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Scan 98
Grove's Dictionary of music and musicians, 1927
31 lines. Read by computer on 5 September 2026, twice; the two readings disagreed in places. Printed page 52. See the scan on archive.org.
1Théâtre Français, on the retirement of Baudron, 1822. Of his seven operas only two were performed, the 'Jeux Floraux' (1818), and 'Michel et Christine' (1821), the last with great success. A third, 'Les Sybarites de Florence,' was published in 1831. He also composed numerous string quartets, trios and duos (Paris and Lyons), and was the author of Connaissances préliminaires de l'harmonie and other treatises.
3M. C. C.
5AINARDUS . . . (EINHART ?) (11th cent.), German composer, first Abbot of S. Petri ad Divam in Neustria until 1077 (Gerbert, v, 36). one of two readings
6AINARDUS… (EINHART?) (11th cent.), German composer, first Abbot of S. Petri ad Divam in Neustria until 1077 (Gerbert, v, 36). one of two readings
8AINSWORTH, HENRY (d. Amsterdam, 1622), a theologian who lived in Holland c. 1593. He published a collection of psalms at Amsterdam in 1612, which appeared in an American edition as 'The Book of Psalms.'
10AIOLLE, FRANCESCO DELL', see LAYOLLE.
12AIR (Fr. air; Ger. Arie; Ital. aria), a term popularly used as synonymous with TUNE (q.v.). It bears, however, a more technical sense in reference to musical form or style of composition. This sense is sufficiently defined by the practice of the Elizabethan composers who adopted the word 'air' (frequently spelt ayre) for those of their compositions which consisted of a melody accompanied either by other voices or an instrument. Thus John Dowland published in 1597 'The first Book of Songs or Airs of Four Parts,' the principal vocal melody having an alternative accompaniment for either three additional voices or the lute. It is noteworthy that in the same year Thomas Morley published 'Canzonets or little short Airs to five or six voices,' which are not less polyphonic in style than his Madrigals. Nevertheless, Dowland's use of the word as a description of homophonic style quickly prevailed, and the rapid publication in succeeding years both of his own and other composers' 'Books of Airs' stamped the term as belonging to the type.
14From being a vocal form the air passed into instrumental music, and throughout the 17th century airs for various instruments, the lute, the viola da gamba, etc., are frequent in English publications. Airs are found amongst Purcell's harpsichord music though they are not included in his suites for that instrument. The air or aria, however, frequently found a place in the harpsichord suites of continental composers at the beginning of the 18th century (see SUITE). Here it bore evident traces of its vocal origin being contrasted in style with the dance movements of the suite. Sometimes it assumed a highly ornamental character as in Handel's Suite No. 3 in D minor. Here and elsewhere, notably in Suite No. 5 (the air popularly known as 'The Harmonious Blacksmith'), it becomes a theme for variations. An exceptional instance of an air without any suggestion of the song, and having the vigour of a vivacious dance, is found in Handel's Suite No. 14 in G major.
16Whether in its instrumental or vocal use, the term Air becomes distinguished from its Italian counterpart, Aria, for practical purposes. The distinction is made immediately apparent by placing the airs of the suites of Bach and Handel beside the arias of their cantatas, oratorios or operas. The Italian ARIA (q.v.) by that date had become a highly developed and conventionalised form. Not so the air (or aria) of the suites. In later times the English and French words have been frequently used to distinguish a simple song, or songlike piece, from the elaborated Italian form.
18AIRD, JAMES (d. 1795), a Glasgow music-publisher, whose chief claim to remembrance lies in the fact that, so far as at present is ascertained, he was the first to print the air 'Yankee Doodle.'
20Aird was established in the Candleriggs in 1778, and had sundry changes of address, as at New Wynd and New Street. He published sheet-music and books of reels, etc., but his chief work is 'A Selection of Scotch, English, Irish and Foreign Airs.' This reached to six books, and it is of the highest interest in the study of our national melodies. The book is in small oblong, and Aird died shortly after the fourth was published, M'Fadyen continuing the work. The first book, which contains 'Yanky Doodle,' was probably published as early as 1778, for it is advertised on the title-page of Joshua Campbell's Reels, issued by Aird in that year. The second was published in 1782, the third 1788, the fourth 1794, the fifth 1799, and the sixth at a later date. The whole was reprinted by M'Fadyen, and again by Geo. Goulding of London. A complete set of volumes is seldom met with.
22A'KEMPIS, JEAN FLORENT, was organist of a church in Brussels from about 1657; he was the author of a book of 'Cantiones' published at Antwerp in 1657, and possibly wrote the 'Missae et motetta' and a Requiem, the former of which, published at Antwerp in 1650, has been also ascribed to the following.
24A'KEMPIS, NICHOLAS, organist of Ste. Gudule, Brussels, c. 1628; composed three books of symphonies (Antwerp, 1644, 1647 and 1649). (Cf. the above.)
26AKEROYDE, SAMUEL, a native of Yorkshire, a very popular and prolific composer of songs in the latter part of the 17th century. He was Musician in Ordinary to James II. in 1687; also to King William. Many of his compositions are contained in the following collections of the period:
28D'Urfey's 'Third Collection of Songs,' 1685; 'The Theatre of Musick,' 1685-87; 'Vinculum Societatis,' 1687; 'Comes Amoris,' 1687-94; 'The Banquet of Musick,' 1688; 'Thesaurus Musicus,' 1693-96; and in The Gentleman's Journal, 1692-94. He was also a contributor to the Third Part of D'Urfey's 'Don Quixote,' 1696.
30W. H. H.
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