—
, '
AEVIA
symphonies and overtures, as well as concertos
and other music for the flute. M. c. c.
AEVIA (iEuiA or Mvia). A technical
word formed from the vowels of Alleluia, and
used, in Mediseval Office Books, as an abbrevia-
tion, in the same manner as Evovis which —
see.
In Venetian and other Italian Office-Books
of the 16th century, we sometimes find Hal'a,
or Hal' ah, substituted for Aevia. w. s. K.
AFFETTUOSO (Ital.), or Con Affetto,
'with feeling.' This word is most commonly
found in such combinations as 'andante aflet-
tuoso' or 'allegro affettuoso,' though it is
occasionally placed alone at the beginning of a
movement, in which case a somewhat slow time
is intended. It is frequently placed (like
'espressivo,' 'cantabUe,' etc.) over a single
passage, when it refers merely to that par-
ticular phraseand not to the entire movement.
The German expressions 'Innig,' 'Mit innigem
Ausdruck,' to be met with in Schumann and
other modern German composers are equivalent
to 'Affettuoso.'
AFFILARD, Michel l', tenor singer in
a,
the choir of Louis XIV. from 1683 to 1708,
with a salary of 900 Uvres. His work on
singing at' sight, ' Principes trfes faciles, etc.
in which the time of the airs is regulated by
a pendulum, — precursor of the metronome
passed through seven editions (Paris, 1691 ;
Amsterdam, 1717).
AFFRETTANDO (Ital.): hastening the
time. A direction implying a certain degree
of excitement, which is not necessarily conveyed
in accelerando.
AFRANIO, lived in the beginning of the
16th century, a canon of Ferrara, and reputed
inventor of the bassoon, on the ground of a
wind instrument of his called Phagotum, which
is mentioned, and figured in two woodcuts,
at p. 179 of the Introductio in Chaldaicam
linguam of Albanesi (Pavia, 1539), a work
dedicated by the author to his uncle Afranio.
The instrument sufficiently resembles the
modern bassoon or fagotto to make good
Afranio's right but see Ambros's History, vol.
; either to music or libretto.
iii. p. 422, and Bassoon.
AFRICAINE, L'. Grand opera in five acts
words by Scribe, music by Meyerbeer. The
composer received the book in 1838, but did
not bring the work into its final shape until
shortly before his death. Produced at the
Academie, Paris, April 28, 1865 in Italian,;
under the French title, at Covent Garden on
July 22 of the same year, with Pauline Lucca
in the part of Selika, and in English (trans-
lation by Kenney with same title) at Royal
English Opera, Covent Garden, Oct. 21.
AFZELIUS, Arvid August, born at Enkbp-
AGNESI 51
ing,Sweden, May 6, 1785, died Sept. 25, 1871,
a pastor and archsologist ; edited conjointly
with Geijer a collection of Swedish national
; melodies Svenska Folk visor,' 3 vols. (Stock-
'
holm, 1814-16, continued by Arwidsson), and
wrote the historical notes to another collection,
'
Afsked af Svenska Folksharpan (Stockholm, '
1848).
AGAZZARI, AoosTiNO, was a cadet of a noble
family of Siena, and born on Dec. 2, 1578.
He is said, but on rather slight authority (see
Eitner's Quellen-Lexikon) to have passed the
fir^t years of his professional life in the service
of the Emperor Matthias. About 1600 he
came to Rome, where he was chosen Maestro
di Cappella at the German College (after
Anerio's retirement in 1609), at the church
of S. Apollinaris, ' and subsequently at the
Seminario Romano. An intimacy grew up
between him and the well-known Viadana,
of Mantua, and he was one of the earliest
adopters of the figured bass. In the preface
to the fourth book of his ' Sacrse Cantiones
(Zanetti, Rome, 1606), he gives some instruc-
tions for its employment. In 1 630 he returned
to Siena, and became Maestro of its cathedral,
E. P. a post which he retained till his death, prob-
ably April 10, 1640. Agazzari was a member
of the Academy of the Armonid Intronati.
His publications are numerous, and consist of
' Masses, Madrigals (1596, 1600, 1602, 1607,
1608), Motets, Psalms, Magnificats, Litanies,
etc., repxiblished in numerous editions at Rome,
Milan, Venice, Antwerp, Frankfort, and else-
where. See list in Quellen-Lexikon. His
one substantive contribution to the scientific
literature of music is a little work of only
sixteen quarto
pages, entitled La Musioa '
Ecclesiastica, dove si contiene la vera diffi-
nizione della Musica come Scienza non pid
veduta e sua nobilt^' (Siena, 1638); the
object of which is to determine how church
music should best conform itself to the Resolu-
tion of the Council of Trent. On the
authority of Pitoni, a pastoral drama, entitled
'Eumelid,' has been ascribed to Agazzari.
It was undoubtedly performed at Rome in
1606 and printed by Amadino at Venice in
that year but no author's name is affixed
;
A short motet by Agazzari is given by
; Proske in the 'Musica Divina' (Ann. I. Lib.
Motettorum, No. Ixv.). E. H. P.
AGITATO (Ital.), also Con Agitazione,
'agitated,' 'restless.' This adjective is mostly
combined with allegi'o or presto to describe
'
'
' '
the character of a movement. In the some-
what rare cases in which it occurs without any
other time -indication a rather rapid time is
indicated.
AGNESI, Louis Fbkdinand Leopold, the
1 Baini alone mentions this appointment ; but he is probably
right.