Scan 41
Baker's biographical dictionary of musicians, 1919
16 lines. Read by computer on 7 September 2026. No printed page number was found. See the scan on archive.org.
1ARIA—ARISTOTELES
3From 1879–82, pupil of Johanssen and Rimsky-Korsakov at Petrograd Cons.; in 1882 he was app. prof. of harm. and comp. at the Imp. Cons., Moscow, and in 1895 succeeded Balakirev as conductor of the Imp. Court Choir at Petrograd, resigning 1901. Arensky's muse was lyrical rather than dramatic; some smaller pf.-pieces are peculiarly delightful. 'In his tendency as a comp. he more nearly approaches Tchaikovsky than the radical young Russian school.' [RIEMANN].—Works: 3 operas: A Dream on the Volga (op. 16; Moscow, 1892), Raphael (op. 37; Moscow, '94), Nal and Damajanti (op. 47; Petrograd, '99); music to Pushkin's poem The Fountain of Bakhtchissarai, for solo, ch. and orch. (op. 46); ballet Nuit d'Égypte (op. 50; Petrograd, 1900); The Diver, ballade for solo, ch. and orch. (op. 61); ballade The Wolves, for bass voice with orch. (op. 59); festival Coronation Cantata (op. 25); 2 symphonies (op. 4, in B min.; op. 22, in A); Marche solennelle for orch. (op. 18); Intermezzo for string-orch. (op. 13); vln.-concerto in A min. (op. 54); pf.-concerto (op. 2); Fantaisie on epic Russian songs, for pf. with orch. (op. 49); 4 Suites for 2 pfs. 4 hands (op. 15, 23, 33, 62; also orchestrated by the comp.); pf.-quintet in D (op. 51); 2 string-quartets (op. 11, in G; op. 35, in A min., the latter for vln., vla. and 2 'celli); a pf.-trio in D min. (op. 32); pieces for 'cello and pf. (op. 12, 56), and for vln. and pf. (op. 30); many pieces for solo pf. (op. 1, 6 canons; op. 5, 6 pieces; op. 19, 3 pieces; op. 20, Bigarrures; op. 24, 3 Esquisses; op. 25, 4 Morceaux; op. 28, Essais sur des rythmes oubliés; op. 34, Pièces enfantines [orig. for pf. 4 hands]; op. 36, 24 Morceaux; op. 41, 4 Études; op. 42, 3 pieces; op. 43, 6 Caprices; op. 52, 6 pieces, Près de la mer; op. 63, 12 Preludes for pf. 4 hands; op. 65, Children's Suite; op. 66, 12 pieces); pieces for vocal ensemble; numerous songs.—Also publ. a Manual of Harmony (transl. into German), and a Handbook of Musical Forms.
5A'ria, Cesare, b. Bologna, Sept. 21, 1820; d. there Jan. 30, 1894. St. piano and theory with Gius. Pilotti; later in Bol. Cons. under P. Mattei. A favorite of Rossini. Lived for some years in France and England as teacher of singing, pf., and comp.; 1840, music-director of the Teatro Comunale, Bologna; 1850, President of the Accademia Filarmonica. Composed fine church-music (a Dies irae is particularly noteworthy).
7Ari'bo Scholas'ticus, probably a native of the Low Countries; d. circa 1078. Wrote a valuable treatise, Musica [printed in Gerbert's 'Scriptores,' vol. ii], containing a commentary on Guido d'Arezzo's writings.
9d'Arien'zo, Nicola, dramatic comp.; b. Naples, Dec. 23, 1842; pupil of Labriola (pf.), Fioravanti and Moretti (cpt.), and Mercadante (comp.); 1879, director of the R. Cons., Naples, in which he was prof. of cpt. and comp. from 1877 (pupils, van Westerhout, Leoncavallo).—First operas (in Neapol. dialect), Monzù Gnazio o La Fidanzata del Parrucchiere (Naples, 1860), and I due Mariti (Naples, 1866), were succ.; others are Le Rose (1868), Il Cacciatore delle Alpi (1870), Il Cuoco (1873), I Viaggi (Milan, 1875), La Figlia del Diavolo (Naples, 1879; severely criticised for a straining after realistic and original effect), I tre Coscritti (Naples, 1880), La Fiera (1887), Pita di Lister (MS.), etc. Also wrote an oratorio, Il Cristo sulla croce, a Pensiero sinfonico, overtures, some vocal music (4 Nocturnes), and pf.-pieces; and a manual, L'invenzione del sistema tetra-cordo e la moderna musica (1879), favoring pure intonation instead of equal temperament, and discriminating a 3rd mode (of the Minor Second) besides the usually accepted Major and Minor modes; also, Scuola di composizione musicale (1899), and several important histor. treatises: Un predecessore di Aless. Scarlatti (1891; on Gesualdo [di Venosa]); Dell' opera comica dalle origini a G. B. Pergolesi (1887: Ger. transl. by F. Lugscheider, 1902); Il melodramma dalle origini al secolo XVIII (1900); La musica in Napoli (1900); Die moderne Oper (1902, in 'Deutsche Thalia').
11Arios'ti, Attilio, b. Bologna, Nov. 5, 1666; d. circa 1740; composer of 25 operas, the first of which, Dafne, was given at Venice (1686); 1697–1703 court Kapellm. at Berlin, and for a short time the teacher of Handel; 1715–16 in London, and again 1720–27, as a rival of Bononcini, both being for a while competitors with Handel for public favor, and both defeated by his genius; in 1720 these three composed the opera Muzio Scevola in company, each taking one act. In 1727 Ariosti returned to Italy, and died in obscurity. He also wrote an oratorio, a volume of cantatas, and some 'lessons' for the viola d'amore, on which he was an accomplished performer.—See Q.-Lex.
13Aristi'des Quintilia'nus, a Greek writer on music circa A.D. 160; a teacher of music at Smyrna, and celebrated from his work De Musica libri VII [printed in Meibom's 'Antiquae Musicæ Auctores Septem' (1652)]; reprinted by Jahn (1882).
15Aristo'teles (Ar'istotle), (1) b. Stagyra (Macedonia), 384 b.c.; d. 322 b.c.; a Greek philosopher, pupil of Plato. The 19th section of his Problems affords valuable information concerning the Greek system of music; further remarks are found in Book viii of the Politica and in the Poetica.—(2) Pseudonym
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