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could mean supply outstripping demand for graduates. Bennett himself taught composition at the RAM; this was undoubtedly where his greatest interests lay at this period, and it appears that the examples he gave to his pupils concentrated on his own 'conservative' favourites of
Mendelssohn, Beethoven and Mozart. Nonetheless, the reputation and popularity of the RAM increased markedly under his stewardship. The number of pupils, which had dropped catastrophically at the time when the directors had proposed closing the institution, rose steadily. At the end of 1868 there had been 66 students. By 1870 the number was 121, and by 1872 it was 176.
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953:'s words, "As Chairman he succeeded, after the Government had withdrawn its annual grant, in winning it back, restored the financial credit of the house, and during seven years bore the harassing anxiety of complex negotiations with various public bodies of great influence who were discussing schemes for the advance of national musical education." The schemes referred to were two proposals which would have undoubtedly undermined the viability and influence of the RAM, one to merge it in a proposed National School of Music, backed by the
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621:, of whom Bennett disapproved; Costa was too devoted to Italian opera and not a partisan of the German masters, as was Bennett. Bennett wrote to Mendelssohn on 24 July, displaying some querulousness, "The Philharmonic Directors have engaged Costa ... with which I am not very well pleased, but I could not persuade them to the contrary, and am tired of quarrelling with them. They are a worse set this year than we have ever had."
1325:, Caldwell praises the overture (a Mendelssohn-style work originally written as a concert piece in 1844) "but the rest of the work is tame stuff". He comments that "both works received immense longstanding popularity and may be considered as the narrative prototype for the later Victorian secular and sacred forms ... conforming to the current standards of taste and respectability", anticipating such works as Arthur Sullivan's
632:, Op. 33, for his piano students at the college; they were published in 1853 and remained in widespread use by music students well into the twentieth century. In a profile of Bennett published in 1903, F. G. Edwards noted that Bennett's duties as a teacher severely reduced his opportunity to compose, although he maintained his reputation as a soloist in annual chamber music and piano recitals at the
1436:... a discharge of musical artillery in the shape of drums, seconded by blasts of trombones and trumpets that seemed to realise all that we have heard of a tropical tornado. ... So very clever and promising a young man ought to meet with every kind of reasonable encouragement, but judicious and true friends would have hinted to him that his present production is the dry result of labour.
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music was ... too difficult to listen to." Newspaper reviews of the chamber concerts in which he included the music of Bach would initially describe the music in terms such as "grandeur there is, but no beauty" (1847) or "somewhat antiquated ... extremely interesting" (1854). A significant turning point was the attendance of Prince Albert at
Bennett's 1858 performance of the
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the limits which the conscientiousness of his self-criticism would not let him overstep. It is this which makes him, as has been said, so peculiarly a musician's composer: the broad effects and bold contrasts which an uneducated public admires are absent; it takes an educated audience to appreciate to the full the exquisitely refined and delicate nature of his genius.
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a German one. The
Leipzig public, which had initially held that view, had been rapidly converted. Mendelssohn wrote to Bennett "... y Countrymen became aware that music is the same in England as in Germany and everywhere, and so by your successes you have destroyed that prejudice which nobody could ever have destroyed but a true Genius."
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1250: ... peculiarly his own, essentially classical in nature, but with reference to a multiplicity of influences from his own performance repertory." The early piano works were all praised by Robert Schumann, and Temperley points out how Schumann himself was influenced by them, with (as examples) clear traces of Bennett's Op. 16
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Through his concert initiatives at the
Hanover Rooms Bennett introduced a variety of chamber music to London audiences. His championship also significantly changed British opinion of the music of JS Bach. His "promotion of Bach was a story of perseverance against a contemporary perception that Bach's
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His sense of form was so strong, and his refined nature so abhorred any mere seeking after effect, that his music sometimes gives the impression of being produced under restraint. He seldom, if ever, gave rein to his unbridled fancy; everything is justly proportioned, clearly defined, and kept within
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From this point in his life
Bennett was ever increasingly involved in the burdens of musical organization. In the opinion of Percy Young, he became "the prototype of the modern administrative musician ... he eventually built for himself an impregnable position, but in doing so destroyed his once
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writes that the death of
Mendelssohn in 1847 came to Bennett as "an irreparable loss". The following year, Bennett severed his hitherto close ties with the Philharmonic Society, which had presented many of his most successful compositions. This break resulted from an initially minor disagreement with
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became vacant. With
Mendelssohn's strong encouragement Bennett applied for the position. Mendelssohn wrote to the principal of the university, "I beg you to use your powerful influence on behalf of that candidate whom I consider in every respect worthy of the place, a true ornament to his art and his
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Yet it must be confessed that attempted nothing really great. He does not profoundly impress the feelings, rouse the imagination, carry the listener along by the irresistible force of genius; and his music, though its charm will long be recognized, can have no lasting effect upon the development of
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Schumann, by contrast, wrote: "The overture is charming; indeed, save Spohr and
Mendelssohn, what other living composer is so completely master of his pencil, or bestows with it such tenderness and grace of colour, as Bennett? ... Essay measure after measure; what a firm, yet delicate web it is
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As a composer
Bennett was acknowledged in his time in both Britain and (particularly in the first half of the century) in Germany, although many British music lovers and several leading critics remained reluctant to acknowledge the possibility that an English composer could be of the same stature as
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as soloist, and with Prince Albert in the audience, brought in a substantial subscription, but was musically disastrous (and was not helped by the chaos of a seriously overcrowded venue). One member of the audience thought Lind's voice was "worn and strained" and that there would have been "vehement
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considerable creative talent." Bennett became a victim as well as a beneficiary of a trend towards professionalization in the music industry in
Britain; "The Principal and the Professor became powerful, whereas the status of the composer and the executant (unless foreign) was implicitly downgraded."
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From 1842, Bennett had been a director of the Philharmonic Society of London. He helped to relieve the society's perilous finances by persuading Mendelssohn and Spohr to perform with the Society's orchestra, attracting full houses and much-needed income. In 1842, the orchestra, under the composer's
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he most complete and gratifying performance was that of young Bennett, whose composition would have conferred honour on any established master, and his execution of it was really surprising, not merely for its correctness and brilliancy, but for the feeling he manifested, which, if he proceed as he
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in Oxford. Of his total of some 130 compositions, about a third have been recorded for CD; among these are symphonies, overtures, piano concerti, chamber music, songs and piano solo music. During his bicentenary year of 2016, several concerts and events dedicated to Bennett's works were performed,
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It would appear that Bennett displayed and aroused greater emotion through his piano technique than from his compositions. Stanford writes that "his playing ... was undoubtedly remarkable and had a fire and energy in it which does not appear on the gentle surface of his music", and notes that
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opera house. Chorley added, "I cannot remember one great instrumental player the Academy has turned out during the last 25 years." Bennett himself was not entirely in accord with the emphasis Chorley placed on instrumental training for the RAM; he was concerned (and with reason) that such a policy
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Bennett was to find that heading a leading music college was incompatible with a career as a composer. The post of Principal was traditionally not arduous. He was contractually required to attend for only six hours a week, teaching composition and arranging class-lists. But Bennett had not only to
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suggests that "he never recovered from the effects of Mrs. Bennett's death, and that henceforward a painful change in him became apparent to his friends." In 1865, Bennett again visited Leipzig where he was reunited with old friends including Ferdinand David, and his Op. 43 Symphony was performed.
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Donn. In addition to his duties as an organist, Robert Bennett was a conductor, composer and piano teacher; he named his son after his friend William Sterndale, some of whose poems the elder Bennett had set to music. His mother died in 1818, aged 27, and his father, after remarrying, died in 1819.
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in London (and therefore partisans of the displaced Costa), and, in addition, Bennett proved unable to resolve personal animosities amongst his leading players. Costa took to arranging schedules for his musicians which made rehearsals (and sometimes performances) for the Society impractical. This
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One might guess that the early loss of both parents produced in Bennett an exceptionally intense need for reassurance and encouragement. England could not provide this for a native composer in his time. He found it temporarily in German musical circles; yet, when the opportunity came to claim his
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appeared the idiom of music had changed and he had not changed with it. ... He was too conservative to move with the times. ... might all have been written in the forties; they are survivals of an earlier method, not developments but restatements of a tradition." Firman comments that
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Temperley feels that the early symphonies are the weakest works of this period, but he suggests that "few piano concertos between Beethoven and Brahms are as successful as Bennett's in embodying the Classical spirit, not in a stiff frame to deck with festoons of virtuosity, but in a living form
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Bennett had been at first slightly in awe of Mendelssohn, but no such formality ever attached to Bennett's friendship with Robert Schumann, with whom he went on long country walks by day and visited the local taverns by night. Each dedicated a large-scale piano work to the other: in August 1837
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Bennett had a significant influence on English music, not solely as a composer but also as a teacher, as a promoter of standards of musical education and as an important figure in London concert life. In recent years, appreciation of Bennett's compositions has been rekindled and a number of his
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claimed that Bennett was "bitterly prejudiced against the new school, as he called it. He would not have a note of Schumann; and as for Wagner, he was outside the pale of criticism." In Bennett's 1858 lecture on "The visits of illustrious foreign musicians to England", the latest mention is of
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of his own composition, to be conducted by Costa and using the orchestra and singers of the Opera, over the heads of the Academy directors. Bennett resigned from the RAM at this overbearing behaviour, and was not to return until 1866. Towards the end of 1862 Bennett's wife died after a painful
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for piano, "three of Bennett's loveliest pictures". The essay ends: "For some time now he has been peering over my shoulder, and for the second time he has asked 'But what are you writing?' Dear friend, I shall write no more than: 'If only you knew!'" Bennett however had from the outset some
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agrees that "is best work, like his piano playing, was full of passion none the less powerful for being Mozartian (that is to say, perfectly controlled)", and characterizes him as "essentially a composer for the piano, a composer of the range (not necessarily the stature) of Chopin".
