Archive | A

(b. circa 138 AUBERT AUBERT 1683; d. Belleville near Paris, May 17 or 18,1 1753), eminent violinist and a composer, a pupil of the violinist J . B. Senallie, was, from 1719, leader of the band and in te n d a n t of the Duke of Bourbon's p r ivate music. One of the King's 24 violins (1727), he entered the orchestra of the Opera the following ye a r as first violin, retiring in 1752. His name a p peared on the programmes of the Concert Spirituel from 1729 to 1740. A very prolific composer, his astonishing facility led him to compose a considerable n umber of ins trumental works (33 pr inted numbers) ; 5 books of violin sonatas with a bass, 12 * Suites de concerts de symphonie,' various pieces for musette, flute, oboe, viols, etc., 'Jolis Airs' for 2 violins, ' La Reine des P e r is ' (1725) played a t the Opera, ballets. His 10 concertos for 4 violins and a bass (1735, 1739), though influenced by I ta lian models, were the first ones wr itten by a Frenchman. His eldest son and pupil, (2) L o u is (b. Paris, May 15, 1720 ; d. circa 1800), belonged to the Opera orchestra as violinist and as second conductor from 1731-74. He was also violinteacher. His violin sonatas with a bass (1750), and ' Simphonies a qua tre ' for 3 violins an d a bass (1752) show I ta lian influences specially in the t re a tm en t of themes. B ib l.-L io n e l d e La L a v r e n c ie , L'jScole fran^aise de violon de L ully d Viotti, voU. i. and ii., Paris, 1922-23. M L P A U B E R T , L o u is F ranqois Marie (b. Parame, Ille-et-Vilaine, Feb. 19, 1877), composer, was sent to the Paris Conservatoire before the age of ten. There he won successive prizes for elementary theory, piano, h a rm o n y ; sight-reading and transposition. He studied the piano under Diemer, harmony u nder Lavignac, and composition u nder Gabriel Faure. Until his voice broke, he sang a t the services of the Madeleine, an d possessing a beautiful soprano voice and exceptional musical gifts, he was induced to fulfil, a t the same time, a similar engagement a t anothe r church, the Trinite. For a shor t time he studied the organ with Widor, b u t evincing no great liking for th a t instrument, he soon abandoned it. The earliest work th a t can be d ated is a song ' Sous bois,' wr itten in 1892. This was followed by a number of other smaller works, chiefly piano pieces and songs full of conflicting influences, such as those of Franck, Schumann, Chausson and Faure, b u t already showing traces of a certain elegance and finish. Among them is a 'Vieille Chanson espagnole ' (1894), which foreshadows his la te r h appy t re a tm e n t of Spanish subjects. In 1896 he wrote the song cycle ' Rimes tendres,' which has been p u b lished, a distinction th a t was n o t sha red by the c a n ta ta ' Les Noces d 'Apollon e t d 'Uranie,' of 1897. Two small pieces of church music, * O Salutaris ' and ' Pie Je su ,' belong to 1898. 1 Burial, May 19. Among the first works which drew the a t te n tion of the French public an d press to the ta le n t of Auber t was the ' F antaisie ' for piano and orchestra, composed in 1899, and produced a t the Colonne Concerts in 1901, with Diemer a t the piano. B u t already in 1900, the ' Suite breve ' for two pianos (orche strated and revised in 1913) a t t r a c te d some notice a t the Par is Exhibition. The same y e a r saw the completion of the well-known song, ' La L e t t re ,' an d of the ' T rois Esquisses ' for piano, originally intended as sight-reading tes ts for Diemer's class. From the opening of the 20th c entury onward, Au b e r t devoted himself more and more exclusively to composition, almos t completely neglecting a p ian is t's career which had h i the r to b rought him f requently on the conce r t platform, bo th as soloist and chambermusic player. In 1902 he essayed a more ambitious work th a n he h ad so far produced, ' La Legende du Sang,' a curious series of historical scenes, for recitation, chorus and orchestra, which, with the exception of one scene, has remained unpublished. This proved an unsuccessful e x p e r im e n t ; b u t four works of more or less ambitious dimensions were more fo r tu n a te during the n ex t two y e a r s : ' L es Cloches,' for mezzo-soprano an d chorus ; incidental music for a play by J e a n Be rtheroy, entitled ' L a