Scan 85
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
86 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1O Lord God of my salvation, 3vv, 1724
2O Lord God of my salvation (full with verse) 4/6vv, Lhm Add 17847 and in 1724
3O Lord, grant the king a long life (full with verse), Oh Don c 19 and in 1724
4O Lord, I will praise thee, Lem 168 and in 1724
5O Lord our governor
6O Lord, rebuke me not (full with verse) Oh Don c 19 and in 1724
7O Lord, thou art my God
8O Lord, thou hast searched me out, 1724
9O praise the Lord all ye heathen, ed Boyce
10O praise the Lord, ye that fear him, 'Thanksgiving anthem composed by Her Majesty's command' [for the Battle of Mons, 22 Nov 1709], Lem 839 and in 1724
11O sing unto the Lord a new song, with vns a 2, thanksgiving, 17 Nov 1710
12Out of the deep, 1724
13Praise God in his holiness
14Praise God in his sanctuary, for the opening of the organ at Finedon, Northants, composed 1717 Oh Mus B 15
15Praise the Lord, O my soul, Oh Don c 19 and in 1724
16Preserve me, O God, Lhm Add 17848
17Put me not to rebuke (full with verse), ed Boyce
18Rejoice in the Lord, with orch, thanksgiving for the Battle of Ramilhes, composed 1706, Lhm Fg 2965 and in 1724
19Sing praises unto the Lord (full with verse), 1724
20Sing unto God, O ye kingdoms, 1724
21Sing unto the Lord and praise his name, composed for thanksgiving, Feb 1708, 1724
22Teach me, O Lord, composed 1723, Oh Mus C 1
23The earth is the Lord's, 1724
24The heavens declare the glory of God 1724
25The Lord hath appeared, thanksgiving for the Battle of Ramilhes, composed 1706, Oh Mus B 15
26The Lord is a sun and shield with orch, coronation of George I, in Oct 1714
27The Lord is king, 1724
28The Lord is my light, composed for thanksgiving, 31 Dec 1707, ed Page
29The Lord is my strength, anniversary of the accession, 8 March 1711 1724
30The Lord is righteous
31The souls of the righteous, funeral of Queen Anne, 1714
32This is the day which the Lord hath made, celebration of the Treaty of Utrecht, 7 July 1713, Lem 839 and in 1724
33Thou, O God, art praised in Sion, composed 1723, Oh Mus C 1 and in 1724
34Try me O God (full with verse), Lem 839
35Unto thee O God do we give thanks, inc, org score, C fm Mus 152
36We wait for thy loving kindness, 1724
37We will rejoice in thy salvation (full with verse), 1724
39SPECIAL VOCAL
40Musicae apparatus academicus, being a Composition of 20 Odes [Laurus cruentas, With noise of cannon], solo vv, chorus orch (1715)
41Ode to the Grand Khaibar, solo vv, chorus, after 1715, listed in Sotheby's auction catalogue, 14 June 1976
42Prepare, ye sons of art (ode), birthday of Queen Anne, GB-Lhm 1
43Songs By purling streams, with ob/fl (c1702), How insipid were life (c1705), How severe is my fate (c1700), Lovesick Jockey (c1705)
44My heart is every beauty's prey (c1710), What art thou [A Hymn on Divine Musick], in Harmonia sacra, ii (1714)
45Come all ye tuneful sisters, Lem, Fill me a bowl [The Mighty Bowl], Ouf, How charming is beauty, with vns, T, Softly breathing solemn airs, T, When gentle sleep, Lhm, Och, Ye tuneful numbers, with vn, Lhm, You who at Hymen's sacred altar stand, Lem
46Other songs pubd singly and in 17th-century collections, see C L Day and E B Murrie, English Song-books 1651-1702 (London, 1940), also pubd in The Monthly Mask of Vocal Music (1702-24) and other 18th-century anthologies
48INSTRUMENTAL
496 sonatas or solos, compos'd by Mr Wm Crofts & an Italian Mr, 3 for vn, bc, 3 for fl, bc (1700)
506 sonatas to which is added an excellent solo by sigr Papus, 2 fl (1704)
51Ayres in the Comedy of Courtship Alamode, str (1700)
52Mr Wm Croft's Ayres in the Comedy call'd The Funeral, str (1702)
53Mr Croft's Ayres in the Comedy called The Twinn Rivalls, str (1703)
