See also:

• SIR

SIR 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:

• ROWLEY, WILLIAM (c. 1585-c. 1642)

ROWLEY See also:

• BISHOP (A.S. bisceop, from Lat. episcopus, Gr. irio-Korros, " overlooker " or " overseer ")
• BISHOP, ISABELLA (1832-1904)
• SIR HENRY ROWLEY BISHOP (1786-1855)

BISHOP (1786-1855)  , See also:

• ENGLISH

English musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• LONDON

London on the 18th of See also:

• NOVEMBER (Lat. novem, nine)

November 1786 . He received his See also:

• ARTISTIC

artistic training from Francisco Bianchi, and in 1804 wrote the See also:

• MUSIC

music to a piece called Angelina, which was performed at See also:

• MARGATE

Margate . His next See also:

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

composition was the music to the See also:

• BALLET

ballet of Tamerlan et Bajazet, produced in 18o6 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 See also:

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

theatre . This proved successful, and was followed within two years by several others, of which See also:

• CARACTACUS

Caractacus, a pantomimic ballet, written for See also:

• DRURY, SIR WILLIAM (1527-1579)

Drury See also:

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

Lane, may be named . In 1809 his first See also:

• OPERA (Italian for " work ")

opera, The Circassian's See also:

• BRIDE (a common Teutonic word, e.g..Goth. bruths, O. Eng. bryd, O. H. Ger. prs2t, Mod. Ger. Bract, Dut. bruid, possibly derived from the root bru-, cook, brew; from the med. latinized form bruta, in the sense of daughter-in-law, is derived the Fr. bru)

Bride, was produced at Drury Lane; but unfortunately the theatre was burned down after one performance, and the See also:

• SCORE (O.E. scor, from sceran, to cut, notch, cf. " shear ")

score of the See also:

• WORK

work perished in the flames . His next work of importance, the opera of The Maniac, written for the See also:

• LYCEUM

Lyceum in 181o, established his reputation, and probably secured for him an See also:

• APPOINTMENT, POWER OF

appointment for three years as composer for 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 . The numerous See also:

• WORKS

works—operas, burlettas, cantatas, incidental music to See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare's plays, &c.—which he composed while in this position, are in See also:

• GREAT

great See also:

• PART

part forgotten . The most successful were—The Virgin of the See also:

• SUN
• SUN (0. Eng. sonne, Ger. sonne. Fr. soleil, Lat. sol, Gr. ijXior, from which comes helio- in various English compounds)

Sun (1812), The See also:

• MILLER, HUGH (1802–1856)
• MILLER, JOAQUIN (CINCINNATUS HEINE) (1841- )
• MILLER, JOE (JosEPH or JosIAS( (1684-1738)
• MILLER, SAMUEL FREEMAN (1816-1890)
• MILLER, WILLIAM (1782-1849)
• MILLER, WILLIAM (1795-1861)
• MILLER, WILLIAM (1796–1882)
• MILLER, WILLIAM HALLOWES (18o1–188o)

Miller and his Men (1813), See also:

• GUY, THOMAS (1644–1724)

Guy Mannering and The Slave (1816), Maid Marian and See also:

• CLARI, GIOVANNI CARLO MARIA

Clari, introducing the well-known See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air of " See also:

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

Home, Sweet Home " (1822) . In 1825 See also:

• BISHOP (A.S. bisceop, from Lat. episcopus, Gr. irio-Korros, " overlooker " or " overseer ")
• BISHOP, ISABELLA (1832-1904)
• BISHOP, SIR HENRY ROWLEY (1786-1855)

Bishop was induced by See also:

• ELLISTON, ROBERT WILLIAM (1774--1831)

Elliston to See also:

• TRANSFER (from Lat. transferre, to bear across, carry over)

transfer his services from Covent Garden to the See also:

• RIVAL

rival 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 Drury Lane, for which he wrote with unusual care the opera of Aladdin, intended to compete with See also:

• WEBER, CARL MARIA FRIEDRICH ERNEST VON (1786–1826)
• WEBER, WILHELM EDUARD (1804-1891)

Weber's See also:

• OBERON (Fr. Alberon, Auberon, Ger. Alberich, i.e. rich, Goth. reiks, " ruler "—cf. Lat. rex—and O.H. and M.H. Ger. pl. elbi, elbe, " elves," pl. alp)

Oberon, commissioned by the other house . The result was a failure, and with Aladdin Bishop's career as an operatic composer may be said to See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close . On the formation of the Philharmonic Society (1813) Bishop was appointed one of the See also:

• DIRECTORS

directors, and he took his turn as conductor of its concerts during the See also:

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

period when that See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office was held by different musicians in rotation . In 183o he was appointed musical director at See also:

• VAUXHALL

Vauxhall; and it was in the course of this engagement that he wrote the popular See also:

• SONG

song " My See also:

• PRETTY

Pretty Jane." His sacred See also:

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

cantata, The Seventh 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, was written for the Philharmonic Society and performed in 1833 .

In 1839 he was made See also:

• BACHELOR (from Med. Lat. baccalarius, with its late and rare variant baccalaris—cf. Ital. baccalare—through O. Fr. bacheler)

bachelor in music at See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford . In 1841 he was appointed to the See also:

• REID, ROBERT (1862– )
• REID, SIR GEORGE (1841- )
• REID, SIR ROBERT GILLESPIE (184o-19o8)
• REID, SIR WILLIAM (1791-1858)
• REID, THOMAS (1710-1796)
• REID, THOMAS MAYNE (1818-1883)
• REID, WHITELAW (1837- )

Reid See also:

• CHAIR (in. Mid. Eng. chcere, through O. Fr. chaire or chaiere, from Lat. cathedra, later caledra, Gr. xaOi3pa, seat, cf. "cathedral"; the modern Fr. form chaise, a chair, has been adopted in English with a particular meaning as a form of carriage; chaire

chair of music in the university of See also:

• EDINBURGH

Edinburgh, but Iv . Ihe resigned the office in r 843 . He was knighted in 1842, being the first musician who ever received that 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 . In 1848 he succeeded Dr See also:

• CROTCH, WILLIAM (1775-1847)

Crotch in the chair of music at Oxford . The music for the See also:

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

ode on the occasion of the See also:

• INSTALLATION

installation of See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord See also:

• DERBY
• DERBY, EARLS OF

Derby as See also:

• CHANCELLOR (M. Eng. and Anglo-Fr. canceler, chanceler, Fr. chancelier, Lat. cancellarius)

chancellor of the university (1853) proved to be his last work . He died on the 3oth of See also:

• APRIL

April 1855 in impoverished circumstances, though few composers ever made more by their labours . Bishop was twice married: to See also:

• MISS

Miss See also:

• LYON, MARY MASON (1797-1849)
• LYON, NATHANIEL (1818-1861)

Lyon and Miss See also:

• ANNE (1665-1714)
• ANNE (1693-1740)

Anne See also:

• RIVIERE, BRITON (1840- )

Riviere . Both he and his wives were singers . His name lives in connexion with his numerous glees, songs and smaller compositions . His melodies are clear, flowing, appropriate and often charming; and his See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony is always pure, See also:

• SIMPLE

simple and sweet .