—
ANDE6
one by Bretzner in four acts, Belmonte und
'
Constanza, oder die Entfiihrung aus dem Serail,'
produced in Berlin on May 26, 1781, and often
repeated with applause. Shortly afterwards,
on July 16, 1782, appeared Mozart's setting of
the same opera, with alterations and additions
to the text by Stephanie. A paper war followed
between the two librettists, during which Andre
took occasion to speak nobly on the side of
Stephanie, notwithstanding his having assisted
Mozart in the preparation of an opera which
had far surpassed his own. After Andre's
death the business was carried on by his third
son, JoHANN AxTON, the most remarkable
member of the family. He was born at Offen-
bach, Oct. 6, 1775, and while almost an infant
showed great predilection and talent for music.
He was an excellent player both on the violin
and piano, and a practised composer before
entering at the University of Jena, where he
went through the complete course of study.
He was thus fully competent on the death of
his father in 1799 to assume the control of the
business, and indeed to impart to it fresh
impulse by allying himself with Senefelder the
inventor of lithography, a process which he
largely applied to the production of music. In
the year of his father's death he visited Vienna,
and acquired from Mozart's widow the entire
musical remains of the great composer, an act
which spread a veritable halo round the es-
tablishment of which he was- the head. Andre
published the thematic catalogue which Mozart
himself had kept of his works from Feb. 9, 1784
to Kov. 15, 1791, as well as a further thematic
catalogue of the whole of the autographs of the
master which had come into his possession.
Andre was equally versed in the theory and
the practice of music he attempted every
; and was pupil at the Conservatorio of Milan,
branch of composition, from songs to operas
and symphonies, with success. Amongst other
things he was the author of 'Proverbs,' for
four voices (op. 32), an elaborate joke which
was subsequently the object of much dispute,
owing to itshaving been published in 1869 by
Aibl of Munich as a work of Haydn's. As a
teacher he could boast of a series of distinguished
scholars. His introduction to the violin and
his treatise on harmony and counterpoint were
both highly esteemed. So also were the fii-st
two volumes of his unfinished work on com-
position (Lehrbttch dcr Tonsetzkunst, 1832-43).
Andre was dignified with the title of Hofrath,
and by the accumulation of musical treasures he
converted his house into a perfect pantheon of
music. He died on April 6, 1842. An idea
of the respect in which he was held may be
gained from various mentions of him in Mendels-
sohn's letters, especially that of July 14, 1836,
and a very characteristic account of a visit to
him in Hiller's Mendelssohn, chapter i. Of his
sons mention may be made of Johann August,
born March 2, 1817, died Oct. 29, 1887, the pub-
ANDREVI 85
lisher of the Universal-Lexikon der Tonkunst of
Schladebach and Bernsdorf of Johann Bap-
;
tist, born March 7, 1823, died Deo. 9^ 1882,
pupil of Aloys Schmitt and Kessler, and after-
wards of Taubert and Dehn, a resident in Berlin,
for some years capellmeister to the Duke of Bern-
burg; of Julius, born June 4, 1808, died April
17, 1880, who addicted himself to the organ, and
was the author of a Practical Organ School, which
has gone through several editions, and of various
favourite pieces for that instrument, as well as
of four hand arrangements of Mozart's works ;
lastly ofKarl August, bom June 15, 1806,
died Feb. 15, 1887, who in 1835 undertook
the management of the branch establishment
opened at Frankfort by his father in 1828,
adding to it a manufactory of pianos, and a
general musical instrument business. He named
his house 'Mozarthaus,' and the pianos manu-
factured there ' Mozartfliigel, each instrument
'
being ornamented with a portrait of the master
from the original painting by Tisohbein in his
possession. In 1855, on the occasion of the
Munich Industrial Exhibition, he published a
volume entitled Pianoforte-making : its history,
musical and technical importance {Der Klavier-
hau, etc.). c. F. p.
ANDKEOLI, Giuseppe, a celebrated oontra-
bassist, born at Milan, July 7, 1757, died Dec.
20, 1832 member of the orchestra of La Scala
;
and professor of his instrument at the Conserva-
torio of Milan also played the harp with
;
success. T. p. H.
ANDREOLI. A musical family, not related
to the foregoing. Evangblista, the father
born 1810, died June 16, 1876 was organist —
and teacher at Mirandola in Modena. His son,
GuGLiELMO, was born there April 22, 1835,
1847-53. A pianist of great distinction, re-
markable for his soft and delicate touch, pure
taste, and power of expression, as well as for
great execution. He was well known in London,
where he appeared at the Crystal Palace (Dec.
13, 1856), the Musical Union (April 27, 1858),
the New Philharmonic (May 9, 1859), and
elsewhere. His health was never strong, and
he died at Nice, March 13, 1860. His com-
positions were unimportant. His brother Caklo
was also born at Mirandola, Jan. 8, 1840, and
brought up at the Conservatorio of Milan, where
he became professor of the piano about 1875.
He too was favourably known in London,
though since 1871 his health has confined him
to Italy and the south of France. G.
ANDREVI, Feanoesoo, bom near Lerida in
Catalonia of Italian parents, Nov. 16, 1786,
died at Barcelona Nov. 23, 1853 was succes-
;
sively the director of music in the cathedrals
of Valencia, Seville, Bordeaux (1832-42), where
he iled during the civil war. He lived in Paris
from 1845 to 1849, and finally held the place
of director of the music in the church of Our