Scan 147
Groves Dictionary Of Music And Musicians,vol.1 Ed.3, 1904
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1ARANDA
3severe polyphonic style, he was too much a man of his age not to prefer church music with an orchestral accompaniment. MSS. of his works are to be found at Cuenca, in the Escurial, Saragossa, Toledo, and in various churches of Spain; secular Tonadillas (q.v.) by him are preserved in the Biblioteca Municipal at Madrid. Eslava has published in his 'Lira sacro-Hispana' an 'Offertorium' for 5 voices and a 'Laudate Dominum' a 6, with strings, horns and organ, while offertories for Lent for 4 voices, and two Villancicos (q.v.) for Christmas were reprinted in 'Biblioteca sacro-musical' (Bilbao), vol. i., 1911. M. C. C.; rev. J. B. T.
5ARANDA, LUIS DE (b. Seville; d. Narbonne, before 1660), a Spanish organist, greatly esteemed by Louis XIII. (see Riemann-Festschrift, Remarques de quelques voyageurs sur la musique en Allemagne et dans les pays du nord de 1634 à 1700, A. Pirro). J. B. T.
7ARANDA, MATHEO DE (d. Coimbra, 1548), a Spanish church musician established in Portugal, and choirmaster at Coimbra. His works include a 'Tractado de canto llano y contrapunto' (Lisbon, 1533) and 'Tractado de canto mensurabile y contrapunto' (Lisbon, 1535). J. B. T.
9ARANIES, JUAN (b. Alcalá de Henares?; d. after 1624), Spanish composer of secular music, who was chaplain and maestro de capilla to the Spanish ambassador in Rome. His
11'Libro segundo de tonos y villancicos a una, dos, tres y cuatro voces, con la cifra de la guitarra española a la usanza romana'
13was published at Rome in 1624. It contains 23 compositions to Spanish words, printed in score with tablature for the guitar. J. B. T.
15ARANYI, (1) ADELA D' (b. Feb. 1888), violinist, and a favourite pupil of her great uncle, Joachim, whose classical proclivities she inherits. She plays upon a Strad violin, 1715, formerly belonging to Joachim, with whom she frequently played duets in public. She married Alexander Fachiri and has adopted her married name for professional purposes.
17(2) JELLY D' (b. Buda Pest, May 3, 1895), sister of the above, started as a pianist, but as early as 1903 began the study of the violin under Jeno Hubay at the Royal Academy of Buda Pest, where the curriculum included some ensemble playing under Popper. At the age of 14 she left the school, developing afterwards individual characteristics to which a measure of general culture contributed more than is always the case among musicians. Her first appearance was in Vienna, 1909, and in the same year she made a European tour, which included a visit to London where she settled (1923).
19She touches the whole literature of the violin, but owing to her fiery, temperamental style is sought after as an interpreter of music of the romantic school. She is associated with the introduction of several modern works to English audiences, including the two sonatas for piano-forte and violin, written for her by her compatriot, Béla Bartók, and the duo sonata for violin and violoncello by Ravel. W. W. C.
21ARBEAU, THOINOT (b. Dijon, 1519; d. Langres, 1595), priest of Langres. His real name was Jehan Tabourot, of which the above is an anagram. He was the author of a remarkable book, entitled Orchésographie et traité en forme de dialogue par lequel toutes personnes peuvent facilement apprendre et pratiquer l'honnête exercice des danses (Langres: Jehan des Preys, 1589). The Privilegium is dated Nov. 22, 1588, and the work was reprinted at Langres in 1596 with a somewhat different title. A translation into German by A. Czerwinski was published at Dantzig in a limited edition, 1878, and a new edition, with a preface by Laure Fonta, appeared at Paris in 1888. The author, of whom nothing further is known except that he was the uncle of the poet Étienne Tabourot (1549-90), Seigneur des Accords (sometimes called 'the Burgundian Rabelais'), and that besides the Orchésographie he wrote an equally rare Shepherd's Calendar in dialogue.1
23The Orchésographie is a particularly valuable work, as it is the earliest treatise on dancing extant which contains the notation of the different dance tunes. There are nearly 50 French dance tunes, but in only one case are words fitted to a melody. Written in the form of a dialogue between Thoinot Arbeau and Capriol (a lawyer who finds that the art of dancing is a necessary accomplishment in his profession), the work contains a review of dancing as practised by the ancients, directions for playing drums, fifes, oboes, etc., as well as minute descriptions of the manner of dancing Basse Dances. The book is illustrated with curious woodcuts, representing the different steps to be executed in the dances, and contains music for fifes and drums, as well as for the following dances, several of which may be found in the present work (see BRANLE, CANARIE, GALLIARD, GAVOTTE, MATASSINS, MORRIS DANCE, PAVAN, TOURDION, "TRIHORIS, VOLTE"):
25Pavanes.
26Tourdions.
27Gaillardes—'La traditore my fa morire'; 'Antholnette'; 'Baisons nous belle'; 'Si j'ayme ou non'; 'La fatigue'; 'La Milannolse'; 'J'aymerols mieulx dormir seulette'; 'L'ennuy qui me tourmente.'
28La Volte.
29La Courante.
311 The information given above is taken from the Abbé Papillon's Bibliothèque des auteurs de Bourgogne. Czerwinski (Geschichte der Tanzkunst), without naming his authorities, gives the following additional particulars. He says that Jehan Tabourot was the son of Étienne Tabourot, a lawyer of Dijon, and from his childhood showed a great inclination for dancing, which he had learned at Poitiers. It was originally intended that he should follow his father's profession, but being attacked by a severe illness, his mother vowed that if he recovered he should become a priest. He was accordingly ordained in 1530, and was made canon of Langres in 1574.
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