See also:

• FREDERIC, HAROLD (1856-1898)

FREDERIC See also:

• HYMEN, or HYMENAEUS

HYMEN See also:

• FREDERIC HYMEN COWEN (1852— )
• COWEN, JOSEPH (1831—1900)

COWEN (1852— )  , See also:

• ENGLISH

English musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• KINGSTON
• KINGSTON, ELIZABETH, DUCHESS OF (1720-1788)
• KINGSTON, WILLIAM HENRY GILES (1814-188o)

Kingston, See also:

• JAMAICA

Jamaica, on the 29th of See also:

• JANUARY

January 1852 . At four years old he was brought to See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, where his See also:

• FATHER

father became treasurer to the See also:

• OPERA (Italian for " work ")

opera at Her See also:

• MAJESTY (Fr. majeste; Lat. majestas, grandeur, greatness, from the base mag-, as in magnus, great, major, greater, &c.)

Majesty's See also:

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

theatre, and private secretary to the See also:

• EARL

earl of See also:

• DUDLEY
• DUDLEY, BARONS AND EARLS OF
• DUDLEY, EDMUND (c. 1462—1510)
• DUDLEY, SIR ROBERT (1573—1649)
• DUDLEY, THOMAS (1576-1653)

Dudley . His first teacher 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:

• RUSSELL (FAMILY)
• RUSSELL, ISRAEL COOK (1852- )
• RUSSELL, JOHN (1745-1806)
• RUSSELL, JOHN (d. 1494)
• RUSSELL, JOHN RUSSELL, 1ST EARL (1792-1878)
• RUSSELL, JOHN SCOTT (1808–1882)
• RUSSELL, LORD WILLIAM (1639–1683)
• RUSSELL, SIR WILLIAM HOWARD
• RUSSELL, THOMAS (1762-1788)
• RUSSELL, WILLIAM CLARK (1844– )

Russell, and his first published See also:

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

composition appeared when he was but six years old . He studied the piano with See also:

• BENEDICT (BENEDICTUS)
• BENEDICT, SIR JULIUS (1804-1885)

Benedict, and composition with See also:

• GOSS, SIR JOHN (1800–1880)

Goss; in 1865 he was at See also:

• LEIPZIG

Leipzig under See also:

• HAUPTMANN, GERHART (1862— )
• HAUPTMANN, MORITZ (1792—1868)

Hauptmann, See also:

• MOSCHELES, IGNAZ (1794–1870)

Moscheles, See also:

• REINECKE, CARL HEINRICH CARSTEN (1824—1910)

Reinecke and Plaidy . Returning See also:

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

home on the outbreak of the Austro-Prussian See also:

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

War, he appeared as a composer for the See also:

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

orchestra in an See also:

• OVERTURE (Fr. ouverture, opening)

overture played at the See also:

• PROMENADE

Promenade Concerts 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 in See also:

• SEPTEMBER (Lat. septem, seven)

September 1866 . In the following autumn he went to See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin, where he was under See also:

• KIEL

Kiel, at Stern's conservatorium . A See also:

• SYMPHONY

symphony and a piano See also:

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

concerto were given in 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 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 in 1869, and from that 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 See also:

• COWEN, FREDERIC HYMEN (1852— )
• COWEN, JOSEPH (1831—1900)

Cowen has been recognized as primarily a composer, his talents as a pianist being subordinate, although his public appearances were numerous for some time afterwards . His See also:

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

cantata, The See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

Rose See also:

• MAIDEN, or MAID

Maiden, was given in See also:

• LONDON

London in 187o, his second symphony by the See also:

• LIVERPOOL
• LIVERPOOL, EARLS
• LIVERPOOL, EARLS OF

Liverpool Philharmonic Society in 1872, and his first festival See also:

• WORK

work, The See also:

• CORSAIR (through the Fr. from the Med. Lat. cursarius, a pirate; cursus, or cursa, from currere, to run, being Late Latin for a plundering foray)

Corsair, in 1876 at See also:

• BIRMINGHAM

Birmingham . In that See also:

• YEAR

year his opera, Pauline, was given by the Carl See also:

• ROSA, CARL AUGUST NICHOLAS (1843-1889)
• ROSA, MONTE
• ROSA, SALVATOR (1615-1673)

Rosa See also:

• COMPANY

Company with moderate success . In 1884 he conducted five concerts of the Philharmonic Society, and in 1888, on the resignation of See also:

