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:

• AUGUSTINE, SAINT (354-430)
• AUGUSTINE, SAINT (d. c.613)

AUGUSTINE See also:

• THOMAS AUGUSTINE ARNE (1710-1778)

ARNE (1710-1778)  , See also:

• ENGLISH

English musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• LONDON

London on the 12th of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1710, his See also:

• FATHER

father being an See also:

• UPHOLSTERER

upholsterer . Intended for the legal profession, he was educated at See also:

• ETON

Eton, and afterwards apprenticed to an See also:

• ATTORNEY (from O. Fr. atorne, a person appointed to act for another, from atourner, legal Lat. attornare, attorn, literally to turn over to another or commit business to another)

attorney for three years . His natural inclination for See also:

• MUSIC

music, however, proved irresistible, and his father, finding from his performance at an See also:

• AMATEUR (Lat. amator, lover)

amateur musical party that he was already a skilful violinist, furnished him with the means of educating himself in his favourite See also:

• ART

art . On the 7th of March 1733 he produced his first See also:

• WORK

work at See also:

• LINCOLN
• LINCOLN, ABRAHAM (1809-1865)
• LINCOLN, EARLS OF

Lincoln's See also:

• INN

Inn See also:

• FIELDS, JAMES THOMAS (1817-1881)

Fields See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre, a setting of See also:

• ADDISON, JOSEPH (1672-1719)

Addison's See also:

• ROSAMOND

Rosamond, the heroine's See also:

• PART

part being performed by his See also:

• SISTER

sister, Susanna Maria, who afterwards became celebrated as Mrs See also:

• CIBBER (or CIBERT), CAIUS GABRIEL (163o-1700)
• CIBBER, COLLEY (1671-1757)

Cibber . This proving a success was immediately followed by a burletta, entitled The See also:

• OPERA (Italian for " work ")

Opera of Operas, based on See also:

• FIELDING, ANTHONY VANDYKE COPLEY (1787-1855)
• FIELDING, HENRY (1707-1754)
• FIELDING, WILLIAM STEVENS (1848– )

Fielding's Tragedy of Tragedies . The part of Tom Thumb was played by See also:

• ARNE, THOMAS AUGUSTINE (1710-1778)

Arne's See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young See also:

• BROTHER

brother, and the opera was produced at the See also:

• HAY
• HAY (a word common in various forms to Teutonic languages; cf. Ger. Heu, Dutch hooi; the root from which it is derived, meaning " to cut," is also seen in " to hew "; cf. " hoe ")
• HAY, GEORGE (1729—1811)
• HAY, GILBERT
• HAY, JOHN (1838–1905)

Hay-See also:

• MARKET (Lat. mercatus, trade or place of trade)

market theatre . On the 19th of See also:

• DECEMBER (Lat. decent, ten)

December 1733 Arne produced at the same theatre the masque See also:

• DIDO, or ELISSA

Dido and See also:

• AENEAS

Aeneas, a subject of which the musical conception had been immortalized for Englishmen more than See also:

• HALF

half a See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century earlier by See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry See also:

• PURCELL, HENRY (1658-1695)

Purcell . Arne's individuality of See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style first distinctly asserted itself in the music to Dr See also:

• DALTON
• DALTON, JOHN (1766-1844)

Dalton's See also:

• ADAPTATION (from Lat. adaptare. to fit to)

adaptation of See also:

• MILTON
• MILTON, JOHN (1608–1674)

Milton's Comets, which was per-formed at See also:

• DRURY, SIR WILLIAM (1527-1579)

Drury See also:

• LANE, EDWARD WILLIAM (1801–1876)
• LANE, JAMES HENRY (1814–1866)

Lane in 1738, and speedily established his reputation . In 1740 he wrote the music for See also:

