(b Paris, July 4, 1694; d Paris, June 15, 1772). French organist, harpsichordist and composer. Descended from a family of intellectuals of Jewish origin, the son of Claude Daquin and Anne Treisant, Louis-Claude was an infant prodigy. After taking some harpsichord lessons from his godmother Elisabeth Jacquet de la Guerre, and composition lessons from Nicolas Bernier, he was capable of playing before Louis XIV at the age of six and of conducting his own Beatus vir in the Sainte-Chapelle at the age of eight. In 1706 he was appointed organist at the convent of Petit St Antoine and was able to play on the organ of the Sainte-Chapelle. On 12 July 1722 he married Denise-Thérèse Quirot; they had only one child, Pierre-Louis D'Aquin de Châteaulion (c1722–97), whose Lettres trace the brilliant career of a father greatly admired by Parisian society. Louis-Claude's marriage contract tells us that at the time he was ...
[Mrs Mozeen; first name unknown]
(fl 1737–53). English soprano and actress. A pupil or protégée of Kitty Clive, she appeared first as a child in a pantomime at Drury Lane (1737) and was principally associated with that theatre until 1748. She had two seasons with Handel: 1740–41 at Lincoln’s Inn Fields, where she created the parts of Clomiris in Imeneo, and Achilles in Deidamia, and sang in revivals of L’Allegro, il Penseroso, Acis and Galatea and Saul; and 1743 at Covent Garden, where she played one of the Philistine and Israelite Women at the première of Samson and sang ‘I know that my Redeemer liveth’ in the first London performance of Messiah. The parts Handel composed for her indicate a flexible light soprano with a compass of d′ to b″.
Miss Edwards was very active in London theatres, especially in works by Arne and Samuel Howard, and in pantomimes and songs between acts; she also acted in straight plays, including Shakespeare; like Mrs Clive, she sometimes included specially composed songs. About ...
(b London, Sept 7, 1731; d London, Feb 9, 1765). Soprano and composer of Italian descent. She was a daughter of Charles Gambarini, counsellor to the Landgrave of Hessen-Kassel. She took the second soprano part at the first performance of Handel’s Occasional Oratorio in 1746, and in the Covent Garden revival a year later assumed most of Duparc’s role as well. She created the Israelite Woman in Judas Maccabaeus in 1747, and probably sang Asenath in Joseph and his Brethren the same year. Her name appears in the performing scores of Samson and Messiah, but it is not certain when she sang in these works. Her voice seems to have been a mezzo with a regular compass of d′ to g″, extended occasionally down to b and up to a″. About 1748–50 she published some harpsichord pieces and songs in Italian and English, including a setting of ‘Honour, riches, marriage-blessing’ from ...