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The Musical Times_1849-066_ms_4 | 1849 | Dr. Mainzer made an enthusiastic speech in favour of the art and its refining tendencies, and pointed out the advantages which must arise from having a school for the special instruction of those who had to teach again ; at the conclusion of which the following resolution, proposed by Mr. Thomas Clegg, churchwarden of Manchester, and seconded by George Bagshaw, Esq., ‘was carried unanimously :— That this meeting has heard with great satisfaction the exposition given by Dr. Mainzer of the plan and objeets of the normal school now opened for teachers and operatives, and pledges itself to use its best efforts to obtain that countenance and support whieh will ensure the perfect success of the projector, which, in the opinion of this meeting, is calculated to provide the means of refined and NORMAL MUSIC SCHOOL OF MANCHESTER social enjoyment to all, but especially to the working classes of this borough” Subscriptions towards the object were entered into, amounting to £110, before the close of the meeting. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_1570 | 1828 | Sommer, organist to the Court of Vienna; this is the greatest compliment which can be paid to his talents. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_1570 | 1828 | Sommer, organist to the Court of Vienna; this is the greatest compliment which can be paid to his talents. | [
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the_Quarterly_Musical_Magazine_And_Review_ms_1827-034_3_ | 1827 | If you doubt the excess of folly to which we have been led, during the last three years in the fine arts by our ridiculous vanity, which our journalists distinguish by the name of national honour, I refer you to that amongst our periodical works which possesses most talent, the Jotirnal des Debats ; you will there find, in 1824 or 1823, that M. Monsigny, an excellent man, who produced some operas at the Feydeau, is the musician of Europe, that is to say, he is not only as well known as Mozart’ or Cimarosa in London, Vienna, and Naples, but is reputed to be by far superior to them all. | [
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] | Jotirnal des Debats | Q2565164 |
the_Quarterly_Musical_Magazine_And_Review_ms_1827-034_3_ | 1827 | If you doubt the excess of folly to which we have been led, during the last three years in the fine arts by our ridiculous vanity, which our journalists distinguish by the name of national honour, I refer you to that amongst our periodical works which possesses most talent, the Jotirnal des Debats ; you will there find, in 1824 or 1823, that M. Monsigny, an excellent man, who produced some operas at the Feydeau, is the musician of Europe, that is to say, he is not only as well known as Mozart’ or Cimarosa in London, Vienna, and Naples, but is reputed to be by far superior to them all. | [
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] | M. Monsigny | Q705124 |
the_Quarterly_Musical_Magazine_And_Review_ms_1827-034_3_ | 1827 | If you doubt the excess of folly to which we have been led, during the last three years in the fine arts by our ridiculous vanity, which our journalists distinguish by the name of national honour, I refer you to that amongst our periodical works which possesses most talent, the Jotirnal des Debats ; you will there find, in 1824 or 1823, that M. Monsigny, an excellent man, who produced some operas at the Feydeau, is the musician of Europe, that is to say, he is not only as well known as Mozart’ or Cimarosa in London, Vienna, and Naples, but is reputed to be by far superior to them all. | [
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the_Quarterly_Musical_Magazine_And_Review_ms_1827-034_3_ | 1827 | If you doubt the excess of folly to which we have been led, during the last three years in the fine arts by our ridiculous vanity, which our journalists distinguish by the name of national honour, I refer you to that amongst our periodical works which possesses most talent, the Jotirnal des Debats ; you will there find, in 1824 or 1823, that M. Monsigny, an excellent man, who produced some operas at the Feydeau, is the musician of Europe, that is to say, he is not only as well known as Mozart’ or Cimarosa in London, Vienna, and Naples, but is reputed to be by far superior to them all. | [
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] | Europe | Q46 |
the_Quarterly_Musical_Magazine_And_Review_ms_1827-034_3_ | 1827 | If you doubt the excess of folly to which we have been led, during the last three years in the fine arts by our ridiculous vanity, which our journalists distinguish by the name of national honour, I refer you to that amongst our periodical works which possesses most talent, the Jotirnal des Debats ; you will there find, in 1824 or 1823, that M. Monsigny, an excellent man, who produced some operas at the Feydeau, is the musician of Europe, that is to say, he is not only as well known as Mozart’ or Cimarosa in London, Vienna, and Naples, but is reputed to be by far superior to them all. | [
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] | Mozart | Q254 |
the_Quarterly_Musical_Magazine_And_Review_ms_1827-034_3_ | 1827 | If you doubt the excess of folly to which we have been led, during the last three years in the fine arts by our ridiculous vanity, which our journalists distinguish by the name of national honour, I refer you to that amongst our periodical works which possesses most talent, the Jotirnal des Debats ; you will there find, in 1824 or 1823, that M. Monsigny, an excellent man, who produced some operas at the Feydeau, is the musician of Europe, that is to say, he is not only as well known as Mozart’ or Cimarosa in London, Vienna, and Naples, but is reputed to be by far superior to them all. | [
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] | Cimarosa | Q191775 |
