Scan 79
Groves Dictionary Of Music And Musicians,vol.1 Ed.3, 1904
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1ADELBOLDUS
3instrumentation is changed or added to, but that the form and character of the passage itself are altered.'
5Conductors about to produce a work by Handel should at least do what conductors of Bach may be generally relied on to do, and that is examine Handel's own score as reproduced in the German Handel Society's Edition, before having recourse to an arrangement with additional accompaniments. If this is done there will be an increasing tendency gradually to purify the tradition of performance by expunging the worst errors of the arrangements.
7The following list compiled from the catalogue of Messrs. Novello & Co. is added to give information as to the most accessible material available for those who require additional accompaniments to Handel's works:
9<table>
10 <tr>
11 <th>Work</th>
12 <th>Add. Acc. by</th>
13 <th>Full Score</th>
14 </tr>
15 <tr>
16 <td>Acis and Galatea</td>
17 <td>Mozart</td>
18 <td>Publ.</td>
19 </tr>
20 <tr>
21 <td>Alexander's Feast</td>
22 <td>Mendelssohn</td>
23 <td>MS.</td>
24 </tr>
25 <tr>
26 <td>Chandos Anthems</td>
27 <td>Silva & Battison Hayes</td>
28 <td></td>
29 </tr>
30 <tr>
31 <td>Coronation Anthems</td>
32 <td>"</td>
33 <td>"</td>
34 </tr>
35 <tr>
36 <td>Deborah</td>
37 <td>Costa</td>
38 <td>MS.</td>
39 </tr>
40 <tr>
41 <td>Dettingen Te Deum</td>
42 <td>Mendelssohn</td>
43 <td>MS.</td>
44 </tr>
45 <tr>
46 <td>Israel in Egypt</td>
47 <td>Macfarren</td>
48 <td>MS.</td>
49 </tr>
50 <tr>
51 <td>Jephtha</td>
52 <td>Sullivan</td>
53 <td>"</td>
54 </tr>
55 <tr>
56 <td>Joshua</td>
57 <td>Prout</td>
58 <td>"</td>
59 </tr>
60 <tr>
61 <td>Judas Maccabaeus</td>
62 <td>Vincent Novello</td>
63 <td>"</td>
64 </tr>
65 <tr>
66 <td>L'Allegro, etc.</td>
67 <td>Robert Franz</td>
68 <td>"</td>
69 </tr>
70 <tr>
71 <td>Messiah</td>
72 <td>Mozart, etc.</td>
73 <td>Publ.</td>
74 </tr>
75 <tr>
76 <td>"</td>
77 <td>Franz</td>
78 <td>"</td>
79 </tr>
80 <tr>
81 <td>"</td>
82 <td>Prout</td>
83 <td>"</td>
84 </tr>
85 <tr>
86 <td>Ode on St. Cecilia's Day</td>
87 <td>Mozart</td>
88 <td>MS.</td>
89 </tr>
90 <tr>
91 <td>Samson</td>
92 <td>Prout</td>
93 <td>Publ.</td>
94 </tr>
95 <tr>
96 <td>Saul</td>
97 <td>Prout</td>
98 <td>MS.</td>
99 </tr>
100 <tr>
101 <td>Solomon</td>
102 <td>Costa</td>
103 <td>"</td>
104 </tr>
105 <tr>
106 <td>Theodora</td>
107 <td>Ferdinand Hiller</td>
108 <td>"</td>
109 </tr>
110 <tr>
111 <td>Triumph of Time and Truth</td>
112 <td>Perry</td>
113 <td>"</td>
114 </tr>
115</table>
117N. B.—Costa's accompaniments, generally superseded now, are only mentioned where no other edition is available.
119ADELBOLDUS (b. near Liége, 10th cent.), became bishop of Utrecht, and chancellor of the Emperor Henry II. (d. Utrecht, Nov. 27, 1027). He wrote his Ars musica between 990 and 1003, reproduced in Gerbert, i. 303. The Liceo at Bologna has a copy: 'Musica Adelborti, ad Silvestrum Papam' from a codex at Tegernsee.