Moisson ' ; and two ballets, ' L a Momie ' (produced in Par is in 1903) a n d ' Chrysothemis ' (staged a t Vichy in 1904). The n ex t six years (1904-10) were mainly occupied by the composition of the opera, ' La F ore t bleue,' the libre tto of which, by Ja cq u e s Cheneviere, is based on some familiar fa iry tales whose characters an d incidents are c h a rm ingly an d adroitly blended into a harmonious whole. The work has a cer tain delicacy and restrained grace which precludes i t from any sensational success, and its undoubtedly great poetical qualities are a little pale and devoid of pronounced individuality. The composer did n o t succeed in having the opera staged in his own country, b u t i t was eventually p roduced a t Boston, U.S.A., on Mar. 8, 1913, an d very favourably received. During the composition of the opera only one work of some im p o r t ance, the song cycle ' Crepuscules d 'automn e ' (1908), appeared. The Spanish phase in Auber t found a more ma tu re expression in a song with orchestral accompaniment, ' Nu i t mauresque,' wr itten in 1911, which in its tu rn proved almost in the n a tu re of a sketch in comparison with the symphonic poem 1 Hab an e ra ,' produced a t the Pasdeloup Concert of Mar. 23, 1919. This work was acclaimed b y the French press as the most complete expression of Au b e r t's persona lity up to th a t time, with the exception, perhaps, of the ' S ix Poemes arabes ' for voice an d orchestra (or piano) to poems b y F. Toussaint. Two im p o r ta n t la te r works b y Au b e r t are the three brilliant an d picturesque piano pieces entitled ' Sillages ' (1913), an d a piece of church music, ' Tu es P e t ru s ,' for chorus a n d organ, wr itten in 1917, when the composer, unable to be of service in the war, y e t anxious to be useful, voluntarily ac ted as organist an d choirmas te r a t the church of Saint-Hippolyte. Other works include a number of piano pieces an d songs, three vocal duets, a madrigal for flute an d piano, an d some shor ter choral works. Many of the song accompaniments have been orchestrated. Auber t has been active, n o t only as composer an d pianist, b u t also as critic an d teacher. He has wr itten a Treatise on Harmony. E . B. A U B E R T , P ierre F r a n q o i s Olivier (b. Amiens, c. 1763; d. circa 1830), violoncellist, for 25 years member of the orchestra of the Opera-Comique a t Paris. He published two g ood ins truction books for the violoncello a t a time when a work of th a t kind was much needed. He wrote also etudes, duets and sonatas for violoncello, and a pamphle t e n t it led Histoire abregee de la musique ancienne et moderne, 1827. m . l . p . (b. Paris, May 15, 1720 ; d. circa 1800), belonged to the Opera orchestra as violinist and as second conductor from 1731-74. He was also violinteacher. His violin sonatas with a bass (1750), and ' Simphonies a qua tre ' for 3 violins an d a bass (1752) show I ta lian influences specially in the t re a tm en t of themes. B ib l.-L io n e l d e La L a v r e n c ie , L'jScole fran^aise de violon de L ully d Viotti, voU. i. and ii., Paris, 1922-23. M L P A U B E R T , L o u is F ranqois Marie (b. Parame, Ille-et-Vilaine, Feb. 19, 1877), composer, was sent to the Paris Conservatoire before the age of ten. There he won successive prizes for elementary theory, piano, h a rm o n y ; sight-reading and transposition. He studied the piano under Diemer, harmony u nder Lavignac, and composition u nder Gabriel Faure. Until his voice broke, he sang a t the services of the Madeleine, an d possessing a beautiful soprano voice and exceptional musical gifts, he was induced to fulfil, a t the same time, a similar engagement a t anothe r church, the Trinite. For a shor t time he studied the organ with Widor, b u t evincing no great liking for th a t instrument, he soon abandoned it. The earliest work th a t can be d ated is a song ' Sous bois,' wr itten in 1892. This was followed by a number of other smaller works, chiefly piano pieces and songs full of conflicting influences, such as those of Franck, Schumann, Chausson and Faure, b u t already showing traces of a certain elegance and finish. Among them is a 'Vieille Chanson espagnole ' (1894), which foreshadows his la te r h appy t re a tm e n t of Spanish subjects. In 1896 he wrote the song cycle ' Rimes tendres,' which has been p u b lished, a distinction th a t was n o t sha red by the c a n ta ta ' Les Noces d 'Apollon e t d 'Uranie,' of 1897. Two small pieces of church music, * O Salutaris ' and ' Pie Je su ,' belong to 1898. 