the_Quarterly_Musical_Magazine_And_Review_ms_1827-034_3_ | 1827 | If you doubt the excess of folly to which we have been led, during the last three years in the fine arts by our ridiculous vanity, which our journalists distinguish by the name of national honour, I refer you to that amongst our periodical works which possesses most talent, the Jotirnal des Debats ; you will there find, in 1824 or 1823, that M. Monsigny, an excellent man, who produced some operas at the Feydeau, is the musician of Europe, that is to say, he is not only as well known as Mozart’ or Cimarosa in London, Vienna, and Naples, but is reputed to be by far superior to them all. | [
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] | London | Q84 |
the_Quarterly_Musical_Magazine_And_Review_ms_1827-034_3_ | 1827 | If you doubt the excess of folly to which we have been led, during the last three years in the fine arts by our ridiculous vanity, which our journalists distinguish by the name of national honour, I refer you to that amongst our periodical works which possesses most talent, the Jotirnal des Debats ; you will there find, in 1824 or 1823, that M. Monsigny, an excellent man, who produced some operas at the Feydeau, is the musician of Europe, that is to say, he is not only as well known as Mozart’ or Cimarosa in London, Vienna, and Naples, but is reputed to be by far superior to them all. | [
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] | Vienna | Q1741 |
the_Quarterly_Musical_Magazine_And_Review_ms_1827-034_3_ | 1827 | If you doubt the excess of folly to which we have been led, during the last three years in the fine arts by our ridiculous vanity, which our journalists distinguish by the name of national honour, I refer you to that amongst our periodical works which possesses most talent, the Jotirnal des Debats ; you will there find, in 1824 or 1823, that M. Monsigny, an excellent man, who produced some operas at the Feydeau, is the musician of Europe, that is to say, he is not only as well known as Mozart’ or Cimarosa in London, Vienna, and Naples, but is reputed to be by far superior to them all. | [
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] | Naples | Q2634 |
TheMusicalTimes__1876-402.txt_1145 | 1876 | Institution was given at St. James’s Hall, on the 5th ult., before a large audience. | [
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the_Musical_Times_ms_1902-709_4_ | 1902 | The first chapter in the volume begins by mentioning Emilio del Cavalieri’s ‘Rappresentatione di anima e di corpo,’ with which the new style of music made its entry into Rome in the year 1600, and then he goes on to show how varied melody, choral polyphony, the lied form, the aria, new tonality, and a feeling for unity were. gradually introduced and developed by such composers as Agazzari, Marco da Gagliano, Stefano Landi (whose works show important advance in form, instrumentation, and characterisation), Michelangelo, Rossi, &c. | [
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] | Rappresentatione di anima e di corpo | Q1127091 |
the_Musical_Times_ms_1902-709_4_ | 1902 | The first chapter in the volume begins by mentioning Emilio del Cavalieri’s ‘Rappresentatione di anima e di corpo,’ with which the new style of music made its entry into Rome in the year 1600, and then he goes on to show how varied melody, choral polyphony, the lied form, the aria, new tonality, and a feeling for unity were. gradually introduced and developed by such composers as Agazzari, Marco da Gagliano, Stefano Landi (whose works show important advance in form, instrumentation, and characterisation), Michelangelo, Rossi, &c. | [
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the_Musical_Times_ms_1902-709_4_ | 1902 | The first chapter in the volume begins by mentioning Emilio del Cavalieri’s ‘Rappresentatione di anima e di corpo,’ with which the new style of music made its entry into Rome in the year 1600, and then he goes on to show how varied melody, choral polyphony, the lied form, the aria, new tonality, and a feeling for unity were. gradually introduced and developed by such composers as Agazzari, Marco da Gagliano, Stefano Landi (whose works show important advance in form, instrumentation, and characterisation), Michelangelo, Rossi, &c. | [
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the_Musical_Times_ms_1902-709_4_ | 1902 | The first chapter in the volume begins by mentioning Emilio del Cavalieri’s ‘Rappresentatione di anima e di corpo,’ with which the new style of music made its entry into Rome in the year 1600, and then he goes on to show how varied melody, choral polyphony, the lied form, the aria, new tonality, and a feeling for unity were. gradually introduced and developed by such composers as Agazzari, Marco da Gagliano, Stefano Landi (whose works show important advance in form, instrumentation, and characterisation), Michelangelo, Rossi, &c. | [
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] | Stefano Landi | Q381943 |
the_Musical_Times_ms_1902-709_4_ | 1902 | The first chapter in the volume begins by mentioning Emilio del Cavalieri’s ‘Rappresentatione di anima e di corpo,’ with which the new style of music made its entry into Rome in the year 1600, and then he goes on to show how varied melody, choral polyphony, the lied form, the aria, new tonality, and a feeling for unity were. gradually introduced and developed by such composers as Agazzari, Marco da Gagliano, Stefano Landi (whose works show important advance in form, instrumentation, and characterisation), Michelangelo, Rossi, &c. | [
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TheHarmonicon__1833-005.txt_1585 | 1833 | I find the following sensible critical remarks among my papers; they were copied from a weekly work (the Court Magazine, I think) | [
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TheHarmonicon__1832-012.txt_1655 | 1832 | Now let us look at an account of the. closing of the King’s Theatre, last season. | [
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TheQuarterlyMusicalMagazineAndReview__1825-025.txt_2640 | 1825 | Both these pieces improve on repetition, “ Say, have you loved,” isa duet for soprano: and tenor. | [
