Scan 131
Grove's dictionary of music and musicians: ed. by J. A. Fuller …, Volume 1, 1911
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1ARCADELT
3Galicia, his parents being natives of that province; but he was entered at the Conservatoire of Madrid at an early age, under Monasterio, the eminent violinist, and when only twelve years old gained various first prizes. Through his master he gained the patronage of the Spanish Royal family, and the opportunity of pursuing his studies abroad; he was at the Brussels Conservatoire for four years, studying the violin with Vieuxtemps, and compositions with Gevaert. After hearing Joachim play, Arbós left Brussels for Berlin, where he became Joachim's pupil for three more years; for some time he was leader of the Berlin Philharmonic Society. On the completion of his studies, Arbós played in all the principal towns of Germany, and after a tour through France, Holland, Belgium, Portugal, and Poland, he accepted the position of professor of the violin at the Hamburg Conservatorium, but only held it for a short time, returning to Madrid at the request of the Queen of Spain, to fill the post of principal professor of his instrument in the Conservatoire where his education had begun. While at Madrid, he did much to encourage the study of the best chamber music, founding a society for its practice. In 1890 he visited London (he had previously led the Glasgow Orchestra under Manns, for a whole winter), and appeared in Jan. 1891, at four concerts given by Señor Albeniz, and subsequently at the Popular Concert of March 9, where he played a duet and Bach's double concerto with Joachim. In all his work as a violinist he has shown the highest and most artistic aims, but his work as a teacher has been even more important. His wide experience of continental schools of music (he had had practical knowledge of no fewer than five Conservatoires) served him in good stead on his appointment as professor of the violin at the Royal College of Music, a post in which he has gained a very high reputation, and has turned out some of the most successful pupils of the college. While his convictions, whether as a player or a teacher, are of the most earnest kind, in his own compositions he excels in work of a lighter vein; his violin pieces, with orchestral accompaniment, are excessively difficult, but most effective, and in these, as well as in his comic opera, 'El Centro de la Tierra,' (produced at Madrid, Dec. 22, 1895) the characteristics of national Spanish music are employed with the happiest effect. He has also written three trios for piano and strings, as well as songs. An orchestral suite is still in MS.
5ARCADELT, JACOB, one of the most prominent among the distinguished band of Netherland musicians who taught in Italy in the 16th century, and saw the fruit of their labours in the foundation of the great Italian school. Born about 1514 in the Netherlands, he was a singer at the court of Florence before 1539, in which year he was singing-master to the boys at St. Peter's, Rome, and was admitted to the college of papal singers in 1540, remaining there till 1549. Many masses and motets of Arcadelt are among the manuscripts of the papal chapel, but those of his works which were published during his life in Rome were entirely secular, and consisted chiefly of the famous madrigals which placed him at the head of the so-called 'Venetian school' of madrigal writing. Five books of four-part madrigals, each containing forty or fifty separate numbers, were printed in Venice, the three first originally before 1539, when the earliest existing editions appeared with words implying that the contents had appeared before. In that year the fourth book seems to have appeared for the first time, and the fifth in 1544. Many editions of these were published with great rapidity. An excellent copy of the first four books is in the library of the British Museum, and in the same library may be found a few of the many collections of madrigals which contain compositions by Arcadelt. [The first book of the three-part madrigals was printed in Venice, 1542, together with twelve French 'chansons' and six motets. The chansons, with the addition of several others, were reprinted in Paris by Ballard in 1573.] In the year 1555 he entered the service of Cardinal Charles of Lorraine, Duke of Guise, and went with him to Paris, where he probably ended his life. [The results of the latest researches will be found in the Monatshefte für Musikgeschichte, xv. 142, and xix. 121; also in the Vierteljahrschrift, iii. 234, etc.] In Paris three books of his masses were published in 1557, and other sacred works appear in collections printed after he left Italy. It seems probable, therefore, that he devoted this second or Parisian period of his life to church composition, but it is as a madrigal writer that his name is most celebrated. Burney gives one, 'Il bianco et dolce cigno' (see article MADRIGAL) in his History (iii. 303); and two to Michel Angelo's words 'Deh dimm' Amor,' and 'Io dico che fra voi,' will be found in Gotti's 'Vita di M.' (1875). An Ave Maria has been edited by Sir Henry Bishop, quoted by Mr. Hullah in his musical lectures, printed in the Musical Times (No. 183) and transcribed by Liszt, but the authorship is extremely doubtful. A Pater noster for 8 voices is given by Commer, 'Collectio,' vii. 21. J. R. S.-B.
7ARCHER, FREDERICK, born June 16, 1838, at Oxford; in early life was chorister at All Saints, Margaret Street, London; his musical education was received in London and Leipzig. He next became organist of Merton College, Oxford, and in 1873 was appointed to the Alexandra Palace. During the last engagement, on March 4, 1876, he played the piano-forte part of Gade's 'Spring Fantasia' on its
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