Scan 149
Groves Dictionary Of Music And Musicians,vol.1 Ed.3, 1904
39 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1ARCA MUSARITHMICA
2edited by Sir Henry Bishop, printed in Mus. T. (No. 183) and transcribed by Liszt, is spurious. A Pater Noster for 8 voices is given by Commer, 'Collectio,' vii. 21. J. R. S.-B.; with addns., M.
4ARCA MUSARITHMICA, a mechanical device for composing music, described and illustrated by Athanasius Kircher in his Musurgia universalis, Rome, 1660 (vol. ii. p. 185). The box (arca) contains wooden slides (virgae) on which are written numbers corresponding with the tones of the musical scale together with musical signs of time and rhythm. By various combinations of the slides vocal music in 4 parts can be composed in all the classic metres and modes, and so infinite are the permutations that, according to the author, if an angel had begun to combine the numbers at the beginning of the world, he would not have finished to-day. Knowing the difficulties Samuel Pepys experienced in 'setting his base' it is interesting to find that he possessed such a 'composition box' and it is preserved in the Pepys Library at Magdalene College, Cambridge. F. W. G.
6ARCHAMBEAU, Iwan d' (b. Hervé, Belgium, 1879), violoncellist in the Flonzaley Quartet (q.v.), which he joined in 1903. He studied at the Conservatoires of Verviers and Brussels, and in Frankfort, Germany.
8W. W. C.
10ARCHED-VIOL, a sostinente keyboard instrument seen by Samuel Pepys at a music meeting at the Post Office, London, on Oct. 5, 1664. According to his description in the Diary it was strung with gut strings which were pressed by the keys on a moving strip of parchment. He stayed three hours for the instrument to be fixed in tune, but without any result. 'It is intended,' he writes, 'to resemble several vyalles played on with one bow, but so basely and harshly that it will never do.' (See SOSTINENTE PIANOFORTE.) F. W. G.
12ARCHER, FREDERICK (b. Oxford, June 16, 1838; d. Pittsburg, U.S.A., Oct. 22, 1901), made a reputation in England and America as an organist and conductor.
14In early life he was chorister at All Saints', Margaret Street, London. He became organist of Merton College, Oxford, and in 1873 was appointed to the Alexandra Palace. On the resignation of Weist-Hill he became conductor of that establishment, which post he held until 1880. He was also conductor (1878-80) of the Glasgow Select Choir, and director of a provincial opera company. In 1881 he became organist at the Rev. Henry Ward Beecher's church at Brooklyn, U.S.A., and later of the Church of the Incarnation, New York. He founded and edited the Keynote in 1885; in 1887 became conductor of the Boston Oratorio Society, and conducted the Pittsburg Orchestra, 1895-98. His connexion with Pittsburg began with the opening of the Carnegie Library and Music Hall on Nov. 7, 1895, when he gave the first free organ recital. These recitals on Saturday evenings and Sunday afternoons were continued until his death. He was also organist of the Church of the Ascension and musical examiner to the University of Toronto. Archer composed many works for the organ, pianoforte pieces, songs, etc., besides a cantata, 'King Witlaf's Drinking-Horn'; and wrote two works, The Organ, a theoretical and practical treatise (Novello & Co.), and The College Organist (Weekes & Co.).
16A. c.; addns. from Amer. Supp.
18ARCHIVES DES MAITRES DE L'ORGUE (15 years, 10 vols.), a valuable collection of music, chiefly devoted to the French organ school of the 17th and 18th centuries, edited by Alexander Guilmant, with biographical introductions by A. Pirro.
20Vol. 1. J. Titelouze, 'Oeuvres complètes.'
21Vol. 2. A. Raison, 'Livre d'orgue.'
22Vol. 3. T. Robertday, 'Fugues et caprices'; L. Marchand, 'Pièces choisies'; L. N. Clerambault, Du Mage: 'Livres d'orgue'; L. C. d'Aquin (Daquin), 'Livre de notte.'
23Vol. 4. N. Gigault, 'Livre de musique.'
24Vol. 5. N. de Grigny, 'Livre d'orgue'; F. Couperin (de Crouilly), L. Marchand, 'Pièces d'orgue.'
25Vol. 6. J. Boytin, 'Oeuvres complètes.'
26Vol. 7. F. Dandrieu, 'Livre d'orgue'; Guilain, 'Pièces d'orgue pour le Magnificat.'
27Vol. 8. Seb. Anton Scherer, 'Oeuvres.'
28Vol. 9. N. Le Bègue, 'Oeuvres.'
29Vol. 10. 'Liber fratrum Cruciferorum Leodensium' (pieces by A. Gabrieli, Pietro Philipli, J. P. Sweelinck, Cl. Merulo, unknown masters, Fr. Scronz, W. Brouno, P. Cornet, F. Fontana, G. M. Casini). one of two readings
30Vol. 10. 'Liber fratrium Cruciferorum Leodensium' (pieces by A. Gabrieli, Pietro Philipli, J. P. Sweelinck, C.L. Merulo, unknown masters, Fr. Scronz, W. Brouno, P. Cornet, F. Fontana, G. M. Casini). one of two readings
32M. L. P.
34ARCHLUTE (Fr. archiluth; Ital. arciliuto), a large theorbo or double-neck lute, large especially in the dimensions of the body, and more than 4 ft. high (see PLATE XLV. No. 5) The double neck contains two sets of tuning-pegs. The lower pegbox is for catgut, or sometimes wire, strings in pairs stretched over the fretted fingerboard, and tuned, according to Praetorius (Syntagma musicum, 1618),
36The upper pegbox is for single strings, open notes, or diapasons (read an octave lower),
38Praetorius gives eight notes for the diapasons, ending at the low D, which leaves eight double or single strings upon the fingerboard. This notation is for his Cammerton, which he says was usual; for his Chorton, rather lower than the modern French pitch, the notation must be transposed a whole tone higher. He calls this variety of bass lute, the Paduan Theorbo, the longer chitarrone being identical with the Roman. There are references to the Archlute in Mersenne (Harmonie universelle, 1636) and Kircher (Musurgia, 1650), but not being named in Luscinius (1536) it may be assumed to be of later introduction than that date. It was used in the 17th century in common with the chitarrone and violone (bass viol) for the lowest part
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