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TheHarmonicon__1828-001.txt_1079 | 1828 | We had been long ‘accustomed, indeed, to hear a few of the most pleasing of _them sung in The Beggar’s Opera, a circumstance owing to | [
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TheHarmonicon__1832-012.txt_1315 | 1832 | We now open the volume, and the presentation-plate immediately attracts our notice—an elegant lithographed design by Hamerton. | [
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The Musical Times_1871-335_ms_5 | 1871 | On the Ist of April following, Judas Maccabeus was reproduced, which had been brought out in the previous year as an ode of victory, a musical ovation, to William, Duke of Cumberland, in honour of his success against the unfortunate Charles Edward ; and, on its reproduction, the song of triumph was interpolated into it from the other work, for, we may well believe, it had already become popular, although it had been first heard but three weeks before, and it embodied to the very life the people’s feelings ; and since that occasion the piece has been integral to both Oratorios. | [
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] | Judas Maccabeus | Q993971 |
The Musical Times_1871-335_ms_5 | 1871 | On the Ist of April following, Judas Maccabeus was reproduced, which had been brought out in the previous year as an ode of victory, a musical ovation, to William, Duke of Cumberland, in honour of his success against the unfortunate Charles Edward ; and, on its reproduction, the song of triumph was interpolated into it from the other work, for, we may well believe, it had already become popular, although it had been first heard but three weeks before, and it embodied to the very life the people’s feelings ; and since that occasion the piece has been integral to both Oratorios. | [
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] | Charles Edward | Q312581 |
TheQuarterlyMusicalMagazineAndReview__1824-022.txt_3025 | 1824 | The next is a solo for an alto, anda quartet from Naumann. | [
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The Harmonicon_1832-006_ms_1 | 1832 | In the course of his studies he had composed several masses, motets, hymns, kyries,. magnificats, and other June, 1832. works in the church-style, which were occasionally performed at the chapel at Munich, so greatly to his reputation, that Ernest Augustus, Duke of Brunswick, the father of George I. of England, though a Protestant prince, being a passionate lover of music, invited him to the court of Hanover, conferred on him, it has been said, the appointment of master of his chapel *, and committed to his care the management of the Opera, an entertainment which had then but lately found its way into Germany. | [
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] | Munich | Q1726 |
The Harmonicon_1832-006_ms_1 | 1832 | In the course of his studies he had composed several masses, motets, hymns, kyries,. magnificats, and other June, 1832. works in the church-style, which were occasionally performed at the chapel at Munich, so greatly to his reputation, that Ernest Augustus, Duke of Brunswick, the father of George I. of England, though a Protestant prince, being a passionate lover of music, invited him to the court of Hanover, conferred on him, it has been said, the appointment of master of his chapel *, and committed to his care the management of the Opera, an entertainment which had then but lately found its way into Germany. | [
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] | Ernest Augustus , Duke of Brunswick | Q372190 |
The Harmonicon_1832-006_ms_1 | 1832 | In the course of his studies he had composed several masses, motets, hymns, kyries,. magnificats, and other June, 1832. works in the church-style, which were occasionally performed at the chapel at Munich, so greatly to his reputation, that Ernest Augustus, Duke of Brunswick, the father of George I. of England, though a Protestant prince, being a passionate lover of music, invited him to the court of Hanover, conferred on him, it has been said, the appointment of master of his chapel *, and committed to his care the management of the Opera, an entertainment which had then but lately found its way into Germany. | [
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] | George I. of England | Q130805 |
The Harmonicon_1832-006_ms_1 | 1832 | In the course of his studies he had composed several masses, motets, hymns, kyries,. magnificats, and other June, 1832. works in the church-style, which were occasionally performed at the chapel at Munich, so greatly to his reputation, that Ernest Augustus, Duke of Brunswick, the father of George I. of England, though a Protestant prince, being a passionate lover of music, invited him to the court of Hanover, conferred on him, it has been said, the appointment of master of his chapel *, and committed to his care the management of the Opera, an entertainment which had then but lately found its way into Germany. | [
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{
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] | Hanover | Q164079 |
The Harmonicon_1832-006_ms_1 | 1832 | In the course of his studies he had composed several masses, motets, hymns, kyries,. magnificats, and other June, 1832. works in the church-style, which were occasionally performed at the chapel at Munich, so greatly to his reputation, that Ernest Augustus, Duke of Brunswick, the father of George I. of England, though a Protestant prince, being a passionate lover of music, invited him to the court of Hanover, conferred on him, it has been said, the appointment of master of his chapel *, and committed to his care the management of the Opera, an entertainment which had then but lately found its way into Germany. | [
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{
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{
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{
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{
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{
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] | Germany | Q183 |
