See also:

• VINCENT (or VINCENTIUS), ST
• VINCENT, GEORGE (1796-1831?)
• VINCENT, MARY ANN (1818-1887)

VINCENT See also:

• VINCENT NOVELLO (1781-1861)

NOVELLO (1781-1861)  , See also:

• ENGLISH

English musician, son of an See also:

• ITALIAN

Italian who married an English wife, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• LONDON

London on the 6th of See also:

• SEPTEMBER (Lat. septem, seven)

September 1781 . As a boy he was a chorister at the Sardinian See also:

• CHAPEL

chapel in See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

Duke See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

Street, See also:

• LINCOLN
• LINCOLN, ABRAHAM (1809-1865)
• LINCOLN, EARLS OF

Lincoln's See also:

• INN

Inn See also:

• FIELDS, JAMES THOMAS (1817-1881)

Fields, where he learnt the See also:

• ORGAN

organ; and from 1796 to 1822 he became in See also:

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

succession organist of the Sardinian, See also:

• SPANISH

Spanish (in See also:

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

Manchester Square) and Portuguese (in See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South Street, Grosvenor Square) chapels, and from 184o to 1843 of St See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary's chapel, Moorfields . He was an See also:

• ORIGINAL

original member of the Philharmonic Society, of the Classical Harmonists and of the Choral Harmonists, officiating frequently as conductor . In 1849 he went to live at See also:

• NICE

Nice, where he died on the 9th of See also:

• AUGUST (originally Sextilis)

August 1861 . He composed an immense quantity of sacred See also:

• MUSIC

music, much of which is still deservedly popular; but his See also:

• GREAT

great See also:

• WORK

work See also:

• LAY

lay in the introduction to See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England of unknown compositions by the great masters . The Masses of See also:

• HAYDN, FRANZ JOSEPH (1732–1809)

Haydn and See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart were absolutely unknown in England until he edited them, as were also the See also:

• WORKS

works of See also:

• PALESTRINA, GIOVANNI PIERLUIGI DA (1526-1594)

Palestrina, the treasures of the See also:

• FITZWILLIAM, SIR WILLIAM (1526-1599)
• FITZWILLIAM, WILLIAM WENTWORTH FITZWILLIAM, 2ND EARL (1748-1833)

Fitzwilliam Museum, and innumerable great compositions now well known to every one . His first work, a collection of Sacred Music, as performed at the Royal Portuguese Chapel, which appeared in 1811, has the additional See also:

• INTEREST

interest of giving a date to the See also:

• PRACTICAL

practical See also:

• FOUNDING (from Lat. fundere, to pour)

founding of the See also:

• PUBLISHING

publishing See also:

• FIRM

firm with which his name is associated, as See also:

• NOVELLO, VINCENT (1781-1861)

Novello issued it from his own 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; and he did the same with succeeding works, till his son JosErs See also:

• ALFRED

ALFRED NOVELLO (1810-1896), who had started as a See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass See also:

• SINGER, SIMEON (1846-1906)

singer, became a See also:

• REGULAR

regular music publisher in 1829 . It was the latter who really created the business, and who has the See also:

• CREDIT (Lat. credere, to believe)

credit of introducing cheap music, and departing from the method of publishing by subscription . From 1841 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:

• LITTLETON (or LYTTELTON), EDWARD, BARON (1589—1645)
• LITTLETON, SIR THOMAS DE (c. 1407-1481)

Littleton assisted him, becoming a partner in 1861, when the firm became Novello & Co., and, on J . A . Novello's retirement in 1866, See also:

• SOLE (Solea)

sole proprietor . Having incorporated the firm of Ewer & Co. in 1867, the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title was changed to Novello, Ewer & Co., and still later back to Novello & Co., and, on Henry Littleton's See also:

• DEATH

death in 1888, his two sons carried on the business .

See also:

• VINCENT (or VINCENTIUS), ST
• VINCENT, GEORGE (1796-1831?)
• VINCENT, MARY ANN (1818-1887)

Vincent Novello had several other See also:

• CHILDREN, LAW RELATING TO

children besides his son See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph Alfred . Four of his daughters (of whom the youngest, Mary, married 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 Cowden See also:

• CLARKE, ADAM (1762?—1832)
• CLARKE, CHARLES COWDEN (1787-1877)
• CLARKE, EDWARD DANIEL (1769–1822)
• CLARKE, JAMES FREEMAN (1810–1888)
• CLARKE, JOHN SLEEPER (1833–1899)
• CLARKE, MARCUS ANDREW HISLOP (1846–1881)
• CLARKE, MARY ANNE (c.1776–1852)
• CLARKE, SAMUEL (1675–1729)
• CLARKE, SIR ANDREW (1824-1902)
• CLARKE, SIR EDWARD GEORGE (1841– )
• CLARKE, THOMAS SHIELDS (1866- )
• CLARKE, WILLIAM BRANWHITE (1798-1878)

Clarke) were gifted singers; but the most famous was See also:

• CLARA, SAINT (1194-1253)

CLARA NOVELLO (1818-19o8), whose beautiful high See also:

• SOPRANO (a variant of Ital. sovrano, supreme, sovereign, Late Lat. superanus, from super, above)

soprano and pure See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style made her one of the greatest vocalists, alike in See also:

• OPERA (Italian for " work ")

opera, See also:

• ORATORIO

oratorio and on the See also:

• CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage, from 1833 onwards . In 1843 she married See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

Count Gigliucci, but after a few years returned to her profession, and only retired in 186o .