William Sterndale Bennett - Knowledge (XXG)

40: 139: 695: 354: 977:

could mean supply outstripping demand for graduates. Bennett himself taught composition at the RAM; this was undoubtedly where his greatest interests lay at this period, and it appears that the examples he gave to his pupils concentrated on his own 'conservative' favourites of Mendelssohn, Beethoven and Mozart. Nonetheless, the reputation and popularity of the RAM increased markedly under his stewardship. The number of pupils, which had dropped catastrophically at the time when the directors had proposed closing the institution, rose steadily. At the end of 1868 there had been 66 students. By 1870 the number was 121, and by 1872 it was 176.

1413: 542: 805: 534: 915: 953:'s words, "As Chairman he succeeded, after the Government had withdrawn its annual grant, in winning it back, restored the financial credit of the house, and during seven years bore the harassing anxiety of complex negotiations with various public bodies of great influence who were discussing schemes for the advance of national musical education." The schemes referred to were two proposals which would have undoubtedly undermined the viability and influence of the RAM, one to merge it in a proposed National School of Music, backed by the 362: 131: 526: 621:, of whom Bennett disapproved; Costa was too devoted to Italian opera and not a partisan of the German masters, as was Bennett. Bennett wrote to Mendelssohn on 24 July, displaying some querulousness, "The Philharmonic Directors have engaged Costa ... with which I am not very well pleased, but I could not persuade them to the contrary, and am tired of quarrelling with them. They are a worse set this year than we have ever had." 1325:, Caldwell praises the overture (a Mendelssohn-style work originally written as a concert piece in 1844) "but the rest of the work is tame stuff". He comments that "both works received immense longstanding popularity and may be considered as the narrative prototype for the later Victorian secular and sacred forms ... conforming to the current standards of taste and respectability", anticipating such works as Arthur Sullivan's 6532: 632:, Op. 33, for his piano students at the college; they were published in 1853 and remained in widespread use by music students well into the twentieth century. In a profile of Bennett published in 1903, F. G. Edwards noted that Bennett's duties as a teacher severely reduced his opportunity to compose, although he maintained his reputation as a soloist in annual chamber music and piano recitals at the 1436:... a discharge of musical artillery in the shape of drums, seconded by blasts of trombones and trumpets that seemed to realise all that we have heard of a tropical tornado. ... So very clever and promising a young man ought to meet with every kind of reasonable encouragement, but judicious and true friends would have hinted to him that his present production is the dry result of labour. 1560:

music was ... too difficult to listen to." Newspaper reviews of the chamber concerts in which he included the music of Bach would initially describe the music in terms such as "grandeur there is, but no beauty" (1847) or "somewhat antiquated ... extremely interesting" (1854). A significant turning point was the attendance of Prince Albert at Bennett's 1858 performance of the

1167:

the limits which the conscientiousness of his self-criticism would not let him overstep. It is this which makes him, as has been said, so peculiarly a musician's composer: the broad effects and bold contrasts which an uneducated public admires are absent; it takes an educated audience to appreciate to the full the exquisitely refined and delicate nature of his genius.

1114: 6570: 1421:

a German one. The Leipzig public, which had initially held that view, had been rapidly converted. Mendelssohn wrote to Bennett "... y Countrymen became aware that music is the same in England as in Germany and everywhere, and so by your successes you have destroyed that prejudice which nobody could ever have destroyed but a true Genius."

1250: ... peculiarly his own, essentially classical in nature, but with reference to a multiplicity of influences from his own performance repertory." The early piano works were all praised by Robert Schumann, and Temperley points out how Schumann himself was influenced by them, with (as examples) clear traces of Bennett's Op. 16 6558: 1559:

Through his concert initiatives at the Hanover Rooms Bennett introduced a variety of chamber music to London audiences. His championship also significantly changed British opinion of the music of JS Bach. His "promotion of Bach was a story of perseverance against a contemporary perception that Bach's

1166:

His sense of form was so strong, and his refined nature so abhorred any mere seeking after effect, that his music sometimes gives the impression of being produced under restraint. He seldom, if ever, gave rein to his unbridled fancy; everything is justly proportioned, clearly defined, and kept within

702:

From this point in his life Bennett was ever increasingly involved in the burdens of musical organization. In the opinion of Percy Young, he became "the prototype of the modern administrative musician ... he eventually built for himself an impregnable position, but in doing so destroyed his once

681:

writes that the death of Mendelssohn in 1847 came to Bennett as "an irreparable loss". The following year, Bennett severed his hitherto close ties with the Philharmonic Society, which had presented many of his most successful compositions. This break resulted from an initially minor disagreement with

557:

became vacant. With Mendelssohn's strong encouragement Bennett applied for the position. Mendelssohn wrote to the principal of the university, "I beg you to use your powerful influence on behalf of that candidate whom I consider in every respect worthy of the place, a true ornament to his art and his

1481:

Yet it must be confessed that attempted nothing really great. He does not profoundly impress the feelings, rouse the imagination, carry the listener along by the irresistible force of genius; and his music, though its charm will long be recognized, can have no lasting effect upon the development of

1440:

Schumann, by contrast, wrote: "The overture is charming; indeed, save Spohr and Mendelssohn, what other living composer is so completely master of his pencil, or bestows with it such tenderness and grace of colour, as Bennett? ... Essay measure after measure; what a firm, yet delicate web it is

1420:

As a composer Bennett was acknowledged in his time in both Britain and (particularly in the first half of the century) in Germany, although many British music lovers and several leading critics remained reluctant to acknowledge the possibility that an English composer could be of the same stature as

800:

as soloist, and with Prince Albert in the audience, brought in a substantial subscription, but was musically disastrous (and was not helped by the chaos of a seriously overcrowded venue). One member of the audience thought Lind's voice was "worn and strained" and that there would have been "vehement

703:

considerable creative talent." Bennett became a victim as well as a beneficiary of a trend towards professionalization in the music industry in Britain; "The Principal and the Professor became powerful, whereas the status of the composer and the executant (unless foreign) was implicitly downgraded."

608:

From 1842, Bennett had been a director of the Philharmonic Society of London. He helped to relieve the society's perilous finances by persuading Mendelssohn and Spohr to perform with the Society's orchestra, attracting full houses and much-needed income. In 1842, the orchestra, under the composer's

291:

he most complete and gratifying performance was that of young Bennett, whose composition would have conferred honour on any established master, and his execution of it was really surprising, not merely for its correctness and brilliancy, but for the feeling he manifested, which, if he proceed as he

1571:

in Oxford. Of his total of some 130 compositions, about a third have been recorded for CD; among these are symphonies, overtures, piano concerti, chamber music, songs and piano solo music. During his bicentenary year of 2016, several concerts and events dedicated to Bennett's works were performed,

1201:

It would appear that Bennett displayed and aroused greater emotion through his piano technique than from his compositions. Stanford writes that "his playing ... was undoubtedly remarkable and had a fire and energy in it which does not appear on the gentle surface of his music", and notes that

976:

opera house. Chorley added, "I cannot remember one great instrumental player the Academy has turned out during the last 25 years." Bennett himself was not entirely in accord with the emphasis Chorley placed on instrumental training for the RAM; he was concerned (and with reason) that such a policy

933:

Bennett was to find that heading a leading music college was incompatible with a career as a composer. The post of Principal was traditionally not arduous. He was contractually required to attend for only six hours a week, teaching composition and arranging class-lists. But Bennett had not only to

905:

suggests that "he never recovered from the effects of Mrs. Bennett's death, and that henceforward a painful change in him became apparent to his friends." In 1865, Bennett again visited Leipzig where he was reunited with old friends including Ferdinand David, and his Op. 43 Symphony was performed.

170:

Donn. In addition to his duties as an organist, Robert Bennett was a conductor, composer and piano teacher; he named his son after his friend William Sterndale, some of whose poems the elder Bennett had set to music. His mother died in 1818, aged 27, and his father, after remarrying, died in 1819.

769:

in London (and therefore partisans of the displaced Costa), and, in addition, Bennett proved unable to resolve personal animosities amongst his leading players. Costa took to arranging schedules for his musicians which made rehearsals (and sometimes performances) for the Society impractical. This

515:

One might guess that the early loss of both parents produced in Bennett an exceptionally intense need for reassurance and encouragement. England could not provide this for a native composer in his time. He found it temporarily in German musical circles; yet, when the opportunity came to claim his

1290:

appeared the idiom of music had changed and he had not changed with it. ... He was too conservative to move with the times. ... might all have been written in the forties; they are survivals of an earlier method, not developments but restatements of a tradition." Firman comments that

1273:

Temperley feels that the early symphonies are the weakest works of this period, but he suggests that "few piano concertos between Beethoven and Brahms are as successful as Bennett's in embodying the Classical spirit, not in a stiff frame to deck with festoons of virtuosity, but in a living form

444:

Bennett had been at first slightly in awe of Mendelssohn, but no such formality ever attached to Bennett's friendship with Robert Schumann, with whom he went on long country walks by day and visited the local taverns by night. Each dedicated a large-scale piano work to the other: in August 1837

116:

Bennett had a significant influence on English music, not solely as a composer but also as a teacher, as a promoter of standards of musical education and as an important figure in London concert life. In recent years, appreciation of Bennett's compositions has been rekindled and a number of his

1217:

claimed that Bennett was "bitterly prejudiced against the new school, as he called it. He would not have a note of Schumann; and as for Wagner, he was outside the pale of criticism." In Bennett's 1858 lecture on "The visits of illustrious foreign musicians to England", the latest mention is of

900:

of his own composition, to be conducted by Costa and using the orchestra and singers of the Opera, over the heads of the Academy directors. Bennett resigned from the RAM at this overbearing behaviour, and was not to return until 1866. Towards the end of 1862 Bennett's wife died after a painful

465:

for piano, "three of Bennett's loveliest pictures". The essay ends: "For some time now he has been peering over my shoulder, and for the second time he has asked 'But what are you writing?' Dear friend, I shall write no more than: 'If only you knew!'" Bennett however had from the outset some

1193: 1186:

agrees that "is best work, like his piano playing, was full of passion none the less powerful for being Mozartian (that is to say, perfectly controlled)", and characterizes him as "essentially a composer for the piano, a composer of the range (not necessarily the stature) of Chopin".

751:. He was greatly tempted by the offer, but felt it his duty to remain in England, as the offer came too late for Bennett to make alternative arrangements for some of his pupils, and he refused to let them down. After the controversial 1855 season of the Philharmonic Society at which 1230:'", Bennett noted "I have no intention of treating him disrespectfully; that I entirely misunderstand him and his musical opinions may be my fault and not his. At any rate he possesses an influence at this moment over musical life, which it would be impossible to overlook." 2606: 327:. Although by common consent the RAM had little more to teach him after his seventh or eighth year, he was permitted to remain as a free boarder there until 1836, which suited him well, as his income was small. In May 1835 Bennett made his first appearance at the 742:

In June 1853 Bennett made his last public appearance as a soloist with orchestra in his own Fourth Piano Concerto. This performance was given with a new organization, the Orchestral Union, and followed a snub from Costa, who had refused to conduct the pianist

1556:. Bennett's contributions to elevating musical training standards at Cambridge and the RAM were part of a trend in England in the latter part of the 19th century whose "cumulative effect ... prior to World War I was incalculable", according to Caldwell. 617:, two months after its world premiere in Leipzig. In 1844, Mendelssohn conducted the last six concerts of the society's season, in which among his own works and those of many others he included music by Bennett. From 1846 to 1854, the Society's conductor was 1520:. Although Bennett's reputation in Germany did not notably survive the 1840s, his English pupils had significant influence on British music of the later 19th and earlier 20th century Britain. Among his pupils at the RAM and elsewhere were Arthur Sullivan, 1226:, and could only say in favour of Berlioz that he "must be allowed the character of a successful and devoted artist ... it cannot be doubted that his treatment of a great orchestra is masterly in the extreme." Of Wagner, "the hero of the so-called ' 930:, who was then professor of piano at the RAM. He declined and urged the directors to appoint Bennett. Lind, who was Goldschmidt's wife, wrote that Bennett "is certainly the only man in England who ought to raise that institution from its present decay". 1238:

Bennett's early period of composition was fruitful and includes those of his works which are most esteemed today. By the time of his first visit to Germany (1836) he had already written, amongst other works, five symphonies and three piano concerti.

764:

Bennett's stewardship of the Philharmonic Society orchestra was not entirely happy, and the historian of the orchestra, Cyril Ehrlich, notes "a sense of drift and decline". Many leading members of the orchestra were also in the orchestra of the

600:

noted that Bennett spent too much time giving private lessons to keep up with changing trends in music: "His only chance of learning new music is in the carriage on the way from one lesson to another." Among his pupils was the composer

469:

On Bennett's return to London he took up a teaching post at the RAM which he held until 1858. During his second long stay in Germany, from October 1838 to March 1839, he played his Fourth Piano Concerto (Op. 19, in F minor) and the

209:

Bennett was a pupil at the RAM for the next ten years. At his grandfather's wish his principal instrumental studies were at first as a violinist, under Paolo Spagnoletti and later Antonio James Oury. He also studied the piano under

100:

In 1858, Bennett returned to composition, but his later works, though popular, were considered old-fashioned and did not arouse as much critical enthusiasm as his youthful compositions had done. He was Professor of Music at the

1585:

You can learn to sing or to play an instrument, you can make your spouse out of music, but you’ll be never able to emulate the greatest of all symphonies, the one that pattering rain and vigorous wind create in the long winter

946:, refused to renew the grant. The directors of the RAM decided to close it, over the head of Bennett as Principal. Bennett, with the support of the faculty and the students, assumed the Chairmanship of the board of directors. 816:

Temperley writes: "After 1855 was spurred by belated honours, and occasional commissions, to compose a respectable number of significant and substantial works, though it was too late to recapture his early self-confidence."

686:. The intransigence of both parties inflated this into a furious row, and began a breach between them which was to last throughout Bennett's career. Bennett was disgusted at the Society's failure to back him up, and resigned. 117:

works, including a symphony, his piano concerti, some vocal music and many of his piano compositions, have been recorded. In his bicentenary year of 2016, several concerts of his music and other related events took place.

214:, and after five years, with his grandfather's agreement, he took the piano as his principal study. He was a shy youth and was diffident about his skill in composition, which he studied under the principal of the RAM, 58:(RAM), where he remained for ten years. By the age of twenty, he had begun to make a reputation as a concert pianist, and his compositions received high praise. Among those impressed by Bennett was the German composer 474:

Overture, Op. 20. Returning to England, he wrote to his Leipzig publisher Friedrich Kistner in 1840, bemoaning the difference between England and Germany (and hoping that a German would redress the situation):

1192: 331:, playing the premiere of his Second Piano Concerto (in E-flat major, Op. 4), and in the following year he gave there the premiere of his Third Concerto (in C minor, Op. 9). Bennett was also a member of the 1404:; texts of his lectures were edited and published in 2006. At a Sheffield lecture in 1859 he also played works of the composers he discussed, and "so may be regarded as the founder of the lecture-recital". 1174: 6665: 596:

sees the marriage as marking a break in Bennett's career; "from 1844 to 1856 was a freelance teacher, conductor and concert organiser; a very occasional pianist and a still more occasional composer."

