Scan 164
Groves Dictionary Of Music And Musicians,vol.1 Ed.3, 1904
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1the correct rendering of such chords is as follows (Ex. 15):
315.
5Another instance, where it is of great importance to observe the difference between the arpeggio and the plain chord, is in Brahms's intermezzo in F, op. 116, No. 4.
7A distinction is, or ought to be, made between the long arpeggio mark joining both staves, and a separate arpeggio mark for each stave:
91d. Played. Played.
11ARPEGGIONE, or GUITAR VIOLONCELLO, a stringed instrument, played with a bow, which was invented by G. Stauffer, of Vienna, in 1823, but appears never to have come much into use, and whose very name would probably now be unknown, if it were not for an interesting sonata (in A) for pianoforte and arpeggione by Franz Schubert, written in 1824, published in series 8 of the complete edition. (See PLATE LXXXVIII. No. 3.)
13The arpeggione appears to have been of the size of the viola da gamba, or a small violoncello; the shape of the body something like that of the guitar. The finger-board had frets, and the 6 strings were tuned thus:
15An instruction-book for the arpeggione by Vinc. Schuster, the player for whom Schubert wrote his sonata, has been published by A. Diabelli of Vienna. (See VIOLIN FAMILY, 13.) P. D.
17ARPICORDO, see HARPSICHORD.
19ARQUIMBAU, DOMINGO (d. Seville, 1829), a Spanish church musician, musical director of Seville Cathedral from 1795 until 1829. He is said to have been in England and to have received the degree of Mus. D. His works, which were sung down to recent times, include a 'Gran Misa' with orchestra; a number of motets and sparkling villancicos (with Spanish words) for Christmas and the Feast of the Conception.
21J. B. T.
23ARRANGEMENT, or ADAPTATION, is the musical counterpart of literary translation. Voices or instruments are as languages by which the thoughts or emotions of composers are made known to the world; and the object of arrangement is to make that which was written in one musical language intelligible in another.
25The functions of the arranger and translator are similar; for instruments, like languages, are characterised by peculiar idioms and special aptitudes and deficiencies which call for critical ability and knowledge of corresponding modes of expression in dealing with them. But more than all, the most indispensable quality to both is a capacity to understand the work they have to deal with. For it is not enough to put note for note or word for word or even to find corresponding idioms. The meanings and values of words and notes are variable with their relative positions, and the choice of them demands appreciation of the work generally, as well as of the details of the materials of which it is composed. It demands, in fact, a certain correspondence of feeling with the original author in the mind of the arranger or translator. Authors have often been fortunate in having other great authors for their translators, but few have written their own works in more languages than one. Music has had the advantage of not only having arrangements by the greatest masters, but arrangements by them of their own works. Such cases ought to be the highest order of their kind, and if there are any things worth noting in the comparison between arrangements and originals they ought to be found there.
27COMPOSERS' METHODS.—The first arrangements which have any great artistic value are Bach's. At the time when his attention was first strongly attracted to Italian instrumental music by the principles of form which their composers had originated, and worked with great skill, he arranged 16 violin concertos of Vivaldi's for the clavier solo, and three of the same and a first movement for the organ. Bach's concerto for 4 harpsichords in A minor is an adaptation of a work of Vivaldi's for 4 violins in B minor, given in the appendix to B.-G. vol. xliii. Vivaldi's concertos are excellent in form, but his ideas are frequently crude and unsatisfactory, and their treatment is often thin and weak. Bach's object being to have good illustrations of beauty of form rather than of substance, he did not hesitate to alter the details of figures, rhythms and melodies, and even successions of keys, to amplify cadences, and add inner parts, till the whole is transformed into a Bach-commentary on the form-principles of the Italians rather than an arrangement in the ordinary meaning of the term. It is not, however, an instance to justify arrangers in like
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