William Sterndale Bennett

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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.

531: 794: 523: 904: 351: 120: 942:'s words, "As Chairman he succeeded, after the Government had withdrawn its annual grant, in winning it back, restored the financial credit of the house, and during seven years bore the harassing anxiety of complex negotiations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 515: 6521: 610:, 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." 1314:, 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 621:, 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 1425:... 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. 1103: 6559: 1549:

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."

1182: 1239: ... 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 1548:

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".

740:. 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 1161: 1219:'", 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." 2595: 316:. 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 1163: 731:

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

1545:. 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. 606:, 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 1509:. 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, 1215:, 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 ' 919:, 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". 1227:

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

89:

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

935:, 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. 805:

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."

675:. 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. 106:

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.

203:, 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, 47:(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 463:

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):

320:, 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 1393:; 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". 585:

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."

992:, 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 853:. 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 721:

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,

383:, "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". 581:

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

260:. 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 1578:

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

1211:, (who all only came to England after Mendelssohn's last visit); Liszt (who visited London in 1827) is omitted. In a subsequent lecture he opined that Verdi was "immeasurably inferior" to 1603:

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

915:, 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 2647: 759:

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

1355:(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 617:, 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 496:

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)

43:(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 6207: 961:

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."

62:

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

82:

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

1488:'s Senior Musical Knight". Temperley assesses Bennett as the most distinguished British composer of the early Victorian era, "the only plausible rivals being 362:

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

6719: 4526: 736:(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 6629: 923:

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

195:(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. 3580: 790:

demonstrations of derision had not the audience been restrained in the presence of Royalty". Newspaper critics were scarcely more complimentary.

94:

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".

566:, works for piano solo, and string sonatas by Mendelssohn and others. Amongst those taking part in these recitals were the piano virtuoso 6614: 1306:

shows that "Bennett was a good craftsman whose only fault was a dread of the operatic ... One would probably tolerate the narrative

728:, Bennett was appointed a Metropolitan Local Commissioner, Musical Juror and superintendent for the music at the opening Royal ceremony. 655:(for whom Bennett wrote his Sonata Duo); composers represented included—apart from Bennett's favourite classical masters and Mendelssohn— 635:, "then almost novelties". Over the years he gave over forty concerts at this venue, and amongst those who took part were the violinists 4870: 28: 324:, founded in 1834 to promote specifically British musicians and compositions. Davison wrote in 1834 that Bennett's overture named for 6684: 6599: 3930: 1033:, to whom Mendelssohn had introduced Bennett at Joachim's London debut in 1844. The final concert of the season (5 July) included an 542:

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

272:. The RAM published the concerto at its own expense as a tribute. A further London performance was given in June 1833. The critic of 3799: 6704: 6679: 6624: 6604: 3980: 3859: 3353:

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.

6609: 6594: 5041: 6659: 6649: 6466: 4119: 3847: 3788: 3631: 3612: 3565: 3340: 59:, who shared Mendelssohn's admiration for his compositions. Bennett spent three winters composing and performing in Leipzig. 3926: 3552:

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

779:. London had the richest of audiences, and was offered Sterndale Bennett." He instances the London premiere of Schumann's 6689: 6674: 6669: 4559: 3948: 882: 878:. Two years later on 8 June 1868 the newly formed (later Royal) College of Organists awarded him an Honorary Fellowship. 842: 188: 4964: 2611: 861:

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".

6709: 4348: 4190: 3769: 3589: 3476: 3318: 4944: 3668: 981:, London. The money subscribed at this event founded a scholarship and prize at the RAM, which is still awarded. An 444:, Op. 16. Schumann was eloquently enthusiastic about Bennett's music; in 1837 he devoted an essay to Bennett in the 6644: 3678: 1302:

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.

746: 379:(Op. 15). After Bennett left for home, Mendelssohn wrote to their mutual friend, the English organist and composer 265: 20: 4939: 4236: 2064: 1561:

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

211:, who took over as principal in 1832. Among the friends Bennett made at the Academy was the future music critic 4740: 4170: 4147: 4031: 3328: 241:... we will not speak", but acknowledged that Bennett sang pleasingly and to the satisfaction of the audience. 6004: 297:. Bennett asked, "May I come to be your pupil?" Mendelssohn replied, "No, no. You must come to be my friend". 6505: 6489: 6406: 5924: 5036: 4990: 2797: 1418: 1284:(1839) came to overshadow the more innovative works of his earlier period such as the Sonata Op. 13, and the 1026: 826: 550:

Bennett had been impressed in Leipzig with the concept of chamber music concerts, which had been, apart from

446: 127: 6664: 6029: 5399: 4180: 3952: 3306: 3020: 1229: 737: 599: 476:, and I have not heard a single Symphony or Overture in one concert since last June. I sincerely hope that 436: 321: 290: 176: 4476: 957:

The RAM in 1866 was in poor shape in terms of influence and reputation as well as financially. The critic

885:, the original founder of the RAM, saw fit to arrange a subscription concert for the Academy to include a 6699: 6277: 6092: 5934: 4246: 4195: 4055: 3219: 928: 78:. Throughout the 1840s and 1850s he composed little, although he performed as a pianist and directed the 6212: 4541: 3016: 3012: 3008: 1904: 1646:

However, Bennett's son records that, as well as having given in 1856 the English premiere of Schumann's

837:, which included a lament for the late Prince Albert; a symphony in G minor (Op. 43); a sacred cantata, 455:

reservations about Schumann's music, which, he told Davison in 1837, he thought "rather too eccentric".