1003:, London. According to his son the cause was "disease of the brain"; unable to rise one morning, he had fallen into a decline and died within a week. He was buried on 6 February, close to the tomb of 864:. The Ode for the Exhibition was the cause of a further imbroglio with Costa, who although in charge of music for the Exhibition refused to conduct anything by Bennett. Eventually it was conducted by 732:

were given by the Society in 1858 and 1862, the latter coinciding with the publication of Bennett's own edition of the work, with a translation of the text into English by his pupil Helen Johnston.

421:

took me to his house and gave me the printed score of 'Melusina', and afterwards we supped at the 'Hôtel de Bavière', where all the musical clique feed ... The party consist of Mendelssohn,

394:, "I think him the most promising young musician I know, not only in your country but also here, and I am convinced if he does not become a very great musician, it is not God's will, but his own". 592:

In 1844, Bennett married Mary Anne Wood (1824–1862), the daughter of a naval commander. Composition gave way to a ceaseless round of teaching and musical administration. The writer and composer

1138:

has no rapids and no falls; it winds along under its woods in a gentle stream, never dry and never halting; it is the type of the spirit of English folkmusic ... England is as remote from

1134:

He maintained his British characteristics throughout his life ... The English take a kind of pride in concealing their feelings and emotions, and this is reflected in their folk-song. The

271:. The concerto received its public premiere at an orchestral concert in Cambridge on 28 November 1832, with Bennett as soloist. Performances soon followed in London and, by royal command, at 1589:

I must admit I envy scientists. Unlike the vast majority of us, they can speak the language of truth and, while they engage in conversation with God, the universe flows between their fingers

6218: 1222:, (who all only came to England after Mendelssohn's last visit); Liszt (who visited London in 1827) is omitted. In a subsequent lecture he opined that Verdi was "immeasurably inferior" to 1614:

Bennett always treated the name "Sterndale" as a given name rather than part of his surname; after he was knighted he was known as "Sir Sterndale Bennett". "Sterndale" was adopted into a

926:, the Principal of the RAM, announced his retirement. The position was first offered to Costa, who demanded a higher salary than the directors of the RAM could contemplate, and then to 2658: 1191: 770:

gave an "impression that was capable of exerting only waning authority amongst professionals". Moreover, comparing London with other centres around the mid-century, Ehrlich notes "

755:

conducted, Bennett was elected to take over the conductorship in 1856, a post which he held for ten years. At his first concert, on 14 April 1856, the piano soloist in Beethoven's

1366:(Berlin 1830), which followed Mendelssohn's revival of the work; this was revised with reference to the score published by the Leipzig Bach Society in 1862. Bennett's additional 628:, Bennett, as one of the Founding Directors, delivered an inaugural lecture and joined the staff, while continuing his work at the RAM and private teaching. He wrote the thirty 507:

for piano and orchestra, Op. 22, in Leipzig. Despite his then-pessimistic view of music in England, Bennett missed his chance to establish himself in Germany. The musicologist

6730: 4537: 6640: 4527: 1060:

Bennett's son, James Robert Sterndale Bennett (1847–1928), wrote a biography of his father. Many of the composer's descendants became musicians or performers, including:

677:

As well as the demands of his work as a teacher and pianist, there were other factors that may have contributed to Bennett's long withdrawal from large-scale composition.

988:

by Queen Victoria (two years after his old antagonist Costa had been accorded the same honour), and, in 1872, he received a public testimonial before a large audience at

39: 6725: 1108: 1567:

Bennett left a substantial music library, a large proportion of which is owned by his great-great-grandson Barry Sterndale Bennett (born 1939) and is on deposit at the

1243:

assesses his early songs as "exquisitely judged essentially Mendelssohnian affairs ... the integration and coherence of their accompaniments is a strong feature."

6630: 6600: 558:

country, and indeed one of the best and most highly gifted musicians now living: Mr. Sterndale Bennett." Despite this advocacy Bennett's application was unsuccessful.

1178:

Bennett's "Come Live with Me", English Vocal Consort of Helsinki (Iida Antola, soprano, David Hackston, countertenor, Martti Anttila, tenor, Valter Maasalo, baritone)

1173: 54:(13 April 1816 – 1 February 1875) was an English composer, pianist, conductor and music educator. At the age of ten Bennett was admitted to the London 3591: 972:

published data in that year showing that only 17 per cent of orchestral players in Britain had studied there. No alumni of the RAM were members of the orchestra at

1673:

was unenthusiastic about the work, but allowed that "Professor Bennett took infinite pains with the symphony; it was magnificently played and favourably received."

73:

In 1837 Bennett began to teach at the RAM, with which he was associated for most of the rest of his life. For twenty years he taught there, later also teaching at

6645: 93:

for ten years. He also actively promoted concerts of chamber music. From 1848 onward, his career was punctuated by antagonism between himself and the conductor

1499:'s Senior Musical Knight". Temperley assesses Bennett as the most distinguished British composer of the early Victorian era, "the only plausible rivals being 373:

In May 1836, Bennett travelled to Düsseldorf in the company of Davison to attend the Lower Rhenish Music Festival for the first performance of Mendelssohn's

1246:

Firman writes that Bennett's finest works are those for the piano: "Rejecting the superficial virtuosity of many of his contemporaries, he developed a style

6625: 1022:

The first concert of the Philharmonic Society's season, on 18 March, began with a tribute to its sometime conductor: pieces from his unfinished music for

747:(Davison's wife) in Bennett's Third Concerto at the Philharmonic Society. In the same year Bennett declined an invitation to become the conductor of the 6695: 6610: 3941: 934:

run the RAM but to save it from imminent dissolution. The RAM had been temporarily saved from bankruptcy by grants from the government, authorised by

1592:

There is no doubt: the only purpose of a good teacher is to see his student becoming better than him. If this does not occur, he has wasted his gift.

1444:

Outside these countries, Bennett remained almost unknown as a musician, although his reputation as a conductor led Berlioz to invite him to join his

1172: 6715: 6690: 6635: 6615: 3991: 3870: 479:

You know what a dreadful place England is for music; and in London I have nobody who I can talk to about such things, all the people are mad with

6620: 6605: 206:(RAM), which had been founded in 1822. The examiners were so impressed by the child's talent that they waived all fees for his tuition and board. 5052: 801:

demonstrations of derision had not the audience been restrained in the presence of Royalty". Newspaper critics were scarcely more complimentary.

6670: 105:

from 1856 until 1875. In 1866 he became Principal of the RAM, rescuing it from closure, and remained in this position until his death. He was

6660: 6477: 4130: 3858: 3799: 3642: 3623: 3576: 3351: 3868:

Wright, David (2005). "The South Kensington Music Schools and the Development of the British Conservatoire in the Late Nineteenth Century".

6148: 4570: 577:, works for piano solo, and string sonatas by Mendelssohn and others. Amongst those taking part in these recitals were the piano virtuoso 1317:

shows that "Bennett was a good craftsman whose only fault was a dread of the operatic ... One would probably tolerate the narrative

739:, Bennett was appointed a Metropolitan Local Commissioner, Musical Juror and superintendent for the music at the opening Royal ceremony. 666:(for whom Bennett wrote his Sonata Duo); composers represented included—apart from Bennett's favourite classical masters and Mendelssohn— 646:, "then almost novelties". Over the years he gave over forty concerts at this venue, and amongst those who took part were the violinists 6700: 6685: 6680: 4975: 893: 853: 199: 5990: 335:, founded in 1834 to promote specifically British musicians and compositions. Davison wrote in 1834 that Bennett's overture named for 138: 1044:, to whom Mendelssohn had introduced Bennett at Joachim's London debut in 1844. The final concert of the season (5 July) included an 553:

Bennett returned to London in March 1842, and continued his teaching at the RAM. The next year the post of professor of music at the

319:

to Wandsworth parish church. He held the post for a year, after which he taught private students in central London and at schools in

283:. The RAM published the concerto at its own expense as a tribute. A further London performance was given in June 1833. The critic of 6720: 4359: 4201: 3810: 3780: 3600: 3487: 3329: 4955: 3364:

Music in the Victorian Era from Mendelssohn to Wagner: Being the memoirs of J. W. Davison, Forty Years Music Critic of "The Times"

996:

blue plaque has been placed at the house in 38 Queensborough Terrace, London, where Bennett lived during many of his later years.

6655: 4950: 4247: 3689: 3518: 757: 276: 31: 6492: 5011: 4661: 4656: 694: 211: 191: 4751: 4181: 4166: 4158: 4042: 3339: 70:, who shared Mendelssohn's admiration for his compositions. Bennett spent three winters composing and performing in Leipzig. 6015: 5047: 5001: 3937: 3563:

Parrott, Isabel (2008). "William Sterndale Bennett and the Bach Revival in Nineteenth-Century England". In Cowgill, Rachel;

5410: 6516: 6500: 6417: 5935: 2808: 1429: 1382:

both in the solo music sections (based on the Leipzig full score) and elsewhere. Bennett also produced editions of Bach's

1037: 837: 790:. London had the richest of audiences, and was offered Sterndale Bennett." He instances the London premiere of Schumann's 457: 6548: 3959: 889:. Two years later on 8 June 1868 the newly formed (later Royal) College of Organists awarded him an Honorary Fellowship. 6675: 6040: 4487: 4191: 3963: 3317: 2622: 1240: 872:

also commissioned for the occasion. The affair leaked into the press, and Costa was widely condemned for his behaviour.

748: 610: 541: 447: 332: 301: 187: 5945: 6710: 6288: 6103: 4257: 4206: 4066: 1424:

Bennett's son, in his biography of his father, juxtaposes as illustrations English and German reviews of the overture

1416:

Memorial in Sheffield Cathedral (until 1914 Sheffield Parish Church). It quotes the opening bars of "God is a Spirit".

939: 6223: 3679: 992:, London. The money subscribed at this event founded a scholarship and prize at the RAM, which is still awarded. An 455:, Op. 16. Schumann was eloquently enthusiastic about Bennett's music; in 1837 he devoted an essay to Bennett in the 6233: 5925: 5154: 4899: 4676: 4666: 4036: 3832: 1313:

enjoyed in their hey-day "a popularity that was in inverse relation to their intrinsic merit". Caldwell notes that

1213:

Bennett's attitudes to the music of his continental contemporaries, aside from that of Mendelssohn, were cautious.

1049: 625: 422: 390:(Op. 15). After Bennett left for home, Mendelssohn wrote to their mutual friend, the English organist and composer 328: 280: 195: 90: 74: 5310: 3984: 2075: 1572:

including concerts and seminars at the RAM. From 11 to 15 April 2016 he was featured as 'Composer of the Week' on

875:

In March 1856 Bennett, while still teaching at the RAM and Queen's College, was elected Professor of Music at the

6705: 6472: 6153: 5872: 5032: 4123: 3698: 1666: 1393: 1384: 950: 678: 618: 391: 94: 6083: 1644:

The School eventually emerged as the National Training School for Music (1876) which proved a precursor for the

1412: 222:, who took over as principal in 1832. Among the friends Bennett made at the Academy was the future music critic 6371: 6193: 6073: 6010: 5776: 5461: 4522: 4252: 4096: 4078: 4072: 4024: 3838: 3204: 1327: 1081: 923: 252:... we will not speak", but acknowledged that Bennett sang pleasingly and to the satisfaction of the audience. 6143: 5950: 5240: 766: 383: 308:. Bennett asked, "May I come to be your pupil?" Mendelssohn replied, "No, no. You must come to be my friend". 1295:(1839) came to overshadow the more innovative works of his earlier period such as the Sonata Op. 13, and the 561:

Bennett had been impressed in Leipzig with the concept of chamber music concerts, which had been, apart from

6650: 6000: 5905: 5761: 5190: 5016: 4806: 4716: 4196: 3977: 3652: 1511: 1500: 935: 876: 554: 102: 5390: 3031: 487:, and I have not heard a single Symphony or Overture in one concert since last June. I sincerely hope that 6574: 6482: 6437: 6432: 6128: 6020: 5920: 5807: 5680: 5466: 5431: 5275: 5205: 5144: 4761: 4701: 4532: 4001: 3674: 1645: 1340: 1075: 968:

The RAM in 1866 was in poor shape in terms of influence and reputation as well as financially. The critic

902: 896:, the original founder of the RAM, saw fit to arrange a subscription concert for the Academy to include a 651: 488: 228: 203: 143: 55: 5006: 3230: 89:. Throughout the 1840s and 1850s he composed little, although he performed as a pianist and directed the 6487: 6452: 6442: 6376: 6203: 6178: 6138: 6088: 5985: 5838: 5685: 5497: 5354: 5295: 5129: 5124: 5078: 4945: 4881: 4831: 4590: 4552: 4237: 4186: 4163: 4048: 3707: 3027: 3023: 3019: 1915: 1657:

However, Bennett's son records that, as well as having given in 1856 the English premiere of Schumann's

1615: 1504: 1203: 958: 954: 848:, which included a lament for the late Prince Albert; a symphony in G minor (Op. 43); a sacred cantata, 833: 792: 736: 642: 637: 466:

reservations about Schumann's music, which, he told Davison in 1837, he thought "rather too eccentric".

426: 223: 5670: 5042: 4595: 4517: 4502: 804: 582: 202:

in February 1824 where he remained for two years. In 1826, at the age of ten, he was accepted into the

6595: 6590: 6535: 6208: 6108: 6025: 5557: 5482: 5260: 5195: 5159: 5037: 4894: 4861: 4841: 4615: 4580: 4282: 4222: 4116: 1545: 1155: 1146:. Bennett was a typical specimen of this English characteristic. He was a poet, but of the school of 981: 663: 633: 578: 574: 44: 4991: 6467: 6326: 6118: 6030: 5915: 5756: 5634: 5451: 5139: 5134: 4970: 4929: 4776: 4711: 4646: 4605: 4435: 4262: 3615: 3543: 2663: 1920: 1363: 1351: 1283: 1266: 1227: 722:, Potter and Davison. Under his direction the Society gave the first English performance of Bach's 711: 378: 163: 147: 5456: 3000: 1182:

Temperley suggests that, despite his reverence for Mendelssohn, Bennett took Mozart as his model.

6523: 6243: 6005: 5995: 5880: 5771: 5665: 5507: 5369: 5265: 5235: 5225: 5073: 4871: 4560: 4452: 4393: 4171: 3895: 3887: 3815: 3756: 3739: 3724: 3463: 3439: 3403: 3302: 3268: 3198: 3166: 3147:

Anon (1943). "Mendelssohn, Sterndale Bennett and the Reid Professorship: An Unpublished Letter".

