Scan 136
Grove's dictionary of music and musicians: ed. by J. A. Fuller …, Volume 1, 1911
17 lines. Read by computer on 7 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1cathedral. Four years later he obtained his first organ appointment—Trinity Church, Milton, Gravesend, at a salary of £25. To this succeeded St. Andrew's, Wells Street, London (1857), Chichester Cathedral (1861), and Durham Cathedral, on the death of William Henshaw, Nov. 14, 1862; the last-named office he still (1903) holds.
3He took the degree of Mus.B. (Oxford) in 1858 and that of Mus.D. in 1864. He also holds the honorary degrees of Mus.D. and M.A. Durham; he is an Hon. Member of the Royal Academy of Music; an Hon. Fellow of the Royal College of Organists; and has examined for musical degrees at Oxford and for the diplomas of the Royal College of Organists. For ten years, 1873-83, he was honorary conductor of the Durham Musical Society, and now plays first viola in the Durham Orchestral Society. As a lecturer he has been very successful.
5Examinations for musical degrees in the University of Durham were instituted by Dr. Armes in Oct. 1890, when eighty-one candidates presented themselves for examination. In 1897 the charter of the University was altered, whereby Dr. Armes was made Professor of Music, an office which he worthily holds.
7His compositions include an oratorio 'Hezekiah' (Newcastle, Nov. 9, 1877, and, in a revised and enlarged form, at the Worcester Festival of the following year); two church oratorios, 'St. John the Evangelist' (York Minster, July 7, 1881); and 'St. Barnabas' (Durham Cathedral, July 30, 1891); in addition to services, anthems, many hymn tunes, organ music, and a five-part madrigal, 'Victoria,' which gained the First, or Molineux prize offered by the Madrigal Society and the Society's Medal in 1897. F. G. E.
9ARMIDE. One of Gluck's greatest operas, produced (in his sixty-fourth year) on Sept. 23, 1777, at the Académie Royale. The libretto is by Quinault, the same which was set by Lulli in 1686. 'Armide' followed 'Alceste' (1776) and preceded 'Iphigénie in Tauris' (1779). Comparing it with 'Alceste,' Gluck himself says, 'The two operas are so different that you will hardly believe them to be by the same composer… I have endeavoured to be more of the painter and the poet and less of the musician, and I confess that I should like to finish my career with this opera… In "Armide" there is a delicate quality which is wanting in "Alceste," for I have discovered the method of making the characters express themselves so that you will know at once whether it is Armida who is speaking or one of her followers.' The overture was originally written twenty-seven years before for 'Telemacco.' one of two readings
10ARMIDE. One of Gluck's greatest operas, produced (in his sixty-fourth year) on Sept. 23, 1777, at the Académie Royale. The libretto is by Quinault, the same which was set by Lulli in 1686. 'Armide' followed 'Alceste' (1776) and preceded 'Iphigénie in Tauris' (1779). Comparing it with 'Alceste,' Gluck himself says, 'The two operas are so different that you will hardly believe them to be by the same composer. . . . I have endeavoured to be more of the painter and the poet and less of the musician, and I confess that I should like to finish my career with this opera. . . . In "Armide" there is a delicate quality which is wanting in "Alceste," for I have discovered the method of making the characters express themselves so that you will know at once whether it is Armida who is speaking or one of her followers.' The overture was originally written twenty-seven years before for 'Telemacco.' one of two readings
12ARMINGAUD, JULES, born at Bayonne, May 3, 1820, was a violinist in the orchestra of the Paris Opéra. In 1855, with Edouard Lalo, Mas, and Léon Jacquard, he established a string quartet which enjoyed a great reputation, and was subsequently transformed, by the addition of wind-instruments, into the 'Société Classique.' Armingaud, who published some works for violin, died Feb. 27, 1900. G. F.
14ARMOURER OF NANTES, THE, an opera in three acts, founded on Victor Hugo's Mary Tudor; words by J. V. Bridgman, music by Balfe; produced at Covent Garden, under the Pyne and Harrison management, Feb. 12, 1863.
16ARNE, MICHAEL, the son (Burney says the natural son) of Dr. Arne, was born in 1740 or 1741. He was brought on the stage at an early age by his aunt, Mrs. Cibber, who took great pains in teaching him the part of the page in Otway's tragedy, The Orphan; and his father was equally assiduous in qualifying him as a singer, and brought him out in that capacity at Marylebone Gardens in 1751. But neither acting nor singing was his vocation. At ten or eleven years of age he had acquired such skill on the harpsichord as to be able to execute, with unusual correctness and rapidity, the lessons of Handel and Scarlatti, and some years later he manifested some ability as a composer. In 'The Flow'ret, a new Collection of English Songs, by Master Arne,' is a song called 'The Highland Laddie,' which attained great popularity, and was in 1755 adapted by Linley to the words 'Ah, sure a pair were never seen,' in Sheridan's opera, 'The Duenna.' In 1763 M. Arne appeared as a dramatic composer with 'The Fairy Tale.' In 1764 he composed, in conjunction with Battishill, the music for the opera of 'Almena,' which was withdrawn after a few nights, not from want of merit in the music, but owing to the dulness of the dialogue. On Nov. 5, 1766, Arne married Miss Elizabeth Wright, a vocalist of some repute. In 1767 he wrote the music for Garrick's dramatic romance, 'Cymon,' which was highly successful, and is his best work. Soon afterwards he gave up his profession and devoted himself to the study of chemistry, and built a laboratory at Chelsea, where he attempted the discovery of the philosopher's stone. Foiled in his object, and ruined by the expenses, he returned to the pursuit of music, and wrote the music for several dramatic pieces—amongst them O'Keeffe's 'Positive Man,' in which is the well-known song, 'Sweet Poll of Plymouth'—and numerous songs for Vauxhall and the other public gardens. [In 1771 and 1772 he travelled in Germany with a pupil, Miss Venables, conducting Handel's 'Alexander's Feast' at Hamburg, Nov. 23, 1771, and the 'Messiah' for the first time in Germany, April 15, 1772 (Quellen-Lexikon). At Christmas, 1776, Thomas Ryder engaged Arne to produce 'Cymon' at the Smock Alley Theatre in Dublin. Michael Kelly tells us that Mr. and Mrs. Arne attracted great houses. The composer's love for alchemy reasserted itself, and he took a house near Clontarf for the purpose of pursuing his search for gold. In the summer of 1777
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