60 ALBENIZ higher registers are of exceptional beauty, and she possesses in perfection the art of singing mezsa voce, She is also a good pianist. A. c. ALBENIZ, Isaac, born May 29, 1861, ab Comprodon, Spain, pupil of Marmontel, Jadas- soln, Brassin and Liszt, for piano and of Dupont and Gevaert for composition. Appeared with great success in London and elsewhere as a pianist, and wrote a comic opera, “The Magic Opal,’ produced in 1898, ‘Enrico Clifford’ and ‘Pepita Jimenez,’ two more ambitious works, wore given at Barcelona in 1894 and 1895 respectively. ALBENIZ, Pepo, bora in Biscay about 1755, died about 1821; a Spanish monk, con- ductor of the music at the Cathedral of St. Sebastian, and (1795) at that of Logrono ; composed’ masses, vespers, motets, and other chureh music, never published, and a book of solfeggi (St. Sebastian, 1800). ALBENIZ, Pepno, born at Logrono, April 14, 1795, died at Madrid, April 12, 1855 ; son of a musician, MattCo Albeniz, and pupil of Henri Horz and Kalkbrenner ; organist. from the age of ten at various towns in Spain, and professor of the pianoforte in the Conservatoire at Madrid, He introduced the moder style of pianoforte playing into Spain, and all the eminent pianists of Spain and South America may be said to have been his pupils. He held various high posts at the court, and in 1847 was appointed secretary to the Queen. His works comprise a method for the pinnoforte (Madrid, 1840), adopted by the Conservatoire of Madrid, seventy compositions for the piano- forte, and’ songs. MC. ©. ALBERGATI, Couxt Preno Caracen.t, of an ancient family in Bologna, lived from about 1663 to 1735, an amateur, and distinguished composer, From 1687 he was in the service of the Emperor Leopold I. His works inchide the operas ‘Gli Amici’ (1699), ‘IL Principe selvaggio’ (1712), the oratorios ‘Giobbo’ (Bologna, 1688)," ‘L'Innocenza di Santa Bufemia’ (1700), and ‘Il Convito di Baldas- sare’ (1702), sacred cantatas, masses, motets, ete., and compositions for various instruments. ALBERT, Huzrvxtcn, born at Lobenstein, Voigtland, Saxony, June 28, 1604: nephew and pupil of tho ‘famous composer Heinrich Schittz. He studied music in Dresden, but was compelled by his parents to give it up for a legal education at Leipzig. In 1626 ho started for Kénigsberg, where Stobaus was at that time capellmeister, but was taken prisoner by the Swedes and did not reach his destination till 1628, In 1631 he became organist to tho old church in that city, and in 1638 married Elizabeth Starke, He died Oct. 6, 1651. Albert was at once poet, organist, and com- poser. As poet he is one of the representatives of tho Kénigsberg school, with the heads of which he was closely associated. ALBERT His church music is confined, according ta Winterfeld, to a ‘Te Deum for three voices, published Sept, 12, 1647. He, however, com: posed both words and musie to many hymns, which are still in private use, e.g. ‘Gott des Himmels und der Erden.’ ‘These, as well as his secular songs, are found in the eight collections printed for him by Paschen, Mense, and Reusner, under the patronage’ of the Emperor of Germany, the King of Poland, and the Elector of Brandenburg. These collec: tions sold so rapidly that of some of them several editions were published by the anthor. Others were surreptitiously issued at Kénigsberg and Dantzig under the title of ‘ Poctisch-musikal- isches Lustwiildlein,’ which Albert energetically resisted, ‘These latter editions, though very numerous, are vow exceedingly rare. Their original title is ‘Erster (Zweiter, ete.) Theil der Arien oder Melodeyen etlicher theils geist- licher theils weltlicher, zu gutten Sitten und Lust dienender Lieder.” Then followed the dedication, a different one to each part. ‘The second is dedicated to his ‘most revered uncle, Heinrich Schutz,’ the ony, gaissi reference to the relationship Albert’s original editions were in” folit after his death an octavo edition was publia in 1657 by A. Profe of Leipzig. In his pre- faces Albert lays down the chief principles of the musical art, a cireumstance which gives these documents great value, as they belong to a time in which by means of the ‘basso continuo” a reform in music was effected, of which we are still feeling the influence. Mattheson, in his ‘ Ehrenpforte,’ rightly assumes that Albert was the author of the ‘Tractatus de modo confi- ciendi Contrapunctam,’ which was then in manuscript in the possession of Valentin Haus- mann, In the prefaco to the sixth section of his “Arion” Albert speaks of the centenary of the Kénigsberg University, Angnst 28, 1544, and mentions that he had written a ‘Comédien- Musik’ for that occasion, which was afterwards repeated in the palace of the Kurfiirst. Albert was thus, next after I. Schiitz, the founder of German opera, Both Schittz’s ‘Daphne’ and Albert's ‘Comodien-Musik’ appear to be lost, doubtless because they were not published, Albert's ‘Atien’ give a lively picture of the time, and of the then influence of m While the ohject of the opera as established in Italy was to provide music as a support to the spoken dialogue, so. the sacred ‘concert’ came into existeneo at the same time in Ltaly and Germany as a rival to the old motets, in which the words were thrown too much into the background. But the sacred ‘concert” again, being sung only by a small number of ‘Yoices, necessitated some support for the music, and this was the origin of the ‘basso continuo.’ Albert, who, on his arrival at Kénigsberg, had undergone a’ second course of instruction under