3110: 1147: 724: 667: 508: 480: 5405: 5285: 4482: 3678: 989: 2506: 984:(1870). The Philharmonic Society awarded him its Beethoven gold medal in 1867. In 1871, he was 405:

as the soloist in his Third Piano Concerto with Mendelssohn conducting. He later conducted his

175:

by his paternal grandfather, John Bennett, from whom he received his first musical education.

130: 6457: 6427: 6391: 6336: 6258: 6188: 6113: 5955: 5940: 5910: 5797: 5792: 5751: 5726: 5700: 5675: 5639: 5629: 5527: 5522: 5517: 5512: 5180: 5149: 5093: 5088: 4904: 4889: 4811: 4696: 4641: 4565: 4512: 4477: 4430: 4333: 4323: 4287: 4153: 4060: 3918: 3854: 3795: 3776: 3662: 3656: 3638: 3619: 3596: 3572: 3551: 3504: 3483: 3386: 3368: 3347: 3325: 3285: 3236: 3217: 3186: 3149: 3114: 3086: 2968: 2646: 1516: 1449: 1256: 1223: 1197:

Serenata from Bennett's Piano Sonata, Op. 13, and Toccata, Op. 38, performed by Julian Hellaby

1008: 1000: 973: 962: 943: 886: 775: 671: 297: 179: 110: 59: 1074:

Thomas Case Sterndale Bennett (1882–1944), a grandson, a composer and singer, whose daughter

761:

Concerto was Clara Schumann, wife of his old friend. It was her first appearance in England.

6562: 6238: 6228: 6063: 5960: 5885: 5802: 5766: 5644: 5619: 5614: 5446: 5315: 5305: 5300: 5290: 5280: 5255: 5220: 5185: 5108: 5083: 5057: 4721: 4651: 4600: 4497: 4399: 4338: 4328: 4311: 4272: 4267: 4242: 4054: 3879: 3748: 3716: 3612:

Clara Schumann – An Artist's Life, Based on Material Found in Diaries and Letters – Volume 2

3523: 3431: 3395: 3294: 3260: 3158: 2239: 1568: 1525: 1514:

portrayed Bennett as 'Starwood Burney' in her popular eulogy of Mendelssohn, the 1853 novel

1465: 1401: 1371: 1207: 993: 942:, in 1864 and 1865. The following year Gladstone was out of office, and the new Chancellor, 927: 914: 860:, Op. 46). Many of these works were composed during his summer holidays which were spent at 845: 744: 715: 647: 602: 484: 320: 3969: 533: 6462: 6447: 6422: 6346: 6278: 6273: 6268: 6183: 6168: 6123: 6058: 5930: 5900: 5746: 5741: 5624: 5547: 5537: 5487: 5395: 5270: 5164: 5103: 5098: 4965: 4909: 4826: 4816: 4636: 4620: 4575: 4542: 4365: 4303: 4292: 4018: 3586: 2642: 1632: 1469:

called Bennett "probably the greatest composer produced by England" with the exception of

1214: 1087: 985: 865: 829: 779: 719: 659: 430: 401:. He was there from October 1836 to June 1837, during which time he made his debut at the 366: 219: 106: 78: 67: 5843: 4781: 4176: 3082: 3454:

Edwards, Frederic George (1903c). "William Sterndale Bennett (1816–1875), Part 3 of 3".

6401: 6386: 6356: 6321: 6311: 6293: 6198: 6158: 6093: 5970: 5965: 5895: 5736: 5721: 5649: 5593: 5583: 5552: 5532: 5441: 5364: 5344: 5329: 5250: 5210: 4996: 4960: 4914: 4866: 4796: 4771: 4691: 4671: 4610: 4507: 4371: 4297: 4012: 3910: 3684: 3564: 1553: 1541: 1529: 1496: 1457: 1302: 1219: 1041: 771: 752: 655: 597: 562: 414: 397:

After Bennett's first visit to Germany there followed three extended visits to work in

316: 272: 254: 215: 86: 2235: 353: 6584: 6396: 6361: 6351: 6331: 6263: 6213: 6078: 6068: 5853: 5828: 5716: 5690: 5588: 5578: 5359: 5230: 4836: 4766: 4741: 4731: 4686: 4386: 3899: 3362: 3248: 1628: 1492: 1470: 1183: 1091: 1004: 969: 809: 593: 305: 233: 1036:, for which the choir was provided by the RAM. These were followed by Mendelssohn's 361: 6366: 6341: 6316: 6283: 6253: 6173: 6133: 6035: 5980: 5890: 5858: 5848: 5833: 5573: 5436: 5426: 5400: 5245: 5200: 4924: 4856: 4846: 4786: 4736: 4681: 4492: 4410: 4381: 4232: 4090: 4084: 1549: 1537: 1533: 1521: 1379: 1135: 897: 869: 707: 586: 565:

recitals, a rarity in London. He began in 1843 a series of such concerts including

516:

earned place as a leader in German music, he was not quite bold enough to grasp it.

244: 82: 5731: 3535: 226:. Bennett did not study singing, but when the RAM mounted a student production of 885:

examinations and requiring candidates for doctorates to first take the degree of

17: 6381: 6248: 6098: 6050: 5695: 5598: 5542: 5349: 5215: 4919: 4851: 4585: 4462: 4446: 4405: 4354: 4227: 4139: 3344:

Jewry in Music: Entry to the Profession from the Enlightenment to Richard Wagner

3322:

The Oxford History of English Music. Volume II – From c. 1815 to the Present Day

1573: 1359: 1282:

Bennett's style did not develop after his early years. In 1908 the musicologist

1028: 980:

Bennett received honorary degrees from the universities of Cambridge (1867) and

820:

Works from his later years included the cello Sonata Duo for Piatti; a pastoral

783: 570: 267: 262: 238: 3498: 2638: 961:, the other to relocate it (without security of tenure) in the premises of the 525: 413:

match ever played in Germany, ("as fitting a Yorkshireman" as the musicologist

5502: 4821: 4801: 4791: 4440: 4277: 3527: 2939: 1318: 1151: 1143: 1012: 861: 797: 566: 495:

On Bennett's third trip, from January to March 1842, in which he also visited

402: 336: 312: 261:

Among Bennett's student compositions were a piano concerto (No. 1 in D minor,

3922: 3666: 3555: 3508: 3372: 3221: 3190: 1321:

more readily if the inserted movements showed any spark of life." As regards

6163: 5492: 5374: 4706: 4425: 4415: 3240: 3126: 1724: 1261: 1095: 1065: 1023: 881: 183: 172: 159: 155: 3264: 1362:(with piano accompaniment) was adapted from the German edition prepared by 682:

Costa over his interpretation at the final rehearsal of Bennett's overture

386:. Inspired by his journey up the Rhine, Bennett began work on his overture 3953: 3883: 3720: 2964: 1113: 6303: 374: 341: 2659:"From George Harrison to Zayn Malik: the pop stars who left their bands" 5975: 4726: 4317: 3891: 3516:

Firman, Rosemary (2004). "Bennett, Sir William Sterndale (1816–1875)".

1375: 1345: 1069: 1064:

Robert Sterndale Bennett (1880–1963), a grandson, director of music at

821: 500: 451:

to Bennett, who reciprocated the dedication a few weeks later with his

410: 398: 382:. Bennett's visit was enabled by a subsidy by the piano-making firm of 63: 3760: 3728: 3467: 3443: 3407: 3306: 3272: 3170: 258:, however, called his performance "in every way a blot on the piece". 4420: 3034:, Grove Music Online, Oxford University Press, accessed 5 March 2015 2527: 1389: 787: 496: 345:

was "the best thing that has been played at the Society's concerts".

324: 292:

has begun, must in a few years place him very high in his profession.

3702: 3419: 3381: 892:

In 1858 came yet another clash involving Costa, when the autocratic

3752: 3435: 3399: 3298: 3162: 1477:

and hailing the G minor symphony (Op. 43), but tempered his praise:

3947: 3098: 1411: 1367: 1189: 1170: 1139: 1112: 913: 879:. He modernised the system of awarding music degrees, instituting 803: 693: 540: 532: 524: 360: 352: 162:, the third child and only son of Robert Bennett, the organist of 137: 129: 38: 3569:

Europe, Empire, and Spectacle in Nineteenth-Century British Music

1350:

with Otto Goldschmidt (1863), based on German hymns collected by

4376: 1627:

Although named 'Royal Academy' from the outset, it received its

1374:

markings were shown in parentheses for distinction. He provided

4112: 3973: 3956:, celebrating Bennett's bicentenary, includes details of events 3737:

Temperley, Nicholas (1989a). "Schumann and Sterndale Bennett".

3693:. Vol. 4. London: Smith, Elder & Co. pp. 247–251. 4108: 3283:

Bush, Geoffrey (1986). "Sterndale Bennett and the Orchestra".

1260:, Op. 21 no. 7 (1838), and parallels between Bennett's Op. 12 1274:

capable of organic growth, and even of structural surprise."

242:). This was among the few failures of his career at the RAM. 171:

Thus orphaned at the age of three, Bennett was brought up in

3216:. Helen Johnston (trans). London: Lamborne Cock, Hutchings. 3589:(1980). "London, §7, 4 (v): Royal College of Music (RCM)". 1473:

two centuries earlier, echoing Schumann's sentiments about

1339:

Bennett edited some of the keyboard works of Beethoven and

1202:

Bennett's performances were eulogized by, amongst others,

999:

Bennett died, aged 58, on 1 February 1875 at his house in

300:, who was sufficiently impressed to invite Bennett to the 236:

role of the page boy Cherubino (usually played by a woman

43:

William Sterndale Bennett – engraving after a portrait by

1460:

in Bennett's music led to polite but sardonic responses.

1354:. He supervised the first British printed edition of the 3950:(From the Sibley Music Library Digital Score Collection) 2259: 2257: 3775:. Bloomington, Indianapolis: Indiana University Press. 2940:"Music: Curious Contrasts -- Progress and Conservatism" 1771: 1769: 409:

overture. During this visit he also arranged the first

357:

Felix Mendelssohn (detail) by James Warren Childe, 1839

2820: 2818: 706:

In 1849, Bennett became the founding president of the

6546: 3595:. Vol. 11. London: Macmillan. pp. 213–214. 2899:

Bennett (1907), p. 154. (letter of 17 December 1843).

1456:. Davison's attempts to interest the French composer 311:

In 1834, Bennett was appointed organist of St Ann's,

109:

in 1871. He died in London in 1875 and was buried in

6666:

Choristers of the Choir of King's College, Cambridge

3851:

Sterndale Bennett – A Descriptive Thematic Catalogue

3792:

Lectures on Musical Life – William Sterndale Bennett

3420:"William Sterndale Bennett (1816–1875), Part 2 of 3" 3382:"William Sterndale Bennett (1816–1875), Part 1 of 3" 3212:

Bach, J S (1862). Bennett, William Sterndale (ed.).

3181:

Bach, J S (n.d.). Bennett, William Sterndale (ed.).

1944: 1942: 1635:

page on the RAM website (accessed 23 December 2015).

1291:

later popular, and more superficial, pieces such as

1084:(1884–1982), a grandson, a Canadian theatre director 6410: 6302: 6049: 5871: 5816: 5785: 5709: 5658: 5607: 5566: 5475: 5419: 5383: 5337: 5328: 5173: 5117: 5066: 5025: 4984: 4938: 4880: 4750: 4629: 4551: 4470: 4461: 4347: 4215: 4146: 3610:Schumann, Clara (2013) . Litzmann, Berthold (ed.). 3251:(1965). "Sterndale Bennett: The Solo Piano Works". 3101:, on Olivia Sham website, accessed 11 January 2016. 2470:

Bennett (1907), p. 398; Wright (2005), pp. 238–239.

