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Grove's dictionary of music and musicians, 1904
14 lines. Read by computer on 6 September 2026. Printed page 31. See the scan on archive.org.
1series of letters upon Cremona fiddles in the Pall Mall Gazette, in which he propounded the theory that the 'Lost Cremona Varnish' was a spirit varnish laid over an oil varnish. Coming as it did from so noted a connoisseur, there were many who accepted the theory as the solution of the question. These letters were privately reprinted by G. H. M. Muntz, under the title A Lost Art Revived: Cremona Violins and Varnish (Gloucester, 1873), and again in the volume entitled Readiana (Chatto & Windus, 1882). In later life Charles Reade abandoned fiddles and fiddle-trading, but we find traces of his infatuation in his writings. The adventurous career of John Frederick Lott, the violin-maker, is told by him, somewhat romantically, in his novel Jack of all Trades; whilst interesting matter concerning the violin comes into Christie Johnstone, and his collection of tales entitled Cream.—Reade (Charles L., and Rev. Compton), Charles Reade; Coleman (John), Charles Reade; Sutherland-Edwards, Personal Recollections; Hart (G.), The Violin; Dict. of Nat. Biog. E. H-A.
3READING, JOHN. There were three musicians of these names, all organists. The first was appointed Junior Vicar Choral of Lincoln Cathedral, Oct. 10, 1667, Poor Vicar, Nov. 28, 1667, and Master of the Choristers, June 7, 1670. He succeeded Randolph Jewett as organist of Winchester Cathedral in 1675, and retained the office until 1681, when he was appointed organist of Winchester College. He died in 1692. He was the composer of the Latin Graces sung before and after meat at the annual College election times, and the well-known Winchester School song, 'Dulce Domum'; all printed in Dr. Philip Hayes's 'Harmonia Wiccamica.' The second was organist of Chichester Cathedral from 1674 to 1720. Several songs included in collections published between 1681 and 1688 are probably by one or other of these two Readings. The third, born 1677, was a chorister of the Chapel Royal under Dr. Blow. In 1696-98 he was organist of Dulwich College [information from Dr. W. H. Cummings]. He was appointed Junior Vicar and Poor Clerk of Lincoln Cathedral, Nov. 21, 1702, Master of the Choristers, Oct. 5, 1703, and Instructor of the choristers in vocal music, Sept. 28, 1704. He appears to have resigned these posts in 1707, and to have returned to London, where he became organist of St. John, Hackney (in 1708), St. Dunstan in the West, St. Mary Woolchurchhaw, Lombard Street, and St. Mary Woolnoth. He published 'A Book of New Songs (after the Italian manner) with Symphonies and a Thorough Bass fitted to the Harpsichord, etc.,' and (about 1709) 'A Book of New Anthems.' One of the Readings was also the reputed composer of the tune to 'Adeste fideles.' He died Sept. 2, 1764.
5There was another person named Reading, who was a singer at Drury Lane in the latter part of the 17th century. In June 1695 he and Pate, another singer at the theatre, were removed from their places and fined 20 marks each for being engaged in a riot at the Dog Tavern, Drury Lane, but were soon after reinstated.
7A Rev. John Reading, D.D., Prebendary of Canterbury Cathedral, preached there a sermon in defence of church music, and published it in 1663.
9REAL FUGUE. See FUGUE.
11REAY, SAMUEL, born at Hexham, March 17, 1822, was noted for his fine voice and careful singing as a chorister at Durham Cathedral; and under Henshaw the organist, and Pensou the precentor there, became acquainted with much music outside the regular Cathedral services. After leaving the choir he had organ lessons from Mr. Stimpson of Birmingham, and then became successively organist at St. Andrew's, Newcastle (1845); St. Peter's, Tiverton (1847); St. John's Parish Church, Hampstead (1854); St. Saviour's, Warwick Road (1856); St. Stephen's, Paddington; Radley College (1859, succeeding Dr. E. G. Monk); Bury, Lancashire (1861); and in 1864 was appointed 'Song-schoolmaster and organist' of the parish Church Newark, retiring from the latter post in 1901, but retaining that of Song schoolmaster on the Magnus foundation until his death, which took place at Newark, July 22, 1905. In 1871 Reay graduated at Oxford as Mus.B. In 1879 he distinguished himself by producing at the Bow and Bromley Institute, London, two comic cantatas of J. S. Bach's ('Caffee-cantate' and 'Bauern-cantate'), which were performed there—certainly for the first time in England—on Oct. 27, under his direction, to English words of his own adaptation. Mr. Reay was noted as a fine accompanist and extempore player on the organ. He published a Morning and Evening Service in F, several anthems, and two madrigals (all Novello); but is best known as a writer of part-songs, some of which ('The clouds that wrap,' 'The dawn of day,' written for the Tiverton Vocal Society) are deservedly popular.
13REBEC (Ital. Ribeca, Ribeba; Span. Rabé, Rabel). The French name (said to be of Arabic origin) of that primitive stringed instrument which was in use throughout western Europe in the Middle Ages, and was the parent of the viol and violin, and is identical with the German 'geige' and the English 'fiddle'; in outline something like the mandoline, of which it was probably the parent. It was shaped like the half of a pear, and was everywhere solid except at the two extremities, the upper of which was formed into a peg-box identical with that still in use, and surmounted by a carved human head. The lower half was considerably cut down in level, thus leaving the upper solid part of the instrument to form a natural finger-board. The portion thus cut down was scooped out,
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