Scan 150
Groves Dictionary Of Music And Musicians,vol.1 Ed.3, 1904
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1in instrumental music and accompaniments, particularly in combination with the clavicembalo for the support of the recitative. Early editions of Corelli's Sonatas had for the bass the violone or arciliuto, and Handel also employed the archlute in 'Giulio Cesare,' 1723. The sound-board, pierced with from one to three ornamental sound-holes, was of spruce, and the vaulted back was built up of strips of spruce or cedar glued together. The frets adjusted along the neck to fix the intervals were of wire or catgut, examples differing. A wealth of ornament was bestowed upon the necks and backs of these beautiful instruments, in common with other varieties of the lute and either. The chitarrone had a smaller body and much longer neck, and differs so much as to require separate description. In the photographs published by the Liceo Comunale di Musica of Bologna, the application of the names archlute and chitarrone is reversed (see Chitarrone; Lute; Theorbo). Mahillon (Catalogue Musée Instrumentale, Brussels Conservatoire, 1880, p. 248) finds the definitions of Archlute and Theorbo so contradictory that he concludes them to be one and the same instrument.
3A. J. H.
5ARCO (Ital.), 'bow.' As a musical term 'arco' or 'col arco' is employed whenever after a pizzicato passage the bow is to be used again.
7P. D.
9ARDANAZ, PEDRO (d. Toledo, Dec. 11, 1706), a Spanish composer of church music, who was musical director at Toledo Cathedral from 1674 until 1706. Works by him are preserved in MS. in the Chapter Library at Toledo and in the musical archives of other Spanish cathedrals.
11J. B. T.
13ARDEMANIO, GIULIO CESARE (d. Milan, 1650), a famous 17th-century church composer and organist, maestro di cappella at the church della Scala and S. Fedele, Milan. A book of motets was published in 1616, 'Falsobordoni' (1618), 'musica a più voci' (Milan, 1628), and in various collective volumes (Eitner; Mendel).
15ARDITI, LUIGI (b. Crescentino, Piedmont, July 16, 1822; d. Hove, Brighton, May 1, 1903), composer and conductor. In the latter capacity he attained a considerable reputation in England and America.
17He was educated at the Conservatorio at Milan, and began his career as a violin-player. In 1840 he produced an overture, and in the Carnival of 1841 an opera 'I Briganti,' at the Conservatorio. In 1842 he followed these by a second overture and a 'Sovvenire di Donizetti.' He made his début as director of the opera at Vercelli in 1843, and was made honorary member of the Accademia Filarmonica there. In 1846 he left Italy with Bottesini for the Havannah, where he composed and produced an opera 'Il Corsaro.' He made frequent visits to New York, Boston and Philadelphia, and amongst other things conducted the opera at the opening of the Academy of Music in New York, and produced a new opera of his own, 'La Spia' (1856). The same year he left America for Constantinople, and finally settled in London in 1858 as conductor to Her Majesty's Theatre, under the successive managements of Lunley, E. T. Smith and Mapleson. Arditi took an Italian company (Piccolomini, Giuglini, etc.) on an artistic tour to Hamburg, Berlin, Dresden, etc., and thus became known and liked by the German public. In the winters of 1871 and 1873 he conducted the Italian Opera at St. Petersburg, and from 1870 he performed the same office each spring at Vienna. From 1874-77 he conducted the promenade concerts at Covent Garden, dividing his time between London and Vienna. In 1878 he conducted a two-months' season at Madrid. He returned to Her Majesty's Theatre for the season of 1880, the year of the production of 'Mefistofele.' He was connected about the same time with various operatic tours in America organised by Mapleson. In 1885 he was at Covent Garden, and after conducting several provincial tours under Harris, was engaged for the season of 1889. In 1891 he conducted the season of opera at the Shaftesbury Theatre, during which Lago produced 'Cavalleria Rusticana.' In 1892, under the same management at the Olympic Theatre, Arditi was principal conductor, and after a tour with the Carl Rosa Company in 1894, he was engaged for the run of 'Hänsel und Gretel' at Daly's Theatre. His compositions, besides those mentioned above, comprise a 'Commemoration Ode,' performed at the Crystal Palace, June 10, 1873. His vocal waltz 'Il Bacio' was a universal favourite. His My Reminiscences was edited and compiled with an introduction by the Baroness von Zedlitz (New York, 1896). G.
19AREDESI (ARDASI, ARTHESI), (1) CARLO, of Cremona, chamber musician at the Bohemian court at Prague c. 1582-1612. His '1° lib. de madrigali' a 4 v. was published by Vincenti at Venice in 1597, and contains also 4 madrigals by (2) Giov. PAOLO. Another chamber musician, (3) ALBERTO (d. May 30, 1580), also of Cremona, was at the Viennese court from Nov. 1, 1566, to the time of his death.
21E. v. d. s.
23AREN SKY, ANTONY STEPANOVICH (b. Novgorod, July 31, 1861; d. Finland, Mar. 11, 1906), an eminent Russian composer.
25He inherited musical talent from both parents; his father, a doctor, played the violoncello, and his mother was an excellent pianist. He studied harmony and composition first with Zikke, and afterwards (1879-82) with Rimsky-Korsakov at the St. Petersburg Conservatorium. Having finished his course with honours, he was appointed professor of harmony and counterpoint at the Moscow Con-
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