See also:

• FRANCOIS (1558-1614)

FRANCOIS ADRIEN See also:

• FRANCOIS ADRIEN BOIELDIEU (1775-1834)

BOIELDIEU (1775-1834)  , See also:

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

French composer of comic See also:

• OPERA (Italian for " work ")

opera, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• ROUEN

Rouen on the 15th of See also:

• DECEMBER (Lat. decent, ten)

December 1775 . He received his first musical See also:

• EDUCATION

education from M . Broche, the See also:

• CATHEDRAL

cathedral organist, who appears to have treated him very harshly . He began composing songs and chamber See also:

• MUSIC

music at a very See also:

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

early See also:

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

age—his first opera, La Fille coupable (the libretto by his See also:

• FATHER

father), and his second opera, Rosalie et Myrza, being produced on the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage of Rouen in 1795 . Not satisfied with his See also:

• LOCAL

local success he went to 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 in 1795 . His scores were submitted to See also:

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

Cherubini, See also:

• MEHUL, ETIENNE HENRI (or ETIENNE NICOLAS) (1763-1817)

Mehul and others, but met with little approbation . See also:

• GRAND

Grand opera was the See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order 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 . See also:

• BOIELDIEU, FRANCOIS ADRIEN (1775-1834)

Boieldieu had to fall back on his See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent as a See also:

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

pianoforte-player for a livelihood . Success came at last from an unexpected source . P . J . See also:

• GARAT
• GARAT, DOMINIQUE JOSEPH (1749-1833)

Garat, a fashionable See also:

• SINGER, SIMEON (1846-1906)

singer of the See also:

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

period, admired Boieldieu's See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch on the piano, and made him his accompanist .

In the See also:

• DRAWING

drawing-rooms of the Directoire Garat sang the charming songs and See also:

• BALLADS

ballads with which 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 supplied him . Thus Boieldieu's reputation gradually extended to wider circles . In 1796 See also:

• LES

Les Deux lettres was produced, and in 1797 La Famille suisse appeared 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 on a Paris stage, and was well received . Several other operas followed in rapid See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession, of which only Le Calife de See also:

• BAGDAD, or BAGHDAD

Bagdad ("goo) has escaped oblivion . After the enormous success of this See also:

• WORK

work, Boieldieu See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt the want of a thorough musical training and took lessons from Cherubini, the See also:

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

influence of that See also:

• GREAT

great See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master being clearly discernible in the higher See also:

• ARTISTIC

artistic finish of his 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's later compositions . In 1802 Boieldieu, to See also:

• ESCAPE (in mid. Eng. eschape or escape, from the O. Fr. eschapper, modern echapper, and escaper, low Lat. escapium, from ex, out of, and cappa, cape, cloak; cf. for the sense development the Gr. iichueoOat, literally to put off one's clothes, hence to sli

escape the domestic troubles caused by his See also:

• MARRIAGE

marriage with Clotilde Aug . Mafleuroy, a celebrated See also:

• BALLET

ballet-dancer of the Paris opera, took See also:

• FLIGHT

flight and went to See also:

• RUSSIA
• RUSSIA (Rossiya)

Russia, where he was received with open arms by the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

emperor See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander . During his prolonged stay at St See also:

• PETERSBURG

Petersburg he composed a number of operas . He also set to music the choruses of See also:

• RACINE
• RACINE, JEAN (1639-1699)
• RACINE, LOUIS (1692-1763)

Racine's Athalie, one of his few attempts at the tragic See also:

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

style of dramatic See also:

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

writing . In 1811 he returned to his own 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, where the following See also:

• YEAR

year witnessed the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of one of his finest See also:

• WORKS

works, See also:

• JEAN

Jean de Paris, in which he depicted with much felicity the charming coquetry of the 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 of See also:

• NAVARRE (Span. Navarra)

Navarre, the chivalrous verve of 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, the officious pedantry of the See also:

• SENESCHAL (the O. Fr. form, mod. senechal, of the Low Lat. senescalcus, a word of Teutonic origin, meaning " old or senior servant," Goth. sini- old; cf. Lat. senex and stalks, servant; Du Cange's derivation from seneste, flock, herd, must be rejected)

seneschal, and the amorous tenderness of the See also:

• PAGE
• PAGE, THOMAS NELSON (1853- )
• PAGE, WILLIAM (1811-1885)

page . He succeeded Mehul as See also:

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

professor of See also:

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

composition 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 in 1817 . Le Chapeau See also:

• ROUGE (" red," from Lat. rubeus)

rouge was produced with great success in 1818 .

Boieldieu's second and greatest masterpiece was his See also:

• DAME
• DAME (through the Fr. from Lat. domina, mistress, lady, the feminine of dominus, master, lord)

Dame See also:

• BLANCHE, JACQUES EMILE (1861– )

blanche (1825) . The libretto, written by 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, was partly suggested by See also:

• WALTER, HUBERT (d. 1205)
• WALTER, JOHN (1738/9-1812)

Walter See also:

• SCOTT, ALEXANDER (fl. 1550)
• SCOTT, DAVID (18o6-1849)
• SCOTT, MICHAEL (1789-1835)
• SCOTT, ROBERT (1811-1887)
• SCOTT, SIR GEORGE GILBERT (1811-1878)
• SCOTT, SIR WALTER, BART
• SCOTT, WILLIAM BELL (1811-1890)
• SCOTT, WINFIELD (1786-1866)

Scott's Monastery, and several See also:

• ORIGINAL

original Scottish tunes cleverly introduced by the composer add to the melodious See also:

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

charm and local See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour of the work . On the See also:

• DEATH

death of his wife in 1825, Boieldieu married a singer . His own death was due to a violent attack of pulmonary disease . He vainly tried to escape the rapid progress of the illness by travel in See also:

• ITALY
• ITALY (Italia)

Italy and the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

south of See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, but returned to Paris only to See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

die on the 8th of See also:

• OCTOBER

October 1834 . Lives of Boieldieu have been written by Pougin (Paris, 1875), J . A . Refeuvaille (Rouen, 1836), Hequet (Paris, 1864), Emile See also:

• DUVAL, ALEXANDRE VINCENT
• DUVAL, CLAUDE (1643–1670)

Duval (See also:

• GENEVA
• GENEVA (Fr. Geneve, Ger. Genf, Ital. Ginevra, Late Lat. Gebenna, though Genava in good Latin)
• GENEVA, LAKE OF

Geneva, 1883) . See also Adolphe 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 See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam, Derniers souvenirs d'un musicien .