751:. He was greatly tempted by the offer, but felt it his duty to remain in England, as the offer came too late for Bennett to make alternative arrangements for some of his pupils, and he refused to let them down. After the controversial 1855 season of the Philharmonic Society at which
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1230:'", Bennett noted "I have no intention of treating him disrespectfully; that I entirely misunderstand him and his musical opinions may be my fault and not his. At any rate he possesses an influence at this moment over musical life, which it would be impossible to overlook."
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327:. Although by common consent the RAM had little more to teach him after his seventh or eighth year, he was permitted to remain as a free boarder there until 1836, which suited him well, as his income was small. In May 1835 Bennett made his first appearance at the
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In June 1853 Bennett made his last public appearance as a soloist with orchestra in his own Fourth Piano Concerto. This performance was given with a new organization, the Orchestral Union, and followed a snub from Costa, who had refused to conduct the pianist
1556:. Bennett's contributions to elevating musical training standards at Cambridge and the RAM were part of a trend in England in the latter part of the 19th century whose "cumulative effect ... prior to World War I was incalculable", according to Caldwell.
617:, two months after its world premiere in Leipzig. In 1844, Mendelssohn conducted the last six concerts of the society's season, in which among his own works and those of many others he included music by Bennett. From 1846 to 1854, the Society's conductor was
1520:. Although Bennett's reputation in Germany did not notably survive the 1840s, his English pupils had significant influence on British music of the later 19th and earlier 20th century Britain. Among his pupils at the RAM and elsewhere were Arthur Sullivan,
1226:, and could only say in favour of Berlioz that he "must be allowed the character of a successful and devoted artist ... it cannot be doubted that his treatment of a great orchestra is masterly in the extreme." Of Wagner, "the hero of the so-called '
930:, who was then professor of piano at the RAM. He declined and urged the directors to appoint Bennett. Lind, who was Goldschmidt's wife, wrote that Bennett "is certainly the only man in England who ought to raise that institution from its present decay".
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Bennett's early period of composition was fruitful and includes those of his works which are most esteemed today. By the time of his first visit to Germany (1836) he had already written, amongst other works, five symphonies and three piano concerti.
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Bennett's stewardship of the Philharmonic Society orchestra was not entirely happy, and the historian of the orchestra, Cyril Ehrlich, notes "a sense of drift and decline". Many leading members of the orchestra were also in the orchestra of the
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noted that Bennett spent too much time giving private lessons to keep up with changing trends in music: "His only chance of learning new music is in the carriage on the way from one lesson to another." Among his pupils was the composer
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On Bennett's return to London he took up a teaching post at the RAM which he held until 1858. During his second long stay in Germany, from October 1838 to March 1839, he played his Fourth Piano Concerto (Op. 19, in F minor) and the
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Bennett was a pupil at the RAM for the next ten years. At his grandfather's wish his principal instrumental studies were at first as a violinist, under Paolo Spagnoletti and later Antonio James Oury. He also studied the piano under
100:
In 1858, Bennett returned to composition, but his later works, though popular, were considered old-fashioned and did not arouse as much critical enthusiasm as his youthful compositions had done. He was Professor of Music at the
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You can learn to sing or to play an instrument, you can make your spouse out of music, but you’ll be never able to emulate the greatest of all symphonies, the one that pattering rain and vigorous wind create in the long winter
946:, refused to renew the grant. The directors of the RAM decided to close it, over the head of Bennett as Principal. Bennett, with the support of the faculty and the students, assumed the Chairmanship of the board of directors.
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Temperley writes: "After 1855 was spurred by belated honours, and occasional commissions, to compose a respectable number of significant and substantial works, though it was too late to recapture his early self-confidence."
686:. The intransigence of both parties inflated this into a furious row, and began a breach between them which was to last throughout Bennett's career. Bennett was disgusted at the Society's failure to back him up, and resigned.
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works, including a symphony, his piano concerti, some vocal music and many of his piano compositions, have been recorded. In his bicentenary year of 2016, several concerts of his music and other related events took place.
214:, and after five years, with his grandfather's agreement, he took the piano as his principal study. He was a shy youth and was diffident about his skill in composition, which he studied under the principal of the RAM,
58:(RAM), where he remained for ten years. By the age of twenty, he had begun to make a reputation as a concert pianist, and his compositions received high praise. Among those impressed by Bennett was the German composer
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Overture, Op. 20. Returning to England, he wrote to his Leipzig publisher Friedrich Kistner in 1840, bemoaning the difference between England and Germany (and hoping that a German would redress the situation):
331:, playing the premiere of his Second Piano Concerto (in E-flat major, Op. 4), and in the following year he gave there the premiere of his Third Concerto (in C minor, Op. 9). Bennett was also a member of the
1404:; texts of his lectures were edited and published in 2006. At a Sheffield lecture in 1859 he also played works of the composers he discussed, and "so may be regarded as the founder of the lecture-recital".
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sees the marriage as marking a break in Bennett's career; "from 1844 to 1856 was a freelance teacher, conductor and concert organiser; a very occasional pianist and a still more occasional composer."
1003:, London. According to his son the cause was "disease of the brain"; unable to rise one morning, he had fallen into a decline and died within a week. He was buried on 6 February, close to the tomb of
864:. The Ode for the Exhibition was the cause of a further imbroglio with Costa, who although in charge of music for the Exhibition refused to conduct anything by Bennett. Eventually it was conducted by
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were given by the Society in 1858 and 1862, the latter coinciding with the publication of Bennett's own edition of the work, with a translation of the text into English by his pupil Helen Johnston.
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took me to his house and gave me the printed score of 'Melusina', and afterwards we supped at the 'Hôtel de Bavière', where all the musical clique feed ... The party consist of Mendelssohn,
394:, "I think him the most promising young musician I know, not only in your country but also here, and I am convinced if he does not become a very great musician, it is not God's will, but his own".
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In 1844, Bennett married Mary Anne Wood (1824–1862), the daughter of a naval commander. Composition gave way to a ceaseless round of teaching and musical administration. The writer and composer
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has no rapids and no falls; it winds along under its woods in a gentle stream, never dry and never halting; it is the type of the spirit of English folkmusic ... England is as remote from
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He maintained his British characteristics throughout his life ... The English take a kind of pride in concealing their feelings and emotions, and this is reflected in their folk-song. The
271:. The concerto received its public premiere at an orchestral concert in Cambridge on 28 November 1832, with Bennett as soloist. Performances soon followed in London and, by royal command, at
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I must admit I envy scientists. Unlike the vast majority of us, they can speak the language of truth and, while they engage in conversation with God, the universe flows between their fingers
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Bennett always treated the name "Sterndale" as a given name rather than part of his surname; after he was knighted he was known as "Sir Sterndale Bennett". "Sterndale" was adopted into a
926:, the Principal of the RAM, announced his retirement. The position was first offered to Costa, who demanded a higher salary than the directors of the RAM could contemplate, and then to
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gave an "impression that was capable of exerting only waning authority amongst professionals". Moreover, comparing London with other centres around the mid-century, Ehrlich notes "
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conducted, Bennett was elected to take over the conductorship in 1856, a post which he held for ten years. At his first concert, on 14 April 1856, the piano soloist in Beethoven's
1366:(Berlin 1830), which followed Mendelssohn's revival of the work; this was revised with reference to the score published by the Leipzig Bach Society in 1862. Bennett's additional
628:, Bennett, as one of the Founding Directors, delivered an inaugural lecture and joined the staff, while continuing his work at the RAM and private teaching. He wrote the thirty
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for piano and orchestra, Op. 22, in Leipzig. Despite his then-pessimistic view of music in England, Bennett missed his chance to establish himself in Germany. The musicologist
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Bennett's son, James Robert Sterndale Bennett (1847–1928), wrote a biography of his father. Many of the composer's descendants became musicians or performers, including:
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As well as the demands of his work as a teacher and pianist, there were other factors that may have contributed to Bennett's long withdrawal from large-scale composition.
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by Queen Victoria (two years after his old antagonist Costa had been accorded the same honour), and, in 1872, he received a public testimonial before a large audience at
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Bennett left a substantial music library, a large proportion of which is owned by his great-great-grandson Barry Sterndale Bennett (born 1939) and is on deposit at the
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assesses his early songs as "exquisitely judged essentially Mendelssohnian affairs ... the integration and coherence of their accompaniments is a strong feature."
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country, and indeed one of the best and most highly gifted musicians now living: Mr. Sterndale Bennett." Despite this advocacy Bennett's application was unsuccessful.
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Bennett's "Come Live with Me", English Vocal Consort of Helsinki (Iida Antola, soprano, David Hackston, countertenor, Martti Anttila, tenor, Valter Maasalo, baritone)
54:(13 April 1816 – 1 February 1875) was an English composer, pianist, conductor and music educator. At the age of ten Bennett was admitted to the London
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published data in that year showing that only 17 per cent of orchestral players in Britain had studied there. No alumni of the RAM were members of the orchestra at
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was unenthusiastic about the work, but allowed that "Professor Bennett took infinite pains with the symphony; it was magnificently played and favourably received."
