Scan 89
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
28 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1pupil. He left £1000 to the Royal Society of Musicians, of which he had been a member since 4 December 1768
3BIBLIOGRAPHY
4DNB
5C F Cramer, ed Magazin der Musik, 11 (1784/R1971 4), 108, 110, 112, 740
61) Tysons History of the Origin and Progress of the Meeting of the Three Chords (Gloucester, 1812)
7Obituary, The Harmonicon, 11 (1825), 235
8W I Parke Musical Memoirs (London, 1830)
91 S J van der Straeten A History of the Violoncello (London, 1915/R1971)
11GRAHAM SADI FR
13Joan Cross as Elizabeth I in Britten's 'Gloriana'
15Cross, Joan (b London, 7 Sept 1900) English soprano and producer She was educated at St Paul's Girls' School, where she studied music with Holst, and at Trinity College of Music, where her singing teacher was Dawson Freer In 1924 she joined the chorus of the Old Vic, soon undertaking such roles as Cherubino and the First Lady (Die Zauberflöte). She was principal soprano of Sadler's Wells Opera from 1931 to 1946, she sang Kupava in the first performances in England of Rimsky-Korsakov's The Snow Maiden and Mitrissa in his The Tale of Tsar Saltan (both 1933). Her Covent Garden début was during the 1931 English opera season, as Mimi. Having directed the Sadler's Wells Opera Company, 1943 5, at the reopening of the theatre in 1945 she sang Ellen Orford in Peter Grimes; other Britten roles that she created are the Female Chorus in The Rape of Lucretia (Glyndebourne, 1946), Lady Billows in Albert Herring (Glyndebourne, 1947), Elizabeth I in Gloriana (Covent Garden, 1953) and Mrs Grose in The Turn of the Screw (Venice, 1954). A founder-member of the English Opera Group, she began producing opera in 1946 with Der Rosenkavalier (Covent Garden) and subsequently La traviata (Sadler's Wells, 1950) and several operas for the Norwegian National Opera. In 1948 with Anne Wood she founded the Opera School, which in 1955 became the National School of Opera A singer of sincerity, intelligence and technical skill, she was a complete operatic performer for whom words and music were of equal importance She was made a CBE in 1951
17BIBLIOGRAPHY
18C Hardy 'Joan Cross', Opera, 1 (1950), 22
19F Lockspeiser 'Cross, Joan', Le grandi voci (Rome 1964) [with opera discography by I B Richards]
21HAROLD ROSENTHAL
23Cross, Letitia (b c1681; d after April 1725). English singer, actress and dancer Miss Cross was 'the girl' in Purcell's theatre company in the last few months of his life, when he wrote several songs for her, including 'I attempt from love's sickness' (in The Indian Queen), 'Man is for the woman made' (The Mock Marriage) and 'From rosy bowers' (Don Quixote, part III) Daniel Purcell and Jeremiah Clarke later wrote for her A pert and lively personality is indicated by the prologues and epilogues she delivered and her acting roles such as Hoyden in Vanbrugh's The Relapse In 1698 she went off to France with 'a certain baronet' but returned in 1704 She resumed her old roles and songs and established herself as a dancer. Her last benefit was in April 1725 and she was described as 'dead some years' in 1731
25OLIVE BALDWIN, THELMA WILSON
27Cross, Thomas (b "London, ?1660 65; d ?London, ?1732 5) English music engraver, printer, publisher and music seller He was probably the son of the 17th-century engraver Thomas Cross, who engraved some frontispieces and portraits for John Playford's publications, including the portrait of the composer John Gamble (Ayres and Dialogues, 1656), and who may have engraved some music From 1683 to about 1710 the younger Cross often signed himself 'Tho Cross junior sculpt', as on his first known work, Purcell's Sonnata's of III Parts (1683), printed for the composer. From about 1692 to about 1720 he kept a music shop in London He was the first to issue songs in single sheet format rather than in collections, and from the 1690s a considerable number of these appeared under his imprint At first they were engraved on copper plates, which was an expensive method considering the ephemeral nature of the sheet songs, but he later used a cheaper material, probably pewter He had a virtual monopoly of the music engraving trade at the end of the 17th century and worked for composers and other publishers, including Cullen, Meares and Wright, in addition to issuing his own publications. Walsh soon became Cross's great rival, despite their occasional business association However, Cross scorned Walsh's frequent use of punches rather than pure engraving and warned on one of his sheet songs 'beware of the nonsensical puncht ones' It is doubtful that Cross ever did any work with punches, despite Hawkins's assertion that he did stamp the plates of a work by Geminiani References in Purcell's Orpheus britannicus (1698) and Blow's Amphion anglicus (1700) attest to his fame and to the popularity of the new sheet music. He engraved in a bold style and his early work is particularly fine. It is clear, however, that he employed assistants, which probably accounts for some of the differences in engraving
The computer misreads some letters and numbers. Where a name matters to you, read the scan.