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Scan 132
Grove's Dictionary of music and musicians, 1927
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1Wynn, Bart., Sir R. Jebb, Bart., and Messrs. Morrice and Pelham, who were afterwards joined by Viscount Fitzwilliam and Lord Paget (afterwards Earl of Uxbridge). The performances were also known as 'The King's Concerts.' Joah Bates was appointed conductor, the band was led by Hay, and the principal singers were Miss Harrop (afterwards Mrs. Bates), the Misses Abrams, Master Harrison (subsequently a famous tenor), Clarke, Minor Canon of St. Paul's (tenor), Dyne (counter-tenor), and Champness (bass).
3The chief rules of the concerts were that no music composed within the previous 20 years should be performed, and that the directors in rotation should select the programme. Bates retained the conductorship till 1793, and directed the concert personally, except for two years, when Arnold and Knyvett acted for him. He was succeeded by Greatorex, who remained in office until his death in 1831, when Knyvett, who had been the principal alto singer for many years, was chosen to succeed him. The resolution of the directors in 1839 to change the conductor at the choice of the director for each night led to the resignation of Knyvett, and the post was then offered to Dr. Crotch, who ultimately declined it. Sir George Smart was invited to conduct the first two concerts of 1840, and was succeeded by Bishop, Lucas and Turle. It was found, however, that this system did not work well, and in 1843 Sir Henry Bishop was appointed sole conductor. Until 1841 it was the custom for the conductor to preside at the organ, but in that year the directors appointed Charles Lucas as their organist. The band at the time of the establishment of the concerts consisted of 16 violins, 5 violas, 4 v'celli, 4 oboes, 4 bassoons, 2 double basses, 2 trumpets, 4 horns, 1 trombone, and drum. At the close of the concerts in 1848, it numbered 17 violins, 5 violas, 5 v'celli, 5 double basses, 3 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, 2 drums, 1 harp, 2 cymbals, and triangle. The canto chorus at first consisted entirely of boys selected chiefly from the boys of the Chapel Royal and Westminster Abbey, but they afterwards gave place to ladies. The earlier programmes included an overture (usually by Handel), two or three concertos by Handel, Martini, Corelli, Avison or Geminiani, several choruses and solos from Handel's oratorios, and an anthem, glee or madrigal; but occasionally an entire work, such as the Dettingen Te Deum, was given as the first part of the concert. For many years the programmes were almost exclusively Handelian, varied by songs from Gluck, Bach, Purcell, Hasse and others. After the year 1826 there was greater variety in the schemes, and Mozart's Jupiter symphony, his symphonies in D and E flat, the overture to the 'Zauberflöte,' and a selection from his Requiem were included in the programmes for 1826. From that date an orchestral work by Mozart was performed at nearly every concert, although Handel still maintained his supremacy. In 1834 we find Haydn's 'Surprise' symphony, and in 1835 a selection from the 'Creation' and the 'Seasons' in the programmes. In the latter year Beethoven was represented by his 'Prometheus' overture, and during the last 10 years of the concerts his symphony in D, overtures to 'Fidelio' and 'Egmont,' a chorus from 'King Stephen,' and other works were given. In 1847, at a concert directed by Prince ALBERT (q.v.), Mendelssohn was solo organist, and played Bach's Prelude and Fugue on the name of 'Bach.' In 1785 the Royal Family began to attend the concerts regularly, and then it was that they were styled 'The King's Concerts.' As a mark of his interest in the performances King George III. personally wrote out the programmes. Up to 1795 the concerts were held in the new rooms, Tottenham Street, afterwards known as the Queen's or West London Theatre, but in that year they were removed to the concert-room in the Opera House, and in 1804 to the Hanover Square Rooms. In addition to the twelve concerts given every year, a thirteenth was added, when the 'Messiah' was performed in aid of the 'Fund for the support of Decayed Musicians and their Families.' The last concert took place on June 7, 1848, and the library of old masters belonging to the society was afterwards removed to Buckingham Palace, and was subsequently presented to the Royal College of Music. (See Mus. Ass. Proc., 1906-07, p. 55, paper by J. E. Matthews.) C. M.
5ANCINA, P. GIOVENALE (b. Fossano, Piedmont, Oct. 19, 1545; d. Saluzzo (?), 1604), studied medicine, then theology; entered Filippo Neri's Congregatio dell' oratorio, where he studied composition and wrote his famous 'Tempio armonico della beata Vergine' (Rome, 1599), a collection of songs including some of his own composition. He also wrote a number of essays on music and musical instruments. In 1602 he became bishop of Saluzzo. He was poisoned by a monk.
7ANCONA, MARIO (b. Florence, 1870), operatic baritone, was educated for the law and started on a diplomatic career, but quickly took up singing and made his début in 1891 at Trieste as Scindia in Massenet's 'Roi de Lahore.' He was heard there by Signor Lago, who brought him to London and introduced him, in 1892, during a brief season at the Olympic Theatre, whereof his fine impersonation of Alfonso in 'La Favorita' was one of the few redeeming features. He had a voice of peculiar charm, sang like an artist, and was a good actor, qualities which secured him an engagement at Covent Garden in the following year and for many seasons afterwards. He made his début
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