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In 1837 Bennett began to teach at the RAM, with which he was associated for most of the rest of his life. For twenty years he taught there, later also teaching at
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for ten years. He also actively promoted concerts of chamber music. From 1848 onward, his career was punctuated by antagonism between himself and the conductor
1499:'s Senior Musical Knight". Temperley assesses Bennett as the most distinguished British composer of the early Victorian era, "the only plausible rivals being
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In May 1836, Bennett travelled to Düsseldorf in the company of Davison to attend the Lower Rhenish Music Festival for the first performance of Mendelssohn's
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Firman writes that Bennett's finest works are those for the piano: "Rejecting the superficial virtuosity of many of his contemporaries, he developed a style
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The first concert of the Philharmonic Society's season, on 18 March, began with a tribute to its sometime conductor: pieces from his unfinished music for
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747:(Davison's wife) in Bennett's Third Concerto at the Philharmonic Society. In the same year Bennett declined an invitation to become the conductor of the
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run the RAM but to save it from imminent dissolution. The RAM had been temporarily saved from bankruptcy by grants from the government, authorised by
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There is no doubt: the only purpose of a good teacher is to see his student becoming better than him. If this does not occur, he has wasted his gift.
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Outside these countries, Bennett remained almost unknown as a musician, although his reputation as a conductor led Berlioz to invite him to join his
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You know what a dreadful place England is for music; and in London I have nobody who I can talk to about such things, all the people are mad with
206:(RAM), which had been founded in 1822. The examiners were so impressed by the child's talent that they waived all fees for his tuition and board.
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demonstrations of derision had not the audience been restrained in the presence of Royalty". Newspaper critics were scarcely more complimentary.
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from 1856 until 1875. In 1866 he became Principal of the RAM, rescuing it from closure, and remained in this position until his death. He was
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Wright, David (2005). "The South Kensington Music Schools and the Development of the British Conservatoire in the Late Nineteenth Century".
577:, works for piano solo, and string sonatas by Mendelssohn and others. Amongst those taking part in these recitals were the piano virtuoso
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shows that "Bennett was a good craftsman whose only fault was a dread of the operatic ... One would probably tolerate the narrative
739:, Bennett was appointed a Metropolitan Local Commissioner, Musical Juror and superintendent for the music at the opening Royal ceremony.
666:(for whom Bennett wrote his Sonata Duo); composers represented included—apart from Bennett's favourite classical masters and Mendelssohn—
646:, "then almost novelties". Over the years he gave over forty concerts at this venue, and amongst those who took part were the violinists
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39:
335:, founded in 1834 to promote specifically British musicians and compositions. Davison wrote in 1834 that Bennett's overture named for
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1044:, to whom Mendelssohn had introduced Bennett at Joachim's London debut in 1844. The final concert of the season (5 July) included an
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Bennett returned to London in March 1842, and continued his teaching at the RAM. The next year the post of professor of music at the
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to Wandsworth parish church. He held the post for a year, after which he taught private students in central London and at schools in
283:. The RAM published the concerto at its own expense as a tribute. A further London performance was given in June 1833. The critic of
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Music in the Victorian Era from Mendelssohn to Wagner: Being the memoirs of J. W. Davison, Forty Years Music Critic of "The Times"
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blue plaque has been placed at the house in 38 Queensborough Terrace, London, where Bennett lived during many of his later years.
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70:, who shared Mendelssohn's admiration for his compositions. Bennett spent three winters composing and performing in Leipzig.
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Parrott, Isabel (2008). "William Sterndale Bennett and the Bach Revival in Nineteenth-Century England". In Cowgill, Rachel;
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both in the solo music sections (based on the Leipzig full score) and elsewhere. Bennett also produced editions of Bach's
790:. London had the richest of audiences, and was offered Sterndale Bennett." He instances the London premiere of Schumann's
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889:. Two years later on 8 June 1868 the newly formed (later Royal) College of Organists awarded him an Honorary Fellowship.
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also commissioned for the occasion. The affair leaked into the press, and Costa was widely condemned for his behaviour.
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Bennett's son, in his biography of his father, juxtaposes as illustrations English and German reviews of the overture
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Memorial in Sheffield Cathedral (until 1914 Sheffield Parish Church). It quotes the opening bars of "God is a Spirit".
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992:, London. The money subscribed at this event founded a scholarship and prize at the RAM, which is still awarded. An
455:, Op. 16. Schumann was eloquently enthusiastic about Bennett's music; in 1837 he devoted an essay to Bennett in the
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enjoyed in their hey-day "a popularity that was in inverse relation to their intrinsic merit". Caldwell notes that
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Bennett's attitudes to the music of his continental contemporaries, aside from that of Mendelssohn, were cautious.
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390:(Op. 15). After Bennett left for home, Mendelssohn wrote to their mutual friend, the English organist and composer
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31:
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including concerts and seminars at the RAM. From 11 to 15 April 2016 he was featured as 'Composer of the Week' on
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In March 1856 Bennett, while still teaching at the RAM and Queen's College, was elected Professor of Music at the
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The School eventually emerged as the National Training School for Music (1876) which proved a precursor for the
222:, who took over as principal in 1832. Among the friends Bennett made at the Academy was the future music critic
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252:... we will not speak", but acknowledged that Bennett sang pleasingly and to the satisfaction of the audience.
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308:. Bennett asked, "May I come to be your pupil?" Mendelssohn replied, "No, no. You must come to be my friend".
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1295:(1839) came to overshadow the more innovative works of his earlier period such as the Sonata Op. 13, and the
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Bennett had been impressed in Leipzig with the concept of chamber music concerts, which had been, apart from
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487:, and I have not heard a single Symphony or Overture in one concert since last June. I sincerely hope that
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The RAM in 1866 was in poor shape in terms of influence and reputation as well as financially. The critic
896:, the original founder of the RAM, saw fit to arrange a subscription concert for the Academy to include a
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89:. Throughout the 1840s and 1850s he composed little, although he performed as a pianist and directed the
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However, Bennett's son records that, as well as having given in 1856 the English premiere of Schumann's
848:, which included a lament for the late Prince Albert; a symphony in G minor (Op. 43); a sacred cantata,
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reservations about Schumann's music, which, he told Davison in 1837, he thought "rather too eccentric".
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in February 1824 where he remained for two years. In 1826, at the age of ten, he was accepted into the
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Temperley suggests that, despite his reverence for Mendelssohn, Bennett took Mozart as his model.
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Anon (1943). "Mendelssohn, Sterndale Bennett and the Reid Professorship: An Unpublished Letter".
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984:(1870). The Philharmonic Society awarded him its Beethoven gold medal in 1867. In 1871, he was
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as the soloist in his Third Piano Concerto with Mendelssohn conducting. He later conducted his
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by his paternal grandfather, John Bennett, from whom he received his first musical education.
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Serenata from Bennett's Piano Sonata, Op. 13, and Toccata, Op. 38, performed by Julian Hellaby
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Thomas Case Sterndale Bennett (1882–1944), a grandson, a composer and singer, whose daughter
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Concerto was Clara Schumann, wife of his old friend. It was her first appearance in England.
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Clara Schumann – An Artist's Life, Based on Material Found in Diaries and Letters – Volume 2
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portrayed Bennett as 'Starwood Burney' in her popular eulogy of Mendelssohn, the 1853 novel
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942:, in 1864 and 1865. The following year Gladstone was out of office, and the new Chancellor,
860:, Op. 46). Many of these works were composed during his summer holidays which were spent at
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called Bennett "probably the greatest composer produced by England" with the exception of
401:. He was there from October 1836 to June 1837, during which time he made his debut at the
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Edwards, Frederic George (1903c). "William Sterndale Bennett (1816–1875), Part 3 of 3".
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After Bennett's first visit to Germany there followed three extended visits to work in
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recitals, a rarity in London. He began in 1843 a series of such concerts including
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earned place as a leader in German music, he was not quite bold enough to grasp it.
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226:. Bennett did not study singing, but when the RAM mounted a student production of
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examinations and requiring candidates for doctorates to first take the degree of
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Jewry in Music: Entry to the Profession from the Enlightenment to Richard Wagner
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The Oxford History of English Music. Volume II – From c. 1815 to the Present Day
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Bennett's style did not develop after his early years. In 1908 the musicologist
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Bennett received honorary degrees from the universities of Cambridge (1867) and
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Works from his later years included the cello Sonata Duo for Piatti; a pastoral
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match ever played in Germany, ("as fitting a Yorkshireman" as the musicologist
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On Bennett's third trip, from January to March 1842, in which he also visited
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Among Bennett's student compositions were a piano concerto (No. 1 in D minor,
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more readily if the inserted movements showed any spark of life." As regards
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1362:(with piano accompaniment) was adapted from the German edition prepared by
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Costa over his interpretation at the final rehearsal of Bennett's overture
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386:. Inspired by his journey up the Rhine, Bennett began work on his overture
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2659:"From George Harrison to Zayn Malik: the pop stars who left their bands"
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Firman, Rosemary (2004). "Bennett, Sir William Sterndale (1816–1875)".
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Robert Sterndale Bennett (1880–1963), a grandson, director of music at
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to Bennett, who reciprocated the dedication a few weeks later with his
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382:. Bennett's visit was enabled by a subsidy by the piano-making firm of
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258:, however, called his performance "in every way a blot on the piece".
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3034:, Grove Music Online, Oxford University Press, accessed 5 March 2015
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was "the best thing that has been played at the Society's concerts".
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has begun, must in a few years place him very high in his profession.
