Scan 270
The American History and Encyclopedia of music Music Biographies Vol.1, 1910
15 lines. Read by computer on 15 September 2026. Printed page 248. See the scan on archive.org.
1Forster
2ranged for four voices and which appeared in five parts at Nuremberg from 1539 to 1556. In these were represented the most important composers of the day, and of the three hundred and eighty songs contained in it Forster contributed thirty-seven. The second part which contained psalms included Josquin de Pres' "Qui Habitat" for twenty-four voices and a Deo Gratias, generally attributed to Okeghem. The work was reprinted in score by Eitner in 1904. Forster also edited two volumes of sacred works in 1540 and 1542.
4Forster, William sr. 1739-1808.
5Eminent English violin-maker, who was born at Brampton, Cumberland, and went to London when twenty years of age, being then a cattle drover and undergoing many hardships and privations. He was finally hired by a music-seller named Beck, of Tower Hill, London, and in a few years went into business for himself (about 1781). He gained a great reputation for his instruments, which were of superior make. He is said to have copied Stainer and Amati, and attained high excellence. His double-basses, of which he made only a few, are very valuable and his cellos are ranked among the best. He later added to his business that of music publisher and in 1781 published in agreement with Joseph Haydn a number of that composer's works. Later he moved to the Strand, where his business grew and he became ultimately wealthy. He died in London at the house of his son, who followed in his father's steps as a maker of famous instruments.
7Forster, William jr. 1764-1824.
8He was a son of William Forster, sr., and is usually known as Royal Forster because of the fact that his title was "Music-seller to the Prince of Wales and the Duke of Cumberland." He followed his father as a maker of violins, and some of his instruments are of a high order of merit. The Forsters both obtained in their instruments a stronger and more penetrating tone than that possessed by others and they were highly favored by Robert Lindley, the famous violinist, and his school. William Forster, jr. died in London. He left two sons, one of whom, Simon, carried on the business founded by his grandfather, and wrote a history of the violin, jointly with W. Sandys.
10Foster, Muriel. 1877-
11Prominent English vocalist, a niece of the late Birket Foster, the artist, and a cousin of Myles Birket Foster, the composer and organist. She was born in Sunderland, and pursued her musical studies under Anna Williams at the Royal College of Music, London, gaining a scholarship in 1897. Her debut was made in oratorio, at Bradford, in King Saul, since when she has sung at most of the English and Welsh Festivals, has been heard in concert in London, in Russia, Holland, Germany and in America, being received everywhere with enthusiasm. In 1900, Miss Foster was made an Associate of the Royal College of Music and the same year sang by special command before the late Queen Victoria. The following year she made a tour of Canada with Mme. Albani, sang at the Lower Rhine Festival in 1902, at the Worcester Festival the same year, and before King Edward VII. and Queen Alexandra. Probably Miss Foster's most successful appearance was at the production of Elgar's Gerontius at the Roman Catholic Cathedral of Westminster. In London she is extremely popular in concert and has been heard in the Bach Choir, the Royal Choral Society, London Symphony and Ballad concerts and the Popular concerts. She appeared in the United States in 1905 and sang in Chicago with the Theodore Thomas Orchestra. She has a magnificent voice, which is a rich, deep, perfectly-schooled contralto, used with finished art. She is besides strikingly beautiful in face and figure.
13Foster, Myles Birket. 1851-
14English organist and composer, born in London, the eldest son of Birket Foster, the noted artist, and a cousin of Muriel Foster, the vocalist. His family, being Quaker, discouraged his interest in music, and placed him in the office of a stockbroker, but he left it in 1871 and studied for his favorite profession, first under Hamilton Clarke, and later in composition under Sullivan and Prout and the piano under Westlake. He held the position of organist of the Foundling Hospital from 1880 to 1892, and up to 1900 was musical editor to Messrs. Boosey, London.
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