Scan 83
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
25 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1manner The motets are unusual in that they have a structure similar to that of the cantata, with alternating choruses and solo sections. In these works too, there is evidence of French influence (particularly of a tradition founded by Henry Dumont at the court of Louis XIV), combined with the traditions of the Italian cantata. De Croes's son, Henri-Joseph de Croes (b Brussels, 16 Aug 1758, d Brussels, 6 Jan 1842), was from 1775 a violinist in the service of the Prince of Thurn and Taxis at Regensburg, and maître de chapelle from 1776 to 1783. He is known to have composed only one work, a set of violin duos which his father presented to Charles of Lorraine in the (unfulfilled) hope that his son might succeed him as maître de chapelle at the Brussels court
3WORKS
4Sacred Missa solemnis, d, 4vv, 4 insts, 1738, B-Be Messe breve d 4vv, 4 insts, Bc, Kyrie and Gloria, 4vv 4 insts, Bc 5 motets 4vv, 4 insts, Bc, Cum mirabiliter, motet, B solo 4 insts, Bc, 53 masses, lost, 63 motets, incl 24 with chorus, lost
5Cones 6 for 2 vn with 6 sonates a 4 parties, op 1 (Brussels, 1734) lost, 6 for 2 vn with 6 sonate, op 1 (n p, n d) (same as above), 4 for fl vn, with 4 divertimenti a 4 parti (Brussels, 1737), 1 for fl ob S-Skma, 2 for fl, Skma, 5 for fl, 2 vn, 1 for fl vn, 1 for fl, B-Be Other inst 6 sonates en trio, 2 vn/fl, bc, op 1 (Paris before 1743), 6 sonates en trio, 2 vn bc, op 1 (Brussels, 1737 49), pubd for 2 vn fl bc (Paris, before 1749), 6 divertissements, 2 vn, va bc, op 2 (Paris, 1743 55), 6 sonates a 4 parties, 2 vn, va, bc, op 4 (Brussels, 1747), 6 divertimento, 2 vn va, bc, op 4 (Paris, after 1749), 6 divertissements, 2 vn, vn/x, bc, op 4 (Paris, after 1750), 6 sonates en trio, 2 vn/fl bc, op 5 (Paris, n d), 16 symms orch, lost, 16 symphonies d'église, 4 insts, ob ad lib, lost
7BIBLIOGRAPHY
8FutterQ FettvB Riemann1 12
91) Mettenleiter Aus der musikalischen Vervangenheit bayerischer Stadte Musikgeschichte der Stadt Regensburg (Regensburg, 1866)
101) Vander Straeten La musique aux Pays-Bas avant le XVIIIe siècle, t. II, iv v vii (Brussels, 1867 85, R1969)
11R Fritner 'Henri-Jacques de Croes', MMg xv (1883) 116
12M Briquet 'La librairie musicale en France de 1653 à 1790' SIMG viii (1906 7) 401 66
13G Cucuel 'Quelque documents sur la librairie musicale au XVIIIe siècle', SIMG, xiii (1911 12), 385
14C van den Borren 'Au sujet du fond de musique ancienne provenant de l'église Sainte-Croix', Annuaire du Conservatoire royal de Bruxelles (1928 9), 129
15S Laerherl Das Regensburger Fürstlich Thurn und Taxische Hoftheater und seine Oper 1760 1786 (Regensburg, 1936)
16S Clerex Henri-Jacques de Croes compositeur et maître de musique du Prince Charles de Lorraine (Brussels, 1940)
17'Le dix-septième et le dix-huitième siècle', La musique en Belgique, ed F Closson and C van den Borren (Brussels, 1950)
18SUZANNE (THERCX-LEFLEUR)
20Croft [Crofts], William (b Nether Ettington, Warwicks., bapt:ved 30 Dec 1678, d Bath, 14 Aug 1727) English composer He was a chorister in the Chapel Royal under Blow, of whom, as appears from verses prefixed to Amphion anglicus (1700), he was not only a pupil but a protégé. There is no reason to reject the probability that he is the 'Phillip Crofts' mentioned in the parish archives of St Anne's Church, Soho, as organist from 1700. In that year he renewed his connection with the Chapel Royal as Gentleman Extraordinary, sharing that post, together with the reversion of a place as organist, with Jeremiah Clarke (i). In May 1704 they jointly succeeded Francis Pigott as organist of the chapel, and when Clarke died in 1707 the whole place fell to Croft. His anthems in celebration of the battles of Blenheim and Ramillies show that he was already by then supplementing Blow's duties as a composer, and on Blow's death in 1708 he followed him not only as composer and Master of the Children of the Chapel Royal but also as organist of Westminster Abbey. Rather curiously, at some time before 1712, he paid for the restoration of the monument in Norwich Cathedral to William Inglott. In 1712 he relinquished his post at St Anne's.
22In July 1713 Croft took the Oxford degree of DMus, being the earliest Oxford graduate in music relating to whom there survives solid extended work submitted for the degree, this took the form of two odes for solo voices, chorus and orchestra, With noise of cannon and Laurus cruentas, celebrating the Treaty of Utrecht, and published as Musicus apparatus academicus Croft was the senior Chapel Royal composer at the time when Handel began to find favour with Queen Anne, and even though there is no evidence of friction it is not impossible that this imposing volume may have seemed a means of maintaining the native composer's standing. In 1715 his stipend as Master of the Children of the Chapel Royal was increased by £80 a year, his duties to include teaching the boys reading, writing and arithmetic, as well as organ playing and composition. Croft broke new ground in 1724 by the publication of a handsome two-volume collection of his church music, entitled Musica sacra, engraved and in the form of a score rather than in parts, the advantages of which he cogently urged in his preface. A copy of his 'Proposals' to subscribers is now in the New York Public Library. A list dated 1726 (GB-1.lhm Add 11732) shows that Croft was one of the earliest members of the Academy of Vocal Music. He married in 1705, but died childless.
24William Croft engraving by George Virtue from Croft's 'Musica sacra' (1724)
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