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In 1858 came yet another clash involving Costa, when the autocratic
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and hailing the G minor symphony (Op. 43), but tempered his praise:
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879:. He modernised the system of awarding music degrees, instituting
162:, the third child and only son of Robert Bennett, the organist of
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3569:
Europe, Empire, and Spectacle in Nineteenth-Century British Music
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with Otto Goldschmidt (1863), based on German hymns collected by
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Although named 'Royal Academy' from the outset, it received its
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markings were shown in parentheses for distinction. He provided
909:
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3956:, celebrating Bennett's bicentenary, includes details of events
3737:
Temperley, Nicholas (1989a). "Schumann and Sterndale Bennett".
3693:. Vol. 4. London: Smith, Elder & Co. pp. 247–251.
1389:
1113:
787:
496:
324:
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3283:
Bush, Geoffrey (1986). "Sterndale Bennett and the Orchestra".
1260:, Op. 21 no. 7 (1838), and parallels between Bennett's Op. 12
348:
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capable of organic growth, and even of structural surprise."
1139:
242:). This was among the few failures of his career at the RAM.
171:
Thus orphaned at the age of three, Bennett was brought up in
3999:
3216:. Helen Johnston (trans). London: Lamborne Cock, Hutchings.
4376:
3589:(1980). "London, §7, 4 (v): Royal College of Music (RCM)".
1473:
two centuries earlier, echoing Schumann's sentiments about
1339:
Bennett edited some of the keyboard works of Beethoven and
1202:
Bennett's performances were eulogized by, amongst others,
999:
Bennett died, aged 58, on 1 February 1875 at his house in
300:, who was sufficiently impressed to invite Bennett to the
236:
role of the page boy Cherubino (usually played by a woman
43:
William Sterndale Bennett – engraving after a portrait by
1460:
in Bennett's music led to polite but sardonic responses.
1354:. He supervised the first British printed edition of the
3950:(From the Sibley Music Library Digital Score Collection)
2259:
2257:
3775:. Bloomington, Indianapolis: Indiana University Press.
2940:"Music: Curious Contrasts -- Progress and Conservatism"
1771:
1769:
409:
overture. During this visit he also arranged the first
357:
Felix Mendelssohn (detail) by James Warren Childe, 1839
2820:
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706:
In 1849, Bennett became the founding president of the
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3595:. Vol. 11. London: Macmillan. pp. 213–214.
2899:
Bennett (1907), p. 154. (letter of 17 December 1843).
2419:
2254:
1456:. Davison's attempts to interest the French composer
311:
In 1834, Bennett was appointed organist of St Ann's,
109:
in 1871. He died in London in 1875 and was buried in
6666:
Choristers of the Choir of King's College, Cambridge
3851:
Sterndale Bennett – A Descriptive Thematic Catalogue
3792:
Lectures on Musical Life – William Sterndale Bennett
3420:"William Sterndale Bennett (1816–1875), Part 2 of 3"
3382:"William Sterndale Bennett (1816–1875), Part 1 of 3"
3212:
Bach, J S (1862). Bennett, William Sterndale (ed.).
3181:
Bach, J S (n.d.). Bennett, William Sterndale (ed.).
1944:
1942:
1766:
1635:
page on the RAM website (accessed 23 December 2015).
1291:
later popular, and more superficial, pieces such as
1084:(1884–1982), a grandson, a Canadian theatre director
3808:
3610:Schumann, Clara (2013) . Litzmann, Berthold (ed.).
3251:(1965). "Sterndale Bennett: The Solo Piano Works".
3101:, on Olivia Sham website, accessed 11 January 2016.
2815:
2470:
Bennett (1907), p. 398; Wright (2005), pp. 238–239.
1048:in memory of Bennett composed by his old associate
3809:Temperley, Nicholas; Williamson, Rosemary (n.d.).
520:
3635:Schumann in music – a Selection from the Writings
3633:Schumann, Robert (1988). Pleasants, Henry (ed.).
3571:. Aldershot: Ashgate Publishing. pp. 29–44.
1939:
1218:Mendelssohn, bypassing Chopin, Wagner, Verdi and
1109:List of compositions by William Sterndale Bennett
1090:(born 1985), a great-great-grandson, a musician (
609:baton, gave the London premiere of Mendelssohn's
491: ... will do something to improve our taste.
417:comments). At this time Bennett wrote to Davison:
232:in 1830, Bennett, aged fourteen, was cast in the
198:colleges. The young Bennett entered the choir of
6582:
2509:, Royal Academy of Music. Accessed 5 March 2015.
461:, praising amongst other works Bennett's Op. 10
3592:The New Grove Dictionary of Music and Musicians
2326:Bennett (1907), p. 454; Ehrlich (1995), p. 105.
689:
636:, which included chamber music and concerti by
1862:
1860:
4124:
3985:
3132:, BBC Radio 3 website, accessed 30 July 2017.
2998:
1078:(1914–1996) was a well-known West End actress
1015:quartet, "God is a Spirit", from his cantata
910:Principal of Royal Academy of Music (1866–75)
728:on 6 April 1854. Further performances of the
433:, a musical editor, who expected to see me a
3548:The Philharmonic Society of London 1813–1912
3522:(online ed.). Oxford University Press.
3253:Proceedings of the Royal Musical Association
2743:Temperley (2006), pp. 45–57, and p. 57 n. 1.
856:of 1867; and finally a second Piano Sonata (
529:Mary Anne Wood, whom Bennett married in 1844
30:For other people named William Bennett, see
2850:
2848:
2275:
2164:
2162:
2014:
1996:
1978:
1874:
1872:
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1669:at a Philharmonic Society concert in 1864.
1400:Bennett lectured both at Cambridge and the
349:Germany: Mendelssohn and Schumann (1836–42)
142:Bennett in the uniform of a student of the
77:. Among his pupils during this period were
6731:Royal Philharmonic Society Gold Medallists
4131:
4117:
3992:
3978:
3848:
3770:
3736:
1661:, his father frequently played Schumann's
1452:solicited his support for the Netherlands
1254:(1837) (in effect a sonata) on Schumann's
1142:fire and agony, as the Thames is from the
3942:International Music Score Library Project
3789:
3618:. Cambridge: Cambridge University Press.
3346:. Cambridge: Cambridge University Press.
3235:. Cambridge: Cambridge University Press.
2528:"Sir William Sterndale Bennett 1816–1875"
2367:
2365:
2363:
2346:Journal of the Royal College of Organists
1286:assessed his later work as follows: "hen
842:Installation Ode for Cambridge University
275:, where Bennett played in April 1833 for
6726:Principals of the Royal Academy of Music
3960:Free scores by William Sterndale Bennett
3938:Free scores by William Sterndale Bennett
3871:Journal of the Royal Musical Association
3697:
3651:
3632:
3609:
3500:Sir Arthur Sullivan – His Life and Music
3453:
3417:
3379:
3316:
2946:. New York. 10 September 1875. p. 4
2845:
2649:", songfacts.com. Accessed 19 July 2023.
2159:
1869:
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1334:
1189:
1170:
1112:
1019:, was sung to accompany the obsequies.
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808:John Fane, 11th Earl of Westmorland, by
803:
710:in London, whose early members included
693:
540:
532:
524:
360:
352:
137:
129:
38:
6631:Academics of the Royal Academy of Music
6601:19th-century British classical pianists
3585:
3562:
3519:Oxford Dictionary of National Biography
3477:
3360:
3228:
2907:
2905:
2242:CD CDA67595). Accessed 12 January 2016.
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1839:
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1746:
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1495:, in a 1975 lecture, rated Bennett as "
1117:Extract from manuscript of overture to
832:in 1858; an Ode (Op. 40) with words by
796:in the 1856 season, which, by engaging
14:
6641:Alumni of St John's College, Cambridge
6583:
3867:
3703:"William Sterndale Bennett: 1816–1875"
3673:
3550:. London: John Lane, The Bodley Head.
3542:
3515:
3496:
3338:
3073:Williamson (1996), introduction, p. x.
2999:W. B. Henshaw (2003). "Stephen Kemp".
2800:
2455:
2360:
2236:"Bennett & Bache: Piano Concertos"
2023:
1711:
6478:Romanticism and the French Revolution
4112:
3973:
3909:
3232:The Life of William Sterndale Bennett
2530:, Open Plaques. Accessed 15 May 2012.
1707:
1705:
1703:
1701:
1699:
1697:
1695:
1693:
1691:
1689:
1463:In the United States, meanwhile, the
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66:. There Bennett became friendly with
6646:Alumni of the Royal Academy of Music
3655:(1928). Middleton, Jessie A. (ed.).
3282:
3247:
3211:
3180:
3146:
3002:Biographical Dictionary of the Organ
2902:
2138:
2076:"Composer Profile: Alice Mary Smith"
1836:
1731:
1716:
662:and Clara Schumann, and the cellist
3324:. Oxford: Oxford University Press.
3064:Cited in Parrott (2008), pp. 31–32.
2806:Hadow, Henry. "Sterndale Bennett",
2623:"Sterndale Bennett, Ernest Gaskill"
2607:"Joan Sterndale Bennett – Obituary"
2225:, Vol. 212, Spring 2016, pp. 12–15.
854:Birmingham Triennial Music Festival
24:
6626:19th-century British musicologists
3771:Temperley, Nicholas, ed. (1989b).
3680:"Bennett, William Sterndale"
3418:Edwards, Frederic George (1903b).
3380:Edwards, Frederic George (1903a).
3089:website, accessed 12 January 2016.
2971:website, accessed 11 January 2016.
2011:Cited in Temperley (1989b), p. 12.