1 Burial, May 19. Among the first works which drew the a t te n tion of the French public an d press to the ta le n t of Auber t was the ' F antaisie ' for piano and orchestra, composed in 1899, and produced a t the Colonne Concerts in 1901, with Diemer a t the piano. B u t already in 1900, the ' Suite breve ' for two pianos (orche strated and revised in 1913) a t t r a c te d some notice a t the Par is Exhibition. The same y e a r saw the completion of the well-known song, ' La L e t t re ,' an d of the ' T rois Esquisses ' for piano, originally intended as sight-reading tes ts for Diemer's class. From the opening of the 20th c entury onward, Au b e r t devoted himself more and more exclusively to composition, almos t completely neglecting a p ian is t's career which had h i the r to b rought him f requently on the conce r t platform, bo th as soloist and chambermusic player. In 1902 he essayed a more ambitious work th a n he h ad so far produced, ' La Legende du Sang,' a curious series of historical scenes, for recitation, chorus and orchestra, which, with the exception of one scene, has remained unpublished. This proved an unsuccessful e x p e r im e n t ; b u t four works of more or less ambitious dimensions were more fo r tu n a te during the n ex t two y e a r s : ' L es Cloches,' for mezzo-soprano an d chorus ; incidental music for a play by J e a n Be rtheroy, entitled ' L a Moisson ' ; and two ballets, ' L a Momie ' (produced in Par is in 1903) a n d ' Chrysothemis ' (staged a t Vichy in 1904). The n ex t six years (1904-10) were mainly occupied by the composition of the opera, ' La F ore t bleue,' the libre tto of which, by Ja cq u e s Cheneviere, is based on some familiar fa iry tales whose characters an d incidents are c h a rm ingly an d adroitly blended into a harmonious whole. The work has a cer tain delicacy and restrained grace which precludes i t from any sensational success, and its undoubtedly great poetical qualities are a little pale and devoid of pronounced individuality. The composer did n o t succeed in having the opera staged in his own country, b u t i t was eventually p roduced a t Boston, U.S.A., on Mar. 8, 1913, an d very favourably received. During the composition of the opera only one work of some im p o r t ance, the song cycle ' Crepuscules d 'automn e ' (1908), appeared. The Spanish phase in Auber t found a more ma tu re expression in a song with orchestral accompaniment, ' Nu i t mauresque,' wr itten in 1911, which in its tu rn proved almost in the n a tu re of a sketch in comparison with the symphonic poem 1 Hab an e ra ,' produced a t the Pasdeloup Concert of Mar. 23, 1919. This work was acclaimed b y the French press as the most complete expression of Au b e r t's persona lity up to th a t time, with the exception, perhaps, of the ' S ix Poemes arabes ' for voice an d orchestra (or piano) to poems b y F. Toussaint. Two im p o r ta n t la te r works b y Au b e r t are the three brilliant an d picturesque piano pieces entitled ' Sillages ' (1913), an d a piece of church music, ' Tu es P e t ru s ,' for chorus a n d organ, wr itten in 1917, when the composer, unable to be of service in the war, y e t anxious to be useful, voluntarily ac ted as organist an d choirmas te r a t the church of Saint-Hippolyte. Other works include a number of piano pieces an d songs, three vocal duets, a madrigal for flute an d piano, an d some shor ter choral works. Many of the song accompaniments have been orchestrated. Auber t has been active, n o t only as composer an d pianist, b u t also as critic an d teacher. He has wr itten a Treatise on Harmony. E . B. A U B E R T , P ierre F r a n q o i s Olivier (b. Amiens, c. 1763; d. circa 1830), violoncellist, for 25 years member of the orchestra of the Opera-Comique a t Paris. He published two g ood ins truction books for the violoncello a t a time when a work of th a t kind was much needed. He wrote also etudes, duets and sonatas for violoncello, and a pamphle t e n t it led Histoire abregee de la musique ancienne et moderne, 1827. m . l . p .