1048:in memory of Bennett composed by his old associate 3809:Temperley, Nicholas; Williamson, Rosemary (n.d.). 3635:Schumann in music – a Selection from the Writings 3633:Schumann, Robert (1988). Pleasants, Henry (ed.). 3571:. Aldershot: Ashgate Publishing. pp. 29–44. 1218:Mendelssohn, bypassing Chopin, Wagner, Verdi and 1109:List of compositions by William Sterndale Bennett 1090:(born 1985), a great-great-grandson, a musician ( 609:baton, gave the London premiere of Mendelssohn's 491: ... will do something to improve our taste. 417:comments). At this time Bennett wrote to Davison: 232:in 1830, Bennett, aged fourteen, was cast in the 198:colleges. The young Bennett entered the choir of 2509:, Royal Academy of Music. Accessed 5 March 2015. 461:, praising amongst other works Bennett's Op. 10 3592:The New Grove Dictionary of Music and Musicians 2326:Bennett (1907), p. 454; Ehrlich (1995), p. 105. 1479: 1434: 1164: 636:, which included chamber music and concerti by 1862: 1860: 4124: 3985: 3132:, BBC Radio 3 website, accessed 30 July 2017. 1078:(1914–1996) was a well-known West End actress 1015:quartet, "God is a Spirit", from his cantata 910:Principal of Royal Academy of Music (1866–75) 728:on 6 April 1854. Further performances of the 433:, a musical editor, who expected to see me a 8: 3548:The Philharmonic Society of London 1813–1912 3522:(online ed.). Oxford University Press. 3253:Proceedings of the Royal Musical Association 2743:Temperley (2006), pp. 45–57, and p. 57 n. 1. 856:of 1867; and finally a second Piano Sonata ( 529:Mary Anne Wood, whom Bennett married in 1844 30:For other people named William Bennett, see 2850: 2848: 2164: 2162: 1874: 1872: 1669:at a Philharmonic Society concert in 1864. 1400:Bennett lectured both at Cambridge and the 349:Germany: Mendelssohn and Schumann (1836–42) 142:Bennett in the uniform of a student of the 77:. Among his pupils during this period were 6731:Royal Philharmonic Society Gold Medallists 5334: 4467: 4131: 4117: 4109: 3992: 3978: 3970: 1661:, his father frequently played Schumann's 1452:solicited his support for the Netherlands 1254:(1837) (in effect a sonata) on Schumann's 1142:fire and agony, as the Thames is from the 3942:International Music Score Library Project 3618:. Cambridge: Cambridge University Press. 3346:. Cambridge: Cambridge University Press. 3235:. Cambridge: Cambridge University Press. 2528:"Sir William Sterndale Bennett 1816–1875" 2367: 2365: 2363: 2346:Journal of the Royal College of Organists 1286:assessed his later work as follows: "hen 842:Installation Ode for Cambridge University 275:, where Bennett played in April 1833 for 6726:Principals of the Royal Academy of Music 3960:Free scores by William Sterndale Bennett 3938:Free scores by William Sterndale Bennett 3871:Journal of the Royal Musical Association 3500:Sir Arthur Sullivan – His Life and Music 2946:. New York. 10 September 1875. p. 4 2649:", songfacts.com. Accessed 19 July 2023. 1019:, was sung to accompany the obsequies. 808:John Fane, 11th Earl of Westmorland, by 710:in London, whose early members included 6631:Academics of the Royal Academy of Music 6601:19th-century British classical pianists 6553: 3519:Oxford Dictionary of National Biography 2907: 2905: 2242:CD CDA67595). Accessed 12 January 2016. 2143: 2141: 1841: 1839: 1750: 1748: 1746: 1744: 1742: 1740: 1738: 1736: 1734: 1685: 1607: 1495:, in a 1975 lecture, rated Bennett as " 1117:Extract from manuscript of overture to 832:in 1858; an Ode (Op. 40) with words by 796:in the 1856 season, which, by engaging 6641:Alumni of St John's College, Cambridge 3830: 3703:"William Sterndale Bennett: 1816–1875" 3550:. London: John Lane, The Bodley Head. 3196: 3073:Williamson (1996), introduction, p. x. 2999:W. B. Henshaw (2003). "Stephen Kemp". 2236:"Bennett & Bache: Piano Concertos" 1711: 6478:Romanticism and the French Revolution 3232:The Life of William Sterndale Bennett 2530:, Open Plaques. Accessed 15 May 2012. 1707: 1705: 1703: 1701: 1699: 1697: 1695: 1693: 1691: 1689: 1463:In the United States, meanwhile, the 66:. There Bennett became friendly with 7: 6646:Alumni of the Royal Academy of Music 3655:(1928). Middleton, Jessie A. (ed.). 3002:Biographical Dictionary of the Organ 2076:"Composer Profile: Alice Mary Smith" 662:and Clara Schumann, and the cellist 3324:. Oxford: Oxford University Press. 3064:Cited in Parrott (2008), pp. 31–32. 2806:Hadow, Henry. "Sterndale Bennett", 2623:"Sterndale Bennett, Ernest Gaskill" 2607:"Joan Sterndale Bennett – Obituary" 2225:, Vol. 212, Spring 2016, pp. 12–15. 854:Birmingham Triennial Music Festival 6626:19th-century British musicologists 3771:Temperley, Nicholas, ed. (1989b). 3680:"Bennett, William Sterndale" 3418:Edwards, Frederic George (1903b). 3380:Edwards, Frederic George (1903a). 3089:website, accessed 12 January 2016. 2971:website, accessed 11 January 2016. 2011:Cited in Temperley (1989b), p. 12. 1454:Society for Encouragement of Music 812:, c. 1855 (Royal Academy of Music) 698:Michael Costa – photograph c. 1855 265:1), a symphony and an overture to 25: 3819:. Oxford: Oxford University Press 3790:Temperley, Nicholas, ed. (2006). 3183:Forty Eight Preludes & Fugues 868:, between works by Meyerbeer and 828:, Op. 39, for the opening of the 774:was in Milan, Wagner in Dresden, 6696:English male classical composers 6611:19th-century classical composers 6568: 6556: 6531: 6530: 3811:"Bennett, Sir William Sterndale" 3690:Dictionary of National Biography 3637:. New York: Dover Publications. 3111:"Sterndale Bennett Performances" 3099:"William Sterndale Bennett 2016" 178:John Bennett was a professional 32:William Bennett (disambiguation) 6716:British male classical pianists 6691:British male conductors (music) 6636:Professors of Music (Cambridge) 6616:19th-century conductors (music) 3229:Bennett, J R Sterndale (1907). 3117:website, accessed 30 July 2017. 2854:Bach (1862), " Preface" (p.(i)) 2797:Temperley (1989a), pp. 216–218. 1754:Temperley and Williamson (n.d.) 624:In May 1848, on the opening of 521:Teacher and conductor (1842–49) 365:Robert Schumann, lithograph by 134:Sheffield Parish Church in 1819 6621:19th-century English musicians 6606:19th-century British composers 3948:Selected pieces for pianoforte 1957:Williamson (1996), pp. 30, 61. 1916:"Society of British Musicians" 1829:"The Royal Academy of Music", 329:Philharmonic Society of London 1: 6671:Composers awarded knighthoods 6501:Wanderer above the Sea of Fog 4031:Sir William Sterndale Bennett 3849:Williamson, Rosemary (1996). 3794:. Woodbridge: Boydell Press. 2809:The Times Literary Supplement 2703:Stanford (1916), pp. 632–633. 2627:Canadian Theatre Encyclopedia 2389:Bennett (1907), pp. 350, 354. 1993:Schumann (1988), pp. 116–118. 1264:(1836) and Schumann's Op. 18 838:1862 International Exhibition 248:wryly commented, "of the page 52:Sir William Sterndale Bennett 6661:Burials at Westminster Abbey 3964:Choral Public Domain Library 3747:(3 (Spring 1989)): 207–220. 3536:UK public library membership 3185:. Lamborne Cock, Hutchings. 2721:Bennett (1907), pp. 342–343. 2593:"Mr. R. Sterndale Bennett", 2539:Bennett (1907), pp. 446–447. 2479:Bennett (1907), pp. 399–405. 2452:Bennett (1907), pp. 419–422. 2434:Bennett (1907), pp. 386–389. 2416:Bennett (1907), pp. 372–375. 2407:Bennett (1907), pp. 369–370. 2357:Bennett (1907), pp. 326–329. 2335:Bennett (1907), pp. 314–317. 2251:Bennett (1907), pp. 224–225. 2177:Bennett (1907), pp. 189–192. 2156:Bennett (1907), pp. 209–214. 2109:"The Philharmonic Society", 2038:Bennett (1907), pp. 148–150. 1927:, accessed 21 December 2015. 1162:W. B. Squire wrote in 1885: 1040:, for which the soloist was 749:Leipzig Gewandhaus Orchestra 690:Music professional (1849–66) 333:Society of British Musicians 302:Lower Rhenish Music Festival 27:British composer (1816–1875) 3853:. Oxford: Clarendon Press. 3482:. Oxford: Clarendon Press. 2929:Davison (1912), pp. 305–10. 2557:Foster (1913), pp. 347–349. 2213:Parrott (2006), pp. 34, 36. 1618:surname by his descendants. 1305:suggests that the cantatas 1130:Stanford wrote of Bennett: 940:Chancellor of the Exchequer 6747: 6701:English Romantic composers 6686:English conductors (music) 6681:English classical pianists 6418:Coleridge's theory of life 3915:A History of British Music 3699:Stanford, Charles Villiers 3127:"William Sterndale Bennett 3083:"WSB – Select Discography" 2281:Temperley (1989a, p. 210.) 2234:French, Elizabeth (2007), 2204:Parrott (2006), pp. 34–35. 2195:Young (1967), pp. 452–453. 2020:Temperley (1989a), p. 208. 2002:Temperley (1989a), p. 214. 1984:Temperley (1989a, p. 209.) 1975:Davison (1912), pp. 25–26. 1866:Bennett (1907), pp. 28–29. 1854:Bennett (1907), pp. 27–28. 1820:Davison (1912), pp. 24–25. 1106: 1050:George Alexander Macfarren 585:'s pupil, the 13-year-old 503:and Berlin, he played his 458:Neue Zeitschrift für Musik 166:, and his wife Elizabeth, 29: 6510: 6473:Romanticism and economics 4488:Manuel Antônio de Almeida 4008: 2989:Sheppard (1928), p. viii. 2863:Parrott (2008), pp. 36–37 2730:"Philharmonic Concerts", 2507:"Sterndale Bennett Prize" 1887:Bennett (1907), pp. 35-37 1833:, 12 December 1830, p. 2. 1722:"Sir Sterndale Bennett", 1448:, and the Dutch composer 1385:The Well-Tempered Clavier 679:Charles Villiers Stanford 384:John Broadwood & Sons 6721:Musicians from Sheffield 4253:German historical school 4097:Jonathan Freeman-Attwood 3046:Caldwell (1999), p. 225. 2842:Caldwell (1999), p. 220. 2833:Caldwell (1999), p. 219. 2812:, 9 January 1908, p. 13. 2788:Caldwell (1999), p. 235. 2779:Temperley (2006), p. 77. 2770:Temperley (2006), p. 73. 2761:Temperley (2006), p. 72. 2685:Temperley (2006), p. 22. 2676:Stanford (1916), p. 631. 2629:. Accessed 15 May 2012. 2548:Edwards (1903c), p. 525. 2425:Stanford (1916), p. 656. 2398:Stanford (1916), p. 655. 2272:Stanford (1916), p. 647. 2263:Edwards (1903b), p. 381. 2168:Stanford (1916), p. 641. 2147:Edwards (1903b), p. 380. 2122:"Philharmonic Society", 2080:British Music Collection 1775:Edwards (1903a), p. 306. 1728:, 2 February 1875, p. 9. 1441:from beginning to end!" 1082:Ernest Sterndale Bennett 901:illness. His biographer 6656:British music educators 4900:Józef Ignacy Kraszewski 4043:Sir Alexander Mackenzie 3917:. London: Ernest Benn. 3905:(subscription required) 3844:(subscription required) 3766:(subscription required) 3675:Squire, William Barclay 3478:Ehrlich, Cyril (1995). 3473:(subscription required) 3449:(subscription required) 3413:(subscription required) 3361:Davison, Henry (1912). 