The Harmonicon_1827-002_ms_4 | 1827 | Among the many that resorted to him for instruction, was Lord Paisley, afterwards Earl of Abercorn; to whom Dr. Pepusch had communicated lessons in writing for his private study, with no other stipulation not to impart them to the world, than is implied in the mutual relation of teacher and scholar: which, however, it seems, was so ill understood, that in the year 1730 the substance of these lessons was by his pupil published, under the following title: A short Treatise on Harmony, containing the chief rules for composing in two, three, and four parts, dedicated to all lovers of music. | [
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] | Lord Paisley | Q3806590 |
The Harmonicon_1827-002_ms_4 | 1827 | Among the many that resorted to him for instruction, was Lord Paisley, afterwards Earl of Abercorn; to whom Dr. Pepusch had communicated lessons in writing for his private study, with no other stipulation not to impart them to the world, than is implied in the mutual relation of teacher and scholar: which, however, it seems, was so ill understood, that in the year 1730 the substance of these lessons was by his pupil published, under the following title: A short Treatise on Harmony, containing the chief rules for composing in two, three, and four parts, dedicated to all lovers of music. | [
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] | Dr. Pepusch | Q371825 |
The Harmonicon_1827-002_ms_4 | 1827 | Among the many that resorted to him for instruction, was Lord Paisley, afterwards Earl of Abercorn; to whom Dr. Pepusch had communicated lessons in writing for his private study, with no other stipulation not to impart them to the world, than is implied in the mutual relation of teacher and scholar: which, however, it seems, was so ill understood, that in the year 1730 the substance of these lessons was by his pupil published, under the following title: A short Treatise on Harmony, containing the chief rules for composing in two, three, and four parts, dedicated to all lovers of music. | [
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] | A short Treatise on Harmony , containing the chief rules for composing in two , three , and four parts , dedicated to all lovers of music . | NIL |
The_Musical_Times_ms_1885-505_2_ | 1885 | The concerted works were Beethoven’s third Rasoumowski Quartet in C, Op. 59, and Schumann’s Phantasiestiicke for piano, violin, and violoncello, Op. 88, a series of four movements originally designed as a trio, but afterwards re-named, perhaps on account of their sketchiness, and the absence of regular development, Herr Joachim gave Bach’s Chaconne, his grand rendering of which is too well known to need description, Miss Agnes Zimmermann played Schubert’s Impromptu in C minor, Op. go, and a selection of the Valses Nobles, Op. 77, and Miss Thudichum contributed songs by Purcell and Cowen. | [
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] | Beethoven | Q255 |
The_Musical_Times_ms_1885-505_2_ | 1885 | The concerted works were Beethoven’s third Rasoumowski Quartet in C, Op. 59, and Schumann’s Phantasiestiicke for piano, violin, and violoncello, Op. 88, a series of four movements originally designed as a trio, but afterwards re-named, perhaps on account of their sketchiness, and the absence of regular development, Herr Joachim gave Bach’s Chaconne, his grand rendering of which is too well known to need description, Miss Agnes Zimmermann played Schubert’s Impromptu in C minor, Op. go, and a selection of the Valses Nobles, Op. 77, and Miss Thudichum contributed songs by Purcell and Cowen. | [
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] | Rasoumowski Quartet in C , Op . 59 | Q275877 |
The_Musical_Times_ms_1885-505_2_ | 1885 | The concerted works were Beethoven’s third Rasoumowski Quartet in C, Op. 59, and Schumann’s Phantasiestiicke for piano, violin, and violoncello, Op. 88, a series of four movements originally designed as a trio, but afterwards re-named, perhaps on account of their sketchiness, and the absence of regular development, Herr Joachim gave Bach’s Chaconne, his grand rendering of which is too well known to need description, Miss Agnes Zimmermann played Schubert’s Impromptu in C minor, Op. go, and a selection of the Valses Nobles, Op. 77, and Miss Thudichum contributed songs by Purcell and Cowen. | [
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] | Schumann | Q7351 |
The_Musical_Times_ms_1885-505_2_ | 1885 | The concerted works were Beethoven’s third Rasoumowski Quartet in C, Op. 59, and Schumann’s Phantasiestiicke for piano, violin, and violoncello, Op. 88, a series of four movements originally designed as a trio, but afterwards re-named, perhaps on account of their sketchiness, and the absence of regular development, Herr Joachim gave Bach’s Chaconne, his grand rendering of which is too well known to need description, Miss Agnes Zimmermann played Schubert’s Impromptu in C minor, Op. go, and a selection of the Valses Nobles, Op. 77, and Miss Thudichum contributed songs by Purcell and Cowen. | [
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] | Herr Joachim | NIL |
The_Musical_Times_ms_1885-505_2_ | 1885 | The concerted works were Beethoven’s third Rasoumowski Quartet in C, Op. 59, and Schumann’s Phantasiestiicke for piano, violin, and violoncello, Op. 88, a series of four movements originally designed as a trio, but afterwards re-named, perhaps on account of their sketchiness, and the absence of regular development, Herr Joachim gave Bach’s Chaconne, his grand rendering of which is too well known to need description, Miss Agnes Zimmermann played Schubert’s Impromptu in C minor, Op. go, and a selection of the Valses Nobles, Op. 77, and Miss Thudichum contributed songs by Purcell and Cowen. | [
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] | Bach | Q1339 |