54Mr Wm Croft's Musick in the Comedy call'd The Lying Lover, str (1704)
55Miscellaneous airs, minuets, etc, str, GB-Lem, Oh, Och
56Hpd music pubd in 18th-century anthologies, and in MS in Cfm, Lhm, F-Pc, ed H Ferguson and C Hogwood, William Croft Complete Harpsichord Works (London, 1974)
57Org voluntaries etc, GB-Lhm, Ldc, ed R Platt, William Croft Complete Organ Works (London, 1976 7)
59BIBLIOGRAPHY
60'The Tune "Hanover"', MT, xlv (1905), 101
61E Walker A History of Music in England (London, 1907, 3/1952) chap 7
62'The Bi-centenary of St Anne, St Matthew, and Hanover', MT, xlix (1908), 377
63F H Fellowes English Cathedral Music (London, 1941, 5/1969), chap 13
64S Lincoln 'Handel's Music for Queen Anne', MQ, xlv (1959), 191
65A Carpenter 'William Croft's Church Music', MT, cxn (1971) 175
66J Mefflen 'A Question of Temperament Purcell and Croft', MT cxix (1978), 504
67L Roe A Note on Croft's Secular Music', MT, cxix (1978), 501
68N Temperley 'Croft and the Charity Hymn', MT, cxix (1978), 539
69William Croft 1678 1727 Tercentenary Celebrations 1978 (Birmingham, 1978) [incl facs family tree and articles]
70WATKINS SHAW
72Croix, Antoine. See LACROIX, ANTOINI
74Croiza [Conelly], Claire (b Paris, 14 Sept 1882, d Paris, 27 May 1946) French mezzo-soprano. Croiza made her début in Nancy in December 1905 (in de Lara's Messalina) The following year she began her long association with the Théâtre de la Monnaie, Brussels (début as Delilah, September 1906), where her wide repertory included Berlioz's Dido, Clytemnestra in Gluck's Iphigénie en Aulide and in Strauss's Elektra, Erda, Carmen, Donizetti's Leonora, Massenet's Charlotte and Fauré's Penelope At the Paris Opéra she appeared in 1908, as Delilah At Rouché's Théâtre des Arts in 1913 she sang in the d'Indy editions of Poppea and Destouches' Éléments, and an act of Gluck's Orphée She sang the title role in Gustave Doret's La tasseuse d'orties at its first performance in 1926 at the Opéra-Comique, and in the first staged performance of Debussy's La damoiselle élue in 1919 at the Théâtre du Vaudeville
75From 1922 Croiza gave courses of interpretation at the Ecole Normale, and from 1934 at the Paris Conservatoire Janine Micheau, Jacques Jansen, Camille Maurane and Gérard Souzay were among her pupils She travelled largely as a recitalist, specializing in programmes illustrating French poetry of many periods She was a regular visitor to London, where she had an enthusiastic following
76Croiza's instinct for the nature of the French language and her intelligence, clarity of tone, and passionate reserve caused her to be admired as much by poets as by musicians; in 1924 Paul Valéry hailed her as possessing 'la voix la plus sensible de notre génération'. Among the older French composers of her day Saint-Saëns, d'Indy, Fauré and Duparc admired her unreservedly, and of the next generation Debussy, Schmitt, Roussel, de Bréville and de Séverac When she was no longer young, Honegger, Milhaud and Poulenc were delighted to entrust, and on occasion to dedicate, their songs to her Her silvery yet warm tone, and that 'volupté du son' based on pure, perfect utterance of the words, can still be heard on her gramophone records.
78BIBLIOGRAPHY
79H Abraham Un art de l'interprétation Claire Croiza (Paris, 1954) [based on notes of Croiza's teaching made at her classes]
80B Bannerman Recollections of Claire Croiza, Bulletin of the British Institute of Recorded Sound (1956), no 1, p 12 [with discography]
81MARTIN COOPER
83Crokhorne. See CRUMHORN.
85Croll, Gerhard (b Düsseldorf, 25 May 1927). Austrian musicologist of German origin. He studied musicology, art history and philosophy at the University of
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