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Biographical dictionary of musicians, 1940
18 lines. Read by computer on 5 September 2026. Printed page 30. See the scan on archive.org.
1bert's 'Scriptores,' vol. II], containing a commentary on Guido d'Arezzo's writings. Detailed study of Aribi in J. S. van Waasberghe, Muziekgeschiedenis der Middeleeuwen (1936, etc.).
3d'Arien'zo, Nicola, dramatic comp.; b. Naples, Dec. 24, 1842; d. there, April 25, 1915. Pupil of Labriola (pf.), Fioravanti and Moretti (cpt.), and Mercadante (comp.); 1879, dir. 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 (ib., 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 ([address hidden]), and pf.-pieces; and a manual, L'invenzione del sistema tetracordo 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').—Cf. A. della Corte, Un maestro: N. d'A., in the 'Riv. M. I.' (1915).
5Arios'ti, Attilio, b. Bologna, Nov. 5, 1666; d. circa 1740; composer of 25 operas, the first of which, Dafne, was given at Venice (1686); [address hidden] 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.
7Aristi'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 'Antique Musicae Auctores Septem' (1652)]; reprinted by Jahn (1882); German translation with commentary, by R. Schäfke (1937).
9Aristo'teles (Ar'istotle), (1) b. Stagyra (Macedonia), 384 b.c.; d. 322 b.c.; a Greek philosopher, pupil of Plato. The 19th section of the Problems, once ascribed to him but apparently the product of a much later follower of his theories (English transl. by E. S. Forster, The Works of Aristotle [Oxford Univ. Press] Vol. 7 [1927]; Greek text with French transl. and commentary by F. A. Gevaert and C. Vollgraff [3 vols., 1899–1902]) affords valuable information concerning the Greek system of music; his actual remarks on music are assembled in K. von Jan, Musici Scriptores Graeci (1895).—(2) Pseudonym of a writer on mensurable music of the 12th–13th centuries. His treatise is printed in E. de Coussemaker, Script., Vol. I.
11Aristox'enos, b. Tarentum, circa 354 b.c.; one of the earliest Greek writers on music. His Harmonic Elements (complete) and Rhythmical Elements (fragmentary) are among the most important treatises on Greek musical theory that are left us. The Elements publ. (1902) by H. S. Macran, text English and Greek, with commentary. Also cf. edition of R. Westphal and F. Saran (2 vols., 1883, 1893); L. Laloy, Aristoxène de Tarente (1904); C. F. A. Williams, The Aristoxenian Theory of Musical Rhythm (Cambridge, 1911).
13Arkwright, Godfrey Edward Pellew, musicologist; b. Apr. 10, 1864; now (1938) living in Newbury, England. Editor of 'The Old English Edition' (25 vols., 1889–1902; containing masques, ballets, motets, madrigals, etc., by English composers of the 17th and 18th centuries); also edited some of Purcell's works in the ed. publ. by the Purcell Society (1899 and 1902); editor of 'The Musical Antiquary' from 1909–13; has also written Christopher Tye, in 'M.T.' (Oct. 1925) and Sources of Old English Songs, ib. (1929).
15Arm'bruster, Karl, b. Andernach-on-Rhine, July 13, 1846; d. London, June 10, 1917. Pupil of Hompesch at Cologne. Precocious pianist; settled in London, 1863. An influential admirer of Wagner, he did much to spread the Wagner cult in England by means of numerous lectures; was Hans Richter's asst.-cond. at the Wagner Concerts of 1882–4; then cond. at the Royal Court Th., later at the Haymarket and Drury Lane; cond. Tristan und Isolde in 1892 at Covent Garden; 1884–94, one of the cons. at Bayreuth. 1901–13, musical adviser to the London County Council. He edited songs of Liszt, ballades of Loewe, and small pieces of Wagner (Wagner-Lyrics, 4 vols.).
17Armes, Philip, b. Norwich, Engl., Aug. 15, 1836; d. Durham, Feb. 10, 1908. Chor-
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