Page:A Dictionary of Music and Musicians vol 4.djvu/537

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ALKAN.
521
ANAPÆST

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.'[1] 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. ]

ALTÈS, Ernest Eugene, violinist and conductor, younger brother of the flute-player Henri Altès, was born in Paris, March 28, 1830. Sons of a soldier and brought up in the regiment, the boys were taught by their father to play the violin and fife from their earliest years. In his 12th year Altès wrote an air with variations for violin and piano, which was shown to Habeneck, and procured his entrance into the Conservatoire. In 1843 he entered Habeneck's violin class; two years later he gained a second accessit for violin, in 1847 the second prize, and in the following year the first prize. In 1849 he obtained a second prize for harmony under Bazin, after which he spent some time in studying advanced composition with Carafa. From 1845 onwards he played in the Opera band, and in 1846 was admitted to the orchestra of the 'Concerts du Conservatoire.' In 1871 Altès was appointed deputy conductor at the Opera in place of Deldevez, who had just given up his post after twelve years' work. G. Hainl was at this time conductor of the Opera, but at his death in 1873 Deldevez, who in the preceding year replaced Hainl as conductor at the Conservatoire, was recalled. In 1877 Deldevez was succeeded at the opera by Lamoureux, who being unable to agree with the new director, M. Vaucorbeil, retired at the end of 1879. Altès, who was still deputy conductor, was now appointed conductor, and almost immediately gave up his post at the Société des Concerts, which he had held since 1877. In 1881 he was decorated with the Legion d'Honneur. His chief compositions are a sonata for piano and violin, a trio for piano and strings, a string quartet, a symphony, and a divertissement on ballet airs by Auber, written for the Auber centenary in 1882, besides operatic fantasias, mélodies caractéristiques, etc. On July 1, 1887, M. Altès, having, against his wish, been placed on the retired list, was rather roughly discharged by the directors of the Opera, and replaced by M. Vianesi.

[ 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. { \override Score.TimeSignature #'stencil = ##f \time 2/4 \partial 8 \relative c'' { c16^\lheel c^\lheel c8 -\tweak #'X-offset #0 -\tweak #'Y-offset #3.25 -\tenuto } }

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. ]

  1. Cox, Rev. J. B., Musical Recollections.