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Scan 30
A biographical dictionary of musicians, 1905
20 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1and pf. at H. Cons. Musical critic (H. "Fremdenblatt").
3Armbruster, Karl, b. Andernach-on-Rhine, July 13, 1846; pupil of Hompesch at Cologne. Precocious pianist; settled in London, 1863. An influential admirer of Wagner, he has done much to spread the Wagner cult in England; was Hans Richter's asst.-cond. at the Wagner Concerts of 1882-4; then cond. at the Royal Court Th., later at the Haymarket; cond. Tristan und Isolde in 1892 at Covent Garden, and is now conductor at Drury Lane.
5Armingaud, Jules, b. Bayonne, May 3, 1820; one of the best violinists in Paris, who was refused admission to the Cons. when 19 because he was "too far advanced"; orchestra-player at the Grand Opéra, and leader of a famous string-quartet recently enlarged by adding some wind-instr.s, and now called the Société classique. He is the reputed introducer of Beethoven's quartets into Parisian mus. circles; has publ. some violin-pcs.
7Arnaud, Abbé François, theoretical writer; b. Aubignan, n. Carpentras, July 27, 1721; d. Paris, Dec. 2, 1784; wrote many essays on miscellaneous mus. subjects (Collected Writings, Paris, 1808, 3 vol.s). In the "Mémoires pour servir à l'histoire de la révolution opérée dans la musique par M. le Chevalier Gluck," he warmly espouses the great reformer's principles.
9Arnaud, Jean-Étienne-Guillaume, b. Marseilles, Mar. 16, 1807; d. there Jan., 1863. Composer of some 200 songs ("romances"), many of which have won great favor.
11Arne, Thomas Augustine, one of the foremost of English composers; b. London, March 12, 1710; d. there March 5, 1778. By dint of stolen nightly practice he became a fine player on the spinet and violin, in despite of his father's wishes that he should study law; the latter finally yielded to the inevitable, and Arne, free to pursue his mus. work, set to music various texts—Addison's Rosamond and Field's Tragedy of Tragedies (1733); a masque, Dido and Aineas (1734); and Zara (1736). In 1736 he married Cecilia Young, a fine singer and a prime favorite of Händel's. In 1738, as composer to the Drury Lane Th., he set Dalton's adaptation of Comus to music, a composition which firmly established his reputation. The music to the masque of Alfred (1740) contains, among other fine songs, the celebrated "Rule Britannia." While residing in Dublin (1742-4) he brought out 2 new operas, Britannia and Eliza, and the mus. farce Thomas and Sally. He became comp. to Vauxhall Gardens, London, in 1745. Further dramatic works were, Congreve's masque, The Judgment of Paris (1740), Colin and Phaë (1745), Artaxerxes (1762), Olympiad (1765), and the music to Mason's Caractacus (1776); also settings for songs in As you Like it, and "Where the Bee Sucks" in The Tempest; etc. His 2 oratorios are Abel (1755), and Judith (1761). Dr. A. was the first to introduce female voices into oratorio-choruses (Judith). Besides the above, he composed numerous minor texts, and wrote orch. overtures, vln.-sonatas, organ-music, harpsich.-sonatas, many songs, glees, catches, canons, and the like. With the exception of 2 years in Dublin, A. lived continuously in London as a composer and concert-giver; he was created Mus. Doc. (Oxon.) in 1759.
13Arne, Michael, natural son of Dr. Arne, b. London, 1741; d. there Jan. 14, 1786 [not 1806]; a clever dramatic composer (9 operas, the best being Cymon, 1767); writer of a number of songs, and a skilful player on the harpsichord. In 1779, music-director at Dublin Theatre; from 1784 onward he conducted some of the Lenten oratorios at London theatres. A curious episode in his career was his search for the philosopher's stone (abt. 1768), during which he neglected his profession and ruined himself pecuniarily.
15Arne'iro, José Augusto Ferreira Veiga, Viscount d', distinguished Portuguese composer, b. Macao, China, Nov. 22, 1838; pupil (1859) of Botelho (harm.), Schira (cpt. and fugue), and Soares (pf.), at Lisbon. Has written the ballet Ginn (1866); 2 operas, L'Elisire di giovinezza and La Derelitta (1885); and a Te Deum (his chief work), performed Lisbon, 1871, and later in Paris under the modern and much-affected title of Symphonie-Cantate.
17Arnold, Georg, Tyrolese church-comp. of the 17th cent.; b. Weldsberg; organist at Innsbruck, later to the Bishop of Bamberg.—Publ. works (1652-76): Motets, psalms, and 2 books of masses in 9 parts.
19Arnold, Samuel, b. London, Aug. 10, 1740; d. there Oct. 22, 1802; educated by Gates and Nares as a chorister of the Chapel Royal, he early showed a gift for composition, and in 1763 was commissioned to write an opera for Covent Garden—The Maid of the Mill—successfully produced in 1765. This was followed, up to 1802, by 42 stage-pieces (operas, mus. after-pieces, and pantomimes). His first oratorio, The Cure of Saul, came out in 1767; Abimelech, The Resurrection, The Prodigal Son, and Elijah, followed in the order given. He took the degree of Mus. Doc. (Oxon.) in 1773, and in 1783 succeeded Dr. Nares as organist and composer to the Chapel Royal, for which he composed several services and anthems. In 1789 he was app. conductor of the Acad. of Ancient Music; in 1793, organist of Westminster Abbey. His edition of Händel's works, begun in 1786, embraces 36 vol.s, but is incomplete and not free from errors. His principal work, "Cathedral Music" (1790, 4 vol.s), is a collection in score of the finest cathedral services by English masters of 2 centuries, forming a sequel to Boyce's work of like name; republ. by Rimbault (1847).
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