the name of a family of English organists, two brothers and their sons who flourished in the 18th century. A certain barber-surgeon of Ripon of this name, who was magis trate of the borough and Mayor in 1760, had two sons : (1) E d m u n d (b. Ripon, 1734; d. We s tminster, May 22, 1808), the younger b u t more distinguished in his profession, s tudied with Dr. Nares, organist of York Minster. In 1754 he was elected organist, au d ito r and rector chori of the collegiate church of Southwell, where he remained until 1764, when he was appointed a gentleman of the Chapel Royal. In 1767 he was installed as a vicar-choral of St. P a u l 's, and in 1780 became one of the lay-clerks of Wes tminster Abbey. In 1780 he was p ro moted by Bishop Lowth to the office of mas ter of the children of His Majesty's chapels, on the resignation of Dr. Nares. In 1784 the Un i versity of Cambridge created him Doctor in Music, and he was adm i t ted ad eundem by the University of Oxford in 1788. The an them by which he obtained his degree, ' Begin u n to my God with timbre ls ,' was performed in St. P au l 's Cathedral, J u ly 28, 1784, the day of general VOL. I thanksgiving for the termination of the American revolutionary war, an d was af terwards published in score. A y r to n 's contr ibutions to the Church consist of two complete Morning and Evening Services, an d Beveral anthems. He is buried in the n o r th cloister of Wes tminster Abbey. (2) W il l ia m (b. 1726 ; d. Feb. 2, 1799), the elder brother, was organist of Ripon Cathedral, 1748-99. He was succeeded by his son, (3) W il l ia m F r a n c is M o r r a l l (b. Chester, 1750), who, appointed by the D ean an d Chapter on Ju n e 25, 1799, retired only three years later, in 1802. (4) N i c h o l a s T h o m a s D a l l (b. 1782; d. Oct. 24, 1822), an o the r son of William (2), succeeded his b rother as organist of Ripon and held the ap p o in tmen t till his death. (5) W il l ia m (b. London, Feb. 24, 1777 ; d. Wes tminster, Mar. 8, 1858), son of E dmund (1), made some mark as a wr iter on musical subjects. He married the d au g h te r of Dr. S. A r n o l d (q.v.). In the palmy days of the Morning Chronicle Ayr ton was its honorary musical and lite ra ry critic from 1813-26 ; and he wrote the reviews of the Ancient Concerts an d Philharmonic Society in the Examiner from 1837-51, also gratuitously. He was a Fellow of the Royal an d Antiqua r ian Societies, an d an original member of the Athenaeum Club. He was one of the promoters an d members of the Philharmonic Society a t its foundation in 1813, an d subsequently a director. More th a n once he held the im p o r ta n t post of musical director of the Kin g 's Theatre, an d in th a t capac ity had the merit of first introducing Mozart's ' Cosi fan tu t te ' an d ' Z auberflote ' (1811), and ' Don Giovanni ' (1817) to an English audience. According to a wr iter of the period he twice, if n o t oftener, regenerated th a t the a t re , when its credit was weakened by repeated failures. In 1823 he s ta r ted , in conjunction with Clowes the pr inte r, the publication of the Harmonicon, a monthly musical periodical. This was followed in 1834 by the Musical Library, a collection of vocal an d in s trum en ta l music extending to 8 volumes. A supplement containing biographical an d critical notices, the a tr ic a l news, etc., was issued monthly, making 3 e x t ra volumes. He wrote the musical articles for the Penny Cyclopcedia ; the chapters on music in K n ig h t 's Pictorial History o f England ; an d the musical explanations for the Pictorial Shakespeare. His la te s t work was a wellchosen collection of ' Sacred Minstrelsy,' p u b lished by J . W. P a rke r, in 2 vols. (See D .N .B . an d Wes t's Cath. Org.) E. f . r ., w i t h a d d n s . (b. Ripon, 1734; d. We s tminster, May 22, 1808), the younger b u t more distinguished in his profession, s tudied with Dr. Nares, organist of York Minster. In 1754 he was elected organist, au d ito r and rector chori of the collegiate church of Southwell, where he remained until 1764, when he was appointed a gentleman of the Chapel Royal. In 1767 he was installed