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See also: MACKENZIE, See also:SIR See also:ALEXANDER See also:- CAMPBELL, ALEXANDER (1788–1866)
- CAMPBELL, BEATRICE STELLA (Mrs PATRICK CAMPBELL) (1865– )
- CAMPBELL, GEORGE (1719–1796)
- CAMPBELL, JOHN
- CAMPBELL, JOHN (1708-1775)
- CAMPBELL, JOHN CAMPBELL, BARON (1779-1861)
- CAMPBELL, JOHN FRANCIS
- CAMPBELL, LEWIS (1830-1908)
- CAMPBELL, REGINALD JOHN (1867— )
- CAMPBELL, THOMAS (1777—1844)
CAMPBELL (1847— ) , See also:British composer, son of an eminent See also:Edinburgh violinist and conductor, was See also:born on the 22nd of See also:August 1847. On the See also:advice of a member of Gung'l's See also:band who had taken up his See also:residence in Edinburgh, Mackenzie was sent for his musical See also:education to See also:Sondershausen, where he entered the conservatorium under See also:Ulrich and See also:Stein, remaining there from 1857 to 1861, when he entered the ducal See also:orchestra as a violinist. At this 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 he made See also:Liszt's acquaintance. On his return See also:home he won 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's Scholarship at the Royal See also:Academy of See also:Music, and remained the usual three years in the institution, after which he established himself as a teacher of the piano, &e., in Edinburgh. He appeared in public as a violinist, taking See also:part in See also:Chappell's quartette concerts, and starting a set of classical concerts. He was appointed See also:precentor of St See also:George's 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 in 1870, and conductor of the Scottish vocal music association in 1873, at the same time getting through a prodigious amount of teaching. He kept in See also:touch with his old See also:friends by playing in the orchestra of the See also:Birmingham Festivals from 1864 to 1873. The most important compositions of this See also:period of Mackenzie's See also:life were the Quartette in E See also:flat for piano and strings, Op. 11, and an
See also:overture, Cervantes, which owed its first performance to the encouragement and help of von Billow. On the advice of this See also:great pianist, he gave up his Edinburgh appointments, which had quite worn him out, and settled in See also:Florence in See also:- ORDER
- ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
- ORDER, HOLY
order to compose. The cantatas The See also:- BRIDE (a common Teutonic word, e.g..Goth. bruths, O. Eng. bryd, O. H. Ger. prs2t, Mod. Ger. Bract, Dut. bruid, possibly derived from the root bru-, cook, brew; from the med. latinized form bruta, in the sense of daughter-in-law, is derived the Fr. bru)
Bride (See also:Worcester, 1881) and See also:Jason (See also:Bristol, 1882) belong to this time, as well as his first See also:opera. This was commissioned for the Carl See also:Rosa See also:Company, and was written to a version of See also:Merimee's Colomba prepared by See also:Franz Hueffer. It was produced with great success in 1883, and was the first of a too See also: short See also:series of See also:modern See also:English operas; Mackenzie's second opera, The See also:Troubadour, was produced by the same company in 1886; and his third dramatic See also:work was His See also:Majesty, an excellent comic opera (See also:Savoy See also:Theatre, 1897). In 1884 his See also:Rose of See also:Sharon was given with very great success at the See also:Norwich Festival; in 1885 he was appointed conductor of See also:Novello's See also:oratorio concerts; The See also:Story of Sayid came out at the See also:Leeds Festival of 1886; and in 1888 he succeeded See also:Macfarren as See also:principal of the Royal Academy of Music. The See also:Dream of Jubal was produced at See also:Liverpool in 1889, and in See also:London very soon afterwards. A See also:fine setting of the hymn " Veni, Creator Spiritus " was given at Birmingham in 1891, and the oratorio See also:Bethlehem in 1894. From 1892 to 1899 he conducted the Philharmonic Concerts, and was knighted in 1894. Besides the See also:works mentioned he has written incidental music to plays, as, for instance, to Ravens-See also:wood, The Little See also:Minister, and See also:Coriolanus; concertos and other works for See also:violin and orchestra, much orchestral music, and many songs and violin pieces. The romantic See also:side of music appeals to Mackenzie far more strongly than any other, and the cases in which he has conformed to the classical conventions are of the rarest. In the orchestral ballad, La Belle See also:Dame sans Merci, he touches the See also:note of weird pathos, and in the nautical overture Britannia his sense of See also:humour stands revealed. In the two " Scottish Rhapsodies " for orchestra, in the music to The Little Minister, and in a beautiful See also:fantasia for See also:pianoforte and orchestra on Scottish themes, he has seized the essential, not the accidental features of his native music.
End of Article: MACKENZIE, SIR ALEXANDER CAMPBELL (1847— )
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