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Scan 25
British Musical Biography, 1897
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1ARMSTRONG.
3"A Stranger's visit" for the Quarterly Musical Review (edited by Dr. Hiles), and also papers on Anthony a' Wood, and Old English Viol Music. In the Musical Times (November, 1891), "A Richmond Idyll" reveals facts not generally known concerning Charles Coleman's domestic life, a paper on "Old English Fingering" (March, 1895), in the same journal, should be also mentioned. Miss Armitt has also contributed to The Queen, Musical Standard, Musical World, Musical News, and acted as musical critic for some time for the Manchester City News. She is now resident at Ambleside, Westmorland.
5Armstrong, Helen Porter, born Mitchell, known professionally as MADAME MELBA, soprano vocalist, born at Melbourne, Australia, 1859 Daughter of David Mitchell, contractor. Sang in the choir of St. Francis' Roman Catholic Church, Melbourne, and appeared at the Melbourne Liedertafel concerts, 1884 Made her first appearance in Europe at Emil Bach's concert, Prince's Hall, London, June 1, 1886 A pupil of Madame Marchesi, her operatic début took place at the Théâtre de la Monnaie, Brussels, as "Gilda," in "Rigoletto," October 12, 1887. She appeared at the Royal Opera, Covent Garden, May 24, 1888, as "Lucia," in the "Bride of Lammermoor," and has in subsequent seasons been heard in a variety of parts She sang at La Scala, Milan, in 1893, at the Handel Festival, Crystal Palace, June 27, 1894 (Selection Day); in opera, New York, and elsewhere, and has established herself as a prima donna of the first rank. In 1882 she married Mr. Charles Armstrong, of Queensland.
7Her sister, FREDERICA MITCHELL, is considered one of the most accomplished vocalists in Melbourne In 1891 she was principal soprano in the Roman Catholic Church (St. George's) Carlton, Melbourne. She sang, November 24, 1883, in Dublin, at a concert of the University Choral Society.
9Arne, Michael, composer, natural son of Thomas A. Arne, born London, 1741. He was educated for the stage by his aunt, Mrs. Cibber. In 1751 he first appeared as a vocalist. He married Elizabeth Wright, the soprano singer, in November, 1766, and in 1779 became director of music at a theatre in Dublin. He returned to London and was director of oratorios in 1784. He devoted himself latterly to the study of alchemy and lost his fortune in the pursuit. Died at Lambeth, London, January 14, 1786.
11WORKS.—Musical dramas: The fairy tale, 1763; Almena (with Battishill) 1764; Positive man, 1764; Hymen, 1764; Cymon, 1767; The Father, 1778; The Belle's stratagem, 1780; Choice of Harlequin, 1781; Tristram Shandy, 1783. The flow'ret, a new collection of English songs. Glees, many single songs, etc.
13ARNE.
15His wife ELIZABETH WRIGHT (born about 1743, died?) soprano singer, sang at the principal concerts of her day
17Anne, Susanna Maria, see CIBBER (Susanna M.)
19Arne, Thomas Augustine, composer, born in King Street, Covent Garden, London, May 28, 1710, son of an upholsterer. He was educated at Eton College, being intended for the legal profession, but his natural aptitude for music led him to study privately, and he had lessons on the spinnet, and private lessons on the violin, from Festing. In 1736 he married Cecilia Young, daughter of Charles Young, an organist, and in 1738 became composer to Drury Lane Theatre. From 1742 to 1744 he resided in Dublin, and on his return to London in 1745 he became composer to Vauxhall Gardens, Covent Garden Theatre, and the principal London theatres Doc. Mus., Oxford, 1759. He died, London, March 5, 1778, and is buried in St. Paul's, Covent Garden.
21WORKS.—Operas and Musical Dramas: Rosamond (Addison), Lincoln's Inn Field's Theatre, March 7, 1733, Opera of operas, or Tom Thumb, 1733, Dido and Aeneas, 1734; Comus, a masque, London, 1738, Judgment of Paris, a masque, 1740, Alfred, a masque, London, 1740 [by Thomson and Mallet, in which is the celebrated national song "Rule, Britannia," written by Thomson], Britannia, a masque, Dublin, 1743; Eliza, opera, Dublin, 1743; Artaxerxes, opera, London, 1762 [the well-known psalm-tune "Artaxerxes" is taken from the minuet at the end of the overture to this opera, and was first adapted by R. Harrison in vol. 1 of his "Sacred harmony," 1784], The fairies, 1762, Olimpia, 1765. Music to Plays. Fall of Phaeton, London, 1736, Zara, 1736, Blind beggar of Bethnall Green, 1741; Thomas and Sally, Dublin, 1743, Temple of Dulness, 1745; King Pepin's campaign, 1745; Neptune and Amphitrite, 1746; Don Saverio, 1749; The Prophetess, 1759; The Sultan, 1759, Love in a village, 1762; Birth of Hercules (never produced) 1763; Guardian outwitted, 1764; Ladies' frolic (with W. Bates), 1770, Fairy prince, 1771, The Cooper, 1772; Elfrida (by Mason) 1772; The Rose, 1773; Contest of beauty and virtue, 1773; Achilles in petticoats, 1773; May-Day, 1775, Phoebe at court, 1776; Caractacus (by Mason), 1776 (MS. lost). Music to Shakespeare's As you like it, 1740, Twelfth Night, 1741, Merchant of Venice, 1742, Tempest, 1746; Romeo and Juliet, 1750. Oratorios: Abel, London, March, 1755; Judith, London, February, 1764. Ode on Shakespeare, composed for the Stratford Jubilee, 1769. Songs, etc.: Lyric harmony, for voice, harpsichord and violin; The Syren, a collection of favourite songs; Vocal grove;
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