3312:(subscription required) 3278:(subscription required) 3176:(subscription required) 3036:(subscription required) 3032:"Bache, Francis Edward" 3008:(subscription required) 2980:Temperley (2006), p. 3. 2920:Bennett (1907), p. 235. 2566:Bennett (1907), p. 156. 2518:Bennett (1907), p. 415. 2497:Bennett (1907), p. 418. 2488:Bennett (1907), p. 384. 2443:Rainbow (1980), p. 213. 2380:Bennett (1907), p. 320. 2299:Ehrlich (1995), p. 102. 2135:Bennett (1907), p. 168. 2100:Bennett (1907), p. 162. 1925:(subscription required) 1845:Edwards (1903a) p. 307. 1512:Elizabeth Sara Sheppard 1501:Samuel Sebastian Wesley 877:University of Cambridge 844:(Op. 41) with words by 836:for the opening of the 626:Queen's College, London 555:University of Edinburgh 445:Schumann dedicated his 164:Sheffield parish church 103:University of Cambridge 75:Queen's College, London 6483:Romanticism in science 6438:Middle Ages in history 6433:List of Romantic poets 5145:Josiah Gilbert Holland 4002:Royal Academy of Music 3661:. London: J. M. Dent. 3367:. London: Wm. Reeves. 3055:Parrott (2008), p. 38. 3030:, Temperley Nicholas. 3028:" Cusins, Sir William" 2911:Bennett (1907), p. 86. 2872:Conway (2012), p. 190. 2752:Conway (2012), p. 102. 2597:, 31 August 1963, p. 8 2575:Foster (1913), p. 352. 2348:, Vol 10 (2016) p. 51. 2317:Ehrlich (1995), p. 97. 2308:Ehrlich (1995), p. 95. 2290:Ehrlich (1995), p. 94. 2047:Squire (1885), p. 248. 1936:Davison (1912), p. 24. 1905:Davison (1912), p. 21. 1896:Bennett (1907), p. 38. 1811:Bennett (1907), p. 27. 1802:Bennett (1907), p. 21. 1793:Bennett (1907), p. 15. 1784:Bennett (1907), p. 14. 1646:Royal College of Music 1631:only in 1830. See the 1484: 1446:Société Philharmonique 1438: 1417: 1206:, Clara Schumann, and 1198: 1179: 1169: 1160: 1122: 1076:Joan Sterndale-Bennett 919: 813: 699: 550: 538: 530: 518: 493: 442: 370: 358: 294: 287:wrote of this concert: 229:The Marriage of Figaro 204:Royal Academy of Music 151: 144:Royal Academy of Music 135: 56:Royal Academy of Music 48: 6453:Romantic epistemology 6443:Opium and Romanticism 5012:Stojadinović-Srpkinja 4238:Counter-Enlightenment 4061:Sir Reginald Thatcher 3708:The Musical Quarterly 3528:10.1093/ref:odnb/2131 3214:Grosse Passions-Musik 2824:Young (1967), p. 451. 2734:, 31 May 1864, p. 14. 2186:Young (1967), p. 446. 2126:, 11 June 1844, p. 5. 1966:Young (1967), p. 448. 1878:Young (1967), p. 447. 1763:Bennett (1907), p. 6. 1659:Paradise and the Peri 1505:Michael William Balfe 1415: 1335:Editions and writings 1196: 1177: 1132: 1116: 955:Royal Society of Arts 917: 834:Alfred, Lord Tennyson 807: 793:Paradise and the Peri 737:1851 Great Exhibition 697: 643:An die ferne Geliebte 638:Johann Sebastian Bach 544: 537:Bennett aged about 35 536: 528: 513: 477: 439:large black whiskers. 419: 364: 356: 289: 200:King's College Chapel 141: 133: 62:, who invited him to 42: 6517:Age of Enlightenment 4159:England (literature) 4067:Sir Thomas Armstrong 4055:Sir Stanley Marchant 4037:Sir George Macfarren 3837:: CS1 maint: year ( 3544:Foster, Myles Birket 3503:. London: J Nisbot. 3497:Findon, B W (1904). 3265:10.1093/jrma/91.1.85 3203:: CS1 maint: year ( 2944:The New York Tribune 2712:Findon (1904), p. 19 2113:, 13 June 1842, p. 5 1948:Bush (1986), p. 324. 1597:Notes and references 1546:Francis Edward Bache 1428:. The London critic 1315:The Woman of Samaria 1311:The Woman of Samaria 1034:The Woman of Samaria 1017:The Woman of Samaria 918:Bennett in the 1860s 850:The Woman of Samaria 634:Hanover Square Rooms 630:Preludes and Lessons 579:Alexander Dreyschock 575:Ludwig van Beethoven 429: ... and a Mr. 296:In the audience was 154:Bennett was born in 91:Philharmonic Society 45:John Everett Millais 6676:Composers for piano 6468:Romantic psychology 4263:Hudson River School 4207:Sweden (literature) 4192:Russia (literature) 3884:10.1093/jrma/fki012 3721:10.1093/mq/ii.4.628 3653:Sheppard, Elizabeth 3616:Grace Eleanor Hadow 3026:, Mackerness, E D. 3020:"Parry, Sir Hubert" 2694:Bush (1965), p. 89. 2667:, 28 January 2016. 2664:The Daily Telegraph 2344:Kent, Christopher. 2056:Bush (1965), p. 88. 1921:Oxford Music Online 1562:St. Matthew Passion 1364:Adolf Bernhard Marx 1352:Catherine Winkworth 1228:music of the future 1032:, and the complete 894:Earl of Westmorland 858:The Maid of Orleans 767:Italian Opera House 148:James Warren Childe 6711:Oratorio composers 4453:White Mountain art 4394:Historical fiction 4202:Spain (literature) 4000:Principals of the 3816:Grove Music Online 3740:19th-Century Music 3480:First Philharmonic 2223:The Norwood Review 1665:and conducted his 1418: 1356:St Matthew Passion 1343:and co-edited the 1234:Early compositions 1199: 1180: 1123: 920: 814: 725:St Matthew Passion 700: 668:Domenico Scarlatti 551: 539: 531: 509:Nicholas Temperley 371: 359: 152: 136: 49: 6544: 6543: 6458:Romantic medicine 6428:List of romantics 5867: 5866: 5518:Felix Mendelssohn 5513:Fanny Mendelssohn 5324: 5323: 5038:Rosalía de Castro 4976:Soares dos Passos 4324:Transcendentalism 4288:Nazarene movement 4248:Düsseldorf School 4106: 4105: 4079:Sir David Lumsden 4073:Sir Anthony Lewis 3860:978-0-19-816438-8 3833:cite encyclopedia 3801:978-1-84383-272-0 3658:Charles Auchester 3644:978-0-486-25748-8 3625:978-1-108-06415-6 3578:978-0-7546-5208-3 3534:(Subscription or 3456:The Musical Times 3424:The Musical Times 3387:The Musical Times 3353:978-1-107-01538-8 3293:(1719): 322–324. 3286:The Musical Times 3150:The Musical Times 3115:David Owen Norris 3087:David Owen Norris 3024:"Matthay, Tobias" 2969:David Owen Norris 2065:Schumann, p. 132. 1663:Symphonic Studies 1517:Charles Auchester 1450:Johannes Verhulst 1224:Gioachino Rossini 1194: 1175: 1009:Westminster Abbey 963:Royal Albert Hall 887:Bachelor of Music 672:Fanny Mendelssohn 448:Symphonic Studies 298:Felix Mendelssohn 218:, and then under 186:in the choirs of 111:Westminster Abbey 60:Felix Mendelssohn 18:Sterndale Bennett 16:(Redirected from 6738: 6706:Knights Bachelor 6573: 6572: 6571: 6561: 6560: 6559: 6552: 6534: 6533: 6493:Evolution theory 5335: 4468: 4329:Ukrainian school 4133: 4126: 4119: 4110: 4091:Sir Curtis Price 3994: 3987: 3980: 3971: 3926: 3906: 3903: 3864: 3845: 3842: 3836: 3828: 3826: 3824: 3805: 3786: 3767: 3764: 3732: 3694: 3682: 3670: 3648: 3629: 3614:. Translated by 3606: 3587:Rainbow, Bernarr 3582: 3559: 3539: 3531: 3512: 3493: 3474: 3471: 3462:(726): 923–927. 3450: 3447: 3430:(724): 379–381. 3414: 3411: 3394:(723): 306–309. 3376: 3357: 3335: 3313: 3310: 3279: 3276: 3244: 3225: 3208: 3202: 3194: 3177: 3174: 3134: 3124: 3118: 3108: 3102: 3096: 3090: 3080: 3074: 3071: 3065: 3062: 3056: 3053: 3047: 3044: 3038: 3037: 3022:, Dawes, Frank. 3018:Dibble, Jeremy. 3016: 3010: 3009: 3006: 2996: 2990: 2987: 2981: 2978: 2972: 2962: 2956: 2955: 2953: 2951: 2936: 2930: 2927: 2921: 2918: 2912: 2909: 2900: 2897: 2891: 2890:Temperley (2006) 2888: 2882: 2879: 2873: 2870: 2864: 2861: 2855: 2852: 2843: 2840: 2834: 2831: 2825: 2822: 2813: 2804: 2798: 2795: 2789: 2786: 2780: 2777: 2771: 2768: 2762: 2759: 2753: 2750: 2744: 2741: 2735: 2728: 2722: 2719: 2713: 2710: 2704: 2701: 2695: 2692: 2686: 2683: 2677: 2674: 2668: 2656: 2650: 2636: 2630: 2620: 2614: 2613:, 30 April 1996. 2604: 2598: 2591: 2585: 2582: 2576: 2573: 2567: 2564: 2558: 2555: 2549: 2546: 2540: 2537: 2531: 2525: 2519: 2516: 2510: 2504: 2498: 2495: 2489: 2486: 2480: 2477: 2471: 2468: 2462: 2459: 2453: 2450: 2444: 2441: 2435: 2432: 2426: 2423: 2417: 2414: 2408: 2405: 2399: 2396: 2390: 2387: 2381: 2378: 2372: 2369: 2358: 2355: 2349: 2342: 2336: 2333: 2327: 2324: 2318: 2315: 2309: 2306: 2300: 2297: 2291: 2288: 2282: 2279: 2273: 2270: 2264: 2261: 2252: 2249: 2243: 2240:Hyperion Records 2238:(liner notes to 2232: 2226: 2220: 2214: 2211: 2205: 2202: 2196: 2193: 2187: 2184: 2178: 2175: 2169: 2166: 2157: 2154: 2148: 2145: 2136: 2133: 2127: 2120: 2114: 2107: 2101: 2098: 2092: 2091: 2089: 2087: 2072: 2066: 2063: 2057: 2054: 2048: 2045: 2039: 2036: 2030: 2027: 2021: 2018: 2012: 2009: 2003: 2000: 1994: 1991: 1985: 1982: 1976: 1973: 1967: 1964: 1958: 1955: 1949: 1946: 1937: 1934: 1928: 1926: 1912: 1906: 1903: 1897: 1894: 1888: 1885: 1879: 1876: 1867: 1864: 1855: 1852: 1846: 1843: 1834: 1827: 1821: 1818: 1812: 1809: 1803: 1800: 1794: 1791: 1785: 1782: 1776: 1773: 1764: 1761: 1755: 1752: 1729: 1720: 1714: 1709: 1674: 1655: 1649: 1642: 1636: 1625: 1619: 1616:double-barrelled 1612: 1569:Bodleian Library 1526:Alice Mary Smith 1466:New York Tribune 1402:London Institute 1394:Acis and Galatea 1360:full vocal score 1348:Book for England 1249: 1208:Ferdinand Hiller 1195: 1176: 994:English Heritage 928:Otto Goldschmidt 846:Charles Kingsley 745:Arabella Goddard 716:John Pyke Hullah 712:Sir George Smart 648:Henri Vieuxtemps 640:and Beethoven's 603:Alice Mary Smith 463:Musical Sketches 251: 182:, who sang as a 21: 6746: 6745: 6741: 6740: 6739: 6737: 6736: 6735: 6581: 6580: 6579: 6575:Classical music 6569: 6567: 6557: 6555: 6547: 6545: 6540: 6539: 6528: 6520: 6506: 6463:Romantic poetry 6448:Romantic ballet 6423:German idealism 6406: 6372:Lacoue-Labarthe 6298: 6045: 5863: 5812: 5781: 5762:Rimsky-Korsakov 5705: 5654: 5603: 5562: 5471: 5415: 5379: 5320: 5169: 5113: 5062: 5021: 4980: 4934: 4876: 4817:Maria Edgeworth 4753: 4746: 4625: 4547: 4457: 4436:Romantic genius 4366:Gesamtkunstwerk 4343: 4304:Sturm und Drang 4211: 4142: 4137: 4107: 4102: 4049:Sir John McEwen 4019:Cipriani Potter 4004: 3998: 3934: 3929: 3911:Young, Percy M. 3909: 3904: 3867: 3861: 3848: 3843: 3829: 3822: 3820: 3808: 3802: 3789: 3783: 3770: 3765: 3736: 3697: 3685:Stephen, Leslie 3673: 3651: 3645: 3632: 3626: 3609: 3603: 3585: 3579: 3562: 3542: 3533: 3515: 3496: 3490: 3477: 3472: 3453: 3448: 3417: 3412: 3379: 3360: 3354: 3338: 3332: 3316: 3311: 3282: 3277: 3247: 3228: 3211: 3195: 3180: 3175: 3146: 3142: 3137: 3125: 3121: 3109: 3105: 3097: 3093: 3081: 3077: 3072: 3068: 3063: 3059: 3054: 3050: 3045: 3041: 3035: 3017: 3013: 3007: 3005:. Bardon Music. 2998: 2997: 2993: 2988: 2984: 2979: 2975: 2963: 2959: 2949: 2947: 2938: 2937: 2933: 2928: 2924: 2919: 2915: 2910: 2903: 2898: 2894: 2889: 2885: 2880: 2876: 2871: 2867: 2862: 2858: 2853: 2846: 2841: 2837: 2832: 2828: 2823: 2816: 2805: 2801: 2796: 2792: 2787: 2783: 2778: 2774: 2769: 2765: 2760: 2756: 2751: 2747: 2742: 2738: 2729: 2725: 2720: 2716: 2711: 2707: 2702: 2698: 2693: 2689: 2684: 2680: 2675: 2671: 2657: 2653: 2643:Charlie Simpson 2637: 2633: 2621: 2617: 2605: 2601: 2592: 2588: 2583: 2579: 2574: 2570: 2565: 2561: 2556: 2552: 2547: 2543: 2538: 2534: 2526: 2522: 2517: 2513: 2505: 2501: 2496: 2492: 2487: 2483: 2478: 2474: 2469: 2465: 2460: 2456: 2451: 2447: 2442: 2438: 2433: 2429: 2424: 2420: 2415: 2411: 2406: 2402: 2397: 2393: 2388: 2384: 2379: 2375: 2370: 2361: 2356: 2352: 2343: 2339: 2334: 2330: 2325: 2321: 2316: 2312: 2307: 2303: 2298: 2294: 2289: 2285: 2280: 2276: 2271: 2267: 2262: 2255: 2250: 2246: 2233: 2229: 2221: 2217: 2212: 2208: 2203: 2199: 2194: 2190: 2185: 2181: 2176: 2172: 2167: 2160: 2155: 2151: 2146: 2139: 2134: 2130: 2121: 2117: 2108: 2104: 2099: 2095: 2085: 2083: 2082:. 