Madrid as
music critic; wrote a symph, poem Historia
de una madre (after H, C, Andersen, 1910) ;
Sinfonia vasca tor orch. ; the operas Yolanda,
La Maya and El Cuento de Barb a Azul;
a eantata El Lobo ciego; chamber music
and choral works. His music follows the
romantic school of programmatic writing.
Arriaga, Juan Cris6stomo, precocious
composer: b* Rigoitia, near Bilbao, Jan.
27* 1806; d* Paris, Jan. 17, 1826 (ten days
49
ARRIETA V CORRRA ~~ ARTARIA
before his 20th birthday). He was an ex-
ceptionally gifted musician. While still in
Bilbao, at the atfe. of 13, he composed a 2-
act opera Los tsclavos {dices (1819), He
then went to Paris, where he studied at the
(Ions, with Baillot and Fe*tis, arousing their
admiration for his talent. In Paris he wrote
a symphony, a biblical scene A gar, 3 string
quartets, several fugues, piano pieces and
songs, On Aug. 13, 1933, a monument was
unveiled to him in Bilbao, and a 'Comistfm
IVrmancntr Arriaga* was formed there. The
vocal scores of Los e&clavos ftlicrs and Kn-
sttyo en QcUto, subtitled Neda o mucko
(scored for strings, trumpet, guitar and
piano), were published in Bilbao in 1935
with extensive bio-bibliographical notes by
Juan dc Kremildc; the full score of a sym-
phony was also publ. (Bilbao, 1953).
Arricta y Corcra, Pascual Juan Emllio,
Spanish composer; b. Pucnte la Reina, Oct.
21, 1823; ci. Madrid, Feb. 11, 189-1. He
studied at the Milan (Ions. (1842*43) with
Vaccaij returned to Spain in 18*18; was
prof, at the Madrid Cons, in 1857; became
its director m 1868. He wrote more than 50
xstrxurlsui and several grand operas in Italian,
Of these productions the most itnjwrtnnt is
La tvnqutstn de Granada, prodxired in Ma*
driti (Oet, 10 1850) with Arrietn himself
conducting, and revived five years later
under the title habit la CatMtrtt (Madrid,
Dec, 18, 1855)* Other iwccessfut xttrxurlnft
itnd operas arc, UdeRGnda (Milan, Feb. 28,
1845); Kt /tomino Asut (Madrid, Feb. H),
1853); Kl 6'rumrt* (Madrid, June 17,
1853; its sequel, /, Vuttta dtl OrwriV*
was performed in Madrid, Fcb, I8 186*3);
Mwina (Madrid, Sept* Zl 1855; revised
nnd produced ns n grnnd opera, Madrid,
Oet 4, 1871); tf, /*><mmtf< da *?iVn
(Madrid, Oct. 27, 1883),
Arrlgani, Carlo, Italian combiner; b.
Florence, IVc, 5, 1697; d. there, Aug. 19,
1744, Hi" left Italy as ymwr twin; in
1728 he was in Brussels* In 1732 hr w;u
invited to Xrfimlon by ft group favorablr to
Italian earnpoftw in opposition to Handel;
there h<* produced wn opera /*Vrn#H<tffl (Feb.
8 1734). Arrigoni th*n went back to Italy
throutth Vienna, wh*r hr pnnlurrd an
oratorio Rstktr (1737); rftwrning to Flor-
cncr, he staged hU new oprna Sirbatt
Sripinn* nfll* Spa*** (1730), Hi* 10
M* dn earn* w*r<* published in
(17SJ2). Srvi*rI air* rmm hi$
nande are prrcrvr<J In th* ^ritlft
Hurney miitftkrnly attributed the mttftta of
thii opcrn to Porpora,
Adolf f Crrman contluctor ;tn<!
composer; b. Hamburg, March 8, 1838; d.
Berlin, Dec. 25, 1908. He studied at the
Ijcipzitf (Ions.; then conducted opera in
Cologne, Dan/ig, Berlin, Hrcnlau and Buda-
pest. He wrote a number of light openu
which, however, failed to obtain any degree
of .1UCCC85*
Arroyo, Joao Marccllino, eminent Portu-
guese composer, writer and ntatcumnn; b,
Oporto, Oct. 4, 18(1; d. there > May 18 t
191U). A member of u munic;U family, he,
firt took leon with h\* father; at the
name time he studied law. From 1884-1904
he was a member of the Portuguese p;*rlia*
mrnt; in 1900-01 he held the |>t of min-
ister of foreign affair* and public education*
A royali&t, he abandoned jjolitiea after the
revolution of 1910, and received a profcor*
ihip of law at the Umv, of (Umnhra* He
wrote two <pera: Artwr dt Pfrdifua (Lin*
bon, March 2, 1907; Hamburg, Jan, 25,
1910), which i* regarded a the fim modern
Portuguese opera, and /*rdttf 7V/n; twt
nympnonic jKenm; neveral choral work nnd
xongit; alio ccmmiled a manual of solfeggio
for primary ac'hool*, Src itrticlc on him in
R. Aimtrtnt, DifitmArfa lmRt&fte$ dt m&titos
do Ntittt d /^rrtttfri/ (<)prt, 11)41); alo
<?. A. l)0s Santos, h\&n Aftttya (Iib0n
HH1).
Ar<am, nuMtci futhHihiitg turns** In
ftmndrd hy the cousin* <Urlo A, (1747-
1808) ami Frnwwo A, (174^1808), They
opened a music shop <w Ktihhtmrfct in J76!)
tmd In 1778 Iwgntt tirinttnK imic; they in-
troduced the mrttuul of /tw plnting for the
fir*t time in Vii-nnn, In 1779, the. $rm
acquired Horn** of HttyuV* worfc^, whJrh
fume to thrtn; rttunic of Olrmrntl,
and Ht>rrhrrini wa imhUfthcti Inter.
pwtit, Mosrnrt'n fi violin -wmittftti (K,
*tring tjuitrtrts tlrdirutrd to Hnydn,
other work*, thuu lirt'omittit Mo/rt" fnoit
porttuit publisher in bin lifetimes <Hhfr ftrt
edition* in Artaria'a cniiiU^t**^ wrrtt irvttra!
tumtcx by SchwlHrt, l$rcthovrn*n CJ major
outntrt, op, 89, and atrltw <jwrtH, or* **t
Thit Int ownrri were (Jiir! Augu Artarm
ftl, 19HO; Domiiiik ArtrU (d, HWO wnd
Ffiinsd Artwift (d. J42), Afrr 1^13^, th* ciW
houtc brrntc an art gallery and an
F, Aruiria nd Hun ftotntibpir, Jvaph Ifttydn
und dtti Vtrhgthw* Art aria (Virnim,
190*>)j 1), MnrArrflc* tottkwtnt Arttnfa
And M* C mi/0r Quint *t (*Mti, Quwrtcriy. 1
Ort, l^S)j A. Wrinmmin, V*tl*tindif*
VfrlngwtrttichniSt Ar tafia of (7ow)>. (Vi-
enna, 1932).
50
ARTEAGA ARTSYBUSHEV
Artcaga, Esteban de, Spanish writer on
music; b. Moralcja de Coca, Segovia, Dec.
26, 1747; d. Paris, Oct. 30, 1799. He joined
the Jesuit Order at 16, and was banished
to Corsica when they were proscribed in
Spain. He left the Order in 1769; from
1773-78 he studied philosophy at the Univ.
of Bologna; there he formed a friendship
with Padre Martini, and at his behest under-
took a history of the musical theater in Italy.
The resulting work, Le rivoluzioni del teatro
musicals italiano dalla sua origin* fino al
present*, was published in 3 volumes in
Bologna and Venice (1783-86; the materials
in the Bologna edition partly overlap, partly
supplement those in the Venice edition) ; it
was brought out in German by J. Forkel (2
vols., Leipzig, 1789); a summary was pub-
lished in French (1802)* Arteaga's strong
and often critical opinions expressed in this
work antagonized many Italian writers who
resented the intrusion of a foreigner into
their own field. A polemical exchange of
considerable acrimony followed; Artcaga's
views were attacked by Matteo Borsa in a
tract Del gusto presents in letteratura ita-
liana . . . and by Vinccnzo Manfredini in
Difesa dell a music a modern a . . . (Bologna,
1786). After a sojourn in Venice (1785).
Artcaga lived in Rome (1786-87); in 1796
he went to Florence and later to Paris. In
addition to his magnum opus, he published
a book on esthetics, Inyestigaciones filo-
s 6 fie as sobre la belleza ideal . . . (Madrid,
1789; new ed,, Madrid, 1943). A book of
essays Letters musico-fitotogicht and the
treatise Del ritmo sonoro e del ritmo muto
nella music a degli antic hi (long 1 regarded
as lost) were published in Madrid in 1944,
with an extensive biographical account by
the editor Miguel Batllori, who also gives
the bibliographical synopsis of the Bologna
and Venice editions of Rivoluzioni.
Artemovsky. See Gulak-Artemovsky.
Arthur, Alfred, American composer and
choral conductor; b. Pittsburgh, Pa., Oct.
8, 1844; d. Lakewood. Ohio, Nov. 20,
1918. Ho studied with Eichbcrg at the Bos-
ton Cons*; sang at Boston churches; then
moved to Cleveland where he was conductor
of the Vocal Society (from 1873) and di-
rector of the Cleveland School of Music,
He wrote 3 operas which remained unper-
formed and unpublished: The Water-carrier
(1876); The Roundheads and Cavaliers
(1878) and Adalin* (1879); brought out
Progressive Vocal Studies (1887) and other
manuals on singing.
Art&t (ahr-toh*), Alexandra- Joseph Mon-
tagncy, Belgian violinist; b. Brussels, Jan* 25,
1815; d. Villc-d'Avray, July 20, 1845. He
studied with his father, Maurice Art6t, and
with Snel; then took lessons from Rodolphc
and Augustc Kreutzer at the Paris Cons,,
obtaining first prize (1828). He then played
concerts on the continent; made his debut
in London (June 3, 1839) in his own
Fantaisie for violin and orch. In 1843 he
embarked on an American concert tour. He
wrote a violin concerto, several sets of varia-
tions for violin, and some chamber music.
Art6t, (Jean) Dsir Montagney, Belgian
horn player and composer; b. Paris, Sept.
23, 1803; d. Brussels, March 25, 1887. He
was a pupil and successor of his father,
Maurice Art6t. From 1843 h taught at the
Brussels Cons.; also played in the Court
Orch. He published fantasias and dtudes for
horn and quartets for cornets.
Art6t, (Marguerite-Josephine) D6sir<Se
Montagncy, Belgian mczao soprano (daugh-
ter of Jean-Desire Art6t) ; b. Paris, July 21,
1835; d. Berlin, April 3, 1907, She studied
with Mmc. Viardot-Garcia ; sang in Belgium,
Holland and England (1857). Meyerbeer
engaged her to sing in Le Prophets at the
Paris Opera (Feb. 5, 1858) ; she was greatly
praised by Berlioz and other Paris musicians
and critics. In 1858 she went to Italy; then
made appearances in London. In 1868 she
was in Russia, where she was briefly engaged
to Tchaikovsky; however, this engagement
was quickly disrupted by her marriage (on
Sept. 15, 1869) to the Spanish singer Padilla
y Ramos (1842-1906). Their daughter is
Lola Artot dc Padilla (q.v.).
Art6t, Maurice Montagney, ancestor of a
celebrated line of musicians (the true family
name being Montntfncy) ; b. Gray (Haute-
Sacine), Feb. 3, 1772; d. Brussels, Jan, 8
1829. He was a bandmaster in the French
Army; then went to Brussels where he be*
came first horn player at the Theatre de la
Monnaic, A versatile musician! he also
played the guitar and taught singing.
Artsybushcv (ar-triS-boo'-shef), Nilcolay
Vassilievitch, Russian composer; b. Tsarskoe-
Selo, March 7, 1858; d, Paris, Agril 15,
1937. He studied with Solovicv and Rimsky-
Korsakov; in 1908 was president of the St.
Petersburg Royal Music Society; in 1920
settled in Paris where he was active as
representative of Belaiev's publishing house*
Amybushev is chiefly known for his melodic
piano pieces and songa, which were pub-
lished by Bclaiev; he also wrote a Valse-
Fantasia for orch,, and was one of the com-
posers to contribute to a collection of
variations on a Russian song for string
51
ARTUSI ASCHKNBRENNKR
quartet, other variations being by Rinisky-
Korsakov, Glazunov, Liudov, Srrinbin, etc.
Artufti, Giovanni Maria, Italian contra-
puntist and writer on music; b. Bologna,
c. 1MO; d. there, Aug. 18, 1613. He became
tinnon-in-ordinary at S, Salvatore in Holo^na
in Feb., 15ti2, A capable musician and
writer, a pupil of Zsirlino, Artu.si wa* re-
actionary in his musical philosophy. His first
publication, L'Aitt del contrappunttt (in 2
part*, Venice, 1586 and ISftJ)) has con-
siderable theoretical value. He then pub-
lished several polemical essays directed
mainly against the innovations of Monte-
verdi and others: the chanictrristicully
named volume L'Artusi, oviwro dtlle iw
perftttioni dtlla modtrna musica (Venice,
HMO; reproduced in part in Knnlish by ().
Strunk in tf&urc* Readings in A/titii //uio/y,
N. Y t 1950), followed by a posthumous
attack on his teacher Xarlino in hnprtna thl
/*, P. Ciostffo Zarlino (Bologna, lfQ4);
ioni musical* (HUM; a part II of
etc.); Jbifcorsfi musical* * , .
; Diseorw stcondo musical* (both
attacking Monteverdi) j and further pol-
emical essays against Bottrigari and Vin-
eenato Galileo. Monteverdi replied to Artujti
in a leaflet entitled O*fw,\r> acfttttfrniro* and
in the preface to his 5th book of madrigals;
this reply is reproduced in Strtmk's tV0ur*
Rtadings in musk Hittnry, Itottriguri rr*
plied in a pamphlet entitled Ant* Artuxi
As a composer* Artusi followed the old
school} he published u set of 4-pftrt C
ff (1538)* and an Hpart tnotet
r Domino (XA09). Cf. II. Kedtirh, M
Life ttnd U'orA,f (Ixmdon,
Artwhuschcw. See Art*yhuJhev f Nlkotay
Vs^lllevltch,
Arutuninn, Alexander, Armenian com-
poser; b, Rrivftn, Sept. 23 11)20, K studied
piano with Xguitmov and t'otnjmsitkm with
Litiusky, He has written piuno concerto
(UHrl); concert overture (1944); (fantut*
far lh* t*Qthitrfand ( 1MB) ; trumpet; comrrto
Awificv, Boris Vladimlrovhch, Rumurt
and writer <m music j b, 8t. Inters-
tmm July 29 t 1BB4; d, Mtmiw, Jan, 27,
1949. He studied with Kalafti tind Limltv
the 8t, Petersburg Ct>ns. (rd, it* 1910);
at the same time he studied philt4oy and
hbtory at St. Petersburg Univ. (grad. In
190$), He then became a ballet ctxtrh at
the Opera. In 1914 he began writing music
criticism under the wscudonyni Igor Gkl>ov,
Siibscquently he published nl Utemry writ-
under that nwtte, jwmetimn* indicating
his real name ;is well lie always signed his
musical works, however, with the name
Asaftcv. In 11)110 he was appointed Dean
of the clept. of music of the Institute of
History of Arts in IVtro^rad. He was also
an editor of the journal 'Novaya Muxica'
(1921*128); within a few years he publtshrd
brief monographs on Nfu.nsortf.'iky, Seriabin,
Rimsky-Krrsakc>v f Lis/t, Chopin* etc,; trans-
lated articles from German, 1'Vench nnd
Italian. At the same time he continued to
compo.se, mostly for the staK r *1 he following
ballets by him wrrc performed in Lenin-
grad: Marntx o/ Pans (June 23, 1923);
The Fountain of ftakhtehiMWyt after Push-
kin (Sept 28, 19!t4; very popular); Thi
Partisan Days (Sept, 12, 1937) and Tht
Priwnvr of th CautMux (April 14, 1938).
AltoKcther he wrote 9 onerus, 27 ^**W* ? *fi
works f(r orrh, ttntl cluimnrr nuisic. Hut it
is as a historian of Russian inustc thnt
Asafiev-Ctlebtw is esperinlly imjmrtant* He
continued thr tradition of Vlndimir Staov
in his ardent advocncy of the national Run-
jjian style. He fnibltshed Th* Human
in ttuxjtittn A/wn> (with a valuable cata
t*f Russian vocal works; HK!l); Kymp
Ktudfx (an account of the evolution erf the
RitMHian ctperatie, style; H^) * iVfrnfi'itdky
(a comprehrniiive nnnlyitn of Stnwimky's
w<rk; LrninRrad, MUf^; l*ter hr repudiated
the favorable view of *Htravittftky expressed
in this hook) ; Human AfnuV (win tht /*#
jtinnintt <*f th* Mnttttnth fontutv (l^tU);
KtiKlish tnutnL by A. Swan; Amrrienn
Council of J*eare<l Kocirtir t HWri):
Mtttifttt /'Virm at a PIMM* (2 voU,, 19'ifl
and 1047) and Glinka (Moscow, HH7; the
only book on mtiiic to rrceivn thr Stalin
!*wej, A 7-volume edition of
lrctr<l writing was br^un in
iim.
A<ehffenlnir$f, Wnltrr, t'cntipMtirr; b, E**
srn. May ilO, 1 027. He came to America *u
the nr of II. He wivt with the U.S. Army
in Germany in HH7; then studied At Olwrlin
with fvlwell nnd nt the F.aittimn School of
Music with U, Rogers, In H*^3 he wt* ap-
tKimted instructor at the Obrrlin Ckms, lie
(ms written (hyHMn*tMV t Symphonic, reflec-
tions fter .Shelley* (Rochester, April 32
lf>18) ; wn overture O*di(w* tfax; 3 string
quartntu; Divertimento for trumpets, horn
and trombtme; n piano trio nnd '
Aschenbrenner, Chrhtlan Helnrieh,
man violinist and campourr; b, Ahstrttin
Dee, 20, 1694; d. Jem*,D<*. S 1W8. H<^
studied with 8c*Mt; Wits netivr w vlntinbt
At Zriu ( 1677^1} and Mrrr,bur K
53
ASCHER ASPA
90) ; then served as music director to the
Duke of Zeitz (1695-1713) and later to the
Duke of Merscburg (1713-19); finally re-
tired on a pension to Jena. His only known
work is Cast- und Hochzeitsfreude, bestehend
in Sonaten, Praludien, Allemanden, Couran-
ten, llalletten, Arien, Sarabanden mit 5, 4
und 5 Stimmen, nebst dem Basso continue
(1673).
Ascher, Joseph, Dutch pianist and com-
poser; b. Groningcn, June 4, 1829; d.
London, June 20, 1869. He studied with
Moschelcs; went to Paris in 1849 and was
Court pianist to the Empress Eugenic. He
wrote numerous pieces of salon music
(Etudes, nocturnes, galops, etc.).
Ascher, Leo, Austrian composer of light
operas; b. Vienna, Aug. 17, 1880; d. New
York, Feb. 25, 1942, His first successful oper-
etta was Vcrgeltsgott (Vienna, Oct. 14,
1905); Soldat der Marie and Hoheit tanzt
Walter followed. Altogether he composed
some 50 stage works, and film music. In
1938 he left Austria to live in New York,
Ashdown, Edwin, London music publisher;
successor (1884) of Ashdown & Parry, who
were the successors (1860) of Weasel &
Co. (founded 1825), Two grandsons of
Edwin Ashdown inherited the company,
and incorporated into it the catalogue of
Enoch & Co., and also of J. H, Larway
& Co, (1936), the official name of the en-
larged business remaining Edwin Ashdown,
Ltd. Their list of publications contains
mostly pedagogical works*
Ashton, Algernon (Bonnet Langton),
English composer; b, Durham. Dec. 9, 1859;
d. London, April 10, 1937. Hit family
moved to Leipzig and he studied at the
Leipzig Cons, with Reinecke and Jadassohn
(1875-79); later took lessons with Raff in
Frankfxirt (1880), Returning to England, he
obtained the, post of piano teacher at the
Royal College of Music (1885-1910). He
was a prolific composer, having written more
than 160 opus numbers, mostly in a con-
ventional German style: 5 symphonies, 3
overtures, a piano concerto, a violin con-
certo, 3 piano quintets, 3 piano quartets.
3 piano trios, trio for clarinet, viola And
bassoon, trio for piano, horn and viola, 5
violin sonatas, 5 cello sonatas, a viola sonata,
and more than 200 i>iano works (among them
a sonata, 3 fantasias, and various pictur-
esque pieces such as Idyls; Roses and
Thorns, etc.) ; also more than 200 songs,
choral pieces and organ works. Many of his
chamber music compositions were published)
but he was never given recognition as a com-
poser; however, he acquired notoriety by his
curious letters in the English press dealing
with a variety of subjects. Many of these
letters he collected In his volumes Truth, Wit
and Wisdom (London, 1904) and More
Truth, Wit and Wisdom (London, 1905).
Ashton, Hugh. See Aston.
Asioli, Bonifazio, Italian composer; b.
Correggio, Aug. 30, 1769; d. there, May 18,
1832. A precocious talent, he began writing
music at a very early age. He studied with
Angclo Mcrighi in Parma (1780-82); then
lived in Bologna and Venice as a harpsi-
chord player. His first opera La VolubiU
was produced in Corrcggio (1785) with
marked success; it was followed by Le
nozzt in villa (Oorreggio, 1786); Cinna
(Milan, 1793) ; and Gustavo at Malabar
(Turin, 1802). From 1796-99 he was private
maestro to the Marquis Ghcrardini in Turin;
then went to Milan and taught at the Cons.
(1808-14). Asioli wrote 7 operas in all, an
oratorio Giacobbt in Galaad, many cantatas,
instrumental music and sacred choral works,
etc* He wns the author of several textbooks:
Principi elemtntari di musica (Milan, 1809;
also in English, German and French);
Trattato d'armonia d'accompagnamtnto
(1813) j also manuals for harpsichord, voice
and double-bass. His theoretical book II
maestro di Gomposixione was published pos-
thumously (1836). Bibl.: A. Goli, Vita di
Ronifaxio Asioli (Milan, 1834), also O. S.
Ancarani, Sopra alcunt paroh di Carlo
Botta intorno al me to do musical* di Boni-
faxio Asioli (1836); A* Amade.i, Intorno
allo stile delta modcrna musica di chiesa
(1841).
Asola (Latin, Asula), Giovanni Matteo,
Italian composer; b. Verona, c. 1550: d.
Venice, Oct. 1, 1609. He was ordained
priest; was at Treviso in 1578j then at
Vice.nssa (1581). Later he lived in Venice.
Asola's importance In music history lies in
his early use of a basso continue for the
organ Accompaniment of sacred vocal music.
Tte composed a great deal of church music;
his two txx>ks of madrigals were published
in Venice (1587; 1596; also later editions),
See F. Gafft, Delia vita * dcllt optr* di
Giammateo Asola (Padua, 1862).
Asow, Erich H. Muller von. See Miillcr
von Aaow, Erich H.
Aspa, Mario, Italian opera composer; b.
Messina, 1799, d, there, Dec. 14 1868,
He studied with Zingarelli in Naples. He
produced 42 operas, of which the most suc-
cessful were Paolo Virginia (Rome f April
ASPESTRAND d'ASTORGA
29. 1843) and // muratore di Napoli
(Naplea, Oct. 16, 1850). Hi* last opera
PiVro dt Calais was produced posthumously
in his native town (Messina, March 6,
1872).
Aspcstnxnd, SIR wart, Norwegian opera
composer; h. Frcdrikshald, Nov. 13, 1856;
d, Oslo, Dec. 31, 19-11. He studied at Leip-
zig and Berlin and spent 30 years of his life.
(1885-1915) in Germany. Of his 7 operas
Die Setrnan&braut) produced in Gotha
(March 29, 1894) and later in Oslo (March
18, 1907) was the most successful. His other
operas, all in German, arc: jD<rr Recke von
Lyrskovsheid; tfreyas Alter; Di* Wettt; Dirr
Kuss auf Sicht; Robin Hood and Pervontc.
r, Franz, Austrian composer; h.
1728; d, Vienna, July 29, 178(i, He wu
composer of ballets at the Austrian Court;
the scores of hin ballets Agamemnon, Ifthi-
R<tniat Flor^ Ads and (*alatta and others
have, been preserved. He also wrote the
SirtKspicl, Du Kinder dtr Ntttur and the
music for two of Shakespeare's plays: Mat*
bth .(1777) and 7Vt* Tempts* (1781).
Historically, Asplmayr was important an one
of the earliest Austrian composer* to adopt
the instrumental style established by thft
Mannheim school* He, composed 6' Strenatpi
op. 1 ; () Qua turns conctrtants, op. 2 ; ft
trios, tip. 5; ft Citurj, op. f>, A trio (op,
5, No. 1) ( and a quartet (op. 6, No, 2)
were published by Ricmann m 'Collegium
Muticum*'
r, Ignaz, Austrian composer; 1).
SafaburR, Feb. 11, 1790; d. Vienna, Aug.
31, 1862, He studied with Michmrl Haydn;
in 180fl became orpuniat at Salxburff. In
1815 he moved to Vienna, where he studied
additionally with Kybler. In 1825 wus ftp-
pointed Imperial organist; in 1IW# wax
made one or thr court conductor*, He wrote
the oratorio* Saul und />*'/ $<tutx Tod
and Drtjf (tMbd** and performed them with
the Vienna TonkUnatler Society* He further
wrote 13 Mi>**e*, 2 Requiem*, other chureh
works, and some 60 initrunirntal eoinponi-
tionx, many <>f which were published,
Anton, Hughf EngHuh rompoirr; h,
1480 (?){ <L York, Dee. fl, 1522 {?}, The
dates given above apply te> the *em f a
certain ^Richard Antun of Mawdetiley in
Lanftishtrr, aJMiiviird to l>e the rtwnjx>er
After obtaining hU H,A, (1505*6) and M.A,
(Oct. 30. 1307) from Oxford, he moved
to Cambridge to study cftnon law; he wax
thmwh<n nil life auwit'inted with St John'u
t Cambridge, On May 27, ISM. h
Frvbcnd of St. Stephen's, Went-
minste.r, and in 1515, Archdeacon of York.
Among Aston's authentic works arc 2 Mae
(Te Deum for 5 voieca and VideU manus
mcas for 6 voices); two other vocal works
for 5 voices (Gauds Virgo Muter Christi
and Te Deum laudamus) and .'I fragment*
published in Tudor Chureh Music (vol. X).
More unusual for the time i Anton 1 * //orn-
pip<! for virginals, which ia preserved in a
manuscript at the British Museum and
printed in T. Wolfs Sing- und tfpielmujtik
tins alter s*tit (Leiprig, 19'Jfi). It i the
earliest known piece for the instrument. Of
the ten other dances in this manuscript,
some, notably Lady (forty's Dam(w (printed
in 8. Smith * 'Mustea Anltqua*) may also
be Aston's work. Bibl.: W, H. (rrattan
Flood, Early Tudor tiompMtrs (London,
1925, pp. 30-33),
d'Aatorga, Emanuelc (Gioacchino Ocmc
Rinc6n), Italian c(mpoer of openu; b. Au*
gustn, Sicily, March HO, 1680; d. probably
in Madrid, after 1757, Of a noble Spanish
family which had nettled in Augusta, Sicily,
early in the 17th century; he was a baron
in his own ri^ht, from his estate Oglmstro,
nearby. Later in life he moved to Palermo;
during the revolution of 1708 he was an
officer in the municipal guard. In 1712 he
went to Vienna; and was in Xnaim tn 1713.
He was in London in 1714-1 A; and returned
to Palermo where he became arnator. It b
known that he sold his Sicilian estate in
1744 and went to ^ Spain, where he wus in
the service of the king, D'Antorfta wus widely
known as a versatile and highly educated
person; be was also adept m a singer and
a cembalo player, hut never regarded music
as his primary profession. He composed at
least 3 operas: the first, La m#/iV n*miV<x
was produced at Palermo in iftflfl; the
2nd and most notable. t)tttm> wa* fttnged at
Genoa on April 21, 1 70*1; it w*i* probably
ab heard in Barcelona (170*1) nnd in Rrcs-
hut (172f>) J the third, Anwr tiranniM* wa
given in Venice in 1710 He iilJki wrme
numrmus chamber rnntatitji and published
hintsclf 12 of them in one volume (Ltobon,
172fO. His t>r known work h Stab at Mattr
for 4 voice* j It was first hrard In Oxford
In 1752; a new edition of it w& published
by R, Prang in 1 87ft, In his t? -volume biofc*
raphy of d'Atturic* (UMiTi I9U and 1919).
Hun Volkmann refuten thr tmtwpported
statement of H, Pohl in the tn edition of
Orove'n Dictionary, that d'Astorira died at
Ritudnitx on Aug. 21, 173ft; Volkwiuw alto
expose* the ronmtitict acccnmt of d'AitoriBtii*!!
life published by Roehlit* in volume 11 of
*FUr Freundr der Tonktmrt' (1888) Ai *
fanciful invention* An aper^ Attorjttt, baaed
54
ATANASO V ATTWOOD
on his life, was written by J. J. Abert
(1866). Sec also O. Tiby, E. D' Aster ga in
'Acta Musicologica' (1953).
Atanasov, Georgi, Bulgarian composer;
b. Plovdiv, May 6, 1881; d. Rome, Nov. 1,
1931. He studied in Italy; was one of the
first Bulgarian composers to be fully
equipped with the technique of composition.
He wrote the early national Bulgarian operas
Borislav (Sofia, March 4, 1911) and
Gergana (Stara Zagora, July 1, 1925);
other operas arc Zapustialata Vodenitza
(The Abandoned Mill); Altzek; Tzveta;
also 2 children** operas: The Sick Teacher
and About Birds.
Atherton, Percy Lee, American composer;
b. Boston, Mass., Sept. 25, 1871; d. Atlantic
City, N.J., March 8, 1944. He studied
music at Harvard Univ.; then with Rhein-
bergcr in Munich, with Sgambati in Rome
and with Widor in Paris. Returning to
America he served on various advisory
boards in Boston* He wrote 2 operas '1 he
Heir Apparent (1890) and Maharajah
(1900), a symph. poem, Noon in the Forest,
and numerous songs.
Attaignant (at-tii-nan'), Pierre (also
Attaingnant, Atteignant), French printer
of music who lived during the first half of
the 16th century; d. 1552. He was probably
the earliest printer in France to employ
movable type in music printing. His first
publication was a Breviarium Noviomens*
(1525). He continued to publish a great
many works, including 18 dances in tnbln-
turc for the lute (1529) ; 25 pavans H53Q) ;
a folio edition of 7 books of masses (1532) ;
13 books of motets (1535) and a series of
35 books of chansons (1539-49) containing
927 part songs by French and Flemish
composers. E* Bernoulli issued a facsimile
edition of 4 books, under the title Chansons
und Tanze (Munich, 1914); 31 chansons
arc found in Henry Expert's edition, Les
Maitres musiciens de la Renaissance {ran-
gaise (1894-1908). Of. Yvonne Rihouct
(Rokseth), Note bibliographique sur Attaig*
nant in *Revue dc Musicologie* (1924, No*
10) ; F. Lesure, Pierre Attaienant* Notes et
Documents in 'Musica Diaciplina' (Rome,
1949).
Attenhofer, Karl, Swiss conductor and
composer; b. Wettingcn, May 5, 1837; d.
Zurich, May 22, 1914, He studied in his
native city and later at the Leipzig Cons.
(1857-58) with Richtcr and Dreyschock.
Returning to Switzerland he developed vig-
orous activity as choral conductor and
teacher* He settled in Zurich in 1867; was
appointed director of the Cons, in 1896.