6537: 5914: 5143: 4655: 4025: 3821: 1038: 683: 614: 411: 317: 269: 191:

in February 1824 where he remained for two years. In 1826, at the age of ten, he was accepted into the

184: 79: 63: 6222: 4888: 4665: 6694: 6461: 5861: 4112: 3687: 1655: 1382: 1373: 1135:. Bennett was a typical specimen of this English characteristic. He was a poet, but of the school of 939: 667: 607: 380: 83: 6142: 5299: 5021: 6360: 6182: 6072: 6062: 5999: 5765: 5450: 4511: 4241: 4085: 4067: 4061: 4013: 3827: 3193: 1316: 1070: 912: 755: 711:, Potter and Davison. Under his direction the Society gave the first English performance of Bach's 372: 5939: 5229: 2989: 1171:

Temperley suggests that, despite his reverence for Mendelssohn, Bennett took Mozart as his model.

530: 6639: 6132: 5989: 5894: 5750: 5179: 4795: 4185: 3966: 3641: 3136:

Anon (1943). "Mendelssohn, Sterndale Bennett and the Reid Professorship: An Unpublished Letter".

3099: 1500: 1489: 924: 865: 543: 91: 5005: 4705: 3667: 6563: 6471: 6426: 6421: 6117: 6009: 5909: 5420: 5194: 5133: 4750: 4521: 3990: 3663: 2495: 1634: 1329: 1064: 973:(1870). The Philharmonic Society awarded him its Beethoven gold medal in 1867. In 1871, he was 891: 640: 477: 394:

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

1401: 931:, in 1864 and 1865. The following year Gladstone was out of office, and the new Chancellor, 849:, Op. 46). Many of these works were composed during his summer holidays which were spent at 6584: 6579: 6524: 6097: 5659: 5546: 5471: 5184: 5148: 4850: 4830: 4584: 4271: 4211: 4105: 3958: 1534: 1144: 970: 652: 622: 571: 567: 563: 33: 6197: 6014: 5249: 5026: 4883: 4604: 4569: 1621: 1458:

called Bennett "probably the greatest composer produced by England" with the exception of

390:. He was there from October 1836 to June 1837, during which time he made his debut at the 8: 6456: 6315: 6019: 5904: 5745: 5128: 5123: 4959: 4700: 4635: 4251: 3604: 3532: 3071: 2652: 1909: 1352: 1340: 1272: 1255: 1216: 700: 367: 152: 136: 6107: 5623: 5440: 4980: 4918: 4765: 4594: 3443:

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.

473: 309: 6227: 6217: 5435: 5209: 5046: 4710: 4388: 3524: 215:. Bennett did not study singing, but when the RAM mounted a student production of 6451: 6436: 6411: 6335: 6267: 6262: 6257: 6172: 6157: 6112: 6047: 5919: 5889: 5735: 5730: 5613: 5536: 5526: 5476: 5384: 5259: 5153: 5092: 5087: 4954: 4898: 4815: 4805: 4625: 4609: 4564: 4531: 4404: 4354: 4292: 4281: 4007: 3575: 2631: 1203: 1076: 974: 874:

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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Costa over his interpretation at the final rehearsal of Bennett's overture

575: 375:. Inspired by his journey up the Rhine, Bennett began work on his overture 233: 71: 5720: 3942: 3872: 3709: 2953: 6370: 6237: 6087: 5684: 5587: 5531: 5338: 5204: 4908: 4840: 4574: 4435: 4394: 4343: 4216: 4128: 1562: 1017: 772: 559: 256: 251: 227: 2648:"From George Harrison to Zayn Malik: the pop stars who left their bands" 342: 5491: 4810: 4790: 4780: 4429: 4266: 3880: 3505:

Firman, Rosemary (2004). "Bennett, Sir William Sterndale (1816–1875)".

1307: 1140: 1132: 1053:

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

391: 371:. Bennett's visit was enabled by a subsidy by the piano-making firm of 350: 325: 301: 3749: 3717: 3456: 3432: 3396: 3295: 3261: 3159: 247:, however, called his performance "in every way a blot on the piece". 6152: 5481: 5363: 4695: 4414: 3023:, Grove Music Online, Oxford University Press, accessed 5 March 2015 2516: 1713: 1250: 1084: 1054: 1012: 870: 334:

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:

514: 363: 330: 3936: 3087: 868:. He modernised the system of awarding music degrees, instituting 151:, the third child and only son of Robert Bennett, the organist of 5964: 4715: 4306: 3558:

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

1363:

markings were shown in parentheses for distinction. He provided

898: 4409: 3945:, celebrating Bennett's bicentenary, includes details of events 3726:

Temperley, Nicholas (1989a). "Schumann and Sterndale Bennett".