as a vicar-choral of St. P a u l 's, and in 1780 became one of the lay-clerks of Wes tminster Abbey. In 1780 he was p ro moted by Bishop Lowth to the office of mas ter of the children of His Majesty's chapels, on the resignation of Dr. Nares. In 1784 the Un i versity of Cambridge created him Doctor in Music, and he was adm i t ted ad eundem by the University of Oxford in 1788. The an them by which he obtained his degree, ' Begin u n to my God with timbre ls ,' was performed in St. P au l 's Cathedral, J u ly 28, 1784, the day of general VOL. I thanksgiving for the termination of the American revolutionary war, an d was af terwards published in score. A y r to n 's contr ibutions to the Church consist of two complete Morning and Evening Services, an d Beveral anthems. He is buried in the n o r th cloister of Wes tminster Abbey. (2) W il l ia m (b. 1726 ; d. Feb. 2, 1799), the elder brother, was organist of Ripon Cathedral, 1748-99. He was succeeded by his son, (3) W il l ia m F r a n c is M o r r a l l (b. Chester, 1750), who, appointed by the D ean an d Chapter on Ju n e 25, 1799, retired only three years later, in 1802. (4) N i c h o l a s T h o m a s D a l l (b. 1782; d. Oct. 24, 1822), an o the r son of William (2), succeeded his b rother as organist of Ripon and held the ap p o in tmen t till his death. (5) W il l ia m (b. London, Feb. 24, 1777 ; d. Wes tminster, Mar. 8, 1858), son of E dmund (1), made some mark as a wr iter on musical subjects. He married the d au g h te r of Dr. S. A r n o l d (q.v.). In the palmy days of the Morning Chronicle Ayr ton was its honorary musical and lite ra ry critic from 1813-26 ; and he wrote the reviews of the Ancient Concerts an d Philharmonic Society in the Examiner from 1837-51, also gratuitously. He was a Fellow of the Royal an d Antiqua r ian Societies, an d an original member of the Athenaeum Club. He was one of the promoters an d members of the Philharmonic Society a t its foundation in 1813, an d subsequently a director. More th a n once he held the im p o r ta n t post of musical director of the Kin g 's Theatre, an d in th a t capac ity had the merit of first introducing Mozart's ' Cosi fan tu t te ' an d ' Z auberflote ' (1811), and ' Don Giovanni ' (1817) to an English audience. According to a wr iter of the period he twice, if n o t oftener, regenerated th a t the a t re , when its credit was weakened by repeated failures. In 1823 he s ta r ted , in conjunction with Clowes the pr inte r, the publication of the Harmonicon, a monthly musical periodical. This was followed in 1834 by the Musical Library, a collection of vocal an d in s trum en ta l music extending to 8 volumes. A supplement containing biographical an d critical notices, the a tr ic a l news, etc., was issued monthly, making 3 e x t ra volumes. He wrote the musical articles for the Penny Cyclopcedia ; the chapters on music in K n ig h t 's Pictorial History o f England ; an d the musical explanations for the Pictorial Shakespeare. His la te s t work was a wellchosen collection of ' Sacred Minstrelsy,' p u b lished by J . W. P a rke r, in 2 vols. (See D .N .B . an d Wes t's Cath. Org.) E. f . r ., w i t h a d d n s .

an in s titu tio n founded 1875 b y Michel, Jule s Bordier a n d Comte Louis de Romain for the cultivation of orchestral music. In spite of many difficulties, which almos t compelled the Association to cease its work, i t rose again as the Societe des Concerts Populaires (1898), its p resent name. I t has won an honoured place an d has made known a g re a t man y modern F rench works, as well as compositions of other schools. On Mar. 23, 1902, the Society gave its 500th concert. On th a t occasion, Comte de Romain (1845-1912) received the cross of the Legion d 'Honneur. Sole president since the deaths of Michel and Ju le s Bordier (1846-96), his followers in th a t function were Max and Charles d 'Ollone, Olivier de Rouge, Dr. Boquel. The conductors of the Society up to the p resent time a r e : Lelong (1880-91), F remaux (1891- 1893), Brahy (1899-1907), Max d 'Ollone (1907- 1909), Rhene Ba ton (1910-12), J e a n Gay (1912-14), (1919- ). o. F. ; rev. M. L. p.