30 March 2018 2074: 2073: 2069: 2064: 2060: 2055: 2051: 2046: 2042: 2037: 2033: 2028: 2024: 2019: 2015: 2010: 2006: 2001: 1997: 1992: 1988: 1983: 1979: 1974: 1970: 1965: 1961: 1956: 1952: 1947: 1940: 1935: 1931: 1924: 1913: 1909: 1904: 1900: 1895: 1891: 1886: 1882: 1877: 1870: 1865: 1858: 1853: 1849: 1844: 1837: 1828: 1824: 1819: 1815: 1810: 1806: 1801: 1797: 1792: 1788: 1783: 1779: 1774: 1767: 1762: 1758: 1753: 1732: 1721: 1717: 1710: 1687: 1678: 1677: 1667:Second Symphony 1656: 1652: 1643: 1639: 1626: 1622: 1613: 1609: 1599: 1582: 1489: 1475:The Wood Nymphs 1426:The Wood Nymphs 1410: 1337: 1280: 1247: 1236: 1215:Arthur Sullivan 1190: 1171: 1150:rather than of 1128: 1111: 1105: 1088:Charlie Simpson 1058: 1038:Violin Concerto 990:St James's Hall 912: 866:Prosper Sainton 830:Leeds Town Hall 782:in Vienna, and 720:William Horsley 692: 660:Ignaz Moscheles 654:, the pianists 583:Frédéric Chopin 523: 367:Josef Kriehuber 351: 277:King William IV 249: 220:Cipriani Potter 128: 123: 79:Arthur Sullivan 68:Robert Schumann 35: 28: 23: 22: 15: 12: 11: 5: 6744: 6742: 6734: 6733: 6728: 6723: 6718: 6713: 6708: 6703: 6698: 6693: 6688: 6683: 6678: 6673: 6668: 6663: 6658: 6653: 6651:Bach musicians 6648: 6643: 6638: 6633: 6628: 6623: 6618: 6613: 6608: 6603: 6598: 6593: 6583: 6582: 6578: 6577: 6565: 6542: 6541: 6521: 6513: 6512: 6511: 6508: 6507: 6505: 6504: 6497: 6496: 6495: 6490: 6480: 6475: 6470: 6465: 6460: 6455: 6450: 6445: 6440: 6435: 6430: 6425: 6420: 6414: 6412: 6411:Related topics 6408: 6407: 6405: 6404: 6399: 6394: 6389: 6384: 6379: 6374: 6369: 6364: 6359: 6354: 6349: 6344: 6339: 6334: 6329: 6324: 6319: 6314: 6308: 6306: 6300: 6299: 6297: 6296: 6291: 6286: 6281: 6276: 6271: 6266: 6261: 6256: 6251: 6246: 6241: 6236: 6231: 6226: 6221: 6216: 6211: 6206: 6201: 6196: 6191: 6186: 6181: 6176: 6171: 6166: 6161: 6156: 6151: 6146: 6141: 6139:Gallen-Kallela 6136: 6131: 6126: 6121: 6116: 6114:David d'Angers 6111: 6106: 6101: 6096: 6091: 6086: 6081: 6076: 6071: 6066: 6061: 6055: 6053: 6051:Visual artists 6047: 6046: 6044: 6043: 6038: 6033: 6028: 6023: 6018: 6013: 6011:Schleiermacher 6008: 6003: 5998: 5993: 5988: 5983: 5978: 5973: 5968: 5963: 5958: 5953: 5948: 5943: 5938: 5933: 5928: 5923: 5918: 5913: 5908: 5903: 5898: 5893: 5888: 5883: 5877: 5875: 5869: 5868: 5865: 5864: 5862: 5861: 5856: 5851: 5846: 5841: 5836: 5831: 5826: 5820: 5818: 5814: 5813: 5811: 5810: 5805: 5800: 5795: 5789: 5787: 5783: 5782: 5780: 5779: 5774: 5769: 5764: 5759: 5754: 5749: 5744: 5739: 5734: 5729: 5724: 5719: 5713: 5711: 5707: 5706: 5704: 5703: 5698: 5693: 5688: 5683: 5678: 5673: 5668: 5662: 5660: 5656: 5655: 5653: 5652: 5647: 5642: 5637: 5632: 5627: 5622: 5617: 5611: 5609: 5605: 5604: 5602: 5601: 5596: 5591: 5586: 5581: 5576: 5570: 5568: 5564: 5563: 5561: 5560: 5555: 5550: 5545: 5540: 5535: 5530: 5525: 5520: 5515: 5510: 5505: 5500: 5495: 5490: 5485: 5479: 5477: 5473: 5472: 5470: 5469: 5464: 5459: 5454: 5449: 5444: 5439: 5434: 5429: 5423: 5421: 5417: 5416: 5414: 5413: 5408: 5403: 5398: 5393: 5387: 5385: 5381: 5380: 5378: 5377: 5372: 5367: 5362: 5357: 5352: 5347: 5341: 5339: 5332: 5326: 5325: 5322: 5321: 5319: 5318: 5313: 5308: 5303: 5298: 5293: 5288: 5283: 5278: 5276:Oehlenschläger 5273: 5268: 5263: 5258: 5253: 5248: 5243: 5238: 5233: 5228: 5223: 5218: 5213: 5208: 5203: 5198: 5193: 5188: 5183: 5177: 5175: 5171: 5170: 5168: 5167: 5162: 5157: 5152: 5147: 5142: 5137: 5132: 5127: 5121: 5119: 5115: 5114: 5112: 5111: 5106: 5101: 5096: 5091: 5086: 5081: 5076: 5070: 5068: 5064: 5063: 5061: 5060: 5055: 5050: 5045: 5040: 5035: 5029: 5027: 5023: 5022: 5020: 5019: 5014: 5009: 5004: 4999: 4994: 4988: 4986: 4982: 4981: 4979: 4978: 4973: 4968: 4963: 4958: 4953: 4948: 4946:Castelo Branco 4942: 4940: 4936: 4935: 4933: 4932: 4927: 4922: 4917: 4912: 4907: 4902: 4897: 4892: 4886: 4884: 4878: 4877: 4875: 4874: 4869: 4864: 4859: 4854: 4849: 4844: 4839: 4834: 4829: 4824: 4819: 4814: 4809: 4804: 4799: 4794: 4789: 4784: 4779: 4774: 4769: 4764: 4758: 4756: 4748: 4747: 4745: 4744: 4739: 4734: 4729: 4724: 4719: 4714: 4709: 4704: 4699: 4694: 4689: 4684: 4679: 4674: 4672:Brothers Grimm 4669: 4664: 4659: 4654: 4649: 4644: 4639: 4633: 4631: 4627: 4626: 4624: 4623: 4618: 4613: 4608: 4603: 4598: 4593: 4588: 4583: 4578: 4573: 4568: 4563: 4557: 4555: 4549: 4548: 4546: 4545: 4540: 4535: 4530: 4525: 4520: 4515: 4510: 4505: 4500: 4495: 4490: 4485: 4480: 4474: 4472: 4465: 4459: 4458: 4456: 4455: 4450: 4443: 4438: 4433: 4428: 4423: 4418: 4413: 4408: 4403: 4396: 4391: 4390: 4389: 4384: 4374: 4372:Gothic fiction 4369: 4362: 4360:British Marine 4357: 4351: 4349: 4345: 4344: 4342: 4341: 4336: 4331: 4326: 4321: 4314: 4309: 4308: 4307: 4295: 4290: 4285: 4280: 4275: 4270: 4265: 4260: 4258:Gothic revival 4255: 4250: 4245: 4240: 4235: 4230: 4225: 4219: 4217: 4213: 4212: 4210: 4209: 4204: 4199: 4194: 4189: 4184: 4179: 4174: 4169: 4161: 4156: 4150: 4148: 4144: 4143: 4138: 4136: 4135: 4128: 4121: 4113: 4104: 4103: 4101: 4100: 4094: 4088: 4082: 4076: 4070: 4064: 4058: 4052: 4046: 4040: 4034: 4028: 4022: 4016: 4013:William Crotch 4009: 4006: 4005: 3999: 3997: 3996: 3989: 3982: 3974: 3968: 3967: 3957: 3951: 3945: 3933: 3932:External links 3930: 3928: 3927: 3907: 3878:(2): 236–282. 3865: 3859: 3846: 3806: 3800: 3787: 3781: 3773:The Lost Chord 3768: 3753:10.2307/746502 3734: 3715:(4): 628–657. 3695: 3671: 3649: 3643: 3630: 3624: 3607: 3601: 3583: 3577: 3565:Rushton, ulian 3560: 3540: 3513: 3494: 3488: 3475: 3451: 3436:10.2307/903249 3415: 3400:10.2307/903335 3377: 3358: 3352: 3336: 3330: 3318:Caldwell, John 3314: 3299:10.2307/965069 3280: 3249:Bush, Geoffrey 3245: 3226: 3209: 3178: 3163:10.2307/920807 3143: 3141: 3138: 3136: 3135: 3119: 3103: 3091: 3075: 3066: 3057: 3048: 3039: 3011: 2991: 2982: 2973: 2957: 2931: 2922: 2913: 2901: 2892: 2883: 2874: 2865: 2856: 2844: 2835: 2826: 2814: 2799: 2790: 2781: 2772: 2763: 2754: 2745: 2736: 2723: 2714: 2705: 2696: 2687: 2678: 2669: 2651: 2631: 2615: 2599: 2586: 2584:Bennett (1907) 2577: 2568: 2559: 2550: 2541: 2532: 2520: 2511: 2499: 2490: 2481: 2472: 2463: 2454: 2445: 2436: 2427: 2418: 2409: 2400: 2391: 2382: 2373: 2359: 2350: 2337: 2328: 2319: 2310: 2301: 2292: 2283: 2274: 2265: 2253: 2244: 2227: 2215: 2206: 2197: 2188: 2179: 2170: 2158: 2149: 2137: 2128: 2115: 2102: 2093: 2067: 2058: 2049: 2040: 2031: 2022: 2013: 2004: 1995: 1986: 1977: 1968: 1959: 1950: 1938: 1929: 1907: 1898: 1889: 1880: 1868: 1856: 1847: 1835: 1822: 1813: 1804: 1795: 1786: 1777: 1765: 1756: 1730: 1715: 1684: 1676: 1675: 1650: 1637: 1620: 1606: 1605: 1598: 1595: 1594: 1593: 1590: 1587: 1581: 1578: 1554:William Cusins 1542:Tobias Matthay 1530:W. S. Rockstro 1503:(1810–76) and 1497:Queen Victoria 1488: 1485: 1458:Charles Gounod 1430:William Ayrton 1409: 1406: 1336: 1333: 1279: 1276: 1235: 1232: 1220:Hector Berlioz 1127: 1124: 1104: 1101: 1100: 1099: 1085: 1079: 1072: 1057: 1054: 1042:Joseph Joachim 1001:St John's Wood 911: 908: 840:in London; an 753:Richard Wagner 691: 688: 674:and Schumann. 656:Stephen Heller 652:Heinrich Ernst 598:Clara Schumann 563:string quartet 522: 519: 415:Percy M. Young 392:Thomas Attwood 350: 347: 317:chapel of ease 285:The Harmonicon 281:Queen Adelaide 273:Windsor Castle 255:The Harmonicon 216:William Crotch 127: 124: 122: 119: 87:Tobias Matthay 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 6743: 6732: 6729: 6727: 6724: 6722: 6719: 6717: 6714: 6712: 6709: 6707: 6704: 6702: 6699: 6697: 6694: 6692: 6689: 6687: 6684: 6682: 6679: 6677: 6674: 6672: 6669: 6667: 6664: 6662: 6659: 6657: 6654: 6652: 6649: 6647: 6644: 6642: 6639: 6637: 6634: 6632: 6629: 6627: 6624: 6622: 6619: 6617: 6614: 6612: 6609: 6607: 6604: 6602: 6599: 6597: 6594: 6592: 6589: 6588: 6586: 6576: 6566: 6564: 6554: 6550: 6538: 6537: 6526: 6525: 6519: 6518: 6509: 6503: 6502: 6498: 6494: 6491: 6489: 6486: 6485: 6484: 6481: 6479: 6476: 6474: 6471: 6469: 6466: 6464: 6461: 6459: 6456: 6454: 6451: 6449: 6446: 6444: 6441: 6439: 6436: 6434: 6431: 6429: 6426: 6424: 6421: 6419: 6416: 6415: 6413: 6409: 6403: 6400: 6398: 6395: 6393: 6390: 6388: 6385: 6383: 6380: 6378: 6375: 6373: 6370: 6368: 6365: 6363: 6360: 6358: 6355: 6353: 6350: 6348: 6345: 6343: 6340: 6338: 6335: 6333: 6330: 6328: 6325: 6323: 6320: 6318: 6315: 6313: 6310: 6309: 6307: 6305: 6301: 6295: 6292: 6290: 6287: 6285: 6282: 6280: 6277: 6275: 6272: 6270: 6267: 6265: 6262: 6260: 6257: 6255: 6252: 6250: 6247: 6245: 6242: 6240: 6237: 6235: 6232: 6230: 6227: 6225: 6222: 6220: 6217: 6215: 6212: 6210: 6207: 6205: 6202: 6200: 6197: 6195: 6192: 6190: 6187: 6185: 6182: 6180: 6177: 6175: 6172: 6170: 6167: 6165: 6162: 6160: 6157: 6155: 6152: 6150: 6147: 6145: 6142: 6140: 6137: 6135: 6132: 6130: 6127: 6125: 6122: 6120: 6117: 6115: 6112: 6110: 6107: 6105: 6102: 6100: 6097: 6095: 6092: 6090: 6087: 6085: 6082: 6080: 6077: 6075: 6072: 6070: 6067: 6065: 6062: 6060: 6057: 6056: 6054: 6052: 6048: 6042: 6039: 6037: 6034: 6032: 6029: 6027: 6024: 6022: 6019: 6017: 6014: 6012: 6009: 6007: 6004: 6002: 5999: 5997: 5994: 5992: 5989: 5987: 5984: 5982: 5979: 5977: 5974: 5972: 5969: 5967: 5964: 5962: 5959: 5957: 5954: 5952: 5949: 5947: 5944: 5942: 5939: 5937: 5934: 5932: 5929: 5927: 5924: 5922: 5919: 5917: 5914: 5912: 5909: 5907: 5904: 5902: 5899: 5897: 5894: 5892: 5889: 5887: 5884: 5882: 5879: 5878: 5876: 5874: 5870: 5860: 5857: 5855: 5852: 5850: 5847: 5845: 5842: 5840: 5837: 5835: 5832: 5830: 5827: 5825: 5822: 5821: 5819: 5815: 5809: 5806: 5804: 5801: 5799: 5796: 5794: 5791: 5790: 5788: 5784: 5778: 5775: 5773: 5770: 5768: 5765: 5763: 5760: 5758: 5755: 5753: 5750: 5748: 5745: 5743: 5740: 5738: 5735: 5733: 5730: 5728: 5725: 5723: 5720: 5718: 5715: 5714: 5712: 5708: 5702: 5699: 5697: 5694: 5692: 5689: 5687: 5684: 5682: 5679: 5677: 5674: 5672: 5669: 5667: 5664: 5663: 5661: 5657: 5651: 5648: 5646: 5643: 5641: 5638: 5636: 5633: 5631: 5628: 5626: 5623: 5621: 5618: 5616: 5613: 5612: 5610: 5606: 5600: 5597: 5595: 5592: 5590: 5587: 5585: 5582: 5580: 5577: 5575: 5572: 5571: 5569: 5565: 5559: 5556: 5554: 5551: 5549: 5546: 5544: 5541: 5539: 5536: 5534: 5531: 5529: 5526: 5524: 5521: 5519: 5516: 5514: 5511: 5509: 5506: 5504: 5501: 5499: 5496: 5494: 5491: 5489: 5486: 5484: 5481: 5480: 5478: 5474: 5468: 5465: 5463: 5460: 5458: 5455: 5453: 5450: 5448: 5445: 5443: 5440: 5438: 5435: 