1686:
1454:Society for Encouragement of Music
812:, c. 1855 (Royal Academy of Music)
698:Michael Costa – photograph c. 1855
265:1), a symphony and an overture to
25:
6742:
3931:
3819:. Oxford: Oxford University Press
3790:Temperley, Nicholas, ed. (2006).
3183:Forty Eight Preludes & Fugues
1757:
868:, between works by Meyerbeer and
828:, Op. 39, for the opening of the
774:was in Milan, Wagner in Dresden,
6696:English male classical composers
6611:19th-century classical composers
6568:
6556:
6531:
6530:
3811:"Bennett, Sir William Sterndale"
3690:Dictionary of National Biography
3637:. New York: Dover Publications.
3120:
3111:"Sterndale Bennett Performances"
3104:
3099:"William Sterndale Bennett 2016"
3092:
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1651:
178:John Bennett was a professional
32:William Bennett (disambiguation)
6716:British male classical pianists
6691:British male conductors (music)
6636:Professors of Music (Cambridge)
6616:19th-century conductors (music)
4138:
3229:Bennett, J R Sterndale (1907).
3117:website, accessed 30 July 2017.
2854:Bach (1862), " Preface" (p.(i))
2797:Temperley (1989a), pp. 216–218.
2715:
2706:
2697:
2688:
2679:
2670:
2652:
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2616:
2600:
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2094:
2068:
2059:
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2041:
2032:
2005:
1987:
1969:
1960:
1951:
1930:
1908:
1899:
1890:
1881:
1848:
1823:
1814:
1805:
1796:
1754:Temperley and Williamson (n.d.)
1638:
624:In May 1848, on the opening of
521:Teacher and conductor (1842–49)
365:Robert Schumann, lithograph by
134:Sheffield Parish Church in 1819
6621:19th-century English musicians
6606:19th-century British composers
3948:Selected pieces for pianoforte
1957:Williamson (1996), pp. 30, 61.
1916:"Society of British Musicians"
1829:"The Royal Academy of Music",
1787:
1778:
1621:
1608:
1277:
329:Philharmonic Society of London
125:
13:
1:
6671:Composers awarded knighthoods
6501:Wanderer above the Sea of Fog
4031:Sir William Sterndale Bennett
3849:Williamson, Rosemary (1996).
3794:. Woodbridge: Boydell Press.
2809:The Times Literary Supplement
2703:Stanford (1916), pp. 632–633.
2627:Canadian Theatre Encyclopedia
2389:Bennett (1907), pp. 350, 354.
1993:Schumann (1988), pp. 116–118.
1264:(1836) and Schumann's Op. 18
838:1862 International Exhibition
248:wryly commented, "of the page
52:Sir William Sterndale Bennett
6661:Burials at Westminster Abbey
3964:Choral Public Domain Library
3747:(3 (Spring 1989)): 207–220.
3536:UK public library membership
3185:. Lamborne Cock, Hutchings.
2721:Bennett (1907), pp. 342–343.
2593:"Mr. R. Sterndale Bennett",
2539:Bennett (1907), pp. 446–447.
2479:Bennett (1907), pp. 399–405.
2452:Bennett (1907), pp. 419–422.
2434:Bennett (1907), pp. 386–389.
2416:Bennett (1907), pp. 372–375.
2407:Bennett (1907), pp. 369–370.
2357:Bennett (1907), pp. 326–329.
2335:Bennett (1907), pp. 314–317.
2251:Bennett (1907), pp. 224–225.
2177:Bennett (1907), pp. 189–192.
2156:Bennett (1907), pp. 209–214.
2109:"The Philharmonic Society",
2038:Bennett (1907), pp. 148–150.
1927:, accessed 21 December 2015.
1407:
1162:W. B. Squire wrote in 1885:
1040:, for which the soloist was
749:Leipzig Gewandhaus Orchestra
690:Music professional (1849–66)
333:Society of British Musicians
302:Lower Rhenish Music Festival
120:
27:British composer (1816–1875)
7:
3853:. Oxford: Clarendon Press.
3482:. Oxford: Clarendon Press.
2929:Davison (1912), pp. 305–10.
2557:Foster (1913), pp. 347–349.
2213:Parrott (2006), pp. 34, 36.
1618:surname by his descendants.
1305:suggests that the cantatas
1130:Stanford wrote of Bennett:
940:Chancellor of the Exchequer
10:
6747:
6701:English Romantic composers
6686:English conductors (music)
6681:English classical pianists
6418:Coleridge's theory of life
3915:A History of British Music
3699:Stanford, Charles Villiers
3139:
3127:"William Sterndale Bennett
3083:"WSB – Select Discography"
2281:Temperley (1989a, p. 210.)
2234:French, Elizabeth (2007),
2204:Parrott (2006), pp. 34–35.
2195:Young (1967), pp. 452–453.
2020:Temperley (1989a), p. 208.
2002:Temperley (1989a), p. 214.
1984:Temperley (1989a, p. 209.)
1975:Davison (1912), pp. 25–26.
1866:Bennett (1907), pp. 28–29.
1854:Bennett (1907), pp. 27–28.
1820:Davison (1912), pp. 24–25.
1106:
1050:George Alexander Macfarren
585:'s pupil, the 13-year-old
503:and Berlin, he played his
458:Neue Zeitschrift für Musik
166:, and his wife Elizabeth,
29:
6510:
6473:Romanticism and economics
6410:
6302:
6049:
5871:
5816:
5785:
5709:
5658:
5607:
5566:
5475:
5419:
5383:
5337:
5328:
5173:
5117:
5066:
5025:
4984:
4938:
4880:
4750:
4629:
4551:
4488:Manuel Antônio de Almeida
4470:
4461:
4347:
4215:
4146:
4008:
2989:Sheppard (1928), p. viii.
2863:Parrott (2008), pp. 36–37
2730:"Philharmonic Concerts",
2507:"Sterndale Bennett Prize"
1887:Bennett (1907), pp. 35-37
1833:, 12 December 1830, p. 2.
1722:"Sir Sterndale Bennett",
1579:
1486:
1448:, and the Dutch composer
1385:The Well-Tempered Clavier
1055:
679:Charles Villiers Stanford
384:John Broadwood & Sons
6721:Musicians from Sheffield
4253:German historical school
4097:Jonathan Freeman-Attwood
3046:Caldwell (1999), p. 225.
2842:Caldwell (1999), p. 220.
2833:Caldwell (1999), p. 219.
2812:, 9 January 1908, p. 13.
2788:Caldwell (1999), p. 235.
2779:Temperley (2006), p. 77.
2770:Temperley (2006), p. 73.
2761:Temperley (2006), p. 72.
2685:Temperley (2006), p. 22.
2676:Stanford (1916), p. 631.
2629:. Accessed 15 May 2012.
2548:Edwards (1903c), p. 525.
2425:Stanford (1916), p. 656.
2398:Stanford (1916), p. 655.
2272:Stanford (1916), p. 647.
2263:Edwards (1903b), p. 381.
2168:Stanford (1916), p. 641.
2147:Edwards (1903b), p. 380.
2122:"Philharmonic Society",
2080:British Music Collection
1775:Edwards (1903a), p. 306.
1728:, 2 February 1875, p. 9.
1441:from beginning to end!"
1125:
1102:
1082:Ernest Sterndale Bennett
901:illness. His biographer
6656:British music educators
4900:Józef Ignacy Kraszewski
4043:Sir Alexander Mackenzie
3917:. London: Ernest Benn.
3905:(subscription required)
3844:(subscription required)
3766:(subscription required)
3675:Squire, William Barclay
3478:Ehrlich, Cyril (1995).
3473:(subscription required)
3449:(subscription required)
3413:(subscription required)
3361:Davison, Henry (1912).
3312:(subscription required)
3278:(subscription required)
3176:(subscription required)
3036:(subscription required)
3032:"Bache, Francis Edward"
3008:(subscription required)
2980:Temperley (2006), p. 3.
2920:Bennett (1907), p. 235.
2566:Bennett (1907), p. 156.
2518:Bennett (1907), p. 415.
2497:Bennett (1907), p. 418.
2488:Bennett (1907), p. 384.
2443:Rainbow (1980), p. 213.
2380:Bennett (1907), p. 320.
2299:Ehrlich (1995), p. 102.
2135:Bennett (1907), p. 168.
2100:Bennett (1907), p. 162.
1925:(subscription required)
1845:Edwards (1903a) p. 307.
1512:Elizabeth Sara Sheppard
1501:Samuel Sebastian Wesley
877:University of Cambridge
844:(Op. 41) with words by
836:for the opening of the
626:Queen's College, London
555:University of Edinburgh
445:Schumann dedicated his
164:Sheffield parish church
103:University of Cambridge
75:Queen's College, London
6483:Romanticism in science
6438:Middle Ages in history
6433:List of Romantic poets
5145:Josiah Gilbert Holland
4002:Royal Academy of Music
3661:. London: J. M. Dent.
3367:. London: Wm. Reeves.
3055:Parrott (2008), p. 38.
3030:, Temperley Nicholas.
3028:" Cusins, Sir William"
2911:Bennett (1907), p. 86.
2872:Conway (2012), p. 190.
2752:Conway (2012), p. 102.
2597:, 31 August 1963, p. 8
2575:Foster (1913), p. 352.
2348:, Vol 10 (2016) p. 51.
2317:Ehrlich (1995), p. 97.
2308:Ehrlich (1995), p. 95.
2290:Ehrlich (1995), p. 94.
2047:Squire (1885), p. 248.