3682:. Vol. 4. London: Smith, Elder & Co. pp. 247–251. 1378: 1102: 776: 485: 313: 4097: 3272:

Bush, Geoffrey (1986). "Sterndale Bennett and the Orchestra".

1249:, Op. 21 no. 7 (1838), and parallels between Bennett's Op. 12 337: 1356: 1263:

capable of organic growth, and even of structural surprise."

1128: 231:). This was among the few failures of his career at the RAM. 160:

Thus orphaned at the age of three, Bennett was brought up in

3988: 3205:. Helen Johnston (trans). London: Lamborne Cock, Hutchings. 4365: 3578:(1980). "London, §7, 4 (v): Royal College of Music (RCM)". 1462:

two centuries earlier, echoing Schumann's sentiments about

1328:

Bennett edited some of the keyboard works of Beethoven and

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Bennett's performances were eulogized by, amongst others,

988:

Bennett died, aged 58, on 1 February 1875 at his house in

289:, who was sufficiently impressed to invite Bennett to the 225:

role of the page boy Cherubino (usually played by a woman

32:

William Sterndale Bennett – engraving after a portrait by

1449:

in Bennett's music led to polite but sardonic responses.

1343:. He supervised the first British printed edition of the 3939:(From the Sibley Music Library Digital Score Collection) 2248: 2246: 3764:. Bloomington, Indianapolis: Indiana University Press. 2929:"Music: Curious Contrasts -- Progress and Conservatism" 1760: 1758: 398:

overture. During this visit he also arranged the first

346:

Felix Mendelssohn (detail) by James Warren Childe, 1839

2809: 2807: 695:

In 1849, Bennett became the founding president of the

6535: 3584:. Vol. 11. London: Macmillan. pp. 213–214. 2888:

Bennett (1907), p. 154. (letter of 17 December 1843).

2408: 2243: 1445:. Davison's attempts to interest the French composer 300:

In 1834, Bennett was appointed organist of St Ann's,

98:

in 1871. He died in London in 1875 and was buried in

6655:

Choristers of the Choir of King's College, Cambridge

3840:

Sterndale Bennett – A Descriptive Thematic Catalogue

3781:

Lectures on Musical Life – William Sterndale Bennett

3409:"William Sterndale Bennett (1816–1875), Part 2 of 3" 3371:"William Sterndale Bennett (1816–1875), Part 1 of 3" 3201:

Bach, J S (1862). Bennett, William Sterndale (ed.).

3170:

Bach, J S (n.d.). Bennett, William Sterndale (ed.).

1933: 1931: 1755: 1624:

page on the RAM website (accessed 23 December 2015).

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later popular, and more superficial, pieces such as

1073:(1884–1982), a grandson, a Canadian theatre director 3797: 3599:Schumann, Clara (2013) . Litzmann, Berthold (ed.). 3240:(1965). "Sterndale Bennett: The Solo Piano Works". 3090:, on Olivia Sham website, accessed 11 January 2016. 2804: 2459:

Bennett (1907), p. 398; Wright (2005), pp. 238–239.

