Books › Grove's dictionary of music and musicians, 1904 › scan 130
Scan 130
Grove's dictionary of music and musicians, 1904
7 lines. Read by computer on 7 September 2026, twice; the two readings disagreed in places. Printed page 107. See the scan on archive.org.
1he got into debt and was thrown into a Dublin sponging-house, where he composed 'The Fathers,' and other music. Kelly's father sent him a pianoforte, in return for which Arne gave daily lessons to young Kelly. Ryder made a fresh engagement with Arne in Jan. 1779], and in 1784 and subsequent years he had the direction of some of the Lenten Oratorios at the London theatres. Michael Arne's dramatic compositions were 'The Fairy Tale,' 1763; 'Hymen,' 1763; 'Almena,' 1764; 'Cymon,' 1767; 'The Fathers,' 1778; 'The Belle's Stratagem,' 1780; 'The Choice of Harlequin,' 1781; 'The Positive Man,' 1782; 'Tristram Shandy,' 1783. He died Jan. 14, 1786. [Additional information from Mr. W. H. Grattan Flood.] w. h. h. one of two readings
2he got into debt and was thrown into a Dublin sponging-house, where he composed 'The Fathers,' and other music. Kelly's father sent him a pianoforte, in return for which Arne gave daily lessons to young Kelly. Ryder made a fresh engagement with Arne in Jan. 1779], and in 1784 and subsequent years he had the direction of some of the Lenten Oratorios at the London theatres. Michael Arne's dramatic compositions were 'The Fairy Tale,' 1763; 'Hymen,' 1763; 'Almena,' 1764; 'Cymon,' 1767; 'The Fathers,' 1778; 'The Belle's Stratagem,' 1780; 'The Choice of Harlequin,' 1781; 'The Positive Man,' 1782; 'Tristram Shandy,' 1783. He died Jan. 14, 1786. [Additional information from Mr. W. H. Grattan Flood.] W. H. H. one of two readings
4ARNE, THOMAS AUGUSTINE, Mus.Doc., was the son of an upholsterer in King Street, Covent Garden, where he was born March 12, 1710. He was educated at Eton, and being intended by his father for the profession of the law, was on leaving college placed in a solicitor's office for three years. But his love for music predominated, and instead of applying himself to the study of the law, he privately conveyed a spinet to his bedroom, and by muffling the strings with a handkerchief contrived to practise during the night undetected. He took lessons on the violin from Festing, and would occasionally borrow a livery in order to gain admission to the servants' gallery at the opera. He made such progress on the violin as to be able to lead a chamber band at the house of an amateur who gave private concerts. There he was one evening accidentally discovered by his father in the act of playing the first violin. After some fruitless efforts to induce his son to devote himself to the profession for which he had designed him, the father gave up the attempt as hopeless, and permitted the youth to follow the bent of his inclination. Being free to practise openly, Arne soon, by his skill on the violin, charmed the whole family, and finding that his sister, Susanna Maria (who afterwards as Mrs. Cibber became famous as a tragic actress) had an agreeable voice, he gave her such instructions as enabled her to appear in 1732 in Lampe's opera 'Amelia.' Her success was such as to induce her brother to reset Addison's opera 'Rosamond' (see CLAYTON), and his composition was produced at Lincoln's Inn Fields Theatre, March 7, 1733, Miss Arne performing the heroine, and her younger brother the page. Soon afterwards Arne got Fielding's 'Tragedy of Tragedies' altered into the 'Opera of Operas,' and, setting it to music 'after the Italian manner,' brought it out at the Haymarket Theatre, his young brother representing the hero, Tom Thumb. On Dec. 19, 1733, he produced at the same theatre a masque called 'Dido and Æneas,' which was performed (as then customary) with a harlequinade inter-
6mixed. In 1736 he composed some music for Aaron Hill's tragedy of 'Zara,' in which his sister made 'her first attempt as an actress.' In 1736 Arne married Cecilia, the eldest daughter of Charles Young, organist of Allhallows, Barking, a pupil of Geminiani and a singer of eminence, who was frequently engaged by Handel for his performances. In 1738 Arne was engaged to compose the music for Dr. Dalton's adaptation of Milton's 'Comus,' which was brought out at Drury Lane Theatre. This work fully established his reputation, its graceful and flowing melodies making an immediate and lasting impression. In 1740 he reset Congreve's masque 'The Judgment of Paris,' which was performed at Drury Lane. On August 1 in the same year, to celebrate the anniversary of the accession of the House of Hanover, Thomson and Mallet's masque of 'Alfred,' with music by Arne, was performed; for the first time, in a temporary theatre in the garden of Cliveden, Bucks, then the residence of Frederick, Prince of Wales. The work contains some fine songs, but is more especially distinguished by its finale, the famous patriotic song 'Rule Britannia,' a song which will continue to be heard as long as love of country animates the breasts of Englishmen. On Dec. 20, in the same year, Shakespeare's As You Like It being performed at Drury Lane Theatre, after having been laid aside for forty years, Arne gave to the world those beautiful settings of the songs 'Under the greenwood tree,' 'Blow, blow, thou winter wind,' and 'When daisies pied,' which seem to have become indissolubly allied to the poetry. After producing some minor pieces, Arne went in Jan. 1742 with his wife to Dublin, where they remained until 1744. During his stay there he produced, besides his former pieces, his important oratorio 'Abel' (see the announcement in Musical Times, 1901, p. 715), his operas 'Britannia' and 'Eliza,' and his 'Comus,' and also gave concerts with great success. On his return he was again engaged as composer at Drury Lane, and on the death of Gordon he succeeded him as leader of the band there. In 1745 Arne was engaged as composer to Vauxhall Gardens, and wrote for Mrs. Arne and Lowe the pastoral dialogue 'Colin and Phoebe,' which proved so successful that it was performed throughout the entire season. He held that engagement for many years, during which he composed for the Gardens, as well as for Ranelagh and Marylebone Gardens, an immense number of songs. On a revival of Shakespeare's Tempest in 1746 (at Drury Lane), Arne supplied new music for the masque and the song 'Where the Bee sucks,' a composition of perennial beauty. On March 12, 1755, he revived his 'Abel,' in which the simple and beautiful melody known as the Hymn of Eve became exceedingly popular. On July 6, 1759,
The computer misreads some letters and numbers. Where a name matters to you, read the scan.