(b Meadow, TN, Oct 24, 1867; d Birmingham, England, Oct 13, 1920). American revivalist and publisher. He attended Maryville College, Tennessee, and the Moody Bible Institute, Chicago; in 1893 he assisted Moody in his revival at the World’s Colombian Exposition in Chicago. From 1908 he toured with J. Wilbur Champman through the USA, Great Britain, Australia and missionary areas of East Asia. He was noted for his skill in inspiring a congregation to sing enthusiastically and in conducting large choirs. He published a number of revival songbooks and owned the copyrights of several popular gospel hymns, such as Charles H. Gabriel’s ...
Alexander, Charles McCallom
revised by Emanuele Senici
(b Rome, June 29, 1801; d Rome, June 12, 1863). Italian musicologist and composer. Ordained a Roman priest in 1823, his life was entirely directed towards the deliverance of liturgical music from what he saw as the debased theatrical style of contemporary composers and the neglect and incompetence of singers and organists in regard to Gregorian chant and Renaissance music. He contributed most importantly to this goal through his editions, particularly the Raccolta di musica sacra (Rome, 1841–6), the seven volumes of which provided the first large modern collection of Palestrina's music. Palestrina was Alfieri's ideal for new church music, which, according to his Ristabilimento, should be grave, succinct and suited in expression to the words, which were to be presented clearly and with few repetitions. His own compositions, many of them published at Rome, exemplified these principles.
Alfieri was also a pioneer in Italy in the historical study of Gregorian chant, which he sought to restore to its original purity, although along lines that now appear somewhat arbitrary and subjective. His early ...
Aliseda, Jerónimo de
(b c1548; d Granada, June 28, 1591). Spanish composer, son of Santos de Aliseda. From about 1557 to September 1577 when he was ordained, he was a member of the choir of Granada Cathedral. On 8 June, 1580 the chapter accepted him as successor to his father without the customary public competition. As maestro de capilla he was required to give board and instruction to the choirboys, to provide daily lessons in polyphony and to compose chanzonetas and extremeses for important feasts. In 1589 he was relieved of these obligations because of ill-health. He died in poverty, like his father. None of Aliseda’s secular music survives. His solemnly expressive motets owe much to those of Morales in structure and style, particularly to the latter’s Emendemus in melius.
all in E-GRc or GRcr unless otherwise stated
Aliseda, Santos de
(d Granada, July 4, 1580). Spanish composer. He was appointed maestro de capilla of Granada Cathedral on 19 November 1557 despite the opposition of his predecessor, Luis de Cózar, who intended his own nephew to succeed him. After an unsuccessful appeal to the archbishop, Cózar was forced to hand over the charge of the choirboys to Aliseda in May 1558. Aliseda had already begun to search for better singers, but was hindered by the poor salaries which the Granada Cathedral chapter offered.
Throughout his 23 years as maestro de capilla Aliseda won praise from the chapter for his diligent teaching, his punctuality and particularly for his care of the choirboys. In 1579, in appreciation of his merits, the chapter recommended him to Philip II for a prebend, and on 14 May 1580 voted him a gift of 12 ducats to aid him in his illness.
Aliseda's six-part motet ...
revised by Noel O’Regan
(b Rome, 1582; d Rome, Feb 7, 1652). Italian composer and singer, brother of Domenico Allegri. From 1591 to 1596 he was a boy chorister and from 1601 to 1604 a tenor at S Luigi dei Francesi, Rome, where the maestro di cappella was G.B. Nanino. According to Allegri’s obituary he studied with G.M. Nanino (see Lionnet). He was active as a singer and composer at the cathedrals of Fermo (1607–21) and Tivoli, and by August 1628 he was maestro di cappella of Santo Spirito in Sassia, Rome. He joined the papal choir as an alto on 6 December 1629, under Urban VIII, and was elected its maestro di cappella for the jubilee year of 1650. In 1640 his fellow singers elected him to revise Palestrina’s hymns (necessitated by Urban VIII’s revision of the texts), which were published in Antwerp in 1644. His contemporaries clearly saw him as a worthy successor to Palestrina and a guardian of the ...