Attenhofcr wrote mainly for chorus; his
cantatas Hegelingenfahrt (1890), Fruhlings-
feier, and Der Deutsche Michel for men's
voices have achieved great popularity. For
women's voices he wrote Beirn Rattenfanger
im Zauberberg) Das Kind der Wuste, Prin-
zessin Wunderhold and Rutlifahrt; he also
compiled a manual Liederbuch fur Man-
ner gesang (1882). Sec Ernst Isler, Karl
Attenhofer (Zurich, 1915).
Atterberg, Kurt, Swedish composer; b.
Goteborg, Dec. 12, 1887. He studied en-
gineering and was employed in the wireless
service; then studied at the Stockholm
Cons, with Hall6n, and in Berlin with Schil-
lings (1910-12). From 1913-22 he con-
ducted at the Dramatic Theater in Stock-
holm; from 1919 he wrote music criticism,
and also served in the Swedish patent office.
In 1940 he was named secretary of the
Royal Academy of Music in Stockholm* His
6th symphony was the winner of the first
prize of $10,000 given by the Columbia
Phonograph Co. (1928) for the Schubert
centennial contest, Attcrberg subsequently
declared that he had consciously imitated
the style of some composers on the jury
(Glazunov, Alfano and Nielsen) in order
to ingratiate himself in their judgment. His
other symphonies arc, however, marked with
the same expansive, romantic qualities as
the winning work. They arc: No. 1 (1911) ;
No. 2 (1913); No, 3 (1916); No, 4, Sin-
fonia ptccQla (1918): No. 5, Sinfonia
funebre (1922); No. 6 (1928); No, 7/n-
fonia romantica (Frankfurt, Feb. 14, 1943);
No, 8 (Helsinki, Feb. 9, 1945). His or-
chestral rhapsody on Northern Swedish folk
tunes, V&rmtandsrhapsodi, written in honor
of Sclma LafferloTs 75 birthday (broadcast
over the Swedish Radio, Nov. 20, 1933),
became one of his most popular works.
Atterberg is the author ot 5 operas, all
produced in Stockholm: H&rvara Harpol*
ekare (Sept 29, 1919; revised as Harvard
der Mariner, and produced in German at
Chemnitz, 1936); Backhasten (Jan. 23,
1925); Fanat (Jan. 27, 1934); Aladdin
(March 18, 1941) : Stormcn, after Shake-
speare's Tempest (Sept. 19, 1949)* Other
works: 9 suites for orch,; symph. poem,
The River; Rondeau rttrosptctif for orch.;
concertos for violin, cello, piano, and horn;
2 string quartets.
Attwood, Thomas, English organist and
composer; b. London, Nov. 23, 1765; d.
Chelsea. March 24, 1838. He was a chorister
at the Chapel Royal under Nares and Avrton
from the age of nine. Following a penorm-
AUBER AUBERT
ancc before the Prince of Wales (afterwards
George IV), he was sent to Italy for further
study; there he received instruction in
Naples from Fttippo Cinque and Gaetano
Latilla. He then went to Vienna, where
Mozart accepted him as a pupil. In 1787
he returned to London and held various
posts as organist. He was also music tutor
to the Duchess of York (1791) and to the
Princess of Wales (1795). A founder of the
London Philharmonic Society (1813), he
conducted some of its concerts. He occupied
an important position in the English musical
world; when Mendelssohn came to London
as a young man, Attwood lent him en-
thusiastic support. Attwood was a prolific
composer of operas, of which many were.
produced in London, including The
(Oct. 18, 1792); The Mariners (May 10,
1793); The Packet Boat (May 13, 1794);
The Smuggim (April 13, 1796) ; The Fairy
Ftstivd (May 13, 1797); The Irish Tar
(Aug. 24, 1797); The Devil of a Low
March 17, 1798): The Made Oak (Jim.
29, 1799); True friends (Frb. 19, 1800);
The Sea-Sid* Story (May I2 t 1 801); The
Curfew (Feb. 19, 1807). In all, Attwood
wrote 32 operas, in some of which he used
material from other composers (he included
music by Mozart in The Prisoner and The
Mariners), He also wrote church music,
piano ion at us, songs and glees,
Auber (oh-hSr*), Daniel-Fran $ois-Ei>rit,
prolific French composer of comic* opera* ;
b. Caen (Normandy), Jim. 29, 1762; d.
Paris, May 12, 1871. Hi* father, an art
dealer in Paris, sent him to Ixmdon to no
quire knowledge of businrsi, Auber learned
music, as well as trade niul wrote several
lonjfli for social entertainment in London.
Polities! tension between France and Knsj-
limd, however, forced him to return to Paris
in 1804; there, he devoted himself exclusively
to musk. Hit pusticdo ISJKrreur d*un mo-
rntnt, a resetting of an old libretto, was
produced by an amateur group in Paris in
1800j hit next theatrical work was fulie*
performed privately, with an aiTwmmmmem
of (5 ftrinjr instruments, In 1811* (fhrruhtni,
who was in thr audience, wan attracted by
Auber's talent and subsequently gave him
sows professional advice, Autor** fine miera
to be given publicly in Pan* was X* $<f)our
Mititeir* (1 81 3), Six ytwri later the Optti*
Oomique produced hu new work I** T*sttt>
mint <t ley bilUt^doux (1819). 1'heje
otierM pasted without favorable notta*, but
his next production, fttrgjre ch&ttlttim
(1020) wai a definite *ucce*i, From that
time until nearly the end of hb life, hardly
a yew elapted without the production of a
new opera. Not counting amatextr perform-
ances, 45 operas from Auber'n pen wrrc
staged in Paris between 18111 and 1H(9. He
was fortunate in having the collaboration
of the best librettist of the time, Scribe, who
wrote (alone, or with other writers) no
fewer than 37 libretti for Aubcr'a operas,
Aubcr's fame reached its height with
Atasaniello, mt la Mu<*tt d$ PMtici t pro-
duced at the Opera, Feb. 211, HU!. It* suc-
cess was enormous. Historically, it laid the
foundation of French grant! opera with
Meyerbeer's K&bert /<r Dieibttt and Koi,iini*
(ruittautntf TetL Its vivid portrayal of pop-
ular fxu*y stirred French and Belgian
audiences; revolutionary riots followed iti
performance in Brussels (Aug. i!A, HMO).
Another popular sueeejs was achieved by
him with his romantic opera 1'rn Dinvoto
(Opfra-CJomique, Jan, M\> !:)), which
became tt standard work* Despite these suc-
cesses with grand opera, Auber may be
rightfully regarded as a founder of the
French comic opera, ;i worthy sucTessttr of
BoiehHru and at least an equal of Adam
and Hlrolti* The influence of Ro^iiti wai
noted by contemporary critic*, but on the
whole, Auber's inusie. preserves ;i diitinctivc!
(jtmlity of its own, Rwwii hitnttrif remarked
that although Aubrr'i music U light, hii
art is tm found, Auber was greatly an-
preciated by the sutrmivc; regimes m
France ; in I B2fi he sueeeeded < *oiiec nt the,
Academy; in IIH2 he wa apjKmitrcl director
of the Paris Clems, by !*imis PhHtpjie, and
retained this post until his death, in
III inatlr him itm^riul
de ehapelle, 1 At the agr if H7 be tmidurrd
his lust opera Mw\ df^mowf. Auoer lived
virtually all his life in PnH*, renmining there
even during the siege by the (frntmm, He
dird, (hiring the days of the I'ttrix (Commune.
in hii fHlth year. His ntem<?ry was honored
by the Academy. Among his operas (most
of which were prodttrrd at the Ot^ra-
(Iomi<jue) are atto the following: fo tintml
d* binnxe (Marrh 81, IBtLI); L* Dnmino
naif (Dec, 2, U$a7); /,w />tow*n*r d* la
(Mnreh ( 1841)!
(Feb. a*. lB5(i)j t* premier jtwr de bt*n-
hwr (Feb. JS, 1868), etr. Biblj A. Pougin,
Aut>*r Paris, 187^ ); A. Kohut Aub*r
(Paris, 187^ ); A. Kohut, Aub*r
(Uljwfe IBM); Ch Mulherbe*
(Parta, (911}*
Aubert (o
vieux'), celebrated Frewh violinist j b Paris,
rpt 30, 16B9? d, Belleville, near 1'aris, May
(burled May 19), 1733. He was A pupil of
HrnniltA; in 17 Hi he became tmntl leader
to the Hukr of Rourboni in 1737 was one
of the King's 24 violinists j ho pUyrd in the
AUBERT AUBRV
orch. of the Grand Op6ra as first violinist
from 1728-52, and took part in the Con-
certs Spiritucls (1729-40). He published 33
separate instrumental works; was also the
first in France to write instrumental con-
certos (scored for 4 violins and a bass). His
music, distinguished by elegance, contributed
to the formation of the French 'style galant.'
Bibl.: L. La Laurencie, L'Ecole frangaise
de violon de Lully d Viotti (Paris, 1922-23),
Aubert, Louis-Francois-Maric, French
composer; b. Param6, Ille-et-Vilainc, Feb.
19, 1877. Of precocious talent, he entered
the Paris Cons, as a child, and studied piano
with Di6mer, theory with Lavignac and ad-
vanced composition with Gabriel Faur6; he
also sang in church choirs. His song, Rimes
tendresww published when he was 19. His
Fantaisie for piano and orch. was performed
in Paris by the Colonne Orch. with his
teacher Dicmcr as soloist (Nov. 17, 1901)*
His Suit 6 breve for 2 pianos was presented
at the Paris Exposition, 1900; an orchestral
version of it was performed for the first
time in Paris on April 27, 1916. Aubert's
major work is an operatic fairy tale La
For$t bleue (Geneva, Jan, 7, 1913) ; an Amer-
ican production was staged in Boston, March
8, 1913, attracting considerable- attention.
The Paris production of La For&t bleue,
delayed by the war, took place on June 10,
1924, at the Op&ra-Gomique, Aubcrt** style
is largely determined by the impressionistic
currents of the early 20th century; like
Debussy and Ravel, he was attracted by the
music of Spain ^and wrote several pieces in
the Spanish idiom, of which the symph.
poem Habanera (Paris, March 22, 1919)
was particularly successful. The list of Au-
bert's works further includes: La LJgend*
du sang for narrator, chorus and orch*
(1902) ; 3 ballets, La Mamie (1903) ; Chry*
sothtmis 1904) and La Nuit ensorctlee
(1922); Q poemes arabes for voice and
orch, (1907); a song cycle Crjpuscules
d'automne (Paris, Feb. 20, 1909); ATtifo
mauresque for voice and orch, (1911);
Dryade for orch, (1921) ; Caprice for violin
and orch, (1925) ; Feuilles d'imaftes> symph,
suite (Paris, March 7, 1931): Saisons for
chorus and orch, (1937); Offrande aux
victimes de la guerre for orch, (1947) ; Le
Tombeau de Chateaubriand for orch. (1948) ;
Cinfma, ballet (1953); a set of 3 piano
pieces Sillages (1913); a piano quintet,
songs etc. Bibl.: L. Vuillemin, Louis Aubert
et son otuvre (Paris, 1921); E, B. Hill,
Modern French Music (1924); R. Bernard,
Louis Aubert in *L* Revue Musicale' (Feb.
1927),
Aubery du Boulley (boo-13,'), Prudent-
Louis, French composer; b. Verncuil, Euro,
Dec. 9, 179G; d. there, Jan. 28, 1870. He
studied at the Paris Cons, with Momigny,
Mhul and Ghcrubini. He wrote much
chamber music, in which he used the guitar ;
published a guitar method knd a text book
Grammairc musical^ (Paris, 1830). He^was
an active teacher in his native province,
and contributed much to the cultivation of
music there. See J. do L'Avrc, Aubtry du
Boulley (Paris, 1896).
Aubin, Tony, French composer; b. Paris,
Dec. 8, 1907. He studied at the Paris Cons,
with Paul Dukas; won the Prix de Rome
in 1930. In 1944 he became a radio con-
ductor; in 1946 was engaged as prof, of
composition at the Pans Cons. He has
written 2 symphonies (1937, 1951); Suite
danoise for orch. (1945); a string quartet,
a piano sonata, and incidental music. A
utilitarian composer par excellence, Aubin
cultivates a neo-classical style designed for
immediate effect.
Aubry, Pierre, French music scholar; b.
Paris, Fob* 14, 1874; d, (following a fencing
accident) Dieppe, Aug, 31, 1910. He began
his education as a philologist; studied ori-
ental languages, and traveled to Turkestan
on a research project* He then became in-
terested in medieval music; was, for a time,
lecturer on music history at the ficole des
hautcs Itudes socialcs. His theories of no**
tntion are based on a plausible interpreta-
tion of medieval writm. His many
publications, distinguished by profound
scholarship, include: Hults Chants htroiques
d& l*ancinnc Prance (1896); MJlangts dt
Musicologi* critique, in 4 vols.t I. La Mu
sicofagi* mtdttvale (1899); II. Les Prow
d'Adam de Saint-Victor (1900, with Abb6
Missrt) ; III. Lais tit D escorts frang&is du
XI H* sticle (1901, with Jcanroy and Brand-
in) ; IV- Lts plus ancitns monumsnts de la mu-
sique frang&is* (1903, with 24 facsimiles);
Essais d* music ologi* comparte, 2 vola.: I.
L* rhythms tonique dans la poisit liturgiqus
t dans le chant des jftlises chrhiennes an
moyan-ag (1903) ; II. Esquissd d'uni biblio-
era phi* de la chanson populairt en Europe
(1905) ; Les earactires de la danst. Histolrt
d'un divertissement pendant la premiere
moitit du XV1U* slide (1905) : A<u Turkes-
tan. Notes sur quelques habitudes musicdes
chex les Tadjikts et chtz les Sartts (1905);
La Musiqut et les muslciens d'tglise en
Normandfe au XIW sitcte (1906); Estam-
pies et detnses roydes. Les plus anciens textes
de musique instrumentale au moyen-ag*
(1907); Rechtrches sur les tJnors franfois
57
AUDA AUGUSTINE
dans Its motets du X11F siMe (1907) ; #<?-
cherchfs sur Us tjnors latins dans les motets
du XIII' jriV!cr/<r / H)()7 ; facsimile ed. of the
Parisian MS,, with index and cditori.il ex*
planaticms) ; Cent Afotrts du XIII* stifle
(1908; !i vols. ; photographic facsimile of
Bnmbcrg Codex K. d. IV. (i, with annota-
tions; a most important work) ; Refrains tt
Rondtaux du XIII* siM<> (HW<), in thr Rie-
mann *Fet.iehrift' ) ; Trnnvtrrs rt Troubn-
dour* (!<>()<); English ed. N. Y M l!)M); and
a number of essays on kindred topics, puhl.
in the 'Mereure musical' (1903-8),
Auda (oh-dah'), Antoinc, French-Belgian
organist and music scholar; b. at St. Julicn-
rn-Jarrse (Loire). Oct. '-IB, 1 879, He studied
music at Marseilles; then established hmutclf
at Li^ge as organift; published important
t ut! I'M on the nmfiieaJ history of the city:
fitinnt df Litgt (1912H); La Afuxiqvf ft
Us Musidtns d /Vmifcn pays dt Lijfft!
(15)30); and thr valuable theoretical works:
/>j? Modes ?t Its Tons (1931); and Les
(1947).
Audran (oh-drahtt*)^ Edmond, French
composer of light opera; *cm of Mariu*
Audran; b. Lyon, April 12, 1840; d.Tieire-
villr, Aug. 17, IDOL He itutiied at the ficole
Niedermayer in PwrU (grad, in l#3f)). In
1BB1 he wjvs appointed orgttnbt at St.
Joseph** (ihurch In MixrteiUri where he pro-
duced hi* firt operetta ISOurs ft IP Patha
(1862). Itc* wrote u funrrnl march on
Mcyerberr'a tleath (1B64), Aftrr thr pro-
duction of Lit (*r#nd M&RQI (Mrefllr,
Frtn 24 f 1U77), he returned to Pari> and
tfffd LtsttMts d'Olwftt* (Nov* 13, !B7f)).
With the production of IA Mtutott*
(lJtnUre<-Pamien, Dec. 28 t 18BO), Aiulran
nehirvrd fiunr; thin oprreU* hrcamr n
mrnitrly popular; thousand* of prrfortnance
wrrr given in I'arin nd all ovttr thr world*
He eontintiec! to produce new oprrrtta wJ-
moftt nnnuttlly; of the*e, the* following wrrr
*urcrisful: (Mletlf dt Narbonn* (1BB:0;
La C>\wte it la fourmi (IB8<$) i Mm Utlyttt
\ ) ; Smntt firrya ( IS92) ; Mndwnt
(ias>): Mdn Print* (IWW; In
fa I^Vrww (1805) t > Photit
fa (18f>6); Mvntitur t<
; Lts p/dtts ttmmts (1897).
Audran, Miirhs-PJcrre^ French opratU*
tenor and rorflponcr of iongi; father of
Kdntond Awdran; b, AJit, Frbvctter, Jietn.
26, 1816; d, Miir*eHlei, Jan. 0, 1887. lie
began hi career in the province* (Marseille*,
ISordeawx, Ifyotu); then bfetttw fine tenor
at the Op4raComique, Parii. After a period
of travel (1852*61), he settled In Mancillr*
and in 1863 became prof, of voice and dir,
of the Marseilles Conn.
Aucr, Leopold, celebrated Hungarian vio-
linist and pedagogue; b. Vesypr^ni> June. 7,
18-1-5; d. Lo5chwitt!, near I)resden, July 15 >
1930. He atudiec! with Hulley Kohnel in
Budapest and with Dont in Vienna; later
lessons with Joachim. Front lB63-bT> he wa
in Dvmeidorf an concertmnnter of the or-
chestra; in !B(iG in Hamburg. In 18(>U he
was called to St. Pelerulnirg u?t nolom in
the Irnprriid Orch., and prof. tf violin at
the newly founded (Inna. He became one,
of the most famous violin teachers in KuAia;
among his pupils were Khnan, Ximbalint,
Heifet^ and many other virtuosos Tchaikov-
sky originally dedicated bin violin concerto
to Auer, but wa offended when he smfj-
geited xoine revii(mn and changed the dedi-
cation to IJrodaky. Nevertheless the concerto
became Auer'i favorite w<rk and he made
it n flifon d<t rhhttmt* for nil hid pupil*.
After thr revolution he Irft Kunnia, On
March '43 1918, he played a ctmcrrt in
New York (Jity; nettling permanently in
America, he devoted htinnetf rxcHmively to
teaching. !!r publishr<} thr imtmmi* Vwlin
Waving a* I r /W/t it (N, Y, 19^1), I'Min
Matt*? Wwkx and Thtir tnttrfMtMion
(li>*-J5), and an autobioftraphy My f*(*ns
Uf* in Mutie (Ji)M).
Auer. Max* Atttrttn writer 011 muxtr;
b. Vocklahruck, Mny 6, I8n. He xtudted
in Vienna; later taught in provincial public
schooU; settled in Had fa'ht, He i th
foremost authority <^t Urucknrri published
Antun /Irur'AniT/AVin Ltbtn untt WVr X (Vten
na, I?)2JM ; Antvn ftnttkwt tth Kirrhmmvii*
k*r (ReKensburg. 1*127) ; nirntiietml voli, 2-4
(lf)28, t3L>, \M1) of milerirh^ ttitmttmrnt-
biography, Ant&n Rrurkntr; Kin
Augencr George, RnglUh iwblUher, fmm*
der of Augener A O.; b. ttrrnuny, 18HOi
d, London, Aug. 'Jlf, I^t5 He organized
thr firm in 185U ( inrcrpttraf e<i <)rt H,
HUM), and wan its head until he retired in
HUU. In 1H70> Aurner started publhhintf
thr nniaJr prrkxiical *l*hr Monthly Muvkal
Rrcnrd,' In 18<)0 the ftrtn jMWWturfl the
entalogur of K**l>rrt ttoeka Kt (to,
; b. Ta ,***% NumidU,
5i; d. tu bUhop, at Hippo (now Hona),
Algeria, AUK. 2U 430, St, Auijunine wai
nr of the four Krrat father* of the LatJn
Church, He wan educated at Mmtaura and
Carthage, He heeame a Chriutmn in 387,
receiving hit baptium from St, Ambrose, Ha
AULIN-- AUSTIN
writings contain valuable information con-
cerning Ambrosian song; the book entitled
De Musica treats largely of metre. It is
printed in Migne, Patrologiae cursus (vol.
32); German translation by C, J. Perl
(Strasbourg, 1937); English translation by
R. Gatcsby Taliaferro in The Classics of the
St. John's Program* (1939). A synopsis of
De Musica in English (with commentaries
and translated by W. F, Jackson Knight)
was published by the Orthological Institute
(London, 1949). Cf. J. Kurd Saint Augustin
Musicien (1924); H. Edelstein Die Musik-
anschauung Augustins (Freiburg, 1928); W.
Hoffmann, Philosophise he Interpretation der
Augustin-Schrift De Musica (Freiburg,
1930); H. Davenson, Traite de la musique
selon V esprit de Saint Augustin (Ncuch&tcl,
1944).
Aulin, Tor, Swedish violinist and com-
poser; b. Stockholm, Sept. 10, 1866; d.
there, March 1, 1914. lie studied with G,
J. Lindberg in Stockholm (1877-83) and
with Sauret and Scharwcnka in Berlin
(1884-86). In 1887 he established the Aulin
String Quartet, and traveled with it in Ger-
many and Russia, He was concertmaster at
the Stockholm Opera from 1889 till 1902,
but continued his concert career, and was
considered the greatest Scandinavian violinist
since Olc Bull. Aulin was appointed con*
ductor of the Stockholm Philharmonic See,
in 1902; became leader of the Gciteborg
Orch, in 1909. As conductor and violinist,
he made determined propaganda for Swed-
ish composers* He wrote incidental muaic to
Strindberg's Master Olof, 3 violin concertos,
several suites of Swedish dance* for orch,,
violin sonata, a violin method and songs.
His sinter Laura Aulin (b. Giivlc, Jan. D,
1860; d. Orebro, Jan. 11, 1928), was a
well known pianist; she also composed
chamber and piano music,
Aurclianus Rcomcnsls, French scholar;
monk at RSom6 in the 9th century. His
treatise Musica disciplina (published by
Gerbert in 'Scriptores/ Vol. I) contains the
earliest information on the melodic character
of the church modes* Se.e^ H. Riexnann,
Handbuch dtr Musikgtschichte (Leipzig.
19t9, voL I).
Auric (oh-rfck), Georges, French com-
poser; b. Lodcvft Feb. 15, 1899, He studied
m Paris with Vincent d'Indy and Rouasel,
but began to compose even before receiving
formal tuition. Between the ages of 12 and
16 he wrote some 300 songs and piano
pieces; at 18 he wrote the ballet Les Nocts
d* Gamache; at 20 a comic opera La Rein*
de cctur, but destroyed the MS. Influenced
mainly by Erik Satie, he pursued the type
of composition that would, in his own words,
produce "auditory pleasure without demand-
ing a disproportionate effort from the
listener." Auric became associated with
Milhaud, Poulcnc, Honeggcr and others in
the celebrated group *'Lcs Six." He wrote
music for Diaghilcv's Ballets Russcs, and
later for other ballet companies. In 1931
he composed a highly successful score for
the film A nous la libertt; another effective
film score was Moulin Rouge (1952). He
has also been active as music critic in *Paris
Soir' and 'Nouvcllcs Iitt6raircs.' Works: Bal-
lets: Les Fdcheux (Monte Garlo, Jan. 19,
1924) ; Les Matelots (Paris, June 17, 1925);
La Pastorale (Paris, May 26, 1926) ; Les fin-
chantements d'Alcine (Paris, May 21, 1929) ;
Les Imaginaires (Paris, May 31, 1934); Le
Peintre et son models (Paris, Nov. 16,
1949) ; La Pierre enchantee (Paris, June 23,
1950) ; Chemin de Lumiere (Munich, March
27, 1952); Coup de feu (Paris, May 7 f
1952), Bibl.: Boris dc Schloczer, Georges
Auric, in 'La Revue Musicale* (Jan,, 1926).
Aus der Ohc, Adclc, German pianist; b.
Hanover, Dec. 11, 1864; d. Berlin, Dec, 7,
1937. She studied as a child with Kullak in
Berlin; at the age of 12 became a pupil of
Lisxt for seven years. She then played con-
certs in Europe; made her American debut
with Lisxt's 1st piano concerto in New York
(Dec, 23, 1886) and continued her Amer-
ican tours for 17 consecutive years. She
played 51 times with the Boston Symphu
Orch, between 1887 and 1906, One of the
highlights of her career was her appearance
as soloist in Tchaikovsky 1 ! 1st piano con-
certo under Tchaikovsky's own direction at
his last concert (St. Petersburg. Oct. 28,
1893). Because, of a crippling illness, she
was forced to abandon her concert career;
she, lost her accumulated earnings in the
German currency inflation in the 1920*s,
and from 1928 till her death, subsisted on
a pension from the Bagby Music Lovers
Foundation of New York.
Austin, Ernest, English composer, brother
of Frederick Austin; b, London, Dec. 31,
1874; d. Wallington, Surrey, July 24, 1947.
He had no formal inimical education; began
to compose at the age of 33 after a business
career. His compositions* therefore, acquired
an experimental air; he was particularly
interested in a modern treatment of old
English tunes, Works (about 90 in all):
The Vicar of Bray for string orch. (1910) ;
Hymn of Apollo for chorus and oreh. (Leeds,
1918); Stella Mary Dances (London, 1918);
Ode on a Grecian Urn t after Keats (1922; ;
14 Sonatinas on English folk songs for
59
AUSTIN AVERKAMP
children; a cycle of organ works in 12 parts
(inspired by Bunyan's Pilgrim's Progress);
chamber nuuuc and SOHKB. He published sv
book, The Fairyland cf Music, (1922).
Austin, Florence, American violinist; [>.
Gulesburg, Mich., March 11, 1884; d. (in
a railroad accident) Fuirchild, VVis,, Aug.,
1920. She studied with Srhradirrk in New
York, and with Musin at Lic.go Conn.. win-
ning fim pme (for the first time ny an
American). Upon her return to New York
(1901)^ ihc appeared in recitals, then
settled in Newark, N. J., as violin teacher.
Austin, Frederick, Kngliith baritone and
compiler; brother of Krnct Austin* 1).
London, March 30, 1872: d. there* April
10, lf)52. lie studied with his uncle. Dr.
W. II. Hunt; became, an organist and also
tnuftht muiuc at Liverpool. In 1902 he ap-
peared a a linger in London, and partici-
pated in nmny choral fctiv*tl* in later year*.
He aung in oj>ern at Covent Garden, and
with the licccwtm Opera C<> At the numr
time he became known in England aft a
composer, lie wrote a symphony, ft nymph.
poem habdta* a choral work /Vruf#i/ium
Kitn<fm and nn overture Thf *SV<? Vtntuttrs
and tfompogcd incidental muiic, for the
Austin, Henry Richtcr, EnKlinh-Americ*tn
mufttr publtuher and editor; b. Ixmdon, May
1 7, !Hft2. He v/iu organ i*t at the Kn^Hnh
Koyal Church in Berlin (IfM-UW); then
nettled in thrr IJ,8. occupying positions nn
r.hurch organist in and around ftcwttm until
1948* He him conducted oxperimrritu with
the ncouitlcal eharactrmtic,* of non-tempered
9t*alfti and drviftrd a keytK>ard Mwafm* of
16 key* (8 white, # blnck) providing the
true ic.vrnth partial trme, Bec.mttc prc*itlent
of th Arthur I*. Schmidt <Io, in I&M (after
muny yeu with the* linn)*
Auntin, John Turncn, Engliwh-Arnerit'itn
orKuniit; b. Poddington, BrdfordRhire, May
Ifi, I89; d* Hurtford, tkmn., Sept. 17,
HHB* He rurne to the U.S. in UifW muf
worked fur various or^un Inutding firms.
On Mairth 3> 1899 he founded un ortfun
company under hU own name? at Hartford,
Clonn,, retiring in 1933. He patented thn
Awidn UnlvenwU Air Chent. f I1tr Au*tin
Organ C7o, 5uppHrd organ* for nuwy concert
hulb in the U.S.
Autin, RI^hArdt English conductor; Km
of Frrderlrk Au*thij b, Brk*nhrn4. Dw, 26,
100S, Hi? ntutitVtl ctmducting with Hir Adrian
lioult and Sir Malcolm Sargtrnt at the Royal
College of Music j then conducted the Owrl
Rcua Opera Co. From 1934-40 h<s led the
Bournemouth Orch, During World War IX
he was Music. Advisor in the Britiah Army,
In IJM(>, wa appointed prof, at the Royal
College of Music. In 1047 he established
in London the New Kr;x Concert Society
for performances of unusual works,
Austin, Sunnier, English baritone; b, Lon-
don, Sept. 24, UUm. He studied ;it Oxford:
went to Cernwny in 1914 and wua interned
there during World War L He w;ia a mem-
ber of the Carl Roan Opera Co. in lftl<)j
in later years he became an operatic
producer in London.
Austral, Florence, Australian soprano
(real name Florence Wilson); h. Melbourne
April 26 f l&M. She studied at the Mel-
bourne. Cons, (1914-1 B ) and in New York
(1918). She made her operatic debut ru
Brftnnhilde at Covent (riirclen (May 16,
H)2Ii); hiter he sung the nIes of Ioldtt
and Aidst. She toured in the U.S. between
1925 and 1931 with her husband, the
flutist John Anuulio.
Autcr! Mnnxocchi (m;upt!iuh-k^) Sftlvn-
tore, Italian opera cowpmer 1 , b. Palermo,
Dec, 25, IB-15; <!, Pwrirm. Feb. 2^. 1924.
He studied in Palermo vmh PbtwnU, and
with Miil^ellini in Florence, His itrnt opim
Mttrwllina was never perfornterl ; his second,
nottwx (Florence, Feb. fcri, 175) enjoyed
i'onMtdernole sttccrsn, as die! Xtrtta (Pi.ueir/u,
May 22, HUH)). His other operas arc //
Wijf>w (Milan, I7)j // (f;m^ d*
tiMthtn (Milan, 18H7); CtntjeMfo (MUiin,
Oct, 23 t l*W) find ^I'ff* 7*wrWK < Bologna,
April 'A H)0:$).
d'Auvernfn*?, Antoin**, Kef
Antoinc*
Avi*ntinus Johannes (real n4me Ttmnair),
Cvrntmn theorist ; b. Abrnsberj{ (whi*nrr
Avrntinus), July 4, 1477; cX. there, Jan* fy
1JW4. Jliit treittie ^nn^jf lltnvrum (1554)
contiiittH <'<jnaiderable tnfornmtton (not ftl-
wnyn trustworthy) ntmut nutiiral matter*,
He nlfto edited Nifulaux Fatver^
rutlimtnta adrnvttum brtttiti (If* I ft),
Averknmp, Anton, Dith-h rhoral
ttnd composer; b, WiU>* fmtf((*mk,
iH f Ui61; 4, liunxutti, June 1, 1934. H
ntutiird with Dunirl de Lan^e in Am*ter-
clanu with Frictiricb KM in Urrlin, nnd with
Khembrrflpr in Munich. In ltl!)U b ftmlc*4
the fitmouH chorus, 'Amitertbtn A C!rtpjellH
Coor/ with which he traveled in Eunp,
prenrntinjf progrftwa of early polyphonic
muniti. He led thii group until 1#!8; thru
wiu apjKilntfd director of the MunJc School
of Tonal Art In Utrecht, In !#t27 h* wa
chairman of thft *VfffcnIi(ing voor
Avrr-
60
AVIDOM AXMAN
kamp wrote an opera De Heidebloem (not
produced) ; a symph. poem Elaine and
Lancelot; 2 choral works with orch., Decora
Lux and Die versunkene Burg; a symphony;
a Te Deum; a violin sonata and songs. He
contributed numerous historical articles to
music periodicals, and published a manual
for singers, Uit mijn practijk (Groningcn,
1916).
