collection of pianoforte classics edited by Professor Ernst Pauer, as well as an important series of educational works edited by him, by Mr. John Farmer, and other well-known musicians.
In the last ten years Augener & Co. have introduced the works of some of the most important composers of the Neo-German School, including Xaver Scharwenka, Jean L. Nicodé, and Moszkowski. They have a large and varied stock of music, and the sole agency for this country of the famous Peters Edition published at Leipzig. The 'Monthly Musical Becord' is published by this firm, and has among its contributors prominent names in English musical literature. Its circulation is about 6000. [See Musical Periodicals, vol. ii. 428 b.]
[ A. J. H. ]
AVISON. P. 106, l. 13 from end of article, for two sets read three volumes.
AYLWARD, Theodore. Add that from 1768 to 1781 he was organist of St. Michael's, Cornhill. (Dict. of Nat. Biog.) His kinsman mentioned at the end of the article was for some time organist of Chichester Cathedral, and since January, 1887, has held a post of some importance at Cardiff.
[ M. ]
AYTON, Fanny, born 1806 at Macclesfield, was taught singing by Manielli at Florence, and first appeared in Italy, so successfully that Ebers engaged her for the season of 1827 at the King's Theatre, at a salary of £500. She made her appearances there as Ninetta in 'La Gazza' (Feb. 3), and as Fiorilla in 'Il Turco in Italia.' In the same year she sang at Drury Lane in an English version of 'Il Turco' and as Rosetta in 'Love in a Village.' She also played in the provinces, and sang in concerts with fair success. In 1829 she sang at the Birmingham Festival in opera with Malibran and Michael Costa. In 1831 she sang again at the King's Theatre for the season, as Creusa, in 'Medea' (Simon Mayr), and she played Isabel in a mutilated version of 'Robert' ('The Dæmon, or the Mystic Branch,' Feb. 21, 1832), after which she disappears from view. She had considerable execution, a piquancy and taste of her own, a certain ease on the stage, and a great fluency in Italian. But she had the misfortune to compete with some of the greatest Italian singers, and her intonation gave way after her first season. (Chorley.) A portrait of her, drawn and engraved by B. Holl, was published in July, 1828.
[ A. C. ]
AZZOPARDI, Francesco. A learned Italian theorist of the latter half of the last century, from whose work, 'Il musico prattico,' published in the form of a French translation only (Paris, 1786), Cherubini quotes some interesting examples, in his 'Course of Counterpoint and Fugue.'
Azzopardi held the appointment of Maestro di Capella, in Malta.
[ W. S. R. ]
BABBINI. Add day of birth, Feb. 19.
BABELL. See vol. i. 287.
BACH. The following corrections are to be made in the article which treats of the Bach family (vol. i. pp. 108–114).
P. 109 a, l. 7. The genealogy was not written, but added to, by Emanuel Bach. In the genealogical table several errors occur. No. 13 died in 1682, not 1732; No. 16 was born 1642, not 1643. The date of death of No. 14 is doubtful. No. 24 lived from 1759 to 1845. To No. 8 add dates 1645–1693. No. 6 was not named Johann, but only Christoph.
P. 110 a, last line but 3, for 1761, read 1671.
P. 111 a. The list of J. Christoph Bach's motets is as follows:—(Printed) 'Lieber Herr Gott' (Naue, Neun Motette, etc., book ii. 4); 'Der Gerechte, ob er gleich zu zeitig stirbt' (Naue, i. 1); 'Unsers Herzens Freude hat ein Ende' (Musica Sacra, Berlin, Bote & Bock, vol. xvi. 18); and the doubtful 'Ich lasse dich nicht' (Naue, iii. 9, and elsewhere). The following are in manuscript:—'Der Mensch, vom Weibe geboren'; 'Sei getreu bis in den Tod'; 'Herr, nun lässest du deinen Diener'; and 'Fürchte dich nicht, denn ich habe dich erlöst.'
P. 111 b, line 15 from bottom, the expression 'starke Sonaten' is to be taken as equivalent to 'stark besetzte Sonaten,' and refers, not to the character of the compositions, but to the employment of several instruments in them. In Adlung's copy of Walther's Lexicon, now in the Royal Library at Berlin, is the following note in Adlung's hand:—'2 chorie (chörichte) sonatas by Joh. Mich. Bach were engraved on copper.' These are evidently the works referred to.
P. 112 a, l. 21, for in his own handwriting read in manuscript. It is not the composer's autograph. Line 3 from bottom, for in read Jan. 1.
P. 112 b, l. 19, for in read June 29.
P. 113 a, add days of birth and death of Wilhelm Friedrich Ernst Bach, May 27 and Dec. 25 respectively.
P. 113 b, first fourteen lines to be corrected as follows:—Emanuel Bach entered the service of the Crown Prince of Prussia (afterwards Frederick II.) in 1738, and remained in it uninterruptedly until 1767, when he went to Hamburg as Telemann's successor. He died there Dec. 14, 1788.
[ P. S. ]
BACH, Johann Sebastian (vol. i. pp. 114–118).
P. 114 b, l. 18, for as read at. Lines 47 etc. to be corrected thus:—His appointment to the 'new church' at Arnstadt took place on Aug. 14, 1703, and at Easter of the same year he had gone