The_Musical_Times_ms_1885-505_2_ | 1885 | The concerted works were Beethoven’s third Rasoumowski Quartet in C, Op. 59, and Schumann’s Phantasiestiicke for piano, violin, and violoncello, Op. 88, a series of four movements originally designed as a trio, but afterwards re-named, perhaps on account of their sketchiness, and the absence of regular development, Herr Joachim gave Bach’s Chaconne, his grand rendering of which is too well known to need description, Miss Agnes Zimmermann played Schubert’s Impromptu in C minor, Op. go, and a selection of the Valses Nobles, Op. 77, and Miss Thudichum contributed songs by Purcell and Cowen. | [
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] | Miss Agnes Zimmermann | Q4693137 |
The_Musical_Times_ms_1885-505_2_ | 1885 | The concerted works were Beethoven’s third Rasoumowski Quartet in C, Op. 59, and Schumann’s Phantasiestiicke for piano, violin, and violoncello, Op. 88, a series of four movements originally designed as a trio, but afterwards re-named, perhaps on account of their sketchiness, and the absence of regular development, Herr Joachim gave Bach’s Chaconne, his grand rendering of which is too well known to need description, Miss Agnes Zimmermann played Schubert’s Impromptu in C minor, Op. go, and a selection of the Valses Nobles, Op. 77, and Miss Thudichum contributed songs by Purcell and Cowen. | [
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] | Schubert | Q7312 |
The_Musical_Times_ms_1885-505_2_ | 1885 | The concerted works were Beethoven’s third Rasoumowski Quartet in C, Op. 59, and Schumann’s Phantasiestiicke for piano, violin, and violoncello, Op. 88, a series of four movements originally designed as a trio, but afterwards re-named, perhaps on account of their sketchiness, and the absence of regular development, Herr Joachim gave Bach’s Chaconne, his grand rendering of which is too well known to need description, Miss Agnes Zimmermann played Schubert’s Impromptu in C minor, Op. go, and a selection of the Valses Nobles, Op. 77, and Miss Thudichum contributed songs by Purcell and Cowen. | [
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The_Musical_Times_ms_1885-505_2_ | 1885 | The concerted works were Beethoven’s third Rasoumowski Quartet in C, Op. 59, and Schumann’s Phantasiestiicke for piano, violin, and violoncello, Op. 88, a series of four movements originally designed as a trio, but afterwards re-named, perhaps on account of their sketchiness, and the absence of regular development, Herr Joachim gave Bach’s Chaconne, his grand rendering of which is too well known to need description, Miss Agnes Zimmermann played Schubert’s Impromptu in C minor, Op. go, and a selection of the Valses Nobles, Op. 77, and Miss Thudichum contributed songs by Purcell and Cowen. | [
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The_Musical_Times_ms_1885-505_2_ | 1885 | The concerted works were Beethoven’s third Rasoumowski Quartet in C, Op. 59, and Schumann’s Phantasiestiicke for piano, violin, and violoncello, Op. 88, a series of four movements originally designed as a trio, but afterwards re-named, perhaps on account of their sketchiness, and the absence of regular development, Herr Joachim gave Bach’s Chaconne, his grand rendering of which is too well known to need description, Miss Agnes Zimmermann played Schubert’s Impromptu in C minor, Op. go, and a selection of the Valses Nobles, Op. 77, and Miss Thudichum contributed songs by Purcell and Cowen. | [
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] | Purcell | Q9695 |
The_Musical_Times_ms_1885-505_2_ | 1885 | The concerted works were Beethoven’s third Rasoumowski Quartet in C, Op. 59, and Schumann’s Phantasiestiicke for piano, violin, and violoncello, Op. 88, a series of four movements originally designed as a trio, but afterwards re-named, perhaps on account of their sketchiness, and the absence of regular development, Herr Joachim gave Bach’s Chaconne, his grand rendering of which is too well known to need description, Miss Agnes Zimmermann played Schubert’s Impromptu in C minor, Op. go, and a selection of the Valses Nobles, Op. 77, and Miss Thudichum contributed songs by Purcell and Cowen. | [
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TheMusicalTimes__1873-366.txt_1425 | 1873 | Westmorland Scholarship (Ten Pounds towards the cost of a Year's Instruction): | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_3573 | 1828 | Mr. Moscheles was exposed to censure for the too crowded state of his room, and with a little too much severity. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_2235 | 1828 | The great drawback upon her singing was an occasional infirmity in the’ sustaining power, not unlike, though not to the same extent, as the trembling of voice observed in Mademoiselle Bonini. | [
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TheMusicalWorld__1844-006.txt_135 | 1844 | , Wilson’s lecture was distinguished, as usual, by its good sense, and his vocal illustrations were exquisite | [
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TheMusicalWorld__1843-036.txt_756 | 1843 | Translated by John Bishop, and dedicated to the Author's friend, Professor Taylor. | [
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TheMusicalTimes__1875-388.txt_2800 | 1875 | Part I. contains four Songs, arranged by Mrs. Mounsey BartnoLomew. | [
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The_Musical_Times_ms_1899-680_1_ | 1899 | In addition to the works already named, Mr. Randegger has composeda scena, ‘‘ Medea,” sung by Madame Rudersdorff at the Leipzig Gewandhaus in 1869, of which the original autograph score is now preserved in the library of the Gewandhaus; “ Saffo,” sung by Madame Lemmens Sherrington at the British Orchestral Society’s concert, March 31, 1875; the 150th Psalm, for. soprano solo, chorus, orchestra, and organ, written for the Boston (Mass.) Festival, 1872; and a scena, “The Prayer of Nature” (Byron), for Mr. Edward Lloyd, Philharmonic : Society, June 9, 1887. | [