Avidom, Mcnahem (real name, Mahler-
Kalkstein), Israeli composer; b, Stnnislawow,
Poland, Jan. 6, 1908. He studied in Beirut
and Paris; since 1935 settled in Tel-Aviv
as teacher and composer. For several years,
managed ^the Israeli Philharmonic Orch.
Among his works are a Polk Symphony
(Tel-Aviv, March 5, 1947); David Sym-
phony (Tel-Aviv, Dec. 1, 1949); chamber
music and songs.
Avison, Charles, English organist and
composer; b* Ncwcastlc-on-Tync 1709 (bap-
tized Feb. 16) ; d. there, May 9, 1770, After
studying with Gcminiani in London, he be-
came organist at St. John's Church, New-
castle (1736). He wrote a large number of
chamber works, among them 26 concertos
a 7 (4 violins, viola, cello, bass), 12 piano
concertos with string quartet, 18 quartets
for piano with 2 violins and cello, and 3
volumes of sonatas for harpsichord with 2
violins. He also published An Essay on
Musical Expression (London, 1752) and
(with J. Garth), Marcello's Psalm*
Paraphrases (1757; with English words),
Bibl.: A. Milncr. C. Avison in the 'Musical
Times' (Jan,, 1954).
Avshalomov (Shv-shSh-loh'-niov}, Aaron,
Russian-American composer; b. Nitcolayevsk,
Siberia, Nov. 11, 1894. He studied at the
Zilrich Cons.; in 1914 went to China; there
he made a profound study of native music,
and wrote a number of works based on Chi-
nese subjects, often utilizing authentic Chi-
nese melodies, On April 24, 1925, he con-
ducted his first opera Kuan Yin in Peking.
His 2nd opera, The Gnat Wall, was staged
in Shanghai on Nov. 26, 1945, and also suc-
cessfully presented in Nanking under the
sponsorship of Madame Chiang Kai-Shek.
His other works written in China (all per-
formed in Shanghai) arc; Peiping Hutungs,
symph* sketch (Feb. 7, 1933; also perf, by
Stokowski in Philadelphia, Nov. S. 1933);
The Soul of th Win, ballet (May 21,
1933) ; Incense Shadows* pantomime (March
13, 1935)j piano concerto (Jan. 19, 1936);
violin concerto (Jan. 16, 1938); 1st Sympn-
ony (March 17, 1940, composer conducting) ;
(March 17, 1940, composer conducting);
Buddha and the Five Planetary Deities,
choreographic tableau (April 18, 1942).
Avshalomov came to America in 1947, and
settled in New York; works composed since
then arc: 2nd Symphony (Cincinnati, Dec.
30, 1949) ; 3rd Symphony (1950) ; 4th Sym-
phony
Avshalomov, Jacob, American composer,
son of Aaron Avshalomov; b. Tsingtao,
China, March 28, 1919; his mother was
American; his father, Russian. He studied
music in Peking; in 1936 he was in Shang-
hai, where material circumstances forced
him to work for a time in a slaughterhouse.
In 1937 he came to U.S.; studied with
Ernst Toch in Los Angeles; then with Ber-
nard Rogers in Rochester, N.Y, From 1943-
45 he was in the U.S. Army as interpreter.
From 1947-54 he was instructor at Columbia
Univ.; received a Guggenheim Fellowship
in 1952; in 1954 he was appointed per-
manent conductor of the Portland Junior
Symphony. His music reflects the many
cultures with which he, was in contact;
while the form is cohesive, the materi-
als are multifarious, with ^te.nse chrom-
atic harmonics and quasi-oriental B in-
flections. Compositions: Sinfonietta
(1946); Evocations for clarinet and cham-
ber orch. ( 1 94-7 ) ; Sonatina for viola and
piano (1947)j Prophecy for chorus, tenor
and organ (1948); Taking of T'ung Kuan
for orch. (1948); Tom Q* Bedlam for chorus
(N.Y., Dec. 15, 1953; received the N. Y,
Music Critics Award) ; The Plywood Age
for orch., commissioned for the, 50th anni-
versary of the, Fir Plywood Corp. (Portland,
June 20, 1955); Psalm 100 for chorus and
wind instruments (1956); Inscriptions at
the City of Brass for chorus, narrator, and
large ore.h., to a text from the, Arabian
Nights (1956).
Axnian, Emil, Czech composer: b. Ratajc,
June 3, 1887; d. Prague, Jan, 5, 1949.
Of a musical family, he began to compose
at an early age.* He later studied with
Ne.jedlf at the Prague Univ,, obtaining his
Ph. D. in 1912; he also took private kssons
with Novdk. In 1913 he was appointed
keeper of the musical archives at the Na-
tional Museum in Prague. Ho participated
in the modern musical movement but was
not attracted by the spirit of experimenta-
tion, Axman was a prolific composer: he
wrote 6 symphonies between 1920 and 1942
(his 2nd symphony was performed at the
Frankfurt Festival, July 3, 1927); the
eantatas My Mother (1926) and The
Cemetery of Sobotka (1933) ; symph, poem
Mourning and Hope; violin concerto (1936) ;
61
AYAI A AZZOPARDI
piano concerto (1939); cello concerto
(1944); 4 string quartets, wind quintet,
violin sonata, piano sonata; several song
cycles.
Ayala, Daniel, Mexican (Indian) com-
poser; b. Abald, Yucatan, July 21, 1908.
He, studied violin with Kevucllas; played
at night clubs in Mexico City. In 19-H) ho
became conductor of the band (later sym-
phony orch.) in M^rida. His music, inspired
by Mayan legends, has a strong rhythmic
undercurrent. Among his works are the
symphonic suites f/n Xn/i#u<> Ctmttttio
(Mexico Clity, Oct. 13, 1933); TrM (ibid.,
Oct. 18, 1935); faisajt (ibid., June 2,
19.%); El Hombre Maya (ibid., Nov. 21,
JSHOJ; Panoramas d* Mexico (Dallas, Dec.
1> 1!)40). They have also been uaccl {or
ballet productions in Mexico.
Ayentar-tn, Lauro, Uruguayan nmntcolo*
gut; b. Montevideo, J[uly 9, 1913. He
studied voice and music, history; became
instructor of choral music in municipal
schools in Montevideo, He is the author of
thtt important monograph Dt*rn<*nieo #i/w/t,
*t gran fiQmpositvr y <*r#rt/wf romana #n
d /{*0 d let Hrtttt (Montevideo, 1!M1).
Ayres, Frederic (real namr, Frederick
Ayres Johnson), American composer; b.
Binfthnmtott, N. Y. f March 17, 187fi; d.
Colorado Springs, Nov. i!3 f H)2#. He studied
with Kdgnr 8. Kellr.y (I97-liW)l) and
Arthur Foote (18W)* His works include
an overture /'Vow the Plains; 2 string cjiwr-
teta, 2 pinna trios, 2 violin wtmitnu. ^i eeH
sonata uiul numerous songs. In hi* Liter
music: he showed a tendency towards im-
ttrr&ironum, and used moderately complex
hanwmie combination*, Rihi.: Win, T.
Upton, Frttltttw Ayrts, in th *Mu,
Ayrton, Kdmund* KnKli\h org*utiiit and
composer; fathrr of Wiltium Ayrttm; b*
Rimw, Yorkshire, 173^tj tl. London, Muy
22, IBCMI, Hr studied organ with Narca;
frtm 1 7 54 he w;w organist in various
churches; in I764 ws appointed a (tfntle-
rtmn of thr CJhaprl Royal in !*omicm; in
17BO Jennie Mwt**r of thf Chiltlrrn, His
iinthfm faith unto my (fad wiih Timbrtts
WH ptrnnttrd in St. I'm*!*! <'th(*ilral (July
2ft f 1704); hf alo wmtr 2 morning awt
ti William, Kn#!!*h ori?;inUt! wm of
Edmund Ayrton t b, fxmtkm, Frh, M. 1777;
Chronicle* (1813-26) and for The. Exam-
iner' (1837-51). In 1823 1 he started the,
publication of the historically important
London music periodical 'The Hurmonicon/
and was its editor; from 1834-37 edited
'The Musical Library/ which published
vocal and instrumental music. He also com-
piled a practical collection* 'ftaercd Min-
atrrlay 1 (1! vols,, 1835).
Azantchcvsky, Mikhail Pavlovitch, Russian
music, scholar and composer; b. Moscow*
1838; d, there, Jan. 24, 1881. He studied
music with Hauptmann and Hichter at the,
LrtpyifC C!on. (18(il-ft2) and t<nk sonic lei-
M)HR with Li,T/t in Rome, During his sojourn
in Paris (18f>f>-70) he |>urchaed the im-
portunt nmsic lit>rivry of Anders; later htj
j)resented it, together with other nc.quUittons,
to the St. Petersburg (Itins* of which he was
director (UJ70-7t>). He wrotr^ a concert
overture, 2 string quartets, n pinno trio, a
cello somitAk sonic* chtrul w<*rks and a
Fetfival Ptilttnttis* for 2 puinon, lu well as
solo piano pieces.
Axcvcdo (ah-ac'-vMoh*), AlcxJ-Jacoh >
French writer on music; b. IlnrdrauXt Starch
18 1813; <}, Paris, Dec. 21, 17S, Hr was
a prolific contributor u *Ie M^nrstrrl 1 ami
other French muftic, nta^;t/ine ; puhlish^d
monographs <m F^ticirn n<wid (lrto'3) and
Rossini ( 1 864 ) ; a pmnphle t, f*a twitf tw
Rfluftft d* tM *t hi MAfuMaiw (Dieppe,
IH(ii); La trantpmitwn /nr /^r ntwt
(Paris, 1874); a collection of articles
rMhfs malatitu (1874),
ami mu^icoUKi*t ; h, f,cquritio, Aug.
t.-J; (1. Htthao, Nov. 9, 1 ( )!H, He mudird
in Spain , then wrnt to Paris and
iiunir ui the Hch<4a {tarttorum, He
wrote ii <mrranj Ortxuri (WiUmo, J*tl) wml
f/r/o Uiimao^ HH3) to Huu|ui: t**xt; an
oratorio Dfintft atl a 7V tt*urn; atvt jw*v-
rnil /amirlai. He published a vaiu^hlt* col-
lection Cunmnifrrt J^<if*> (11 volO and
L\t*ttit\tttt fiofiutar dvl pah Vawt* (4 voli, t
the hut cnnuininK musfcnl ex;utiple),
education; w;u <me of the or i id tut 1
of the I>ontJon Philharmonic 5kn\ in
wrote music crttic.Um for 'The Morning
Fr*nerco, It^Hait
mtc throrixt imd t'omt!K*rrj h.
MhN, Maty 5, 174j d. thrrr, *Yh, 6 1809.
Hi* faint* rent;) on the m'hmil manual // my*
jV< pfGttiw (!7fOK puiIih<*d by Frmu^ry
Srt lrf*nch trannlntmn (P^rU, 1786) and
juotr4 by CJhrrnhini In hh rourw? tm
rounterrmint and fuue ami by CJr^try. He
nlno cfjfuposed *nerrd ftiuiir ittcludlnj< an
oratorio /** /'flmon* f> Crivf*. <tf, P.
Pullicmo, M*uw bwgrafieti di
AtwfinrJi (1876)*
BABBITT BACEWICZ
Babbitt, Milton, American composer; b.
Philadelphia, May 10, 1916. He studied at
Princeton Univ. and in 1938 became an in-
structor there; also taught mathematics. His
music is couched in an abstract style; the
titles of his works are indicative of this
tendency: Composition for 4 instruments
(1948); Composition for Viola and Piano
(1950); Composition for 4 wood wind in-
struments (1953), etc. In 1948 he adopted
the 12-tone method of composition, expand-
ing it into the domain of rhythm (12 basic
rhythmic values in a theme) and into in-
strumentation (themes of 12 notes played
successively by 12 different instruments).
Babin, Victor, pianist and composer; b.
Moscow, Dec. 13, 1908; studied at the Riga
Cons.; then with Schnabcl in Berlin (1928-
31). He married Vitya Vronsky (q.v.) on
Aug. 31, 1933; they came to the ILS. in
1937; have toured widely as a two-piano
team, Babin has written a concerto for 2
pianos and orch. and etudes for 2 pianos.
Babini, Matteo, famous Italian tenor; b.
Bologna, Feb. 19, 1754; d. there, Sept. 22,
1816. He studied with Cortoni; made his
debut in 1780; then toured England, Russia,
Germany and Austria with great acclaim.
He settled in Paris as a court favorite until
the Revolution forced him to leave France;
he was in Berlin in 1792 and in Trieste in
1796. Brighenti published an 'Elogio* in his
memory (Bologna, 1821).
Babitz, Sol* American violinist; b. Brook-
lyn, Oct. 11, 1911. He studied in Los An-
geles; then in Berlin with Paul Juon and
Carl Flesch. Returning to America he l>e,-
camc violinist in the Los Angeles Philh.
Orch. (1933-37). Since 1947 on the staff
of the 20th Century-Fox Studios in Holly-
wood; also teaching at the Los Angeles
Cons. He has written numerous articles
dealing with violin technique and edited
many violin works by contemporary com-
posers*
Bacarfese, Salvador, Spanish composer; b.
Madrid, Sept. 12, 1898. He studied with
Conrado del Oampo at the Madrid Cons,
and won three national prizes for music
(1923, 1930, 1934). He was associated
with the Loyalist Government during the
Spanish Civil War, and after its defeat in
1939, settled in France* He has written La
Tragtdia d* Donna Ajada for orch. ( 1929) ;
piano concerto (1933); Tres Movimientos
Conctrtantcs for string trio and orch.
(1934) j cantata, For la Ptx y Petieidad d*
las Nactones (1950); concerto for guitar
and orch. (Paris, Oct. 22, 1953); 2 string
quartets, piano pieces and songs.
Baccaloni, Salvatore, Italian bass; b.
Rome, April 14, 1900. He first studied to
be an architect; then turned to singing; was
engaged by Toscanini to sing at La Scala
in Milan (1926); sang with the Chicago
Opera during the season of 1930-31; be-
came a member of the Metropolitan Opera
in 1940, producing a fine impression as Bar-
tolo in The Marriage of Figaro at his debut
in Philadelphia (Dec. 3, 1940). He has
specialized in comic roles, and his appear-
ances in the Barber of Seville (as Bartolo)
and in Falstaff were highly successful. His
repertory is very large, comprising some 150
roles in several languages.
Bacchius (Senior), Greek theorist who
flourished c. 350 A. D. His treatise, hagogs
musicae artis, was publ. by Mersenne
(1623); with Latin translation and com-
mentary by Morellus (1623); also by Mei-
bom (1652) and Carl von Jan (with Ger-
man translation and analysis in the Program
of the Strasbourg Lyceum, 1890; Greek text
alone in Jan's 'Scriptores,' 1895). French
translations have been publ. by Mersenne
(in Book I of his Harmonie universellt,
1627) and Ruellc (1896). The work is a
musical catechism in dialogue form. Another
treatise attributed to Bacchius, having no
dialogue, and edited by Bellennann (in Ger-
man, 1841) and Vincent (in French, 1847)
is not by Bacchius, but by his contemporary,
Dionysios.
BaccusI, Ippolito, Italian composer; b.
Mantua, c, 1530; d. Verona, 1609. He
served as maestro di cappella at Mantua
cathedral (1587-92) and then at Verona
cathedral. He publ. 3 masses (with instru-
mental accompaniment in unison) in Ven-
ice (1596) and several collections of other
sacred works and madrigals. His music
shows the influence of the Venetian school;
his motets have considerable expressive
power.
BacewJcz, Grazyna, Polish composer, b.
Lodz, Feb. 5, 1913. She studied violin and
theory at the Warsaw Cons., and composi-
tion with Nadia Boulttngcr in Paris. She
gave concerts in France, Spain and Russia;
taught at the Lodz Cons. (1934-35). She
was in Paris again in 1939; after 1945 re-
turned to her post in Poland at the Lodz
Cons. In 1951 she received first prize for
her 4th string quartet at the International
Competition In Liege. A prolific composer,
ihe writes in a neo-classical style* with a
63
BACFARC BACH
firm rhythmic pulse, in crisp dissonant
harmonics (based on fourths and fifth* ).
Her compositions include 4 symphonies; 4
violin concertos; cello concerto; Overture
(1946); piano concerto (1949; received
Chopin Centennial award); concerto for
tiring orch. (1950); piano quintet (1952);
4 string quartets, 6 violin sonatas; many
solo violin pieces.
Bacfarc (or Bakfark, Bckwark, etc.), Val-
entin, celebrated Hungarian lutcnist; b.
Kronstadt, 1507; d. Padua, Aug. 13, 1576.
Ho was brought up by the family of his
brother's wife, GrefF (or (Jracw), and used
that name, in conjunction with his own. As
a youth he was in the service of the King
of Hungary in ttuda, where, he, studied lute;
evidence dors not support the, belief that he
was a pupil of Antonio Rotta of Padua. He
was later at the. court of Sitfismund Augus-
tus of Poland (l.VHMHt); traveled in Or-
many, France, and Italy, eventually settling
ia Pmlua, where he died of the plague, He
published works for the lute, in tublature:
tntabttttttuw (Lyons, 155U; ret>rintrd as
Prtnmr Littrt de Tabtttturf d Luth, Paris
15(54); Hannwnicafum Muxicarum . . *
Tomus Primus (Cracow, 1555) ; some of his
works jire printed m 'DenkmlUer der Ton-
ktrnut in flrterreieh,' (vol. XVIH. 2). Bibl.:
IL Opienski, Jtitkwark tutinisttt (Warsaw,
1906; also in German as Vattntin <lr*tf-
Btkwark, Leipzig, 1914); Otto Cfamhoal.
Wttttnty ttttkftttk l'0/0#n in 'Murykft*
(Warsaw, Oct. 191$) ; UU /Vr t*ut**i*t
Vabntin Mfark, Lrbtn untt Wtrk* (Buda-
pest,
Bach, Albert (renl family imme Buk),
Hungarian singer; b. Oyul March 24,
1844; d. Edinburgh, Nov. 19, 1918. He
studied nt the, Vienna Cona>; gave hi* first
concert there in 1871; continued his studies
in Italy. He snug opera in Italy, RUMJH,
Germany and England* In his recital* he
always performed l*oewe f unnitft. He was it
member of the IxDewet-Verein in Berlin ami
edited three volumes 0f lx>ewe*s ImllttdJen
with Kntrfinh trnnslntlons; nlst published
papers on
Bach Auffust WflheJm, German
b, Berlin, Oet, 4. 17<m; d. there April 18,
l$fi#. After a period of nrxiin plnyinK In
ehwrches nnd in eoneert, hr became tether
ttncl later director (I8.1J2) of the Hoynl
Imtltute for Church Music, in Berlin,
oVUsohn wan his pupil in or^an
Emit, Of rmnn pianist and
composer s b. Posen, March 11, 184#$ di
London. Feb. 25, 1902. He studied with
Th. Kullak (piano) and with Kiel (theory) ;
in 18(59 became teacher at Kullak *s Acad-
emy in Berlin. He settled in London; from
1882 taught at the Guildhall School of
Music. He wrote severaj short operas:
Irmengard (London, 1892) ; 7Vi# Lady of
Longford (London, 189*1); Des K8ni%s
Gardt (Cologne, 1895) which were fairly
successful at thrir first productions.
Bach is the name of the illustrious family
which, during two centuries, supplied the
world with a number of musicians and com*
posers of distinction* History possesses few
records of such remarkable examples of
hereditary art, which culminated in Johann
Sebastian.
The genealogy of the. family is traced
to Johannes or Hani Bach, mentioned
in 15(>I as one of the guardians of the
municipality of Wechmar, u little town near
Ontfu, Vcit Bach (tl, March tt, IMS),
the presumed son of this Hans, and Caspar,
a town-musician ('Stndtpfeifer*) At Gotha,
are the first of the family concerning whose
musical tendencies we huve nny infonna-
tirm, Vcit was a baker by trdc awl emi-
grated to Hungary; returning to Wechmar,
he settled there us a miller and hukcr His
chief recreation consinted In playing thn
xtther. His son, Hand (b* <\ 15HO, d. Hec.
26, I62G), wtis known ns 'the minntrr! 1 (*drr
HDielmium*)^ although he f<!Uwed the sup-
plementary occupation f carjjet*weaver He
received instruction from the ttlKtve-meii"
titwcd Cnspr r ixiibly his um-le. <) nm
occasions he wi collect ttt v^riotu
in "rhurutgia to nnsist the town-mu-
. Ill* three sons Ham, Clhrhtoh
nntl Hoinrieh, inherited his ability ,
W. Wt4lfheim v Han* fawht tier
in 4 Hm*hjAhrhiteii/ J'lHJ.) The
alogy nientums a ecwl Mn t*f
ftwnaMy Upn Buch (<!, Ort, 10, tf2 P
who hu<l three aun* who were sent ti Italy,
by the Count of $rhwaryburgArf*u4t, to
jttmiy rnusir, From Ham ami Ltpx* the two
jkmft of Vrit, sprung the *iuitn brnneheK <f
thtt Hufh family, whtwc nuile inrmtwri fillrd
m many ptwitUm* m *8tii4tpfelfer* through-
ot 11rlngia that, >n www instftncrs, rvrn
after there had eeunc 4 to Ite any wrmber <rf
the family fuming them, the town-tnu*icin*
were, known n* *fhe Bftcrtu/ When the fnmBy
!>ecnre numrmux ami wltlrly dlnpersed, they
agreed to tusrmble on a rixeit date each
year, Erfurt. Eiiennch and Arn*t<Jt wrr
the fitiwrx enouen fr thee meetin*c, which
are *nid to have contlnurd until the middle
of the 1 8th century, us man? i 12D per*
sons of the name of Bach then MtraibUnft.
At thesn nieetings, A rherlhed pastime was
BACH BACH
the singing of 'quodlibets,' comic poly-
phonic potpourris of popular songs. An
amusing example attributed to J. S. Bach, is
publ. in * VeroITcntlichungen der Neuen
Bach-Gescllschaft' (vol. XXXII, 2).
Johann Sebastian was very interested in
the history of his family. A collection of
notes on members of the family, entitled
Ursprung der niusikalisch-Bachischen Fa-
milie 9 and known as *the genealogy,' was, ac-
cording to Karl Philipp Emanucl, who made
additions to the copy preserved (written in
1735), started by Johann Sebastian. This
'genealogy* is reproduced in 'VerofTent-
lichungen der Ncuen Bach-Gcsellschaft'
(vol. XVII, 3). It has also been edited
and translated by C. S. Terry as The Ori-
gin of the Family of Bach Musicians (Ox-
ford, 1929).
A valuable collection of compositions by
Hans Bach (1), his sons and grandsons,
possibly also begun by J. S, Bach, is partly
preserved. The remainders of this collection
were edited by M. Schneider as 'Altbach-
isches Archiv* m Das Erbe deutscher Musik,
Reichsdenkmale (vols. I and II, Breitkopf
& Hfirtel, 1935). See also Die Familie Bach,
a collection of excerpts from works by 12
Bachs, edited by Karl Geiringer (Vienna,
1936); also hh books The ftach Family
(N. Y., 1954) and Music of the Bach Family
(Cambridge, Mass., 1955).
The principal members of the Bach fam-
ily are enumerated below, in alphabetical
order, with their list numbers according to
the family tree.
2. Chriatoph
5. Ocorg Christoph
1. Hans
3. Heinrich
6. Johann Ambrosius
10. Johann Bcrnhard
19. Johann Christian
8. Johann Christoph
7. Johann Christoph
11. /ohann Christoph
18, ' [ohann Christoph Friedrich
4. /ohann Egidius
15. /ohann Ernst
14. /ohann Ludwig
9, /ohann Michael
13. Johann Nikolaus
12. Johann Sebastian
17. fcarl Philipp Emanufct
16. Wilhelm Friedemann
20. Wilhelm Friedrich Ernst
1. Bach, Hans (eldest son of Hans, the
'Spielmann'), b. Wechmar, Nov. 26, 1604;
d. Erfurt, May 13, 1673. Apprentice to an
organist at Suhl; then organist at Schwein-
furt, In 1635, director of the 'Raths^Musik-
anten 1 of Erfurt; 1647, also organist of an
Erfurt church. 3 of his works are in the
Bach Archives.
2* Bach, Christoph (2nd son of Hans, and
grandfather of Johann Sebastian), b. Wech-
mar, April 19, 1613; d. Arnstadt, Sept. 12,
1661; instrumentalist, serving as town-mu-
sician at Weimar, Erfurt and Arnstadt. No
compositions by him seem to be preserved.
3. Bach, Heinrich (3rd son of Hans), b.
Wcchmar, Sept. 16, 1615; d. Arnstadt, July
10, 1692. From 1641, organist at Arnstadt
for 51 years. M. Schneider publ. a thematic
index of his works in 'Bach-Jahrbuch* (1907,
pp. 105-9). A cantata of his is found in the
Bach Archives.
4. Bach. Johann Egidius (2nd son of
Hans, 1), D. Erfurt, Feb. 9, 1645; d. there,
1716. Succeeded his father as municipal mu-
sic director; was organist of an Erfurt
church.
5. Bach, Georg Christoph (eldest son of
Christoph, 2), b. Eisenach, Sept. 6, 1642; d.
April 24, 1697, at Schweinfurt, where he
was cantor. A cantata is in the Bach Archives.
6. Bach, Johann Ambrosius (2nd son of
Christoph, 2), father of Johann Sebastian,
b. Erfurt, Feb. 22, 1645; d. Eisenach, Feb.
20, 1695. (Exact date of death is found in
his widow's petition for support, 'Bach
Jahrbuch/ 1927.) At the age of nine, he
was taken to Arnstadt where he was trained
as a town pipnr ( 'Stadtpf cifer' ) . In 1667 he
was engaged at Erfurt to play the viola
('Altgeige*) in the town band; in 1671, he
moved to Eisenach, where he was active
as town-musician. He was married twice:
on April 8, 1668, to Elisabeth LRmmerhirt
(b. Feb. 24, 1644: d. May S, 1694), who
was the mother ox Johann Sebastian; and
on Nov. 27, 1694 to the widow of his cousin,
Johann Gunthcr Bach. Bibl.: F, Rollbcrg,
/. A. Bach in 'Bach Jahrbuch' (1927).
7* Bach, Johann Christoph, twin brother
of Johann Ambrosius; b. Erfurt, Feb. 22,
1645; d. Arnstadt, Aug. 25, 1693. He en*
tere d the town service at Arnstadt as *Stadt-
pfaifer* in 1671. The physical resemblance
between him and his twin brother (father
of Johann Sebastian) was such that, ac-
cording to the testimony of Ph. Emanuel
Bach, even their wives had difficulty disting-
uishing between them*
8. Bach, Johann Christoph (eldest son of
Heinrich, 3), organist and instrumental
and vocal composer of the highest rank
among the earlier Bachs; b. Arnstadt, Dec.
8, 1642,* d. Eisenach, March 31, 1703.
65
BACH BACH
From 1665, town organist of Eisenach; from
1700, court musician. A thematic catalogue
of his compositions was publ. by M. Schnei-
der in 'Bach-Jahrbuch' (1907, pp. 132-77).
K. Ph. E. Bach described him as a 'great
and expressive composer'; his works are
printed in the Bach Archives and separate
editions: several of his motets were publ.
by V. Junk (Breitkopf & Hartel, 1922) ; his
Chorale zum Praeambulieren by M. Fischer
('Barenreiter-Verlag/ 1929). Cf. F. Roll-
berg, Johann Christoph Bach, in 'Zeitschrift
fiir Musikwissenschaft' (vol. XI, pp. 549-
61); M. Fischer, Die organistische Improvi-
sation . . ., in 'Konigsberger Studien zur
Musikwissenschaft' (1919).
9. Bach, Johann Michael, brother of the
preceding Bach, and father of Maria Bar-
bara, first wife of Johann Sebastian ; b. Arn-
stadt, Aug. 9, 1648; d. Gehren, May 1694.
Organist and town clerk of Gehren from
1673; also maker of clavichords, violins, etc.
His works are listed in 'Bach-Jahrbuch'
(1907, pp. 109-32); many of them are in-
cluded in the Bach Archives; also repre-
sented by motets publ. in 'Denkmaler
deutscher Tonkunst' (yols. 49-50). Organ
compositions are found in Das Erbe deutsch-
er Musik; Retchsdenkmale (vol. IX), A pub-
lished work consisting of sonatas for 2
groups of instruments is not preserved.
10. Bach, Johann Bernhard (son of
Johann Egidius, 4), organist and organ com-
poser, one of the best of his generation; b.
Erfurt, Nov. 23, 1676; d. Eisenach, June 11,
1749. Organist at Erfurt, Magdeburg, and
the successor of Johann Christoph (8), at
Eisenach (1703); also served the Duke of
Saxe-Eisenach. He wrote harpsichord pieces;
several organ-chorales, a few of which arc
published; and 4 orchestral suites, one of
which was published by A. Fareanu (1920).
11. Bach, Johann Christoph (brother of
Johann Sebastian, and eldest son of Johann
Ambrosius, 6), b. Erfurt, June 16, 1671: d.
Ohrdruf, Feb. 22, 1721. He was a pupil of
Pachelbel; then organist at Erfurt, for a
short time at Arnstadt. and finally at Ohr-
druf, where Johann Sebastian stayed with
him for almost five years.
12. Bach, Johann Sebastian, the most
famous of the family, and one of the great
masters of music: b. Eisenach, March 21
(bapt. March 23), 1685; d. Leipzig, July 28,
1750. He first learned the violin from his
father (Joh, Ambrosius [6]). His mother,
Elisabeth, nSe Lammerhirt, was a native or
Erfurt. Both parents dying in his tenth year,
he went to Onrdruf to live with his brother,
Johann Christoph [11], who taught him to
play on keyboard instruments; but the boy's
genius soon outstripped his brother's skill,
and, if we may trust the somewhat fanciful
tale first appearing in the *Nekrolog*, led to
somewhat harsh treatment by the latter. Un-
able to obtain the loan of a MS. volume of
works by composers of the day, Sebastian
secretly obtained possession of the work, and,
by the light of the moon, painfully and la-
boriously copied the music within six
months, only to have it taken from him,
when his brother accidentally found him
practicing from it. He recovered it only after
his brother's death.
In 1700 J. S. went to Liincburg with a fel-
low-student named Erdmann, and both were
admitted as choristers at St. Michael's
Church, also receiving gratuitous scholastic
education. The fame of the family had pre-
ceded Sebastian, for in the choice collec-
tions of printed and MS. music ( of the
church were to be found the compositions of
Heinrich [3] and J. Christoph Bach [8]. A
fellow-Thurmgian, Georg Bohm, was the or-
ganist of St. John's Church, and Bach at-
tentively studied his compositions* He also
went, occasionally, on foot to Hamburg to
hear the famous old organist, J. A. Reinlcen,
and to Celle, where the court music adhered
completely to the French style.
