Scan 38
Grove's dictionary of music and musicians;, 1904
17 lines. Read by computer on 7 September 2026. Printed page 30. See the scan on archive.org.
1a son, Thomas A., born in 1775, who studied music under his father and Dittenhofer. He composed some instrumental music performed at the Professional Concerts, became a violinist at the Opera and the best concerts, and a teacher of the pianoforte, violin, and thorough-bass. He composed and arranged many pieces for the pianoforte, and some songs, and died about the middle of the 19th century. W. H. H.
3RAYMOND AND AGNES. A 'grand romantic English Opera in three acts'; words by E. Fitzball, music by E. J. Loder. Produced at Manchester in 1855, and at St. James's Theatre, London, June 11, 1859. G.
5RE. The second note of the natural scale in solmisation and in the nomenclature of France and Italy, as Ut (or Do) is the first, Mi the third, and Fa the fourth—
7Ut queant laxis resonare fibris
8Mira gestorum, famuli tuorum.
10By the Germans and English it is called D. G.
12RE PASTORE, IL. A dramatic cantata to Metastasio's words (with compressions), composed by Mozart at Salzburg in 1775, in honour of the Archduke Maximilian. First performed April 23, 1775. It contains an overture and fourteen numbers. The autograph is in the Royal Library at Berlin, and the work is published in Breitkopf's complete edition as Series V. No. 10. Aminta's air, 'L'amerò,' with violin obbligato, is the number by which the work is most widely known. G.
14REA, WILLIAM, born in London, March 25, 1827; when about ten years old learnt the pianoforte and organ from Josiah Pittman, for whom he acted as deputy for several years. In about 1843 he was appointed organist to Christchurch, Watney Street, St. George's-in-the-East, and at the same time studied the pianoforte, composition, and instrumentation under Sterndale Bennett, appearing as a pianist at the concerts of the Society of British Musicians in 1845. On leaving Christchurch he was appointed organist to St. Andrew Undershaft. In 1849 he went to Leipzig, where his masters were Moscheles and Richter; he subsequently studied under Dreyschock at Prague. On his return to England, Mr. Rea gave chamber concerts at the Beethoven Rooms, and became (1853) organist to the Harmonic Union. In 1856 he founded the London Polyhymnian Choir, to the training of which he devoted much time, and with excellent results; at the same time he conducted an amateur orchestral society. In 1858 he was appointed organist at St. Michael's, Stockwell, and in 1860 was chosen by competition organist to the corporation of Newcastle-on-Tyne, where he also successively filled the same post at three churches in succession, and at the Elswick Road Chapel. At Newcastle Mr. Rea worked hard to diffuse a taste for good music, though he met with less encouragement than his labours and enthusiasm deserved. Besides weekly organ and pianoforte recitals, he formed a choir of eighty voices, which in 1862 was amalgamated with the existing Sacred Harmonic Society of Newcastle. In 1867 he began a series of excellent orchestral concerts which were carried on every season for nine years, when he was compelled to discontinue them, owing to the pecuniary loss which they entailed. In 1876 he gave two performances of 'Antigone' at the Theatre Royal, and devoted much of his time to training his choir (200 voices), the Newcastle Amateur Vocal Society, and other Societies on the Tyne and in Sunderland, besides giving concerts at which the best artists performed. His published works comprise four songs, three organ pieces, and some anthems. At the close of 1880 he was appointed organist of St. Hilda's, S. Shields, in 1888 he resigned the corporation appointment. [He was an honorary Fellow of the Royal College of Organists, and in 1886 received the honorary degree of Mus.D. from the University of Durham. He composed a 'Jubilee Ode' for the Newcastle Exhibition of 1887, and he died at Newcastle, March 8, 1903. An account of his life and works is in Musical Times, April 1903. His wife, Emma Mary (née Woolhouse), was an accomplished musician, actively connected with the musical life of Newcastle. She died May 6, 1893. F. K.] W. B. S.
16READE, CHARLES, English dramatist and novelist—born June 8, 1814, died April 11, 1884—claims a notice in his capacity of expert connoisseur, and one of the earliest collectors of old violins. He devoted much time to the study of violin construction, and—as his sons put it—acquired 'as keen a scent for the habitat of a rare violin, as the truffle dog for fungus beneath the roots of the trees.' He gathered much of this accurate knowledge from one Henri, a player and a maker to boot, resident in Soho, with whom he engaged in experiments in varnish, and in the business of importing fiddles from abroad for the English dealers. Frequent visits to Paris, in the latter connection, resulted sometimes in profit, and at other times in financial catastrophe; but they succeeded in bringing to England some of the finest specimens of Cremona instruments that are known to-day. They were in Paris, buying a stock of thirty fiddles, when the Revolution of 1848 broke out, and Henri threw aside fiddle-dealing and joined the revolutionists. He was shot before his friend's eyes at the first barricade, and Charles Reade escaped with difficulty, leaving the fiddles behind. These were found stored away in a cellar after the Revolution, and eventually reached Reade, who records that he sold one of them for more than he paid for the whole lot. At the time of the Special Loan Exhibition of Musical Instruments held at the South Kensington Museum in 1872, Reade wrote a
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