Books › Grove's Dictionary of music and musicians, 1927 › scan 96
Scan 96
Grove's Dictionary of music and musicians, 1927
37 lines. Read by computer on 5 September 2026, twice; the two readings disagreed in places. Printed page 50. See the scan on archive.org.
1Published, Cabarte, 1618. (Cathedral archives, Saragossa, Seville, Malaga; Bibl. de la Diputació, Barcelona; MS. copy at Seville.)
22. Psalms (4 v.), . . . Saragossa, 1662. (Barcelona, Bibl. Diputació).
33. A De profundis (4 v.) and Pange lingua (4 v., with organ) exist in Ms. at Barcelona; while 14 compositions for the organ are preserved in the musical archives of the Escorial. Some of the latter have been published by Pedrell ('Antología de organistas españoles'), and by Villalba ('Antología de organistas clásicos,' 1914).
5Aguilera is justly celebrated for his Magnificats. They are composed more Hispano, i.e. on the plain-song tunes formerly in use in Spain, and are notable for breadth of style and loftiness of inspiration. J. B. T.
7AGUJARI, LUCREZIA (b. Ferrara, 1743; d. Parma, May 18, 1783), a singer celebrated by Mozart's testimony to her powers.
9Being a natural child of a noble, she was always announced in the playbills and newspapers as La Bastardina or Bastardella. She was instructed in a convent by the Abbé Lambertini, and made her début at Florence in 1764. Her triumph was brilliant, and she was eagerly engaged for all the principal towns, where she was enthusiastically received. She did not excel in expression, but in execution she surpassed all rivals. The extent of her register was beyond all comparison. Sacchini said he had heard her sing as high as B7 in altissimo, and she had two good octaves below: but Mozart himself heard her at Parma in 1770, and says of her1 that she had 'a lovely voice, a flexible throat, and an incredibly high range. She sang the following notes and passages in my presence':
11Ten years later, in speaking of Mara, he says:
13'She has not the good fortune to please me. She does too little to be compared to a Bastardella—though that is her peculiar style—and too much to touch the heart like an Aloysia Weber.' one of two readings
141 Letter of Mar. 24, 1770. one of two readings
16'She has not the good fortune to please me. She does too little to be compared to a Bastardella—though that is her peculiar style—and too much to touch the heart like an Aloysia Weber.'2 one of two readings
18Leopold Mozart says of her:
20'She is not handsome nor yet ugly, but has at times a wild look in the eyes, like people who are subject to convulsions, and she is lame in one foot. Her conduct nevertheless has been good; she has, consequently, a good name and reputation.'
22Agujari made a great sensation in the carnival of 1774 at Milan in the serious opera of 'Il Tolomeo,' by COLLA (q.v.), and still more in a cantata by the same composer. In 1780 she married Colla, who composed for her most of the music she sang. She sang at the Pantheon Concerts for some years, from 1775, receiving a salary at one time of £100 a night for singing two songs, a price which was then enormous. There is an amusing account of her in Mme. D'Arblay's Memoirs of Dr. Burney. J. M.
24AGUS. The only musician of that name mentioned by Constant Pierre in his work, Le Conservatoire national de musique et de déclamation: Documents historiques et administratifs (Paris, 1900), as having been professor of solfeggio at the Conservatoire (Nov. 22, 1795) is JOSEPH AGUS (b. 1749; d. May, 1798). These biographical references are applied by Fétis and Eitner to one HENRI AGUS. This may be the same man, in which case Joseph (Giuseppe) may be regarded as the composer of trios for strings, duets, glees, catches, etc., published in London (see Catalogue B.M.); and of the 6 duos 'concertants' for 2 violins, published by Barbieri (Paris) as the op. 37 of Boccherini. He was one of the contributors to the Solfèges du Conservatoire, with Catel, Cherubini, Gossec, etc., but his surname only appears on the printed title. M. L. P.
26AHLE, (1) JOHANN RODOLPH (b. Mühlhausen, Thuringia, Dec. 24, 1625; d. July 8, 1673), composer and organist, educated at Göttingen and Erfurt.
28In 1646 he became organist at Erfurt, and in 1654 held the same post in the Blasiuskirche at his native place, where in 1656 he was appointed member of the senate and in 1661 burgomaster. His published compositions include:
30Compendium pro tonellis (1648), a treatise on singing (3 editions); 'Geistlichen Dialogen' (1648), 'Sinphonien, Paduanen, Balletten'; 'Thüringische Lustgarten,' a series of church compositions (1657, 1658, 1663, 1665); 400 'Geistliche Arien,' 'Geistliche Concerte,' and 'Andachten' on all the Sundays and Festivals, etc.
32He cultivated the simple style of the choral, avoiding polyphonic counterpoint. His tunes were for long very popular, and are still sung in the Protestant churches of Thuringia—amongst others that known as 'Liebster Jesu, wir sind hier.' A selection of his vocal works, edited by J. Wolf, is in vol. 5 of D.D.T., in the preface to which is a complete list of Ahle's compositions. See also Sammelbände of the Inter. Mus. Gesellschaft, ii. 393.
341 Letter of Mar. 24, 1770. one of two readings
35(no line here) one of two readings
362 Letter of Nov. 13, 1780.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.