Scan 142
Groves Dictionary Of Music And Musicians,vol.1 Ed.3, 1904
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1century, they soon became treated as an appendage to the Hours, and it became customary to sing one of these antiphons of Our Lady at the close of Compline. In this position they lent themselves readily to harmonisation and were constantly sung 'in pricksong.' Thus the Latin antiphona (or, as it was called in English, the 'anthem') passed into the English Prayer Book, not in connexion with the psalmody—for all such use of antiphons was ruthlessly cut away—but in the form of an independent musical composition in parts (see ANTHEM). W. H. F.
3ANTIPHONAL (ANTIPHONER). This name has in course of time been applied to two of the Latin Service-books. Antiphons were in use both at Mass and at the Hour services, and therefore it was suitable as a name for the book containing the music for both or either of these two. Originally it most often denoted the first, and the 'Antiphonale missarum' was the regular name in the earlier days at Rome for the book containing the antiphons, and the other music as well, which was sung at Mass. When, however, the two chief antiphons of the collection ceased to be popularly called antiphons, and were known simply as the Introit (or Office) and the Communion, the name became an unsuitable one; it was then transferred to the great collection of antiphons required for the Breviary services, and corresponded to the Responsoriale, which contained the responds: the book of Mass music then was commonly called the 'Cantatorium.' The Franks, however, called this Graduale, and the whole Music of the Hours Antiphonale, and their custom conquered, so that all through the later Middle Ages 'Antiphonal' is the name for the collection of antiphons, responds, etc., sung at the Hours, and 'Gradual or Grayle' the term for the book of Mass music. W. H. F.
5ANTIQUIS, GIOVANNI D' (2nd half of 16th cent.), director of music in the church of St. Nicholas at Bari in the kingdom of Naples, and editor of two collections—'Villanelle alla Napolitana, a tre voci, di diversi musici di Bari' (two books, Venice, 1574). His own contribution consists of 7 madrigals in the first book and 6 in the second (see Vogel, Bibl. der weltl. Vocalmus. Italiens). Fétis mentions a similar collection—'Il primo libro di canzonette a due voci, da diversi autori di Bari' (Venice, 1584)—of the works of local composers, 17 in all, few if any of whom are known elsewhere, but no copy is known to exist. The first of the two collections is in the Munich Library.
7M. C. C.
9ANTOINE, FERDINAND D' (b. Bonn, middle of 18th cent.), was a captain in the army of the Elector of Cologne c. 1770. A good violinist, he studied composition under Marpurg, Kirnberger and Riepel. He composed 5 'Singspiele' between 1782 and 1794; choruses to the tragedy Lanassa, symphonies and string quartets. His Singspiele bore some resemblance to Benda's style, and the instrumental music to that of Haydn. E. v. d. s.
11ANTONELLI (ANTINELLO), ABONDIO DI FABRICA (b. ? latter part of 16th cent.; d. after 1647). From 1608-9 he was maestro di cappella of St. John Lateran, Rome; from c. 1614-15 he filled the same position at the cathedral of Benevent; and after that at St. Lorenzo and St. Damaso at Rome, where he is mentioned by Florido in 1647. He wrote masses, motets and various church music, as well as madrigals. E. v. d. s.
13ANTONI, ANTONIO D' (b. Palermo, June 25, 1801; d. after 1870). Both his father and his grandfather were conductors and composers, and under their tuition Antonio made such progress that at the age of twelve he conducted a Mass of his own composition for St. Cecilia's Day. In 1817 he became director of the Palermo Theatre, where he produced a ballet and his first opera. After travelling about in Italy, France and England, he met Meyerbeer at Trieste, from whom he received great encouragement and under whose supervision he wrote 'Arminia ossia l' orfanella di Ginevra,' which met with such success that it was believed to be Meyerbeer's. This was followed by several other equally successful operas in which the famous singers Giuditta Grisi, Pisaroni and others appeared. He settled in Trieste, where on Apr. 23, 1851, he founded the Academia Filarmonica and did much to further the musical progress of Trieste. E. v. d. s.
15ANTONIJ, Pietro degli (b. Bologna, c. 1645; d. circa 1720), maestro di cappella at various churches of Bologna, president of the Accademie of the Filaschisi (1676), and Filarmonici (1718). He wrote 2 books of masses for two sopranos with basso continuo, 1 book of motets, 1 book of chamber cantatas, 3 oratorios, 3 operas, organ pieces, church sonatas for violin with basso continuo, op. 5, and 2 books of gighe, correnti, etc. E. v. d. s.
17ANTONIOTTO, GIORGIO (b. Milan, c. 1692; d. there, c. 1776). He appears to have been in London between 1760 and 1770, where his L'arte armonica, or a treatise on the composition of music in 3 books, translated by Johnson, appeared in 1760. He composed also 12 sonatas, the first 5 for violoncello and bass.
19ANTONIUS DE CIVITATE, composer of the early 15th century. Several church compositions in the Liceo Museum and the University Library of Bologna date from 1423. A MS. in the Bodl. Lib., which contains secular songs, describes him as an Austrian and a Dominican friar (ordinis predicatorum).
21ANVIL. Small steel bars struck with a hard wooden or metal beater to represent the sounds of a blacksmith's forge have been employed by Verdi ('Il Trovatore'), Berlioz ('Benvenuto
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