• THOMSON, JAMES (1822-1892)
• THOMSON, JAMES (1834-1882)
• THOMSON, JAMES (r700-1748)
• THOMSON, JOHN (1778-184o)
• THOMSON, JOSEPH (1858-1895)
• THOMSON, SIR CHARLES WYVILLE (1830-1882)
• THOMSON, THOMAS (1773-1852)
• THOMSON, WILLIAM (1819-189o)

Thomson and See also:

• MALLET (or MALLOCH), DAVID (?17o5–1765)
• MALLET, PAUL HENRI (173o–18o7)

Mallet's Masque of See also:

• ALFRED

Alfred, which is noteworthy as containing the most popular of all his airs—" See also:

• RULE

Rule, Britannia!" In 1740 he also wrote his beautiful settings of the songs, " Under the See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

green-See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood See also:

• TREE (0. Eng. treo, treow, cf. Dan. tree, Swed. Odd, tree, trd, timber; allied forms are found in Russ. drevo, Gr. opus, oak, and 36pv, spear, Welsh derw, Irish darog, oak, and Skr. dare, wood)
• TREE, SIR HERBERT BEERBOHM (1853- )

tree," " See also:

• BLOW, JOHN (1648-1708)

Blow, blow, See also:

• THOU, JACQUES AUGUSTE DE [THUANUS] (1553-1617)
• THOU, NOM

thou See also:

• WINTER, JOHN STRANGE
• WINTER, PETER (c. 1755-1825)

winter See also:

• WIND
• WIND (a common Teut. word, cognate with Skt. vats, Lat. ventus, cf. " weather," to be of course distinguished from to " wind," to coil or twist, O.Eng. windan, cf. "wander," "wend," &c.)

wind " and " When daisies pied," for a performance of See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare's As You Like It . Four years before this, in 1736, he had married See also:

• CECILIA, SAINT

Cecilia, the eldest daughter of See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles Young, organist of All Hallows See also:

• BARKING

Barking . She was considered the finest English See also:

• SINGER, SIMEON (1846-1906)

singer of the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day and was frequently engaged by See also:

• HANDEL, GEORGE FREDERICK (1685–1759)

Handel in the performance of his music . In 1742 Arne went with his wife to See also:

• DUBLIN

Dublin, where he remained two years and produced his See also:

• ORATORIO

oratorio See also:

• ABEL (better ABELL), THOMAS (d. 1540)
• ABEL (Hebrew for breath)
• ABEL, KARL FRIEDRICH (1725-1787)
• ABEL, NIELS HENRIK (1802-1829)
• ABEL, SIR FREDERICK AUGUSTUS, BART

Abel, containing the beautiful See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody known as the Hymn of See also:

• EVE

Eve, the operas Britannia, Eliza and Cosnus, and where he also gave a number of successful concerts .

On his return to London he was engaged as See also:

• LEADER, BENJAMIN WILLIAMS (1831– )

leader of the See also:

• BAND

band at Drury Lane theatre (1744), and as composer at See also:

• VAUXHALL

Vauxhall (1745) . In this latter See also:

• YEAR

year he composed his successful See also:

• PASTORAL (from Lat. pastor, a shepherd)

pastoral See also:

• DIALOGUE

dialogue, See also:

• COLIN, ALEXANDRE (1526-1612)

Colin and See also:

• PHOEBE

Phoebe, and in 1746 the See also:

• SONG

song, " Where the See also:

• BEE (Sanskrit blza, AS. ben, Lat. apis)

bee sucks." In 1759 he received the degree of See also:

• DOCTOR (Lat. for " teacher ")

doctor of music from 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 176o he transferred his services to Covent See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

Garden theatre, where on the 28th of See also:

• NOVEMBER (Lat. novem, nine)

November he produced his 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 and Sally . Here, too, on the and of See also:

• FEBRUARY

February 1762 he produced his See also:

• ARTAXERXES

Artaxerxes, an opera in the See also:

