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Scan 87

Cyclopedia of music and musicians, 1888

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1from the romance by D'Arlincourt, entitled "Le renégat" (The Renegade), music by Giovanni Pacini; first represented at Milan in 1827, then at Turin, Dec. 26, 1828, and in Paris, at the Théâtre Italien, with seven new numbers, Jan. 30, 1855. Pacini himself superintended the representations in Paris, where the opera was given under the new title, L'ultimo de' Clodovei. It was first given in New York, at the Opera House in Church Street, Jan. 20, 1834. The action passes in Gaul in the time of Charles Martel. Clodomir, formerly affianced to Ezilda, Princesse des Cévennes, has embraced the part of the Arabs, or Saracens, and under the name of Agobar is devastating his native country. Leodato, general of Charles Martel, is overcome and is about to lose his life, when Ezilda comes out of a monastery, where she had taken refuge, and implores clemency for Leodato, who had previously made to her an avowal of his love. She recognizes in Agobar her old lover, the two renew their love, and the Saracen leader orders his troops to stop the pillage, and to respect the country of his mistress. The soldiers murmur and form a plot against Agobar, and, notwithstanding the warning of the generous Leodato, he is killed, and Ezilda, casting herself on his dead body, makes known that he is Clodomir, her affianced. Pacini's best work. The duet in the third act, between Agobar and Ezilda, "Va, menzogner," is its most noted number. Gli Arabi nelle Gallie, opera semi-seria, music by Schoberlechner, Florence, 1815, has a different libretto, older than D'Arlincourt's romance, which was not published until 1822.
3ARAJA, FRANCESCO, born at Naples in 1700, died at Bologna about 1770. Dramatic composer, attracted attention with his first opera in 1730, went to St. Petersburg with a troupe of Italian singers in 1735, and became conductor of the orchestra at the Italian opera there. Highly esteemed and distinguished in many ways for twenty-three years, he returned to Italy in 1759, and settled in Bologna, where he was made honorary member of the Accademia Filarmonica, and gathered around him a circle of young artists, mostly without means, who praised him as their teacher and benefactor. In 1761 he visited Russia again, but returned to Bologna in the year following, after the assassination of Peter III. He is said to have been the first to compose an opera (1755) in the Russian language. Works: Berenice, given at a château of the Grand Duke of Tuscany, near Florence, 1730; Amor regnante, Rome, 1731; Lucio Vero, Venice, Teatro di S. Giovanni Crisostomo, 1735; Abiatare, St. Petersburg, 1737; Semiramide, ib., 1738; Scipione, ib., 1739; Alessandro nell' Indie, ib., about 1740; Arsace, ib., 1741; La Russia afflitta e riconsolata, Moscow, 1742; Bellerofonte, St. Petersburg, about 1743; Seleuco, ib., 1744; Cephalus and Procris, Russian opera, ib., 1755; La Cimotea, lyric drama, given (at Bologna?) about 1765; La natività di Gesù, oratorio.—Fétis; Mendel; Schilling.
5ARANAZ, PEDRO, born at Soria, Spain, in the 18th century, died, at an advanced age, at Cuenca, about 1825. Church composer, became maestro de capilla at the Cathedral of Cuenca towards the end of the 18th century. His music is preserved at Cuenca, in the Escorial, and in several churches of Spain. He wrote a treatise on counterpoint and composition, esteemed in his country.—Fétis.
7ARANGUREN, JOSÉ, born at Bilbao, Spain, May 25, 1821, still living, 1888. Pianist, pupil of Nicolas Ledesma on the pianoforte, of Fausto Sanz on the violin, then in Madrid (1844-48) of Hilarion Eslava in composition. He began teaching, and in 1867 became adjunct professor of harmony at the Conservatorio, Madrid. He has composed much sacred music, pianoforte pieces, and songs, and published in 1855 a method for the pianoforte, which has had five editions, and in 1861 a treatise on harmony.—Fétis, Supplément, i. 19.

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