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The_Musical_Times_ms_1899-680_1_ | 1899 | In addition to the works already named, Mr. Randegger has composeda scena, ‘‘ Medea,” sung by Madame Rudersdorff at the Leipzig Gewandhaus in 1869, of which the original autograph score is now preserved in the library of the Gewandhaus; “ Saffo,” sung by Madame Lemmens Sherrington at the British Orchestral Society’s concert, March 31, 1875; the 150th Psalm, for. soprano solo, chorus, orchestra, and organ, written for the Boston (Mass.) Festival, 1872; and a scena, “The Prayer of Nature” (Byron), for Mr. Edward Lloyd, Philharmonic : Society, June 9, 1887. | [
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] | Medea | NIL |
The_Musical_Times_ms_1899-680_1_ | 1899 | In addition to the works already named, Mr. Randegger has composeda scena, ‘‘ Medea,” sung by Madame Rudersdorff at the Leipzig Gewandhaus in 1869, of which the original autograph score is now preserved in the library of the Gewandhaus; “ Saffo,” sung by Madame Lemmens Sherrington at the British Orchestral Society’s concert, March 31, 1875; the 150th Psalm, for. soprano solo, chorus, orchestra, and organ, written for the Boston (Mass.) Festival, 1872; and a scena, “The Prayer of Nature” (Byron), for Mr. Edward Lloyd, Philharmonic : Society, June 9, 1887. | [
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The_Musical_Times_ms_1899-680_1_ | 1899 | In addition to the works already named, Mr. Randegger has composeda scena, ‘‘ Medea,” sung by Madame Rudersdorff at the Leipzig Gewandhaus in 1869, of which the original autograph score is now preserved in the library of the Gewandhaus; “ Saffo,” sung by Madame Lemmens Sherrington at the British Orchestral Society’s concert, March 31, 1875; the 150th Psalm, for. soprano solo, chorus, orchestra, and organ, written for the Boston (Mass.) Festival, 1872; and a scena, “The Prayer of Nature” (Byron), for Mr. Edward Lloyd, Philharmonic : Society, June 9, 1887. | [
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The_Musical_Times_ms_1899-680_1_ | 1899 | In addition to the works already named, Mr. Randegger has composeda scena, ‘‘ Medea,” sung by Madame Rudersdorff at the Leipzig Gewandhaus in 1869, of which the original autograph score is now preserved in the library of the Gewandhaus; “ Saffo,” sung by Madame Lemmens Sherrington at the British Orchestral Society’s concert, March 31, 1875; the 150th Psalm, for. soprano solo, chorus, orchestra, and organ, written for the Boston (Mass.) Festival, 1872; and a scena, “The Prayer of Nature” (Byron), for Mr. Edward Lloyd, Philharmonic : Society, June 9, 1887. | [
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] | Gewandhaus | Q519613 |
The_Musical_Times_ms_1899-680_1_ | 1899 | In addition to the works already named, Mr. Randegger has composeda scena, ‘‘ Medea,” sung by Madame Rudersdorff at the Leipzig Gewandhaus in 1869, of which the original autograph score is now preserved in the library of the Gewandhaus; “ Saffo,” sung by Madame Lemmens Sherrington at the British Orchestral Society’s concert, March 31, 1875; the 150th Psalm, for. soprano solo, chorus, orchestra, and organ, written for the Boston (Mass.) Festival, 1872; and a scena, “The Prayer of Nature” (Byron), for Mr. Edward Lloyd, Philharmonic : Society, June 9, 1887. | [
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The_Musical_Times_ms_1899-680_1_ | 1899 | In addition to the works already named, Mr. Randegger has composeda scena, ‘‘ Medea,” sung by Madame Rudersdorff at the Leipzig Gewandhaus in 1869, of which the original autograph score is now preserved in the library of the Gewandhaus; “ Saffo,” sung by Madame Lemmens Sherrington at the British Orchestral Society’s concert, March 31, 1875; the 150th Psalm, for. soprano solo, chorus, orchestra, and organ, written for the Boston (Mass.) Festival, 1872; and a scena, “The Prayer of Nature” (Byron), for Mr. Edward Lloyd, Philharmonic : Society, June 9, 1887. | [
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The_Musical_Times_ms_1899-680_1_ | 1899 | In addition to the works already named, Mr. Randegger has composeda scena, ‘‘ Medea,” sung by Madame Rudersdorff at the Leipzig Gewandhaus in 1869, of which the original autograph score is now preserved in the library of the Gewandhaus; “ Saffo,” sung by Madame Lemmens Sherrington at the British Orchestral Society’s concert, March 31, 1875; the 150th Psalm, for. soprano solo, chorus, orchestra, and organ, written for the Boston (Mass.) Festival, 1872; and a scena, “The Prayer of Nature” (Byron), for Mr. Edward Lloyd, Philharmonic : Society, June 9, 1887. | [
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The_Musical_Times_ms_1899-680_1_ | 1899 | In addition to the works already named, Mr. Randegger has composeda scena, ‘‘ Medea,” sung by Madame Rudersdorff at the Leipzig Gewandhaus in 1869, of which the original autograph score is now preserved in the library of the Gewandhaus; “ Saffo,” sung by Madame Lemmens Sherrington at the British Orchestral Society’s concert, March 31, 1875; the 150th Psalm, for. soprano solo, chorus, orchestra, and organ, written for the Boston (Mass.) Festival, 1872; and a scena, “The Prayer of Nature” (Byron), for Mr. Edward Lloyd, Philharmonic : Society, June 9, 1887. | [
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] | 150th Psalm | NIL |
The_Musical_Times_ms_1899-680_1_ | 1899 | In addition to the works already named, Mr. Randegger has composeda scena, ‘‘ Medea,” sung by Madame Rudersdorff at the Leipzig Gewandhaus in 1869, of which the original autograph score is now preserved in the library of the Gewandhaus; “ Saffo,” sung by Madame Lemmens Sherrington at the British Orchestral Society’s concert, March 31, 1875; the 150th Psalm, for. soprano solo, chorus, orchestra, and organ, written for the Boston (Mass.) Festival, 1872; and a scena, “The Prayer of Nature” (Byron), for Mr. Edward Lloyd, Philharmonic : Society, June 9, 1887. | [
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The_Musical_Times_ms_1899-680_1_ | 1899 | In addition to the works already named, Mr. Randegger has composeda scena, ‘‘ Medea,” sung by Madame Rudersdorff at the Leipzig Gewandhaus in 1869, of which the original autograph score is now preserved in the library of the Gewandhaus; “ Saffo,” sung by Madame Lemmens Sherrington at the British Orchestral Society’s concert, March 31, 1875; the 150th Psalm, for. soprano solo, chorus, orchestra, and organ, written for the Boston (Mass.) Festival, 1872; and a scena, “The Prayer of Nature” (Byron), for Mr. Edward Lloyd, Philharmonic : Society, June 9, 1887. | [
