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Grove's Dictionary of music and musicians, 1910
14 lines. Read by computer on 10 September 2026. Printed page 576. See the scan on archive.org.
1KING, MATTHEW PETER, born in London, 1773, studied composition under Charles Frederick Horn. His first productions were 'Three Sonatas for the Pianoforte,' 'Eight Songs and a Cantata,' and three other sets of Pianoforte Sonatas. In 1796 he published Thorough-Bass made clear to every Capacity, and in 1800 A General Treatise on Music, etc., a work of repute, with second edition, 1809. In 1817 his oratorio, 'The Intercession,' was produced at Covent Garden. One of the songs in it 'Must I leave thee, Paradise?' (known as 'Eve's Lamentation') became very popular, and long found a place in programmes of sacred music. King was also the composer of several glees (among them the popular 'Witches'), and of numerous pianoforte pieces. He composed several dramatic pieces, chiefly for the English Opera House, Lyceum:—'Matrimony,' 1804; 'The Invisible Girl,' 1806; 'False Alarms' (with Braham); 'One o'clock, or The Wood Demon' (with Kelly); and 'Ella Rosenberg,' 1807; 'Up all night,' 1809; 'Plots' and 'Oh, this Love,' 1810; 'The Americans' (with Braham), and 'Timour the Tartar,' 1811; and 'The Fisherman's Hut' (with Davy), 1819. He died in London in Jan. 1823.
3His son, C. M. KING, published in 1826 some songs which were favourably received. W. H. H.
5KING, ROBERT, Mus. B., was one of the band of music to William and Mary and Queen Anne. [At Christmas, 1689, a licence was granted to him to establish a concert (Calendar of State Papers.)] He graduated at Cambridge in 1696. He was the composer of many songs published in 'Choice Ayres, Songs and Dialogues,' 1684; 'Comes Amoris,' 1687-93; 'The Banquet of Musick,' 1688-92; The Gentleman's Journal, 1692-94; and Thesaurus Musicus, 1695-96. He composed the songs in Crowne's comedy, 'Sir Courtly Nice,' which were printed in The Theater of Music, Book ii. 1685. In 1690 he set Shadwell's Ode on St. Cecilia's Day, 'O Sacred Harmony.' In 1693 he set an Ode 'on the Rt. Hon. John Cecil, Earl of Exeter, his birthday, being the 21 of Sept.' commencing 'Once more 'tis born, the happy day,' the words by Peter Motteux. A collection of twenty-four songs by him entitled 'Songs for One, Two, and Three voices, composed to a Thorough-Basse for ye Organ or Harpsicord,' engraven on copper, was published by the elder Walsh. The date of his death has not been ascertained. He was living in 1711. W. H. H.
7KING, WILLIAM, born at Winchester, 1624, son of George King (died 1665) organist of Winchester Cathedral, was admitted a clerk of Magdalen College, Oxford, Oct. 18, 1648. He graduated B.A. June 5, 1649, and in 1652 was promoted to a chaplaincy at Magdalen College, which he held until August 25, 1654, when he became a probationer-fellow of All Souls' College. On Dec. 10, 1664, he was appointed successor to Pickhaver as organist of New College. He composed a service in B♭ and some anthems [a setting of the Litany remained in use in Lichfield Cathedral, and was republished by Mr. J. Bishop of Cheltenham and Mr. J. B. Lott], and in 1668 published at Oxford 'Poems of Mr. Cowley [The Mistress] and others, composed into Songs and Ayres, with a Thorough Basse to the Theorbo, Harpsicon, or Basse Violl.' He died at Oxford, Nov. 17, 1680, and was buried in New College Cloister. W. H. H.
9KING CHARLES THE SECOND. A comic opera in two acts; words adapted by Desmond Ryan from a comedy of Howard Payne's; music by G. A. Macfarren. Produced at the Princess's Theatre, Oct. 27, 1849. Payne's comedy had before been turned into a ballet-pantomime, 'Betty,' music by Ambroise Thomas, and produced at the Grand Opéra, Paris, July 10, 1846. G.
11KING SAUL. See SAUL (2).
13KING'S BAND OF MUSIC, THE. The custom of the kings of England to retain as part of their household a band of musicians, more or less numerous, is very ancient. We learn that Edward IV. had 13 minstrels, 'whereof some be trompets, some with shalmes and smalle pypes.' Henry VIII.'s band in 1526 consisted of 15 trumpets, 3 lutes, 3 rebecks, 3 taborets, a harp, 2 viols, 10 sackbuts, a fife, and 4 drumslades. In 1530 his band was composed of 16 trumpets, 4 lutes, 3 rebecks, 3 taborets, a harp, 2 viols, 9 sackbuts, 2 drumslades, 3 minstrels, and a player on the virginals. Edward VI. in 1548 retained 8 minstrels, a player on the virginals, 2 lutes, a harper, a bagpiper, a drumslade, a rebeck, 7 viols, 4 sackbuts, a Welsh minstrel, and a flute player. Elizabeth's band in 1581 included trumpets, violins, flutes, and sackbuts, besides musicians whose instruments are not specified; and six years later it consisted of 16 trumpets, lutes, harps, a bagpipe, 9 minstrels, 2 rebecks, 6 sackbuts, 8 viols, and 3 players on the virginals. Charles I. in 1625 had in his pay 8 performers on the hautboys and sackbuts, 6 flutes, 6 recorders, 11 violins, 6 lutes, 4 viols, 1 harp, and 15 'musicians for the lute and voice,' exclusive of trumpeters, drummers, and fifers, Nicholas Laniere being master of the band; and in 1641 his band included 14 violins, 19 wind instruments, and 25 'musicians for the waytes,' besides a serjeant trumpeter and 18 trumpeters. Charles II. in 1660 established, in imitation of Louis XIV. a band of 24 performers on violins, tenors, and basses, popularly known as the 'four and twenty fiddlers.' This band not only played while the king was at meals, but was even introduced into the royal chapel, anthems being composed with symphonies and ritornels between the vocal movements expressly for them. After the death of Charles the band was kept up, but was somewhat
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