In 1703 Bach became violinist in the prch.
of a brother of the Duke of Saxe-Weimar,
but the following year left the post for the
more congenial one of organist of the new
church at Arnstadt. In 1705 he obtained
leave of absence, and walked to Lilbeck, to
make the acquaintance of the famous organ-
ist Dietrich Buxtchude. He was so impressed
with this master's work that he trebled his
leave of absence, and returned only after a
peremptory summons from the church con-
sistory of Arnstadt. In 1707, Bach accepted
the appointment as organist of St. Blasius*
Church at Miihlhausen, On Oct. 17 he mar-
ried his cousin Maria Barbara Bach, daughter
of Johann Michael [9). The following year
he went to Weimar, played before the reign-
ing duke, and was offered the post of court
organist and 'Kajmmermusicus 1 . In 1714 he
was made 'Concertmeistcr*. A considerable
series of compositions and arrangements, es-
pecially for organ, date from hit Weimar
period. Almost annually he made town as an
organ inspector and virtuoso. In 1714 he
visited Kasscl, Halle and Leipzig (where he
furnished the music for a service in the
Thomaskirche, including a cantata), Halle
again in 1716, and Dresden in 1717, In
this town his challenge to J. L. Marchand, *
French davecinist and organist of high rcpu-
66
BACH BACH
tation, was evaded by the latter's failure to
appear. In 1717 Bach was app. Kapell-
meister and director of the *Kammcrmusik'
to Prince Leopold of Anhalt, at Gothen, and
this period is especially rich in the produc-
tion of orchestral and chamber music. In
1718 he revisited Halle, hoping to meet
Handel; but the latter had just left for Eng-
land. In 1720, during his absence at Carls-
bad, his wife died suddenly. In November
of the same year he applied, though (owing
to bribery) without success, for the organist-
ship of the Jacobikirche, Hamburg. Hero he
again met the aged Rcinkcn, whose admir-
ation he excited by his brilliant playing. In
1721 he married his second wife Anna
Magdalena Wiilken, a daughter of a court
trumpeter at Weissenfcls. Thirteen children
were born to them. Of highly-cultured musi-
cal taste, she participated in his labors, and
wrote out the parts of many of his cantatas.
She also left 2 books of music in which her
own hand appears as well as her husband 1 s.
In May, 1723 Bach succeeded Johann
Kuhnau as cantor at the Thomasschule,
Leipzig, becoming also organist and director
of music at the two principal churches, the
Thomaskirohe and the Nzcolaikirchc, and
continuing in the service of Prince Leopold
of Anhalt as 'Kapellmeister von Haus aus.'
He further received the appointment of
honorary Kapellmeister to the, Duke of Weis*
senfels, and m 1736, that of court composer
to the King of Poland, Elector of Saxony.
He remained in his post at Leipzig for 27
years, and there composed moat or his re-
ligious music* Several times, he visited Dres-
den, where his eldest son, Wilhelm Fricde-
mann, was appointed in 1733 organist of the
Sophienkire.he. On these occasions he at-
tended the Italian opera, then conducted by
Hassc. Ilia second son, Karl Philipp Emanuel,
was appointed in 1740 chamber musician to
Frederick II of Prussia. lie communicated
to his father the ^ king's oft-expressed wish
to see and hear him; and on May 7, 1747,
with his son Wilhe.lm Fricdemann, Bach
arrived at Potsdam, Here at the king'*
request, he improvised ujjon the various
Siwe.rmann pianos in the different rooms of
the palace, to the admiration of his royal
host, and of the musicians who followed
them from room to room. Among Bach's
improvisations was a fugue, presumably in 3
parts, on a theme proposed by the king, and
a fugue in 6 parts on a theme by Bach him-
self* The next day Bach tried also the prin-
cipal organs in Potsdam. On his return to
Leipzig he used the king's theme for a
Rieercare in 3 parts, a Riccrcare in 6 parts,
a series of ten canons and a Trio for flute,
violin and basso continuo, dedicating the
whole to Frederick as a Musikalischts Opfer.
Bach was nearsighted from childhood, and
later his eyes showed symptoms of weakness ;
in 1749 an unsuccessful operation resulted
in total blindness, and his hitherto robust
health also declined. His sight was suddenly
restored on July 18, 1750; but immediately
afterwards he was stricken by apoplexy, and
ten days later he died. He worked to the
end, dictating the chorale prelude Vor
deinen Thron tret* ich hiermit^ his last com-
position, a few days before his death.
Clearness and acutcncss of intellect,
strength of will, a love of order, and a high
sense of duty, were Bach's leading charac-
teristics. His home life was always of the
happiest. Among the long list of his disting-
uished pupils were Johann Friedrich Agri-
cola, Johann Christoph Altnikol, Hcinrich
Nikolaus Gerber, Johann Thcophilus Gold-
berg, Gottfried August Hornifius, Philipp
Kirnbergcr, Johann Christian Kittcl, Johann
Tobias Krcbs and his son Johann Ludwig;
also his own sons Wilhelm Fricdemann, Karl
Philipp Emanuel and Johann Christoph
Friedrich, and his nephew Brrnhard, son of
Johann Christoph [ 1 1 1 . Many of Bach's
works were written with educational intent,
among them the, 2- and 3-part inventions
whieh first appear in the Clavitrb&chlein fur
Wilhtlm Pnedemann Bach (now at Yale
Univ.). Only n small number of works were
publ. during Bach's life; among them are
4 parts of the Clavitrubunftt including 6
Partitas, Overture, in the French manner
and the Italian Concerto; music for organ;
the Goldberg Variations; Musical Ottering;
Canonic Variations tipon Vom Himmel hoch;
and six chorale preludes. A few pages of
these publications were evidently engraved
by Bach himself. (See G. Kinky, Z)i* Orfcz-
nalausRabcn d*r Werk* /. S. Backs, 1937.)
Bach invented the. Viola pomposa* (a vi-
ola, or rather violoncello with 5 string*
tuned C G D A E) and a certain type of
'Lauten-Glavicymhcl' (a harpsichord, mostly
with catgut strings). He promoted the adop-
tion of the tempered system of tuning key-
board instruments; and introduced the style
of lingering which, with comparatively few
modifications, is still in use.
Bach's compositions mark an epoch, His
originality ana fecundity of thematic inven-
tion are astounding; the mastery of his poly-
phonic art remains a marvel of the ages. His
style is elevated, and of sustained harmony;
the momentum of his grand fugues is inex-
orable as the march of Fate, Bach's import-*
ancc was but tncagerly appreciated by his
contemporaries, and for half a century after
67
BACH BACH
his death he was practically ignored. Some
works were then occasionally performed, or
even published; but Mendelssohn, by a per-
formance of the St. Matthew Passion at Ber-
lin, in 1829, first drew general attention to
the great value of Bach's music. The centen-
ary of Bach's death (1850) was marked by
the formation, at Leipzig, of the 'Bach-
Gesellschaft,' a society founded by K. F.
Becker, M. Hauptmann, O. Jahn, R. Schu-
mann and the publishers Hartel, in order
to publish a complete edition of Bach's
works. When the purpose of this society had
been fulfilled, a 'Neue Bach-Gesellschaft* was
founded in 1900. It seeks to popularize
Bach's works through Bach festivals, the
*Bach-Jahrbuch' (begun 1904) and practical
editions. A 'Bach-Society' was active in Lon-
don from 1849 to 1870; numerous *Bach
Vereine' and similar institutions aiming at
the cultivation and production of Bach's
music existed, or exist, in many European
and American cities. The most famous of
such societies in the U. S. is the 'Bach
Choir' at Bethlehem, Pa. (See R. Walters,
Bach at Bethlehem, Pa. f in the 'Mus. Quart.
April 1935).
WORKS: VOCAL: Bach wrote 5 sets of
sacred compositions for every Sunday and
feast-day of the year, and not less than 5
Passions. Many of these works are lost. We
have approximately 190 sacred 'concertos' or
'cantatas 1 (now all called cantatas) ; the St.
Matthew and St. John Passions (the St.
Luke is probably spurious) ; 'oratorios' for
Christmas, Easter and Ascension (the latter
known as Cantata No. 11) ; 2 Magnificats; a
Grand Mass in B m.; several short masses;
5 Sanctus; motets; vocal works written for
special occasions, e.g., the 'motetto' Gott ist
mein Konig (written for the inauguration
of the new council members of Miihlhausen
in 1708; the only one among the works now
called cantatas which was printed during
Bach's life) and the Tombeau de S. M., la
Reine de Pologne; many secular cantatas,
including the Dramma per music a, Der
Streit zwischen Phoebus und Pan, the 'Cof-
fee 9 Cantata and the Cantate en burlesque,
known as the 'Peasant* Cantata. INSTRU-
MENTAL ; Numerous pieces for organ, includ-
ing a collection of chorale settings entitled
Orgelbuchlein; many other chorale fantasias,
preludes and fugues, toccatas; a set of 6
'trios'; Passacaglia, Canzona and Pastorale;
numerous pieces for keyboard instruments,
(mostly for harpsichord or clavichord; a few
definitely require a harpsichord with 2 key-
boards), including the 2 collections of 24
Preludes and Fugues in all keys entitled Das
Wohltemperierte Klavier (i.e., the well-
tempered keyboard; the common translation,
'clavichord', is wrong), the scries of 15 In-
ventions and 15 'Sinfonias' (now known as
3-part inventions), the 6 English suites, the
secular works contained in the Clavierubung,
a number of suites, 6 of which became
known as French suites, toccatas and various
other works. Among Bach's chamber-music
works are a number for obbligato harpsichord
and another instrument (violin, jflutr, or vi-
ola da gamba) ; a set of 6 suites for cello
alone; a set of 3 sonatas and 3 partitas for
violin alone. He dedicated a set of 6 'Con-
certos pour plusieurs instruments' to a Mar-
grave of Brandenburg, whence they became
known as Brandenburg Concertos. lie wrote
4 'overtures' or orchestral suites, concertos
for 1 and 2 violins, violin and oboe, violin,
flute and harpsichord, and for from 1 to 3
harpsichords; also a concerto for 4 harpsi-
chords which is an arrangement of a work
by Vivaldi.
The monumental edition of Bach's works,
published by the 'Bach-Gcscllschaft', is in 47
volumes, including a volume of facsimile re-
productions of original MS, pages. Bach's
instrumental works were also completely
publ. by C. F. Peters. There are innumer-
able reprints of many of his works. Deserv-
ing of special mention arc the following : the
edition of organ works, by C. M. Widor
and A. Schweitzer with voluminous notes
and directions for playing (G. Schirmer) ;
that of the Well~tempered Clavier^ in score,
annotated by F. Stade (Stcingrabcr) ; the
Kunst der Fuge by H. T. David (Pctcriu
1928); the same work by Roy Harm ana
M. D, Hcrtcr Norton (G. Schirmtr, N. Y.
1936); and Bach's 4-part chorales by C. S,
Terry (5 vols., London, 1929), The 'Gold-
berg Variations' have been published in an
edition by Ralph Kirkpatrick (G. Schirmer.
N.Y., 1938).
Several works, including the St* Matthew
Passion, the cantatas Ach 11 'err, mich armen
Sunder, Ich will den Kreuzstab ncrn* fragm,
the 'Coffee' Cantata, and Prelude and Fugue
in B m. for organ, arc publ. in facsimile re-
production of the original MSS.
A thematic catalogue of Bach'i instru-
mental works was publ, by A* DBrflel in
1882, one of his vocal worn by 0, Tamme
in 1890. A thematic index to 120 cantatas
is included in vol. 27 of the 'Bach-Gcfrll-
schaft' ed., such an index to Bach's other
works in vol. 46 of the same edition, A val-
uable systematic Melodic fndix to *A<r Work*
of /. S. Bach was publ, by May de Foreat
Payne (N. Y*, 1938). A complete thematic
catalogue of Bach's works was drawn up by
W. Schnueder; Thematisch
68
BACH BACH
Verzeichnis der musikalischen Wetke von
Johann Sebastian Bach (Leipzig, 1950).
BIBLIOGRAPHY. A. BIOGRAPHICAL:
Bach's earliest biographers were his son, K. P.
E. Bach, and J. F. Agricola in Mizler's *Mu-
sika.lisc.he Bibliothek' (Leipzig, 1754; reprint
in 'Bach-Tahrbuch,' 1920, pp. 13-29); J. N.
Forkcl, uber /. S, Backs Leben, Kunst und
Kunstwerke (a very lively account of Bach's
career, and an invaluable source; Leipzig,
1802; Engl. transl., London, 1820; transl.
with notes by C, S. Terry, 1920); C. L.
Hilgenfeldt, Backs Leben, Wirken und
Werke (Leipzig, 1850) ; C. H. Bitter, /. S.
Bach (2 vols,, Berlin, 1865; 2nd ed,, 4 vols.,
1880) ; Ph. Spitta ? /. S. Back (the standard
work on Bach's life and work, and one of
the masterpieces of musical biography; 2
vols., Leipzig, 1873-80; rigidly shortened ed.
in 1 vol., ib., 1935; Engl. transl, by C. Bell
and J. A. Fuller Maitland, 3 vols., with
many additions, London, 1884-5; 2nd cd.,
1899; reissued, N. Y., 1951). There are
numerous other biographies of Bach, all
based on Spitta. Most widely known is A.
Schweitzer's book, originally publ. as /. S.
Bach, le musicien-poete (Paris, 1905; augm.
German editions, 1908, 1915; English transl,
by E. Newman, 2 vols., London* 1911; new
Engl. ed.. 1923). Other biographies in Eng-
lish: R. L. Poole, /, S. Bach (London, 1882;
2nd ed., 1890); C. F, Abdy Williams,
Bach (ib., 1900; rev. cd., 1934); C. H. H.
Parry, /. S. Bach: The Story of the Devel-
opment of a Great Personality (N, Y. and
London, 1909: new ed., 1934); Rutland
Boughton, Bach, the Master. A New Inter-
pretation of His Genius (N, Y. and Lon-
don, 1930) ; T. Scott Buhrmann, Bach's Life
Chronologically as he lived it (illustr,
chronological tables: N. Y., 1935); H. T.
David and A. Menacl, The Bach Reader, a
life of Bach in letters and documents (N, Y.,
1945); K* Geiringer. The Bach Family,
(N. Y., 1954). A work based on original re-
search is C. S. Tcrry*s Bach, a Biography
(the finest and most thorough description
of Bach's life; London, 1928; new cd., 1933;
Ger. cd.. prefaced by K. Straube, Leipzig,
1929). Of German biographies the following
dflierve mention: Ph, Wolfrum, /, S. Bach,
(2 vola. y Leipzig. 1910) ; H. Krctzschmar,
Bach-Kolleg (ib., 1922, -W transl,, 1935);
R. Steglich, /. S. Bach (Potsdam, 1935;
richly illustr.) ; H. J. Moier, Bach (Berlin,
1935) ; W. Gurlitt, Bach (ib,, 1935) ; H. and
E. H. Mailer von Asow, J. S. Backs Briefe
(Regewburg, 1950), Biographies in French:
A. Pirro, Bach (Paris, 1906); T. Gerold,
Bach (ib*, 1925); J. Tiersot, Bach (ib.,
1934); P. Collaer, Bach (Brussels, 1936);
W. Cart, /. S. Bach (Lausanne, 1946). Of
special interest are W, Dahms, /. S. Bach,
Ein Bild seines Lebens (a collection of
original documents; Munich, 1924) and W.
Hitzig's /. S. Back, Sein Leben in Bildern
(Leipzig, 1935). Sec also W. His, /. S.
Back, Forsckungen uber (lessen Grabstatte,
Gebeine und Antlitz (Leipzig, 1895; deal-
ing with the state of Bach's remains and
his grave, including striking photographs of
Bach's skull at the time of his exhumation
and reinterment).
B, CRITICAL, ANALYTICAL: F, Rochlitz,
Wege zu Bach (ed. from 'Fur Freunde der
Tonkunst', Leipzig. 1824-37, by J. M. Mill-
ler-BIattau, Augsburg, 1926); A. Pirro,
L'estkttique de /. S. Bach (Paris, 1907);
E. Kurth, Grundlagen des linearen Kontra-
punkts. Einfuhrung in Stil und Technik von
Backs melodiscker Polyphonie (Berlin,
1917); C. S, Terry, Bach; The Historical
Approach (London, 1930); id.. The Music
of Back (ib., 1933); A. E. F. Dickinson,
The Art of /. S. Bach (ib,, 1936). M.
Ilauptmann, Erlduterungen in /. S, Backs
Kunst der Fuge (Leipzig, 184U ; H. Rie-
mann, Handbuch der Fugenkomposition
(vols. I and II, analysis of Das wokltemper-
ierte Klavier [Berlin, 1890-91; 3rd ed.,
1914; Engl. transl. by J. S. Shedlock, 2 vols,,
London, 1893, several eds.]; vol. Ill, analy-
sis of the Kunst der Fuge [Berlin, 1894; 3rd
ed., 19211): F. IlifTe, The 48 Preludes and
Fugues of J. S. Bach (London, 1897); W.
Werker, Bachstudien (2 vols., Leipzig,
1922) ; D. F. Tovcv, A Companion to the
Art of Fugue (London, 1931); also various
vols. of tfxe *Musical Pilgrim Scries* , R.
Wustmann, /. S. Backs Kantatentexte
(Leipzig, 1913) ; C. S. Terry, Bach's Chorals
(3 vols., Cambridge, 1915, 1917, 1921) ; id. J.
S. Bach's Original Hymn~Tunes for Congre->
gational Use (1922) ; id,, Bach's Mass in B
minor; id., A Bach tiyrnnbook of 16th*Cen-
tury Melodies (1923) J W.G. Whittaker, Fugi-
tive Notes on Certain Cantatas and the Mo-
tets ofj.$> Bach (London, 1924) ; C. S. Terry,
/. & Back's Cantata Texts, Sacred and S*c~
ular (ib., 1926) : id., Back's Four-Part Chor-
als (complete ed., with German and English
words, 1928) ; A. Eaglefleld Hull, Bach's Or-
gan Works (London. 1929); C, S, Terry.
Bach's Orchestra (London. 1932); Cecil
Gray, Bach's 'Forty-Eight* (ib., 1937) ; R T.
David, Zu Backs Kunst der Fuge (Peters
Jahrbuch, 1928) ; H. T* David, Zu? Gesamt-
gestalt von Backs -H^moll Messe ('Festschrift
fttr Johannes Wolf, 1929); J. Schreycr,
Beitrage zur Bach-Kritik (2 vols., Leipzig,
1911-13); H. E. Huggler, /. S. Backs Or-
gelbUcklein (Bern^ 1930); L. Landshoff,
69
BACH BACH
Urtextausgabe der Inventionen und Sin-
fonien J. S. Backs (Leipzig, 1933; with
Reyisionsbericht) ; G. Herz, /. S. Bach im
Zeitalter des Rationalismus und der Friihro-
mantik (Wiirzburg, 1935); L. Landshoff,
Mttsikalisches Opfer (Leipzig, 1936); A.
Schering, /. S. Bachs Leipziger Kirchenmusik
(ib. 1936); E. Thiele, Die Chorfugen /. S.
Bachs (Bern, 1936); A. Schering, Das Zeit-
alter J. S. Bachs und Johann Adam Hitlers
(Leipzig, 1940); H. Rutters, /. S. Bach en
onze tijd (Amsterdam, 1941); H. T. David,
/. S. Bach's Musical Offering (N. Y., 1945) ;
Marie M, Meyer, /. P. Rameau; J. S. Bach
(Chambery, 1946) ; N. Dufourcq, /. S. Bach,
le maitre de I'orgue (Paris, 1948) ; H. Bes-
seler and G. Kraft, /. S. Bach in Thuringen
(Weimar, 1950) ; A. Diirr, Studien ilber die
friihen Kant at en J. S. Bachs (Leipzig,
1951) ; F. Hamel, /. S. Bach: Geistige Welt
(Gottingen, 1951); Paul Hindcmith, /. S.
Bach (N.Y., 1952) ; F. Rothschild, The Lost
Tradition in Music: Rhythm and Tempo
in J. S. Bach's Time (N. Y., 1953); many
special studies in the 'Bach-Jahrbuch.'
13. Bach, Johann Nikolaus (eldest son of
Johann Christoph, 8), b. Eisenach, Oct. 10,
1669; d. there, Nov. 4, 1753. In 1695, ap-
pointed organist of the city and university
at Jena. He was an expert on organ-build-
ing and also made keyboard instruments for
secular use, especially lute-clavicymbals. J.
Adlung highly praises him. Works: A fine
Missa (Kyrie and Gloria), edited by A.
Fareanu and V. Junk (Breitkopf & Hartcl,
1920) ; a comic cantata, Der Jenaische
Wein- und Bier-Rufer, a scene from Jena
college life (ed. by F. Stein, 1920); suites
for a keyboard instrument, which are not
preserved, and organ chorales, of which only
one is known.
14. Bach, Johann Ludwig (son of Jakob,
a grandson of Lips, and cantor at Stcmbach
and Ruhle), b, Steinbach, 1677; d. 1741;
was Court Kapellmeister at Saxe-Meiningen.
15. Bach, Johann Ernst (only son of
Johann Bernhard, 10), b. Eisenach, Sept 1,
1722; d. there, Jan. 28, 1777. Attended the
Thomasschule and then the Leipzig Univ.
He studied law, and, after his return to
Eisenach, practiced as advocate. In 1748 he
was appointed assistant, and then successor,
to his father, organist of St. George's
Church; 1756, appointed Kapellmeister at
Weimar. Publ. a 'Sammlung auserlesener
Fabeln mit Melodeyen* (ed. by H. Kretzsch-
mar in 'Denkmaler deutscher Tonkunst/
vol. 42) and other works; prefaced one of
J. Adlung's books, and left a number of
compositions in manuscript.
16. Bach, Wilhelm Friedemann ('Bach of
Halle'), eldest son of J. Sebastian; b. Wei-
mar, Nov. 22, 1710; d. Berlin, July 1, 1784.
Pupil of his father and, at 15 years of age,
J. G. Graun at Merseburg. Also studied at
the Thomasschule, and at the* Univ. of Leip-
zig, taking courses, among others, in math-
ematics. Organist of the Sophionkirchr,
Dresden (1733-47); and at the: Marien-
kirchc, Halle (1747-64). A composer of
superior gifts, he unfortunately gave way to
dissipation, lost his positions, and died in
misery. An edition of selected works was
started by the Abteilung fur Musik der
Preussischcn Akademic dor Kunstc; vol. I
contains 4 trips (Leipzig, 1934). Among
other compositions available in modern edi-
tions are an impressive Sinfonia (*Wunder-
horn Verlag,' 1910) and a collection of
fugues and polonaises edited by W. Niexnann
(1914); also, piano compositions in Die
Sohne Bachs, ed. by W. Rehbcrg (1933);
three excerpts in Karl Geiringcr, Music of
the Bach Family (Cambridge, Mass., 1955).
Cf. K. H. Bitter. JC. P. E. Bach und W.
Friedemann Bach und der en ftruder (2
vols., Berlin, 1868) ; M. Falck, W. F, Bach;
sein Leben und seine Werke (Leipzig* 1913) ;
K. Stabenow, ]. S. Bachs Sohn (Leipzig,
1935); K. Geiringcr, The Bach Family
(N. Y., 1954).
17. Bach. Karl Philipp Emanucl (the Ber-
lin or Hamburg Bach), 3rd (and 2nd surviv-
ing) son of J. Sebastian; b. Weimar, March
8, 1714; d. Hamburg, Dec, 14, 1788. He
studied philosophy and law at Leipzig and
Frankfurt-on-thc-Oder; but the inherited
passion for music, and completeness of mu-
sical study under his father, decided hix pro-
f ess ion. He conducted a singing oci<*ty at
Frankfurt, for which he also composed. In
1738 he went to Berlin, and, in 1740, wiu
appointed chamber musician and clavramst
to Frederick the Great. In 1767 he went
to Hamburg, succeeding Telem&nn as 'Mu-
sikdircctor* of the principal church there, a
position he held until death* He wo* one
of the most brilliant performers of hi day,
creator of the modern exprewive arhool of
piano writing, and the ouWanding msutcr
of 'Empfindaamkeit* (intimate exprriive-
ness) i the North German counterpart of the
rococo; his work was of great signiftrunctt in
the establishment of the style as well as the
forms of the classical school; Haydn and
Mozart^ were indebted to him^His Versuch
uber die wahre Art, das Clavier zu spiel en
(2 parts, 1753-62, clumsily rccdhedi by
Schelling in 1857; new, but not complete?,
ed. by W. Niemann, 1906) is an important
theoretical work and yields much informa*
70
BACH BACH
tion about musical practice of the time. An
English translation of the Versuch . . ., en-
titled Essay on the True Art of Playing Key-
board Instruments, was made by W. J.
Mitchell (N. Y., 1948). His compositions
arc voluminous (thematic list by A. Wot-
quenne, Leipzig, 1905); for clavier they
comprise 210 solo pieces; 52 concertos with
orch.; quartets; trios, ducts; also 18 orches-
tral symphonies; 34 miscellaneous pieces for
wind instruments; trios for flute, violin and
bass; flute, oboe, cello concertos; soli for
flute, viola da gamba, oboe, cello, harp;
duets for flute and violin; for 2 violins;
also for clarinets. Vocal works: 2 oratorios,
Die Israeliten in der Wuste, and Die Aufer-
stehung und Himmelfahrt Jesu; 22 Passions;
cantatas; etc. Reprints of sonatas for clavier
have been edited by Bulow, C. F. Baumgart
('fur Kenncr und Licbhaber 1 , 6 vols.). H.
Schcnkcr (9 sonatas ),R. Steglich and others.
There sire also reprints of concertos and
chamber music works. Bibl.: K. H, Bitter,
K. P. E. Bach und W. Friedemann Bach
und der en Briider (2 vols., Berlin, 1868);
M. Fleulcr, Die norddeutsche Symphonie zur
Zeit Friedrichs des Grossen, und besonders
die Work* Ph. E. Bachs (Berlin, 1908); O.
Vrieslander, K. P. E. Bach (Munich, 1923) ;
H. Wicn-Claudi, Zum Liedschafftn K. ?. E,
Bachs (Rcichenbcrg, 1928); H. Micsner, P.
E> Bach in Hamburg (Leipzig, 1929) ; E. F,
Schmid, K, P* E, Bach und seine Kammer-
musik (Kasscl, 1931), Sec also H. Schenker,
Ein Beitrag zur Ornamentik; Als Einfuhrung
zu P* E. Bachs Klavierwerke (Vienna,
1904); Karl Geiringcr, The Bach Family
(N.Y., 1954). K. P. E. Bach's Autobiog-
raphy way reprinted by Willi Kahl in Selbst-
Biographien Deutscher Musiker (Cologne,
1948).
18. Bach, Johann Christoph Fricdrich
('the BUckeburg Bach 1 ), 9th son of T.
Sebastian; b. Leipzig. June 21, 1732; a.
Biickcburg, Jan* 26, 1795. He studied law
at Leipzig, but adopted the profession of
music, and. presumably in 1/50. was ap-
pointed 'Kamrncrmusicus* at BUckeburg.
Although leas brilliant in composition than
his brothers, he was an excellent musician
and thorough composer. An exhaustive bio-
graphical study was pubL by G. Schxine-
rnann in the *Bach-jahrbuch' (1914, pp.
45-165). The same author also prepared an
edition of selected works by Johann Christ-
oph Friedrich Bach, sponsored by the Fttrst-
hches Institut fur musikwissenschaftliche
Forschung, in 1920. but abandoned after
the publication of 2 motets, 4 piano son-
atas and 4 chamber-music works, Schune-
mann also edited 3 oratorios by J. G. F.
Bach in the 'Denkmaler deutscher Ton-
kunst' (vol. 56; contains a thematic index
of his compositions). G. A. Walter edited
the cantata Die Amerikanerin (1920) and L.
Duttcnhofcr a set of 6 quartets (Paris,
1922).
19. Bach, Johann (John) Christian (the
*London Bach' ) , 1 1 th and youngest surviving
son of Sebastian; b. Leipzig, Sept, 5, 1735
(bapt. Sept. 7) ; d. London, Jan. 1, 1782. He
went to Berlin to study with his brother,
Karl Philipp Emanuel Bach, after the death
of his father in 1750. He became music di-
rector to Count Antonio Litta in Milan in
1754; was organist at the cathedral there
(1760-62); studied with Padre Martini in
Bologna, He traveled through Italy; his
opera Alessandro nell'Indie was produced
at Naples (Jan. 20, 1762). In 1762 he went
to England; and in London, produced his
most successful opera Orione (Feb. 19,
1763); shortly afterwards he was appointed
music master to the Queen. Beginning in
1764 he gave, together with K. F, Abel ? a
famous scries of London concerts. Christian
Bach was a prolific composer, and immensely
popular in his day; he was master of the
light and charming 'rococo* style; his music
was an important source of the classical
idiom, and influenced Mozart's development.
His surviving works, many of them reprinted,
include symphonies, concertos, operas, piano
compositions and chamber music. Among his
13 operas arc Lucio Silta (Mannheim, Nov.
20, 1776); La Clemenza di Scipione '(Lon-
don, April 4, 1778") ; Amadis des Gaules
(Paris, Dec. 14, 1779), etc. His quintets for
flute, oboe, violin, viola, and thoroughbass
are reprinted in Das Erbe deutscher Musik,
Reichsdtsnkmale (vol I). BibL: C* S. Terry,
Johann Christian Bach (London, 1929); H.
P. Schokel, Johann Christian Bach und die
Instrumtntalmusik seiner Zeit (Wolfen-
biittel, 1926); F. Tutcnbcrg, Die Sinfonik
Johann Christian Bachs (Kiel, 1926); G.
de Saint-Fobe, A propos de / Ch. Bach in
the *Revue de Musicologie* (1926); A.
Wenk, Beitrage zur Kenntnis t de$ Qptrn-
schaffens von Johann Christian Bach
(Frankfurt, 1932): see also Karl Geiringer,
Th* Bach Family (N. Y., 1954).
20. Bach) Wilhelm Friedrich Ernst (son
of Johann Christoph Friedrich, 18, and
ther, and his uncle Johann Christian (19),
in London. After his uncle's death, he
traveled giving concerts. In 1787 he is men-
tioned as music director at Mindcn; later,
became Kapellmeister to the Queen of Prus-
71
BACHAUER BACK
sia, consort of Friedrich Wilhelm HI, and
also music master to the royal princes. He
was pensioned after the Queen's death. Few
of his compositions have been published.
Bachauer, Gina, Greek pianist; b. Athens,
May 21, 1913, of Austrian parents. She
studied at the Athens Cons.; then in Paris
with Gortot. In 1933 she won the medal of
honor at the International Contest in Vi-
enna; from 1933*35, received occasional
instruction from Rachmaninoff in France
and Switzerland. In 1935 she made her pro-
fessional debut with the Athens Symph.
Orch., under Mitropoulos. She played with
Monteux in Paris in 1937; during World
War II she lived in Alexandria, Egypt and
gave over 600 concerts for the Allied forces
in the Middle East. On Jan. 21, 1946 she
made her London debut playing with the
New London Orch. under the direction of
Alec Sherman, who became her second hus-
band (Nov. 21, 1951). Her first American
appearance was in New York on Oct. 29,
1950. The vigor of her technique has sug-
gested comparisons with Teresa Carrefio;
her repertoire ranges from Mozart to Stra-
vinsky.
Bache (batch), Constance, English writer
and musician; b. Birmingham, March 11,
1846; d. Montreux, Switzerland, June 28,
1903. She was the sister of the English pian-
ists Francis Edward Bache (1833-1858) and
Walter Bache (1842-1888). She studied at
the Munich Cons, and later with Klind-
worth; planned a piano career, but was
forced to abandon it owing to an accident to
her hand. In 1883 she settled in London.
She published a vivid book of memoirs
Brother Musicians (London, 1901), describ-
ing the lives of her brothers; translated the
letters of Hans von Billow and Hcintz's
analyses of Wagner's operas; also translated
the libretto of Humperdinck's Hansel und
Gretel
Bachclet (bah-sha-la 5 ), Alfred, French
composer; b. Paris, Feb. 26, 1864; d. Nancy,
Feb. 10, 1944. He studied at the Paris
Cons.; received the Grand Prix de Rome
for his cantata, CUopatre (1890), From his
earliest works, Bachelet devoted himself
mainly to opera. In his youth, he was in-
fluenced by Wagnerian ideas, but later
adopted a more national French style. Dur-
ing World War I he conducted at the Paris
Op6ra; in 1919 became director of the
Nancy Cons.; in 1939, elected a member of
the Academic des Beaux Arts. Works: lyric
drama Sctmo (Paris OpeVa, May 6, 1914) ;
Quand la cloche sonnera, one-act music
drama, his most successful work (Opra
Comique, Nov. 6, 1922); lyric drama Un
jar din sur I'Oronte (Paris Op6ra, Nov. 7,
1931) ; Ballets: La f8te chez la Poupliniere;
Castor et Pollux by Rameau (adapted and
rewritten); orchestral works with voices:
L'amour des Ondines, Joie, Le Songe de la
Sulamith, Noel; Surya for tenor, chorus and
orch. (1940); Ballade for violin and orch.;
songs.
