Bow & Bridge Violin and bow makers, as the old books printed them

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Scan 70

Harvard Dictionary Of Music, 1944

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1ARPEGGIONE
3ured preludes of the lutenists and early French clavecinistes (Louis Couperin, d'Anglebert, etc.; see *Prelude II). P. A.
5Arpeggione, also called guitar violoncello, guitarre d'amour. A stringed instrument of the size of a violoncello, but with a guitar-like body, and with six strings tuned in E, A, d, g, b, e', invented in 1823 by G. Staufer. It is played with a bow. Franz Schubert wrote the only existing composition for it, a sonata for the arpeggione and piano (1824; see the collected edition [B. and H.], Series viii).
7Arpicordo. Italian 16th-century name for a harpsichord which differed in some unknown detail from the clavicembalo [see *Harpsichord II]. Cf. the title of a publication from 1551: Intabulatura nova di varie sorte di balli da sonare per Arpicordi, Clavicembali, Spinette e Monachordi; also G. Picchi, Intabolatura di balli d'arpicordo (1620) [see *Editions III, 2]. Cf. the article in SaRM.
9Arraché [F.]. Forceful pizzicato.
11Arrangement. The adaptation of a composition for instruments other than those for which it was originally written (thus, in a way, the musical counterpart of a literary translation). One may distinguish between arrangements which are made chiefly for study purposes and others which are for public performance. In the former class we find all the customary piano arrangements of operas, symphonies, quartets, etc. Here, strict adherence to the original text is rightly considered the foremost duty of the editor, who is permitted only to detract from, not to add to, the original. In the second category, which involves the creative participation of the arranger, various procedures have been followed at different periods, ranging from simple transcriptions in which the musical substance remains the same but is transferred to a new medium, to the complete reworking of a piece with additions and modifications. Noteworthy examples of this category are: the *Intablierung of the 15th and 16th centuries; Bach's arrangements of violin-concertos by Vivaldi and others for the harpsichord and the organ, or of the fugue from his solo-violin sonata in G minor (no. 1) for the organ (D minor; B.-G. xv, 148); Haydn's Die Sieben Worte am Kreuz which appeared as an orchestral composition, as a string quartet, and as choral music [cf. A. Sandberger, in JMP x]; Liszt's concert arrangements of Schubert's songs and of scenes from Wagnerian operas; Brahms's arrangement for two pianofortes of his orchestral variations on a theme by Haydn (op. 56), etc.
13In the last score of years there has been an extraordinary activity in transcribing Bach's organ works for the piano and the orchestra. Although this must be welcomed as a token of the ever growing interest in the work of the great master, yet the development has taken on forms which have recently led to a sharp reaction against the "business of arrangement." This opposition, however, is justifiable only with regard to certain methods of transcription. Several transcribers (e.g., Respighi), instigated by the display of modern orchestration or pianoforte-technique, have tried—and certainly with success—to bestow upon Bach's organ pieces an impressionistic lushness or a Romantic emotionalism which is inconsistent with the intrinsic clarity of his style.
15Lt.: K. Grunsky, Die Technik des Klavierauszugs (1911); E. Friedländer, Wagner-Liszt und die Kunst der Klavierbearbeitung (1922); E. Howard-Jones in ML xvi, no. 4.
17Arrescu [Sp.]. See *Aurrescu.
19Ars antiqua [L., the ancient art]. I. The term Ars antiqua (Ars veterum) was used by writers of the early 14th century (e.g., Speculum Musicae, c. 1325; cf. CS ii, 429) to distinguish the late 13th-century school (Franco, c. 1260; Petrus de Cruce, c. 1290) from that of their own day which was called *Ars nova (or Ars modernorum). Today, both terms are usually employed in a wider sense, denoting music of the 13th and 14th centuries respectively. The Ars antiqua, then, includes the School of Notre Dame with its two masters, Leoninus (second half of the

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