121E. v. d. s.
123ADELBURG, AUGUST RITTER von (b. Constantinople, 1833), eminent violin virtuoso. After receiving a good general education, he studied the violin under Mayseder at Vienna from 1850–54 and composition under various masters. He played at Vienna, toured in Europe with great success as violinist, and soon acquired also a name as composer of chamber music, especially by his string quartets, op. 16 to 19, and by his grand Hungarian national opera 'Zrinyi,' which was first produced and received with enthusiasm at Budapest in 1866, and was a favourite for many years.
125E. v. d. s.
127ADELPHI GLEE CLUB, see ABBEY GLEE CLUB.
129ADENEZ, troubadour and minstrel, known as 'ADAM LE ROY,' lived at the court of Henry III., Duke of Brabant (d. circa 1260), who had charged himself with his musical education. In a miniature in one of his romances in the Bibl. Nat., Paris (Supplém. du fond du roi, No. 428) he is represented as a viol-player (Fétis).
131ADHÉMAR, GUILLAUME (13th cent.), troubadour and jongleur. The Arsenal Library at Paris has 18 chansons of his with the melodies (Fétis).
133ADIMARI, LUIGI (b. Naples, Sept. 3, 1644; d. Florence, June 22, 1708), lyric and dramatic poet and composer; wrote, among other musical compositions, an opera, 'Roberto,' which achieved great popularity in Italy.
135E. v. d. s.
137ADLER, GUIDO (b. Eibenschütz in Moravia, Nov. 1, 1855), a distinguished writer on music, was educated at the academical Gymnasium, Vienna, and at the Conservatorium, where he was pupil of Bruckner and Dessoif. In 1874 he went to the university, and took part with Mottl and K. Wolf in the foundation of an 'Academische Wagnerverein'; he was appointed as a university teacher of musical science in 1881, and in 1882 was a representative of Austria at the international liturgical congress held at Arezzo. In 1884 he founded, in association with Chrysander and Spitta, the useful publication called Vierteljahresschrift für Musikwissenschaft, in 1885 was appointed professor of musical science at Prague, and in 1898 succeeded Hanslick in a similar professorship at Vienna. He edited (1892–93) the compositions of Ferdinand III., Leopold I. and Joseph I., and since 1894 has been editor-in-chief of the series of Denkmäler der Tonkunst in Österreich. For the volumes in this edition which he edited personally see Denkmäler.
139In 1924 Adler's Handbuch der Musikgeschichte appeared under his general editorship and contained contributions on the several periods of history by a number of learned authors. It is one of the most important publications of the day.
141His publications include:
143'Die musikalischen Autographen und revidierten Abschriften Beethoven's im Besitze von A. Artaria.' (1890.)
144'Richard Wagner.' (1904.) Trs. into French by L. Laloy.
145'Josef Haydn.' (Festval book, 1909.)
146'Der Still in der Musik.' (1912.)
147'Gustav Mahler.' (1916.)
148'Methode der Musikgeschichte.' (1919.)
150ADLGASSER, ANTON CAJETAN (b. Inzell, Bavaria, Apr. 3, 1728; d. Salzburg, Dec. 21, 1777), organist and contrapuntist.
152After being a pupil of Eberlin he was sent to Italy by the Archbishop of Salzburg, and recalled thence to the post of organist to the cathedral and cembalist to the court at Salzburg, where he died from an apoplectic stroke while at the organ. His works remain mostly in MS. (For list see Q.-L.) C. F. P.
154AD LIBITUM (Lat.), at the pleasure of the performer, as regards time and expression. In the case of arrangements—'with violin or flute ad libitum'—it signifies that the solo instrument may be left out or exchanged at pleasure.
156ADLUNG, JACOB (b. Bindersleben, Erfurt,
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