1037:in memory of Bennett composed by his old associate 3798:Temperley, Nicholas; Williamson, Rosemary (n.d.). 509: 3624:Schumann in music – a Selection from the Writings 3622:Schumann, Robert (1988). Pleasants, Henry (ed.). 3560:. Aldershot: Ashgate Publishing. pp. 29–44. 1928: 1207:Mendelssohn, bypassing Chopin, Wagner, Verdi and 1098:List of compositions by William Sterndale Bennett 1079:(born 1985), a great-great-grandson, a musician ( 598:baton, gave the London premiere of Mendelssohn's 480: ... will do something to improve our taste. 406:comments). At this time Bennett wrote to Davison: 221:in 1830, Bennett, aged fourteen, was cast in the 187:colleges. The young Bennett entered the choir of 6571: 2498:, Royal Academy of Music. Accessed 5 March 2015. 450:, praising amongst other works Bennett's Op. 10 3581:The New Grove Dictionary of Music and Musicians 2315:Bennett (1907), p. 454; Ehrlich (1995), p. 105. 678: 625:, which included chamber music and concerti by 1851: 1849: 4113: 3974: 3121:, BBC Radio 3 website, accessed 30 July 2017. 2987: 1067:(1914–1996) was a well-known West End actress 1004:quartet, "God is a Spirit", from his cantata 899:Principal of Royal Academy of Music (1866–75) 717:on 6 April 1854. Further performances of the 422:, a musical editor, who expected to see me a 3537:The Philharmonic Society of London 1813–1912 3511:(online ed.). Oxford University Press. 3242:Proceedings of the Royal Musical Association 2732:Temperley (2006), pp. 45–57, and p. 57 n. 1. 845:of 1867; and finally a second Piano Sonata ( 518:Mary Anne Wood, whom Bennett married in 1844 19:For other people named William Bennett, see 2839: 2837: 2264: 2153: 2151: 2003: 1985: 1967: 1863: 1861: 1846: 1658:at a Philharmonic Society concert in 1864. 1389:Bennett lectured both at Cambridge and the 338:Germany: Mendelssohn and Schumann (1836–42) 131:Bennett in the uniform of a student of the 66:. Among his pupils during this period were 6720:Royal Philharmonic Society Gold Medallists 4120: 4106: 3981: 3967: 3837: 3759: 3725: 1650:, his father frequently played Schumann's 1441:solicited his support for the Netherlands 1243:(1837) (in effect a sonata) on Schumann's 1131:fire and agony, as the Thames is from the 3931:International Music Score Library Project 3778: 3607:. Cambridge: Cambridge University Press. 3335:. Cambridge: Cambridge University Press. 3224:. Cambridge: Cambridge University Press. 2517:"Sir William Sterndale Bennett 1816–1875" 2356: 2354: 2352: 2335:Journal of the Royal College of Organists 1275:assessed his later work as follows: "hen 831:Installation Ode for Cambridge University 264:, where Bennett played in April 1833 for 6715:Principals of the Royal Academy of Music 3949:Free scores by William Sterndale Bennett 3927:Free scores by William Sterndale Bennett 3860:Journal of the Royal Musical Association 3686: 3640: 3621: 3598: 3489:Sir Arthur Sullivan – His Life and Music 3442: 3406: 3368: 3305: 2935:. New York. 10 September 1875. p. 4 2834: 2638:", songfacts.com. Accessed 19 July 2023. 2148: 1858: 1400: 1323: 1178: 1159: 1101: 1008:, was sung to accompany the obsequies. 902: 797:John Fane, 11th Earl of Westmorland, by 792: 699:in London, whose early members included 682: 529: 521: 513: 349: 341: 126: 118: 27: 6620:Academics of the Royal Academy of Music 6590:19th-century British classical pianists 3574: 3551: 3508:Oxford Dictionary of National Biography 3466: 3349: 3217: 2896: 2894: 2231:CD CDA67595). Accessed 12 January 2016. 2132: 2130: 1830: 1828: 1739: 1737: 1735: 1733: 1731: 1729: 1727: 1725: 1723: 1585: 1484:, in a 1975 lecture, rated Bennett as " 1106:Extract from manuscript of overture to 821:in 1858; an Ode (Op. 40) with words by 785:in the 1856 season, which, by engaging 6630:Alumni of St John's College, Cambridge 6572: 3856: 3692:"William Sterndale Bennett: 1816–1875" 3662: 3539:. London: John Lane, The Bodley Head. 3531: 3504: 3485: 3327: 3062:Williamson (1996), introduction, p. x. 2988:W. B. Henshaw (2003). "Stephen Kemp". 