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See also:PARRY, See also:SIR See also:CHARLES See also:HUBERT See also:HASTINGS, See also:BART ., See also:English musical composer (1848– ), second son of See also:- THOMAS
- THOMAS (c. 1654-1720)
- THOMAS (d. 110o)
- THOMAS, ARTHUR GORING (1850-1892)
- THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
- THOMAS, GEORGE (c. 1756-1802)
- THOMAS, GEORGE HENRY (1816-187o)
- THOMAS, ISAIAH (1749-1831)
- THOMAS, PIERRE (1634-1698)
- THOMAS, SIDNEY GILCHRIST (1850-1885)
- THOMAS, ST
- THOMAS, THEODORE (1835-1905)
- THOMAS, WILLIAM (d. 1554)
Thomas See also:Gambier Parry, of Highnam See also:Court, See also:Gloucester, was See also:born at See also:Bournemouth on the 27th of See also:February 1848. He was educated at See also:Malvern, Twyford, near See also:Winchester, See also:Eton (from 1861), and See also:Exeter See also:College, See also:- OXFORD
- OXFORD, EARLS OF
- OXFORD, EDWARD DE VERE, 17TH EARL
- OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
- OXFORD, PROVISIONS OF
- OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
- OXFORD, ROBERT HARLEY, 1ST
Oxford. While still at Eton he wrote See also:music, two anthems being published in 1865; a service in D was dedicated to Sir See also:John Stainer. He took the degree of See also:Mus.B. at Oxford at the See also:age of eighteen, and that of B.A. ifi 187o; he then See also:left Oxford for See also:London, where in the following See also:year he entered See also:Lloyd's, abandoning business for See also:art soon afterwards. He studied successively with H. H. See also:Pierson (at See also:Stuttgart), Sterndale See also:Bennett and See also:Macfarren; but the most important _part of his See also:artistic development was due to See also:Edward Dannreuther. Among the larger See also:works of this See also:early See also:period must be mentioned an See also:overture, Guillem de Cabestanh (Crystal See also:Palace, 1879), a See also:pianoforte See also:concerto in F See also:sharp See also:minor, played by Dannreuther at the Crystal Palace and See also:Richter concerts in 188o, and his first choral See also:work, the Scenes from See also:Prometheus Unbound, produced at the Gloucester Festival, 1880. These, like a See also:symphony in G given at the See also:Birmingham Festival of 1882, seemed See also:strange even to educated hearers, who were confused by the intricacy of treatment. It was not until his setting of See also:Shirley's See also:ode, The Glories of our See also:Blood and See also:State, was brought out at Gloucester, 1883, and the Partita for See also:violin and pianoforte was published about the same 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, that Parry's importance came to be realized. With his See also:sublime eight-See also:part setting of See also:Milton's Blest Pair of See also:Sirens (See also:Bach See also:Choir, 1887) began a See also:fine See also:series of compositions to sacred or semi-sacred words. In See also:Judith (Birmingham, 1888), the Ode on St See also:Cecilia's See also:Day (See also:Leeds, 1889), L' See also:Allegro ed it penseroso (See also:Norwich, 1890), De Profundis (See also:Hereford, 1891), The See also:Lotus Eaters (See also:Cambridge, 1892), See also:Job (Gloucester, 1892), 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 See also:Saul (Birmingham, 1894), Invocation to Music (Leeds, 1895), Magnificat (Hereford, 1897), A See also:Song of Darkness and See also:Light (Gloucester, 1898), and Te Deum (Hereford, 1900), are revealed the highest qualities of music. Skill in piling up See also:climax after climax, and command of every choral resource, are the technical qualities most prominent in these works; but in his orchestral compositions, such as the three later symphonies, in F, C and E minor,
xx. 28in two suites, one for strings alone, and above all in his Symphonic See also:Variations (1897), he shows himself a See also:master of the See also:orchestra, and his experiments in modification of the conventional classical forms, such as appear in the work last named, or in the Nineteen Variations for Pianoforte See also:Solo, are always successful. His music to The Birds of See also:Aristophanes (Cambridge, 1883) and The Frogs (Oxford, 1892) are striking examples of See also:humour in music; and that to See also:Agamemnon (Cambridge, 1900) is among the most impressive compositions of the See also:kind. His chamber music, exquisite part-songs and solo songs maintain the high See also:standard of his greater works. At the opening of the Royal College of Music in 1883 he was appointed See also:professor of See also:composition and of musical See also:history, and in 1894, on the retirement of Sir See also:George See also:Grove, Parry succeeded him as See also:principal. He was appointed See also:Choragus of Oxford University in 1883, succeeding Stainer in the professorship of the university in 1900. He received the honorary degree of Mus.D. at Cambridge 1883, Oxford 1884, See also:Dublin 1891; and was knighted in 1898. Outside the domain of creative music, Parry's work for music was of the greatest importance: as a contributor of many of the most important articles on musical forms, &c., in Grove's See also:dictionary, his See also:literary work first attracted See also:attention; in his Studies of See also:Great Composers musical See also:biography was treated, almost for the first time, in a really enlightened and enlightening way; and his Art of Music is a splendid See also:monument of musical literature, in which the theory of See also:evolution is applied to musical history with wonderful skill and success.
End of Article: PARRY, SIR CHARLES HUBERT HASTINGS, BART
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