(b. Saleux, on the Somme, 1847 ; d. Paris, J a n . 27, 1903), eminent French baritone. He entered the Paris Conservatoire in 1867, an d sang a t the Opera from 1871- 1881 ; and in I ta ly in 1883 an d 1884. When Lamoureux made his brief b u t famous exper iment of producing ' Lohengrin ' a t the Eden The a tre he sang the p a r t of the herald with conspicuous success. I t was a t concerts th a t he made his greates t effect, and all over France his beautiful voice, excellent style and perfect diction were universally admired. He sang often in Paris in the N in th Symphony of Beethoven an d B erlioz's ' Damnation de F a u s t .' He was appointed one of the professors of singing a t the Paris Conservatoire in 1899 in succession to Archaimbaud. G. F.

verbal subs tantive, from (Ital.) attacare, * to un ite ,' ' to bind together ,' a shor t phrase, tre a ted as a point of imitation ; and employed, either as the subje ct of a fugue, as a subordinate element introduc ed for the purpose of increasing the inte re s t of its development, as a leading feature in a motet, madrigal, full anthem, or other choral composition, or as a means of relieving the monotony of an o the r wise too homogeneous partsong. A striking instance of its employment as the subje ct of a fugue will be found in book ii. No. 3, Das wohltemperirte Clavier. (See A n d a - MENTO and SOGOETTO.) W. S. R.

a collection of musical works in s tr ic t style, containing specimens by some 50 composers ranging from Pa le s tr ina to Haydn, published with the countenance of the Konigliche Akademie der Kunste of Berlin in 1840 (8vo, Trautwein). Some copies have an a p p en dix including a dozen additional works.

(b. Verneuil, Eure, Dec. 9, 1796; d. there, Feb. 1870), pupil of Monsigny, Mehul and Cherubini, was a t the Par is Conservatoire till 1815. He composed one opera, a serenade for orchestra, chamber music, P F . pieces, songs, a g u ita r - tu to r , a Grammaire musicale (1830), Des Associations musicales en France (1839), L a Societe Philharmonique de I'Eure (1859). B ib l.-J . d e 1 'Avre, a . du Boulley, 1896.

(b. Macclesfield, 1806), opera singer, was ta u g h t singing by Manielli a t Florence, an d first appe a red in I ta ly , so successfully th a t Ebers engaged her for the season of 1827 a t the Kin g 's Theatre , a t a salary of ?500. L She made her appearances there as Nin e t ta in ' La Gazza ' (Feb. 23), and as Fiorilla in ' II Turco in I ta l ia .' In the same year she sang a t Drury Lane in an English version of ' II Turco ' and as Rose tta in ' Love in a Village.' In 1829 she sang a t the Birmingham Festival, an d in opera with Malibran under Michael Costa. In 1831 she sang again a t the King's The a tre for the season, as Creusa, in 1 Medea ' (Simon Mayr), and she played Isabel in a mutila ted version of 1 R o b e r t ' ('The Daemon, or the Mystic Branch,' Feb. 21, 1832), a f te r which she disappears from view. A p o r t ra i t of her, drawn an d engraved by B. Holl, was published in J u ly 1828. A . O.

(b.Naples, c. 1749), maestro di cappella a t Naples, 1770, was highly esteemed as a composer of comic operas, of which he wrote 36 between 1765 an d 1793. In 1780 he wrote 3 operas for Pressburg, an d appears to have been a t St. Petersburg, for which he also wrote operas (R iem a n n ; Q.-L.).

one of the four g re a t Church F a the rs (b. Tagaste, Numidia, Nov. 13, 354 ; d. Hippo (now Bona), Aug. 28, 430). He wrote 6 books, ' De Musica,' which are im p o r ta n t for the understanding of the various metres of the early Christian period. St. Augustine was baptized in 387 by St. Ambrose, his personal friend and teacher. E. v . d. s. (b. Tagaste, Numidia, Nov. 13, 354 ; d. Hippo (now Bona), Aug. 28, 430). He wrote 6 books, ' De Musica,' which are im p o r ta n t for the understanding of the various metres of the early Christian period. St. Augustine was baptized in 387 by St. Ambrose, his personal friend and teacher. E. v . d. s.