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The_Musical_Times_ms_1899-680_1_ | 1899 | In addition to the works already named, Mr. Randegger has composeda scena, ‘‘ Medea,” sung by Madame Rudersdorff at the Leipzig Gewandhaus in 1869, of which the original autograph score is now preserved in the library of the Gewandhaus; “ Saffo,” sung by Madame Lemmens Sherrington at the British Orchestral Society’s concert, March 31, 1875; the 150th Psalm, for. soprano solo, chorus, orchestra, and organ, written for the Boston (Mass.) Festival, 1872; and a scena, “The Prayer of Nature” (Byron), for Mr. Edward Lloyd, Philharmonic : Society, June 9, 1887. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_2281 | 1828 | Mr. Bishop has had a large experience in the management of these performances. | [
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Dwight's Journal of Music_1856-001_ms_2 | 1856 | Tam waiting for the arrival at Hamburg ‘of her dear mortal remains, inorder. to go there ‘andl ‘Jast resting place. in the Convent of Maria Jhal, near Dresden, where her ‘sistér is a nun, and where, in gonseqnéence, the holy prayers of those who loved her most will not be wanting, I am ‘having a small chapel built there, with two tombs, turn to.my faniily 2 shall meet you, no. doubt, in the spring, ebut will not promise vou that the pleasure of secing you ‘will be exempt from all sadnes impossible for me to separate vour-presence from the remembrance of my dear Henriette: the idea of being ‘able to’ talk of the angel whom 1. have lost with these, wha feel as: yen ‘do. has, however, its consolation. | [
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{
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{
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{
"bio": "O",
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{
"bio": "O",
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{
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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},
{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
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{
"bio": "O",
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{
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{
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{
"bio": "O",
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{
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{
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{
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{
"bio": "O",
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{
"bio": "O",
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},
{
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{
"bio": "O",
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{
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{
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] | Tam | NIL |
Dwight's Journal of Music_1856-001_ms_2 | 1856 | Tam waiting for the arrival at Hamburg ‘of her dear mortal remains, inorder. to go there ‘andl ‘Jast resting place. in the Convent of Maria Jhal, near Dresden, where her ‘sistér is a nun, and where, in gonseqnéence, the holy prayers of those who loved her most will not be wanting, I am ‘having a small chapel built there, with two tombs, turn to.my faniily 2 shall meet you, no. doubt, in the spring, ebut will not promise vou that the pleasure of secing you ‘will be exempt from all sadnes impossible for me to separate vour-presence from the remembrance of my dear Henriette: the idea of being ‘able to’ talk of the angel whom 1. have lost with these, wha feel as: yen ‘do. has, however, its consolation. | [
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] | Hamburg | Q1055 |
Dwight's Journal of Music_1856-001_ms_2 | 1856 | Tam waiting for the arrival at Hamburg ‘of her dear mortal remains, inorder. to go there ‘andl ‘Jast resting place. in the Convent of Maria Jhal, near Dresden, where her ‘sistér is a nun, and where, in gonseqnéence, the holy prayers of those who loved her most will not be wanting, I am ‘having a small chapel built there, with two tombs, turn to.my faniily 2 shall meet you, no. doubt, in the spring, ebut will not promise vou that the pleasure of secing you ‘will be exempt from all sadnes impossible for me to separate vour-presence from the remembrance of my dear Henriette: the idea of being ‘able to’ talk of the angel whom 1. have lost with these, wha feel as: yen ‘do. has, however, its consolation. | [
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] | Dresden | Q1731 |
Dwight's Journal of Music_1856-001_ms_2 | 1856 | Tam waiting for the arrival at Hamburg ‘of her dear mortal remains, inorder. to go there ‘andl ‘Jast resting place. in the Convent of Maria Jhal, near Dresden, where her ‘sistér is a nun, and where, in gonseqnéence, the holy prayers of those who loved her most will not be wanting, I am ‘having a small chapel built there, with two tombs, turn to.my faniily 2 shall meet you, no. doubt, in the spring, ebut will not promise vou that the pleasure of secing you ‘will be exempt from all sadnes impossible for me to separate vour-presence from the remembrance of my dear Henriette: the idea of being ‘able to’ talk of the angel whom 1. have lost with these, wha feel as: yen ‘do. has, however, its consolation. | [
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"bio": "O",
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"bio": "O",
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"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
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{
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},
{
"bio": "O",
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"token": ","
},
{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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},