5433: 5430: 5428: 5425: 5424: 5422: 5418: 5412: 5409: 5407: 5404: 5402: 5399: 5397: 5394: 5392: 5389: 5388: 5386: 5382: 5376: 5373: 5371: 5368: 5366: 5363: 5361: 5358: 5356: 5353: 5351: 5348: 5346: 5343: 5342: 5340: 5336: 5333: 5331: 5327: 5317: 5314: 5312: 5309: 5307: 5304: 5302: 5299: 5297: 5294: 5292: 5289: 5287: 5284: 5282: 5279: 5277: 5274: 5272: 5269: 5267: 5264: 5262: 5259: 5257: 5254: 5252: 5249: 5247: 5244: 5242: 5239: 5237: 5234: 5232: 5231:Nikolai Gogol 5229: 5227: 5224: 5222: 5219: 5217: 5214: 5212: 5209: 5207: 5204: 5202: 5199: 5197: 5194: 5192: 5189: 5187: 5184: 5182: 5179: 5178: 5176: 5172: 5166: 5163: 5161: 5158: 5156: 5153: 5151: 5148: 5146: 5143: 5141: 5138: 5136: 5133: 5131: 5128: 5126: 5123: 5122: 5120: 5116: 5110: 5107: 5105: 5102: 5100: 5097: 5095: 5092: 5090: 5087: 5085: 5082: 5080: 5077: 5075: 5072: 5071: 5069: 5065: 5059: 5056: 5054: 5051: 5049: 5046: 5044: 5041: 5039: 5036: 5034: 5031: 5030: 5028: 5024: 5018: 5015: 5013: 5010: 5008: 5005: 5003: 5000: 4998: 4995: 4993: 4990: 4989: 4987: 4983: 4977: 4974: 4972: 4969: 4967: 4964: 4962: 4959: 4957: 4954: 4952: 4949: 4947: 4944: 4943: 4941: 4937: 4931: 4928: 4926: 4923: 4921: 4918: 4916: 4913: 4911: 4908: 4906: 4903: 4901: 4898: 4896: 4893: 4891: 4888: 4887: 4885: 4883: 4879: 4873: 4870: 4868: 4865: 4863: 4862:P. B. Shelley 4860: 4858: 4855: 4853: 4850: 4848: 4845: 4843: 4842:Mary Robinson 4840: 4838: 4835: 4833: 4830: 4828: 4825: 4823: 4820: 4818: 4815: 4813: 4810: 4808: 4805: 4803: 4800: 4798: 4795: 4793: 4790: 4788: 4785: 4783: 4780: 4778: 4775: 4773: 4770: 4768: 4765: 4763: 4760: 4759: 4757: 4755: 4749: 4743: 4740: 4738: 4735: 4733: 4730: 4728: 4725: 4723: 4720: 4718: 4715: 4713: 4710: 4708: 4705: 4703: 4700: 4698: 4695: 4693: 4690: 4688: 4685: 4683: 4680: 4678: 4675: 4673: 4670: 4668: 4665: 4663: 4660: 4658: 4655: 4653: 4650: 4648: 4645: 4643: 4640: 4638: 4635: 4634: 4632: 4628: 4622: 4619: 4617: 4614: 4612: 4609: 4607: 4604: 4602: 4599: 4597: 4594: 4592: 4589: 4587: 4584: 4582: 4579: 4577: 4574: 4572: 4571:Chateaubriand 4569: 4567: 4564: 4562: 4559: 4558: 4556: 4554: 4550: 4544: 4541: 4539: 4536: 4534: 4531: 4529: 4526: 4524: 4521: 4519: 4516: 4514: 4511: 4509: 4506: 4504: 4501: 4499: 4496: 4494: 4491: 4489: 4486: 4484: 4481: 4479: 4476: 4475: 4473: 4469: 4466: 4464: 4460: 4454: 4451: 4449: 4448: 4444: 4442: 4439: 4437: 4434: 4432: 4429: 4427: 4424: 4422: 4419: 4417: 4414: 4412: 4409: 4407: 4404: 4402: 4401: 4400:Mal du siècle 4397: 4395: 4392: 4388: 4385: 4383: 4380: 4379: 4378: 4375: 4373: 4370: 4368: 4367: 4363: 4361: 4358: 4356: 4353: 4352: 4350: 4346: 4340: 4337: 4335: 4332: 4330: 4327: 4325: 4322: 4320: 4319: 4315: 4313: 4310: 4306: 4305: 4301: 4300: 4299: 4296: 4294: 4291: 4289: 4286: 4284: 4281: 4279: 4276: 4274: 4271: 4269: 4266: 4264: 4261: 4259: 4256: 4254: 4251: 4249: 4246: 4244: 4241: 4239: 4236: 4234: 4231: 4229: 4226: 4224: 4221: 4220: 4218: 4214: 4208: 4205: 4203: 4200: 4198: 4195: 4193: 4190: 4188: 4185: 4183: 4180: 4178: 4175: 4173: 4170: 4168: 4165: 4162: 4160: 4157: 4155: 4152: 4151: 4149: 4145: 4141: 4134: 4129: 4127: 4122: 4120: 4115: 4114: 4111: 4098: 4095: 4092: 4089: 4086: 4083: 4080: 4077: 4074: 4071: 4068: 4065: 4062: 4059: 4056: 4053: 4050: 4047: 4044: 4041: 4038: 4035: 4032: 4029: 4026: 4025:Charles Lucas 4023: 4020: 4017: 4014: 4011: 4010: 4007: 4003: 3995: 3990: 3988: 3983: 3981: 3976: 3975: 3972: 3965: 3961: 3958: 3955: 3952: 3949: 3946: 3943: 3939: 3936: 3935: 3931: 3924: 3920: 3916: 3912: 3908: 3901: 3897: 3893: 3889: 3885: 3881: 3877: 3873: 3872: 3866: 3862: 3856: 3852: 3847: 3840: 3834: 3818: 3817: 3812: 3807: 3803: 3797: 3793: 3788: 3784: 3782:0-253-33518-3 3778: 3774: 3769: 3762: 3758: 3754: 3750: 3746: 3742: 3741: 3735: 3733:(free access) 3730: 3726: 3722: 3718: 3714: 3710: 3709: 3704: 3700: 3696: 3692: 3691: 3686: 3681: 3676: 3672: 3668: 3664: 3660: 3659: 3654: 3650: 3646: 3640: 3636: 3631: 3627: 3621: 3617: 3613: 3608: 3604: 3602:0-333-23111-2 3598: 3594: 3593: 3588: 3584: 3580: 3574: 3570: 3566: 3561: 3557: 3553: 3549: 3545: 3541: 3537: 3529: 3525: 3521: 3520: 3514: 3510: 3506: 3502: 3501: 3495: 3491: 3489:0-19-816232-4 3485: 3481: 3476: 3469: 3465: 3461: 3457: 3452: 3445: 3441: 3437: 3433: 3429: 3425: 3421: 3416: 3409: 3405: 3401: 3397: 3393: 3389: 3388: 3383: 3378: 3374: 3370: 3366: 3365: 3359: 3355: 3349: 3345: 3341: 3340:Conway, David 3337: 3333: 3331:0-19-816288-X 3327: 3323: 3319: 3315: 3308: 3304: 3300: 3296: 3292: 3288: 3287: 3281: 3274: 3270: 3266: 3262: 3258: 3254: 3250: 3246: 3242: 3238: 3234: 3233: 3227: 3223: 3219: 3215: 3210: 3206: 3200: 3192: 3188: 3184: 3179: 3172: 3168: 3164: 3160: 3157:(1209): 351. 3156: 3152: 3151: 3145: 3144: 3139: 3133: 3130: 3129: 3123: 3120: 3116: 3112: 3107: 3104: 3100: 3095: 3092: 3088: 3084: 3079: 3076: 3070: 3067: 3061: 3058: 3052: 3049: 3043: 3040: 3033: 3029: 3025: 3021: 3015: 3012: 3004: 3003: 2995: 2992: 2986: 2983: 2977: 2974: 2970: 2966: 2961: 2958: 2945: 2941: 2935: 2932: 2926: 2923: 2917: 2914: 2908: 2906: 2902: 2896: 2893: 2887: 2884: 2878: 2875: 2869: 2866: 2860: 2857: 2851: 2849: 2845: 2839: 2836: 2830: 2827: 2821: 2819: 2815: 2811: 2810: 2803: 2800: 2794: 2791: 2785: 2782: 2776: 2773: 2767: 2764: 2758: 2755: 2749: 2746: 2740: 2737: 2733: 2727: 2724: 2718: 2715: 2709: 2706: 2700: 2697: 2691: 2688: 2682: 2679: 2673: 2670: 2666: 2665: 2660: 2655: 2652: 2648: 2644: 2640: 2635: 2632: 2628: 2624: 2619: 2616: 2612: 2608: 2603: 2600: 2596: 2590: 2587: 2581: 2578: 2572: 2569: 2563: 2560: 2554: 2551: 2545: 2542: 2536: 2533: 2529: 2524: 2521: 2515: 2512: 2508: 2503: 2500: 2494: 2491: 2485: 2482: 2476: 2473: 2467: 2464: 2461:Wright (2005) 2458: 2455: 2449: 2446: 2440: 2437: 2431: 2428: 2422: 2419: 2413: 2410: 2404: 2401: 2395: 2392: 2386: 2383: 2377: 2374: 2371:Squire (1885) 2368: 2366: 2364: 2360: 2354: 2351: 2347: 2341: 2338: 2332: 2329: 2323: 2320: 2314: 2311: 2305: 2302: 2296: 2293: 2287: 2284: 2278: 2275: 2269: 2266: 2260: 2258: 2254: 2248: 2245: 2241: 2237: 2231: 2228: 2224: 2219: 2216: 2210: 2207: 2201: 2198: 2192: 2189: 2183: 2180: 2174: 2171: 2165: 2163: 2159: 2153: 2150: 2144: 2142: 2138: 2132: 2129: 2125: 2119: 2116: 2112: 2106: 2103: 2097: 2094: 2081: 2077: 2071: 2068: 2062: 2059: 2053: 2050: 2044: 2041: 2035: 2032: 2026: 2023: 2017: 2014: 2008: 2005: 1999: 1996: 1990: 1987: 1981: 1978: 1972: 1969: 1963: 1960: 1954: 1951: 1945: 1943: 1939: 1933: 1930: 1923: 1922: 1917: 1911: 1908: 1902: 1899: 1893: 1890: 1884: 1881: 1875: 1873: 1869: 1863: 1861: 1857: 1851: 1848: 1842: 1840: 1836: 1832: 1826: 1823: 1817: 1814: 1808: 1805: 1799: 1796: 1790: 1787: 1781: 1778: 1772: 1770: 1766: 1760: 1757: 1751: 1749: 1747: 1745: 1743: 1741: 1739: 1737: 1735: 1731: 1727: 1726: 1719: 1716: 1713: 1712:Firman (2004) 1708: 1706: 1704: 1702: 1700: 1698: 1696: 1694: 1692: 1690: 1686: 1683: 1682: 1672: 1668: 1664: 1660: 1654: 1651: 1647: 1641: 1638: 1634: 1630: 1629:Royal Charter 1624: 1621: 1617: 1611: 1608: 1604: 1603: 1596: 1591: 1588: 1584: 1583: 1579: 1577: 1575: 1570: 1565: 1563: 1557: 1555: 1551: 1547: 1543: 1539: 1535: 1531: 1527: 1523: 1519: 1518: 1513: 1510:The novelist 1508: 1506: 1502: 1498: 1494: 1493:John Betjeman 1486: 1483: 1478: 1476: 1472: 1471:Henry Purcell 1468: 1467: 1461: 1459: 1455: 1451: 1447: 1442: 1437: 1433: 1431: 1427: 1422: 1414: 1407: 1405: 1403: 1398: 1396: 1395: 1391: 1388:and Handel's 1387: 1386: 1381: 1377: 1373: 1369: 1365: 1361: 1357: 1353: 1349: 1347: 1342: 1334: 1332: 1330: 1329: 1324: 1323:The May Queen 1320: 1316: 1312: 1308: 1307:The May Queen 1304: 1300: 1298: 1294: 1289: 1288:The May Queen 1285: 1277: 1275: 1271: 1269: 1268: 1263: 1259: 1258: 1253: 1244: 1242: 1241:John Caldwell 1233: 1231: 1229: 1225: 1221: 1216: 1211: 1209: 1205: 1188: 1185: 1184:Geoffrey Bush 1168: 1163: 1159: 1157: 1153: 1149: 1145: 1141: 1137: 1131: 1125: 1120: 1119:The May Queen 1115: 1110: 1102: 1097: 1093: 1089: 1086: 1083: 1080: 1077: 1073: 1071: 1067: 1063: 1062: 1061: 1055: 1053: 1051: 1047: 1043: 1039: 1035: 1031: 1030: 1025: 1020: 1018: 1014: 1010: 1006: 1005:Henry Purcell 1002: 997: 995: 991: 987: 983: 978: 975: 974:Covent Garden 971: 970:Henry Chorley 966: 964: 960: 956: 952: 947: 945: 941: 937: 931: 929: 925: 924:Charles Lucas 916: 909: 907: 904: 899: 895: 890: 888: 884: 883: 878: 873: 871: 867: 863: 859: 855: 851: 847: 843: 839: 835: 831: 827: 826:The May Queen 823: 818: 811: 810:Julia Goodman 806: 802: 799: 795: 794: 789: 785: 781: 777: 773: 768: 762: 760: 759: 754: 750: 746: 740: 738: 733: 731: 727: 726: 721: 717: 713: 709: 704: 696: 689: 687: 685: 680: 675: 673: 669: 665: 661: 657: 653: 649: 645: 644: 639: 635: 631: 627: 622: 620: 619:Michael Costa 616: 614: 606: 604: 599: 595: 594:Geoffrey Bush 590: 588: 584: 580: 576: 572: 568: 564: 559: 556: 548: 543: 535: 527: 520: 517: 512: 510: 506: 502: 498: 492: 490: 489:Prince Albert 486: 482: 476: 473: 467: 464: 460: 459: 454: 450: 449: 441: 440: 436: 432: 428: 424: 418: 416: 412: 408: 404: 400: 395: 393: 389: 385: 381: 380: 376: 368: 363: 355: 348: 346: 344: 343: 338: 334: 330: 326: 322: 318: 314: 309: 307: 303: 299: 293: 288: 286: 282: 278: 274: 270: 269: 264: 259: 257: 256: 247: 246: 241: 240: 235: 234:mezzo-soprano 231: 230: 225: 224:J. W. Davison 221: 217: 213: 207: 205: 201: 197: 193: 189: 185: 181: 176: 174: 169: 165: 161: 157: 149: 145: 140: 132: 125: 120: 118: 114: 112: 108: 104: 98: 96: 95:Michael Costa 92: 88: 84: 80: 76: 71: 69: 65: 61: 57: 53: 46: 41: 37: 33: 19: 6529: 6522: 6515: 6499: 6219:Porto-Alegre 5873:Philosophers 5823: 5757:Rachmaninoff 5206:Chavchavadze 5196:Baratashvili 4956:João de Deus 4925:Wincenty Pol 4717:Küchelbecker 4445: 4411:Noble savage 4398: 4364: 4339:Wallenrodism 4316: 4302: 4233:Coppet group 4167:(literature) 4099: (2008) 4093: (1995) 4087: (1993) 4085:Lynn Harrell 4081: (1982) 4075: (1968) 4069: (1955) 4063: (1949) 4057: (1936) 4051: (1924) 4045: (1888) 4039: (1876) 4033: (1866) 4030: 4027: (1859) 4021: (1832) 4015: (1822) 3966:(ChoralWiki) 3914: 3875: 3869: 3850: 3821:. Retrieved 3814: 3791: 3772: 3744: 3738: 3712: 3706: 3688: 3657: 3634: 3611: 3590: 3568: 3547: 3517: 3499: 3479: 3459: 3455: 3427: 3423: 3391: 3385: 3363: 3343: 3321: 3290: 3284: 3256: 3252: 3231: 3213: 3182: 3154: 3148: 3131: 3128: 3122: 3106: 3094: 3078: 3069: 3060: 3051: 3042: 3014: 3001: 2994: 2985: 2976: 2960: 2948:. Retrieved 2943: 2934: 2925: 2916: 2895: 2886: 2877: 2868: 2859: 2838: 2829: 2807: 2802: 2793: 2784: 2775: 2766: 2757: 2748: 2739: 2731: 2726: 2717: 2708: 2699: 2690: 2681: 2672: 2662: 2654: 2634: 2626: 2618: 2610: 2602: 2594: 2589: 2580: 2571: 2562: 2553: 2544: 2535: 2523: 2514: 2502: 2493: 2484: 2475: 2466: 2457: 2448: 2439: 2430: 2421: 2412: 2403: 2394: 2385: 2376: 2353: 2345: 2340: 2331: 2322: 2313: 2304: 2295: 2286: 2277: 2268: 2247: 2230: 2222: 2218: 2209: 2200: 2191: 2182: 2173: 2152: 2131: 2123: 2118: 2110: 2105: 2096: 2084:. Retrieved 2079: 2070: 2061: 2052: 2043: 2034: 2025: 2016: 2007: 1998: 1989: 1980: 1971: 1962: 1953: 1932: 1919: 1910: 1901: 1892: 1883: 1850: 1831:The Observer 1830: 1825: 1816: 1807: 1798: 1789: 1780: 1759: 1723: 1718: 1680: 1679: 1670: 1662: 1658: 1653: 1640: 1623: 1610: 1601: 1600: 1566: 1561: 1558: 1550:Eaton Faning 1538:Hubert Parry 1534:Stephen Kemp 1522:Joseph Parry 1515: 1509: 1507:(1808–70)". 