Scan 146
Groves Dictionary Of Music And Musicians,vol.1 Ed.3, 1904
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11. Written. 2. 3.
3Played.
5The double appoggiatura is 'sometimes, though rarely, met with in an inverted form (Ex. 4), and Emanuel Bach mentions another exceptional kind, in which the first of the two small notes is dotted, and receives the whole accent, while the principal note becomes as short as the second of the two small notes (Ex. 5).
74. 5.
9The dotted double appoggiatura, written as above, is of very rare occurrence. F. T.
11APRILE, GIUSEPPE (b. Bisceglia, Apulia, Oct. 29, 1738; d. 1814), an eminent contralto singer; was educated at the Conservatorio of 'La Pietà' at Naples, and from 1763 sang in all the principal theatres of Italy and Germany. Dr. Burney heard him at Naples in 1770 and says that he had a weak and unequal voice, but was perfectly in tune, had an excellent shake, and great taste and expression. He was an excellent teacher of singing, and was one of Cimarosa's masters. He composed songs, but his best work was a system of solfeggi (London and Paris), which passed through many editions. It is included in Peters' edition. M. C. C.
13APTHORP, WILLIAM FOSTER (b. Boston, Mass., U.S.A., Oct. 24, 1848; d. Vevey, Switzerland, Feb. 19, 1913), an American critic and writer on music. He graduated from Harvard College in 1869, where he studied musical theory under J. K. Paine. After brief service on the staffs of other newspapers he became musical critic of the Boston Transcript, in which capacity he exercised a large influence. He retained this post till 1903, when he retired and went to Switzerland. From 1892-1901 he edited the programme books of the Boston Symphony Orchestra, giving them a value and individual character that have since been maintained by Philip Hale. He published Musicians and Music Lovers (1894); By the Way about Music and Musicians (1898); The Opera, Past and Present (1901); and several translations. He was editor, with John Denison Champlin, of Scribner's Cyclopædia of Music and Musicians, 3 volumes (1888-90). R. A.
15ARANAZ
17A PUNTA D'ARCO (Ital.), 'with the point of the bow,' used in violin music.
19AQUILA, MARCO DA L', a 15th/16th-century lutenist, probably from Aquila in the kingdom of Naples. He settled in Venice, where in 1505 he was granted a privilege for printing lute pieces, which he seems never to have exercised. In Francesco Milano's Intabolatura (Vinegia, 1536) he is mentioned as an eminent lutenist. The Munich Library has in a MS. lute-book of 1568 (MS. 266) 25 lute pieces, signed simply 'Maestro Marco.' Three dances signed 'Marx von Aquila' are in Gerle 1552b, and one movement is in Casteliono's Intabolatura, 1536, and also in Phalèse's Hortus musicus, 1552.
21E. v. d. s.
23AQUIN, LOUIS CLAUDE and PHILIPPE LOUIS, see DAQUIN.
25ARABESQUE, originally an architectura term applied to ornamentation in the Arabic style, whence its name. (1) The title was given, for what reason is not very clear, by Schumann to one of his pianoforte pieces (op. 18), which is written in a form bearing some analogy to that of the rondo, and it has been since used with increasing frequency by other writers for the piano as a description of style. (2) The word is sometimes used by writers on music to express the ornamentation of a theme
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29ARABIA, see MUHAMMEDAN MUSIC.
31ARAJA, FRANCESCO (b. Naples, c. 1700; d. there, c. 1770), a figure of some importance in the history of Russian opera. He was maestro di cappella at St. Petersburg from about 1734-1759, and visited Russia again in 1761. Fétis and Clément enumerate 11 operas, all but two produced in Russia. One of them was the first opera ever performed in the Russian language. This was a setting of the favourite subject, 'La clemenza di Tito,' provided with a Russian text by F. G. Volkov and produced in 1751. 'Cephalus and Procris' followed in 1755, and it is recorded that for this work the company engaged consisted entirely of Russian singers. Riemann mentions an earlier work, 'Berenice,' given in Florence in 1730. A Christmas oratorio was written for Bologna, and Araja contributed to a pasticcio on the subject of Orpheus, with Vinci and Porpora, the songs from which were published by Walsh. Separate songs and harpsichord pieces in MS. are mentioned in Q.-L. A detailed account of Araja at the Russian court is contained in The Russian Opera by Rosa Newmarch.
33M., with addns.
35ARANAZ, PEDRO (b. Tudela, 1742; d. Cuenca, 1821), a Spanish priest and composer who was first a choir-boy in the cathedral of El Pilar at Saragossa, and afterwards maestro de capilla there (1766), Zamora (1768) and at Cuenca (1769), where he remained for the rest of his life. Though capable of writing in a
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