1936:Davison (1912), p. 24.
1905:Davison (1912), p. 21.
1896:Bennett (1907), p. 38.
1811:Bennett (1907), p. 27.
1802:Bennett (1907), p. 21.
1793:Bennett (1907), p. 15.
1784:Bennett (1907), p. 14.
1646:Royal College of Music
1631:only in 1830. See the
1484:
1446:Société Philharmonique
1438:
1417:
1206:, Clara Schumann, and
1198:
1179:
1169:
1160:
1122:
1076:Joan Sterndale-Bennett
919:
813:
699:
550:
538:
530:
518:
493:
442:
370:
358:
294:
287:wrote of this concert:
229:The Marriage of Figaro
204:Royal Academy of Music
151:
144:Royal Academy of Music
135:
56:Royal Academy of Music
48:
6453:Romantic epistemology
6443:Opium and Romanticism
5012:Stojadinović-Srpkinja
4238:Counter-Enlightenment
4061:Sir Reginald Thatcher
3708:The Musical Quarterly
3528:10.1093/ref:odnb/2131
3214:Grosse Passions-Musik
2824:Young (1967), p. 451.
2734:, 31 May 1864, p. 14.
2186:Young (1967), p. 446.
2126:, 11 June 1844, p. 5.
1966:Young (1967), p. 448.
1878:Young (1967), p. 447.
1763:Bennett (1907), p. 6.
1659:Paradise and the Peri
1505:Michael William Balfe
1479:
1434:
1415:
1335:Editions and writings
1196:
1177:
1164:
1132:
1116:
955:Royal Society of Arts
917:
834:Alfred, Lord Tennyson
807:
793:Paradise and the Peri
737:1851 Great Exhibition
697:
643:An die ferne Geliebte
638:Johann Sebastian Bach
544:
537:Bennett aged about 35
536:
528:
513:
477:
439:large black whiskers.
419:
364:
356:
289:
200:King's College Chapel
141:
133:
62:, who invited him to
42:
6517:Age of Enlightenment
4159:England (literature)
4067:Sir Thomas Armstrong
4055:Sir Stanley Marchant
4037:Sir George Macfarren
3837:: CS1 maint: year (
3544:Foster, Myles Birket
3503:. London: J Nisbot.
3497:Findon, B W (1904).
3265:10.1093/jrma/91.1.85
3203:: CS1 maint: year (
2944:The New York Tribune
2712:Findon (1904), p. 19
2113:, 13 June 1842, p. 5
1948:Bush (1986), p. 324.
1597:Notes and references
1546:Francis Edward Bache
1428:. The London critic
1315:The Woman of Samaria
1311:The Woman of Samaria
1034:The Woman of Samaria
1017:The Woman of Samaria
918:Bennett in the 1860s
850:The Woman of Samaria
634:Hanover Square Rooms
630:Preludes and Lessons
579:Alexander Dreyschock
575:Ludwig van Beethoven
429: ... and a Mr.
296:In the audience was
154:Bennett was born in
91:Philharmonic Society
45:John Everett Millais
6676:Composers for piano
6468:Romantic psychology
4263:Hudson River School
4207:Sweden (literature)
4192:Russia (literature)
3884:10.1093/jrma/fki012
3721:10.1093/mq/ii.4.628
3653:Sheppard, Elizabeth
3616:Grace Eleanor Hadow
3026:, Mackerness, E D.
3020:"Parry, Sir Hubert"
2694:Bush (1965), p. 89.
2667:, 28 January 2016.
2664:The Daily Telegraph
2344:Kent, Christopher.
2056:Bush (1965), p. 88.
1921:Oxford Music Online
1562:St. Matthew Passion
1364:Adolf Bernhard Marx
1352:Catherine Winkworth
1228:music of the future
1032:, and the complete
894:Earl of Westmorland
858:The Maid of Orleans
767:Italian Opera House
148:James Warren Childe
6711:Oratorio composers
4453:White Mountain art
4394:Historical fiction
4202:Spain (literature)
4000:Principals of the
3816:Grove Music Online
3740:19th-Century Music
3480:First Philharmonic
2223:The Norwood Review
1665:and conducted his
1418:
1356:St Matthew Passion
1343:and co-edited the
1234:Early compositions
1199:
1180:
1123:
920:
814:
725:St Matthew Passion
700:
668:Domenico Scarlatti
551:
539:
531:
509:Nicholas Temperley
371:
359:
152:
136:
49:
6544:
6543:
6458:Romantic medicine
6428:List of romantics
5867:
5866:
5518:Felix Mendelssohn
5513:Fanny Mendelssohn
5324:
5323:
5038:Rosalía de Castro
4976:Soares dos Passos
4324:Transcendentalism
4288:Nazarene movement
4248:Düsseldorf School
4106:
4105:
4079:Sir David Lumsden
4073:Sir Anthony Lewis
3860:978-0-19-816438-8
3833:cite encyclopedia
3801:978-1-84383-272-0
3658:Charles Auchester
3644:978-0-486-25748-8
3625:978-1-108-06415-6
3578:978-0-7546-5208-3
3534:(Subscription or
3456:The Musical Times
3424:The Musical Times
3387:The Musical Times
3353:978-1-107-01538-8
3293:(1719): 322–324.
3286:The Musical Times
3150:The Musical Times
3115:David Owen Norris
3087:David Owen Norris
3024:"Matthay, Tobias"
2969:David Owen Norris
2065:Schumann, p. 132.
1663:Symphonic Studies
1517:Charles Auchester
1450:Johannes Verhulst
1224:Gioachino Rossini
1194:
1175:
1009:Westminster Abbey
963:Royal Albert Hall
887:Bachelor of Music
672:Fanny Mendelssohn
448:Symphonic Studies
298:Felix Mendelssohn
218:, and then under
186:in the choirs of
111:Westminster Abbey
60:Felix Mendelssohn
18:Sterndale Bennett
16:(Redirected from
6738:
6706:Knights Bachelor
6573:
6572:
6571:
6561:
6560:
6559:
6552:
6534:
6533:
6493:Evolution theory
5335:
5334:
4468:
4467:
4329:Ukrainian school
4133:
4126:
4119:
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4109:
4091:Sir Curtis Price
3994:
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3682:
3670:
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3629:
3614:. Translated by
3606:
3587:Rainbow, Bernarr
3582:
3559:
3539:
3531:
3512:
3493:
3474:
3471:
3462:(726): 923–927.
3450:
3447:
3430:(724): 379–381.
3414:
3411:
3394:(723): 306–309.
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3022:, Dawes, Frank.
3018:Dibble, Jeremy.
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2240:Hyperion Records
2238:(liner notes to
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1619:
1616:double-barrelled
1612:
1569:Bodleian Library
1526:Alice Mary Smith
1466:New York Tribune
1402:London Institute
1394:Acis and Galatea
1360:full vocal score
1348:Book for England
1249:
1208:Ferdinand Hiller
1195:
1176:
994:English Heritage
928:Otto Goldschmidt
846:Charles Kingsley
745:Arabella Goddard
716:John Pyke Hullah
712:Sir George Smart
648:Henri Vieuxtemps
640:and Beethoven's
603:Alice Mary Smith
463:Musical Sketches
251:
182:, who sang as a
21:
6746:
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6581:
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6575:Classical music
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6539:
6528:
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6463:Romantic poetry
6448:Romantic ballet
6423:German idealism
6406:
6372:Lacoue-Labarthe
6298:
6045:
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5762:Rimsky-Korsakov
5705:
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4817:Maria Edgeworth
4753:
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4457:
4436:Romantic genius
4366:Gesamtkunstwerk
4343:
4304:Sturm und Drang
4211:
4142:
4137:
4107:
4102:
4049:Sir John McEwen
4019:Cipriani Potter
4004:
3998:
3934:
3929:
3911:Young, Percy M.
3904:
3861:
3843:
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3783:
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3685:Stephen, Leslie
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3005:. Bardon Music.
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2082:. 30 March 2018
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1475:The Wood Nymphs
1426:The Wood Nymphs
1410:
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1215:Arthur Sullivan
1190:
1171:
1150:rather than of
1128:
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1105:
1088:Charlie Simpson
1058:
1038:Violin Concerto
990:St James's Hall
912:
866:Prosper Sainton
830:Leeds Town Hall
782:in Vienna, and
720:William Horsley
692:
660:Ignaz Moscheles
654:, the pianists
583:Frédéric Chopin
523:
367:Josef Kriehuber
351:
277:King William IV
249:
220:Cipriani Potter
128:
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79:Arthur Sullivan
68:Robert Schumann
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6411:Related topics
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4372:Gothic fiction
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4360:British Marine
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4013:William Crotch
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3932:External links
3930:
3928:
3927:
3907:
3878:(2): 236–282.
3865:
3859:
3846:
3806:
3800:
3787:
3781:
3773:The Lost Chord
3768:
3753:10.2307/746502
3734:
3715:(4): 628–657.
3695:
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3565:Rushton, ulian
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3436:10.2307/903249
3415:
3400:10.2307/903335
3377:
3358:
3352:
3336:
3330:
3318:Caldwell, John
3314:
3299:10.2307/965069
3280:
3249:Bush, Geoffrey
3245:
3226:
3209:
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3163:10.2307/920807
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1554:William Cusins
1542:Tobias Matthay
1530:W. S. Rockstro
1503:(1810–76) and
1497:Queen Victoria
1488:
1485:
1458:Charles Gounod
1430:William Ayrton
1409:
1406:
1336:
1333:
1279:
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1220:Hector Berlioz
1127:
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1100:
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1085:
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1042:Joseph Joachim
1001:St John's Wood
911:
908:
840:in London; an
753:Richard Wagner
691:
688:
674:and Schumann.
