See also:

• SIR

SIR See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

ALEXANDER See also:

• CAMPBELL, ALEXANDER (1788–1866)
• CAMPBELL, BEATRICE STELLA (Mrs PATRICK CAMPBELL) (1865– )
• CAMPBELL, GEORGE (1719–1796)
• CAMPBELL, JOHN
• CAMPBELL, JOHN (1708-1775)
• CAMPBELL, JOHN CAMPBELL, BARON (1779-1861)
• CAMPBELL, JOHN FRANCIS
• CAMPBELL, LEWIS (1830-1908)
• CAMPBELL, REGINALD JOHN (1867— )
• CAMPBELL, THOMAS (1777—1844)

CAMPBELL See also:

• MACKENZIE
• MACKENZIE, ALEXANDER (1822-1892)
• MACKENZIE, HENRY (1745-1831)
• MACKENZIE, SIR ALEXANDER (c. 1755-1820)
• SIR ALEXANDER CAMPBELL MACKENZIE (1847— )
• MACKENZIE, SIR GEORGE (1636-1691)
• MACKENZIE, SIR MORELL (1837-1892)
• MACKENZIE, WILLIAM LYON (1795-1861)

MACKENZIE (1847— )  , See also:

• BRITISH

British composer, son of an eminent See also:

• EDINBURGH

Edinburgh violinist and conductor, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born on the 22nd of See also:

• AUGUST (originally Sextilis)

August 1847 . On the See also:

• ADVICE (Fr. avis, from Lat. ad, to, and visum, viewed)

advice of a member of Gung'l's See also:

• BAND

band who had taken up his See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence in Edinburgh, See also:

• MACKENZIE
• MACKENZIE, ALEXANDER (1822-1892)
• MACKENZIE, HENRY (1745-1831)
• MACKENZIE, SIR ALEXANDER (c. 1755-1820)
• MACKENZIE, SIR ALEXANDER CAMPBELL (1847— )
• MACKENZIE, SIR GEORGE (1636-1691)
• MACKENZIE, SIR MORELL (1837-1892)
• MACKENZIE, WILLIAM LYON (1795-1861)

Mackenzie was sent for his musical See also:

• EDUCATION

education to See also:

• SONDERSHAUSEN

Sondershausen, where he entered the conservatorium under See also:

• ULRICH

Ulrich and See also:

• STEIN, CHARLOTTE VON (1742-1827)
• STEIN, HEINRICH FRIEDRICH KARL, BARON VOM

Stein, remaining there from 1857 to 1861, when he entered the ducal See also:

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

orchestra as a violinist . At 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 made See also:

• LISZT, FRANZ (1811-1886)

Liszt's acquaintance . On his return See also:

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

home he won 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's Scholarship at the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy of See also:

• MUSIC

Music, and remained the usual three years in the institution, after which he established himself as a teacher of the piano, &e., in Edinburgh . He appeared in public as a violinist, taking See also:

• PART

part in See also:

• CHAPPELL, WILLIAM (1809–1888)

Chappell's quartette concerts, and starting a set of classical concerts . He was appointed See also:

• PRECENTOR (Late Lat. praecentor, from praecipere, to sing before, lead in singing)

precentor of St See also:

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

George's 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 1870, and conductor of the Scottish vocal music association in 1873, at the same time getting through a prodigious amount of teaching . He kept in See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch with his old See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends by playing in the orchestra of the See also:

• BIRMINGHAM

Birmingham Festivals from 1864 to 1873 . The most important compositions of this See also:

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

period of Mackenzie's See also:

• LIFE

life were the Quartette in E See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat for piano and strings, Op . 11, and an See also:

• OVERTURE (Fr. ouverture, opening)

overture, Cervantes, which owed its first performance to the encouragement and help of von Billow . On the advice of this See also:

• GREAT

great pianist, he gave up his Edinburgh appointments, which had quite worn him out, and settled in See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to compose . The cantatas The See also:

• BRIDE (a common Teutonic word, e.g..Goth. bruths, O. Eng. bryd, O. H. Ger. prs2t, Mod. Ger. Bract, Dut. bruid, possibly derived from the root bru-, cook, brew; from the med. latinized form bruta, in the sense of daughter-in-law, is derived the Fr. bru)

