Publishing company. Alfred is a family-owned publisher, started in 1922 and headquartered in Van Nuys, California. They are particularly known for their educational music, but since their acquisition of Warner Publishing in 2005, they now own copyrights estimated to be over one million songs. Created by Alfred Piantadosi, the composer and bandleader, to distribute his own songs, it did not take the publisher long to develop a catalog, which included hits such as “Waiting for the Robert E. Lee” and “Ragtime Cowboy Joe.” The New York-based company was sold in 1928 to Sam Manus, and he and his family significantly expanded the group’s holdings with a focus in educational materials. Soon after, they developed method books for violin, accordion, guitar, and piano. Alfred’s Basic Piano Library has been adopted worldwide as a fundamental piano text; other “Library” editions are likewise considered important contributions to music pedagogy. Their work for school ensembles is also substantial, with ...
(b Stockholm, May 1, 1872; d Falun, May 8, 1960). Swedish composer, conductor and violinist. He attended the Stockholm Conservatory (1887–91) and then took private lessons with Lindegren (composition) and Zetterquist (violin); from 1887 he also studied painting. A violinist in the Hovkapellet (the opera orchestra, 1890–92), he decided in 1892 to make his career in music. From 1904 to 1957 he conducted the Siljan Choir – a group of five church choirs and regional choirs in Dalarna – and he was the director of other choruses, including the Orphei Drängar (1910–47), with whom he made 22 tours throughout most of Europe. In addition he was Director Musices of Uppsala University (1910–39). A Hugo Alfvén Foundation has been established in Stockholm.
Alfvén's music is distinguished by orchestral subtlety and by a painterly exploitation of harmony and timbre. His output was almost entirely of programme music, often suggested by the Swedish archipelago; he commented that ‘my best ideas have come during my sea-voyages at night, and, in particular, the wild autumns have been my most wonderful times for composition’. A few pieces, often performed, have maintained his reputation: ...
(b Venice, Dec 11, 1712; d Pisa, May 3, 1764). Italian writer on opera, poet and savant. He was well educated at Rome and Bologna, whence he was welcomed into the learned circles of London and Paris, where he shared accommodation with Voltaire. In 1740 Frederick the Great took him into his personal service and gave him the title of count. From 1742 to 1747 he was also adviser to Augustus III, Elector of Saxony and King of Poland. At both Berlin and Dresden he was actively engaged in operatic productions, arranging and versifying Italian librettos to the taste of his patrons. He returned to Italy in 1753 because of ill-health. His Saggio sopra l'opera in musica was written the following year and first published in 1755. It attacks the unruliness prevalent in Italian public theatres, which compared unfavourably with the well-regulated and varied spectacles beginning to emerge at the court theatres of northern Europe. Other contemporary essayists such as Blainville, John Brown, Calzabigi, Krause, Ortes and Durazzo said much the same thing in condemning the dominance of the singers over every other aspect of serious opera in Italy....
(b Brescia, June 19, 1666; d Brescia, 29 or March 30, 1733). Italian composer and organist. He began musical studies at an early age with Orazio Polaroli (organist of Brescia Cathedral) and spent a short time (c1681–3) serving at the court of the Polish king when Polaroli was its maestro di cappella. After his return to Brescia, Alghisi entered the order of S Filippo Neri without, however, ceasing to compose secular music. From at least 1690 he was maestro di cappella of S Maria della Pace, their church, and in that year he applied, without success, for the position of organist of Brescia Cathedral. A libretto of 1692 refers to him as maestro di cappella of the Brescian Collegio dei Nobili and the title-page to his Sonate da camera describes him as a member of the Accademia Filarmonica of Bologna. In the libretto for his oratorio ...
Both an American Detroit-based hard rock band and the adopted name of its singer and main creative force Vincent Damon Furnier (b Detroit, MI, 4 Feb 1946). Cooper was the son of a minister and the nephew of the storyteller Damon Runyon, after whom he was named. He moved to Arizona, where he attended high school and formed the Nazz. This band eventually took the name Alice Cooper and developed an over-the-top, theatrical shock-rock style that influenced a host of other rock performers.
With snide and clever lyrics, Alice Cooper’s style was mainly hard rock, but some tunes were psychedelic and others would be suitable in a Broadway musical. After moving to Michigan, the band scored numerous hits in the early 1970s. Many of the songs were rebellious youth-focused anthems, including “Eighteen” (Warner, 1971) and “School’s Out” (Warner, 1972). Others centered on ghoulish menace or mere gothic gruesomeness like “Dead Babies” (Warner, ...
(b Barcelona, March 27, 1862; d Barcelona, March 31, 1908). Spanish composer, folklorist and music critic. He studied composition with Antonio Nicolau and Anselmo Barba and piano with C.G. Vidiella in Barcelona and was music critic for various journals there, including La renaixensa, L'avenç and, from 1905 to 1908, El poble català. He published his Collecció de 6 melodies per a cant i piano and five Cansons per cant i piano (both Barcelona, 1887), which are settings of poems by Angel Guimerá, Francisco Matheu y Fornells, Apeles Mestres and Jacinto Verdaguer. He illustrated the latter volume himself, and some of his work was displayed at an exhibition of the Sociedad de Acuarelistas in Barcelona. A distinguished folklorist as well as a sensitive composer and skilful melodist, he collected Catalan folksongs and published arrangements of 23 of these in Cansons populars catalanas (Barcelona, 1891). He used native rhythms and melodies in his songs and piano pieces (among them ...
James L. Jackman
(b ?Milan, c1710; d Frankfurt, c1792). Italian cellist and composer. Although early sources (Eitner, Rudhart) claimed a Milanese origin for Aliprandi, the family has not been definitely traced. One of the numerous Italians who found careers north of the Alps, Aliprandi first appears in the records of the Bavarian court at Munich on 1 October 1731 as a chamber and court musician, with a yearly stipend of 1000 florins. On 22 August 1737 he succeeded G.B. Ferrandini as composer of chamber music; on 11 March 1744 he was promoted to Konzertmeister, with his salary increased to 1200 florins. By 1777 this amount had been reduced to 1105 florins, and in 1778 he retired with a pension of 500 florins. In 1791 he was living in Frankfurt; a petition by his son Bernardo Maria dated May 1793 indicates that he had died by then.
Aliprandi’s works for the Bavarian court opera include ...
James L. Jackman
revised by Valerie Walden
(b Munich, Feb 5, 1747; d Munich, Feb 19, 1801). Italian cellist and composer, son of Bernardo Aliprandi. The young Bernardo probably studied with his father and, like many cellists of the era, would have been familiar with the viol. He began playing the cello for the Munich court between ...
Howard Mayer Brown
revised by Clive Greated
A mathematical term meaning ‘contained in another a certain number of times without leaving any remainder’ (OED); for example, 2 is an aliquot part of 6. The wavelengths of the harmonic partials of a tone are thus aliquot parts of the fundamental wavelength. Aliquot strings are Sympathetic strings...