See also:

• DANIEL
• DANIEL (DANIL)
• DANIEL, BOOK
• DANIEL, GABRIEL (1649-1728)

DANIEL See also:

• FRANCOIS (1558-1614)

FRANCOIS ESPRIT See also:

• DANIEL FRANCOIS ESPRIT AUBER (1782-1871)

AUBER (1782-1871)  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French musical composer, the son of a See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris printseller, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• CAEN

Caen in See also:

• NORMANDY

Normandy on the 29th of See also:

• JANUARY

January 1782 . Destined by his See also:

• FATHER

father to the pursuits of See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade, he was allowed, nevertheless, to indulge his fondness for See also:

• MUSIC

music, and learnt to See also:

• PLAY

play at an See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age on several See also:

• INSTRUMENTS

instruments, his first teacher being the Tirolean composer, I . A . Ladurner . Sent at the age of twenty to See also:

• LONDON

London to See also:

• COMPLETE

complete his business training, he was obliged to leave See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England in consequence of the See also:

• BREACH (Mid. Eng. breche, derived from the common Teutonic root brec, which appears in " break," Ger. brechen, &c.)

breach of the treaty of See also:

• AMIENS

Amiens (1804) . He had already attempted musical See also:

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

composition, and at this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period produced several concertos pour basse, in the manner of the violoncellist, Lamarre, in whose name they were published . The praise given to his See also:

• CONCERTO (Lat. concertus, from certare, to strive, also con-fused with concentus)

concerto for the See also:

• VIOLIN

violin, which was played at the See also:

• CONSERVATOIRE (the Fr. equivalent of Ital. Conservatorio, Ger. Conservatorium, from Med. Lat. conservatorium, a place where anything is preserved, Lat. conservare, to preserve)

Conservatoire by Mazas, encouraged him to undertake the resetting of the old comic See also:

• OPERA (Italian for " work ")

opera, Julie (181I) . Conscious by 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 of the need of See also:

• REGULAR

regular study of his chosen See also:

• ART

art, he placed himself under the severe training of See also:

• CHERUBINI, MARIA LUIGI CARLO ZENOBIO SALVATORE (1760-1842)

Cherubini, by which the See also:

• SPECIAL

special qualities of the 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 composer were admirably See also:

• DEVELOPED

developed . In 1813 he made his debut in an opera in one See also:

• ACT (Lat. actus, actum)

act, the Sejour militaire, the unfavourable reception of which put an end for some years to his attempts as composer . But the failure in business and See also:

• DEATH

death of his father, in 1819, compelled him once more to turn to music, and to make that which had been his pastime the serious employment of his See also:

• LIFE

life . He produced another opera, the Testament et See also:

• LES

les billets-doux (1819), which was no better received than the former . But he persevered, and the next See also:

• YEAR

year was rewarded by the complete success of his Bergere See also:

• CHATELAINE (Fr. chdtelaine, the feminine form of chdtelain, a keeper of a castle)

chatelaine, an opera in three acts .

This was the first in a See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long See also:

• SERIES (a Latin word from serere, to join)

series of brilliant successes: In 1822 began his long association with A . E . See also:

• SCRIBE, AUGUSTIN EUGENE (1791-1860, French dramatist, was born in Paris on the 24th of December 1791. His father was a silk merchant, and he was well educated, being destined for the bar. But, having a real gift for the theatre, a gift which unfortunately

Scribe, who shared with him, as librettist, the success and growing popularity of his compositions . The opera of See also:

• LEICESTER
• LEICESTER, EARLS OF
• LEICESTER, ROBERT DUDLEY, EARL
• LEICESTER, ROBERT SIDNEY, EARL OF (1563-1626)
• LEICESTER, THOMAS WILLIAM COKE, EARL OF (1754-1842)

Leicester, in which they first worked together (1823), is remark-able also as showing evidences of the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of See also:

• ROSSINI, GIOACHINO ANTONIO (1792-1868)

Rossini . But his own See also:

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

style was an individual one, marked by lightness and facility, sparkling vivacity, See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace and elegance, clear and piquant See also:

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

melody—characteristically French . In La Muette de See also:

• PORTICI

Portici, familiarly known as See also:

• MASANIELLO

Masaniello, See also:

• AUBER, DANIEL FRANCOIS ESPRIT (1782-1871)

Auber achieved his greatest musical See also:

• TRIUMPH (triumphus)

triumph . Produced at Paris in 1828, it rapidly became a See also:

• EUROPEAN

European favourite, and its See also:

• OVERTURE (Fr. ouverture, opening)

overture, songs and choruses were everywhere heard . The See also:

• DUET (an adaptation of the Ital. duetto, from Lat. duo, two)

duet, " Amour sacre de la patrie," was welcomed like a new Marseillaise; sung by Nourrit at See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels in 183o, it became the See also:

• SIGNAL

signal for the revolution which See also:

• BROKE, or BROOKE, ARTHUR (d. 1563)
• BROKE, SIR PHILIP BOWES VERE, BART

broke out there . Of Auber's remaining operas (about 50 in all) the more important are: Le See also:

• MACON
• MACON, NATHANIEL (1758-1837)

Macon (1825), La Fiancee (1829), Fra See also:

• DIAVOLO, FRA (1771-1806)

Diavolo (183o), Lestocq (1834), Le Cheval de See also:

• BRONZE

bronze (1835), L'Ambassadrice (1836), Le Domino noir (1837), Le See also:

• LAC

Lac See also:

• DES

des fees (1839), Les Diamants de la couronne (1841), Haydee (1847), Marco Spada (1853), Manon Lescaut (1856), and La Fiancee du roi des Garbes (1864) . See also:

• OFFICIAL (Late Lat. QJicialis, for class. Lat. apparitor, from officium, office, duty)

Official and other dignities testified the public appreciation of Auber's See also:

• WORKS

works . In 1829 he was elected member of the See also:

• INSTITUTE (from Lat. instituere, to establish or set up)

Institute, in 183o he was named director of the 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 concerts, and in 1842, at the wish of See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis Philippe, he succeeded Cherubini as director of the Conservatoire . He was also a member of the See also:

• LEGION (Lat. legio)

Legion of See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

Honour from 1825, and attained the See also:

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

rank of See also:

• COMMANDER

commander in 1847 .

See also:

• NAPOLEON

Napoleon See also:

• IIL, PP

IIl. made Auber his Imperial Maitre de Chapelle in 1857 . One of Auber's latest compositions was a 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, written for the opening of the See also:

• INTERNATIONAL, THE

International See also:

• EXHIBITION

Exhibition in London in 1862 . His fascinating See also:

• MANNERS, CHARLES (1857– )

manners, his witty sayings, and his ever-ready kindness and beneficence won for him a secure See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in the respect and love of his See also:

• FELLOW

fellow-citizens . He remained in his old See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home during the See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German See also:

• SIEGE (0. Fr. sege, siege, mod. siege, seat, ultimately from sedere, to sit, cf. Class. Lat. obsidium, a siege)

siege of Paris, 1870-71, but the miseries of the Communist See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

war which followed sickened his See also:

• HEART
• HEART, LUNG

heart, and he died in Paris on the 13th of May 1871 . See Adolph Kohut, " Auber," vol. xvii. of Musiker Biographien (See also:

• LEIPZIG

Leipzig, 1893) .