Page:A Dictionary of Music and Musicians vol 4.djvu/541

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appeared at a concert in Jan. 1822. In the following year he played to Clementi in London, and on Feb. 20, 1824, before George IV. at Windsor. He played Weber's Concertstück for the first time in England at a concert at Brighton. After a visit to Paris in April 1825 he undertook a number of concert tours throughout Great Britain and Ireland. It was at Clementi's funeral that Aspull caught the cold which eventually ended in his death on Aug. 19. (Dict. of Nat. Biog.)

[ M. ]

ASTORGA. P. 100 a, l. 26, for Society read Academy.

ATTACCO (Verbal substantive, from attacare, to unite, to bind together). A short phrase, treated as a Point of Imitation; and employed, either as the Subject of a Fugue, as a subordinate element introduced for the purpose of increasing the interest 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 otherwise too homogeneous Part-Song.

A striking instance of its employment as the Subject of a Fugue will be found in No. xxvii. of Das Wohltemperirte Clavier.

When used merely as an accessory, it almost always represents a fragment of the true Subject; as in 'Ye House of Gilead,' from Handel's 'Jephthah.'

{ \override Score.TimeSignature #'stencil = ##f \override Score.Rest #'style = #'classical \time 4/4 \key d \major \relative d'' { r4 r8 d fis e16 fis g8 fis16 e | fis8 s } }

In the Madrigal, and Motet, a new Attacco is usually introduced with each new paragraph of the verbal text; in the Glee, properly so called, the part played by the Attacco is less important; while in the Part-Songs, its appearance as a prominent feature is still less frequent. Exception to the rule will, however, be found in Dr. Callcott's 'Go, plaintive Breeze,' in Mendelssohn's 'Türkisches Schenkenlied,' 'Setze mir nicht, du Grobian,' and in other well-known modern compostions. [See Andamento and Soggetto in Appendix.]

[ W. S. R. ]


ATTERBURY, Luffman. Add that he sang in the Handel Commemoration of 1784, and that his death took place in the middle of one of his concerts. (Dict. of Nat. Biog.)

ATTEY. Add 'He died at Ross about 1640.' (Inserted in late editions.)

ATTWOOD. P. 101 a. l. 2 of article, for in 1767 read in London, Nov. 23, 1765. Line 15, for i. 225 read i. 228, and add reference to Mozart, ii. 396 a. Line 16, for February read March; and add that he accompanied the Storaces to England. Line 21, for the latter year read 1796. Line 4 from bottom, for 28 read 24.

AUBER. The weight of testimony concerning the year of the composer's birth supports Fétis and substantiates the date 1782. In the supplement to Mendel's Lexicon, the date 1784 is corrected to correspond with Fétis, on the authority of Paloschi. The list of his operas is to be completed as follows:—'Emma,' 1821; 'La Neige,' 1823; 'Le Concert à la Cour,' 1824; 'Léocadie,' 1824; 'Le Timide' and 'Fiorilla,' 1826; 'La Fiancée,' 1829; 'Le Dieu et la Bayadère,' 1830; 'Le Philtre,' 1831; 'Le Serment,' 1832; 'Gustave III,' 1833; 'Actéon,' 1836; 'Le Lac des Fées,' 1839; 'Zanetta,' 1840; 'Le Due d'Olonne,' 1842; 'La Part du Diable,' 1843; 'La Sirène,' 1844; 'La Barcarolle,' 1845; 'Marco Spada,' 1852; 'Jenny Bell,' 1855; and 'La Circassienne,' 1861. Correct date given for 'Lestocq' to 1834. P. 103, l. 8, for May 13 read May 12. In Forster's life of Dickens, ch. xlix., it is related that Dickens described Auber as 'a stolid little elderly man, rather petulant in manner.'

[ M. ]

AUDRAN, Edmond, was born April 11, 1842, at Lyons, and received his musical education at the École Niedermeyer, Paris, where he obtained in 1859 the prize for composition. In 1861 he became organist of the church of St. Joseph, Marseilles. His compositions include a Funeral March on the death of Meyerbeer, played at the Grand Theatre, Marseilles; a Mass produced in 1873 at the above church, and later at St. Eustache, Paris; a motet, 'Adoro te,' Paris (1882); 'Cour d'Amour,' song in Provençal dialect, and other songs. He is best known however as an 'opéra bouffe' composer, and among such works may be named 'L'Ours et le Pacha,' Marseilles (1862), his first work, founded on Scribe's well-known vaudeville of that name; 'La Chercheuse d'Esprit,' Marseilles (1864), revived at Paris Bouffes, 1882, a new setting of an opera of Favart (1741), 'Le Grand Mogol,' Marseilles (1876), at Gaité, Paris, Sept. 19—in English, at the Comedy Theatre, London, Nov. 17, 1884; 'Les Noces d'Olivette,' Bouffes, Nov. 13, 1879—in English at the Strand Theatre as 'Olivette,' Sept. 18, 1880; 'La Mascotte,' Bouffes, Dec. 29, 1880—in English, Sept. 19, at Brighton, and Oct. 15, 1881, at the Comedy Theatre; 'Gillette de Narbonne,' Bouffes, Nov. 11, 1882, plot founded on Boccaccio's story, used by Shakespeare for 'All's Well that Ends Well'; and 'La Cigale et le Fourmi,' Gaité, Oct. 30, 1886. The five last named have all obtained great popularity in France, while 'Olivette,' and particularly 'La Mascotte,' are popular all over the world.

[ A. C. ]

AUGARTEN. Line 23, for 1800 read 1799.

AUGENER. The music-publishing business of Augener & Co. was founded at 86 Newgate Street, London, in 1855. Later on branch warehouses were established at 1 Foubert Place, 22 Golden Square, and 81 The Quadrant, Regent Street. By a recent change of partnership (26 February, 1887) the warehouse in the Quadrant has been transferred to Mr. Wesley S. B. Woolhouse, the general business with this exception remaining Mr. George Augener's.

Augener & Co.'s Catalogue contains upwards of 6000 works, of which nearly 1000 are cheap volumes; among these is a comprehensive