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 See also:

• JOHN BRAHAM (c. 1774-1856)

BRAHAM (c. 1774-1856)  , See also:

• ENGLISH

English vocalist, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• LONDON

London about 1774, of Jewish parentage, his real name being See also:

• ABRAHAM, or ABRAM (Hebrew for " father is high ")

Abraham . His See also:

• FATHER

father and See also:

• MOTHER

mother died when he was quite 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 . Having received lessons in singing from an See also:

• ITALIAN

Italian artist named Leoni, he made his first See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance in public at 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 See also:

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

theatre on the 21st of See also:

• APRIL

April x787, when he sang " The soldier tired of See also:

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

war's alarms " and " Ma there arrive." On the breaking of his See also:

• VOICE (Fr. voix, from Lat. vox)

voice, he had to support himself by,, teaching the See also:

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

pianoforte . In a few years, however, he recovered his voice, which proved to be a See also:

• TENOR (through Fr. and It. from Lat. tenor, holding on, course, sense of a law, tone)

tenor of exceptionally pure and See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich quality . His second debut was made in 1794 at the See also:

• BATH
• BATH, THOMAS THYNNE
• BATH, WILLIAM

Bath concerts, to the conductor of which, Rauzzini, he was indebted for careful training extending over a See also:

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

period of more than two years . In 1796 he reappeared in London at See also:

• DRURY, SIR WILLIAM (1527-1579)

Drury See also:

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

Lane in See also:

• STORACE, STEPHEN (1763-1796)

Storace's See also:

• OPERA (Italian for " work ")

opera of Mahmoud . Such was his success that he obtained an engagement the next See also:

• YEAR

year to appear in the Italian opera 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 See also:

• GRETRY

Gretry's Azor et Zemire . He also sang in oratorios and was engaged for the Three 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 festival at See also:

• GLOUCESTER
• GLOUCESTER (abbreviated as pronounced Glo'ster)
• GLOUCESTER, EARLS AND DUKES OF
• GLOUCESTER, GILBERT DE CLARE, EARL OF (1243-1295)
• GLOUCESTER, RICHARD DE CLARE, EARL OF (1222-1262)
• GLOUCESTER, ROBERT, EARL OF (d. 1147)
• GLOUCESTER, THOMAS OF WOODSTOCK, DUKE

Gloucester . With the view of perfecting himself in his See also:

• ART

art he set out for See also:

• ITALY
• ITALY (Italia)

Italy in the autumn of 1797 . On the way he gave some concerts at 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, which proved so successful that he was induced to remain there for eight months . His career in Italy was one of continuous See also:

• TRIUMPH (triumphus)

triumph; he appeared in all the See also:

• PRINCIPAL

principal opera-houses, singing in See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan, See also:

• GENOA (anc. Genua, Ital. Genova, Fr. GPnes)

Genoa, See also:

• LEGHORN (Ital. Livorno, Fr. Livourne)

Leghorn and See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice . His See also:

• COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass embraced about nineteen notes, his management of the falsetto being perfect .

In 18oi he returned to his native 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, and appeared once more at Covent Garden in the opera Chains of the See also:

• HEART
• HEART, LUNG

Heart, by Mazzinghi and See also:

• REEVE (O. E. gerefa)
• REEVE, CLARA (1729–1807)
• REEVE, HENRY (1813–1895)

Reeve . So See also:

• GREAT

great was his popularity that an engagement he had made when abroad to return after a year to See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna was renounced, and he remained henceforward in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England . In 1824 he sang the See also:

• PART

part of Max in the English version of See also:

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

Weber's Der See also:

• FREISCHUTZ

Freischutz, and he was the See also:

• ORIGINAL

original See also:

• SIR

Sir Huon in that composer'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 in 1826 . See also:

• BRAHAM, JOHN (c. 1774-1856)

Braham made two unfortunate speculations on a large See also:

• SCALE
• SCALE (1) A

scale, one being the See also:

• PURCHASE

purchase of the Colosseum in the See also:

• REGENT (from Lat. regere, to rule)

Regent's See also:

• PARK (Fr. part; Ital. parco; Sp. Marque; O.Eng. pearroc; connected with Ger. pferch, fold, and pfarrei, district, translating med. Lat. parochia, parish)
• PARK, EDWARDS AMASA (1808–1900)
• PARK, MUNGO (1771-1806?)

Park in 1831 for £40,000, and the other the erection of the St 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's theatre at a cost of £26,000 in 1836 . In 1838 he sang the part of 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 Tell at Drury Lane, and in 1839 the part of See also:

• DON
• DON (anc. Tanais)

Don Giovanni . His last public appearance was at a See also:

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

concert in 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 1852 . He died on the 17th of See also:

• FEBRUARY

February 1856 . There is, perhaps, no other See also:

• CASE
• CASE, JOHN (d. 1600)

case upon See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record in which a See also:

• SINGER, SIMEON (1846-1906)

singer of the first See also:

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

rank enjoyed the use of his voice so See also:

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

long; between Braham's first and last public appearances considerably more than sixty years intervened, during See also:

• FORTY

forty of which he held the undisputed supremacy alike in opera, See also:

• ORATORIO

oratorio and the concert-See also:

• ROOM

room . Braham was the composer of a number of vocal pieces, which being sung by himself had great temporary popularity, though they had little See also:

• INTRINSIC (through Fr. intrinsique, from Lat. intrinsecus, inwardly; inter, within, secus, following, from root of sequi, to follow)

intrinsic merit, and are now deservedly forgotton . A partial exception must be made in favour of " The See also:

• DEATH

Death of See also:

• NELSON
• NELSON, HORATIO NELSON, VISCOUNT (1758-1805)
• NELSON, ROBERT (s656-1715)

Nelson," originally written in 1811 as a portion of the opera The See also:

• AMERICAN

American; this still keeps its See also:

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

place as a See also:

• STANDARD
• STANDARD, BATTLE OF THE

standard popular English See also:

• SONG

song .