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See also: English pianist and conductor, See also: German by See also: nationality, was See also: born at Hagen, in Westphalia, on the nth of See also: April 1819
.
He studied under Rink at See also: Darmstadt in 1835, and as early as 1836 went to See also: Paris, where for twelve years he lived in See also: constant inter-course with Cherubini, Chopin, See also: Liszt and other musicians, and enjoyed the friendship of such See also: great See also: literary figures as See also: Alfred de Musset and See also: George See also: Sand
.
He had started a set of chamber concerts with See also: Alard and Franchomme with great success, and had completed one series of them when the revolution of 1848 drove him from Paris, and he settled, with his wife and two See also: children, in See also: London
.
His pianoforte recitals, given at first from 1850 in his own See also: house, and from 1861 in St See also: James's
See also: Hall, were an important feature of London musical
See also: life, and it was due in great measure to them that a knowledge of See also: Beethoven's piano-forte sonatas became general in English society
.
At the Musical Union founded by See also: John Ella, and at the Popular Concerts from their beginning,
See also: Halle was a frequent performer, and from 1853 was director of the Gentlemen's Concerts in Manchester, where, in 1857, he started a series of concerts of his own, raising the orchestra to a See also: pitch of perfection quite unknown at that See also: time in See also: England
.
In 1888 he married Madame Norman Neruda (b
.
1839), the violinist, widow of Ludwig Norman, and daughter of Josef Neruda, members of whose See also: family had long been famous for musical talent
.
In the same See also: year he was knighted; and in 1890 and 1891 he toured with his wife in See also: Australia and else-where
.
He died at Manchester on the 25th of See also: October 1895
.
Halle exercised an important influence in the musical See also: education of England; if his pianoforte-playing, by which he was mainly known to the public in London, seemed remarkable rather for precision than for See also: depth, for crystal clearness rather than for warmth, and for perfect realization of the written text rather than for strong individuality, it was at least of immense valueas giving the composer's idea with the utmost fidelity
.
Those who were privileged to hear him See also: play in private, like those who could appreciate the power, beauty and imaginative warmth of his conducting, would have given a very different verdict; and they were not wrong in judging Halle to be a See also: man of the widest and keenest See also: artistic sympathies, with an extraordinary gift of insight into See also: music of every school, as well as a strong sense of See also: humour
.
He fought a long and arduous See also: battle for the best music, and never forgot the dignity of his See also: art
.
In spite of the fact that his technique was that of his youth, of the See also: period before Liszt, the ease and certainty he attained in the most See also: modern music was not the less wonderful because he concealed the See also: mechanical means so completely
.
Lady Halle, who from 1864 onwards had been one of the leading See also: solo violinists of the time, was constantly associated with her See also: husband on the concert stage till his See also: death; and in 1896 a public subscription was organized in her behalf, under royal patronage
.
She continued to appear occasionally in public, notably as See also: late as 1907, when she played at the See also: Joachim memorial concert
.
In 1901 she was given by See also: Queen Alexandra the title of "violinist to the queen." A See also: fine classical player and artist, frequently associated with Joachim, Lady Halle was the first of the See also: women violinists who could stand comparison with men
.
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