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:

• VILLIERS, CHARLES PELHAM (1802-1898)

VILLIERS See also:

• SIR CHARLES VILLIERS STANFORD (1852– )

STANFORD (1852– )  , Irish musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• DUBLIN

Dublin on the 3oth of See also:

• SEPTEMBER (Lat. septem, seven)

September 1852, being the only son of Mr 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 See also:

• STANFORD, SIR CHARLES VILLIERS (1852– )

Stanford, examiner in 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 of See also:

• CHANCERY

chancery (Dublin) and clerk of the See also:

• CROWN

Crown, Co . See also:

• MEATH (pronounced with th soft, as in the)

Meath . Both parents of the composer were accomplished See also:

• AMATEUR (Lat. amator, lover)

amateur musicians, the See also:

• FATHER

father being the possessor of a splendid See also:

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

bass See also:

• VOICE (Fr. voix, from Lat. vox)

voice, and the See also:

• MOTHER

mother a very See also:

• CLEVER

clever pianist . Under R . M . Levey (See also:

• VIOLIN

violin), See also:

• MISS

Miss Meeke, Mrs See also:

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

Joseph See also:

• ROBINSON, EDWARD (1794–1863)
• ROBINSON, HENRY CRABB (1777–1867)
• ROBINSON, JOHN (1575–1625)
• ROBINSON, JOHN (1650-1723)
• ROBINSON, JOHN THOMAS ROMNEY (1792–1882)
• ROBINSON, MARY [" Perdita "] (1758–1800)
• ROBINSON, SIR JOHN BEVERLEY, BART
• ROBINSON, SIR JOSEPH BENJAMIN (1845– )
• ROBINSON, THEODORE (1852-1896)

Robinson, Miss Flynn and See also:

• MICHAEL
• MICHAEL (1596-1645)
• MICHAEL (Hebrew Sn,q, " Who is like God? ")

Michael See also:

• QUARRY

Quarry (piano), See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young Stanford's musical See also:

• POWERS, HIRAM (1805-1873)

powers were trained in the See also:

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

early days; and See also:

• SIR

Sir See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert See also:

• STEWART, ALEXANDER TURNEY (1803-1876)
• STEWART, BALFOUR (1828-1887)
• STEWART, CHARLES (1778–1869)
• STEWART, DUGALD (1753-1828)
• STEWART, J
• STEWART, JOHN (1749—1822)
• STEWART, JULIUS L
• STEWART, SIR DONALD MARTIN (1824–19o0)
• STEWART, SIR HERBERT (1843—1885)
• STEWART, SIR WILLIAM (c. 1540—c. 1605)
• STEWART, STUART
• STEWART, WILLIAM (c. 1480-c. 1550)

Stewart taught him See also:

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

composition and See also:

• ORGAN

organ . Various feats of precocity are recorded in an See also:

• ARTICLE (from Lat. articulus, a joint)

article in the Musical Times for See also:

• DECEMBER (Lat. decent, ten)

December 1898 . He came to See also:

• LONDON

London as a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of See also:

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

Arthur O'Leary and See also:

• ERNST, HEINRICH WILHELM (1814–1865)

Ernst Pauer in 1862, and in 1870 won a scholarship at See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen's See also:

• COLLEGE (Collegium)

College, See also:

• CAMBRIDGE
• CAMBRIDGE, EARLS AND DUKES OF
• CAMBRIDGE, RICHARD OWEN (1717-1802)

Cambridge, whence he migrated to Trinity College in 1873, and succeeded J . L . See also:

• HOPKINS, EDWARD WASHBURN (1857— )
• HOPKINS, ESEK (1718-18oz)
• HOPKINS, MARK (1802—1887)
• HOPKINS, SAMUEL (1721–1803)
• HOPKINS, WILLIAM (1793–1866)

Hopkins as college organist, a See also:

• POST

post he held till 1892 . His See also:

• APPOINTMENT, POWER OF

appointment as conductor of the Cambridge University Musical Society gave him See also:

• GREAT

great opportunities, and the fame which the society soon o'btained was in the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main due to Stan-See also:

• FORD, EDWARD ONSLOW
• FORD, JOHN (r586–c.1640)
• FORD, RICHARD (1796-1858)
• FORD, THOMAS (b. c. 158o)

ford's energies . Before his 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 ladies were not admitted into the See also:

• CHORUS (Gr. xopbs)Z

chorus, but during his See also:

• TENURE (Fr. tenure, from Lat. tenere, to hold)

tenure of the See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office of conductor many most interesting performances and revivals took See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place .

