Scan 32
Baker S Biographical Dictionary Of Musicians, 1900
17 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1cola to indicate his peasant origin. Matthe- son says that he was the first to abandon the old tablature for modern notation, but this is not quite accurate; Agricola merely proposed an improved system for lute tablature. From 1510 he was a private music teacher in Magdeburg. In 1527 was cantor at the first Lutheran church there. His friend and patron, Rhaw of Wittenberg, published most of Agricola's works, the magnum opus being Musica instrumentalis deudsch (i.e., 'set in German'; 1st ed., Wittenberg, 1529; 4th ed., considerably revised, 1545; modern reprint, Leipzig, 1896). This work, although derived from Virdung's Musica getutscht, contains much new material and is set in couplet verse in the German vernacular. Further works are: Ein kurtz deudsche Musica (1529; 3d ed. as Musica choralis deudsch, 1533); Musica figuralis, with a supplement Von den proportionibus (1532); Scholia in musicam planam Venceslai Philomatis (1538); Rudimenta musices (1539); Quaestiones vulgatiores in musicam (1543); Duo libri musices (posthumous; Wittenberg, 1561; includes reprints of Musica choralis and Musica figuralis; and 54 Instrumentische Gesange as a supplement). Compositions: Ein Sangbüchlein aller Sonntags-Evangelien (1541); Neue deutsche geistliche Gesange (1544); Hymni aliquot sacri (1552); Melodias scholasticas (1557).—Cf. Heinz Funck, Martin Agricola (Wolfenbüttel, 1933). one of two readings
2cola to indicate his peasant origin. Matthe- son says that he was the first to abandon the old tablature for modern notation, but this is not quite accurate; Agricola merely proposed an improved system for lute tabla- ture. From 1510 he was a private music teacher in Magdeburg. In 1527 was cantor at the first Lutheran church there. His friend and patron, Rhaw of Wittenberg, published most of Agricola's works, the mag- num opus being Musica instrumentalis deudsch (i.e., 'set in German'; 1st ed., Wittenberg, 1529; 4th ed., considerably revised, 1545; modern reprint, Leipzig, 1896). This work, although derived from Virdung's Musica getutscht, contains much new material and is set in couplet verse in the German vernacular. Further works are: Ein kurtz deudsche Musica (1529; 3d ed. as Musica choralis deudsch, 1533); Musica figuralis, with a supplement Von den proportionibus (1532); Scholia in musicam planam Venceslai Philomatis (1538); Rudimenta musices (1539); Quaestiones vulgatiores in musicam (1543); Duo libri musices (posthumous; Wittenberg, 1561; includes reprints of Musica choralis and Musica figuralis; and 54 Instrumentische Gesange as a supplement). Compositions: Ein Sangbüchlein aller Sonntags-Evangelien (1541); Neue deutsche geistliche Gesänge (1544); Hymni aliquot sacri (1552); Melo- dias scholasticas (1557).—Cf. Heinz Funck, Martin Agricola (Wolfenbüttel, 1933). one of two readings
4Aguado, Dionisio, Spanish guitar virtuoso and composer; b. Madrid, April 8, 1784; d. there, Dec. 29, 1849. He studied with Manuel Garcia; went to Paris in 1825; gave numerous concerts there, attracting the attention of Rossini and Paganini. Returning to Madrid in 1838, he became a teacher of guitar. He wrote Estudio para la guitarra (Madrid, 1820); Escuela o método de guitarra (Madrid, 1825); also 45 waltzes; 6 minuets, etc.
6Aguilar (äh-ghö-lahr'), Emanuel Abraham, English pianist and composer of Spanish descent; b. London, Aug. 23, 1824; d. there Feb. 18, 1904. He wrote a collection of canons and fugues as preparatory exercises for the playing of Bach; also composed 3 symphonics, 2 overtures, much chamber music and the operas, Wawa King (1855) and The Bridal Wreath (1863).
8Aguilera de Heredia, Sebastian, b. in Aragon, c. 1565; d. in Saragossa after 1620. He was organist at Huesca (1585-1603) and then 'maestro de musica' at Saragossa cathedral. He published there his collection Canticum Beatissimae Virginis Deiparae
10Mariae octo modis seu tonis compositum, quaternisque vocibus, quinis, senis et octonis concionandum (1618). It contains sacred choruses in 4, 5, 6 & 8 parts, derived from 8 church models. A 'magnificat' by him can be found in Eslava's 'Lira Sacro-Hispana'; an 'ensalada' is in J. Bonnet's Historical Organ Recitals, vol. VI (N. Y., 1940). His music is notable for skillful use of dissonances ('falsas').—Bibl.: H. Anglès, Orgelmusik der Schola Hispanica von XV.-XVII. Jahrhunderte in 'Peter Wagner-Festschrift' (Leipzig, 1926).
12Aguirre (äh-gör'-rē), Julián, Argentine composer; b. Buenos Aires, Jan. 28, 1868; d. there, Aug. 13, 1924. He was taken to Spain as a child; studied at the Madrid Cons., returning to Buenos Aires in 1887. His works are mostly miniatures for piano in the form of stylized Argentine dances and songs. He wrote 61 opus numbers; Gato and Huella (op. 49), his most popular pieces, were orchestrated by Ansermet, who performed them in Buenos Aires (April 6, 1930); the Huella was also arranged for violin and piano by Jascha Heifetz. Other notable works are Aires nacionales argentinos (op. 17) and Zamba (op. 40). Bibl.: J. F. Giacobbe, Julián Aguirre (Buenos Aires, 1945).
14Agujari (äh-goo-yäh'-rē), Lucrezia (known as La Bastardina, or Bastardella, being the natural daughter of a nobleman), a brilliant Italian singer; b. Ferrara, 1743; d. Parma, May 18, 1783. Her father entrusted her instruction to P. Lambertini; in 1764 she made a triumphant debut at Florence, followed by a succession of brilliant appearances in Milan and other Italian cities; also in London. Mozart wrote of her, that she had "a lovely voice, a flexible throat, and an incredibly high range." In 1780 she married the Italian composer, Giuseppe Colla, whose songs she constantly performed at her concerts. Her compass was phenomenal, embracing 3 octaves (C1-C4).
16Ahle, Johann Georg, German organist and composer (son of Johann Rudolf Ahle); b. Mühlhausen, June, 1651 (baptized June 12); d. there, Dec. 1, 1708. He succeeded his father as organist in Mühlhausen, and was made poet laureate by Emperor Leopold I. Among Ahle's works published during his lifetime are Musikalische Frühlings-, Sommer-, Herbst-, und Wintergespräche (1695-1701; written to illustrate his method of composition); Instrumentalische Frühlingsmusik (1676); Anmuthige sehn vierstimmige Viol-di-gamba Spiele (1681) and
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