2789: 2444: 2349: 2225:"Bennett & Bache: Piano Concertos" 2012: 1700: 6467:Romanticism and the French Revolution 4101: 3962: 3898: 3221:The Life of William Sterndale Bennett 2519:, Open Plaques. Accessed 15 May 2012. 1696: 1694: 1692: 1690: 1688: 1686: 1684: 1682: 1680: 1678: 1452:In the United States, meanwhile, the 1222: 55:. There Bennett became friendly with 6635:Alumni of the Royal Academy of Music 3644:(1928). Middleton, Jessie A. (ed.). 3271: 3236: 3200: 3169: 3135: 2991:Biographical Dictionary of the Organ 2891: 2127: 2065:"Composer Profile: Alice Mary Smith" 1825: 1720: 1705: 651:and Clara Schumann, and the cellist 3313:. Oxford: Oxford University Press. 3053:Cited in Parrott (2008), pp. 31–32. 2795:Hadow, Henry. "Sterndale Bennett", 2612:"Sterndale Bennett, Ernest Gaskill" 2596:"Joan Sterndale Bennett – Obituary" 2214:, Vol. 212, Spring 2016, pp. 12–15. 843:Birmingham Triennial Music Festival 13: 6615:19th-century British musicologists 3760:Temperley, Nicholas, ed. (1989b). 3669:"Bennett, William Sterndale" 3407:Edwards, Frederic George (1903b). 3369:Edwards, Frederic George (1903a). 3078:website, accessed 12 January 2016. 2960:website, accessed 11 January 2016. 2000:Cited in Temperley (1989b), p. 12. 1675: 1443:Society for Encouragement of Music 801:, c. 1855 (Royal Academy of Music) 687:Michael Costa – photograph c. 1855 254:1), a symphony and an overture to 14: 6731: 3920: 3808:. Oxford: Oxford University Press 3779:Temperley, Nicholas, ed. (2006). 3172:Forty Eight Preludes & Fugues 1746: 857:, between works by Meyerbeer and 817:, Op. 39, for the opening of the 763:was in Milan, Wagner in Dresden, 6685:English male classical composers 6600:19th-century classical composers 6557: 6545: 6520: 6519: 3800:"Bennett, Sir William Sterndale" 3679:Dictionary of National Biography 3626:. New York: Dover Publications. 3109: 3100:"Sterndale Bennett Performances" 3093: 3088:"William Sterndale Bennett 2016" 3081: 3065: 3056: 3047: 3038: 3029: 3001: 2981: 2972: 2963: 2947: 2921: 2912: 2903: 2882: 2873: 2864: 2855: 2846: 2825: 2816: 2780: 2771: 2762: 2753: 2744: 2735: 2726: 2713: 1640: 167:John Bennett was a professional 21:William Bennett (disambiguation) 6705:British male classical pianists 6680:British male conductors (music) 6625:Professors of Music (Cambridge) 6605:19th-century conductors (music) 4127: 3218:Bennett, J R Sterndale (1907). 3106:website, accessed 30 July 2017. 2843:Bach (1862), " Preface" (p.(i)) 2786:Temperley (1989a), pp. 216–218. 2704: 2695: 2686: 2677: 2668: 2659: 2641: 2621: 2605: 2589: 2576: 2567: 2558: 2549: 2540: 2531: 2522: 2510: 2501: 2489: 2480: 2471: 2462: 2453: 2435: 2426: 2417: 2399: 2390: 2381: 2372: 2363: 2340: 2327: 2318: 2309: 2300: 2291: 2282: 2273: 2255: 2234: 2217: 2205: 2196: 2187: 2178: 2169: 2160: 2139: 2118: 2105: 2092: 2083: 2057: 2048: 2039: 2030: 2021: 1994: 1976: 1958: 1949: 1940: 1919: 1897: 1888: 1879: 1870: 1837: 1812: 1803: 1794: 1785: 1743:Temperley and Williamson (n.d.) 1627: 613:In May 1848, on the opening of 510:Teacher and conductor (1842–49) 354:Robert Schumann, lithograph by 123:Sheffield Parish Church in 1819 6610:19th-century English musicians 6595:19th-century British composers 3937:Selected pieces for pianoforte 1946:Williamson (1996), pp. 30, 61. 1905:"Society of British Musicians" 1818:"The Royal Academy of Music", 1776: 1767: 1610: 1597: 1266: 318:Philharmonic Society of London 114: 1: 6660:Composers awarded knighthoods 6490:Wanderer above the Sea of Fog 4020:Sir William Sterndale Bennett 3838:Williamson, Rosemary (1996). 3783:. Woodbridge: Boydell Press. 2798:The Times Literary Supplement 2692:Stanford (1916), pp. 632–633. 2616:Canadian Theatre Encyclopedia 2378:Bennett (1907), pp. 350, 354. 1982:Schumann (1988), pp. 116–118. 1253:(1836) and Schumann's Op. 18 827:1862 International Exhibition 237:wryly commented, "of the page 41:Sir William Sterndale Bennett 6650:Burials at Westminster Abbey 3953:Choral Public Domain Library 3736:(3 (Spring 1989)): 207–220. 3525:UK public library membership 3174:. Lamborne Cock, Hutchings. 2710:Bennett (1907), pp. 342–343. 2582:"Mr. R. Sterndale Bennett", 2528:Bennett (1907), pp. 446–447. 2468:Bennett (1907), pp. 399–405. 