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See also:CAMBERT, See also:ROBERT (1628-1677) , See also:French operatic composer, was See also:born in See also:Paris in 1628. He was a See also:- PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)
pupil of Chambonnieres. In 1655, after he had obtained the See also:post of organist at the See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church of St Honore, he married See also:Marie du Moustier. He was musical See also:superintendent to See also:Queen See also:Anne of See also:Austria, See also:mother of See also:- LOUIS
- LOUIS (804–876)
- LOUIS (893–911)
- LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
- LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian
Louis XIV., and for a 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 held a post with the See also:marquis de Sourdeac. His earlier See also:works, the words of which were furnished by See also:Pierre Perrin, continued to be performed before the See also:court at See also:Vincennes till the See also:death of his See also:patron See also:Cardinal See also:Mazarin. In 1669 Perrin received a patent for the See also:founding of the Acadimie Nationale de musique, the germ of the See also:Grand See also:Opera, and Cambert had a See also:share in the See also:administration until both he and Perrin were discarded in the interests of Lulli. Displeased at his subsequent neglect, and jealous of the favour shown to Lulli, who was musical superintendent to the See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
king, he went in 1673 to See also:London, where soon after his arrival he was appointed See also:master of the See also:band to See also:Charles II. One at least of his operas, Pomone, was performed in London under his direction, but it did not suit the popular See also:taste, and he is supposed to have killed himself in London in 1677. His other See also:principal operas were See also:Ariadne ou See also:les amours de Bacchus and Les Peines et les plaisirs de l'amour.
End of Article: CAMBERT, ROBERT (1628-1677)
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