NIELS WILHELM See also:

• NIELS WILHELM GADE (1817-189o)

GADE (1817-189o)  , Danish composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• COPENHAGEN (Danish Kjobenhavn)

Copenhagen, on the 22nd of See also:

• FEBRUARY

February 1817, his See also:

• FATHER

father being a musical See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument maker . He was intended for his father's See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade, but his See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion for a musician's career, made evident by the ease and skill with which he learnt to See also:

• PLAY

play upon a number of See also:

• INSTRUMENTS

instruments, was not to be denied . Though he became proficient on the See also:

• VIOLIN

violin under Wexschall, and in the elements of theory under Weyse and Berggreen, he was to a See also:

• GREAT

great extent self-taught . His opportunities of 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 and playing in the great masterpieces were many, since he was a member of the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court See also:

• BAND

band . In 184o his Aladdin and his See also:

• OVERTURE (Fr. ouverture, opening)

overture of See also:

• OSSIAN

Ossian attracted See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention, and in 1841 his Nachklange aus Ossian overture gained the See also:

• LOCAL

local musical society's See also:

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

prize, the See also:

• JUDGES, THE BOOK OF

judges being See also:

• SPOHR, LUDWIG (1784-1859)

Spohr and See also:

• SCHNEIDER, JOHANN GOTTLOB (1750-1822)
• SCHNEIDER, LOUIS (1805-1878)

Schneider . This See also:

• WORK

work also attracted the See also:

• NOTICE

notice 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, who gave the composer a See also:

• STIPEND

stipend which enabled him to go to See also:

• LEIPZIG

Leipzig and See also:

• ITALY
• ITALY (Italia)

Italy . In 1844 See also:

• GADE, NIELS WILHELM (1817-189o)

Gade conducted the Gewandhaus concerts in Leipzig during Mendelssohn's See also:

• ABSENCE (Lat. absentia)

absence, and on the latter's See also:

• DEATH

death became See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief conductor . In 1848, on the outbreak of the See also:

• HOLSTEIN
• HOLSTEIN, FRIEDRICH VON (1837–1909)

Holstein See also:

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

War, he returned to Copenhagen, where he was appointed organist and conductor of the Musik-Verein . In 1852 he married a daughter of the composer J . P . E . See also:

• HARTMANN, KARL ROBERT EDUARD VON (1842–1906)
• HARTMANN, MORITZ (1821–1872)

Hartmann .

He became court conductor in 1861, and was pensioned by the See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government in 1876—the See also:

• YEAR

year in which he visited See also:

• BIRMINGHAM

Birmingham to conduct his Crusaders . This work, and the Fruhlingsfantasie, the Erlkonigs Tochter, Fruhlingsbotschaft and See also:

• PSYCHE (//vxi7)

Psyche (written for Birmingham in 1882) have enjoyed a wide popularity . Indeed, they represent the strength and the weakness of Gade's musical ability quite as well as any of his eight symphonies (the best of which are the first and See also:

• FOURTH

fourth, while the fifth has an See also:

• OBBLIGATO, or OBLIGATO

obbligato See also:

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

pianoforte See also:

• PART

part) . Gade was distinctly a romanticist, but his See also:

• MUSIC

music is highly polished and beautifully finished, lyrical rather than dramatic and effective . Much of the pianoforte music, Aquarellen, See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

Spring See also:

• FLOWERS, ARTIFICIAL

Flowers, for instance, enjoyed a considerable See also:

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

vogue, as did the Novelletten trio; but Gade's See also:

• OPERA (Italian for " work ")

opera Mariotla has not been heard outside the Copenhagen 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 . He died at Copenhagen on the 21st of See also:

• DECEMBER (Lat. decent, ten)

December ago .