Bachmann, Alberto Abraham, violinist; b.
Geneva, March 20, 1875. He studied violin
at the Cons, of Lille, then took courses in
succession with Ysaye, Thomson, Hubay and
Brodsky. He was in the U,S, from 1916-26;
since then living near Paris. He is the au-
thor of three violin concertos (the last of
which is called American Concerto*); 12
improvisations for solo violin; about 250
various pieces and as many transcriptions
for violin. He published Le violon (19Q6 1
Les grands violonistes du passt (1913
Gymnastique a V usage des violonistes (1914, ,
Le piano, ses origines et ses mattres; L' 4 cote
du violoniste (in 4 parts) ; and Encyclo-
pedia of the Violin (N. Y., 1925).
Bachncr, Louis, American singing teacher;
b. New York, April 17, 1882; d, there, Dec,
26, 1945. He studied voice in Boston, Paris
and Berlin; taught at the Peabody Cons,
in Baltimore (1908-10), and at various mu-
sic schools in Berlin (1917-33); returned
to the U.S. in 1935, and resumed his teach-
ing activities in New York. He was the
teacher of many well known singers, among 1
them Sigrid Oncgin; published a manual,
Dynamic Singing (1D45).
Bachrich, Sigismund, violinist and compos-
er; b. Zsambokreth, Hungary, Jan, 23* 141 ;
d. Vienna, July 16, 1913. He studied violin
with Bohm in Vienna; after several years
in Paris, played with the Hellmesberger and
Ros6 quartets; was first violist of the Vienna
Philh.; taught at the Vienna Cons, until
1899. His memoirs were posthumously pub-
lished under the title Aus verktungenen Ztit-
en (Vienna, 1914) , He wrote the comic op-
eras Muzzedin (1883); Htini von Stewr
(1884) ; Der Fuchs-Major (1889) ; the ballet
Sakuntala and other theatrical worki*
Back, Knut, Swedish pianist and com*
poser; b. Stockholm, April 22, 1868; d,
G5teborg, Oct. 27, 1953. He studied music
in Stockholm; later took lessons with Max
Bruch in Berlin. He eventually settled in
G&teborg as a music critic and teacher,
Among his works are songs and piano pieces,
Blck, Svea-Erfk, Swedish violinist and
composer; b. Stockholm, Sept 16, 1919. He
72
BACKER-GRONDAHL BADINGS
entered the Stockholm Cons, where he stud-
ied with Hilding Rosenberg (1940-44) ; later
studied in Basel. Returning to Sweden he
became the viola player in a local quartet.
He has written several motets, 2 string
quartets (1945; 1947); string quintet
(1948); flute sonata, etc.
Backcr-Grondahl, Agathe, Norwegian
composer and pianist; b. Holmcstrand, Dec.
1, 1847; d. Ormocn, near Oslo, June 4,
1907. She studied in Norway with Kjerulf
and Lindcmann, in Florence with Hans von
Billow, and in Weimar with Liszt; married
the singing teacher Grondahl (1875).
Among her piano works, Etudes d* Concert,
Romantische Stucke, and Trots Moreeaux
became well-known and have been fre-
quently reprinted. She also wrote a song
cycle, Dts Kindts Frilhlingstag. Cf, Olc
M. Sandvik, Agathe Backer-Gr0ndahl (Oslo,
1948), a centennial biography.
Backers, Cor, Dutch composer and music
historian; b. Rotterdam, June 5, 1910, He
studied at the Rotterdam Cons, with Dirk
Schafer: later took a course in conducting
with Weingartner. Returning to Holland,
he played piano recitals, specializing in duo
piano concerts; was also active in radio
broadcasting. He has written several choral
works; a set of melodcclamations for speak-
ing voice with piano j songs j etc. His book
Nederlands* Componisten van 1400 tot op
onze Tijd (Amsterdam, 1942; 2nd enlarged
cd. 1949) is a valuable account of music
history in the Netherlands, with particular
emphasis on modern Dutch composers.
Backhaus, Wilhelm, German pianist; b.
Leipzig. March 26. 1884. He studied with
A. Keckendorf (1891-98) ; then with Eugene
d* Albert. He made concert tours with great
acclaim, in Europe (from 1900); the U.S.
(1912-14), South America, Australia and
the Far East. Eventually he settled in
Switzerland as teacher. In 1954, at the age
of 70, he undertook a return tour in the
U.S., showing undiminished powers as ^a
virtuoso; made another American tour in
1956. He it particularly distinguished as
an interpreter of Beethoven.
Bacon, Ernst, American composer, b.
Chicago, May 26, 1898. He studied at the
Univ. of Chicago; later in Vienna; took
courses with Ernest Bloch and Eugene
Ooossens (conducting) in Rochester, N. Y.;
became assistant conductor of the Rochester
Opera Co.; then held various posts as teach*
er of piano and theory. He won the Pulitzer
Prize for music (1932) and a Guggenheim
Fellowship (1939). Settling in Syracuse,
N. Y., he became director of the Music
School at Syracuse Univ. At the age of 19 he
publ. a brochure Our Musical Idiom (Chi-
cago, 1917), on new harmonies; developed
an individual style of composition without
abandoning tradition; later became inter-
ested in national American subjects and
folk songs. Works: Symph. No. 1 for piano
and orch. (1932); Symph. No. 2 (1937;
Chicago. Feb. 5, 1940) ; orchestral suites;
Ford's Theatre (1943) ; From Emily's Diary
(1944; to words by Emily Dickinson); a
musical play, A Tree on the Plains (Spart-
anburg, S. C., May 2, 1942) ; a folk opera,
A Drumlin Legend (N. Y., May 4, 1949) ;
chamber music.
Bacon, Richard Mackenzie, English writer
on music; b. Norwich, May 1, 1776; d.
Cossey, Nov. 27, 1844. He publ. Elements
of Vocal Science (London, 1824); Art of
Improving the Voice and Ear (London,
1825): was the founder and editor (1812-
28) of the 'Quarterly Music Magazine and
Review', the first music periodical in Eng-
land; and the organizer of the triennial
Music Festivals at Norwich.
Badarzewska (b2Lh-dS,hr-zh5v'-skah) , Thek-
la, Polish composer of salon music; b. War-
saw, 1838; d. there Sept. 29, 1861. At the
age of 18 she published in Warsaw a piano
piece, Priere d'une vierge which became
enormously successful after its publication
as a supplement to the Paris 'Revue et
Gazette Musicale* (1859). About 100 edi-
tions appeared in Europe and America in
the 19th century, not counting innumer-
able transcriptions for various instruments.
She wrote^ 34 more piano pieces, none of
which achieved popularity.
Badings, Henk, eminent Dutch composer;
b. Bandoeng (Java), Jan. 17, 1907. He
first studied mining engineering; then took
a course in composition with Pijper (1919-
24). In 1937 he was appointed prof, of mu-
sic at the Rotterdam Cons.; in 1941, became
director of the Royal Cons, at The Hague.
After the end of World War II, on charges
of cultural collaboration with the Germans
during the occupation, he was temporarily
barred from professional activities, but re-
gained his status in 1947. He is married to
the violinist Oily Folge Fonden, A highly
prolific composer, Baaings has written in
every genre. His style may be described as
romantic modernism; his harmonies ap-
proach polytonality; in his melodic material
he often uses a scale of alternating whole
tones and semitones* His works include the
opera The Night Watch (1942; Antwerp,
73
BADURA-SKODA BAILEY
May 13, 1950) ; Orpheus and Eurydice, bal-
let (1941); Apocalypse, oratorio (Rotter-
dam, Nov. 25, 1949); 6 symphonies: No.
1 (1930); No. 2 (1932); No. 3 (1934);
No. 4 (Rotterdam, Oct. 13, 1947); No. 5
(Amsterdam, Dec. 7, 1949) ; No. 6 ('Sym-
phony of Psalms,' with chorus; Holland
Festival, Haarlem, June 25, 1953) ; also The
Louisville Symphony (commissioned work;
Louisville, Feb. 26, 1955); 4 violin con-
certos (1928, 1935, 1944, 1946); 2 cello
concertos (1939); piano concerto (1939);
Tragic Overture (1937); Symphonic Vari-
ations for orch. (1937); Dance suite for
small orch.; Ballade for orch. (Maastricht,
Sept. 22, 1950); incidental music to the
plays Colportage by Georg Kaiser and Gys-
breght van Aemstel by Vondel (Amsterdam
Festival, 1938); concertino for violin, cello,
piano and chamber orch. (1942); wood-
wind quintet; 2 string quartets (1931,
1937); brass quartet (1947); piano trio
(Paris Music Festival, 1937); trio for oboe,
clarinet and bassoon (1943); trio for 2
oboes and English horn (1945); string trio
(1945); piano sonata (1934); 2 suites for
piano; 2 violin sonatas; 2 cello sonatas; or-
gan toccata; piano pieces and songs. Ba-
dings is the author of a book on contem-
porary Dutch music, De Hedendaagsche
Nederlandsche Muziek (Amsterdam, 1936).
BibL: Cor Backers, Nederlandse Compon-
isten (Amsterdam, 1949).
Badura-Skoda, Paul, Austrian pianist; b.
Vienna, Oct. 6, 1927. He was brought up
by his stepfather Skoda, whose name he
adopted professionally. He studied mathe-
matics and engineering as well as music;
his piano teacher in Vienna was Viola
Therns. He won first prize at the Austrian
Music Competition in 1947; graduated from
the Vienna College of Music in 1948; also
won prizes at the International Music Con-
test in Budapest (1948) and Paris (1949).
He married Eva Halfer on Sept. 19, 1951,
Toured Europe, Australia (1952), Canada
and the U.S. (1953). He made his New
York debut on Jan. 10, 1953.
Bagby, Albert Morris, American pianist
and concert manager; b. Rushville, Illinois,
April 29, 1859; d. New York, Feb. 26, 1941.
He studied in Berlin, and with Liszt in Wei-
mar. Returning to America in 1891, he
organized in New York the Bagby Morn*
ing Musicales, presenting 428 concerts; di-
rected them until a few weeks before his
death.
Bagge, Selmar, composer and music peda-
gogue; b. Coburg, June 30, 1823; d. Basel,
July 16, 1896. He studied at the Prague
Cons, and in Vienna with Scchtcr; later
taught at the Vienna Cons. (1851-55) ; was
editor of the 'Allgcmeine Musikzdtung' in
Leipzig (1863-66). Became director in 1868
of the Basel Music School, and retained this
post until his death. He publ. several books:
Lehrbuch der Tonkunst (1873); &w gcseh-
ichtliche Entwickelung der Sonate (1880);
Die Symphonie in ihrer historischen Ent-
wickelung (1884) ; wrote a symphony, piano
pieces, and other works. His biographical
sketch (by Eglingcr) was publ. in Basel
(1897).
Bagicr, Guido, German musicologist; b,
Berlin, Tune 20, 1888. He studied at the
Univ. of Leipzig with Max Rcgcr and Rte-
mann; taught at the State Academy of Arts
in Diisscldorf; settled in Berlin, where he
was connected with a motion picture com-
pany. He published a biography of Max
Regcr (Stuttgart, 1923).
Bai (bah-e), Tonimaso, Italian musician;
b. Crcvalcorc, near Bologna, c. 1660; d.
Rome. Dec. 22, 1714* He was a tenor at
the Vatican where he became maestro di
cappclla Nov. 19, 1713. A follower of Pal-
estrma, Bai's best known composition in a
five-part Miserere sung during Holy Week
in the Papal Chapel alternately with those
by Allcgri and Bami. It is reprinted in vari-
ous collections (Chpron, Burncty, Peters) ;
Bai's other compositions an; Included in C.
Proskc's Musica Divina (1853-63),
Baif, Jean-Antoine dc t French comrmirr
and poet; b. Venice, Feb. 19, 1532; d*
Paris, Sept. 19, 1589, He was brought to
Paris as a child, and formed a friendship
with Ronsard and other eminent poet** In
1570 he founded the Academic dta Poe'sie
ct de Musique, with the aim of reviving the
music and poetry of ancient Greece. He
developed a system of 'nmsique meuureV
which he believed would possess a moral
force similar to the Greek ideas of 'ethos*.
Settings of his poems were composed by
Jacques Maudit in 26 Chansontttes mtsurfas
(1586) for 4 voices; and by Claud* Le
Jcune, in L* Printtmps (1603). ^Both of
these collections have been reprinted in
Henri Expert's MaUrn Musicitns (1899*
1901; vols. X, XII, XIH and XIV), Haifa
musical works comprise 12 sacred songs and
several works in lute tablaturc.
Bailey, Parker, American composer;
nephew of Horatio Parker; b, Kumas City,
Mo,, March 1, 1902; studied at Yale (1910-
23) with D. S. Smith; also took courses with
Ernest Bloch in Cleveland; piano with B*
Rubinstein; studied law at Cornell Univ,
74
BAILLOT BAINTON
(LL.B., 1934) ; was on the legal staff of the
Securities and Exchange Commission in
Washington (1939-42) ; then settled in New
York as a lawyer; became advisor to the
Society for the Publication of American
Music (1947) and to the Edward Mac-
Dowell Association (1952). Works:
flute sonata (1929; Soc. for the Publ. of
Ainer. Music award) ; Variations syrnpho-
niques on a theme of Chambonnieres (1930) ;
T oc cat a- Ricer care-Finale on a Bach chorale
(1933; honorable mention in the World's
Fair Contest, 1939); several choruses and
solo songs.
Baillot (bi-yoh'), Pierre - Marie - Francois
dc Sales, celebrated French violinist, b.
Passy, near Paris, Oct. 1, 1771; d. Paris,
Sept. 15, 1842. The son of a schoolmaster,
he received an excellent education; at the
age of nine lie became a pupil of the French
violinist, Saint-Marie; he later was sent to
Rome where he studied under Pollani; re-
turned to Paris in 1791. He met Viotti who
obtained for him a position in the orchestra
of the Theatre Fcydeau; later he served
as a clerk in the Ministry of Finance. In
1795 he received the important appoint-
ment as violin teacher at the newly ojpened
Paris Cons.; but continued to study comp.
with Chcrubini, Rcicha and Catel. In 1802
he joined Napoleon's private instrumental
ensemble; toured Russia with the cellist
Lamarre (1805-1808). Upon his return to
Paris, he organised chamber music concerts
which enjoyed excellent success; also gave
concerts in Belgium, Holland and England.
In 1821 he became first violinist at the
Paris Opra; from 1825 he was also solo
violinist in the Royal Orch. Baillot's musical
compositions, rarely performed, comprise 10
violin concertos, 3 string quartets, 15 trios,
a symphonic concertante for 2 violins with
orch.j 6 violin duos, etc* Baillot's name is
chiefly remembered through his manual
UAft du Violon (1834); with Rode and
Kreutecr he wrote a Mtthode du Violon,
adopted by the Paris Cons., and rcpublishcd
in numerous editions and languages; he also
edited the Mtthade de Violoncelle by Le-
vasseur, Catcl and Baudiot.
Bailly (bah-yS), Ixmis, French- American
violist; b. Valenciennes, June 13, 1882. He
received the first prize- when he graduated
from the Paris Cons. (1899); played viola
in the Capet, Flonzaley (1917-24), Eiman
and' Curtis quartets; became head of the
viola and chamber music departments at the
Curtis Institute of Music in Philadelphia.
Baincs, William, English composer; b.
Horbury. near Wakefield, Yorkshire, Mar.
26, 1899; d. York, Nov. 6, 1922. He re-
ceived a few lessons from Albert Jowett of
Leeds, but was mainly self-taught. His un-
timely death at 23, of a lung ailment con-
tracted during World War I, deprived
contemporary British music of a great tal-
ent. Among Baincs' works arc several eflcct-
ive impressionist piano pieces (Paradise
Gardens, Tides, Milestones, Silverpoints,
Colored Leaves, etc.) ; and a symphony. For
a latter-day appreciation, see R. Carpenter,
Baines and Britten: Some Affinities in 'The
Mus. Times' (April, 1956).
Baini, Giuseppe (also known as Abbate
Baini), Italian writer on music and com-
poser; b. Rome, Oct. 21, 1775; d. there,
May 21, 1844. He received rudimentary
training from his uncle, Lorenzo Baini; then
entered the Scminario Romano, where his
instructor, Stefano Silveyra, indoctrinated
him with the spirit of Palcstrina's music. In
1795 he became a member of the papal
choir at St. Peter's ; he continued his studies
there with Bianchini; in 1802 he took
courses with Jannaconi, whom he succeeded
as maestro di cappella at St. Peter's (1818).
In 1821 he wrote his masterpiece, a 10-part
Miserere, which was accepted for singing at
the Sistine Chapel during Holy Week, in
alternation with the Misereres of Allcgri and
Bai. He also wrote many psalms, hymns,
masses and motets. His great ambition was
to publish a complete edition of Palcstrina's
works, but he was able to prepare only two
volumes for publication. The monument of
his devotion to Palcstrina was his exhaustive
biography Memorie stprico~critiche delta
vita e delle opere di Giovanni Pierluigi da
Palestrina (Rome, 1828; German transla-
tion by Handler, with notes by Kicscwetter,
1834), which remains extremely valuable
despite its occasional inaccuracies* He also
wrote a Saggio sopra I'identita de* ritmi
musicali e poetici (1820). Haberl published
an essay on Baini in the 'Kirchcnmusika-
lisches Jahrbuch* (1894).
Bainton, Edgar Leslie, English composer;
b. London, Feb. 14, 1880. He studied with
Waiford Davics and Stanford; was ap-
pointed prof* of piano and composition at
the Cons, of Newcastle-on-Tyne (1901), be*
came director in 1912, He subsequently ^ ap-
peared as guest conductor with various
European orchestras, and in 1934 was
appointed director of the State Cons, at Syd-
ney, Australia. Bainton's compositions in-
clude the operas The Crier by Night and
Oithona (Glastonbury ; Aug. 11, 19l5) ; or-
chestral pieces Pompilw (1903) and Paracel-
sus (1921); a, symphony; an overture, Pro-
metheus; Concerto-Fantasia for piano and
75
BAIRD BAKER
orch. (Carnegie Award, 1917; London, Jan.
26, 1922); choral works with orch. (The
Blessed Damozel, Before Sunrise, Sunset at
Sea, The Vindictive Staircase, A Song of
Freedom and Joy, The Tower) ; a string
quartet; viola sonata; songs.
Baird, Tadeusz, Polish composer; b.
Grodzisk, July 26, 1928. During World War
II he was sent by the Germans to a labor
camp; returned to Warsaw in 1948. He has
written a Sinfonietta (1949) ; Piano concerto
(1949); Symphony No. 1 (1950); Colas
Breugnon for flute and string orch. (1951) ;
Ouverture giocosa (1952); Symphony No. 2
(1953).
Bairstow, Sir Edward Cuthbert, English
organist and composer; b. Huddersficld,
Aug. 22, 1874; d. York, May 1, 1946. He
received his Mus. B. at Durham Univ. in
1894; his Mus. D. in 1900: was organist
at Wigan (1899-1906), Leeds (1906-13)
and at the York Minster. He composed
church music, anthems, part songs, and an
organ sonata (1937); author of Counter-
point and Harmony (1937) and The Evo-
lution of Musical Form (1943). See E,
Bradbury, A Birthday Tribute in the 'Mus.
Times' (Aug. 1944).
Bakala, Bretislav, Czech conductor; b.
Frystak, Feb. 12, 1897. He studied at the
Brno Cons, and in Prague with Janic'ek.
He was conductor of the Brno radio orch-
estra (1926-40); since 1940, conductor
of the Brno Symphony; also conducted
abroad. He has written a Scherzo for orch.
(1923); Fantasy for string quartet (1933);
several choral works and songs. He has done
much to make Jan&Eek's music known and
edited his posthumous opera From the House
of the Dead.
Bakaleinikoy (bah-kah-la'-ne-kov), Vladi-
mir Romanovitch, Russian viola player and
conductor; b. Moscow, Oct. 12, 1885; d.
Pittsburgh, Nov. 5, 1953. He studied with
Michael Press; graduated from the Moscow
Cons, in 1907; played the viola in the
Grand Duke Mecklenburg-Strelitz Quartet
(1910-20); taught at the Cons, of St
Petersburg (1913-20); conducted opera at
the Music Drama Theater (1914-16). Re-
turning to Moscow, he taught at the Mos-
cow Cons. (1920-24); was in charge of
the opera branch of the Moscow Art
Theatre (1920-27). He came to America in
1927; was associate conductor of the Cin-
cinnati Symph. Orch.; gave conducting
courses in various American cities; settled
in Pittsburgh as conductor and teacher* He
a viola poncerto (1937) and 2 ori-
ental dances for orch.; made arrangements
of Bach, and a symph. transcription of
Beethoven's Septet; pxiblished a manual
Elementary Rules of Conducting (1937);
The Instruments of the Band and Orches-
tra (with M. Rosen, N.^ Y., 1940), and an
autobiography A Musician's Notes (N. Y.,
1943; in Russian).
Baker, Benjamin Franklin, American mu-
sic pedagogue; b. Wcnharn, Mass., July 10,
1811; died Boston, March 11, 1889. He
was a singer in various churches in Salem*
Boston and Portland; in 1841 he succeeded
Lowell Mason as teacher of music in the
public schools; sang with the Handel and
Haydn Society. He founded the Boston
Music School (1851-68) and edited the
'Boston Musical Journal' ; composed 3 can-
tatas: The Storm King, The Burning Ship
and Camitlus; also published a text book
Thorough-Bass and Harmony (1870).
Baker, George, English organist; b. Exeter
1768; d. Rugcley, Feb. 19, 1847. He studied
in Exeter with William Jackson; was organ-
ist at Stafford (1795), Derby (1810) and
Rugeley, Staffordshire (1824). The opera
The Caff res, or Buried Alive (produced at
Covcnt Garden in London, June 2, 1802) is
often listed as a work by Baker but was
really written by John Davy. Among
Baker's own works are numerous anthems
and glees.
Baker, Theodore, American writer ^on
music, and the compiler of the 1st edition
of the present dictionary; b. New York,
June 3, 1851; d. Dresden, Germany, Oct.
13, 1934. As a youn# man, he was trained
for business; in 1874, decided to study
music; went to LcipxiR, became a pupil of
Oskar Paul and received his JDr. phiL there
in 1882 (thesis: Ub*r die Musik d*r nord*
amerikanischen Wilden, the first serious
study of American Indian music) ; lived in
Germany until 1890 j returned to the ILS. in
1891, and became literary editor and
translator for the publishing house of G.
Schirmer, Inc. (1892); retired in 1926 and
returned to Germany. Books: A Dictionary
of Musical Terms (1895; highly popular: 25
editions before 1939) ; A Pronouncing Pock-
et Manual of Musical T*m$ (1905); Th*
Musician's Calendar and Birthday Book
(1915-17). Baker's Biographical Dictionary
of Musicians was first published in 1900 by
G, Schirmerj Inc. It Included the names of
many American musicians, theretofore not
represented in musical reference works t 2nd
edition was published in 1905; the 3d edi-
tion, revised and enlarged by Alfred Remy,
in 1919 ; the 4th edition in 1940, under the
76
BAKFARK BALART
general editorship of Carl Engcl; a supple-
ment (1949) was compiled by Nicolas Slon-
imsky, the editor of the present edition.
Bakfark. Sec Bacfarc.
Baklanov, George, Russian baritone; b. St.
Petersburg, Jan. 18, 1882; d. Basel, Dec.
6, 1938. He made his debut in St. Peters-
burg ( 1 905 ) ; then sang at various European
opera houses; was a member of the Boston
Opera Go, (1909) and the Chicago Opera
Co. (1917). He was particularly successful
in dramatic roles (Scarpia, Boris Godunov,
Rigoletto).
Balaban, Emanuel, American pianist and
conductor; b. N. Y., Jan. 27, 1895. He
studied piano with Stojowski; served as
Mischa Elman's accompanist; conducted at
the Dresden Opera; returning to the U.S.,
was conductor of the opera department at
the Eastman School of Music in Rochester,
N.Y* (1927-53); then was active as theater
conductor in New York.
Balakirev (ba^h'-kg-rev), Mily Alex-
eycvitch, celebrated Russian composer; b.
Nizhny-Novgorod, Jan. 2, 1837 (new style) ;
d. St. 'Petersburg, May 29, 1910. He received
his musical training from his mother; then
with Alexander Dubuque in Moscow; he
further studied with a German house mu-
sician at the estate of Oulibishev (author
of a book on Mozart). In 1853 Balakircv
entered the Univ. of Kazan and studied
mathematics* He accompanied Oulibishev
to St. Petersburg (1855) and was intro-
duced to Glinka who encouraged him. He
made his public debut as composer and
pianist playing a movement from his piano
concerto (St. Petersburg, Feb. 24, 1856);
his Overture on Russian Themes was given
in 1859. In 1862 he opened a school of
music with Lotnakin; his Second Overture
on Russian Themes was performed at a
school concert (April 18, 1865),* this Over-
tun was published as One Thousand Years
to commemorate the national millennium
(Russia as a state was formed in 862);
revised in 1882, it was renamed Russia,
Balakirev became greatly interested in col-
lecting Russian folksongs; he selected, har-
monized and published a number of these
songs in 1866. This coincided with the de-
velopment of Slavophile tendencies in Rus-
sia. Balakircv visited Prague in the summer
of 1866; he Invited several Czech musi-
cians to present their works at a concert in
St. Petersburg; this Slavic concert took
place at Balakirev's school on May 24. 1867;
works of Balakirev. Borodin, GUI, Mussorg-
sky and Rimsky-Koriakov were presented;
this event led Stassov to describe the new
Russian composers as a 'Mighty Heap*
(usually simplified to 'Mighty Five') which
went down in history as a descriptive
phrase. Under the influence of his several
trips to the Caucasus, Balakirev began to
exploit oriental musical elements in his
works; the most brilliant of these is Islamey,
an oriental fantasy for piano, of transcen-
dental difficulty in performance. Although
Balakirev was regarded as a mentor by Bo-
rodin, Mussorgsky and others, his own ac-
tivity slackened considerably. His middle
life was entirely unproductive. It took him
many years to complete his symph. poem,
Tamara (perf. St. Petersburg, March 19,
1883). His symphony in C took 32 years
to compose (1866-98); he wrote his second
symphony in D minor at the age of 70
(1907-08); it was perf. in St. Petersburg
on April 23, 1909. His first piano concerto
was written in 1855; he began his 2nd piano
concerto in 1861, but laid it aside until
1909. It was completed after his death by
S. Liapunov. Of smaller works, his Song
Albums (45 songs in all) are remarkable in
their expressiveness; he made brilliant piano
arrangements of works by Berlioz, Chopin
and others; his transcription of Glinka's song
The Lark has become a standard piece in
the piano repertory. He published 40 Rus-
sian folksongs in 1866, and 30 songs in
1898. BibL: M. D. Calvocoressi and
Gerald Abraham, Masters of Russian Music
(1936) ; M* D. Calvocoressi, Mily Balakirev,
in the 'Mus. Quarterly* (centennial article,
Jan, 1937); G. Kiselev, Balakirev (Moscow,
1938), containing a complete bibl in Rus-
sian; V. Muzalcvsky, Balakirev (Leningrad,
1938); G. Fedorova, Balakirev (Moscow,
1 951 ) . Balakirev*^ correspondence with Tchai-
kovsky was ed. by Liapunov (St. Petersburg,
1912); that with Stassov, by V. Karenin
(Moscow, 1935).
Balantchivadze, Audrey. Georgian-Rus-
sian composer (brother of the choreographer
George Balanchine) ; b, St. Petersburg, June
1, 1906. He studied with his father, the
Georgian composer Meliton Balantchivadze,
and with Ippolitov-Ivanov at the Tim's Cons,
and at the Leningrad Cons. In 1931 he let-
tied in Tiflis as prof, at the Cons. In his
music he utilizes elements of Georgian folk-
songs. He has written an opera Mzia
(1950); a ballet The Heart of the Moun-
tains (1938); a symphony (1946); 2 piano
concertos (the 2nd of which was awarded
the Stalin Prize for 1947); several symph.
poems; choruses and songs.
Balart* Gabriel, Spanish composer: b.
Barcelona, June 8, 1824; d. there, July 5,
BALATKA BALFE
1893. He studied at the Paris Cons.; com-
posed various pieces of salon music, which
enjoyed some success. In 1849 he went to
Milan as theater conductor; in 1853 ap-
pointed musical director of the Teatro del
Liceo in Barcelona. He wrote 5 symphonies
in a romantic vein, which he conducted in
Spain; for a time his light opera Amore y
Arte enjoyed considerable success.
Balatka, Hans, conductor and composer; b.
Hoffnungsthal, Moravia, March 5, 1827; d.
Chicago, April 17, 1899. He was a choirboy
in Olmutz Cathedral; studied in Vienna
with Proch and Sechter (1846-48). He emi-
grated to America in 1849, settling in Mil-
waukee, where he founded a German Mu-
sikverein (1851), and was its conductor un-
til 1860. He appeared at the Chicago music
festival with considerable success (1857);
was appointed conductor of the Chicago
Philh. Soc. (1860). His concerts were ex-
tremely popular for several seasons; in 1869
his orchestra was superseded by that of
Theodore Thomas. Balatka subsequently
made concert tours with Mme. Pappenheim
(1870); led various choral organizations in
Milwaukee; in 1873 settled again in Chi-
cago, where he founded the Liederkranz and
the Mozart Club. He was an important
bearer of musical culture in the American
Midwest; he introduced the public to com-
plete performances of Beethoven and Schu-
bert symphonies. He composed The Power
of Song for double male chorus (1856);
Festival Cantata for soprano and orch.
(1869); about 30 songs; many transcrip-
tions of various works for orch.j also fan-
tasias and potpourris.
Balbastre (Balbatre), Claudte, French or-
ganist and composer; b. Dijon, Dec. 8,
1729; d. Paris, April 9, 1799. He was a
pupil of Rameau (1760); organist at the
Church of Saint-Roche in Paris; later alter-
nated with Couperin, Daquin, and Sejan
as organist of Notre-Dame. He wrote four
piano suites of variations on French no els;
also many pieces for organ and harpsichord.
Balbi (Latin, Balbus), Lodovico, Italian
composer; b. probably Venice, 1545; d. there,
1604. He was a pupil of Costanzo Porta;
sang in the choir of San Marco in Venice
(1570); then was maestro di cappclla at
the Franciscan monastery there (1578), and
at San Antonio in Padua (1585-91); later
returned to Venice. He published masses,
motets, canzoni, madrigals, sacred songs,
etc.; compiled a collection of graduals and
antiphons by celebrated Italian masters,
publ. by Gardano (Venice, 1591).
Balbi, Melchiore, Italian theorist and
composer; b. Venice, June 4, 1796; d. Pa-
dua, June 21, 1879. He was a pupil of
Nini, Valeri, and Calrgari in Padua; was
theater conductor there (1818-53); from
1854 was maestro di cappclla at the basilica
San Antonio. He wrote 3 operas, all pro-
duced in Padua: La Notte perigliosa
(1820); L'Abitator del bosco (1821);
UAlloggio militare (1825); a requiem (for
Rossini, 1868) ; masses; psalms; edited Galc-
gari's Trattato del sistema armonico (Pa-
dua, 1829); and wrote a Grammatica
ragionata della music a consider at a sotto
I'aspetto di lingua (Milan, 1845 ) f and
Nuova scuola basata sul sistema semitonato
equabile (1872).