2441:Bennett (1907), pp. 419–422. 2423:Bennett (1907), pp. 386–389. 2405:Bennett (1907), pp. 372–375. 2396:Bennett (1907), pp. 369–370. 2346:Bennett (1907), pp. 326–329. 2324:Bennett (1907), pp. 314–317. 2240:Bennett (1907), pp. 224–225. 2166:Bennett (1907), pp. 189–192. 2145:Bennett (1907), pp. 209–214. 2098:"The Philharmonic Society", 2027:Bennett (1907), pp. 148–150. 1916:, accessed 21 December 2015. 1396: 1151:W. B. Squire wrote in 1885: 1029:, for which the soloist was 738:Leipzig Gewandhaus Orchestra 679:Music professional (1849–66) 322:Society of British Musicians 291:Lower Rhenish Music Festival 109: 16:British composer (1816–1875) 7: 3842:. Oxford: Clarendon Press. 3471:. Oxford: Clarendon Press. 2918:Davison (1912), pp. 305–10. 2546:Foster (1913), pp. 347–349. 2202:Parrott (2006), pp. 34, 36. 1607:surname by his descendants. 1294:suggests that the cantatas 1119:Stanford wrote of Bennett: 929:Chancellor of the Exchequer 10: 6736: 6690:English Romantic composers 6675:English conductors (music) 6670:English classical pianists 6407:Coleridge's theory of life 3904:A History of British Music 3688:Stanford, Charles Villiers 3128: 3116:"William Sterndale Bennett 3072:"WSB – Select Discography" 2270:Temperley (1989a, p. 210.) 2223:French, Elizabeth (2007), 2193:Parrott (2006), pp. 34–35. 2184:Young (1967), pp. 452–453. 2009:Temperley (1989a), p. 208. 1991:Temperley (1989a), p. 214. 1973:Temperley (1989a, p. 209.) 1964:Davison (1912), pp. 25–26. 1855:Bennett (1907), pp. 28–29. 1843:Bennett (1907), pp. 27–28. 1809:Davison (1912), pp. 24–25. 1095: 1039:George Alexander Macfarren 574:'s pupil, the 13-year-old 492:and Berlin, he played his 447:Neue Zeitschrift für Musik 155:, and his wife Elizabeth, 18: 6499: 6462:Romanticism and economics 6399: 6291: 6038: 5860: 5805: 5774: 5698: 5647: 5596: 5555: 5464: 5408: 5372: 5326: 5317: 5162: 5106: 5055: 5014: 4973: 4927: 4869: 4739: 4618: 4540: 4477:Manuel Antônio de Almeida 4459: 4450: 4336: 4204: 4135: 3997: 2978:Sheppard (1928), p. viii. 2852:Parrott (2008), pp. 36–37 2719:"Philharmonic Concerts", 2496:"Sterndale Bennett Prize" 1876:Bennett (1907), pp. 35-37 1822:, 12 December 1830, p. 2. 1711:"Sir Sterndale Bennett", 1568: 1475: 1437:, and the Dutch composer 1374:The Well-Tempered Clavier 1044: 668:Charles Villiers Stanford 373:John Broadwood & Sons 6710:Musicians from Sheffield 4242:German historical school 4086:Jonathan Freeman-Attwood 3035:Caldwell (1999), p. 225. 2831:Caldwell (1999), p. 220. 2822:Caldwell (1999), p. 219. 2801:, 9 January 1908, p. 13. 2777:Caldwell (1999), p. 235. 2768:Temperley (2006), p. 77. 2759:Temperley (2006), p. 73. 2750:Temperley (2006), p. 72. 2674:Temperley (2006), p. 22. 2665:Stanford (1916), p. 631. 2618:. Accessed 15 May 2012. 2537:Edwards (1903c), p. 525. 2414:Stanford (1916), p. 656. 2387:Stanford (1916), p. 655. 2261:Stanford (1916), p. 647. 2252:Edwards (1903b), p. 381. 2157:Stanford (1916), p. 641. 2136:Edwards (1903b), p. 380. 2111:"Philharmonic Society", 2069:British Music Collection 1764:Edwards (1903a), p. 306. 1717:, 2 February 1875, p. 9. 1430:from beginning to end!" 1114: 1091: 1071:Ernest Sterndale Bennett 890:illness. His biographer 6645:British music educators 4889:Józef Ignacy Kraszewski 4032:Sir Alexander Mackenzie 3906:. London: Ernest Benn. 3894:(subscription required) 3833:(subscription required) 3755:(subscription required) 3664:Squire, William Barclay 3467:Ehrlich, Cyril (1995). 3462:(subscription required) 3438:(subscription required) 3402:(subscription required) 3350:Davison, Henry (1912). 3301:(subscription required) 3267:(subscription required) 3165:(subscription required) 3025:(subscription required) 3021:"Bache, Francis Edward" 2997:(subscription required) 2969:Temperley (2006), p. 3. 2909:Bennett (1907), p. 235. 2555:Bennett (1907), p. 156. 2507:Bennett (1907), p. 415. 2486:Bennett (1907), p. 418. 2477:Bennett (1907), p. 384. 2432:Rainbow (1980), p. 213. 2369:Bennett (1907), p. 320. 2288:Ehrlich (1995), p. 102. 2124:Bennett (1907), p. 168. 2089:Bennett (1907), p. 162. 1914:(subscription required) 1834:Edwards (1903a) p. 307. 