|
See also:STANFORD, See also:SIR See also:CHARLES See also:VILLIERS (1852– ) , Irish musical composer, was See also:born in See also:Dublin on the 3oth of See also:September 1852, being the only son of Mr See also:John Stanford, examiner in the See also:court of See also:chancery (Dublin) and clerk of the See also:Crown, Co. See also:Meath. Both parents of the composer were accomplished See also:amateur musicians, the See also:father being the possessor of a splendid See also:bass See also:voice, and the See also:mother a very See also:clever pianist. Under R. M. Levey (See also:violin), See also:Miss Meeke, Mrs See also:Joseph See also:- ROBINSON, EDWARD (1794–1863)
- ROBINSON, HENRY CRABB (1777–1867)
- ROBINSON, JOHN (1575–1625)
- ROBINSON, JOHN (1650-1723)
- ROBINSON, JOHN THOMAS ROMNEY (1792–1882)
- ROBINSON, MARY [" Perdita "] (1758–1800)
- ROBINSON, SIR JOHN BEVERLEY, BART
- ROBINSON, SIR JOSEPH BENJAMIN (1845– )
- ROBINSON, THEODORE (1852-1896)
Robinson, Miss Flynn and See also:Michael See also:Quarry (piano), See also:young Stanford's musical See also:powers were trained in the See also:early days; and Sir See also:Robert See also:- STEWART, ALEXANDER TURNEY (1803-1876)
- STEWART, BALFOUR (1828-1887)
- STEWART, CHARLES (1778–1869)
- STEWART, DUGALD (1753-1828)
- STEWART, J
- STEWART, JOHN (1749—1822)
- STEWART, JULIUS L
- STEWART, SIR DONALD MARTIN (1824–19o0)
- STEWART, SIR HERBERT (1843—1885)
- STEWART, SIR WILLIAM (c. 1540—c. 1605)
- STEWART, STUART
- STEWART, WILLIAM (c. 1480-c. 1550)
Stewart taught him See also:composition and See also:organ. Various feats of precocity are recorded in an See also:article in the Musical Times for See also:December 1898. He came to See also:London as 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 See also:Arthur O'Leary and See also:Ernst Pauer in 1862, and in 1870 won a scholarship at See also:Queen's See also:College, See also:Cambridge, whence he migrated to Trinity College in 1873, and succeeded J. L. See also:Hopkins as college organist, a See also:post he held till 1892. His See also:appointment as conductor of the Cambridge University Musical Society gave him See also:great opportunities, and the fame which the society soon o'btained was in the See also:main due to Stan-See also:ford's energies. Before his 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 ladies were not admitted into the See also:chorus, but during his See also:tenure of the See also:- OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")
office of conductor many most interesting performances and revivals took See also:place. In the years 1874 to 1877 he was given leave of See also:absence for a portion of each See also:year 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 See also:complete his studies in See also:Germany, where he learnt from See also:Reinecke and See also:Kiel. He took the B.A. degree in 1874 and M.A. in 1878, and was given the honorary degree of See also:Mus. D., at 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 in 1883, and at Cambridge in 1888. He first came prominently before the public as a composer with his incidental See also:music to See also:Tennyson's Queen See also:Mary (See also:Lyceum, 1876); and in 1881 his first See also:opera, The Veiled See also:Prophet, was given at See also:Hanover (revived at Covent See also:Garden, 1893); this was succeeded by See also:Savonarola (See also:Hamburg, See also:April, and Covent Garden, See also:July 1884), and The See also:Canterbury Pilgrims (See also:Drury See also:Lane, 1884). A See also:long See also:interval separates these from his later operas, Shamus O'Brien, a delightful piece of Irish dramatic See also:writing (Opera Comique, 1896) and Much See also:Ado About Nothing (Covent Garden, 1901). For the main provincial festivals, See also:works by Stanford were commissioned as follows; ",Orchestral See also:serenade" (See also:Birmingham, 1882); "Elegiac See also:Ode " (See also:Norwich, 1884) ; The Three See also:Holy See also:Children (Birmingham, 1885); The Revenge (See also:Leeds, 1886) ; The Voyage of Maeldune (Leeds, 1889); The See also:Battle of the Baltic (See also:Hereford, 1891); See also:Eden (Birmingham, 1891); The See also:Bard (See also:Cardiff, 1895); PhaudrigCrohoore (Norwich, 1896); See also:Requiem (Birmingham, 1897); Te Deum (Leeds, 1898) ; The Last Post (Hereford, 'goo) ; Stabat Mater (Leeds, 1907). Besides these, his music includes a few choral works of importance, such as The Resurrection (Cambridge, 1875); See also:Psalm XL VI. (See also:Cam-See also:bridge, 1877); Carmen Saeculare (See also:Jubilee Ode, 1887); " See also:Installation Ode " (Cambridge, 1892); See also:East to See also:West (London, 1893); Psalm CL. (See also:Manchester, 1887); See also:Mass in G (See also:Brompton See also:Oratory, 1893). He was appointed See also:professor of composition at the Royal College of Music, 1883; conductor of the See also:Bach See also:choir in 1885; professor of music in the university of Cambridge, succeeding Sir G. A. See also:Macfarren, 1887; conductor of the Leeds Philharmonic Society, 1897, and of the Leeds Festival from 1901 onwards. He was knighted in 1902. His instrumental works include six symphonies, many chamber compositions, among them two See also:string quartets; besides many songs, See also:part-songs, madrigals, &c., and incidental music to the See also:Eumenides and See also:Oedipus Rex (as performed at Cambridge), as well as to Tennyson's See also:Becket. His 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 music holds an honoured place among See also:modern See also:Anglican compositions; and his See also:editions of Irish and other traditional songs are well known. In 1908 he published an interesting See also:volume of Studies and Memories, a collection of contributions to reviews, &c., in past years.
End of Article: STANFORD, SIR CHARLES VILLIERS (1852– )
Additional information and Comments
There are no comments yet for this article.
Please link directly to this article:
Highlight the code below, right click, and select "copy." Then paste it into your website, email, or other HTML.
Site content, images, and layout Copyright © 2006 - Net Industries, worldwide.
Do not copy, download, transfer, or otherwise replicate the site content in whole or in part.
Links to articles and home page are always encouraged.
|
del.icio.us it!