Italian firm of music and general engravers and publishers, music and print sellers. The firm was active in Venice at the sign of the Beata Vergine della Pace on the Rialto from about 1770 to at least 1803. It was founded by the engravers Innocente Alessandri (b Venice, c1740), a pupil of Francesco Bartolozzi, and Pietro Scattaglia. From about 1770, during the years of publication of their joint magnum opus, Animali quadrupedi (Venice, Carlo Palese, 1771–5, illustrated with 200 plates designed, engraved and hand-coloured by themselves), they also worked as engravers and selling agents for the music publisher Luigi Marescalchi; on at least one title-page they are also described as his printers, which may have been another of their regular responsibilities. Together with Marescalchi they were associated with the revival of music publishing in Italy after 70 years of almost total inactivity. The fact that their names appear on almost all title-pages of Marescalchi’s Venice editions has often led cataloguers and bibliographers to ascribe to them publications that should properly be regarded as Marescalchi’s, resulting in numerous errors in RISM, the ...
Ausilia Magaudda and Danilo Costantini
(b Milan, 29 June–6 Aug 1647; d Milan, Sept 2, 1712). Italian composer and tenor. His family was originally from Centonara, in the province of Novara, where the surname Chiapetta (Chiappetta, Chiappetti, Ciapeta, Ciapetta) was so common that ‘de Alessandri’ was used to identify the branch to which the composer belonged. It was because of these origins that his contemporary L.A. Cotta included him in a list of Novara musicians, describing him as ‘Giulio de Alessandri Chiapetta di Centonara in Riviera di S Giulio’. The documents which refer to him and his compositions use both surnames separately, and so ‘Giulio d’Alessandri’ and the ‘Canon Chiapetta’ have been identified as two different composers. He was ordained priest on 6 April 1669. On 10 December 1676 he was appointed a tenor and vicemaestro di cappella of Milan Cathedral. During this period he collaborated with P.F. Tosi, who worked at Milan Cathedral from ...
Sven Hansell and Marita P. McClymonds
(b ?Rome, Nov 24, 1747; d Casinalbo, nr Modena, Aug 15, 1798). Italian composer. According to Manferrari, he was born at S Damaso, near Modena. He studied in Naples and had his first large work, the oratorio Il Tobia, performed in Rome in 1765. Having gained recognition as a harpsichordist and conductor in Turin and in Paris at the Concert Spirituel, he visited Verona and Venice to prepare his first operas, Ezio and Il matrimonio per concorso, for Carnival 1767. At about this time he married the buffa singer Maria Lavinia Guadagni (b Lodi, 21 Nov 1735; d Padua, c1790), sister of the celebrated castrato Gaetano Guadagni; both were employed by the King's Theatre, London, for which Alessandri composed the comic operas La moglie fedele (1768) and Il re alla caccia (1769). Although he must have visited Vienna for the première of his opera ...
( b Rome, Jan 25, 1960). Italian harpsichordist, organist and conductor . Largely self-taught, he conducted his first major concert, of Cavalli's Calisto, in Rome in 1985, with a group of singers that were to form the nucleus of a permanent ensemble, Concerto Italiano. The ensemble's first recording, of Monteverdi's fourth book of madrigals, was widely acclaimed for its passion and colour, winning a Gramophone award in 1994; subsequent recordings have included madrigals by Monteverdi, Marenzio and Frescobaldi, and vocal works by Lassus. In 1995 Alessandrini founded the complementary Concerto Italiano instrumental ensemble, with whom he has performed and recorded concertos by Bach and Vivaldi, and made an imaginative recording of Bach's Art of Fugue. His other recordings include Bach's sonatas for violin and harpsichord, vocal works by Vivaldi, Alessandro Scarlatti and Pergolesi, and Handel's Roman oratorio Il trionfo del Tempo e del Disinganno. With Concerto Italiano he has appeared at major concert halls and festivals throughout Europe. In ...
Richard J. Agee
Michael F. Robinson
revised by Francesca Seller
(fl 1739–40). Italian composer. In the document recording his appointment as maestro di cappella of the Ospedale della Pietà, Venice, in 1739 he is called ‘Alessandro Gennaro Napolitano’, which indicates that he was born or educated or both in the Neapolitan region. Fétis stated that he was born in Naples in 1717, but no confirmation of this is known. He was in service at the Pietà from 21 August 1739 to 13 May 1740 when he was dismissed for lack of diligence. Within that period he was not entirely idle, however, for he presented his opera Ottone at the Theatro S Giovanni Grisostomo, Venice, during Carnival 1740 and his serenata Il coro delle muse at the Ospedale on 21 March of the same year, performed by the pupils themselves. Both compositions were in honour of the Electoral Prince of Saxony, Friedrich Christian. Goldoni, who wrote the words of the serenata, said in his memoirs (...
(b St Gall, March 17, 1911; d Lausanne, March 17, 1959). Swiss composer, pianist and organist. He began his music studies in Zürich in 1932, for the most part teaching himself; from 1934 to 1937 he studied in Paris with Dupré, Paul Roës and Nadia Boulanger, and returned to Switzerland in 1940. Settling in Lausanne, he worked as a concert pianist, composer, music critic and broadcaster. His eclectic style took elements from the varied musical currents of the time, but he retained a basis of sonata form and tonal harmony. He favoured driving rhythms and his writing is complex and compact. (L. Marretta-Schär: Raffaele d’Alessandro: Leben und Werk, Winterthur, 1979)
German family firm of wind instrument makers. The business, located in Mainz, was established in 1782 by Franz Ambros Alexander (b Miltenberg, July 22, 1753; d Mainz, Dec 1, 1802), who was described in a Mainz Cathedral report of the same year as a wood-turner and wind instrument maker. Portraits depict Franz Ambros and his son Philipp (1787–1864) with clarinets. After his death, Alexander's business was continued by his widow and two of his sons, Claudius (1783–1816) and Philipp, later joined by a third, Kaspar Anton (1803–72). Under the direction of Philipp and Kaspar Anton the firm became known as Gebrüder Alexander, the name it still bears. Kaspar Anton's two sons Franz Anton (1838–1926) and Georg Philip (i) (1849–97) became the third generation to direct the company. Woodwind instruments, mainly for military use, were the firm's main products until the mid-19th century. By that time, however, band instrumentation had become more brass orientated; after Philipp's death in ...
(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 ...
Raquel Bustos Valderrama
(b Breslau [now Wrocław], June 8, 1924; d Aug 7, 2005). Chilean composer and educator of German origin. She emigrated to Chile in 1939 and adopted Chilean nationality in 1951. She studied with Frè Focke (1949–53) in Chile and with René Leibowitz and Olivier Messiaen in France in 1954. Through several significant educational projects she contributed to a better public understanding of contemporary music in Chile; she also promoted Chilean musical culture in Europe. Her works won international prizes and she received commissions from patrons and organizations in Europe and the USA. Her music, modernist in style and sometimes using sounds generated by unconventional means, includes two ballets, Las tres caras de la luna (1966) and … a false alarm on the nightbell once answered cannot be made good, no ever (1977–8), and several works for full orchestra, including Cinco epigramas (...