Bride (See also:

• WORCESTER
• WORCESTER, EARLS AND MARQUESSES OF
• WORCESTER, JOHN TIPTOFT, EARL OF (1427—1470)
• WORCESTER, WILLIAM (c. 1415-c. 1482)

Worcester, 1881) and See also:

• JASON ('Iaacov)

Jason (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, 1882) belong to this time, as well as his first See also:

• OPERA (Italian for " work ")

opera . This was commissioned for the Carl See also:

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

Rosa See also:

• COMPANY

Company, and was written to a version of See also:

• MERIMEE, PROSPER (1803-1870)

Merimee's Colomba prepared by See also:

• FRANZ, ROBERT (1815-1892)

Franz Hueffer .

It was produced with great success in 1883, and was the first of a too See also:

• SHORT, FRANCIS JOB (1857– )

short See also:

• SERIES (a Latin word from serere, to join)

series of See also:

• MODERN

modern See also:

• ENGLISH

English operas; Mackenzie's second opera, The See also:

• TROUBADOUR

Troubadour, was produced by the same company in 1886; and his third dramatic See also:

• WORK

work was His See also:

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

Majesty, an excellent comic opera (See also:

• SAVOY, HOUSE
• SAVOY, HOUSE OF

Savoy See also:

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

Theatre, 1897) . In 1884 his See also:

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

Rose of See also:

• SHARON

Sharon was given with very great success at the See also:

• NORWICH
• NORWICH, GEORGE GORING, EARL OF (1583?-1663)

Norwich Festival; in 1885 he was appointed conductor of See also:

• NOVELLO, VINCENT (1781-1861)

Novello's See also:

• ORATORIO

oratorio concerts; The See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

Story of Sayid came out at the See also:

• LEEDS
• LEEDS, THOMAS OSBORNE

Leeds Festival of 1886; and in 1888 he succeeded See also:

• MACFARREN, SIR GEORGE ALEXANDER (1813-1887)

Macfarren as See also:

• PRINCIPAL

principal of the Royal Academy of Music . The See also:

• DREAM (from a root dreug, connected with Germ. trugen, to deceive)

Dream of Jubal was produced at See also:

• LIVERPOOL
• LIVERPOOL, EARLS
• LIVERPOOL, EARLS OF

Liverpool in 1889, and in See also:

• LONDON

London very soon afterwards . A See also:

• FINE

fine setting of the hymn " Veni, Creator Spiritus " was given at Birmingham in 1891, and the oratorio See also:

• BETHLEHEM
• BETHLEHEM (Heb. " House of Bread," or, according to a more questionable etymology, " of [the god] Lakhmu ")

Bethlehem in 1894 . From 1892 to 1899 he conducted the Philharmonic Concerts, and was knighted in 1894 . Besides the See also:

• WORKS

works mentioned he has written incidental music to plays, as, for instance, to Ravens-See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood, The Little See also:

• MINISTER (Lat. minister, servant)

Minister, and See also:

• CORIOLANUS, GAIUS (or GNAEUS)14IARCIUS

Coriolanus; concertos and other works for See also:

• VIOLIN

violin and orchestra, much orchestral music, and many songs and violin pieces . The romantic See also:

• SIDE
• SIDE (mod. Eski Adalia)

side of music appeals to Mackenzie far more strongly than any other, and the cases in which he has conformed to the classical conventions are of the rarest . In the orchestral ballad, La Belle See also:

• DAME
• DAME (through the Fr. from Lat. domina, mistress, lady, the feminine of dominus, master, lord)

Dame sans Merci, he touches the See also:

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

note of weird pathos, and in the nautical overture Britannia his sense of See also:

• HUMOUR (Latin humor)

humour stands revealed . In the two " Scottish Rhapsodies " for orchestra, in the music to The Little Minister, and in a beautiful See also:

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

fantasia for See also:

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

pianoforte and orchestra on Scottish themes, he has seized the essential, not the accidental features of his native music .