656:Stephen Heller
652:Heinrich Ernst
598:Clara Schumann
563:string quartet
522:
519:
415:Percy M. Young
392:Thomas Attwood
350:
347:
317:chapel of ease
285:The Harmonicon
281:Queen Adelaide
273:Windsor Castle
255:The Harmonicon
216:William Crotch
127:
124:
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119:
87:Tobias Matthay
26:
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5231:Nikolai Gogol
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4862:P. B. Shelley
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4842:Mary Robinson
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4571:Chateaubriand
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4400:Mal du siècle
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4029:
4026:
4025:Charles Lucas
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3784:
3782:0-253-33518-3
3778:
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3733:(free access)
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3602:0-333-23111-2
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3489:0-19-816232-4
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3345:
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3340:Conway, David
3337:
3333:
3331:0-19-816288-X
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3157:(1209): 351.
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2461:Wright (2005)
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2371:Squire (1885)
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2017:
2008:
1999:
1990:
1981:
1972:
1963:
1954:
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1943:
1933:
1923:
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1917:
1911:
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1712:Firman (2004)
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1510:The novelist
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1493:John Betjeman
1483:
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1471:Henry Purcell
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1398:
1396:
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1391:
1388:and Handel's
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1357:
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1347:
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1323:The May Queen
1320:
1316:
1312:
1308:
1307:The May Queen
1304:
1300:
1298:
1294:
1289:
1288:The May Queen
1285:
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1242:
1241:John Caldwell
1231:
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1184:Geoffrey Bush
1168:
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1120:
1119:The May Queen
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1005:Henry Purcell
1002:
997:
995:
991:
987:
983:
978:
975:
974:Covent Garden
971:
970:Henry Chorley
966:
964:
960:
956:
952:
947:
945:
941:
937:
931:
929:
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924:Charles Lucas
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895:
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873:
871:
867:
863:
859:
855:
851:
847:
843:
839:
835:
831:
827:
826:The May Queen
823:
818:
811:
810:Julia Goodman
806:
802:
799:
795:
794:
789:
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777:
773:
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645:
644:
639:
635:
631:
627:
622:
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619:Michael Costa
616:
614:
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604:
599:
595:
594:Geoffrey Bush
590:
588:
584:
580:
576:
572:
568:
564:
559:
556:
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543:
535:
527:
517:
512:
510:
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502:
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489:Prince Albert
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467:
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282:
278:
274:
270:
269:
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259:
257:
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247:
246:
241:
240:
235:
234:mezzo-soprano
231:
230:
225:
224:J. W. Davison
221:
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207:
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185:
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165:
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149:
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132:
118:
114:
112:
108:
104:
98:
96:
95:Michael Costa
92:
88:
84:
80:
76:
71:
69:
65:
61:
57:
53:
46:
41:
37:
33:
19:
6529:
6522:
6515:
6499:
6219:Porto-Alegre
5873:Philosophers
5823:
5757:Rachmaninoff
5206:Chavchavadze
5196:Baratashvili
4956:João de Deus
4925:Wincenty Pol
4717:Küchelbecker
4445:
4411:Noble savage
4398:
4364:
4339:Wallenrodism
4316:
4302:
4233:Coppet group
4167:(literature)
4099: (2008)
4093: (1995)
4087: (1993)
4085:Lynn Harrell
4081: (1982)
4075: (1968)
4069: (1955)
4063: (1949)
4057: (1936)
4051: (1924)
4045: (1888)
4039: (1876)
4033: (1866)
4030:
4027: (1859)
4021: (1832)
4015: (1822)
3966:(ChoralWiki)
3914:
3875:
3869:
3850:
3821:. Retrieved
3814:
3791:
3772:
3744:
3738:
3712:
3706:
3688:
3657:
3634:
3611:
3590:
3568:
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3517:
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3479:
3459:
3455:
3427:
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3391:
3385:
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3290:
3284:
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3252:
3231:
3213:
3182:
3154:
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3106:
3094:
3078:
3069:
3060:
3051:
3042:
3014:
3001:
2994:
2985:
2976:
2960:
2948:. Retrieved
2943:
2934:
2925:
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2886:
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2807:
2802:
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2277:
2268:
2247:
2230:
2222:
2218:
2209:
2200:
2191:
2182:
2173:
2152:
2131:
2123:
2118:
2110:
2105:
2096:
2084:. Retrieved
2079:
2070:
2061:
2052:
2043:
2034:
2025:
2016:
2007:
1998:
1989:
1980:
1971:
1962:
1953:
1932:
1919:
1910:
1901:
1892:
1883:
1850:
1831:The Observer
1830:
1825:
1816:
1807:
1798:
1789:
1780:
1759:
1723:
1718:
1680:
1679:
1670:
1662:
1658:
1653:
1640:
1623:
1610:
1601:
1600:
1566:
1561:
1558:
1550:Eaton Faning
1538:Hubert Parry
1534:Stephen Kemp
1522:Joseph Parry
1515:
1509:
1507:(1808–70)".
1490:
1480:
1474:
1464:
1462:
1453:
1445:
1443:
1439:
1435:
1425:
1423:
1419:
1399:
1392:
1383:
1380:figured bass
1355:
1344:
1338:
1326:
1322:
1314:
1310:
1306:
1301:
1296:
1292:
1287:
1281:
1272:
1265:
1255:
1251:
1245:
1237:
1212:
1200:
1181:
1165:
1161:
1133:
1129:
1118:
1059:
1045:
1033:
1027:
1021:
1016:
998:
979:
967:
948:
932:
921:
903:W. B. Squire
891:
880:
874:
870:Daniel Auber
857:
849:
841:
825:
819:
815:
791:
763:
756:
741:
734:
729:
723:
708:Bach Society
705:
701:
683:
676:
664:Carlo Piatti
641:
629:
623:
612:
607:
591:
587:Carl Filtsch
560:
552:
546:
514:
504:
494:
478:
471:
468:
462:
456:
452:
446:
443:
438:
434:
420:
406:
396:
387:
377:
372:
340:
315:, London, a
310:
295:
290:
284:
266:
260:
253:
245:The Observer
243:
237:
227:
212:W. H. Holmes
208:
177:
167:
153:
115:
99:
83:Hubert Parry
72:
51:
50:
36:
6596:1875 deaths
6591:1816 births
6209:Michałowski
6041:Wackenroder
6006:F. Schlegel
6001:A. Schlegel
5777:Tchaikovsky
5666:Bortkiewicz
5538:R. Schumann
5533:C. Schumann
5498:Kalkbrenner
5467:Saint-Saëns
4772:Anne Brontë
4657:Eichendorff
4642:B. v. Arnim
4637:A. v. Arnim
4447:Weltschmerz
4406:Medievalism
4355:Blue flower
4283:Nationalist
4228:Bohemianism
4140:Romanticism
3823:26 December
2881:Bach (n.d.)
2029:Anon (1943)
1574:BBC Radio 3
1284:W. H. Hadow
1278:Later works
1026:'s tragedy
571:Louis Spohr
567:piano trios
472:Wood Nymphs
268:The Tempest
239:en travesti
126:Early years
6585:Categories
6084:Chassériau
6059:Aivazovsky
5767:Rubinstein
5752:Mussorgsky
5701:Wieniawski
5686:Paderewski
5528:Moszkowski
5311:Vörösmarty
5301:Shevchenko
5155:Longfellow
5079:Batyushkov
5074:Baratynsky
5043:Espronceda
4910:Mickiewicz
4905:Malczewski
4872:Wordsworth
4857:M. Shelley
4812:de Quincey
4677:Günderrode
4561:Baudelaire
4441:Wanderlust
4278:Lake Poets
3538:required.)
2647:Parachutes
1681:References
1328:Kenilworth
1319:recitative
1262:Impromptus
1204:John Field
1148:Wordsworth
1107:See also:
1013:a cappella
959:Henry Cole
862:Eastbourne
798:Jenny Lind
778:in Paris,
615:) Symphony
403:Gewandhaus
388:The Naiads
337:Lord Byron
313:Wandsworth
306:Düsseldorf
6563:Biography
6524:Modernism
6184:Kiprensky
6144:Géricault
6129:Friedrich
6119:Delacroix
6094:Constable
6074:Bonington
6064:Bierstadt
6016:Senancour
5991:Schelling
5946:Lamennais
5941:Khomyakov
5906:Coleridge
5901:Chaadayev
5808:Stanković
5803:Mokranjac
5722:Balakirev
5681:Moniuszko
5630:Donizetti
5625:Cherubini
5523:Meyerbeer
5508:Marschner
5483:Beethoven
5396:Moscheles
5330:Musicians
5316:Wergeland
5281:Orbeliani
5236:Grundtvig
5140:Hawthorne
5109:Zhukovsky
5104:Vyazemsky
5089:Lermontov
5048:Gutiérrez
5007:Radičević
4971:Herculano
4895:Krasiński
4837:Radcliffe
4807:Coleridge
4782:E. Brontë
4777:C. Brontë
4707:Jean Paul
4702:Hölderlin
4591:Lamartine
4528:Magalhães
4518:Guimarães
4426:Pantheism
4416:Nostalgia
4268:Indianism
4216:Movements
4147:Countries
3954:"WSB 200"
3923:654617477
3900:191559280
3667:504071713
3556:592671127
3509:669931942
3373:671571687
3259:: 85–97.
