Scan 104
A dictionary of music and musicians (A.D. 1450-1880), 1879
62 lines. Read by computer on 6 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1REED.
3and favourably known in England. Its object was to provide good dramatic amusement for a large class of society who, on various grounds, objected to the theatres. It was opened at St. Martin's Hall, April 2, 1855, as 'Miss P. Horton's Illustrative Gatherings,' with two pieces called 'Holly Lodge' and 'The Enraged Musician' (after Hogarth), written by W. Brough, and presented by Mrs. Reed, with the aid of her husband only, as accompanyist and occasional actor. In Feb. 1856 they removed to the Gallery of Illustration, Regent Street, and there produced 'A Month from Home,' and 'My Unfinished Opera' (April 27, 57); 'The Home Circuit' and 'Seaside Studies' (June 20, 59)—all by W. Brough; 'After the Ball,' by Edmund Yates; 'Our Card Basket,' by Shirley Brooks; 'An Illustration on Discord' ('The Rival Composers') by Brough (Ap. 3, 61); and 'The Family Legend,' by Tom Taylor (Mar. 31, 62). They then engaged Mr. John Parry, and produced the following series of pieces specially written for this company of three, and including some of Mr. Parry's most popular and admirable songs, in the characters of Paterfamilias at the Pantomime, Mrs. Roseleaf, etc., etc.
5'The Charming Cottage.' Ap. 6, 1863.
6'The Pyramid.' Shirley Brooks. Feb. 7, 64.
7'The Bard and his Birthday.' W. Brough. Ap. 20, 64.
8'The Peculiar Family.' Do. Mar. 13, 65. one of two readings
9'The Peculiar Family.' Do. Mar. 15, 65. one of two readings
10'The Yachting Cruise.' F. C. Burnand. Ap. 2, 66.
12At this period the company was further increased by the addition of Miss Fanny Holland and Mr. Arthur Cecil, and soon after by Mr. Corney Grain and Mr. Alfred Reed. The following was the repertoire during this last period:—
14'Lischen and Fritschen.' Offenbach. Feb. 8, 59.
15'No Cards,' W. S. Gilbert, and 'Cox and Box,' Burnand and Sullivan. Mar. 29, 69. (A. Cecil's 1st appearance.)
16'Ages Ago.' W. S. Gilbert and F. Clay. Nov. 22, 69.
17'Beggar my Neighbour.' F. C. Burnand. Mar. 24, 70.
18'Our Island Home.' W. S. Gilbert. June 20, 70.
19'The Bold Recruit.' F. Clay. July 19, 70.
20'A Sensation Novel.' Do. *Jan. 30, 71.
22When the lease of the Gallery of Illustration expired, the entertainment was transferred to St. George's Hall, and there the following entertainments were produced:—
24'He's Coming.' F. C. Burnand and German Reed.
25'Too Many by One.' F. C. Burnand and F. Cowan.
26'The Three Tenants'; 'Ancient Britons.' Gilbert a Beckett and German Reed.
27'A Tale of Old China.' F. C. Burnand and Molloy.
28'Veyes and no Eyes.' W. S. Gilbert and German Reed.
29'A Spanish Bond'; 'An Indian Puzzle'; 'The Wicked Duke.' Gilbert a Beckett and German Reed.
30'Too Many Cooks.' Offenbach.
31'The Sleeping Beauty.' Balfe.
32'The Soldier's Legacy.' Oxenford and Macfarren.
33'Jessy Lea.' Oxenford and Macfarren.
34'Widows bewitched.' Virginia Gabriel.
35'A Fair Exchange'; 'A Happy Result'; 'Ching Chow Hi.' All three by Offenbach.
37During the Gallery of Illustration period a diversion was made by the introduction of 'Opere di Camera,' for four characters. These comprised:—
39'A Dream in Venice.' T. W. Robertson. Mar. 18, 67.
40'Our Quiet Chateau.' R. Reece. Dec. 26, 67.
41'Inquire within.' F. C. Burnand. July 22, 68.
42'Last of the Paladins.' R. Reece. Dec. 23, 68.
43'Near Relations.' Arthur Sketchley. Aug. 14, 71.
44'King Christmas.' Planché. Dec. 26, 71.
45'Charity begins at Home.' B. Rowe and Cellier. Feb. 7, 72.
46'My Aunt's Secret.' Burnand and Molloy. Mar. 3, 72.
47'Happy Arcadia.' W. S. Gilbert and F. Clay. Oct. 28, 72.
48'Very Catching.' Burnand and Molloy. Nov. 18, 72.
49'Mildred's Well.' Burnand and German Reed. May 5, 73.
51REEL.
53While the entertainment still remained at the Gallery of Illustration, Reed became lessee of St. George's Hall for the production of Comic Opera. He engaged an orchestra of 40 and a strong chorus, and 'The Contrabandista' (Burnand and Sullivan), 'L'Ambassadrice' (Auber), 'Ching Chow Hi' and the 'Beggar's Opera' were produced, but without the necessary success. Mr. Reed then gave his sole attention to the Gallery of Illustration, in which he has been uniformly successful, owing to the fact that he has carried out his entertainments, not only with perfect respectability, but always with great talent, much tact and judgment, and constant variety.
55His brothers, ROBERT HOPKÉ and WILLIAM, are violoncello players; Robert has been Principal Cello in the Crystal Palace Band for many years.
57MRS. GERMAN REED, née PRISCILLA HORTON, was born at Birmingham, Jan. 1, 1818. From a very early age she showed unmistakable qualifications for a theatrical career, in a fine strong voice, great musical ability, and extraordinary power of mimicry. She made her first appearance at the age of ten, at the Surrey Theatre, under Elliston's management, as the Gipsy Girl in 'Guy Mannering.' After this she was constantly engaged at the principal metropolitan theatres in a very wide range of parts. Her rare combination of great ability as a singer, with conspicuous gifts as an actress, and most attractive appearance, led to a very satisfactory step in her career. On Aug. 16, 1837, she signed an agreement with Mr. Macready for his famous performances at Covent Garden and Drury Lane, in which she acted Ariel, Ophelia, the Fool1 in 'Lear,' the Attendant Spirit in 'Comus,' Philidel in 'King Arthur,' and Acis in 'Acis and Galatea.' After the conclusion of this memorable engagement, Miss Horton became the leading spirit in Planché's graceful burlesques at the Haymarket Theatre. On Jan. 20, 1844, she married Mr. German Reed, and the rest of her career has been related under his name.
59REEL (Anglo-Saxon hreol, connected with the Suio-Gothic rulla, to whirl). An ancient dance, the origin of which is enveloped in much obscurity. The fact of its resemblance to the Norwegian Hallung, as well as its popularity in Scotland, and its occurrence in Denmark, the north of England, and Ireland, has led most writers to attribute to it a Scandinavian origin, although its rapid movements and lively character are opposed to the oldest Scandinavian dance-rhythms. The probability is that the reel is of Keltic origin, perhaps indigenous to Britain, and from there introduced into Scandinavia. In Scotland the reel is usually danced by two couples; in England—where it is now almost only found in connection with the Sword Dance, as performed in the North Riding of Yorkshire—it is danced
611 See Macready's Reminiscences, by S.r F. Pollock. ii. 97.
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