1490: 1480: 1474: 1464: 1462: 1453: 1445: 1443: 1439: 1435: 1425: 1423: 1419: 1399: 1392: 1383: 1380:figured bass 1355: 1344: 1338: 1326: 1322: 1314: 1310: 1306: 1301: 1296: 1292: 1287: 1281: 1272: 1265: 1255: 1251: 1245: 1237: 1212: 1200: 1181: 1165: 1161: 1133: 1129: 1118: 1059: 1045: 1033: 1027: 1021: 1016: 998: 979: 967: 948: 932: 921: 903:W. B. Squire 891: 880: 874: 870:Daniel Auber 857: 849: 841: 825: 819: 815: 791: 763: 756: 741: 734: 729: 723: 708:Bach Society 705: 701: 683: 676: 664:Carlo Piatti 641: 629: 623: 612: 607: 591: 587:Carl Filtsch 560: 552: 546: 514: 504: 494: 478: 471: 468: 462: 456: 452: 446: 443: 438: 434: 420: 406: 396: 387: 377: 372: 340: 315:, London, a 310: 295: 290: 284: 266: 260: 253: 245:The Observer 243: 237: 227: 212:W. H. Holmes 208: 177: 167: 153: 115: 99: 83:Hubert Parry 72: 51: 50: 36: 6596:1875 deaths 6591:1816 births 6209:Michałowski 6041:Wackenroder 6006:F. Schlegel 6001:A. Schlegel 5777:Tchaikovsky 5666:Bortkiewicz 5538:R. Schumann 5533:C. Schumann 5498:Kalkbrenner 5467:Saint-Saëns 4772:Anne Brontë 4657:Eichendorff 4642:B. v. Arnim 4637:A. v. Arnim 4447:Weltschmerz 4406:Medievalism 4355:Blue flower 4283:Nationalist 4228:Bohemianism 4140:Romanticism 3823:26 December 2881:Bach (n.d.) 2029:Anon (1943) 1574:BBC Radio 3 1284:W. H. Hadow 1278:Later works 1026:'s tragedy 571:Louis Spohr 567:piano trios 472:Wood Nymphs 268:The Tempest 239:en travesti 126:Early years 6585:Categories 6084:Chassériau 6059:Aivazovsky 5767:Rubinstein 5752:Mussorgsky 5701:Wieniawski 5686:Paderewski 5528:Moszkowski 5311:Vörösmarty 5301:Shevchenko 5155:Longfellow 5079:Batyushkov 5074:Baratynsky 5043:Espronceda 4910:Mickiewicz 4905:Malczewski 4872:Wordsworth 4857:M. Shelley 4812:de Quincey 4677:Günderrode 4561:Baudelaire 4441:Wanderlust 4278:Lake Poets 3538:required.) 2647:Parachutes 1681:References 1328:Kenilworth 1319:recitative 1262:Impromptus 1204:John Field 1148:Wordsworth 1107:See also: 1013:a cappella 959:Henry Cole 862:Eastbourne 798:Jenny Lind 778:in Paris, 615:) Symphony 403:Gewandhaus 388:The Naiads 337:Lord Byron 313:Wandsworth 306:Düsseldorf 6563:Biography 6524:Modernism 6184:Kiprensky 6144:Géricault 6129:Friedrich 6119:Delacroix 6094:Constable 6074:Bonington 6064:Bierstadt 6016:Senancour 5991:Schelling 5946:Lamennais 5941:Khomyakov 5906:Coleridge 5901:Chaadayev 5808:Stanković 5803:Mokranjac 5722:Balakirev 5681:Moniuszko 5630:Donizetti 5625:Cherubini 5523:Meyerbeer 5508:Marschner 5483:Beethoven 5396:Moscheles 5330:Musicians 5316:Wergeland 5281:Orbeliani 5236:Grundtvig 5140:Hawthorne 5109:Zhukovsky 5104:Vyazemsky 5089:Lermontov 5048:Gutiérrez 5007:Radičević 4971:Herculano 4895:Krasiński 4837:Radcliffe 4807:Coleridge 4782:E. Brontë 4777:C. Brontë 4707:Jean Paul 4702:Hölderlin 4591:Lamartine 4528:Magalhães 4518:Guimarães 4426:Pantheism 4416:Nostalgia 4268:Indianism 4216:Movements 4147:Countries 3954:"WSB 200" 3923:654617477 3900:191559280 3667:504071713 3556:592671127 3509:669931942 3373:671571687 3259:: 85–97. 3222:181892334 3199:cite book 3191:500720012 2965:"WSB 200" 2732:The Times 2611:The Times 2595:The Times 2124:The Times 2111:The Times 1725:The Times 1671:The Times 1633:"History" 1408:Reception 1376:harmonies 1293:Genevieve 1267:Arabesque 1257:Novelette 1096:Fightstar 1066:Uppingham 1024:Sophocles 936:Gladstone 922:In 1866, 882:viva voce 776:Meyerbeer 437:man with 369:, in 1839 192:St John's 184:lay clerk 173:Cambridge 160:Yorkshire 156:Sheffield 150:, c. 1832 121:Biography 6536:Category 6352:Dahlhaus 6337:Blanning 6304:Scholars 6274:Tropinin 6269:Tidemand 6259:Stattler 6254:Scheffer 6154:Głowacki 6124:Edelfelt 6079:Bryullov 6021:Snellman 5996:Schiller 5986:Rousseau 5966:Michelet 5911:Constant 5881:Belinsky 5854:Sibelius 5798:Konjović 5772:Scriabin 5742:Lyapunov 5676:Lipiński 5645:Spontini 5635:Paganini 5579:Goldmark 5370:Thalberg 5365:Schubert 5345:Bruckner 5306:Topelius 5296:Runeberg 5286:Prešeren 5256:Leopardi 5221:Frashëri 5211:Eminescu 5191:Andersen 5099:Tyutchev 5084:Karamzin 5058:Zorrilla 5053:Saavedra 4951:Castilho 4939:Portugal 4930:Słowacki 4832:Polidori 4762:Barbauld 4697:Hoffmann 4652:Brentano 4566:Bertrand 4387:Romantic 4223:Ancients 4197:Scotland 3913:(1967). 3701:(1916). 3677:(1885). 3567:(eds.). 3546:(1913). 3342:(2012). 3320:(1999). 3241:63021710 2086:13 March 1378:for the 1331:(1864). 1299:Op. 16. 1297:Fantasia 1270:(1838). 1252:Fantasie 1068:School, 986:knighted 951:Stanford 944:Disraeli 852:for the 735:For the 684:Parisina 613:Scottish 545:Bennett 481:Thalberg 453:Fantasie 431:Schumann 375:oratorio 342:Parisina 321:Edmonton 107:knighted 6549:Portals 6377:Lovejoy 6312:Abraham 6234:Richard 6224:Préault 6149:Girodet 6031:Thoreau 5976:Novalis 5961:Mazzini 5956:Maistre 5931:Hazlitt 5916:Emerson 5896:Carlyle 5886:Berchet 5829:Berwald 5824:Bennett 5793:Hristić 5747:Medtner 5727:Borodin 5717:Arensky 5640:Rossini 5615:Bellini 5594:Joachim 5567:Hungary 5548:Strauss 5476:Germany 5442:Berlioz 5411:Voříšek 5406:Smetana 5384:Czechia 5338:Austria 5271:Maturin 5266:Manzoni 5241:Heliade 5216:Foscolo 5186:Alfieri 5181:Abovian 5135:Emerson 5094:Pushkin 5033:Bécquer 4966:Garrett 4920:Potocki 4867:Southey 4827:Maturin 4797:Carlyle 4754:Britain 4727:Novalis 4682:Gutzkow 4630:Germany 4596:Mérimée 4581:Gautier 4508:Barreto 4503:Azevedo 4483:Alencar 4463:Writers 4382:Byronic 4318:Purismo 4172:Germany 4154:Denmark 3962:in the 3944:(IMSLP) 3940:at the 3892:3557473 3687:(ed.). 3140:Sources 2950:6 April 1648:(1883). 1586:nights. 1432:wrote: 1372:dynamic 1346:Chorale 1156:Shelley 1070:Rutland 822:cantata 758:Emperor 730:Passion 611:Third ( 511:writes 505:Caprice 501:Dresden 485:Strauss 427:Stamity 411:cricket 399:Leipzig 379:St Paul 196:Trinity 64:Leipzig 6402:Wellek 6382:de Man 6367:Janion 6357:Ferber 6332:Berlin 6327:Beiser 6322:Barzun 6317:Abrams 6294:Wiertz 6279:Turner 6229:Révoil 6214:Palmer 6204:Martin 6199:Leutze 6174:Janmot 6134:Fuseli 6089:Church 5981:Quinet 5971:Müller 5926:Goethe 5921:Fichte 5844:Franck 5786:Serbia 5737:Glinka 5710:Russia 5696:Tausig 5691:Stolpe 5671:Chopin 5659:Poland 5620:Busoni 5584:Heller 5553:Wagner 5488:Brahms 5462:Onslow 5452:Halévy 5420:France 5401:Reicha 5391:Dvořák 5360:Mahler 5355:Hummel 5350:Czerny 5246:Isaacs 5226:Geijer 5160:Lowell 5150:Irving 5130:Cooper 5125:Bryant 5067:Russia 5002:Njegoš 4997:Kostić 4992:Jakšić 4985:Serbia 4915:Norwid 4890:Fredro 4882:Poland 4852:Seward 4742:Uhland 4732:Schwab 4722:Mörike 4712:Kleist 4667:Goethe 4662:Fouqué 4611:Nodier 4606:Nerval 4601:Musset 4553:France 4543:Varela 4538:Taunay 4523:Macedo 4471:Brazil 4421:Ossian 4348:Themes 4187:Poland 4182:Norway 4164:France 3921: 3898: 3890: 3857: 3798: 3779: 3761:746502 3759: 3729:737945 3727: 3665: 3641: 3622: 3599: 3575: 3554: 3532: 3507: 3486: 3468:903956 3466: 3444:903249 3442: 3408:903335 3406: 3371: 3350: 3328: 3307:965069 3305: 3273:765967 3271: 3239: 3220: 3189: 3171:920807 3169: 2639:Review 1914:Anon, 1580:Quotes 1487:Legacy 1390:masque 1341:Handel 1248: 1140:Keltic 1136:Thames 1121:, 1858 1092:Busted 1056:Family 1011:. The 982:Oxford 957:under 788:Weimar 780:Brahms 497:Kassel 407:Naiads 325:Hendon 250: 188:King's 85:, and 47:, 1873 6488:Bacon 6397:Rosen 6392:Ricks 6387:Nancy 6347:Blume 6342:Bloom 6264:Stroy 6249:Saleh 6244:Runge 6194:Lampi 6179:Jones 6169:Hayez 6104:Corot 6069:Blake 6036:Tieck 6026:Staël 5951:Larra 5936:Hegel 5891:Burke 5849:Grieg 5839:Field 5834:Elgar 5817:Other 5650:Verdi 5608:Italy 5599:Liszt 5589:Hubay 5574:Erkel 5558:Weber 5543:Spohr 5503:Loewe 5493:Bruch 5457:Méhul 5447:Fauré 5437:Auber 5432:Alkan 5291:Raffi 5261:Mácha 5251:Lenau 5201:Botev 5174:Other 5026:Spain 4961:Dinis 4847:Scott 4822:Keats 4802:Clare 4792:Byron 4787:Burns 4767:Blake 4752:Great 4737:Tieck 4692:Heine 4687:Hauff 4621:Vigny 4616:Staël 4576:Dumas 4498:Assis 4493:Alves 4478:Abreu 4431:Rhine 4334:Ultra 4177:Japan 3896:S2CID 3888:JSTOR 3757:JSTOR 3725:JSTOR 3683:. In 3464:JSTOR 3440:JSTOR 3404:JSTOR 3303:JSTOR 3269:JSTOR 3167:JSTOR 1918:, in 1602:Notes 1368:tempo 1303:Young 1152:Byron 1126:Style 1103:Music 1046:Idyll 1007:, in 784:Liszt 772:Verdi 547:circa 483:and 423:David 146:, by 6362:Frye 6289:Ward 6284:Veit 6239:Rude 6189:Koch 6164:Gude 6159:Goya 6109:Dahl 6099:Cole 5427:Adam 5375:Wolf 5118:U.S. 5017:Zmaj 4647:Beer 4586:Hugo 4533:Reis 4513:Dias 4377:Hero 4312:Post 4273:Jena 4243:Dark 3919:OCLC 3855:ISBN 3839:link 3825:2015 3796:ISBN 3777:ISBN 3663:OCLC 3639:ISBN 3620:ISBN 3597:ISBN 3573:ISBN 3552:OCLC 3505:OCLC 3484:ISBN 3369:OCLC 3348:ISBN 3326:ISBN 3237:OCLC 3218:OCLC 3205:link 3187:OCLC 2952:2020 2645:'s " 2088:2020 1552:and 1491:Sir 1482:art. 1370:and 1358:. A 1309:and 1154:and 1144:Spey 1029:Ajax 898:Mass 650:and 581:and 573:and 549:1860 323:and 279:and 194:and 180:bass 5859:Sor 5732:Cui 5165:Poe 4298:Pre 4293:Neo 3880:doi 3876:130 3749:doi 3717:doi 3524:doi 3432:doi 3396:doi 3295:doi 3291:127 3261:doi 3159:doi 3113:on 3085:on 2967:on 2641:of 949:In 938:as 786:in 569:of 435:fat 339:'s 304:in 263:Op. 168:née 6587:: 6514:← 3894:. 3886:. 3874:. 3835:}} 3831:{{ 3813:. 3755:. 3745:12 3743:. 3723:. 3711:. 3705:. 3460:44 3458:. 3438:. 3428:44 3426:. 3422:. 3402:. 3392:44 3390:. 3384:. 3301:. 3289:. 3267:. 3257:91 3255:. 3201:}} 3197:{{ 3165:. 3155:84 3153:. 2942:. 2904:^ 2847:^ 2817:^ 2661:, 2625:, 2609:, 2362:^ 2256:^ 2161:^ 2140:^ 2078:. 1941:^ 1871:^ 1859:^ 1838:^ 1768:^ 1733:^ 1688:^ 1576:. 1564:. 1548:, 1544:, 1540:, 1536:, 1532:, 1528:, 1524:, 1397:. 1210:. 1094:, 1052:. 965:. 824:, 718:, 714:, 670:, 658:, 605:. 589:. 499:, 425:, 190:, 158:, 113:. 97:. 81:, 6551:: 6527:→ 4132:e 4125:t 4118:v 3993:e 3986:t 3979:v 3925:. 3902:. 3882:: 3863:. 3841:) 3827:. 3804:. 3785:. 3763:. 3751:: 3731:. 3719:: 3713:2 3669:. 3647:. 3628:. 3605:. 3581:. 3558:. 3530:. 3526:: 3511:. 3492:. 3470:. 3446:. 3434:: 3410:. 3398:: 3375:. 3356:. 3334:. 3309:. 3297:: 3275:. 3263:: 3243:. 3224:. 3207:) 3193:. 3173:. 3161:: 2954:. 2090:. 1158:. 1098:) 34:. 20:)

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index