Scan 72
Grove's Dictionary Of Music And Musicians Vol I A. To E., 1904
25 lines. Read by computer on 11 September 2026, twice; the two readings disagreed in places. Printed page 54. See the scan on archive.org.
1Elevation. Cadent. Springer.
2Shaked beat. Shaked Backfall.
3Shaked Elevation. Shaked Cadent.
4Double Relish.
5Or thus—
6which no explanation in words is attempted, but an example in notes given as above (Ex. 4).
7The agrémens used in modern music or in the performance of the works of the great masters are acciaccatura, appoggiatura, arpeggio, mordent, nachschlag, shake or trill, slide, and turn, each of which will be fully described in its own place. [See also the masterly treatise on 'Musical Ornamentation' by E. Dannreuther, in two volumes of Novello's Music Primers.] F. T.
8AGRICOLA, ALEXANDER, a composer of great celebrity living at the end of the 15th century and beginning of the 16th. Crespel's lament on the death of OCKEGHEM mentions Agricola as a fellow-pupil in the school of that master; and the dates of his published works, together with an interesting epitaph printed in a collection of motets published at Wittenberg in 1538, furnish us with materials for briefly sketching his life. The words of the epitaph, which bears the title 'Epitaphium Alex. Agricultae Symphoniastae regis Castiliae Philippi,' are as follows:— one of two readings
9AGRICOLA, ALEXANDER, a composer of great celebrity living at the end of the 15th century and beginning of the 16th. Crespel's lament on the death of OCKEGHEM mentions Agricola as a fellow-pupil in the school of that master; and the dates of his published works, together with an interesting epitaph printed in a collection of motets published at Wittenberg in 1538, furnish us with materials for briefly sketching his life. The words of the epitaph, which bears the title 'Epitaphium Alex. Agricolae Symphoniastae regis Castiliae Philippi,' are as follows:— one of two readings
10Musica quid defles? Perit mea cura decusque.
11Estne Alexander? Is meus Agricola.
12Dic age qualis erat? Clarus vocum manuumque.
13Quis locus hunc rapuit? Valdoletanus ager.
14Quis Belgam huc traxit? Magnus rex ipse Philippus.
15Quo morbo interiit? Febre furente obiit.
16Ætas quæ fuerat? Jam sexagesimus annus.
17Sol ubi tunc stabat? Virginio in capite.
18The question 'Who brought the Belgian hither?' is decisive as to his nationality. He was certainly educated in the Netherlands, and passed great part of his life there. At an early age he was distinguished both as a singer and performer. A letter of Charles VIII. of France, in Mr. Julian Marshall's collection, proves that he was in that king's service, and left it, without leave, for that of Lorenzo de' Medici; he was at Milan till June 1474, and after some years in the service of the Duke of Mantua, entered (about 1491) that of Philip, Duke of Austria and sovereign of the Netherlands, and followed him to Castile in 1505. There Agricola remained until his death, at the age of 60 (about the year 1506), of acute fever, in the territory of Valladolid. Amongst Agricola's known works the most important are a motet for three voices in the collection called 'Harmonice Musices' (1501), two motets for three voices in that entitled 'Motetti XXXIII' (Venice, Petrucci, 1502); eight four-part songs from the collection 'Canti cento cinquanta' (Venice, Petrucci, 1503); and a volume of five masses 'Misse Alex. Agricultae' (Venice, Petrucci, 1504). Other MS. masses are mentioned in Eitner's Quellen-Lexikon. It is not improbable that a large number of his compositions may still be contained in the libraries of Spain. [For recent investigations concerning Agricola, see Van der Straeten's Musique aux Pays-Bas, vols. vi. and vii.] one of two readings
19The question 'Who brought the Belgian hither?' is decisive as to his nationality. He was certainly educated in the Netherlands, and passed great part of his life there. At an early age he was distinguished both as a singer and performer. A letter of Charles VIII. of France, in Mr. Julian Marshall's collection, proves that he was in that king's service, and left it, without leave, for that of Lorenzo de' Medici; he was at Milan till June 1474, and after some years in the service of the Duke of Mantua, entered (about 1491) that of Philip, Duke of Austria and sovereign of the Netherlands, and followed him to Castile in 1505. There Agricola remained until his death, at the age of 60 (about the year 1506), of acute fever, in the territory of Valladolid. Amongst Agricola's known works the most important are a motet for three voices in the collection called 'Harmonice Musices' (1501), two motets for three voices in that entitled 'Motetti XXXIII' (Venice, Petrucci, 1502); eight four-part songs from the collection 'Canti cento cinquanta' (Venice, Petrucci, 1503); and a volume of five masses 'Misse Alex. Agricolae' (Venice, Petrucci, 1504). Other MS. masses are mentioned in Eitner's Quellen-Lexikon. It is not improbable that a large number of his compositions may still be contained in the libraries of Spain. [For recent investigations concerning Agricola, see Van der Straeten's Musique aux Pays-Bas, vols. vi. and vii.] one of two readings
20J. R. S.-B.
21AGRICOLA, GEORG LUDWIG, born Oct. 25, 1643, at Grossen-Furra in Thuringia, where his father was clergyman; brought up at Eisenach and Gotha and the universities of Wittenberg and Leipzig; capellmeister at Gotha in 1670. He composed 'Musikalische Nebenstunden' for two violins, two violas, and bass; religious hymns and madrigals; sonatas and preludes, 'auf französische Art,' etc. etc. He died at Gotha, Feb. 20, 1676, at the age of thirty-three, full of promise, but without accomplishing a style for himself.
22F. G.
23AGRICOLA, JOHANN, born at Nuremberg about 1570, professor of music in the Gymnasium at Erfurt in 1611, and composer of three collections of motets (Nuremberg, 1601-1611).
24AGRICOLA, JOHANN FRIEDRICH, born Jan. 4, 1720, at Dobitz, near Altenburg, Saxony. His father was a judge, and his mother, Maria Magdalen Manke, a friend of Handel. He began to learn music in his fifth year under a certain Martini. In 1738 he entered the University of Leipzig when Gottsched was Professor of Rhetoric. But though he went through the regular course of 'humanities' he also studied music under Sebastian Bach, with whom he worked hard for three years. After this he resided at Dresden and Berlin, at the latter from 1741 onwards, and studied the dramatic style under Graun and Hasse. In 1749 he published two pamphlets on French
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