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See also:BENOIT, See also:- PETER
- PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
- PETER (PEDRO)
- PETER, EPISTLES OF
- PETER, ST
PETER LEONARD See also:LEOPOLD (1834—1901) , Flemish composer, was See also:born on the 17th of See also:August 1834 at Harlebeke in See also:Flanders. His See also:father and a See also:local See also:village organist were his first teachers. In 1851 Benoit entered the See also:Brussels See also:Conservatoire, where he remained till 1855, studying chiefly under F. J. See also:Fetis, During this See also:period he composed See also:music to many melodramas, and to an See also:opera Le Village dans See also:les montagnes for the See also:Park See also:theatre, of which in 1856 he became conductor. He wona See also:government See also:prize and a See also:money See also:- GRANT (from A.-Fr. graunter, O. Fr. greanter for creanter, popular Lat. creantare, for credentare, to entrust, Lat. credere, to believe, trust)
- GRANT, ANNE (1755-1838)
- GRANT, CHARLES (1746-1823)
- GRANT, GEORGE MONRO (1835–1902)
- GRANT, JAMES (1822–1887)
- GRANT, JAMES AUGUSTUS (1827–1892)
- GRANT, ROBERT (1814-1892)
- GRANT, SIR ALEXANDER
- GRANT, SIR FRANCIS (1803-1878)
- GRANT, SIR JAMES HOPE (1808–1895)
- GRANT, SIR PATRICK (1804-1895)
- GRANT, U
- GRANT, ULYSSES SIMPSON (1822-1885)
grant in 1857 by his See also:cantata Le Meurtre d'See also:Abel, and this enabled him to travel through See also:Germany. In course of his journeyings he found See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time to write a considerable amount of music, as well as an See also:essay L'Ecole de musique flamande et son avenir. Fetis loudly praised his See also:Hesse solennelle, which Benoit produced at Brussels on his return from Germany. In 1861 he visited See also:Paris for the See also:production of his opera Le Roi See also:des Aulnes (" See also:Erlkonig "), which, though accepted by the Theatre Lyrique, was never mounted; while there he conducted at the Bouffes-Parisiens. Again returning See also:home, he astonished a See also:section of the musical See also:world by the production at See also:Antwerp of a sacred tetralogy, consisting of his Cantate de See also:Noel, the above-mentioned See also:Mass, a Te Deum and a See also:Requiem, in which were embodied to a large extent his theories of Flemish music. It was in consequence of his See also:passion for the See also:founding of an entirely See also:separate Flemish school that Benoit changed his name from See also:Pierre to Peter. By prodigious efforts he succeeded in gathering See also:round him a small See also:band of enthusiasts, who affected to see with him possibilities in the See also:foundation of a school whose music should differ completely from that of the See also:French and See also:German See also:schools. In its See also:main features this school failed, for its faith was pinned to Benoit's music, which is hardly more Flemish than French or German. Benoit's more important compositions include the Flemish oratorios De Schelde and See also:Lucifer, the latter of which met with See also:complete failure on its production in See also:London in 1888; the operas Het Dorp int Gebirgte and Isa, the See also:Drama Christi; an enormous mass of songs, choruses, small cantatas and motets. Benoit also wrote a See also:great number of essays on musical matters. He died at Antwerp on the 8th of See also:March 1901.
End of Article: BENOIT, PETER LEONARD LEOPOLD (1834—1901)
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