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Harding, James [ Harden, Jeames ] ( b c 1550; bur. Isleworth , Jan 28, 1626 ). English flautist and composer of French extraction. He was appointed flautist at the English court on 22 May 1575 , holding the post until his death. His son Edward was also a court musician. In the 1590s the family moved from Holy Trinity Minories (where James was at one time churchwarden) to Isleworth. The few compositions by Harding that survive show him to have been a competent composer. Two sturdy fantasias for keyboard (ed. in MB xlv, 1979–88; lv, 1989

and writer. Like Mozart, to whom he was often compared, he was a brilliant craftsman, versatile and prolific, who contributed to every genre of French music. He was one of the leaders of the French musical renaissance of the 1870s. 1. Life. Sabina Teller Ratner, assisted by James Harding His father, Jacques-Joseph-Victor Saint-Saëns ( 1798–1835 ), descended from a Norman agricultural family, served as a clerk at the Ministry of the Interior and in 1834 married Clémence Collin ( 1809–88 ); the couple moved in with Clémence's aunt and uncle, the Massons. Within

Gregory, William (i) ( d London , Sept 6, 1663 ). English wind player. He may have been the father of William Gregory (ii). He first appears in the records of James I's funeral on 5 May 1625 among the ‘Musitions for windy Instruments’. He succeeded James Harding as a member of the court flute consort in February 1626 and served without interruption until the Civil War, though the reorganization of the wind consorts in the 1630s probably required him to play other wind instruments, such as the cornett or the sackbut. He resumed his place at the

or beautiful voice, but its phenomenal range compensated for any lack of size and warmth. Bibliography J. Massenet : Mes souvenirs (Paris, 1912) O. Thompson : The American Singer (New York, 1937), 313 J. Harding : Massenet (London, 1970) T. Wilkin : ‘Sanderson, Sibyl’, Notable American Women , ed. E.T. James , J.W. James and P.S. Boyer (Cambridge, MA, 1971)

the Consolidated Rates for the parish of All Hallows, Honey Lane. James Longman Rolfe (relationship not certain) joined the firm in 1836. The firm ceased production in 1888. In 1797 , with Samuel Davis, Rolfe patented (no.2160) the earliest specification for ‘Turkish music’ in pianos, where a hammer strikes the soundboard to produce the sound of a drum. The hammer action, based on the English single action ( see Pianoforte §I 4. and fig. ) and operated by a pedal, is illustrated in Harding (p.135). The patent also specifies that instead of using the soundboard

while on most instruments it extends over only the top octave. Stewart’s instruments are of fine workmanship and were praised in their day as ‘unrivalled in tone, touch, and action’. Bibliography D. Spillane : History of the American Pianoforte (New York, 1890/ R ), 30ff R.E.M. Harding : The Piano-forte: its History Traced to the Great Exhibition of 1851 (Cambridge, 1933/ R , 2/1978)

Don Byas and Buster Harding alongside standards by Victor Herbert and Billy Strayhorn. Carter has consistently supported deserving colleagues who are not well known. In addition to working as a leader, he has participated actively as a guest performer with others. Bibliography L. Birnbaum : “Wynton and Lester Agree… on James Carter,” DB , 61/11 (1994), 34–7 E. Enright : “Deep & Lowdown,” DB , 67/8 (2000), 40–42 N. Chinen : “Big Hat’s Odyssey from D-Town to Lady Day,” JT , 33/10 (2003), 64–70 E. Nemeyer : “Interview: James Carter,” Jazz Improv

Bibliography Jurors' Reports [XVI: Musical Instruments], International Exhibition, London, 1862 (London, 1862) E. Pauer : A Dictionary of Pianists and Composers for the Pianoforte with an Appendix of Manufacturers of the Instrument (London, 1895) R.E.M. Harding : The Piano-forte: its History traced to the Great Exhibition of 1851 (Cambridge, 1933/ R , 2/1978/ R )

Garden, Edward J(ames) C(larke) ( b Edinburgh , Feb 28, 1930 ). Scottish musicologist. He studied at the RAM from 1950 to 1954 , taking organ lessons from C.H. Trevor. From 1954 to 1957 he was on the music staff of Clifton College, Bristol, while there gaining the FRCO in 1956 (with the Harding and F.J. Read prizes) and the BMus in 1957. From 1957 to 1966 he was director of music at Loretto School, near Edinburgh; he then became lecturer in music and organist at Glasgow University and in 1970 senior lecturer. In 1975 he became professor

had an older brother, William ( b London, 6 July 1792 ), but the extent of his involvement in the business is not known. Manufacture ceased in 1861. Bibliography BoalchM ClinkscaleMP W. Pole : Musical Instruments in the Great Industrial Exhibition of 1851 (London, 1851) R.E.M. Harding : The Piano-Forte: its History Traced to the Great Exhibition of 1851 (Cambridge, 1933/ R , 2/1978/ R ) M. Cole : The Pianoforte in the Classical Era (Oxford, 1998)

ik ) and a Venetian swell operated by a knee-lever; one is preserved at the Cobbe Foundation, Hatchlands Park, Surrey. William’s son, John Southwell, took an active part in the business from 1800. Bibliography ClinkscaleMP P. James : Early Keyboard Instruments from their Beginnings to the Year 1820 (London, 1930/ R ), 139 R.E.M. Harding : The Piano-Forte: its History Traced to the Great Exhibition of 1851 (Cambridge, 1933/ R , 2/1978/ R ) T. de Valera : ‘Two 18th-Century Dublin Musical Instrument Makers’, Dublin Historical Record , 36/4 (1982–3), 122–31 A. Cobbe

of Clairvaux ( b Fontaines-lès-Dijon , 1090; d Clairvaux , 1153 ). French theologian , reformer and mystic. He was educated at Châtillon by the canons of St Vorles. In 1112 or 1113 he entered Cîteaux, and in 1115 , in obedience to his abbot, St Stephen Harding, he left it to found Clairvaux, which was to become one of the most famous houses of the Cistercian order. Bernard was its first abbot, ruling over it until his death. Many of his written works were designed for delivery in the chapter house before his own monks. His influence, however