1501:Elizabeth Sara Sheppard 1490:Samuel Sebastian Wesley 866:University of Cambridge 833:(Op. 41) with words by 825:for the opening of the 615:Queen's College, London 544:University of Edinburgh 434:Schumann dedicated his 153:Sheffield parish church 92:University of Cambridge 64:Queen's College, London 6472:Romanticism in science 6427:Middle Ages in history 6422:List of Romantic poets 5134:Josiah Gilbert Holland 3991:Royal Academy of Music 3650:. London: J. M. Dent. 3356:. London: Wm. Reeves. 3044:Parrott (2008), p. 38. 3019:, Temperley Nicholas. 3017:" Cusins, Sir William" 2900:Bennett (1907), p. 86. 2861:Conway (2012), p. 190. 2741:Conway (2012), p. 102. 2586:, 31 August 1963, p. 8 2564:Foster (1913), p. 352. 2337:, Vol 10 (2016) p. 51. 2306:Ehrlich (1995), p. 97. 2297:Ehrlich (1995), p. 95. 2279:Ehrlich (1995), p. 94. 2036:Squire (1885), p. 248. 1925:Davison (1912), p. 24. 1894:Davison (1912), p. 21. 1885:Bennett (1907), p. 38. 1800:Bennett (1907), p. 27. 1791:Bennett (1907), p. 21. 1782:Bennett (1907), p. 15. 1773:Bennett (1907), p. 14. 1635:Royal College of Music 1620:only in 1830. See the 1473: 1435:Société Philharmonique 1427: 1406: 1195:, Clara Schumann, and 1187: 1168: 1158: 1149: 1111: 1065:Joan Sterndale-Bennett 908: 802: 688: 539: 527: 519: 507: 482: 431: 359: 347: 283: 276:wrote of this concert: 218:The Marriage of Figaro 193:Royal Academy of Music 140: 133:Royal Academy of Music 124: 45:Royal Academy of Music 37: 6442:Romantic epistemology 6432:Opium and Romanticism 5001:Stojadinović-Srpkinja 4227:Counter-Enlightenment 4050:Sir Reginald Thatcher 3697:The Musical Quarterly 3517:10.1093/ref:odnb/2131 3203:Grosse Passions-Musik 2813:Young (1967), p. 451. 2723:, 31 May 1864, p. 14. 2175:Young (1967), p. 446. 2115:, 11 June 1844, p. 5. 1955:Young (1967), p. 448. 1867:Young (1967), p. 447. 1752:Bennett (1907), p. 6. 1648:Paradise and the Peri 1494:Michael William Balfe 1468: 1423: 1404: 1324:Editions and writings 1185: 1166: 1153: 1121: 1105: 944:Royal Society of Arts 906: 823:Alfred, Lord Tennyson 796: 782:Paradise and the Peri 726:1851 Great Exhibition 686: 632:An die ferne Geliebte 627:Johann Sebastian Bach 533: 526:Bennett aged about 35 525: 517: 502: 466: 428:large black whiskers. 408: 353: 345: 278: 189:King's College Chapel 130: 122: 51:, who invited him to 31: 6506:Age of Enlightenment 4148:England (literature) 4056:Sir Thomas Armstrong 4044:Sir Stanley Marchant 4026:Sir George Macfarren 3826:: CS1 maint: year ( 3533:Foster, Myles Birket 3492:. London: J Nisbot. 3486:Findon, B W (1904). 3254:10.1093/jrma/91.1.85 3192:: CS1 maint: year ( 2933:The New York Tribune 2701:Findon (1904), p. 19 2102:, 13 June 1842, p. 5 1937:Bush (1986), p. 324. 1586:Notes and references 1535:Francis Edward Bache 1417:. The London critic 1304:The Woman of Samaria 1300:The Woman of Samaria 1023:The Woman of Samaria 1006:The Woman of Samaria 907:Bennett in the 1860s 839:The Woman of Samaria 623:Hanover Square Rooms 619:Preludes and Lessons 568:Alexander Dreyschock 564:Ludwig van Beethoven 418: ... and a Mr. 285:In the audience was 143:Bennett was born in 80:Philharmonic Society 34:John Everett Millais 6665:Composers for piano 6457:Romantic psychology 4252:Hudson River School 4196:Sweden (literature) 4181:Russia (literature) 3873:10.1093/jrma/fki012 3710:10.1093/mq/ii.4.628 3642:Sheppard, Elizabeth 3605:Grace Eleanor Hadow 3015:, Mackerness, E D. 3009:"Parry, Sir Hubert" 2683:Bush (1965), p. 89. 2656:, 28 January 2016. 2653:The Daily Telegraph 2333:Kent, Christopher. 2045:Bush (1965), p. 88. 