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Linda Troost

italianate arias like ‘When William at eve’ and ‘Light as Thistledown’. Unlike some earlier comic opera composers, he did not fall into the habit of assigning traditional ballads to rustics and italianate arias to the gentry: in Rosina , all the principal characters sing both types of music, and the blend seemed to please audiences. According to the Covent Garden accounts, Shield received £100 for the music (not £40, as Parke claimed in his memoirs) six months after the opera opened. After Robert Burns’s death a folk melody in the overture to Rosina (played by bassoons


Andrew D. McCredie

revised by Samantha Owens

and Handel. He produced almost all of Handel’s operas and oratorios, either in concert or on the radio. His extensive library, owned since 1960 by the Fisher Library, University of Sydney, included many Handel first editions. Dalley-Scarlett’s work promoting Handel’s music – which included two Handel Festivals held in Brisbane in 1933 and 1934 , respectively – resulted in the town of Halle awarding him their prestigious Handel Medal for his services to Handel research. His compositions, which number around 300 works (almost all in manuscript), remain relatively


Owain Edwards

violinist , composer and collector. His earliest compositions were songs and incidental music for the Lincoln’s Inn Fields Theatre, where he also played. In 1705 he was engaged to play in the orchestra at the new Queen’s Theatre in the Haymarket, where the following year the semi-opera The British Enchanters , or No Magick like Love , with music mostly by Corbett, had 11 performances. He was greatly admired as a solo performer, often being billed as the chief attraction at the benefit concerts of colleagues in London. He also appeared further afield: he played at


Kerala J. Snyder

revised by Geoffrey Webber

amalgamation of complementary texts found in much Lutheran church music of this period. The latter include Aller Augen warten auf dich (which follows the order biblical verse–aria–chorale–biblical verse, repeated) and extended multi-sectional works such as Alle Menschen müssen sterben. Several developments may be noted in the compositions dating from the mid-1690s onwards including the increasing prominence of the trio of two oboes and bassoon, the use of all violins in unison, the tendency towards distinct formal sections (including non-strophic aria movements with


John Tyrrell

church music, and from 1845 Valachian folk music elements began to appear in his music. Although he wrote an opera to a Russian text ( Tamara , unperformed) and some Russian romances (to texts by A.J. Pukarov and N.A. Nekrasov) his contacts with Russian composers and his long stay in Russia left little trace. In spirit and idiom his works hardly go further than his early patriotic Moravian music and by later years were all but forgotten. In addition to two operas (including the one-act Zajatá , ‘The Woman Captive’, given in Prague in 1869 ), he wrote two cantatas, marches


Roger J.V. Cotte

depleted estate, and has since been untraced. Several portraits of Bagge are known, one of them engraved by Nicolas Cochin (reproduced in Terry) and another portraying him with a violin ‘comme un ménétrier’. Works all printed works published in Paris Orchestral 3 sinfonie (1788) 4 vn concs., all (n.d.) vn conc., F-Pn; 2 symphonies concertantes, D-B Chamber 6 quatuors concertants, str qt, op.1 (1773) 6 trio, 2 vn, b (n.d.) Airs de Marlborough variés