In the years 1874 to 1877 he was given leave of See also:

• ABSENCE (Lat. absentia)

absence for a portion of each See also:

• YEAR

year 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 See also:

• COMPLETE

complete his studies in See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, where he learnt from See also:

• REINECKE, CARL HEINRICH CARSTEN (1824—1910)

Reinecke and See also:

• KIEL

Kiel . He took the B.A. degree in 1874 and M.A. in 1878, and was given the honorary degree of See also:

• MUS

Mus . D., at See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford in 1883, and at Cambridge in 1888 . He first came prominently before the public as a composer with his incidental See also:

• MUSIC

music to See also:

• TENNYSON, ALFRED TENNYSON

Tennyson's Queen See also:

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

Mary (See also:

• LYCEUM

Lyceum, 1876); and in 1881 his first See also:

• OPERA (Italian for " work ")

opera, The Veiled See also:

• PROPHET (Irpo4i ri7s)

Prophet, was given at See also:

• HANOVER
• HANOVER (Ger. Hannover)

Hanover (revived 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, 1893); this was succeeded by See also:

• SAVONAROLA, GIROLAMO (1452-1498)

Savonarola (See also:

• HAMBURG

Hamburg, See also:

• APRIL

April, and Covent Garden, See also:

• JULY

July 1884), and The See also:

• CANTERBURY
• CANTERBURY, CHARLES

Canterbury Pilgrims (See also:

• DRURY, SIR WILLIAM (1527-1579)

Drury See also:

• LANE, EDWARD WILLIAM (1801–1876)
• LANE, JAMES HENRY (1814–1866)

Lane, 1884) . A See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long See also:

• INTERVAL

interval separates these from his later operas, Shamus O'Brien, a delightful piece of Irish dramatic See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing (Opera Comique, 1896) and Much See also:

• ADO (d. 874)

Ado About Nothing (Covent Garden, 1901) . For the main provincial festivals, See also:

• WORKS

works by Stanford were commissioned as follows; ",Orchestral See also:

• SERENADE (from Ital. serenata, Lat. serenus, bright; the Italian term being applied, partly by confusion with serus, late, and partly through the use of Serena—cf. Gr. ve?i7vri—as an epithet for the moon, to a form of courting music played at night in the

serenade" (See also:

• BIRMINGHAM

Birmingham, 1882); "Elegiac See also:

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

Ode " (See also:

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

Norwich, 1884) ; The Three See also:

• HOLY

Holy See also:

• CHILDREN, LAW RELATING TO

Children (Birmingham, 1885); The Revenge (See also:

• LEEDS
• LEEDS, THOMAS OSBORNE

Leeds, 1886) ; The Voyage of Maeldune (Leeds, 1889); The See also:

• BATTLE

Battle of the Baltic (See also:

• HEREFORD

Hereford, 1891); See also:

• EDEN
• EDEN, SIR ASHLEY (1831-1887)

Eden (Birmingham, 1891); The See also:

• BARD

Bard (See also:

• CARDIFF

Cardiff, 1895); PhaudrigCrohoore (Norwich, 1896); See also:

• REQUIEM

Requiem (Birmingham, 1897); Te Deum (Leeds, 1898) ; The Last Post (Hereford, 'goo) ; Stabat Mater (Leeds, 1907) . Besides these, his music includes a few choral works of importance, such as The Resurrection (Cambridge, 1875); See also:

• PSALM (from the Gr. word * hXAew, to play the harp)

Psalm XL VI . (See also:

• CAM (CAO), DIOGO (fl. 1480-1486)

Cam-See also:

• BRIDGE

bridge, 1877); Carmen Saeculare (See also:

• JUBILEE (or JUBILE), YEAR OF

Jubilee Ode, 1887); " See also:

• INSTALLATION

Installation Ode " (Cambridge, 1892); See also:

• EAST
• EAST, ALFRED (1849- )

East to See also:

• WEST
• WEST, BENJAMIN (1738-1820)
• WEST, NICHOLAS (1461-1533)

West (London, 1893); Psalm CL . (See also:

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

Manchester, 1887); See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

Mass in G (See also:

• BROMPTON

Brompton See also:

• ORATORY (Lat. oratorio, sc. ors; from orare, to speak or pray)

Oratory, 1893) . He was appointed See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

professor of composition at the Royal College of Music, 1883; conductor of the See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Bach See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir in 1885; professor of music in the university of Cambridge, succeeding Sir G . A . See also:

• MACFARREN, SIR GEORGE ALEXANDER (1813-1887)

Macfarren, 1887; conductor of the Leeds Philharmonic Society, 1897, and of the Leeds Festival from 1901 onwards .

He was knighted in 1902 . His instrumental works include six symphonies, many chamber compositions, among them two See also:

• STRING

string quartets; besides many songs, See also:

• PART

part-songs, madrigals, &c., and incidental music to the See also:

• EUMENIDES (from Gr. evµevtits, kindly; di, well, and jAvos, disposition)

Eumenides and See also:

• OEDIPUS (OiSiirovs, O16tir63i7s, Wines, from Gr. ot&eiv swell, and gobs foot, i.e. " the swollen-footed ")

Oedipus Rex (as performed at Cambridge), as well as to Tennyson's See also:

• BECKET, THOMAS (c. 1118—1170)

Becket . His 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 music holds an honoured place among See also:

• MODERN

modern See also:

• ANGLICAN

Anglican compositions; and his See also:

• EDITIONS

editions of Irish and other traditional songs are well known . In 1908 he published an interesting See also:

• VOLUME

volume of Studies and Memories, a collection of contributions to reviews, &c., in past years .