Baldwin, Samuel Atkinson, American or-
ganist and composer; b. Lake City, Minn.,
Jan. 25, 1862; d. New York, Sept. 15, 1949.
He studied in Dresden (1880-84); return-
ed to America, and was organist in churches
in Chicago (1885-89), New York (1895-
1902) and Brooklyn (1902-11); taught at
the College of the City of New York (1907-
32). He was one of the founders of the
American Guild of Organists; gave nearly
1500 organ recitals. Among his compositions
arc a piano trio; 2 string quartets; Psalm
XVIII for soloists, chorus and orch.
(1884); a concert overture, A Journey in
Norway (1887); a cantata, The Triumph
of Love (1892) ; a suite for orch,, A Sum-
mer Idyl (1895); 2 symphonies; 4 sym-
phonic rhapsodies; etc. His anthem Tarry
with Me has attained wide popularity,
Bales, Richard, American conductor; b.
Alexandria, Virginia, Feb. 3, 1915. He stud-
ied at the Eastman School of Music in
Rochester; then under Koussevitasky (con-
ducting) at the Berkshire Music Center
(1940), In 1943 became conductor of the
National Gallery Orch. in Washington,
D.G. He has presented many scores by con-
temporary American composer*; compiled
and arranged an ingenious potpcmrri of
Southern songs, The Confederacy (1954;
very popular),
Balfe (balf), Michael William, Irish com-
poser; b. Dublin, May 15, 1808: d* Rowney
Abbey, Hertfordshire, Oct. 20, 1870. He was
the son of a dancing-master: at the uge of
six played the violin for his father 1 ! dancing
classes; subsequently studied violin with
O'Rourke. After his father's death (Jan. 6 f
1823), Balfe went to London where he
studied with Charles Edward Horn (violin)
and Carl Friedrich Horn (composition); in
1824 was violinist at the Drury Lane Thea-
tre; also sang in London and the provinces*
78
B ALFOORT BALLANTINE
His patron, Count Mazzara, took him to
Italy (1825) ; he studied in Milan with Fcd-
erici (counterpoint) and Filippo Galli (sing-
ing) ; his ballet, La P&rousc, was produced
there in 1826. Acting on the advice of Ros-
sini, Balfe further studied singing with Bor-
dogni; then was engaged as principal bari-
tone at the Italian Opera, Paris (1828);
also sang in various Italian theaters until
1833. In Italy, he married the Hungarian
vocalist Lina Rosa (b. 1808; d* London,
June 8, 1888). Returning to England in
1835, he began his brilliant career as a
composer of English operas with The Siege
of Rochelle (Drury Lane Theatre, London.
Oct. 29, 1835); he was then manager of
the Lyceum Theatre in London (1841);
went to Paris, where he composed the operas
Le Puits d 'amour ( Op&ra-Comiquc, Paris,
April 20, 1843; in English as Geraldine,
Princess's Theatre, London, Aug. 8, 1843),
and Les Quatres Fits Aymon (Opdra-Com-
ique, Paris, July 15, 1844; in English ns
The Castle of Aymon, Princess's Theatre,
London, Nov. 20, 1844); returned to Eng-
land in 1843 and produced his most famous
opera, The Bohemian Girl (Drury Lane
Theatre, London, Nov. 27, 1843), which
was subsequently translated into French,
German and Italian, and performed on the
chief continental stages with great success.
Excepting visits to Vienna (1846), Berlin
(1848), to St Petersburg and to Trieste
(1852-6), he stayed in England; retired to
his country seat at Rowney Abbey in 1864.
His daughter, Victoire, made her debut as
a singer in 1857 at the Lyceum Theatre,
London. The further list of his operas in*
eludes three in Italian: / rivali di se stesso
(Palermo, 1829); Un avvertirnento ai gelosi
(Pavia, 1830); Enrico XV at Passo della
Mama (Milan, Feb. 19, 1833) ; and one in
French: L*&toile d* Stville (Opdra, Paris,
Dec. 17, 1845), The following operas were
produceci in London at Dniry Lane, Govent
Garden, and other theaters: The Maid of
Artois (May 27, 1836); Catherine Grey
(May 27, 1837); Joan of Arc (Nov. 30,
1837) ; Diadeste* or The Veiled Lady (May
17, 1838J; Falstaff (in Italian, July 19,
1838); K8olanthe> or The Unearthly Bride
(March 9, 1841); The Daughter of St.
Mark (Nov. 27, 1844); The Enchantress
(May 14, 1843); The Bondman (Dec. 11,
1846); The Maid of Honour (Dec, 20,
1847) ; The Sicilian Bride (March 6, 1852) j
The Devil** In It (July 26, 1852); Moro,
the Painter of Antwerp (Jan. 28, 1882;
originally produced as Pittore e duca,
Trieste, Nov. 21, 1854); The Rose of Cos*
tilte (Oct. 29, 1857); Satanella, or The
Power of Love (Dec. 20, 1858); Bianca, or
The Bravo's Bride (Dec. 6, 1860) ; The
Puritan's Daughter (Nov. 30, 1861); The
Armourer of Nantes (Feb. 12, 1863);
Blanche de Nevers (Nov. 21, 1863); The
Sleeping Queen, operetta (Sept. 8, 1864);
The Knight of the Leopard (Liverpool, Jan.
15, 1891; originally produced in London as
11 Talismano, June 1 1, 1874) ; also Mazeppa,
a cantata, and 2 other cantatas; ballads,
glees, songs, etc. Bibl.: Charles Lamb Kcn-
ncy, A Memoir of Michael William Balfe
(London, 1875) ; W. A. Barrett, Balfe: His
Life and Work (London, 1882).
Balfoort, Dirk Jacobus, Dutch musicolo-
gist; b. Utrecht, July 19, 1886. He studied
with Evert Gornclis; played violin in vari-
ous German orchestras; then held teaching
posts in Holland; also organized concerts of
old music by Dutch composers. He pub-
lished valuable books (in Dutch) on music
making in Holland: De Hollandsche viool*
makers (Amsterdam, 1931); Met Muziek-
faven in Nederland in de 17 e en 18* eeuw
(Amsterdam, 1938) ; a monograph on Strad-
ivarius (Amsterdam, 1945; also in German
and English) ; etc.
Balfour, Henry Lucas, English organist;
b. London, Oct. 28, 1859; d, Croydon, Sur-
rey, Dec, 27, 1946. He studied music in
London with Arthur Sullivan; later in Leip-
zig; was organist at Groydon (1872-1902).
In 1902 he became organist at the Church
of the Holy Trinity.
Ball, Ernest R., American composer of
popular songs; b. Cleveland, July 21, 1878;
d. Santa Ana, California, May 3, 1927. He
studied at Cleveland Cons.; moved to N. Y.,
where he earned his living as a vaudeville
pianist. His first success came with the song
Will You Love Me in December as You
Do in May? to the words of James J. Walk-
er (later, Mayor of N. Y,). No less success-
ful were his sentimental songs Mother Ma-
chree, When Irish Eyes are Smiling, Little
Bit of Heaven, Dear Little Boy of Mine,
Till the Sands of the Desert Grow Cold,
Love Me and the World is Mine, etc*, sung
by John McCormack and other famous ar-
tists. Ball was a charter member of ASCAP
(1914).
Baliantwc, Edward, American composer;
b* Oberlin, Ohio, August 6, 1886. He stud-
ied with Walter Spatting at Harvard Univ.;
graduated with highest honors in 1907;
took piano courses with Artur Schnabel and
Rudolph Ganz in Berlin (1907-09). In 1912
he was appointed instructor at Harvard; be*
came assistant prof, in 1926; associate prof.
79
BALLARD BALOKOVIC
in 1932; retired in 1947. His first published
work was a musical play, The Lotos Eaters
(1907), three of his orchestral pieces were
performed by the Boston Symph. Orch.:
From the Garden of Hellas (Feb. 9, 1923);
Prelude to The Delectable Forest (Dec. 10,
1914); The Eve of St. Agnes (Jan. 19,
1917) ; a piece in lighter vein, By a Lake in
Russia, was perf. at the Boston Pops (June
27, 1922). He has also written a violin
sonata and songs. His most striking work
is a set of piano variations on Mary Had a
Little Lamb (1924) in the styles of 10 com-
posers; a second series of variations on the
same tune (1943) includes stylizations of
Stravinsky, Gershwin and others. These sets
have become highly popular in concert
programs.
Ballard (bah-lahr 5 ), a family of French
music printers. The establishment was
founded by Robert Ballard in 1552, whose
patent from Henri II made him "Seul im-
primeur de la musique de la chambre, cha-
pelle, et menus plaisirs du roy"; the patent
was renewed to various members of the
family until 1776, when it expired. The
firm enjoyed a virtual monopoly on French
music printing, and continued under the
management of the Ballard family until
1788. Until c. 1750, the movable types in-
vented in 1540 by Guillaume le B6 were
used; the Ballards printed Lully's operas in
this style (from 1700) ; later printings were
from engraved copper-plates.
Balling (b&hl'-ling) , Michael, German
conductor; b. Heidingsfeld, near Wiirzburg,
Aug. 28, 1866; d. Darmstadt, Sept 1, 1925.
He won a scholarship to the Konigliche
Musikschule in Wiirzburg, where he studied
viola under Hermann Ritter; began his
career as violist in the Municipal Orch. at
Mainz; then played in the court orchestra
at Schwerin; in 1886 was appointed first
violist in the Festival Theater Orch. at
Bayreuth ; on various occasions played cham-
ber music with Rubinstein and Brahms. He
went to Nelson, New Zealand and estab-
lished the first music school there (1892),
organized an orchestra and a choral society;
toured England as music director for F. R.
Benson's production of A Midsummer
Night's Dream (1895) ; was appointed assist-
ant conductor at Bayreuth (1896). He was
chorusmaster at the Stadttheater in Ham-
burg for a year; then at Lttbeck, where he
gave Wagner's Nibelungen Ring (complete)
and later at Breslau; in 1903 succeeded
Mottl as chorusmaster at the Karlsruhe
opera and conductor of symphony concerts*
He visited Spain in 1906 ana conducted the
first performances of Die Meistersinger in
Barcelona; directed Tristan and the Ring at
Bayreuth; in 1910 toured England as princi-
pal conductor of Denhof's Opera Company,
and conducted the first performance of the
Ring in English, at Edinburgh, Scotland;
succeeded Richtcr (1911) as conductor of
the Hall6 Orch. in Manchester; settled in
Darmstadt (1919) as general music director;
from 1912 until his death was editor of the
monumental edition of Wagner's works be-
gun by Breitkopf & Hartel in 1912.
Balmer, Luc, Swiss conductor and com-
poser; b. Munich, July 13, 1898. He studied
with Hans Hubcr at the Basel Cons, and
later in Berlin with Busoni. Returning to
Switzerland in 1923, he occupied various
posts as theater conductor. In 1941 he be-
came conductor at the Musical Society of
Berne. He has written two symphonies;
violin concerto; piano concerto; variations
for oboe, bassoon and strings (1951). His
musical fairy tale Die Verzauberte Blum*
was performed in Berne in 1926.
Balogh, Erno, Hungarian pianist and
composer; b. Budapest, April 4, 1897. A
precocious musician, he played in public as
an infant; at seven entered the Royal Aca-
demy of Music in Budapest; at twelve took
courses with Bart6k (piano) and Kod&ly
(comp.); graduated with honors at 17, lie
was 15 when he received the Liszt prfoe.
He continued his studies in Berlin with
Leonid Kreutecr; made his Berlin debut,
Sept. 13, 1920. He then traveled as accom-
panist with celebrated artists; emigrated to
America in 1924; became a U.S. citizen in
1929. His first orchestral works, written
when he was 17, RSvtri* and Dans* du
Mi-Car$me f were performed by tho Buda-
pest Philharmonic (1915); he also wrote
Divertissement for string orch. j violin pieees
Caprice Antique and Arabesque (played by
Krcislcr) and numerous piano composition*,
Balokovi6 (bah-lohMcoh-vitch) Zlatko,
eminent violinist; b. Zagreb, Yugoslavia,
March 21, 1895. He was a pupil of Vaclav
Hum! at the Zagreb Cons. (1905) ; then of
Sev&k at the Meistcrschule m Vienna: won
the Australian State Prize (which included
a Guarnerius violin) in 1913; ha* toured
Europe and the U.S. many times as soloist
with all the major orchestras, and in recital;
gave the first performance of John Alden
Carpenter's viohn concerto in Ghieago (Chi-
cago Symph, Orch., Nov. 18, 1937); also
performed it in Cleveland, Los Anodes,
Boston and New York; since 1939 has been
living mainly in N, Y.
80
BALTZELL BANCHIERt
Baltzell, Winton James, American music
editor; b. Shircmanstown, Pa., Dec, 18,
1864; d. New York, Jan. 10, 1928. He was
educated at Lebanon College (A.B., 1884) ;
New England Cons. (1888-9) ; Univ. of Penn-
sylvania (Mus. Bac., 1896) ; also studied
in London (1890) with Sir John Frederick
Bridge (composition) and William Shakes-
peare (singing) ; was assistant editor of
The Etude' in Philadelphia (1887); taught
theory and the history of music at Wcsleyan
Univ. (1900-07); from 1907-18 was secre-
tary of the National Academy of Music in
New York. lie published A Complete His*
tory of Music for Schools (1905), and a
Dictionary of Musicians (1912); also edited
the *University Course of Music Study* at
Wesleyan; composed choral and orchestral
works, chamber music, numerous songs and
anthems.
Bal y Gay, Jesus, Spanish composer and
musicologist; b. Lugo, June 23, 1905. He
studied at the Madrid Cons. From 1935-38
he lived in Cambridge, England, where he
taught Spanish; then settled in Mexico City.
In 1947 he became chief of the Section of
Musical Research at the Institute Nacional
de Bellas Artes. He married the Spanish
pianist, Rosita Garcia Ascot. Bal y Gay
has written mostly in small forms; several of
his piano pieces and songs have been pub-
lished; he has made transcriptions of old
Spanish romances; edited collections of
Spanish lute music.
Bamberger, Carl, conductor; b. Vienna,
Feb. 21, 1902. He studied theory and piano
with Schenkcr; musicology at the Umv. of
Vienna. He conducted opera at Danzig and
Darmstadt (1924-301; in Russia (1931-35)
and Egypt (1937). In 1937 he came to the
U. S.; m 1939 was appointed director of the
Orchestral and Opera Dcpts. at the Mannes
Music School, N. Y* He founded and con-
ducted the New Choral Group of Manhattan
and the Brooklyn Oratorio Society (1940-
45): guest conductor of the NBC Symph.
Orcn., CBS Symph. Orch., N, Y. Phdh,
Orch., Detroit Symph. Orch., Havana Philh.
Orch, and at the Lcwisohn Stadium Con-
certs.
Bamboschek, Giuseppe, conductor; b.
Trieste, June 12, 1890, A precocious musi-
cian, he was organist at the San Giacomo
Church in Trieste at the age of thirteen;
studied piano, theory, and conducting at the
Trieste Cons, (graduated 1907); -made op-
eratic debut as a conductor in Trieste
11908); came to the U. S. as accompanist
tor Patquale Axnato (1913); in 1916 was
appointed conductor and music secretary at
the Metropolitan Opera; conducted there
for thirteen years, specializing in Italian
repertory; has also conducted at various
European cities, in New York, Philadel-
phia, and St. Louis. Since 1929, in addition
to guest appearances as opera conductor,
Bamboschek has been conducting for radio
and motion pictures.
Bampton, Rose, American opera singer;
b. Cleveland, Nov. 28, 1909. She studied at
the Curtis Institute in Philadelphia (B.A.);
made her operatic debut with the New
York Chautauqua Opera as Siebel, under
Albert Stoessel (1929); subsequently sang
Schoenberg's Gurre-Lieder, with the Phila-
delphia Orch., under Stokowski's direction;
also sang in the Bach Festival, Bethlehem,
Pa., and was soloist with many major Amer-
ican orchestras; made her debut at the Met-
ropolitan Opera as Laura in La Gioconda
(Nov. 28, 1932). She first appeared as a
mezzo-soprano; then retrained voice as a so-
prano; made her debut as a soprano at the
Metropolitan Opera House in 1937, as Leo-
nore in // Trovatore; has sung dramatic so-
prano roles in Norma and Don Giovanni;
in 1939 sang the role of Sicglinde in Chi-
cago.
Banchieri (ban-kya*-r6), Adriano, Italian
organist and composer; b. Bologna, Sept. 3,
1568; d. there, 1634. He studied with Lucio
Barbicri and Giuseppe Guami. On Sept. 8,
1589 he took holy orders and entered the
monastery of Monte Olivcto. In 1592 he
was at the Monastery of S. Bartolomco in
Lucca; 1593, in Siena; was organist at
Santa Maria in Regola di Imola in 1600.
In 1608 he returned to Bologna, remaining
there until his death. Despite his clerical
rank (he became abbot in 1620) Banchieri
never abandoned music, and was active at
the Accadcmia Filarmonica in Bologna
(where he was known as 11 dissonante') .
He wrote numerous stage works, Historically
important in the evolution of early opera.
Among these dramatic works were La Pazxia
senile (1598); // zabaione musicale (1604);
La barca da Venezia per Padova (1605);
La prudenxa giovanile (1607); Tirsl, Filli
e Clori (1614). He wrote a number of
masses for 3 to 8 voices, and other sacred
vocal works; also several groups of instru-
mental works: 1 canzoni alia pranctse a 4
voci per sonar (1595) j Diatoghi, concentus
e sinfonte (1625); ll virtuoso ritrovato
accademico (1626), etc* As a theorist, he
advocated the extension of the hexachord
and proposed to name the 7th degree of
the scale by the syllables ba and bi (cor-
81
BAND BANNISTER
responding to B flat and B). Banchieri's
theoretical work Uorgano suonarino (Ven-
ice, 1605) gives instructions for accompani-
ment with figured bass; his Moderna prat-
tic a music ale (Venice, 1613) contains fur-
ther elaborations of the subject. Banchieri
was the first to use the signs / and p for
loudness and softness (in his Libra III di
nuovi pensieri ecclesiastici, 1613). He also
wrote dramatic plays under the name of
Camillo Scaliggeri dell a Fratta. A reprint
of his Sinfonia d'istromenti (1607) is found
in A. Schering's Geschichte der Musik in
Beispielen (No. 151) ; the organ pieces from
Uorgano suonarino are reprinted in Torchi's
Arte musicals in Italia (vol. III). Banchieri
further publ. : the treatises Cartella musical*
del canto figurato, fermo e contrappunto^
(Venice, 1614) ; Direttorio monastico di
canto fermo (Bologna, 1615); and Letter e
armoniche (Bologna, 1628). Bibl.: Max
Schneider, Die Anfdnge des Basso continuo
(1918); F. Vatielli, II Madrigale dram-
matico e Adriano Banchieri, in Arte e vita
musicale a Bologna (1927); F. T. Arnold,
The Art of Accompaniment from a Thor-
ough Bass (London, 1931); Gustave Reese,
Music in the Renaissance (N. Y., 1954).
See also E. Capaccioli, Precisazioni bio-
grafiche su Adriano Banchieri in "Rivista
Musicale' (Oct.-Dec,, 1954).
Band, Erich, German conductor; b. Berlin,
May 10, 1876; d, Waidhofen, May 13, 1945.
He studied at the Hochschule fur Musik in
Berlin; was conductor at the Stuttgart Hof-
theater (1905) ; chief of the opera at Halle
(1924-32), and later at Berlin. He adapted
Auber's Le Domino noir for the German
stage; also wrote a manual, Zur Entwicke-
lungsgeschichte des modernen Orchesters
(1910) ; composed chamber music and songs*
Bang, Maia (Mrs. Hohn), Norwegian-
American violinist and teacher; b, Tromso,
April 24, 1879; d. New York, Jan. 3, 1940.
She was graduated from the Leipzig Cons.
(1897); then studied with Leopold Auer in
St. Petersburg. She came to the U, S. in
1919 and became Auer's assistant in New
York. She was the author of several violin
methods; at the time of her death, she was
engaged in writing a biography of Paganini.
Her collection of Paganini materials was
given to the Library of Congress.
Banister, Henry Charles, English music
theorist and teacher: b, London, June 13,
1831; d, Streatham, near London, Nov. 20,
1897. He studied music with his father, a
cellist; then with Cipriani Potter at the
Royal Academy of Music, where he twice
gained the King's scholarship (1846-48);
was appointed assistant prof. (1853) of har-
mony and composition at the Royal Acad-
emy; taught harmony at Guildhall School
(from 1880) and at the Royal Normal Col-
lege for the Blind (from 1881). He pub-
lished a Textbook of Music (London, 1872,
and 15 editions since) ; Some Musical Ethics
and Analogies (1884); Lectures on Musical
Analysis (1887); Musical Art and Study
(1888); George Alexander Macfarren
(1892); Helpful Papers for Harmony Stu-
dents. (1895); The Harmonising of Melo-
dies (1897); and The Art of Modulating
(1901). A collection of his lectures, Inter-
ludes, edited by Macpherson, appeared in
1898. Banister composed 4 symphonies and
5 overtures, chamber music, cantatas, piano
pieces, and songs.
Banister, Henry Joshua, English cellist; b,
London, 1803; d. there, 1847. He was a
skilled performer, and the author of several
books on cello technique. His father,
Charles William Banister (1768-1831}, was
a composer who published a Collection of
Vocal Music (London, 1803).
Banister, John, English violinist and com-
poser; b. London, 1630; d, there, Oct. 3
1679. After he Had received some musical
instruction from his father, his skill earned
him the patronage of King Charles II, who
sent him to France for further study; was
later a member of Charles' band, until an
outspoken preference for the English over
the French musicians playing in it caused
his expulsion. Banister was director of a
music school, and established the first pub-
lic concerts in London (1672*78) ; vmi a
prominent figure in the English musical life
of his day. He wrote music for Duvcrmnt'i
Circe and Shakespeare's Th* TtmpMt (both
1676) ; composed New Ayres and Dialogues
for voices and viols (London, 1678); con-
tributed to Playford's Courtly Masquing
Ayres (1662), and to Lock's Mel&thtuia
(1673) ; also wrote music for plays by Dry-
den, Shadwcll and Wychcrlq>. Cf. J rulvcr,
A Biographical Dictionary of Old English
Music (1927).
Banister, John (Jr.), English violinist,
son of preceding; b, London, c. 1663; d,
there, 1735. He studied violin with his
father; was a member of the private band
under Charles II, James II And Qurcn
Anne; was concert master at the Italian Op-
era in London. He composed some music
for the theater; contributed to Playford's
Division Violin (1685), the first violin man-
ual published in England.
Bannister, Rev. Henry Marriott, English
82
BANTI-GIORGI BANTOCK
music editor and bibliographer; b, Oxford,
March 18, 1854; d. there Feb. 16, 1919.
He studied theology; was ordained priest in
1878; publ. the valuable editions, Monu-
menti Vaticani di Paleografia Musicale
Latina (Leipzig, 1913; also in Italian transl.
by R. Baralli), a catalogue of the music
MSS, in the Vatican Library, including 141
plates; Anglo-French Sequelae (ed. by Dom
Anselm Hughes and publ. by The Plainsong
and Medieval Music Society in 1934); co-
editor of vols. 47, 49, 53 and 54 of Analecta
Hymnica Medii Aevi (1886-1922); also
publ. some MSS. of the Abbey of Coupar-
Angus in Scotland, with a brief description
(Rome, 1910) ; ed. a Gallican sacramentary,
Missale Gothicum, with introduction and
liturgical notes (London, 1917-19). He was
for many years librarian of the Bodleian
Library in Oxford.
Banti-Giorgi, Brigida, famous Italian so-
prano; b. Monticelli d'Ongina (Piacenza),
1759; d. Bologna, Feb. 18, 1806. She sang in
Parisian caf6s where she was heard by de
Vismes, the director of the Opera, Her en-
gagement by him was the beginning of a
brilliant career which took her to England,
Italy and Germany, She studied with Sacchi-
ni, Piozzi and Abel; her abilities were
greatly appreciated by composers; Paisicllo
wrote for her his opera Ciuochi di Agrigento,
and she sang at its premiere (Venice, May
16, 1792). She married the dancer. Zaccaria
Banti; her son wrote her biography. Bibl.:
Giuseppe Banti. Vita di B, Banti-Giorgi
i Bologna, 186<5); Carlo Lozzi, Brigida
anti ('Rivista Musicale Italiana 7 , 1904).
Bantock, Sir Granville, eminent English
composer; b* London, Aug. 7, 1868; d.
there, Oct. 16, 1946. He studied at the
Royal Academy of Music, graduating in
1892> was the first holder of the Macfarren
Scholarship. His earliest works were pre-
sented at the Academy concerts: an Egyp-
tian ballet suite Rameses H; overture The
Fire Worshippers; and a short opera Caed-
mar, which was later presented at the Crys-
tal Palace (Oct. 18, 1893). He then devel-
oped varied activities; he was founder and
editor of 'The New Quarterly Mus. Review'
f 1893-96) ; toured as a musical comedy con-
ductor (1894-95); organized and conducted
concerts devoted to works by young Brit*
ish composers; conducted a military band
and later a full orchestra at New Brighton
(1897-1901). At the same time he was
engaged in teaching activities; in 1907 he
succeeded Sir Edward Elgar as prof* of
music at Birmingham Univ., a post which
he retained until 1934, when he became
Chairman of the Board of Trinity College
of Music. In 1938, at the age of 70, he
undertook a journey to India and Australia,
returning to England on the eve of World
War II. He was married in 1898 to Helen
von Schweitzer, daughter of the poet, Her-
mann von Schweitzer. Bantock was knighted
in 1930. As a composer, Bantock was at-
tracted to exotic subjects with mystical over-
tones; his interests were cosmopolitan and
embraced all civilizations, with particular
predilection for the Celtic and oriental cul-
tures; however, his music was set in western
terms. He was a strong believer in the
programmatic significance of musical
images, and most of his works bear titles
relating to literature, mythology or legend.
Yet he was a typically British composer in
the treatment of his materials. His works are
brilliantly scored and effective in perform-
ance, but few of them have been retained in
the repertory of musical organizations. He
wrote 3 Celtic operas: Caedmar (1892);
The Pearl of Iran (1894); and The Seat-
Woman (Birmingham, Sept. 27, 1924) ; bal-
lets: Egypt (1892); Lalla Rookh (1902);
The Great God Pan (1902) ; 6 tone poems:
Thalaba the Destroyer (1900); Dante
(1901; revised, 1910); Fifine at the Fair
(1901); Hudibras (1902); The Witch of
Atlas (1902); Lalla Rookh (from the ballet
of that name, 1902) ; overture, The Pierrot of
the Minute (1908); Hebridean Symphony
(Glasgow. Jan, 17, 1916) ; Paean Symphony
(1923-28) ; Celtic Symphony for strings and
6 harps (1940); 2 Heroic Ballads (1944);
The Funeral (1946); choral works with
orch,: The Time Spirit (1902); Sea Wan-
derers (1906) ; Omar Khayydm (in 3 parts;
1906-09; Bantock's most ambitious work);
The Pilgrim's Progress (1928); Prometheus
Unbound (1936); numerous works for un-
accompanied chorus, among them 3 'choral
symphonies': Atalanta in Calydon (1911);
Vanity of Vanities (1913) ; A Pageant of
Human Life (1913); also The Golden
Journey to Samarkand (1922) ; choral suites
to words from the Chinese ; children's songs
to the poems of Helen Bantock; works for
brass band, cello and orch., voice and orch.;
2 string quartets; 3 violin sonatas; viola
sonatas; cello sonatas; several sets or piano
pieces; Songs of the East (6 cycles of 6
songs each) ; several sets of Songs from the
Chinese Poets; sets of Celtic songs, etc. Ban-
tock also edited albums of keyboard pieces
by Byrd, Bull, etc. Bibl: H. O. Anderton,
Granville Bantock (London, 1915) ; H. Ant*
cliffe, A Brief Survey of the Works of Gran-
villf Bantoek, in the 'Mus. Quarterly* (July,
1918)*
BARANOVIC BARBER
Baranovic (bah-rah'-no-vitch), Kresimir,
Croatian composer and conductor; b. Sib-
cnik, July 25, 1894. He studied music in
Vienna; then conducted opera in Zagreb and
Belgrade. He conducted Anna Pavlova's
ballet group (1927-28); became professor
at the Belgrade Academy of Music (1945);
was appointed conductor of the Serbian
State Symph. Orch. (1951). He wrote 2
operas: Stri$eno-Koseno (Clipped and
Mowed) and The Turks are Coming, and
several ballets of which The Gingerbread
Heart was produced at the Edinburgh Fes-
tival in 1951. Baranovic* employs native
folk melodies and rhythms in his music; he
is regarded as the foremost ballet composer
of Yugoslavia.
Barati, George, Hungarian-American cel-
list composer and conductor; b. Gyor,
Hungary, April 3, 1913. He studied at the
Budapest Cons. ; was first cellist at the Buda-
pest Opera (1936-38); then came to Amer-
ica. He taught at Princeton (1939-43);
served as band leader with the U. S. Army
(1943-46); was cellist in the San Francisco
Symph. Orch. (1946-49). In 1950 he was
appointed conductor of the Honolulu
Syniph. Orch., Hawaii. Works: String
quartet (1944); Scherzo for orch. (1946);
Cantabile e ritmico for viola and piano
(1947); The Love of Don Perlimplin, bal-
let (1947); Configurations for orch. (1947).
Barbaja (bahr-bah'-yah), Domenico, cele-
brated Italian impresario; b. Naples, c.
1775 ;.d. Posillipo, near Naples, Oct. 16,
1841. He was a waiter; then became a
financial speculator; had a concession for
gambling m Naples (1808-21); became so
powerful that he was nicknamed 'Viceroy
of Naples.' Under the influence of his
mistress, the singer Isabella Colbran, he
entered the theatrical business, and obtained
enormous success with his undertakings in
opera. He was impresario of San Carlo and
other theaters in Naples (1809-24), two
theaters in Vienna (1821-28); also man-
aged La Scala (1829-32), He was a friend
of Rossini, Bellini and Donizetti, from whom
he commissioned operas. Emil Lucka wrote
a novel Der Impresario (Vienna, 1937) on
his life. See G. Monaldi, Impresari celebri
del Secolo XIX (Milan, 1918).
Barber, Samuel, eminent Ajnerican com-
poser; b. West Chester, Pa., March 9, 1910.
He came of a musical family; his mother's
sister was the well known singer, Louise
Homer. Barber began studying piano at the
age of six; at ten he attempted to write an
opera, The Rose Tree. He played the organ
in a local church for a time, until, in 1924,
he entered the newly founded Curtis Insti-
tute of Music in Philadelphia where he
studied piano with Isabclle Vcngerova and
composition with Rosario Scalero. In 1928
he won a prize of $1200 for his violin son-
ata. His first work to attract general atten-
tion was the Overture to The School for
Scandal, after Sheridan (Philadelphia, Aug.
30, 1933), which earned him another prize
of $1200. His Music for a Scene from Shel-
ley was performed by the N. Y. Philhar-
monic (March 23, 1935). He traveled ex-
tensively in Europe from 1928 on; received
a Pulitzer Traveling Scholarship tor 1935-
6 and went to Rome; also won the Amer-
ican Prix de Rome (1935) for his cello son-
ata and Music for a Scene from Shelley. In
Rome he wrote a Symphony in One Move-
ment, which was performed there by Molin-
ari (Dec. 13, 1936); Rodzinski conducted
its American premiere in Cleveland (Jan.