{
"bio": "O",
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{
"bio": "O",
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"token": "meet"
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{
"bio": "O",
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},
{
"bio": "O",
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},
{
"bio": "O",
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},
{
"bio": "O",
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{
"bio": "O",
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},
{
"bio": "O",
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},
{
"bio": "O",
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},
{
"bio": "O",
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"token": "the"
},
{
"bio": "O",
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},
{
"bio": "O",
"disambiguated_token": ",",
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"token": ","
},
{
"bio": "O",
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"token": "ebut"
},
{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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{
"bio": "O",
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},
{
"bio": "O",
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"token": "that"
},
{
"bio": "O",
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{
"bio": "O",
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},
{
"bio": "O",
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},
{
"bio": "O",
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},
{
"bio": "O",
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"token": "you"
},
{
"bio": "O",
"disambiguated_token": "'",
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},
{
"bio": "O",
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"token": "will"
},
{
"bio": "O",
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"token": "be"
},
{
"bio": "O",
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"token": "exempt"
},
{
"bio": "O",
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"token": "from"
},
{
"bio": "O",
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},
{
"bio": "O",
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"token": "sadnes"
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{
"bio": "O",
"disambiguated_token": "impossible",
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"token": "impossible"
},
{
"bio": "O",
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"token": "for"
},
{
"bio": "O",
"disambiguated_token": "I",
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"token": "me"
},
{
"bio": "O",
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"token": "to"
},
{
"bio": "O",
"disambiguated_token": "separate",
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"token": "separate"
},
{
"bio": "O",
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},
{
"bio": "O",
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"token": "-"
},
{
"bio": "O",
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},
{
"bio": "O",
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},
{
"bio": "O",
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"token": "the"
},
{
"bio": "O",
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"token": "remembrance"
},
{
"bio": "O",
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"token": "of"
},
{
"bio": "O",
"disambiguated_token": "my",
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"token": "my"
},
{
"bio": "O",
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"token": "dear"
},
{
"bio": "B-person",
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"token": "Henriette"
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{
"bio": "O",
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},
{
"bio": "O",
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},
{
"bio": "O",
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"token": "idea"
},
{
"bio": "O",
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},
{
"bio": "O",
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},
{
"bio": "O",
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{
"bio": "O",
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},
{
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{
"bio": "O",
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},
{
"bio": "O",
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},
{
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},
{
"bio": "O",
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},
{
"bio": "O",
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},
{
"bio": "O",
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{
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{
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},
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"bio": "O",
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},
{
"bio": "O",
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},
{
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},
{
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},
{
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},
{
"bio": "O",
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},
{
"bio": "O",
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},
{
"bio": "O",
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},
{
"bio": "O",
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},
{
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},
{
"bio": "O",
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},
{
"bio": "O",
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},
{
"bio": "O",
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},
{
"bio": "O",
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},
{
"bio": "O",
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},
{
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},
{
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},
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}
] | Henriette | NIL |