3222:181892334
3199:cite book
3191:500720012
2965:"WSB 200"
2732:The Times
2611:The Times
2595:The Times
2124:The Times
2111:The Times
1725:The Times
1671:The Times
1633:"History"
1408:Reception
1376:harmonies
1293:Genevieve
1267:Arabesque
1257:Novelette
1096:Fightstar
1066:Uppingham
1024:Sophocles
936:Gladstone
922:In 1866,
882:viva voce
776:Meyerbeer
437:man with
369:, in 1839
192:St John's
184:lay clerk
173:Cambridge
160:Yorkshire
156:Sheffield
150:, c. 1832
121:Biography
6536:Category
6352:Dahlhaus
6337:Blanning
6304:Scholars
6274:Tropinin
6269:Tidemand
6259:Stattler
6254:Scheffer
6154:Głowacki
6124:Edelfelt
6079:Bryullov
6021:Snellman
5996:Schiller
5986:Rousseau
5966:Michelet
5911:Constant
5881:Belinsky
5854:Sibelius
5798:Konjović
5772:Scriabin
5742:Lyapunov
5676:Lipiński
5645:Spontini
5635:Paganini
5579:Goldmark
5370:Thalberg
5365:Schubert
5345:Bruckner
5306:Topelius
5296:Runeberg
5286:Prešeren
5256:Leopardi
5221:Frashëri
5211:Eminescu
5191:Andersen
5099:Tyutchev
5084:Karamzin
5058:Zorrilla
5053:Saavedra
4951:Castilho
4939:Portugal
4930:Słowacki
4832:Polidori
4762:Barbauld
4697:Hoffmann
4652:Brentano
4566:Bertrand
4387:Romantic
4223:Ancients
4197:Scotland
3913:(1967).
3701:(1916).
3677:(1885).
3567:(eds.).
3546:(1913).
3342:(2012).
3320:(1999).
3241:63021710
2086:13 March
1378:for the
1331:(1864).
1299:Op. 16.
1297:Fantasia
1270:(1838).
1252:Fantasie
1068:School,
986:knighted
951:Stanford
944:Disraeli
852:for the
735:For the
684:Parisina
613:Scottish
545:Bennett
481:Thalberg
453:Fantasie
431:Schumann
375:oratorio
342:Parisina
321:Edmonton
107:knighted
6549:Portals
6377:Lovejoy
6312:Abraham
6234:Richard
6224:Préault
6149:Girodet
6031:Thoreau
5976:Novalis
5961:Mazzini
5956:Maistre
5931:Hazlitt
5916:Emerson
5896:Carlyle
5886:Berchet
5829:Berwald
5824:Bennett
5793:Hristić
5747:Medtner
5727:Borodin
5717:Arensky
5640:Rossini
5615:Bellini
5594:Joachim
5567:Hungary
5548:Strauss
5476:Germany
5442:Berlioz
5411:Voříšek
5406:Smetana
5384:Czechia
5338:Austria
5271:Maturin
5266:Manzoni
5241:Heliade
5216:Foscolo
5186:Alfieri
5181:Abovian
5135:Emerson
5094:Pushkin
5033:Bécquer
4966:Garrett
4920:Potocki
4867:Southey
4827:Maturin
4797:Carlyle
4754:Britain
4727:Novalis
4682:Gutzkow
4630:Germany
4596:Mérimée
4581:Gautier
4508:Barreto
4503:Azevedo
4483:Alencar
4463:Writers
4382:Byronic
4318:Purismo
4172:Germany
4154:Denmark
3962:in the
3944:(IMSLP)
3940:at the
3892:3557473
3687:(ed.).
3140:Sources
2950:6 April
1648:(1883).
1586:nights.
1432:wrote:
1372:dynamic
1346:Chorale
1156:Shelley
1070:Rutland
822:cantata
758:Emperor
730:Passion
611:Third (
511:writes
505:Caprice
501:Dresden
485:Strauss
427:Stamity
411:cricket
399:Leipzig
379:St Paul
196:Trinity
64:Leipzig
6402:Wellek
6382:de Man
6367:Janion
6357:Ferber
6332:Berlin
6327:Beiser
6322:Barzun
6317:Abrams
6294:Wiertz
6279:Turner
6229:Révoil
6214:Palmer
6204:Martin
6199:Leutze
6174:Janmot
6134:Fuseli
6089:Church
5981:Quinet
5971:Müller
5926:Goethe
5921:Fichte
5844:Franck
5786:Serbia
5737:Glinka
5710:Russia
5696:Tausig
5691:Stolpe
5671:Chopin
5659:Poland
5620:Busoni
5584:Heller
5553:Wagner
5488:Brahms
5462:Onslow
5452:Halévy
5420:France
5401:Reicha
5391:Dvořák
5360:Mahler
5355:Hummel
5350:Czerny
5246:Isaacs
5226:Geijer
5160:Lowell
5150:Irving
5130:Cooper
5125:Bryant
5067:Russia
5002:Njegoš
4997:Kostić
4992:Jakšić
4985:Serbia
4915:Norwid
4890:Fredro
4882:Poland
4852:Seward
4742:Uhland
4732:Schwab
4722:Mörike
4712:Kleist
4667:Goethe
4662:Fouqué
4611:Nodier
4606:Nerval
4601:Musset
4553:France
4543:Varela
4538:Taunay
4523:Macedo
4471:Brazil
4421:Ossian
4348:Themes
4187:Poland
4182:Norway
4164:France
3921:
3898:
3890:
3857:
3798:
3779:
3761:746502
3759:
3729:737945
3727:
3665:
3641:
3622:
3599:
3575:
3554:
3532:
3507:
3486:
3468:903956
3466:
3444:903249
3442:
3408:903335
3406:
3371:
3350:
3328:
3307:965069
3305:
3273:765967
3271:
3239:
3220:
3189:
3171:920807
3169:
2639:Review
1914:Anon,
1580:Quotes
1487:Legacy
1390:masque
1341:Handel
1248:
1140:Keltic
1136:Thames
1121:, 1858
1092:Busted
1056:Family
1011:. The
982:Oxford
957:under
788:Weimar
780:Brahms
497:Kassel
407:Naiads
325:Hendon
250:
188:King's
85:, and
47:, 1873
6488:Bacon
6397:Rosen
6392:Ricks
6387:Nancy
6347:Blume
6342:Bloom
6264:Stroy
6249:Saleh
6244:Runge
6194:Lampi
6179:Jones
6169:Hayez
6104:Corot
6069:Blake
6036:Tieck
6026:Staël
5951:Larra
5936:Hegel
5891:Burke
5849:Grieg
5839:Field
5834:Elgar
5817:Other
5650:Verdi
5608:Italy
5599:Liszt
5589:Hubay
5574:Erkel
5558:Weber
5543:Spohr
5503:Loewe
5493:Bruch
5457:Méhul
5447:Fauré
5437:Auber
5432:Alkan
5291:Raffi
5261:Mácha
5251:Lenau
5201:Botev
5174:Other
5026:Spain
4961:Dinis
4847:Scott
4822:Keats
4802:Clare
4792:Byron
4787:Burns
4767:Blake
4752:Great
4737:Tieck
4692:Heine
4687:Hauff
4621:Vigny
4616:Staël
4576:Dumas
4498:Assis
4493:Alves
4478:Abreu
4431:Rhine
4334:Ultra
4177:Japan
3896:S2CID
3888:JSTOR
3757:JSTOR
3725:JSTOR
3683:. In
3464:JSTOR
3440:JSTOR
3404:JSTOR
3303:JSTOR
3269:JSTOR
3167:JSTOR
1918:, in
1602:Notes
1368:tempo
1303:Young
1152:Byron
1126:Style
1103:Music
1046:Idyll
1007:, in
784:Liszt
772:Verdi
547:circa
483:and
423:David
146:, by
6362:Frye
6289:Ward
6284:Veit
6239:Rude
6189:Koch
6164:Gude
6159:Goya
6109:Dahl
6099:Cole
5427:Adam
5375:Wolf
5118:U.S.
5017:Zmaj
4647:Beer
4586:Hugo
4533:Reis
4513:Dias
4377:Hero
4312:Post
4273:Jena
4243:Dark
3919:OCLC
3855:ISBN
3839:link
3825:2015
3796:ISBN
3777:ISBN
3663:OCLC
3639:ISBN
3620:ISBN
3597:ISBN
3573:ISBN
3552:OCLC
3505:OCLC
3484:ISBN
3369:OCLC
3348:ISBN
3326:ISBN
3237:OCLC
3218:OCLC
3205:link
3187:OCLC
2952:2020
2645:'s "
2088:2020
1552:and
1491:Sir
1482:art.
1370:and
1358:. A
1309:and
1154:and
1144:Spey
1029:Ajax
898:Mass
650:and
581:and
573:and
549:1860
323:and
279:and
194:and
180:bass
5859:Sor
5732:Cui
5165:Poe
4298:Pre
4293:Neo
3880:doi
3876:130
3749:doi
3717:doi
3524:doi
3432:doi
3396:doi
3295:doi
3291:127
3261:doi
3159:doi
3113:on
3085:on
2967:on
2641:of
949:In
938:as
786:in
569:of
435:fat
339:'s
304:in
263:Op.
168:née
6587::
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3894:.
3886:.
3874:.
3835:}}
3831:{{
3813:.
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3197:{{
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2847:^
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2609:,
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2161:^
2140:^
2078:.
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1871:^
1859:^
1838:^
1768:^
1733:^
1688:^
1576:.
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