21, 1937), and also at the Salzburg Festival
(July 25, 1937) where it was the first
American work to be given a performance*
On Nov. 5, 1938, Toscanini, with the NBC
Symphony Orch., gave two new works by
Barber in New York: Essay for Orchestra
No. I and Adagio for Strings. The Adagio
(arranged from Barber's string quartet ) B has
become one of the most popular American
works for a string ensemble, From 1939-42
Barber was on the faculty of the Curtis In-
stitute, teaching orchestration and conduct**
in a chorus. In the autumn of 1942 he
joined the Army Air Forces, by whom h<s
was commissioned to write a symphony, his
second. It was performed in Boston by Koui-
sevitzky (March 3, 1944) ; the. original
score included a special electronic instrument
to imitate radio signals. Another wartime
work was Commando March for band
(1943). In 1945, Barber was discharged
from tne Air Forces, and settled at Mt. Kisco.
N. Y,, in a house which he had purchased
with Gian-Carlo Menotti in 1943. In 1947
he received a Guggenheim fellowship* Bar*
ber has written a ballet The Serpent Heart
for Martha Graham, performed by her
group in New York (May 10, 1946); it
was later revised and produced under the
title Cave of th* Heart (N, Y., Feb. 27,
1947); an orchestral suite Medea, drawn
from this ballet, was first played by the
Philadelphia Orch, (Dec. 5/1947). In hi*
Prayers of Kierkegaard for soprano, chorus
and orch. (Boston Symph,, Dec* 3, 1954)
Barber essayed the style of modern oratorio
with impressive results, In 1956 he under-
took the composition of an opera, Vantssa,
to a libretto by Gian-Carlo Menotti. For
84
BARBERA BARBIERI
piano he wrote an effective suite Excursions
(1945) and a highly elaborate sonata
(1949), making full use of the resources of
modern piano technique and reaching a
high degree of rhapsodic eloquence. His
other works are: violin concerto (Phila-
delphia, Feb. 7, 1941); Essay No. 2 for
orch. (N. Y., April 16, 1942); Capricorn
Concerto for flute, oboe, trumpet, and strings
(N. Y., Oct. 8, 1944); cello concerto
(Boston, April 5, 1946); Knoxville: Sum-
mer of 1915 for soprano and orch. (Boston,
April 9, 1948) ; Souvenirs, ballet suite (Chi-
cago, Nov. 13, 1953). Vocal works: Dover
Beach for voice and string quartet (1931);
3 Songs to poems by James Joyce (1936);
A Stopwatch and an Ordnance Map for
chorus (1940) ; Melodies passagdres (5 songs
to Rilke's words; 1951); Hermit Songs to
texts translated from the Irish (1953), etc.
Chamber music: Serenade for string quar-
tet (1929); cello sonata (1932); string
quartet (1936) ; Summer Music for wood-
wind quintet (Detroit, March 20, 1956).
Barber's style is distinguished by striking
lyricism; his melodies arc basically tonal,
but he makes free use of chromatic tech-
niques verging on atonality in his later
works. His harmonic textures are often poly-
tonal while his contrapuntal writing con-
tains strong canonic and fugal elements; his
orchestration is rich and full; his treatment
of solo instruments is idiomatic but requires
virtuoso performance. Bibl.: N, Broder,
Samuel Barber (N. Y., 1954), containing a
detailed biography and musical analysis.
Barberi, Jos6, Catalan music theorist; b.
Barcelona, Jan. 27, 1874; d. there, Feb. 19,
1947. He studied in Barcelona with Pcdrell;
in 1924 was appointed prof, at the Cons*
there. He publ several textbooks, among
them Curso de Mel 6 die a; his pedagogical
work 4 Lee ciones de Alt a Teoria Musica
was publ. posthumously (1948). He also
composed several symph. pieces and arrange-
ments of folk songs.
Barbi, Alice, Italian mezzo-soprano; b.
Modena, June 1, 1862; d. Rome, Sept 4,
1948. She studied with Zamboni and Van-
nuccini; made her debut in Milan (April
2. 1882). She sang in London in 1884, and
also appeared in Germany and Russia. At
her concert in Vienna on Dec. 21, 1893,
Brahms played the accompaniments to his
songs* She married Pietro Delia Torretta in
1920, and spent her last years in Rome.
Barbier, Jules Paul, French librettist and
dramatist,* b. Paris, March 8, 1822; d*
there Jan. 16, 1901. Joint author (with
Carre*) of several librettos for famous operas,
among them Gounod's Faust and Romfo et
Juliette, Hamlet by Ambroise Thomas, etc.
Barbier, Rene* ( Augustc-Ernest) , Belgian
composer; b. Namur, July 12, 1890. He
studied with Dupuis at the Liege Cons. He
received the Premier Prix dc Rome for his
cantata Ltgende de sosur Beatrice (1920).
He has also written 2 operas: Yvette (1910)
and La f$te du vieux Tilleul (1912); an
oratorio La Tour de Babel (1932); symph.
poem La musique de perdition (1947); a
violin concerto; clarinet concerto and cham-
ber music.
Barbieri, Carlo Emmanucle di, conductor
and composer; b. Genoa, Oct. 22, 1822;
d. Budapest, Sept. 28, 1867. He was a
pupil of Mercadante and Crescentini; was
orchestra conductor in numerous Italian
theaters; then in Vienna (1845), Berlin
(1847), Hamburg (1851) and Rio de Ja-
neiro (1853); from 1856-62 he again con-
ducted in Vienna; then settled in Budapest
as director of the National Theater. He
wrote 5 operas: Cristoforo Colombo (Ber-
lin, 1848) ; Nisida, la Perla di Procida
(1851); Carlo und Carlin (1859); Ara-
bella (Budapest, 1862); and Perdita, ein
Winterm&rchen (Leipzig, 1865); church
music; German and Italian songs.
Barbieri, Francisco Ascnjo, Spanish com-
poser; b. Madrid, Aug. 3, 1823; d. there,
Feb. 17, 1894. After academic study at the
Madrid Cons, with Carnicer, he played clar-
inet in military bands; also appeared as
pianist and singer in various theaters. He
developed a flair for writing zarzuelaa, and
wrote 77 of them. The following were par-
ticularly successful (all produced in Ma-
drid): Gloria y peluca (March 9, 1850);
Jugar con fuego (Oct. 6, 1851); Los
diamantes de la corona (Sept. 15, 1854) ;
Pan y Toros (Dec. 22, 1864) and El Bar-
berillo de LavapUs (Dec. 18, 1874), Bar-
bicri was also a scholar; he published the
music essays: Ultimas Amores de Lope de
Vega Carpio (1876): Sobre el Canto de
Ultreja (1883) ; La Musica reliposa (1889) ;
he also edited a valuable collection Can-
cionero musical de los siglos XV y XVI
(1890), and a MS* novel by Eximeneo, Don
Lataro Viscardi (1872). Bibl.: A ; Perla v
Gofti, La Opera JSspanola en el sigh XIX
(Madrid, 1881); A. Salazar, La Musica
contempordnta en Espana (Madrid, 1930) ;
J. Subira, Manuscritos de Barbieri, exist*
entes en la Biblioteca Nacional (Madrid,
1936); G. Chase, Barbieri and the Spanish
Zarzuela, in *Music & Letters' (Jan., 1939) ;
A. Martinez Olmedilla, El maestro Barbieri
y tit tiempo (Madrid, 1950).
85
BARBIREAU BARBOUR
Barbireau (or Barbirau, Barbarieu,
Barbyrianus, Barberau, Barbingaut, Barba-
cola), Jacques, Flemish composer; b. Mons,
c. 1408; d. Antwerp, Aug. 8, 1491. He was
choirmaster at the Antwerp Cathedral from
1447 until his death; Okeghem was one
of his pupils. Barbireau enjoyed a great
reputation in his time; his opinions are
copiously cited by Tinctoris. Works: Mass
for 5 voices, Virgo par ens Christi; for 4
voices: Missa Pascale; Faulx perverse; anti-
phons, psalms, etc. Gf. H. du Saar, Het
Leven en de composities van Jacobus Bar-
bireau (Utrecht, 1946). See also G. Reese,
Music in the Renaissance (N. Y., 1954).
Barbirolli, Sir John, eminent English con-
ductor; b. London, Dec. 2, 1899, of Italian-
French parentage. He studied at Trinity
College (1911-12) and at the Royal Acad-
emy of Music (1912-17); made his concert
debut in Queen's Hall as a cellist at the
age of eleven; became cellist in the Queen's
Hall Orch. (1915). He then held various
positions as a conductor: with the Chcnil
Orch., Chelsea (1925); British National
Opera Co. (1926); achieved recognition
when he substituted for Beecham with
the London Symph, (1926); in 1933 was
appointed conductor of the Scottish Orch.,
Glasgow, and Leeds Symph. Orch. He made
his American debut with the New York
Philh. (Nov. 5, 1936) and produced such an
excellent impression that he was selected to
succeed Toscanini in 1937. He was chief
conductor of the N. Y. Philh. until 1943,
when he went back to England and was
appointed conductor of the Hall6 Orch.,
Manchester. He was knighted in 1949, As a
conductor, Barbirolli shows a fine pragmatic
sense of shaping the music according to its
inward style, without projecting^ his own
personality upon it; however, this lack of
subjective interpretation was responsible for
the somewhat lukewarm reception he ob-
tained with the New York audiences ac*
customed to virtuoso conductors. While not
by temperament a propagandist of modern
music, he introduced several contempo-
rary works during his conductorship with
the N. Y. Philh., among them Benjamin
Britten's Sinfonia da Requiem. He made
transcriptions for string orch. and French
horns of 5 pieces from the Fitzwilliam
Virginal Book (performed by him under
the title Elizabethan Suite, Los Angeles,
Dec. 4, 1941); wrote an oboe concerto on
themes by Pergolcsi (dedicated to his wife,
Evelyn Rothwell, the oboist). See Charles
Rigby, John Barbirolli (Altrincham, 1948),
Barblan (bar-blahn), Otto, Swiss organ-
ist and composer; b. Scanfs, Switzerland,
March 22, 1860; d. Geneva, Dec, 19, 1943.
He studied at the Stuttgart Cons, (1878-
84) ; made his debut as organist at Augs-
burg (1885); taught at Clhur (1885-87);
then became organist at the Cathedral of
Geneva; prof, at the Cons, and conductor
of the <Soci6te" dc Chant Sucre* (1887). He
wrote an Ode Patriotique (1896); a Fest-
spiel (Chur, May 28, 1899) commemorating
the 400th anniversary of the buttle of Cal-
vcn, and containing the chorus Terre des
Monts which has attained great popularity,
placing it next to the national anthem as a
patriotic song; Post Tenebras Lux, cantata
for the Calvin jubilee (1909); string quar-
tet; variations and triple fugue on B-A-C-H;
Passion according to St. Luke (Geneva,
April 9, 1919). Bibl.: A.-E. (Jherbuliez in
the 'Schweizcrischc Musitoieitung* (1925,
and on Barblan's 70th birthday, 1930); see
also his autobiographical note (ibidem.
1929).
Barbot (bahr-boh? ) , Joseph-Theodore*
Dsir6, French tenor; b. Toulouse, April 12,
1824; d. Paris, Jan. 1, 1897. He studied
with Garcia at the Paris Cons, ; was engaged
to sing at the Paris Op6ra in 18-18; san#
Faust at the premiere of Gounod 1 * opera
(March 19, 1859). In 1875 he, became
prof, at the Paris Cons, succeeding Mine.
Viardot.
Barbour, Florence Newell, American com-
poser and pianist; b. 1'rovulence, Aug, 4,
1866; d. there, July 24, HM6. She received
her education in the U, $,; then traveled
through Europe and the Far Kast Her
works include the piano mates Holland,
Venice^ Forest Sketches* A Day m Arcady>
At Chamonix (orch. version was performed
at a Boston Pops Concert); piano duets;
children's piano pieces and songs; compo-
sitions for women's chorus; etc* She wrote
Childland in Song and Rhythm (1921).
Barbour, If. Murray, American composer
and musicologist; b. Chambcrsburg, Pa,,
March 31, 1897; studied muitcology with
Kinkeldey at Cornell Univ,; Ph.D., 1932
(first doctorate in musicology awarded by
an American univ,). From 1932-39 taught
English and music at Ithaca College; in
1939 appointed Prof, of Muslcology at
Michigan State College. He puhl. a book
Tuning and Temperament (1951); con-
tributed various learned essays to musk mff
azincs; has composed a symph, poem, Child ^
Rowland (1928); a Requiem; chamber
music; also incidental music to Shakespeare's
plays.
86
BARCLAY BARINI
Barclay, Arthur (real name, Arthur Bar-
clay Jones) ; English choral conductor; b.
London, Dec. 16, 1869; d. Purley, Surrey,
Oct. 12, 1943. He studied at the Guildhall
School of Music, where he later taught
piano; served as musical director of the
Brompton Oratory Choir (1893-1935). He
changed his name from Arthur Barclay
Jones to Arthur Barclay about 1900. He
wrote a symphony (1896); violin sonata;
hymns for children and miscellaneous
pieces for organ.
Bardi, Bcnno, conductor and composer; b.
Konigsbcrg, April 16, 1890; later settled in
England. He studied in Berlin with Hump-
erdinck and Stumpf; was active as an opera
coach and later became a conductor at the
State Opera. In 1933 he left Germany;
spent some time in the U, S., eventually
settling in London. He has written inci-
dental music 4 to several of Shakespeare's
plays, 3 sinfoniettas and 2 oratorios.
Bardi, Giovanni de', Count of Vernio,
Rome,
Florentine Camcrata, a group of musicians
who met at his home (1576 c. 1582) to
discuss the music of Greek antiquity; this
led to the beginnings of opera. Count Bardi
was descended from an old Guelph banking
family; he was a philologist, mathematician,
nco-Platonic philosopher and lover of Dante.
He was a member of the Crusca Academy,
a literary group founded in 1583 whose
ideas had great influence on the Camcrata.
Bardi is known to have been in Rome in
1567; he lent support to Vinccnso Galilei,
a member of the Carnerata. In 1580 Bardi
married Lucrczia Salvati. The masques of
1589, commemorating the marriage > of
Grand Duke Ferdinand, were conceived
largely by Bardi. In 1592 he left for Rome
to Become chamberlain at the court of Pope
Clement VIII. Caccini was his secretary m
1592. Bardi's writings are; Discorso sopra U
giuoco del calzio fiorentino (Florence,
1580); Ristretto delle grandexze di Roma
(Rome, 1600); Discorso mandato a Caccini
sopra fa music a antic a in Doni's Lyra Bar-
berina (Florence, 1763). Among his compo-
sition* are a madrigal in 4 voices Misere
habitator in Malvezzi's Intermedi 9 concert!
. , . (Venice, 1591); the madrigal Lauro
ohime Lauro in II Lauro secco, lib. / . . .
(Ferrara, 1582). Among contemporary doc-
uments which refer to him are Vincenxo
Galilei's Diatogo delta music a antic a delta
modern* (translated in part in O. Strunk's
Sour a Readings in Music History^ N. Y.,
1951; also included is a letter from Bardi's
son to G. B. Doni commenting on Bardi's
ideas). Bibl.: G. Gaspcrini, Intorno alle
origini del melodramma (Rome, 1902) ; Hen-
riette Martin, La Came rat a du comte Bardi
et la musique florentine du XVIe si&cle in
the 'Revue de musicologie' (Nov., 1932);
Nino Pirrotta, Temperaments and Tenden~
cies in the Florentine Camerata in the 'Mus.
Quarterly' (April, 1954).
Barge, Wilhelm, German flute player and
composer; b. Wulfsahl, Nov. 23, 1836; d.
there July 16, 1925. He played in a mili-
tary band before his appointment as first
flutist at the Gewandhaus Orch. in Leipzig;
retired on pension in 1895. He publ. a
method for flute, 4 sets of orch. flute studies
based on passages in classical symph. works;
also publ. flute arrangements of various fam-
ous works (Sammlung beliebter Stucke);
edited the flute concertos of Frederick the
Great.
Bargiel (bar'-gc-el), Woldemar, German
composer; b. Berlin, Oct. 3, 1828; d. there
Feb. 23, 1897. He was a half-brother of
Clara Schumann. As a boy, he sang at the
Berlin Cathedral and studied counterpoint
with Dchn; and at the Leipzig Cons. (1846-
50) with Hauptmann, Moschclcs and Gade.
He was teacher and conductor in Rotterdam
from 1865-74; then returned to Berlin. He
was greatly admired by Schumann and
Brahms, and his works, in a romantic vein,
were frequently performed; almost all of his
music was publ. during his lifetime* He
wrote a symphony; 3 overtures; string oc-
tet; 4 string quartets; 3 piano trios; violin
sonatas; numerous piano "pieces and songs.
Cf, , RudorfT, Aits den Tagen der Roman-
tik; Rildnis einer deutschen Familie (Lcip-
riff, 1938).
Barilli, Bruno, Italian writer on music; b.
Fano, Dec, 14, 1880; d. Rome, April 15,
1952. He studied in Parma and later in
Munich; his collections of essays are pub-
lished under the titles II sorcio nel violino
and // paese del melodramma. He also wrote
2 operas; Medusa (1914; first performed,
Bergamo, Sept. 11, 1938) and Emiral
(Rome, March 11, 1924).
Barini, Giorgio, Italian musicologist; b.
Turin, Aug. 23, 1864; d, Rome, Sept 22,
1944. He is noted for his editions of operas
by Paisiello and Cimarosa; was also music
critic of various newspapers in Rome. He
published La Donna e L' Artist a: Musicisti
innamorati (Rome, 1927) and several es-
lays on Wagner's operas*
87
BARLOW -bARNfiY
Barlow, Harold, American composer of
popular songs, bandleader and musical lexi-
cographer; b. Boston, May 15, 1915. He
studied violin at Boston Univ., and later
played in various orchestras; also led a
U. S. Army band. He has compiled two val-
uable reference works for which he designed
an original method of indexing melodic
themes by numbers: A Dictionary of Musi-
cal Themes (with Sam Morgenstern; N. Y.,
1948) ; and A Dictionary of Vocal Themes
(N. Y., 1950).
Barlow, Howard, American conductor; b.
Plain City, Ohio, May 1, 1892. He studied
at the Univ. of Colorado and at Columbia
Univ. He conducted the American National
Orch., N. Y. (1923-25), at the Neighbor-
hood Playhouse (1925-27); was conductor
of the C.B.S. Symph. Orch. (1927-43), with
which he presented numerous new works. In
1943 he became conductor of the Firestone
Hour on NBC Radio.
Barlow, Samuel, American composer: b.
N. Y., June 1, 1892; studied music at Har-
vard Univ. (B.A., 1914) ,* then took lessons
with Respighi in Rome. His one-act opera,
Mon ami Pierrot, was the first by an Amer-
ican composer to be given at the Op6ra-
Comique in Paris (Jan. 11, 1935); he wrote
also 2 more operas, Eugenie and Amanda.
His 'symphonic concerto* Babar (1935) em-
ploys magic lantern slides. Other works:
piano concerto (Rochester, Jan. 23, 1931,
composer-soloist) ; a suite of Biedermeier
Waltzes for orch. (Rome, 1935); Sousa ad
Parnassum for orch. (1939); several songs
and choruses. A believer in mass education,
Barlow has been active in various civic
groups formed to promote music; has organ-
ized rural festivals; also has lectured and
written about music and politics.
Barlow, Wayne, American composer; b.
Elyria, Ohio, Sept, 6, 1912, He studied with
Hanson and Rogers at the Eastman School
of Music, Rochester, N. Y.; later with
Schoenberg in Los Angeles; teaching compo-
sition at the Eastman School since 1937, He
has written a ballet The Black Madonna
(1941); The Winters Passed for oboe and
strings (Rochester. Oct. 18, 1938); Three
Moods for orch. (1940) ; Lyrical Piece for
clarinet and strings (1945): Nocturne for
18 instruments (1946): sinfonia in C
(1950); mass in G (1951) and a piano
quintet (1951). Also publ. an appreciation
book, Foundations of Music (N* Y,, 1953),
Barmann, Heinrich Joseph, German clari-
netist; b. Potsdam, Feb. 14, 1784; d. Mun*
ich, June 11, 1847. He was a renowned
performer; made extensive tours, and finally
settled in Munich as first clarinetist of the
court orchestra; his friends, Wcbcr and
Mendelssohn, wrote clarinet works for him.
He composed concertos, fantasias, quintets,
quartets, sonatas, etc. for his instrument,
about 90 works in all; 38 have been pub-
lished, and are still favorites with clari-
netists.
Barmann, Carl, German clarinetist, son
of Heinrich Joseph Barmann ; b, Munich,
Oct. 24, 1811; d. there, May 23, 1885. He
was a pupil of his father, whom he ac-
companied on his tours; later succeeded
him at the Munich court orchestra. He
wrote a method for clarinet, with a supple-
ment entitled Materalien zur weiteren tech-
nischen Ausbildung.
Barmann (Baermaim), Karl (Jr.), pianist
and music pedagogue, son of the preced-
ing; b. Munich, July 9, 1830; d. Boston,
Jan. 17, 1913. He studied piano with Wan-
ner, Wohlmuth and Liszt; and composition
with Franz Lachncr; was appointed teacher
at the Munich Cons,, but emigrated to the
U. S. in 1881. He settled in Boston.
Barmas, Issaye, Russian violinist and ped-
agogue; b. Odessa, May 1, 1872; cl. London,
July 3, 1946. He studied in Moscow and
with Joachim in Berlin; toured in Europe;
settled in London. Among his publications
are Die Losung des Geigentechnischtn Prob*
lems (1913) j TonleiterSpczidstudi*n; Dop-
petgriff Speziaktudien; and many edition* of
classical works.
Barnard, Charlotte (ric Alington), Eng-
lish song writer (pen name Curibcl) ; b.
Dec. 23, 1830; d. Dover, Jan. 30, 1869. Her
ballad Come Back to Erin and numerous
others in a similar vein were once extremely
popular. She also published verses.
Baraby, Sir Joseph, English conductor,
organist, and composer; b. York, Aug. 12,
1838; d. London, Jan. 28, 1896. He came
from a musical family; sang in the choir of
the York Minster at the ago of seven; was
organist and chorusmaster there at the ago
of twelve; then studied at the Royal Acad-
emy in London with Cipriani Potter (1854) ;
held the post of organist at St. Michael'*, St.
James the Leas, the Sacred Harmonic So**
ciety, at St. Andrews (1863-71), and St.
Anne's (1871), In 1864 he organized Barn*
by's Choir, which gave five annual scries of
oratorio concerts in London; then became
director of the Royal Albert Hall Choral
Society: conducted at the Cardiff Festival
(1892; 1895), and at the South Wales Fes-
tival. In 1874 he inaugurated * series of
88
BARNEKOW BARNETT
daily concerts at Albert Hall; conducted
the London Music Society (1878-86), and
with it performed Dvorak's Stabat Mater for
the first time in England (March 10, 1883).
In 1875 he was appointed precentor and
director of music at Eton; in 1892 suc-
ceeded Thomas Wcist-Hill as Principal of
the Guildhall School of Music. He was
knighted on Aug. 5, 1892. Barnby com-
posed the sacred works Rebekah, an or-
atorio (1870); Psalm 97 (1883); a service
in 3 parts (morning, noon, and evening) ;
a Magnificat and Nunc dimittis for chorus,
organ, and orch. (1881); King all-glorious
(motet for soli, chorus, organ and orch.) ; 45
anthems; 246 hymn-tunes (complete collec-
tion, 1897) ; organ pieces; piano pieces.
Barnckow, Christian) composer; b. St.
Sauveur, France, July 28, 1837; d. Copen-
hagen, March 20, 1913, He adapted many
songs by K. Ph. E. Bach, T. Chr. Fr. Bach,
Schulz, etc.; also composed chamber music,
organ works and much sacred music.
Barnes, Edward Shippen, American or-
ganist and composer; b. Scabright, N. J.,
Sept. 14, 1887. He studied at Yale Umv.
with David Stanley Smith and Horatio
Parker (comp.) and with Harry B. Jepson
(organ )j later took lessons with Louis
Vierne in Paris. He was organist and choir-
master at Rutgers Presbyterian Church,
N. Y., at St. Stephen's Episcopal Church in
Santa Monica, Gal.; retired m 1954, after
45 years of service as organist. He wrote
2 organ symphonies,' the cantatas This Com*
fort tr^ Remember Now Thy Creator and
Christmas; an Episcopal Service; several
sacred songs, and the manuals: School of
Organ Playing; Modulation in Theory and
Practice, and Bach for Beginners in Organ
Playing, He also published several collections
of choral works tor schools.
Barnctt, Alice, American song composer;
b. Lcwiston, 111,, May 26, 1886; studied with
Borowski and Ganz in Chicago and with
Hugo Kaun in Berlin; in 1917 settled in
San Diego. She wrote a number of agreeable
songs in a romantic manner. Cf W. T.
Upton, Art-Song in America (N. Y., 1930;
pp. 214-224).
Bamett, John, English composer; b, Bed-
ford. July 1, 1802; d* Cheltenham* April
17, 1890. He waa a pupil of Charles Edward
Horn and Ferdinand Ries; brought out an
operetta, Before Breakfast (London, 1825);
then many small pieces* His most successful
opera was The Mountain Sytph (Lyceum
Theatre, London, Aug. 25, 1834); he sub-
sequently produced the operas Fair Rosa-
mond (London, Feb. 28, 1837) and Fari-
nelli (London, Feb. 8, 1839). In 1841 he
settled in Cheltenham as a singing teacher.
Among his other works are a symphony, 2
string quartets, and nearly 4,000 songs; he
also published a School for the Voice (1844).
Bamett, John Francis, English composer;
nephew of the preceding; b. London, Oct.
16, 1837; d. there, Nov. 24, 1916. He
studied piano with Dr. Wyldc (1849) ; twice
won the Queen's Scholarship at the Royal
Academy of Music (1850; 1852); gave his
first piano recital at the New Philharmonic
Concerts in London (July 4, 1853) : later
studied at the Leipzig Cons. (1856-9) with
Moschclcs, Plaidy and Hauptmann; then
settled in London as teacher, concert pi an*
ist, and conductor; was appointed prof, at
the Royal College of Music (1883). Works:
a symphony (1864); Ouverture sympho-
nique (London, 1868) ; overture to Shake-
speare's A Winter's Tale (1873); The Lay
of the Last Minstrel for orch. (after Scott;
Liverpool. 1874) ; orchestral suite, The Har-
vest Festival (Norwich, 1881); 4 sketches
for orch.: Ebbing Tide and Elfland (Crystal
Palace, London, 1883); Flowing Tide and
Fairyland (Crystal Palace, London, 1891);
also for orch. Pastoral Suite (1892); Lieb-
eslied and Im alien Styl (1895); Penste
mjlodique and Gavotte (1899); the can-
tatas The Ancient Mariner, after Coleridge
(Birmingham, 1867); Paradise and the
Peri* after Moore (Birmingham, 1870);
The Building of the Ship (Leeds. 1880);
The Wishing-Bell (Norwich, 1881); The
Triumph of Labour (Crystal Palace, Lon-
don, 1888); The Eve of St. Agnes, after
Keats (London, 1913) ; oratorios, The Rais-
ing of Lazarus (Hereford, 1876) ; The Good
Shepherd f (Brighton, 1876) ; The Golden
Gate, scena for contralto; a piano concerto;
flute concerto; chamber music; piano pieces;
songs; published Musical Reminiscences and
Impressions (London, 1906).
Bamett, John Manlcy, American con-
ductor; b, N. Y,, Sept. 3, 1917. He studied
piano, violin and trumpet at the Manhattan
School of Music (1930-36) ; conducting with
Leon Barzln in New York, and with Bruno
Walter, Weingartner, Encsco and Malko in
Europe (1 936-37 J. Rettirning . to America,
he became conductor of the Stamford
Symph. Orch (1939-42) and of the N, Y,
City Symphony (1940-42): then a U. S.
Army bandleader (194246), Since 1946,
assistant conductor of the Los Angeles
Philh.; since 1952 has directed the summer
concerts at the Hollywood Bowl.
BARNS BARRETT
Barns, Ethel, English violinist and com-
poser; b. London, 1880; d. Maidenhead,
Dec. 31, 1948. She studied at the Royal
Academy in London; made her debut at
the Crystal Palace (1896); toured Eng-
land (1897) and America (1913). Her
compositions include a Concertstuck for
violin and orch.; 2 trios; Phantasy for 2
violins and piano; 5 violin sonatas.
Baron (bah-rohn'), Ernst Gottlieb, Ger-
man lutenist; b. Breslau, Feb. 17, 1696; d.
Berlin, April 12, 1760. He was a court
musician in Gotha (1727); theorbist to the
Prussian Crown Prince (later Frederick II)
in 1734; wrote Historisch-theoretische und
praktische Untersuchung des Instruments
der Laute (1727); an Appendix (on the
lute) to Marpurg's Historisch-kritische Bei-
trage, vol. II; an Abhandlung von dem No-
tensystem der Laute und der Theorbe; other
theoretical pamphlets; composed many works
for the lute, which remain in MS.
Baron (bah-rohn j ), Maurice, composer
and conductor; b. Lille, France, Jan. 1,
1889. He studied in France; emigrated to
the U. S. and conducted stage shows in
New York. He has published numerous
pieces of light music under his own name
and the whimsical noms de plume: Francis
Delille (i.e., "de Lille,'* a native of Lille) ;
Morris Aborn (anagram of Baron); also
used the name of his wife Alice Trcmblay.
Also wrote : choreographic suite Susan at the
Zoo; symphonic paean Blood, Sweat and
Tears; Ode to Democracy for narrator,
chorus and orch. (N. Y. Philh., Jan. 23,
1949); etc., totalling more than 300 works.
From 1933-43 he was arranger and staff
composer at Radio City Music Hall, N. Y.
Baronius. See Baron, Ernst Gottlieb.
Barraine, Elsa, French composer; b. Paris,
Feb. 13, 1910. Her father was a cellist, her
mother a singer. She studied at the Paris
Cons, with Dukas and Vidal; received 2nd
Prix de Rome (1928) and then 1st Prix de
Rome (1929). She has written Symphony
No. 1 (1931); Trots esquisses for orch.
(1931); Pogromes, symph. poem (1933;
Paris, March 11, 1939); Fantaisie concert*
ante for piano and orch. (1933); Ftte des
Colonies (1937); Symphony No. 2 (1938);
Le Fleuve Rouge f symph. variations (1945) ;
Symphony No. 3 (1947); Suite astrologiqut
for orch. (1947); chamber music; piano
pieces and songs.
Barraud, Henry, French composer; b.
Bordeaux, April 23, 1900. He taught him-
self music while engaged in the family wine
business in Bordeaux; in 1926, entered the
Paris Cons, and studied composition with
Aubert. In 1937 Barraud was in charge of
the music for the International Exposition
in Paris. He served in the French Army dur-
ing World War II; after demobilization he
lived in Marseilles, returning to Paris in
1943. In 1945 he was appointed musical
director of RadiodifFusion Franchise, Paris,
Works: Finale dans Ic mode rustique (Paris,
1932); Poeme for orch. (1934); Concerto
da Camera for 30 instruments (1936); Le
Diable a la Kcrmesse, ballet (1943; a
symph. suite from it was broadcast by Paris
Radio, April 26, 1945) ; piano concerto
(N. Y. Philh., Dec. 5, 1946); Offrande
a une ombre (in memory of a brother
killed by the Germans as a member of the
Resistance; first U. S. performance,, St.
Louis, Jan. 10, 1947); La Farce du Maltre
Pathelin (Paris, June 24, 1948) ; Symphonie
de Numance (Baden-Baden, Dee. 3, 1950);
trio for oboe, clarinet and bassoon; Prdludts
for piano (2 series) and songs. He also wrote,
a book on Berlioz (Paris, 1955).