• ARTHUR (Fr. Arius)
• ARTHUR, CHESTER ALAN (1830 – 1886)

Arthur See also:

• SULLIVAN, JOHN (1740–1795)
• SULLIVAN, SIR ARTHUR SEYMOUR (1842—1900)
• SULLIVAN, THOMAS BARRY (1824-1891)

Sullivan, became the See also:

• REGULAR

regular conductor of the society, resigning the See also:

• POST

post in 1892 . In the year of his See also:

• APPOINTMENT, POWER OF

appointment, 1888, he went to See also:

• MELBOURNE
• MELBOURNE, WILLIAM LAMB, 2ND VISCOUNT (1779-1848)

Melbourne as the conductor of the daily concerts given in connexion with the See also:

• EXHIBITION

Exhibition there . In 1896 Cowen was appointed conductor of the Liverpool Philharmonic Society and of the See also:

• MANCHESTER
• MANCHESTER (popularly Manchester-by-the-Sea)
• MANCHESTER, EARLS AND DUKES OF

Manchester orchestra, in See also:

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

succession to See also:

• SIR

Sir 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:

• HALLE (known as HALLE-AN-DER-SAALE, t0 distinguish it from the small town of Halle in Westphalia)
• HALLE, SIR CHARLES (originally KARL HALLE) (1819-1895)

Halle .

In 1899 he was reappointed conductor of the Philharmonic Society . His See also:

• WORKS

works include: Operettas: See also:

• GARIBALDI, GIUSEPPE (1807-1882)

Garibaldi (186o) and One Too Many (1874); operas: Pauline (1876), Thorgrim (1890), Signa (See also:

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

Milan, 1893), and Harold (1895) ; oratorios: The See also:

• DELUGE, THE (through the Fr. from Lat. diluvium, flood, diluere, to wash away)

Deluge (1878), St See also:

• URSULA, ST

Ursula (1881), See also:

• RUTH, BOOK OF

Ruth (1887), See also:

• SONG

Song of Thanksgiving (1888), The Transfiguration (1895); cantatas: The Rose Maiden (187o), The Corsair (1876), The Sleeping Beauty (1885), 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 See also:

• EVE

Eve (1889), The See also:

• WATER

Water See also:

• LILY

Lily (1893), See also:

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

Ode to the Passions (1898), besides See also:

• SHORT, FRANCIS JOB (1857– )

short cantatas for See also:

• FEMALE

female voices; a large number of songs, ranging from the popular " ballad " to more See also:

• ARTISTIC

artistic lyrics, anthems, See also:

• PART

part-songs, duets, &c.; six symphonies, among which No 3, the " Scandinavian," has had the greatest success; four overtures; suites, The See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

Language of See also:

• FLOWERS, ARTIFICIAL

Flowers (188o), In the Olden Times (1883), In See also:

• FAIRY (Fr. fee, faerie; Prov. facia; Sp. hada; Ital. fata; med. Lat. fatare, to enchant, from Lat. fatum, fate, destiny)

Fairy-See also:

• LAND

land (1896); four English dances (1896); a concerto for piano and orchestra, and a See also:

• FANTASIA (Italian for " fantasy," a causing to be seen, from Greek, 4aivew, to show)

fantasia for the same played by M . See also:

• PADEREWSKI, IGNACE JAN (186o- )

Paderewski (1900); a quartet in C See also:

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

minor, and a trio in A minor, both See also:

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

early works; See also:

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

pianoforte pieces, &c . Cowen is never so happy as when treating of fantastic or fairy subjects; and whether in his cantatas for female voices, his charming Sleeping Beauty, his Water Lily or his See also:

• PRETTY

pretty overture, The Butterfly's See also:

• BALL (in Mid. Eng. bal; the word is probably cognate with " bale," Teutonic in origin, cf. also Lat. falls, and Gr. 7raXXa)
• BALL, JOHN (1585-1640)
• BALL, JOHN (1818-1889)
• BALL, JOHN (d. 1381)
• BALL, SIR ALEXANDER JOHN, BART
• BALL, THOMAS (1819- )

Ball (1901), he succeeds wonderfully in finding graceful expression for the poetical See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea . His See also:

• DANCE
• DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)

dance See also:

• MUSIC

music, such as is to be found in various orchestral suites, is refined, See also:

• ORIGINAL

original and admirably instrumented; and if he is seldom as successful in portraying the graver aspects of emotion, the See also:

• VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue of his semi-sacred songs has been widespread .