1862 (London, 1862) List of Pianofortes … Exhibited by John Broadwood and Sons, International Exhibition, London 1862 (London, 1862) A.J. Hipkins : A Description and History of the Pianoforte and of the Older Keyboard String Instruments (London, 1896/ R , 3/1929/ R ) R.E.M. Harding : The Piano-Forte: its History Traced to the Great Exhibition of 1851 (Cambridge, 1933/ R , 2/1978/ R ) A. Loesser : Men, Women and Pianos: a Social History (New York, 1954/ R ) C. Ehrlich : The Piano: a History (London, 1976, 2/1990) D. Wainwright : Broadwood by Appointment

Hook, after Pixérécourt: Les mines de Pologne ), LDL, 10 Nov 1808, Cu *, recit and air Ob * (Harding Mus.c.15); (1808) 129 Killing no Murder (farce, 2, T.E. Hook), LLH, 21 Aug [? 1 July] 1809, Ob * (Harding Mus.c.13); (1809) 130 Safe and Sound (comic op, T.E. Hook), Lyceum, 28 Aug 1809 (1809) — The Jovial Crew, Lyceum, 15 July 1813, ?unpubd 140 Sharp and Flat (operatic farce, D. Lawler), Lyceum, 4 Aug 1813 (1813) 2 unnamed operas: inc. (Lawler), 1813, Ob * (Harding Mus.c.14, 15); finale dated 5 Aug 1819, Cu * Music in: Marriage a-la-mode, or Conjugal Douceurs

Interlochen, Michigan, the most famous of the many summer music schools. As early as 1919 Harding had invited school band directors to observe his rehearsals at the University of Illinois and to discuss specific problems and repertoire. In 1930 he began a series of band clinics that became so successful and influential that Harding may rightfully be called the “Dean of University Band Directors.” When the American Bandmasters Association was organized in 1929 , Harding was the only educator included among the service and professional band directors. By 1941

( 1941 ). In May 1940 he played with Buster Harding, and in July of that year he rejoined Waller. After Waller’s death in 1943 he made several appearances with former members of Waller’s Rhythm under the direction of the pianist Pat Flowers. At the same time he led a trio of his own, and in 1944 he worked as a sideman in a trio led by Clarence Profit. Casey also recorded under his own name for Capitol ( 1945 ) and as a freelance with Edmond Hall and Coleman Hawkins (both 1943 ), Pete Brown, Earl Hines, and James P. Johnson (all 1944 ), Big Sid Catlett and Herbie

Fantasy, as well as songs and piano works. In several cases the English editions were the first to appear, and often contain significant minor variants compared with the continental ones. Bibliography ClinkscaleMP Humphries-SmithMP Waterhouse-LangwillI R.E.M. Harding : The Piano-Forte: its History Traced to the Great Exhibition of 1851 (Cambridge, 1933/ R , 2/1978/ R ) L. Plantinga : Clementi: his Life and Music (London, 1977/ R ) A. Tyson : The Authentic English Editions of Beethoven (London, 1963) R. Burnett : ‘English Pianos at

Stephen Harding. In 1112 Bernard, later the founder and Abbot of Clairvaux, entered Cîteaux with a band of 30 young friends and relations. With the accent on manual labour, the Cistercians undertook the cultivation of vast areas of hitherto untilled land, and to do this they instituted the life of the lay brothers. Another important innovation of the White Monks was their unified structure in the relationship between founding monasteries and daughter houses, described in a remarkable document, the Carta caritatis (‘Charter of charity’) of St Stephen Harding. All

including President Ronald Reagan, as a patriotic anthem, and by others, including Springsteen, as a statement about the mistreatment of Vietnam veterans. Among the most striking songs of the entire period was Bob Dylan’s “All along the Watchtower,” from the 1968 album John Wesley Harding. The song gained momentum with Jimi Hendrix’s cover on Electric Ladyland ( 1968 ), and Dylan performed the song for decades much as Hendrix had. On first hearing, the lyrics are seemingly not directly about the war; its lyrical images instead convey tortured confusion. Suggesting

their own careers with the assistance of the Internet or hiring smaller scale, independent managers. Bibliography A.L. Bernheim et al.: The Business of the Theatre; Prepared on Behalf of the Actors’ Equity Association by Alfred L. Bernheim, Assisted by Sara Harding and the Staff of the Labor Bureau, Inc. (New York, 1932) C. Bode : The American Lyceum, Town Meeting of the Mind (New York, 1956) P. Hart : Orpheus in the New World: The Symphony Orchestra as an American Cultural Institution—its Past, Present, and Future (New York, 1973),