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:

• WALL (O. Eng. weal, weall, Mid. Eng. wal, wane, adapted from Lat. vallum, rampart; the original O. Eng. word for a wall was wag or tenth)
• WALL, RICHARD (1694-1778)

WALL See also:

• JOHN WALL CALLCOTT (1766-1821)
• CALLCOTT, SIR AUGUSTUS WALL(1779-1844)

CALLCOTT (1766-1821)  , See also:

• ENGLISH

English musician, See also:

• BROTHER

brother. of See also:

• SIR

Sir See also:

• AUGUSTUS (a name 1 derived from Lat. augeo, increase, i.e. venerable, majestic, Gr. Ee0avr6s)

Augustus See also:

• CALLCOTT, JOHN WALL (1766-1821)
• CALLCOTT, SIR AUGUSTUS WALL(1779-1844)

Callcott, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• KENSINGTON

Kensington on the 2otb of See also:

• NOVEMBER (Lat. novem, nine)

November 1766 . At the See also:

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

age of seven he was sent to a neighbouring 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-school, where he continued for five years, studying chiefly Latin and See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek . 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 he frequently went to Kensington 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, in the See also:

• REPAIRS (from Lat. reparare, to make ready again)

repairs of which his See also:

• FATHER

father was employed, and the impression he received on See also:

• HEARING (formed from the verb " to hear," O. Eng. hyran, heron, &c., a common Teutonic verb; cf. Ger. Koren, Dutch hooren, &c.; the O. Tent. form is seen in Goth. hausjan; the initial h makes any connexion with " ear," Lat. audire, or Gr. &Kobew very doub

hearing the See also:

• ORGAN

organ of that church seems to have roused his love for See also:

• MUSIC

music . The organist at that time was 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:

• WHITNEY, ELI (1765-1825)
• WHITNEY, JOSIAH DWIGHT (1819-1896)
• WHITNEY, WILLIAM COLLINS (1841-1904)
• WHITNEY, WILLIAM DWIGHT (1827-1894)

Whitney, from whom Callcott received his first musical instruction . He did not, however, choose music as a profession, as he wished to become a surgeon . But on witnessing a surgical operation he found his See also:

• NERVOUS

nervous See also:

• SYSTEM

system so seriously affected by the sight, that he determined to devote himself to music . His intimacy with Dr See also:

• ARNOLD
• ARNOLD, BENEDICT (1741-1801)
• ARNOLD, GOTTFRIED (1666-1714)
• ARNOLD, MATTHEW (1822-1888)
• ARNOLD, SAMUEL (1740--18o2)
• ARNOLD, SIR EDWIN (1832-1904)
• ARNOLD, THOMAS (1745-1842)

Arnold and other leading musicians of the day procured him See also:

• ACCESS (Lat. accessus)

access to See also:

• ARTISTIC

artistic circles; he was See also:

• DEPUTY (through the Fr. from a Late Lat. use of deputare, to cut off, allot; putare having the original sense of to trim, prune)

deputy organist at St See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George the See also:

• MARTYR (Gr. pimp or µaprvs)

Martyr, 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 Square, Bloomsbury, from 1783 to 1785, in which See also:

• YEAR

year his successful competition for three out of the four See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize medals offered bythe " Catch See also:

• CLUB (connected with " clump ")

Club " soon spread his reputation as composer of glees, catches, canons and other pieces of concerted vocal music . The compositions with which he won these medals were—the catch " O beauteous See also:

• FAIR

fair," the See also:

• CANON

canon "Blessed is he," and the See also:

• GLEE

glee " Dull repining sons of care." In these and other similar compositions he displays considerable skill and 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, and some of his glees retain their popularity at the See also:

• PRESENT

present day . In 1787 Callcott helped Dr Arnold and others to See also:

• FORM (Lat. forma)

form the " Glee Club." In 1789 he became one of the two organists at St See also:

• PAUL
• PAUL (PAULUS)

Paul's, 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, and from 1703 to 1802 he was organist to the See also:

• ASYLUM (from Gr. b.-, privative, arid earl, right'of seizure)
• ASYLUM, RIGHT OF (Fr. droit d'asile; Ger. Asylrecht)

Asylum for See also:

• FEMALE

Female Orphans . As an instrumental composer Callcott never succeeded, not even after he had taken lessons from See also:

• HAYDN, FRANZ JOSEPH (1732–1809)

Haydn . But of far greater importance than his compositions are his theoretical writings . His Musical See also:

• GRAMMAR (from Lat. grammatica, sc. ars; Gr. ypaµ)

Grammar, published in 18o6 (3rd ed., 1817), was See also:

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

long considered the See also:

• STANDARD
• STANDARD, BATTLE OF THE

standard English See also:

• WORK

work of musical instruction, and in spite of its being antiquated when compared with See also:

• MODERN

modern See also:

• STANDARDS

standards, it remains a scholarly and lucid treatment of the rudiments of the See also:

• ART

art .

Callcott was a much-esteemed teacher of music for many years . In 1800 he took his degree of See also:

• MUS

Mus.D. 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, where fifteen years earlier he had received his degree of See also:

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

bachelor of music, and in 1805 he succeeded Dr See also:

• CROTCH, WILLIAM (1775-1847)

Crotch as musical lecturer at the Royal Institution . Towards the end of his See also:

• LIFE

life his artistic career was twice interrupted by the failure of his See also:

• MENTAL

mental See also:

• POWERS, HIRAM (1805-1873)

powers . He died at See also:

• BRISTOL
• BRISTOL, EARLS AND MARQUESSES OF
• BRISTOL, GEORGE DIGBY, 2ND EARL OF1 (1612-1677)
• BRISTOL, JOHN DIGBY, 1ST EARL OF 6 (1580-1653)

Bristol after much suffering on the 15th of May 1821 . A See also:

• POSTHUMOUS

posthumous collection of his most favourite vocal pieces was published in 1824 with a memoir of his life by his son-in-See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law, 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 See also:

• HORSLEY, JOHN (c. 1685 – 1732)
• HORSLEY, JOHN CALLCOTT (1817-1903)
• HORSLEY, SAMUEL (1733-1806)
• HORSLEY, WILLIAM (1774–1858)

Horsley, himself a composer of See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note . Callcott's son, WILLIAM HUTCHINS CALLCOTT (1807-1882), inherited to a large extent the musical gifts of his father . His See also:

• SONG

song, " The last See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man," and his See also:

• ANTHEM

anthem, " Give See also:

• PEACE
• PEACE, BREACH OF THE

peace in our time, 0 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," were his best-known compositions .