ALKAN. See also ii. 731 a.
ALLEGRANTI. At end of article, for Conway read Cosway. (Corrected in late editions.)ALLEGRI. P. 54 b, l. 19, for 1562 of original, and 1652 of late edition, read 1662. See also ii. 336 a.
[ M. ]
ALLEN, Henry Robinson, was born in 1809 at Cork, and received his musical education at the Royal Academy of Music. His début took place on Jan. 11, 1831, as Basilio in a performance of 'Figaro' by the students of the Academy at the King's Theatre. He first attracted public attention by his performance on Feb. 5, 1842, of Damon on the production of 'Acis and Galatea' under Macready at Drury Lane. 'He was the only person worth listening to, in spite of the limited powers of his organ.' In 1843, under the same management, he played Acis, and Phaon in Pacini's 'Saffo,' when the heroine on each occasion was Clara Novello, and later in the autumn he played at the Princess's as Edward III in the English version of 'Les Puits d'Amour.' From that time until the close of the Maddox management in 1850 he was continually engaged at the latter theatre, where, owing to its small size, he was heard to advantage. He played in 'Don Giovanni' 'Othello,' 'Anna Bolena,' Hérold's 'Marie,' 'La Barcarole,' 'Les Diamants,' Auber's 'La Sirène,' etc.; Halévy's 'Val d'Andorre'; Balfe's 'Castle of Aymon'; Loder's 'Night Dancers.' In the early part of 1846 he was engaged at Drury Lane, where he played, Feb. 3, Basilius on production of Macfarren's 'Don Quixote.' À propos of this part, Chorley, in the 'Athenæum,' considered him, both as singer and actor, as the most complete artist on the English operatic stage.Allen retired early from public life, and devoted himself to teaching and the composition of ballads, two of which became popular, viz. 'The Maid of Athens' and 'When we two parted.' He died at Shepherd's Bush, Nov. 27, 1876.
[ A. C. ]
ALLGEMEINE MUSIKALISCHE ZEITUNG. For Musikalische Zeitung read the above, vol. ii. 115 a, 429 b, and 430 a.
ALSAGER. See also iii. 182 b, and 534.ALTERNATIVO. A term of frequent occurrence in suites and other compositions of the 17th and 18th centuries, having precisely the same meaning as the more modern word Trio, when that is used of the middle movement of a minuet or scherzo. The name as well as the form evidently had its origin in the common use, for dancing purposes, of two more or less contrasting measures, which were played alternately as long as the dancers desired. [See Grossvatertanz, Csardas, Magyar Music, etc.; and iv. 172 b.] The word seems generally to carry with it the direction 'Da capo,' since that sign is seldom found in conjunction with it, although the idea of going back to the first strain or measure is never absent from the Alternativo. The latest instance of its use is in Schumann's six 'Intermezzi,' op. 4, in four of which it occurs as the title of the middle section.
[ M. ]
[ A. J. ]
ALTNIKOL. See vol. i. p. 116 a.
ALVSLEBEN. See Otto-Alvsleben, in Appendix.
AMBROS, A. W. P. 59 b, l. 18 from end, for is now read was the. (Corrected in late editions.)
ANALYSIS. It should be added that the first suggestion as to the desirability of explaining the structure of compositions to the audience was in a letter written to the 'Musical World' of Dec. 2, 1826, by the late C. H. Purday, Esq.
ANAPÆST. A metrical foot, consisting of two short syllables, followed by a long one.A remarkable instance of Anapæstic rhythm will be found in Weber's Rondo in E♭, op. 62. [See vol. ii. p. 318 a.]
[ W. S. R. ]
- Cox, Rev. J. B., Musical Recollections.