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Scan 123
Grove's dictionary of music and musicians, 1904
31 lines. Read by computer on 6 September 2026. Printed page 100. See the scan on archive.org.
1one degree removed from it. They have no fixed duration, but are generally slower when applied to a long note (Ex. 1) than when the principal note is short (Ex. 2); moreover, the double appoggiatura, in which the first note lies at a distance from the principal note, should always be somewhat slower than that in which both notes are close to it (Ex. 3). In all cases the time required for both notes is subtracted from the value of the principal note.
31. Written. 2. 3.
5Played.
7The double appoggiatura is sometimes, though rarely, met with in an inverted form (Ex. 4), and Emanuel Bach mentions another exceptional kind, in which the first of the two small notes is dotted, and receives the whole accent, while the principal note becomes as short as the second of the two small notes (Ex. 5).
94. 5.
11The dotted double appoggiatura, written as above, is of very rare occurrence; but it is frequently found in the works of Mozart, Beethoven, etc., written in notes of ordinary size (Ex. 6).
136. BEETHOVEN, Sonata, Op. 53.
15F. T.
17APRILE, GIUSEPPE, born at Bisceglia in Apulia, Oct. 29, 1738, an eminent contralto singer; was educated at the Conservatorio of 'La Pietà' at Naples, and from 1763 sang in all the principal theatres of Italy and Germany. Dr. Burney heard him at Naples in 1770 and says that he had a weak and unequal voice, but was perfectly in tune, had an excellent shake, and great taste and expression. He was an excellent teacher of singing, and was one of Cimarosa's masters. He composed songs, but his best work, a system of solfeggi (London and Paris), has passed through many editions and is still valued. It is included in Peters' edition. He died in 1814.
19A PRIMA VISTA (Ital.), 'At first sight.'
20A PUNTA D'ARCO (Ital.), 'With the point of the bow' (in violin music).
22ARABESQUE (Germ. Arabeske). Originally an architectural term applied to ornamentation in the Arabic style, whence its name. (1) The title has been given, for what reason is not very clear, by Schumann to one of his pianoforte pieces (op. 18), which is written in a form bearing some analogy to that of the rondo, and it has been since occasionally used by other writers for the piano. (2) The word 'Arabesque' is sometimes used by writers on music to express the ornamentation of a theme. Thus von Bülow, in his edition of Beethoven's sonatas, in a note on the adagio of the sonata in Bb, op. 106, speaks of the ornaments introduced at the return of the first subject as 'diese unvergleichlich seelenvollen Arabesken'—these incomparably expressive Arabesques. E. P.
24ARAJA, FRANCESCO, born at Naples about 1700, died about 1770, a figure of some importance in the history of Russian opera. He was maestro di cappella at St. Petersburg from about 1734 to 1759. Fétis and Clément enumerate 11 operas, all but two produced in Russia. One of them, 'Procris and Cephalus' was the first opera ever performed in the Russian language; it was written in 1755 at the desire of the Empress Elisabeth. Riemann mentions an earlier work, Berenice, given in Florence in 1730. A Christmas oratorio was written for Bologna, and Araja contributed to a pasticcio on the subject of Orpheus, with Vinci and Porpora, the songs from which were published by Walsh. Separate songs and harpsichord pieces in MS. are mentioned in Eitner's Quellen-Lexikon.
26ARANAZ, PEDRO, a Spanish priest and composer, born at Soria in Old Castile; was appointed towards the end of the 18th century conductor of the choir in the cathedral at Cuença, and died there in 1825 at a considerable age. His church music, which was good, is to be found at Cuença, in the Escurial, and in various churches of Spain; and Eslava has preserved in his 'Lira Sacro-Hispana' an 'Offertorium' for five voices and a 'Laudate Dominum' a 6, with strings, horns, and organ. M. C. C.
28ARBEAU, THOINOT, priest of Langres in France. His real name was Jehan Tabourot, of which the above is an anagram. He lived about the end of the 16th century, and was the author of a remarkable book, now of excessive rarity, entitled Orchésographie et Traité en forme de dialogue par lequel toutes personnes peuvent facilement apprendre et pratiquer l'honnête exercise des danses (Langres: Jehan des Preys, 1589). It contains a great number of French dance-tunes with words fitted to the melodies, and is of great interest and use in the history of dance-music. It was reprinted in facsimile at Paris in 1888.
30ARBOS, E. FERNANDEZ, born in Madrid, Dec. 25, 1863, the son and grandson of military band-masters. As a child he lived in
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