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Scan 97
Cyclopedia of music and musicians, 1888
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1of Scotch songs. His failure in Italian opera is probably attributable to this field's being so strongly occupied by Handel and Bononcini. His oratorios are, in general, weaker than his operas, the choruses especially bearing no comparison with those of the great oratorio composers of his day; yet he was the first composer to introduce female voices into oratorio choruses in England. Much of his incidental music to Shakespeare's plays has become standard, and the air Rule Britannia, the finale of his music to Thomson and Mallet's masque "Alfred," written in 1740 to commemorate the anniversary of the accession of the House of Hanover, Aug. 14th, is world famous. Works—Operas, etc.: Rosamond, given at Drury Lane, London, 1733; The Opera of Operas; or, Tom Thumb the Great, Haymarket, ib., 1733; Dido and Æneas, 1734; The Fall of Phaëton, 1736; Music to Zara, 1736; Comus, 1738; Judgment of Paris, 1740; Alfred, 1740; Songs in Twelfth Night, 1741; Blind Beggar of Bethnal Green, 1741; Songs in The Merchant of Venice, 1742; Britannia, 1743; Eliza, 1743; Thomas and Sally, 1743; The Temple of Dulness, 1745; King Pepin's Campaign, 1745; Music to the Tempest, 1746; Neptune and Amphitrite, 1746; Don Saverio, 1749; Dirge in Romeo and Juliet, 1750; The Prophetess, 1759; The Sultan, 1759; Artaxerxes, 1762; Love in a Village (compilation), 1762; Birth of Hercules (not represented), 1763; The Guardian Outwitted, 1764; Olimpiade (Italian), 1765; The Ladies' Frolic, 1770; Additions to Purcell's King Arthur, 1770; The Fairy Prince, 1771; The Cooper, 1772; Choruses in Mason's Elfrida, 1772; The Rose, 1773; Contest of Beauty and Virtue, 1773; Achilles in Petticoats, 1773; May Day, 1775; Phoebe at Court, 1776; Music to Mason's Caractacus, 1776; Songs in The Tender Husband, The Rehearsal, The Rival Queens, and other plays. Oratorios: Abel, 1755; Judith, 1764. Collections of songs under the following titles: Lyric Harmony, The Agreeable Musical Choice, Summer Amusement, Winter's Amusements, The Siren; Vocal Melody, 1753; The Vocal Grove, 1774; and nearly twenty other books of songs. Glees, Catches, Canons, etc.: 12 glees, 10 catches, 6 canons, printed in Warren's Collections; Ode on Shakespeare, written by Garrick for the Shakespeare Jubilee at Stratford-on-Avon, 1769; Sonatas or lessons for the harpsichord; Organ concertos; Overtures for orchestra, etc.—Grove; Hogarth, ii. 65; Burney, iv. 6—; Dwight's Journal, xiii. 205.
3ARNEIRO, (JOSÉ AUGUSTO) FERREIRA VEIGA, Vicomte D', born at Macao, China, Nov. 22, 1838, still living, 1888. Dramatic composer, of a family distinguished in the musical circles of Lisbon. He studied law at the University of Coimbra, but from 1859 to 1862 studied harmony under Manoel Joaquim Botelho, counterpoint and fugue under Vicente Schira, and the pianoforte under Antonio José Soares. He began composing orchestra music, entr'actes, and other pieces, and produced a ballet, Ginn, at the Teatro San Carlos, Lisbon, in 1866. He wrote a great deal of church music. His principal work, a Te Deum, performed at St. Paul's, Lisbon, in 1871, was afterwards brought out in Paris as a symphonie cantata. Works: Scherzo in E-flat; Polonaise de Concert; Refrains du Printemps, a collection of characteristic pieces; Elisire di giovinezza, opera, Lisbon, 1876, Milan, 1877.—Fétis, Supplément, i. 23; Naumann (Ouseley), ii. 1265; Riemann, Lex.
5ARNOLD, GEORG, born at Weldsberg, in the Tyrol, lived about the middle of the 17th century. He was organist at Innsbruck, and later of the cathedral at Bamberg. He published the following works: Cantionum sacrarum de tempore, op. 1; Tres Mottettos de Nomine Jesu, op. 2; Psalmi de Beata Maria Vergine, etc., with violin or viola (1652); Cantiones et Sonettæ (1659); Sacrarum cantionum, etc. (1661); Psalmi Vespertini; Tres Missæ pro defunctis, etc. (1676); Messarum quatern. cum no-
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