See also:

• SIR

SIR See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

WILLIAM STERNDALE See also:

• BENNETT, CHARLES EDWIN (1858- )
• BENNETT, JAMES GORDON (1794-1872)
• BENNETT, JOHN
• BENNETT, JOHN HUGHES (1812–1875)
• SIR WILLIAM STERNDALE BENNETT (1816-1875)

BENNETT (1816-1875)  , See also:

• ENGLISH

English musical composer, the son of See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert See also:

• BENNETT, CHARLES EDWIN (1858- )
• BENNETT, JAMES GORDON (1794-1872)
• BENNETT, JOHN
• BENNETT, JOHN HUGHES (1812–1875)
• BENNETT, SIR WILLIAM STERNDALE (1816-1875)

Bennett, an organist, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• SHEFFIELD
• SHEFFIELD, JOHN BAKER HOLROYD, 1ST EARL

Sheffield on the 13th of See also:

• APRIL

April 1816 . Having lost his See also:

• FATHER

father at an See also:

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

early See also:

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

age, he was brought up at See also:

• CAMBRIDGE
• CAMBRIDGE, EARLS AND DUKES OF
• CAMBRIDGE, RICHARD OWEN (1717-1802)

Cambridge by his grandfather, from whom he received his first musical See also:

• EDUCATION

education . He entered the See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir of 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 See also:

• COLLEGE (Collegium)

College See also:

• CHAPEL

chapel in 1824 . In 1826 he entered the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy of See also:

• MUSIC

Music, and remained 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 that institution for the next ten years, studying See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte under W . H . See also:

• HOLMES, OLIVER WENDELL (18o9-1894)

Holmes and See also:

• CIPRIANI, GIOVANNI BATTISTA (1727-1785)

Cipriani See also:

• POTTER, ALONZO (1800-1865)
• POTTER, HENRY CODMAN (1835–1908)
• POTTER, J
• POTTER, JOHN (c. 1674-1747)
• POTTER, PAUL (1625—1654)
• POTTER, PHILIP CIPRIANI HAMBLEY (1792—1871)

Potter, and See also:

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

composition under See also:

• LUCAS, CHARLES (1713–1771)
• LUCAS, JOHN SEYMOUR (1849– )
• LUCAS, SIR CHARLES (d. 1648)

Lucas and Dr See also:

• CROTCH, WILLIAM (1775-1847)

Crotch . It was during 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 that he wrote several of his most appreciated See also:

• WORKS

works, in which may be traced influences of the contemporary See also:

• MOVEMENT

movement of music in See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, which See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country he frequently visited during the years 1836–1842 . At one of the Rhenish musical festivals in See also:

• DUSSELDORF

Dusseldorf he made the See also:

• PERSONAL

personal acquaintance of Mendelssohn, and soon afterwards renewed it at See also:

• LEIPZIG

Leipzig, where the talented 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 Englishman was welcomed by the leading musicians of the rising See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation . At one of the celebrated Gewandhaus concerts he played his third pianoforte See also:

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

concerto, which was received enthusiastically . An enthusiastic See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of the event was written by Robert See also:

• SCHUMANN, ROBERT ALEXANDER (1810-1856)

Schumann, who pronounced Bennett to be the most " musikalisch " of all Englishmen, and " an See also:

• ANGEL

angel of a musician " (copying See also:

• GREGORY
• GREGORY (Gregorius)
• GREGORY (Grigorii) GRIGORIEVICH ORLOV, COUNT (1734-1783)
• GREGORY, EDWARD JOHN (1850-19o9)
• GREGORY, OLINTHUS GILBERT (1774—1841)
• GREGORY, ST (c. 213-C. 270)
• GREGORY, ST, OF NAZIANZUS (329–389)
• GREGORY, ST, OF NYSSA (c.331—c. 396)
• GREGORY, ST, OF TOURS (538-594)

Gregory's See also:

• PUN

pun on See also:

• ANGLI, ANGLII

Angli and See also:

• ANGELL, GEORGE THORNDIKE (1823-1909)

Angell) . But it was Mendelssohn's See also:

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

influence that dominated Bennett's mode of utterance . A See also:

• GOOD, JOHN MASON (1764-1827)

good example of this may be studied in Bennett's See also:

• CAPRICCIO, or CAPRICE (Ital. for a sudden motion or fancy)

Capriccio in D See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor .

His See also:

• GREAT

great success on the See also:

• CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

continent established his position on his return to See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England . In 1834 he was elected organist of St See also:

• ANNE (1665-1714)
• ANNE (1693-1740)

Anne's chapel (now 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), See also:

• WANDSWORTH

Wandsworth . In this See also:

• YEAR

year he composed his See also:

• OVERTURE (Fr. ouverture, opening)

Overture to Parisina, and his Concerto in C minor, modelled on See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart . An unpublished concerto in F minor, and the overture to the Naiads, impressed the See also:

• FIRM

firm of Broadwood so favourably in 1836 that they offered the composer a year in Leipzig, where the Naiads overture was performed at a Gewandhaus See also:

• CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert on the 13th of See also:

• FEBRUARY

February 1837 . Bennett visited Leipzig a second time in 184o–1841, when he composed his Caprice in E for pianoforte and See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra and his overture The 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:

• NYMPHS

Nymphs . He settled in See also:

• LONDON

London, devoting himself chiefly to See also:

• PRACTICAL

practical teaching . In 1844 he married See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary Anne, daughter of See also:

• CAPTAIN (derived from Lat. ca put, head, through the Low Lat. capitanus)

Captain See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James Wood, R.N . He was made musical See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

professor at Cambridge in 1856, the year in which he was engaged as permanent conductor of the Philharmonic Society . This latter See also:

• POST

post he held until 1866, when he became See also:

• PRINCIPAL

principal of the Royal Academy of Music . Owing to his professional duties his latter years were not fertile, and what he then wrote was scarcely equal to the productions of his youth . The principal See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm of Bennett's compositions (not to mention his See also:

• ABSOLUTE (Lat. absolvere, to loose, set free)

absolute mastery of the musical See also:

• FORM (Lat. forma)

form) consists in the tenderness of their conception, rising occasionally to sweetest lyrical intensity . Except the See also:

• OPERA (Italian for " work ")

opera, Bennett tried his See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand at almost all the different forms of vocal and instrumental See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing .

As his best works in various branches of See also:

• ART

art, we may mention, for pianoforte See also:

• SOLO, OR SOLO WHIST

solo, and with See also:

• ACCOMPANIMENT (i.e. that which " accompanies ")

accompaniment of the orchestra, his three sketches, The See also:

• LAKE
• LAKE, GERARD LAKE, 1ST VISCOUNT (1744-1808)

Lake, The See also:

• MILL
• MILL (O. Eng. mylen, later myln, or miln, adapted from the late Lat. molina, cf. Fr. moulin, from Lat. mola, a mill, molere, to grind; from the same root, mol, is derived " meal;" the word appears in other Teutonic languages, cf. Du. molen, Ger. muhle)
• MILL, JAMES (1773-1836)
• MILL, JOHN (c. 1645–1707)
• MILL, JOHN STUART (1806-1873)

Mill-stream and The See also:

• FOUNTAIN (Late Lat. fontana, from ions, a spring)

Fountain, and his 3rd pianoforte concerto; for the orchestra, his See also:

• SYMPHONY

Symphony in G minor, and his overture The Naiads; and for voices, his See also:

• CANTATA (Italian for a song or story set to music)

cantata The May See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen, written for the See also:

• LEEDS
• LEEDS, THOMAS OSBORNE

Leeds Festival in 1858 . For the See also:

• JUBILEE (or JUBILE), YEAR OF

jubilee of the Philharmonic Society he wrote the overture See also:

• PARADISE (Gr. lrap6BEwos)

Paradise and the See also:

• PERI, JACOPO (1561–16 ?)

Peri in 1862 . He also wrote a sacred cantata, The Woman of See also:

• SAMARIA

Samaria, first per-formed at the See also:

• BIRMINGHAM

Birmingham Musical Festival in 1867 . In 187o the university of 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 conferred upon him the honorary degree of D.C.L . A year later he was knighted, and in 1872 he received a public testimonial before a large See also:

• AUDIENCE (from Lat. audire, to hear)

audience at St James's See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

Hall, the moneysubSGtjbedbeing devoted to the See also:

• FOUNDATION (Lat. fundatio, from fundare, to found)

foundation of a scholarship at the Royal Academy of Music . Shortly before his See also:

• DEATH

death he produced a See also:

• SONATA (From Ital. sonare, to sound)

sonata called the Maid of See also:

• ORLEANS
• ORLEANS, CHARLES, DUKE OF (1391-1465)
• ORLEANS, DUKES OF
• ORLEANS, FERDINAND PHILIP LOUIS CHARLES HENRY, DUKE OF (1810-1842)
• ORLEANS, HENRI, PRINCE
• ORLEANS, HENRIETTA, DUCHESS
• ORLEANS, JEAN BAPTISTE GASTON, DUKE
• ORLEANS, LOUIS
• ORLEANS, LOUIS PHILIPPE JOSEPH
• ORLEANS, LOUIS PHILIPPE ROBERT, DUKE
• ORLEANS, LOUIS PHILIPPE, DUKE OF (1725–1785)
• ORLEANS, LOUIS, DUKE OF (1372–1407)
• ORLEANS, PHILIP I
• ORLEANS, PHILIP II

Orleans, an elaborate piece of See also:

• PROGRAMME, or PROGRAM

programme-music based on See also:

• SCHILLER, JOHANN CHRISTOPH FRIEDRICH VON (1759-18o5)

Schiller's tragedy . He died at his See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house in St See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John's Wood, London, on the 15th of February 1875 . See the See also:

• LIFE

Life, by his son (1908) .