• ITALIAN

Italian style with recitative instead of spoken dialogue, the popularity of which is attested by the fact that it continued to be performed at intervals for upwards of eighty years . The libretto, by Arne himself, was a very poor See also:

• TRANSLATION

translation of See also:

• METASTASIO (1698-1782)

Metastasio's Artaserse . In 1762 also was produced the ballad-opera Love in a Cottage . His oratorio See also:

• JUDITH, THE BOOK OF

Judith, of which the first 'performance was on the 27th of February 1761 at Drury Lane, was revived at the See also:

• CHAPEL

chapel of the See also:

• LOCK (from the O. Eng. loc.; the word appears, in different forms, in many Teutonic languages, but with such various meanings as " hole," Ger. Loch, " lid," Swed. lock, &c.; probably the original was a root meaning " to enclose ")
• LOCK, MATTHIAS

Lock See also:

• HOSPITAL (Lat. haspitalis, the adjective of hospes, host or guest)

hospital, Pimlico, on the 29th of February 1764, in which year was also performed his setting of Metastasio's Olimpiade in the See also:

• ORIGINAL

original See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language at 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 theatre in the Haymarket . At a later performance of Judith at Covent Garden theatre on the 26th of February 1773 Arne for the first 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 introduced See also:

• FEMALE

female voices into oratorio choruses . In 1769 he wrote the musical parts for See also:

• GARRICK, DAVID (1717-1779)

Garrick's See also:

• ODE (Gr. uiSri, from aei&ew, to sing)

ode for the Shakespeare See also:

• JUBILEE (or JUBILE), YEAR OF

jubilee at See also:

• STRATFORD
• STRATFORD, JOHN DE (d. 1348)

Stratford-on-See also:

• AVON

Avon, and in 1770 he gave a mutilated version of Purcell's King See also:

• ARTHUR (Fr. Arius)
• ARTHUR, CHESTER ALAN (1830 – 1886)

Arthur . One of his last dramatic See also:

• WORKS

works was the music to See also:

• MASON, FRANCIS (1799—1874)
• MASON, GEORGE (1725—1792)
• MASON, GEORGE HEMMING (1818–1872)
• MASON, JAMES MURRAY (1798-1871)
• MASON, JOHN (1586-1635)
• MASON, JOHN YOUNG (1799-1859)
• MASON, LOWELL (1792—1872)
• MASON, SIR JOHN (1503–1566)
• MASON, SIR JOSIAH (1795-1881)
• MASON, WILLIAM (1725—1797)

Mason's See also:

• CARACTACUS

Caractacus, published in 1775 . Though inferior to Purcell in intensity of feeling, Arne has not been surpassed as a composer of graceful and attractive melody . There is true See also:

• GENIUS (from Lat. genere, gignere)

genius in such airs as "Rule, Britannia!" and " Where the bee sucks," which still retain their original freshness and popularity .

As a writer of glees he does not take such high See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank, though he deserves See also:

• NOTICE

notice as the leader in the revival of that peculiarly English See also:

• FORM (Lat. forma)

form of See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition . He was author as well as composer of The See also:

• GUARDIAN

Guardian outwitted, The See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

Rose, The Contest of Beauty and Virtue, and Phoebe at See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

Court . Dr Arne died on the 5th of March 1778, and was buried at St See also:

• PAUL
• PAUL (PAULUS)

Paul's, Covent Garden . See also the See also:

• ARTICLE (from Lat. articulus, a joint)

article in See also:

• GROVE (O.E. graf, cf. O.E. gr(efa, brushwood, later" greave "; the word does not appear in any other Teutonic language, and the New English Dictionary finds no Indo-European root to which it can be referred; Skeat considers it connected with " grave," to
• GROVE, SIR GEORGE (182o-1900)
• GROVE, SIR WILLIAM ROBERT (1811-1896)

Grove's See also:

• DICTIONARY

Dictionary (new ed.) ; and two interesting papers in the Musical Times, November and December 190I .