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Scan 92
Grove's Dictionary of music and musicians, 1927
43 lines. Read by computer on 5 September 2026, twice; the two readings disagreed in places. Printed page 46. See the scan on archive.org.
1metal tongues. However, one characteristic of the bassoon family is present, viz. the tube doubled back on itself, as each part of the phagotus has two tubes bored side by side in a single block of wood. The similarity of the names (phagotus, fagotto) is curious, but can hardly be said to be of value as evidence of connexion between the two instruments.
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5AFRICAINE, L', grand opera in 5 acts; words by Scribe, music by Meyerbeer. Produced Académie, Paris, Apr. 28, 1865; in Italian, Covent Garden, July 22, 1865; in English (translation by Kenney), Covent Garden, Oct. 21, 1865; New York, Academy of Music, Dec. 1, 1865. one of two readings
6AFRICAIN, L', grand opera in 5 acts; words by Scribe, music by Meyerbeer. Produced Académie, Paris, Apr. 28, 1865; in Italian, Covent Garden, July 22, 1865; in English (translation by Kenney), Covent Garden, Oct. 21, 1865; New York, Academy of Music, Dec. 1, 1865. one of two readings
8AFZELIUS, ARVID AUGUST (b. Enköping, Sweden, May 6, 1785; d. Sept. 25, 1871), pastor and archæologist; edited conjointly with Geijer a collection of Swedish national melodies 'Svenska Folkvisor,' 3 vols. (Stockholm, 1814–1816, continued by Arwidsson), and wrote the historical notes to another collection, 'Afsked af Svenska Folksharpan' (Stockholm, 1848).
10AGATEA, P. MARIO (b. Bani, 17th cent.), an Augustinian monk, musical director at the Cathedral of Modena in the 17th century. Four cantate for soprano solo and 29 ariette, c. 1688, all in MS., are in the Bibl. Estense, Modena. An early instance of the use of the violoncello is made in the 10th Arietta. Motets by Agatea are contained in sundry collections (Eitner).
12AGAZZARI, AGOSTINO (b. Siena, Dec. 2, 1578; d. there, Apr. 10, 1640), composer of church music.
14A cadet of a noble family of Siena, he is said (see Q.-L.) to have passed the first years of his professional life in the service of the Emperor Matthias, who wished to retain him. He preferred to return to Italy, bringing with him a musical instrument, called the PANDORA, little known so far, which he played very sweetly (Azzolini, Le Pompe Sanesi, 1649). After election to membership of the Accademia degl' Intronati, he came to Rome, where he was chosen maestro di cappella at the German College (after Anerio's retirement in 1609), at the church of S. Apollinaris,1 and subsequently at the Seminario Romano. An intimacy grew up between him and VIADANA (q.v.), and he was one of the earliest adopters of the figured bass. In the preface to the fourth book of his 'Sacræ Cantiones' (Zanetti, Rome, 1606), he gives some instructions for its employment. In 1630 he returned to Siena, and became maestro of its cathedral, a post which he retained till his death.
16His publications are numerous, and consist of masses, madrigals (1596, 1600, 1602, 1607, 1608), motets, psalms, Magnificats, litanies, etc.,
181 Bani alone mentions this appointment; but he is probably right.
20republished in numerous editions at Rome, Milan, Venice, Antwerp, Frankfort and elsewhere (see Q.-L.). His one substantive contribution to the scientific literature of music is a little work of only 16 quarto pages, entitled: 'La Musica Ecclesiastica, dove si contiene la vera diffinizione della Musica come Scienza non più veduta e sua nobiltà (Siena, 1638)';
22the object of which is to determine how church music should best conform itself to the Resolution of the Council of Trent. On the authority of Pitoni, a pastoral drama, entitled 'Eumelio,' has been ascribed to Agazzari. It was undoubtedly performed at Rome in 1606 and printed by Amadino at Venice in that year; but no author's name is affixed either to music or libretto.
24A short motet by Agazzari is given by Proske in the 'Musica divina' (Ann. I. Lib. Motettorum, No. lxv.).
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28AGAZZI, GAËTANO, appears to have been a virtuoso on the violoncello in the second half of the 18th century. His 'Six Sonates à violoncelle et basse,' op. 1, Amsterdam, c. 1780, make considerable demands upon the technical ability of the executant. Ten sonatas for the same instruments in MS. are in the library of the Milan Conservatoire.
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32AGGERE, ANTONIUS, Magister at St. Martin, Ghent, finished his treatise, Formule octo tonorum secundum eundem Guidonem, Nov. 8, 1503. Another treatise, Ars intonandi, in the same MS. volume (Ghent, MS. 421), is probably also by him.
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36AGGHÁZY, CAROLUS (b. Budapest, Oct. 30, 1855), pianist, pupil of Bruckner, Volkmann and Liszt, gave concerts 1882–88, settled as a teacher in Budapest, and composed piano and chamber music having an Hungarian colouring, as well as an opera, 'Maritta,' and a cantata, 'Rakoczy.' (Riemann.)
38AGINCOURT, D' (DAGINCOUR). There were apparently two (if Fétis is correct). (1) JACQUES ANDRÉ D'AGINCOURT (b. Rouen, 1684; d. there, c. 1757), who became organist at the Abbey of St. Ouen, went to Paris in 1718, where he gave clavecin lessons, and a few years later obtained the place of organist at St. Merry. He retired in 1745, and returned to Rouen, where he died. His gentle nature gained him many friends, who ranked him with Calvière, Daquin and Couperin, to whom in reality he was vastly inferior.
40(2) FRANÇOIS D'AGINCOURT (d. Paris, June 18, 1758), who, on Jan. 13, 1714, was appointed organist to the French court for the fourth quarter. The library of the Paris Conservatoire possesses 'Pièces de clavecin, dédiées à la Reine, composées par M. D'Agincour. . . . Paris, le S. Boivin; Rouen, 1733, chez l'auteur. . . .' Fétis claims this work for Jacques André d'Agincourt, but describes them as feeble compositions.
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