Scan 148
Groves Dictionary Of Music And Musicians,vol.1 Ed.3, 1904
18 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1L'Allemande.
2Branles—Double, Simple, Gay, de Bourgogne, du Hault Barrois.
3Branles coupés — 'Cassandre'; 'Pinagay'; 'Charlotte'; de la Guerre; 'Ariadn.'
4Branles de Poictou; d'Escosse; de Bretagne (Trilory); de Malte; des Lavandieres; des Pols; des Hermites; du Chandeller; de la Torche; des Sabots; des Chevaux; de la Montarde; de la Haye; de l'Official.
5Gavotte.
6Morisque.
7Canaries.
8Pavane d'Espagne.
9Bouffons, or Mattachins.
11W. B. S., with addns.
13ARBÓS, E. FERNANDEZ (b. Madrid, Dec. 25, 1863), violinist and conductor of repute.
14He comes of a family of military bandmasters. Brought up in Galicia, he was entered at the Conservatoire of Madrid at an early age, under Monasterio, the eminent violinist. Through his master he gained the patronage of the Spanish Royal family; he was at the Brussels Conservatoire for 4 years, studying the violin with Vieuxtemps, and composition with Gevaert. He became Joachim's pupil for 3 more years and for some time he was leader of the Berlin Philharmonic Society. On the completion of his studies, Arbós played in all the principal towns of Germany, and after a tour through France, Holland, Belgium, Portugal and Poland, he accepted the position of professor of the violin at the Hamburg Conservatorium, but only held it for a short time, returning to Madrid at the request of the Queen of Spain, to fill the post of principal professor of his instrument in the Conservatoire where his education had begun. In 1890 he visited London (he had previously led the Glasgow Orchestra, under Manns, for a whole winter), and appeared in Jan. 1891 at four concerts given by Señor Albeniz, and subsequently at the Popular Concert of Mar. 9, where he played a duet and Bach's double concerto with Joachim. In all his work as a violinist he has shown the highest and most artistic aims, but his work as a teacher has been even more important. His wide experience of continental schools of music served him in good stead on his appointment as professor of the violin at the R.C.M., a post which he held with distinction from 1894 until 1916. During his London period Arbós's career as an orchestral conductor developed considerably. In 1904 he became conductor to the Symphony Orchestra of Madrid, and his numerous concerts there are held to have had important effect in stimulating Spanish taste for symphonic music. He visited America and conducted the Boston Symphony Orchestra with success. He also toured widely in Europe conducting concerts in Paris, Rome and Petrograd. Since his retirement from London, Madrid has been his headquarters. In his own compositions he excels in work of a lighter vein; his violin pieces, with orchestral accompaniment, are excessively difficult, but most effective, and in these, as well as in his comic opera, 'El centro de la tierra' (produced at Madrid, Dec. 22, 1895), the characteristics of national Spanish music are employed with the happiest effect. He has also written 3 trios for piano and strings, as well as songs. An orchestral suite is still in MS., as well as brilliant transcriptions for orchestra of some numbers from Albeniz's suite, 'Iberia.'
16ARCADELT, JACOB (b. circa 1514; d. circa 1575), one of the most prominent among the distinguished band of Netherland musicians who taught in Italy in the 16th century, and saw the fruit of their labours in the foundation of the great Italian school. (See MADRIGAL.)
17Born in the Netherlands, he was a singer at the court of Florence before 1539, in which year he was singing-master to the boys at St. Peter's, Rome, and was admitted to the college of papal singers in 1540, remaining there till 1549. Many masses and motets of Arcadelt are among the manuscripts of the Papal Chapel, but those of his works which were published during his life in Rome were entirely secular, and consisted chiefly of the famous madrigals which placed him at the head of the so-called 'Venetian school' of madrigal writing. Five books of 4-part madrigals, each containing 40 or 50 separate numbers, were printed in Venice, the three first originally before 1539, when the earliest existing editions appeared with words implying that the contents had appeared before. In that year the fourth book seems to have appeared for the first time, and the fifth in 1544. Many editions of these were published with great rapidity. An excellent copy of the first four books is in the library of the British Museum, and in the same library may be found a few of the many collections of madrigals which contain compositions by Arcadelt. The first book of the 3-part madrigals was printed in Venice, 1542, together with 12 French chansons and 6 motets. The chansons, with the addition of several others, were reprinted in Paris by Ballard in 1573. In the year 1555 he entered the service of Cardinal Charles of Lorraine, Duke of Guise, and went with him to Paris, where he probably ended his life. The results of the latest researches will be found in the M.f.M., xv. 142, and xix. 121; also in the Vierteljahrsschrift, iii. 234, etc. In Paris 3 books of his masses were published in 1557, and other sacred works appear in collections printed after he left Italy. It seems probable, therefore, that he devoted this second or Parisian period of his life to church composition, but it is as a madrigal writer that his name is most celebrated. Burney gives one, 'Il bianco et dolce cigno' in his General History, iii. 303; and two to Michel Angelo's words 'Deh dimm' Amor,' and 'Io dico che fra voi,' will be found in Gotti's 'Vita di M.' (1875). An Ave Maria,
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