Barrcre (b&h-rar*), Georges, French flute
virtuoso; b. Bordeaux, Oct. 31, 187(5; d,
Kingston, N. Y., June 14, 1944. He studied
at the Paris Cons. (1889-95), graduating
with first prize; was solo flutist at Colonne
Concerts and at the Paris Opera (1897-
1905). He came to America in 1905; played
flute with the N, Y. Symph. Orch. (1905-
28) ; taught at the Institute of Musical Art,
N. Y., and at the Juilliard School of Music,.
He was the founder of the *Barre>r Little
Symphony' (1914); composed a Ncwturim
for flute; Chanson d'automne for voice; also
edited classical works for flute.
Barret (bah-r>), Apollon (Marie-Rose),
French oboist; b. Paris, 1803; d. London,
March 8, 1879. He studied at the Paris
Cons.; played in the orchestras at opern
houses; in 1874 went to London with the
Italian Opera. Barret is the author of n
standard manual, 'Complete Method far the
Oboe Comprising All The New Fingerings,
New Tables of Shakes, Scales, Exercises*.
Barrett, Reginald, English organist; b.
London, Jan. 12, 1861; d. St. Petersburg,
Florida, Feb. 7, 1940. He studied at the
Guildhall School of Musk and at Dnrmstuclt
Cons.; came to the U* S* in 1888; was
organist in Kansas City until 1898, when
he settled in New York City as organist at
St. James Church, Fordham. From 1917
until 1925 he played the organ in motion
picture theaters. He composed some 100
preludes and interludes for organ, sacred
songs, choruses, etc*
90
BARRETT BARTAY
Barrett, William Alexander, English
writer on music; b. London, Oct. 15, 1834;
d. there Oct. 17, 1891. As a boy, he was a
chorister in St. Paul's Cathedral; then
studied at Oxford (B. Mus., 1871). From
1881 he occupied various positions as in-
spector of music; was music critic of *Thc
Morning Post' from 1867 until his death;
was editor of 'The Monthly Musical Record*
(1877) and of The Musical Times. 1 He
publ. English Glee and Madrigal Writers
(1877) ; English Church Composers (1882) ;
Balfe: His Life and Work (1882); etc.;
was co-editor with Sir John Stainer of the
Dictionary of Musical Terms (1875; new
edition, 1898). His son, Francis Barrett
(b. London, Nov. 14, 1869; d there Jan.
19, 1925), was also a music critic.
Barrientos, Maria, celebrated Spanish
coloratura soprano; b. Barcelona, March 10,
1884; d. Cibourc, France, Aug. 8, 1946. She
studied voice with Bonet; made her operatic
debut at the age of 15 as Sclika in the
Teatro de las Novcdadcs, Barcelona (March
4, 1899); toured Europe and South Amer-
ica (1899-1913). She made her first appear-
ance at the Metropolitan Opera House as
Lucia (Jan. 31, 1916), and remained with
it until 1920; then settled in France, where
she gave song recitals.
*
Barrington, Daincs, English lawyer; b.
London, 1727; d. there, March 14, 1800, He
was the author of the famous account of
Mozart as a child prodigy ('Philosophical
Transactions*, 1770), reprinted in his
Miscellanies (1781); also wrote essays on
Crotch, Mornington, the Weslcys (father and
son)j Experiments and Observations on the
Singing of Birds (London, 1773) ; a descrip-
tion of the ancient Welsh crwth and pib-
corn; etc.
Barrows, John, American composer and
horn player; b. Glendale, Calif., February
12, 1913. He studied at the Eastman School
in Rochester, and later at Yale with Dono-
van and Smith. Among his works are 2 string
quartets, a wind trio, several sonatas for
various instruments with piano, etc.
Barrozo Nctto,
Antonio* Brazil**
ian composer; b. Rio dc Janeiro, Jan. 30,
1881; d* there. Sept 1, 1941. He studied
with Braga, Ncpomuceno and others; ap-
peared as pianist in public at an early age;
his compositions, in a mildly romantic man-
ner, arc mostly for piano. He enjoyed a
fine reputation in Brazil as a teacher; was
prof, at the Institute Nacional de Musica
from 1906.
Barry, Charles Ainslie, English organist,
and music editor; b. London, June 10, 1830;
d. there, March 21, 1915. He studied with
Walmisley; later at the Cologne Cons.;
also with Moscheles, Plaidy and Richter at
the Leipzig Cons. Returning to England, he
wrote for various music magazines; was edi-
tor of The Monthly Musical Record' (1875-
79) ; also served as an annotator for
orchestral programs conducted by Richter
in England.
Barsanti, Francesco, Italian flutist and
composer; b. Lucca, c. 1690; d. c, 1760. He
was flutist and, later, oboist at the Italian
Opera in London; lived in Scotland for a
time, and was engaged (1750) as a viola
player in London. Works: 6 overtures; 12
violin concertos; 6 flute solos with bass; 6
sonatas for 2 violins with bassj 6 antiphons
in Palcstrina style; numerous pieces for vari-
ous instruments. He published A Collection
of old Scots Tunes (Edinburgh, 1742). Cf.
Henry Fanner, A History of Music in Scot-
land (London, 1947),
Barsotti, Tommaso Gasparo Fortunate,
Italian music teacher; b. Florence, Sept. 4,
1786; d. Marseilles, April, 1868. He founded
the Free School of Music in Marseilles
(1821), and was its director until 1852;
wrote a number of pieces for piano and
voice; published a Mtthode de Musique
(1828).
Barstow, Vcra, American violinist: b.
Cclina, Ohio, June 3, 1893$ studied in
Pittsburgh with Luigi von Kumts; made her
debut in Vienna (Jan. 2, 1912); returning
to America, appeared with the Boston
Sympbu Orch., Philadelphia Orch,, etc. She
settled in Los Angeles as a teacher*
Bartay (bar'-ti), Andreas, Hungarian
composer; b. Szeplak, 1798; d. Mainz, Oct.
4, 1856* He was director of the National
Theater in Budapest (1838) ; *avc concerts
in Paris (1848); then settled in Hamburg.
He wrote three operas: Aurelia; Csel; and
The Hungarians in Naples; oratorios; mass-
es; ballets.
Bartay, Ede, Hungarian composer, son of
Andreas Bartay; b. Oct. 6, 1825; d. Buda-
pest. Aug. 31, 1901, He was director of the
National Music Academy in Budapest;
founded the Hungarian pension-fund for
musicians; wrote an overture, Pericles, and
other works.
91
BARTELS BARTHOLOMEW
Bartels, Wolfgang von, German composer;
b. Hamburg, July 21, 1883; d. Munich,
April 19, 1938. He studied with Beer-Wal-
brunn in Munich and with Gedalge in Paris ;
then became a music critic in Munich. His
early works show impressionist influences;
later he adopted an eclectic style. Works:
melodramas, The Little Dream, after Gals-
worthy (Manchester, 1911); The Spanish
Lovers, after Rojas (London, 1912) ; Li-I-
Lan (Kasscl, 1918); song cycles (Li-Tai-Pe,
Baltic Songs, Minnesdnge); violin concerto;
viola concerto, etc.
Barth, Christian Samuel, German oboist
and composer; b. Glauchau, Jan. 13, 1735;
d. Copenhagen, July 8, 1809. He was a stu-
dent at the Thomasschule in Leipzig at the
time of Bach; played the oboe in various
court orchestras: in Rudolfstadt (1753);
Weimar (1762); Hanover (1768) and Kas-
sel (1772). In 1786 he joined the court
chapel at Copenhagen where he remained
until his death. Although he wrote a great
number of instrumental works, particularly
for the oboe, most of them remain in manu-
script.
Barth, Hans, pianist and composer; b.
Leipzig, June 25, 1897. When a small child,
he won a scholarship at the Leipzig Cons,
and studied under Carl Reinecke; came
to the U. S. in 1907, but made frequent
trips to Germany. His meeting with Busoni
inspired him to experiment with new scales;
with the aid of George L. Weitz, he per-
fected a portable quarter-tone piano (1928),
on which he played in Carnegie Hall (Feb.
3, 1930) ; composed a piano concerto for
this instrument, with a string orchestra also
tuned in quarter-tones (perl, by him with
Stokowski and the Philadelphia Orch.,
March 28, 1930) . Other works using quarter-
tones: suite for strings, brass and kettle*
drums; piano quintet; also a piano concerto
for normal tuning (1928) and two piano
sonatas; an operetta Miragia (1938) ; a piano
manual, Technic (1935) ; various essays, etc.
Barth has held numerous teaching positions
in New York City.
Barth, Karl Heinrich, German pianist
and teacher; b. Pillau, near Konigsberg,
July 12, 1847; d. Berlin, Dec. 23, 1922. He
was a pupil of Hans von Billow in Berlin;
also studied with Bronsart and Tausig. He
became teacher at Stern Cons., Berlin, in
1868; then at the Hochschulc fur Musik
(1871); established the Barth Trio with de
Ahna and Hausmann, which enjoyed con-
siderable success,
Barthe (bahrt), Grat-Norbert, French
composer; b. Bayonne, June 7, 1828; d.
Asnieres (Seine), Aug, 13, 1898. He was
a pupil of Leborne at the Paris Cons. ; won
the Grand Prix de Rome (1854) with the
cantata Francesco, da Rimini; wrote the
operas Don Carlos and La Fiancee d'Abydos;
an oratorio, Judith; etc.
Barth, Richard, German left-handed violin
virtuoso; b. Grosswansdrbcn, June 5 r 1850;
d. Marburg, Dec. 25, 1923. He studied with
Joachim in Hanover; attracted considerable
attention when he gave concerts using the
left hand for the bow; was also conductor
in Miinster, Krefeld and Hamburg. He
wrote chamber music in the style of Brahms ;
edited the correspondence between Brahms
and J. O. Grimm (1908); was author of
Johannes Brahms und seine Musik (1904).
Bibl.: E. Deggellcr-Engelkc, Richard Barth
(Marburg, 1949).
Barthclcmon (bahr-tal-rnohn j ), Fran<;ois-
Hippolyte, French violinist and dramatic
composer; b. Bordeaux, July 27. 1741; d,
London, July 20, 1808. His father was
French and his mother Irish. He held posts
as violinist in various theater orchestra* Jn
London; became intimately acquainted with
Haydn during Haydn's London visit in
1792. He was greatly praised as a violinist;
Burney speaks of his tone as being "truly
vocal." Barth61mon wrote t mostly for the
stage; among his operas, ttic most notable
arc Pelopida (London, May 24, 17(36) ;
The Judgement of Paris (London, Aug. 24,
1768); L* Fleuve Scamandrc (Paris, Dec.
22, 1768) ; Th* Maid of the Oaks (London,
Nov, 5. 1774); Belphegor (London, March
16, 1778). In addition he wrote a violin
concerto; 2 seta of duos for violins; 6
string quartets; catches and glees to English
words (many of them published). He wax
married to Mary Young, a descendant of
Anthony Young; his daughter contributed a
Eaphical memoir as a preface to a
umous edition (London, 1827) of se-
ns from Barthewmon's oratorio, J*ft*
in Mas fa.
Bartholomew, Marshall, American choral
conductor: b. Belleville, 111.. March 3, 1885.
He studied at Yale University (B, A. 1907)
with Horatio Parker and David Stanley
Smith, and later in Berlin. Returning to
America, he devoted himself mainly to choral
conducting and arranging. In 1921 he found-
ed the Yale Glee Club, which he conducted
until 1928, and again from 1939-48; also
during its South American tour in 1940-
41. He publ. choral arrangements o! Amer-
ican folk music,* the Yale Gt*t Club Serbs
for male voices (32 numbers); Song* of
BARTHOLOMEW BARTOK
Yale (a book of 128 college songs);
Mountain Songs of North Carolina; various
songs for solo voice and piano; 100 Original
Songs for Young Voices (educational).
Bartholomew, William, English violinist,
writer and painter; b. London, 1793; d.
there Aug. 18, 1867. A versatile artisan, he
was proficient in chemistry, painting and
languages. He was a friend of Mendelssohn
and translated the texts of his oratorios (in-
cluding Elijah) into English; also wrote
the English text for Spohr's Jessonda, etc.
During ^ the last years of his life he was
incapacitated by paralysis.
Bartlett, Ethel, English pianist; b. Lon-
don, June 6, 1900; studied at the Royal
Academy of Music with Tobias Matthay,
and later with Schnabel. She specialized
as piano duet player with her husband, Rae
Robertson; made annual tours in Europe
and the U.S. She edited, with her husband,
the Two Piano Series (publ. by the Oxford
Univ. Press).
Bartlett, Homer Newton, American pian-
ist, organist and composer; b. Olive, N. Y.,
Dec. 28, 1845; d. Hobokcn, N. J., April 3,
1920, He studied with Max Braun and
Jacobsen: was organist at the Madison
Avenue Baptist Church, N, Y., for 31 years.
He was one of the founders of the Ameri-
can Guild of Organists. His published works
include a cantata. The Last Chieftain (Bos-
ton, Jan. 29, 1891): a sextet for flute and
strings; quartets, anthems, carols, etc.; about
80 songs and piano pieces. The following
are in manuscript: opera. La V oilier 9; un-
finished Japanese opera Hinotito; oratorio,
Samuel; symph. poem, Apollo; a violin con-
certo; a cello concerto: etc. His first opus
number, a Grand Polka de Concert^ was
very popular,
Bartmuss* Richard, German organist and
composer; b. Schleesen, Dec, 23, 1859; d.
Dessau, Dec* 25, 1910. He studied with
Grell and Loschhorn: in 1885 became court
organist in Dessau. He wrote numerous or-
gan works that enjoyed considerable popu-
larity! among them 2 organ concertos, 4 son-
atas, 2 chorale-fantasias, etc.; also an ora-
torio Der Tag dtr Pfingsttn, a cantata Die
Apostgl in Philippi> motets and songs. His
sacred work Liturgische Vtspern represents
a partial formulation of his attempt to
modernize the Lutheran musical service.
Bart6k, Bela, foremost Hungarian com-
poser; b. Nagy Szent Mikl6s. Transylvania,
Marck 25, 1881? d, New York, Sept. 26,
1945* He studied with L. Erkel at Pozsony
(Bratislava) and with Koessler at the Royal
Academy of Music in Budapest; in 1907
he was appointed instructor. After World
War I he was a member of the Music
Directorate with Dohndnyi and Koddly. Al-
though a brilliant pianist, he confined his
appearances mostly to his own music; also
gave concerts with his second wife, Ditta
Pasztory, playing works for 2 pianos. From
his earliest steps as composer he was at-
tracted both by folk music of eastern Eu-
rope and by modern devices in composition.
His early works bear the influence of French
impressionism. As he began to feel the fas-
cination of primitive rhythms and melodies,
his style gradually became more terse and
acrid. The basic texture of his music re-
mained true to tonality, while freely tolerat-
ing discordant harmonic combinations; in
his instrumental works the melodic line is
often atonal, but he never used the integral
technique of the 12-tonc method. He tra-
veled widely in Europe; made his first tour
in the United States in 1927-28, playing
with orchestras and in concerts from coast
to coast. Upon his return to Europe he
continued to teach and compose in Buda-
pest; in the fall of 1940 he went to America,
where he remained till his death. The in-
fluence of Bart6k's music on young com-
posers in Hungary and elsewhere is very
great, and has continued to increase since
his death. The dual aspect of his style,
embodying elements of Hungarian folk music
and modern devices of polytonality and
atonality, presents a solution for those mod-
ernists who are reluctant to abandon na-
tional melodic expression. Posthumous hon-
ors were given to Bart6k in Hungary by
naming one of the Budapest streets after
him. works; Kossuth, syrnph. poem (Buda-
pest, Jan. 13, 1904) ; Scherzo for orch,
(Budapest. Feb. 29, 1904); Rhapsody for
piano (1904; also for orch.); Suite No.
1 for orch. (1905); 20 Hungarian
folksongs (1906); Suite No. 2 for orch,
(1907; revised 1943); 2 Portraits for
orch. (1908); 14 Bagatelles for piano
(1908); string quartet No. 1 (1910); 2
Elegies for piano (1908); 7 Sketches for
piano (1910; revised 1945); 2 Rumanian
Dances for piano (1909) ; Deux images for
orch. (1910; Budapest, Feb. 26, 1913); 3
Burlesques for piano (1910) ; Th* Castle of
Duke Bluebeard, opera in 1 act (1911;
Budapest, May 24, 1918); Allegro bar bare
for piano (1911; very popular); 4 Pieces
for orch. (1912); Thg Wooden Prince, bal-
let in 1 act (Budapest, May 12, 1917);
string quartet No. 2 (1917); 3 Etudes for
piano (1918); The Miraculous Mandarin,
ballet (1919; Cologne, NOY, V, 1926);
BARTOS BARZIN
violin sonata No. 1 (1921); violin sonata
No. 2 (1922) ; dance suite for orch. (1923) ;
piano sonata (1926); piano concerto No. 1
(Frankfurt, July 1, 1927, composer as solo-
ist) ; string quartet No. 3 (1927); 2 Rhap-
sodies for violin and piano (1928); string
quartet No. 4 (1928); Cantata Prof ana
(BBC, London, May 25, 1934); piano con-
certo No. 2 (1931); string quartet No. 5
(1934); Music for String Instruments, Per-
cussion and Celesta (Basel, Jan. 21, 1937;
one of Bart6k's most successful works) ;
Sonata for 2 pianos and percussion (Basel,
Jan. 16, 1938; transcribed as Concerto for
2 pianos and orch.; perf. in this form by
B61a and Ditta Bart6k with the N. Y. Philh.,
Jan. 21, 1943; also an enduring work);
Mikrokosmos, 153 progressive pieces for
piano (1926-37; publ. in 6 vols.; a unique
attempt to write simply in a modern idiom
with varying meters and dissonant counter-
point) ; Contrasts for violin, clarinet and
piano (1938); violin concerto (Amsterdam,
April 23, 1939; has become a standard
piece in the modern repertory) ; Diverti-
mento for string orch. (Basel, June 11,
1940); string quartet No. 6 (1939);
Concerto for orch. (commissioned by
Koussevitzky; perf. by him, Boston, Dec. 1,
1944; highly successful); sonata for solo
violin (1944); piano concerto No. 3 (1945;
unfinished); viola concerto (1945; unfin-
ished; orchestrated by Tibor Serly; first
perf., Minneapolis, Dec. 2, 1949). In addi-
tion to these Bart6k made numerous ar-
rangements of folksongs and dances, of
which a set of Rumanian dances, available
in various instrumental transcriptions, is
particularly popular; further to be noted
are: 40 Hungarian folksongs; 15 Hungarian
peasant songs; 9 Slovak folksongs; 8 impro-
visations on Hungarian peasant songs for
piano; also arrangements for orch. of many
of these songs. Scholarly editions and re-
search publications; Rumanian Folksongs
from the Bihor District (Bucharest, 1913) ;
Transylvanian Folksongs (Budapest, 1923;
in Hungarian, French and English; with
Kodaly) ; A magyar nipdal (Budapest,
1924; in German as Das ungarische Volks"
lied, Berlin. 1925; in English as Hungarian
Folk Music, London. 1931); Our Folk
Music (Budapest, 1934; in Hungarian, Ger-
man and French) : Die Melodien der rum&~
nischen Colinde (Vienna, 1935) ;Strbo~Croa*
tian Folk Songs (with Albert B. Lord; N. Y,,
1951) ; articles in various musical magazines,
among them Hungarian Peasant Music* in the
'Mus. Quarterly' (July, 1933). An entire liter-
ature exists dealing with Bart6k's life and
music; the most comprehensive biography is by
Halsey Stevens, The Life and Music of Blla
Bartdk (N. Y., 1953). Sec also E. Hiiraszti,
BSla Bartdk (Budapest, 1930; in English,
1938) ; A. Molnar, The Art of Bartdk (Buda-
pest, 1948, in Hungarian) ; S. Morcux, Ittla
Bartdk, sa vie, ses oeuvres, son langaqe
(Paris, 1949; in German, Zurich, 1950; m
English, London, 1953); B. Rondi, Bart6k
(Rome, 1950) ; M. Scibcr, The String Quar-
tets of Bela Bartdk (London, 1945). A mem-
orial collection of articles on Bart6k was
issued by his publishers, Boosoy & Ilawkes
(N. Y., 1950); a special Bart6k number of
Xa Revue Musicalc' appeared in 1955.
Bartos (bahr-tosh), FrantiSek, Moravian
music editor; b. Mlatcova, March 16, 1837;
d. there, June 11, 1906. He was a school
teacher; published important collections of
Moravian folk songs between 1873 and
1901; also wrote essays on Moravian folk-
lore.
Bartoi (bahr-tosh), Jan McnSk, Czech
composer; b. Kralov6 Dvur nnd Lahcm,
June 4, 1908. He began to study music
rather late; took courses with Jirak and
Kricka in Prague; in 1945 he, entered gov-
ernment service. He has written 2 operas, n
ballet, 2 cantatas, many choral works, 3
string quartets; and a cjuintct for flute,
violin, viola, cello and guitar.
BartoS (bahr-tosh), Josef, Cfceeh writer on
music; b. yysoke* M^to, March 4> 1887, He,
studied with Hostinsky at the Univ. of
Prague (1905-9); was active as a, teacher
and writer; published monographs on
Dvo&k (1913), Fibich (1914), J, B. Forr-
ster (1922), and Otakar Ostrttl (193(>) ; also
an important work on the National Opera
of Prague (1938).
Barvik, Miroslav, Czech composer; b.
LuSi&i, Sept. 14, 1919. He studied with V.
Kapral at the Brno Cona., nnd with Novdk
in Prague. Since 1948, instructor in com-
position at the Prague Cons. Among his
works arc a Symphony (1944); 2 string
quartets (1940, 1944); and thr patriotic
and political cantatas: Song of the Fathfr-
Innd (1944); Thanks to the Soviet Union
(1946) ; Hands Off Korea (1950).
Bary, Alfred Envin von, opera singer; b.
La Valetta. Malta, Jan, 18, 1873; <i. Mun-
ich, Sept, 13, 1926. He studied medicine at
Munich Univ. (Dr. mecl,, 1898) ; later de-
veloped his dramatic tenor voie<% and WHS
engaged at the Dresden Court Optra (1902-
12); then at the Court Opera in Munich;
sang the roles of Parsifal, Siegmund and
Tristan at Bayrcuth.
94
BARZUN BASSANI
Barzin (bahr-zahn j ), Leon, conductor; b.
Brussels, Nov. 27, 1900. He was brought to
the U.S. in 1902; his father was first viola
player in the orchestra of the Metropolitan
Opera; his mother was a ballerina. He
studied violin with his father, and later
with Henrotte, Deru and Eugine Ysayc. He
settled in New York; played the violin in
various orchestras there; in 1925 he was ap-
pointed first viola player of the New York
Philharmonic, retaining this position until
1929, when he was engaged as assistant con-
ductor of the American Orchestral Society;
it was reorganized the following year as the
National Orchestral Association, with Barzin
as principal conductor and musical director.
He has appeared as guest conductor with the
N. Y. Philh. at the Lewisohn Stadium; was
conductor of the Hartford Symph. Orch.
(1938-40) ; also conducted in Europe. He is
particularly successful in training semi-profes-
sional orchestral ensembles.
Barzun, Jacques, French-American educa-
tor and author of books on music; b. Paris,
Nov. 30, 1907. He came to the U.S, in
1919; studied at Columbia Univ. (A.B.,
1927; Ph.D., 1932); became lecturer in
history there in # 1927; professor in 1945.
Among his writings concerned with music
are Darwin, Marx 9 Wagner (Boston, 1941);
and Berlioz and the Romantic Century
(Boston, 1950; 2 yols. with exhaustive docu-
mentation). He is also editor and trans-
lator of New Letters of Berlioz (N.Y.,
1954); publ. a new translation of Berlioz's
Evenings with the Orchestra (N. Y., 1956);
also wrote a survey. Music in American Life
(N. Y., 1956).
Bas, Giulio, Italian organist and music
editor; b, Venice, April 21, 1874; d. Vob-
bia, near Genoa, July 27, 1929. He studied
in Munich with Rhemberger and in Venice
with Bossij was organist and conductor at
churches in Venice, Calvi, Teano and Rome
(S. Luigi de' Frances! ); after 1908 taught
at the Milan Cons.; composed church music
and many pieces for organ. He contributed
to musical publications, and was editor of
'Musica d'oggi*; wrote tcxtbooks^on formal
analysis, harmony and counterpoint, includ-
ing Metodo per faccompagnamento del canto
gregoriano e per la composixione negli otto
modi (translated into French and Dutch) ;
Manuale di canto gregoriano (also in Span-
ish) ; Trattato di forma music ale, etc.
Baselt, Fritz (Friedrich Gustav Otto),
composer; b. Oels, Silesia, May 26, 1863; d.
there, Nov 12, 1931. He studied with Emil
Kohler in Breslau and with Ludwig Bussler
in Berlin; was musician, music-dealer, com-
poser, teacher and conductor in Breslau,
Essen and Nuremberg; after 1894 he settled
in Frankfurt-on-Main, where he conducted
the Philharmonischer Vcrcin and the Frank-
furt Sangcrvereinigung. He wrote many
light operas: Der Furst von Sevilla (Nurem-
berg, 1888); Don Alvaro (Ansbach. 1892);
Der Sohn des Peliden (Kassel, 1893); Die
Annaliese (Kasscl, 1896); Die Musketiere
im Damenstift (Kassel, 1896) ; Die Circusfee
(Berlin, 1897); also 2 ballets: Die Altweib-
ermiihle (Frankfurt, 1906), and Rokoko
(Frankfurt, 1907) ; some 100 male choruses;
many instrumental pieces; songs.
Basevi, Abramo, Italian composer and
writer on music; b. Leghorn, Dec. 29, 1818;
d. Florence, Nov. 25, 1885. His 2 operas,
Romilda ed Ezzelino (Florence, Aug. 11,
1840} and Enrico Odoardo (Florence,
1847;, were unsuccessful, and he turned to
musical journalism; founded the periodical
'Harmon ia* ; publ. a Studio sulle op ere di G,
Verdi (1859); Studi sul armonia (1865);
Compendia dell a storia della musica
(1866); etc,
Basil (Saint) the Great; b. 329 at
Gaesarca, Cappadocia; d. there in 379. He
was a bishop in Cacsarea ; is reputed to have
introduced congregational (antiphonal) sing-
ing into the Eastern Church, thus being
the forerunner of St. Ambrose in the West-
ern.
Basili, Francesco, Italian composer; b.
Lorcto, Feb., 1767; d. Rome, March 25,
1850. He was a pupil of his father, An-
drea Basili (1720-1777): later of Janna-
coni at Rome; was conductor at Foligno,
Maccrata and Lorcto; produced 14 operas
and several 'dramatic oratorios 1 in Rome,
Naples, Florence, Milan and Venice; ap-
pointed to the faculty of the Milan Gons.
(1827); in 1837 became conductor at St.
Peter's in Rome. He wrote a Requiem (for
Jannaconi, 1816^ ; several symphonies; much
sacred music; piano sonatas; songs; etc.
Bassani, Geronimo, Italian singer and
composer; b. Padua, late in the 17th cen-
tury. He studied with Lotti; was a fine
contrapuntist, singer and singing teacher;
produced 2 operas at Venice: Bertoldo
(1718) and Amor per forxa (1721); also
wrote masses, motets and vespers*
Bassani (Bassano), Giovanni, Italian com-
poser, singer and violinist. He was a singer
at San Marco, Venice, in 1585; singing
teacher at the Seminary of San Marco
(1595); first violin soloist at the Chapel of
95
BASSANI BATE
the Basilica (1615), The following instru-
mental works by him are extant: Fantasie
a tre voci per cantar e sonar (1585) ; // fiore
del capricci musicali a 4 voci (1588) ; Mot-
etti f madrigali canzoni francesi di diver si
auttori^ . . . diminuiti per sonar con ogni
sorti di stromenti (1591; reprinted in 1602
in an arrangement for one voice with organ
ad lib.; containing works of Clemens non
Papa, Cr6quillpn, Palestrina and others; the
term diminuiti refers to ornamentation of
the original vocal compositions); 2 volumes
of Motetti per concerti ecclesiastici for 5-12
voices (1598-99); a volume of Canzonette
for 4 voices (1587); etc.
Bassani (Bassano; Bassiani), Giovanni
Battista, Italian composer, organist and
violinist; b. Padua c. 1657; d. Bergamo,
Oct. 1, 1716. He studied in Venice with
Gastrovillari; was maestro di cappella to
the Duke of Mirandola (1678); at the
chapel of the Accademia della Mortc in
Ferrara (1684) ; at the cathedral of Ferrara
(1688) and at the Basilica Maria in Ber-
gamo (1712), where he remained until his
death. He was also a member of the Acca-
demia dei Filarmonici in Bologna from 1677.
His extant works include the following
operas: Amorosa Preda di Paride (Bologna,
1683); Falaride tiranno d'Agrigento
(1684) ; Alarico re de Goti (Ferrara, 1685} ;
Ginevra, infante di Scozia (Ferrara, 1690) ;
oratorios: La morte delusa (1686); Giona
(1689); Nella luna celestiale (1687); II
Conte di Bachevtlle (1696) ; Most risorto
dalle acque (1698); Gl'Impegni del divino
amore (1703); // trionfo della fede (1707).
He also wrote numerous masses, and other
sacred music. Of his instrumental works,
several suites and trio-sonatas are reprinted
in Torchi's UArte musicale in Italia (vol.
VII) and in J. W. Wasielewski's Instru-
mentalsdtze vom Ende des XVL bis Ende
des XVII. Jahrhunderts (1874), A cantata
is included in Riemann's Kantaten-FruhUns
(vol. II) ; some vocal works are published
by G. F. Malipiero in Classid della musica
italiana, Bibl.: J. W. Wasielewski, Die Vio~
line und ihre Meister (1883); A* Moser,
Geschichte des Violinspiels (1923) ; A, Scher-
ing, Geschichte des Oratonums (1911). See
also F. Pasini. Notes sur la vie de G* B.
Bassani in 'Sammclbande der Internatio-
nalen Musik-Gesellschaft' (vol. VII, 1906);
R. Haselbach, G. B, Bassani (Kassel, 1955).
Bassford, William Kipp, American pian-
ist, b. New York, April 23, 1839; d. there,
Dec. 22, 1902. He was a church organist
in New York; also gave piano concerts;
composed an opera Cassilda* He completed
Vincent Wallace's unfinished opera, Estrella.
Bassevi, Giacomo. See Cervetto.
Bassi, Amadeo (Vittorio), Italian operatic
tenor; b. Florence, July 20, 1874; d. there,
January 14, 1949. His sole teacher was the
Marchese Pavese Ncgri in Florence, where
he made his debut in Ruy Bias (1899). He
toured South America ( 1 902-7 ) ; sang at the
Manhattan Opera House, N. Y. (1906-8)
and at the Chicago Opera Go. (1910-12).
His repertoire included more than 50 operas,
mostly Italian; he created the following
roles: Angel Glare in d'Erlanger's Tess;
Federico in Frarjchetti's Germania; Giorgio
in Mascagni's L'Arnica; and Lionello in
Cilea's Gloria.
Bassi, Luigi, Italian opera baritone; b.
Pesaro, Sept 4, 1766; d. Dresden, Sept. 13,
1825. He studied with Pietro Morandi of
Bologna; made his debut in Pesaro sxt the
age of thirteen; he then sang in Florence;
went to Prague in 1784, where he soon be-
came greatly appreciated, Mozart wrote the
part of Don Giovanni for him and heeded
his advice in matters of detail. Bassi was in
Vienna from 1806-14; then briefly in
Prague; in 1815 he joined an Italian opera
company in Dresden.
Bastiaans, Johannes Gijsbertus, Dutch or-
ganist; b. Witp, Oct. 31, 1812; d. Haarlem,
Feb. 16, 1875. He was a pupil of Schneider
at Dessau, and Mendelssohn at Leipzig; was
organist at the Zukterkrrk, Amsterdam, a 
