Scan 40
Stokes, Encyclopedia Of Music And Musicians Volume 1, 1908
26 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1ARMER LA CLEF
2and cantatas; conducted opera; played viol d’amore; dispensed from holy orders to devote himself to music. B. 1660; eclipsed by Handel; retired 1728.
4Armer la Clef. Fr. Adding the signature to the clef.
6Armes (Philip) composed “Hezekiah,” “St. John the Evangelist,” and “St. Barnabas”; organist Durham Cathedral; professor of music, Durham University. B. Norwich, Aug. 15, 1836; d. Feb. 10, 1908.
8Armide. Christoph Willibald Gluck’s opera to the text written by Philip Quinault for Lulli nearly a century earlier, was first performed at the Académie Royale, Sept. 23, 1777, and was regarded by the composer as his greatest work. The book is founded on an episode in Tasso’s “Jerusalem Delivered,” and the scene is accordingly laid in Damascus, 1099. Armida, queen and enchantress, has the Crusaders at her feet with the exception of Rinaldo, a valiant knight temporarily in disgrace with his leader, Godfrey of Bouillon, because of another’s misdeed. Warned to avoid Armida’s snares by his friend Artemidor, Rinaldo, finding himself in a lovely spot, is lulled to sleep by exquisite music, and thus falls into the power of Armida, who wishes to kill him, but instead falls in love with him. Rinaldo is not insensible to her charms, but Godfrey has sent two knights to bring him back to camp. Despite Armida’s witchcraft, the warriors succeed in reaching Rinaldo, and he determines to return with them. Vainly Armida urges him to stay, and when he leaves, in her despair, she converts her beautiful domain into a desert.
10Armingaud (Jules) wrote for violin and established string quartet which developed into the “Société Classique”; played violin in Paris Opéra. B. Bayonne, May 3, 1820; d. Feb. 27, 1900.
12Armourer of Nantes. Michael William Balfe’s opera to text by J. V. Bridgeman, based on Hugo’s “Mary Tudor,” was first performed at Covent Garden, London, Feb. 12, 1863.
14ARNOLD
15Armoneggiare. It. To harmonize.
16Armonia. It. Harmony.
17Armonica. It. Glasses attuned to the diatonic scale on which tones are produced by friction; “the musical glasses” of Ben. Franklin, Pickeridge, and M. Delaval; the accordion.
19Arne (Michael) composed “The Fairy Tale,” “The Belle’s Stratagem,” and other operas, songs, and conducted. B. 1740, son of DR. ARNE; d. Jan. 14, 1786.
21Arne (Dr. Thomas Augustine) first introduced female voices in oratorio choirs; chiefly known in these days for his setting of Shakespeare’s songs and his charming ballads, but was one of England’s most prolific dramatic composers. His music to the Dalton adaptation of Milton’s “Comus” won instant recognition, Drury Lane, 1738; he reset Congreve’s “Judgment of Paris”; composed the music to “Alfred,” including the famous song “Rule Britannia”; reset Metastasio’s “Artaserse,” having translated the libretto into English; composed “Love in a Village” (ballad opera), “Judith” and “Abel” (oratorios), etc. He was the author of “The Contest of Beauty and Virtue,” “The Guardian Outwitted,” and “Phoebe at Court,” as well as the composer. Arne was largely self-taught in music, his father having intended him for the law, entering him at a solicitor’s after a course at Eton. He undertook the instruction of his sister, afterwards the celebrated actress, Mrs. Cibber. This enabled her to sing in “Amelia,” Lampe’s opera, 1732, and it was at her suggestion that Arne wrote new music for Addison’s “Rosamond,” in which she sang the principal rôle. B. Mar. 12, 1710, London; d. Mar. 5, 1778.
23Arnold (Johann Gottfried) composed for and played ’cello. B. Feb. 15, 1773, Niedernhall, Württemberg; d. July 26, 1806.
25Arnold (Dr. Samuel) composed 43 operas and dramatic pieces between 1765 and 1802; organist and composer to Chapel Royal, Eng.; conducted latter concerts of Academy of Ancient Music. B. Aug. 10, 1740, London; d. Oct. 22, 1802.
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