Scan 151
Groves Dictionary Of Music And Musicians,vol.1 Ed.3, 1904
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1servatorium in 1882. From 1889-93 Arensky was a member of the Council of the Synodal School of Church Music at Moscow, and for seven years conductor of the concerts of the Russian Choral Society. In 1894 he was recommended by Balakirev for the directorship of the Imperial Chapel at St. Petersburg. In this post he was succeeded by Smolensky in 1901. Arensky's first opera, 'A Dream on the Volga,' was given at Moscow in 1890, with great success. The subject, taken from a play by Ostrovsky, is identical with Tchaikovsky's 'Voyevoda.' In this work Arensky makes considerable use of folk-tunes, which he harmonises and develops most effectively. His operatic style is a compromise between the declamatory and the melodic. A second opera, in one act, 'Raphael,' was composed for the first Congress of Russian Artists held at St. Petersburg, Apr. 1894. A third opera, 'Nal and Damayanti,' was completed in 1899. Both in style and temperament Arensky shows considerable affinity to Tchaikovsky. He is best known in England by his songs and piano pieces, but more especially by his pianoforte trio in D minor (op. 32), a work full of sincere, elegiac feeling, dedicated to the memory of the great violoncellist, Charles Davidov. As a composer of sacred music Arensky inclines to a florid and cosmopolitan rather than to the strictly ecclesiastical style. Subjoined is a list of his principal works:
3OPERAS, CANTATAS, VOCAL MUSIC
41. A Dream on the Volga. Moscow 1892 (op. 16).
52. Raphael. Opera in one act. St. Petersburg, 1894 (op. 37).
63. Nal and Damayanti. Opera in one act, 1899.
74. Cantata for solo, chorus, and orchestra. Composed for the tenth anniversary of the Coronation (op. 25).
85. The Fountain of Bakhchisarai (poem by Poushkin). Cantata for solo, chorus, and orchestra (op. 49).
96. The Wolves, for bass voice and orchestra (op. 59).
107. The Diver, for solo, chorus, and orchestra (op. 61).
118. Songs (op. 6, 10, 17, 21, 27, 38, 44, 49).
129. Chorus for mixed voices, a cappella, 'Anchar' (op. 14).
1310. Vocal duets (op. 29, 45).
14A considerable quantity of church music.
16INSTRUMENTAL MUSIC
171. Pianoforte Concerto (op. 21).
182. Symphony, B minor (op. 4).
193. Symphony, A minor (op. 22).
204. Two string Quartets, G major and A minor (op. 11 and 35).
215. Intermezzo for string orchestra (op. 13).
226. Pianoforte Trio, D minor (op. 32).
237. Fantasia on Russian folk-songs, for Pf. and orchestra (op. 48).
248. Ballet 'Egyptian Night' (op. 50).
259. Pianoforte Quintet, D major (op. 51).
2610. Concerto for violin and orchestra in A minor (op. 54).
2711. About 100 pieces for piano, including three suites for two pianos, and six pieces for four hands.
29THEORETICAL
301. Guide to the Practical Study of Harmony (German ed. 1900).
312. Guide to the Study of Form, in Vocal and Instrumental Music.
33R. N.
35ARESTI (ARRESTI), FLORIANO (b. Bologna, late 17th cent.; d. there, c. 1719), organist at S. Petronio, and member of the Philharmonic Academy. Fétis mentions 5 of his operas written between 1710 and 1716 for Ferrara, Bologna and Venice. Of 2 organ sonatas in a book published in 1700 it is uncertain whether they are by Floriano, or Giulio Cesare. Some canons a 3 v. and songs of Floriano are preserved in MS. (Eitner).
37ARESTI DI BOLOGNA, see ARRESTI, G. C.
39ARETINO, GUIDO, see GUIDO D'AREZZO.
40AREZZO, GUIDO D', see GUIDO D'AREZZO.
41ARGHOOOL, a wind instrument still used in Egypt, the primitive type of the CHALUMEAU (q.v.), and therefore of the modern CLARINET (q.v.). (See PLATE LXXV. No. 2.)
42ARGIES, GAUTHIER D', of the house of Argies in Picardy, a 13th-century troubadour of whom 21 chansons with their melodies are in the Paris National Library. E. v. d. s.
43ARGYLL ROOMS. At the beginning of the 19th century there stood in Argyll Street, Oxford Street, a mansion fitted up by Col. Greville for the meetings of a fashionable association termed the Pic-Nics, who had burlettas, vaudevilles and ballets on a small scale performed there. But the fashionable folk soon deserted the place, and Greville was compelled to seek refuge on the continent, having made over 'The Argyll Rooms' (as he had named them) to one of his creditors, one Slade, who conducted the business of the rooms for several years, letting them for concerts and other entertainments. During his management one of the events of interest which occurred there was a reading by Mrs. Siddons, on Feb. 10, 1813, of Shakespeare's Macbeth, for the benefit of the widow of Andrew Cherry, dramatist and actor. In the same year the rooms acquired greater celebrity by being selected by the then newly formed PHILHARMONIC SOCIETY as their place of performance. In 1818 the western end of the concert-room falling within the line required for the formation of Regent Street, Slade was awarded by a jury £23,000 as compensation (a sum considered at the time as far beyond the real value of the property), and the whole of the old building was removed and new rooms erected on the east side of Regent Street at the north-west corner of Little Argyll Street, now 246 Regent Street. The new building was designed by John Nash, and had all the defects of his manner. On the side next Regent Street was a balcony supported by eight heavy and clumsily designed caryatides. The persons by whom the new rooms were erected were 21 of the principal professors of music in London, who had formed themselves into an association for the purpose of printing the best music in the best manner, and selling it at a moderate profit. This association, called THE ROYAL HARMONIC INSTITUTION, occupied the south-western angle of the new building (at the corner of Regent Street and Argyll Place), a circular-fronted erection with a domed roof. The great expense incurred in the erection of the building, joined to other untoward events, soon led to the withdrawal of most of the original speculators, at a loss of about £1800 to each, and the place eventually fell into the hands of two of their body, Welsh and Hawes. After some differences between these two, the concern remained in the hands of Welsh alone.
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