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Scan 43
Grove's Dictionary of music and musicians, 1927
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1DICTIONARY
2OF
3MUSIC AND MUSICIANS
5A
7A, the name of the 6th degree of the natural scale of C. The reason for its application to the 6th instead of the 1st degree will be found explained in the article NOTATION. It represents the note in English and German which in French and Italian is called La.
9The further nomenclature is:
11<table>
12 <tr>
13 <th>English.</th>
14 <th>French.</th>
15 <th>German.</th>
16 <th>Italian.</th>
17 </tr>
18 <tr>
19 <td>A flat.</td>
20 <td>La bémol.</td>
21 <td>As.</td>
22 <td>La bemolle</td>
23 </tr>
24 <tr>
25 <td>A double flat.</td>
26 <td>La double bémol.</td>
27 <td>Asas.</td>
28 <td>La doppio bemolle.</td>
29 </tr>
30 <tr>
31 <td>A sharp.</td>
32 <td>La dièze.</td>
33 <td>Ais.</td>
34 <td>La diesis.</td>
35 </tr>
36 <tr>
37 <td>A double sharp.</td>
38 <td>La double dièze.</td>
39 <td>Aisis.</td>
40 <td>La doppio diesis.</td>
41 </tr>
42</table>
44A is the note given (usually by the oboe, or by the organ if there be one) for the orchestra to tune to.
46The diapason normal, A = 435.4 vibrations per second at a temperature of 59° Fahrenheit (15° Centigrade), is now practically adopted throughout England for concert and operatic performances except where an organ tuned otherwise is involved. Thus after many variations the English pitch has been approximated to that of the Continent. The pitch for military music in England, however, is still much higher. A = 452.4 is laid down in King's Regulations as the pitch for military bands. (see PITCH).
48In the modal system A is the Final of the 9th and 10th Modes (Æolian and Hypo-æolian), the Dominant of Mode I. (Dorian), of Mode IV. (Hypo-phrygian) and Mode VI. (Hypo-lydian).
50C.
52AARON, a Scot (c. 1042–52), Abbot of St. Martin, Cologne, wrote De utilitate cantus vocalis et de modo cantandi atque psallendi (Q.-L.).
54AARON, Pietro, spelt Aron in works published after his death (b. Florence, latter part of 15th cent.; d. before 1545), a monk of the Order of Jerusalem, and devoted to the study of counterpoint.
56His various works on the history and science of music (see Q.-L.) were printed at Venice and Milan. By Pope Leo X. he was admitted into the Roman Chapel, and distinguished in various ways. In or about 1516 Aaron founded a school of music at Rome, which obtained much reputation. He became a canon of Rimini about 1523.
58C. F. P.
60ABACO, EVARISTO FELICE DALL' (b. Verona, July 12, 1675; d. Munich, July 12, 1742), a famous violinist and composer.
62After some years' sojourn in Modena, from 1696 to about 1701, he went to Munich, and entered the band of the Elector Max Emanuel as Kammermusiker, in Apr. 1704. After the battle of Blenheim he accompanied the Court to Brussels, and on the restoration of the government in 1715 was appointed Konzertmeister. His published works are as follows:
64Op. 1, 12 Sonate da camera, for vln. and v'cl. with accompaniment; op. 2, 12 Concerti a quattro da chiesa; op. 3, 12 Sonate da chiesa a tre; op. 4, 12 Sonate da camera a violino e violoncello; opp. 5 and 6, Concerti a più strumenti (sic).
66A selection of 20 compositions from opp. 1-4, edited by Adolf Sandberger, forms the first volume of D.D.T., second series (Bavarian), 1900. The memoir prefixed to this volume gives a detailed account of Dall' Abaco's career.
68M.
70ABACO, GIUSEPPE CLEMENS FERDINAND, Baron dall' (b. Verona, c. 1700), one of the foremost virtuosi of his time on the violoncello and composer of merit for his instrument. In 1729 he was engaged as violoncellist at the Electoral court in Bonn, where he became director of the chamber music in 1738. In 1740 he was in London, where Burney heard him, and mentions him in laudatory terms in his Hist. of Music, vol. iv. Pohl mentions him as playing in Vienna, in a concert piece for five violoncelli of his own composition. Thirty of his sonatas for violoncello, mostly autograph, are in the library of the British Museum.
72E. v. d. s.
74ABAILARD, PIERRE (ABÉLARD, ABAELARDUS) (b. Palet, near Nantes, 1079; d. near Châlon-sur-Saône, Apr. 21, 1142), best known to the present time by the tragic story of his love for Héloïse, the fair niece of the Paris canon, Fulbert.
76A 13th-century codex in the Vatican Library at Rome contains six lamentations by Abailard in Latin, with the melodies written in neumes over the words. These plaints, founded on Old Testament stories, cannot be the love-songs which 'by the sweetness of their melody' caused the praises of Héloïse to resound throughout the country, and of which he wrote both words and melody, as we know from an
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