1910:Oxford Music Online 1551:St. Matthew Passion 1353:Adolf Bernhard Marx 1341:Catherine Winkworth 1217:music of the future 1021:, and the complete 883:Earl of Westmorland 847:The Maid of Orleans 756:Italian Opera House 137:James Warren Childe 6700:Oratorio composers 4442:White Mountain art 4383:Historical fiction 4191:Spain (literature) 3989:Principals of the 3805:Grove Music Online 3729:19th-Century Music 3469:First Philharmonic 2212:The Norwood Review 1654:and conducted his 1407: 1345:St Matthew Passion 1332:and co-edited the 1223:Early compositions 1188: 1169: 1112: 909: 803: 714:St Matthew Passion 689: 657:Domenico Scarlatti 540: 528: 520: 498:Nicholas Temperley 360: 348: 141: 125: 38: 6533: 6532: 6447:Romantic medicine 6417:List of romantics 5856: 5855: 5507:Felix Mendelssohn 5502:Fanny Mendelssohn 5313: 5312: 5027:Rosalía de Castro 4965:Soares dos Passos 4313:Transcendentalism 4277:Nazarene movement 4237:Düsseldorf School 4095: 4094: 4068:Sir David Lumsden 4062:Sir Anthony Lewis 3849:978-0-19-816438-8 3822:cite encyclopedia 3790:978-1-84383-272-0 3647:Charles Auchester 3633:978-0-486-25748-8 3614:978-1-108-06415-6 3567:978-0-7546-5208-3 3523:(Subscription or 3445:The Musical Times 3413:The Musical Times 3376:The Musical Times 3342:978-1-107-01538-8 3282:(1719): 322–324. 3275:The Musical Times 3139:The Musical Times 3104:David Owen Norris 3076:David Owen Norris 3013:"Matthay, Tobias" 2958:David Owen Norris 2054:Schumann, p. 132. 1652:Symphonic Studies 1506:Charles Auchester 1439:Johannes Verhulst 1213:Gioachino Rossini 1183: 1164: 998:Westminster Abbey 952:Royal Albert Hall 876:Bachelor of Music 661:Fanny Mendelssohn 437:Symphonic Studies 287:Felix Mendelssohn 207:, and then under 175:in the choirs of 100:Westminster Abbey 49:Felix Mendelssohn 6727: 6695:Knights Bachelor 6562: 6561: 6560: 6550: 6549: 6548: 6541: 6523: 6522: 6482:Evolution theory 5324: 5323: 4457: 4456: 4318:Ukrainian school 4122: 4115: 4108: 4099: 4098: 4080:Sir Curtis Price 3983: 3976: 3969: 3960: 3959: 3915: 3895: 3892: 3853: 3834: 3831: 3825: 3817: 3815: 3813: 3794: 3775: 3756: 3753: 3721: 3683: 3671: 3659: 3637: 3618: 3603:. Translated by 3595: 3576:Rainbow, Bernarr 3571: 3548: 3528: 3520: 3501: 3482: 3463: 3460: 3451:(726): 923–927. 3439: 3436: 3419:(724): 379–381. 3403: 3400: 3383:(723): 306–309. 3365: 3346: 3324: 3302: 3299: 3268: 3265: 3233: 3214: 3197: 3191: 3183: 3166: 3163: 3123: 3113: 3107: 3097: 3091: 3085: 3079: 3069: 3063: 3060: 3054: 3051: 3045: 3042: 3036: 3033: 3027: 3026: 3011:, Dawes, Frank. 3007:Dibble, Jeremy. 3005: 2999: 2998: 2995: 2985: 2979: 2976: 2970: 2967: 2961: 2951: 2945: 2944: 2942: 2940: 2925: 2919: 2916: 2910: 2907: 2901: 2898: 2889: 2886: 2880: 2879:Temperley (2006) 2877: 2871: 2868: 2862: 2859: 2853: 2850: 2844: 2841: 2832: 2829: 2823: 2820: 2814: 2811: 2802: 2793: 2787: 2784: 2778: 2775: 2769: 2766: 2760: 2757: 2751: 2748: 2742: 2739: 2733: 2730: 2724: 2717: 2711: 2708: 2702: 2699: 2693: 2690: 2684: 2681: 2675: 2672: 2666: 2663: 2657: 2645: 2639: 2625: 2619: 2609: 2603: 2602:, 30 April 1996. 2593: 2587: 2580: 2574: 2571: 2565: 2562: 2556: 2553: 2547: 2544: 2538: 2535: 2529: 2526: 2520: 2514: 2508: 2505: 2499: 2493: 2487: 2484: 2478: 2475: 2469: 2466: 2460: 2457: 2451: 2448: 2442: 2439: 2433: 2430: 2424: 2421: 2415: 2412: 2406: 2403: 2397: 2394: 2388: 2385: 2379: 2376: 2370: 2367: 2361: 2358: 2347: 2344: 2338: 2331: 2325: 2322: 2316: 2313: 2307: 2304: 2298: 2295: 2289: 2286: 2280: 2277: 2271: 2268: 2262: 2259: 2253: 2250: 2241: 2238: 2232: 2229:Hyperion Records 2227:(liner notes to 2221: 2215: 2209: 2203: 2200: 2194: 2191: 2185: 2182: 2176: 2173: 2167: 2164: 2158: 2155: 2146: 2143: 2137: 2134: 2125: 2122: 2116: 2109: 2103: 2096: 2090: 2087: 2081: 2080: 2078: 2076: 2061: 2055: 2052: 2046: 2043: 2037: 2034: 2028: 2025: 2019: 2016: 2010: 2007: 2001: 1998: 1992: 1989: 1983: 1980: 1974: 1971: 1965: 1962: 1956: 1953: 1947: 1944: 1938: 1935: 1926: 1923: 1917: 1915: 1901: 1895: 1892: 1886: 1883: 1877: 1874: 1868: 1865: 1856: 1853: 1844: 1841: 1835: 1832: 1823: 1816: 1810: 1807: 1801: 1798: 1792: 1789: 1783: 1780: 1774: 1771: 1765: 1762: 1753: 1750: 1744: 1741: 1718: 1709: 1703: 1698: 1663: 1644: 1638: 1631: 1625: 1614: 1608: 1605:double-barrelled 1601: 1558:Bodleian Library 1515:Alice Mary Smith 1455:New York Tribune 1391:London Institute 1383:Acis and Galatea 1349:full vocal score 1337:Book for England 1238: 1197:Ferdinand Hiller 1184: 1165: 983:English Heritage 917:Otto Goldschmidt 835:Charles Kingsley 734:Arabella Goddard 705:John Pyke Hullah 701:Sir George Smart 637:Henri Vieuxtemps 629:and Beethoven's 592:Alice Mary Smith 452:Musical Sketches 240: 171:, who sang as a 6735: 6734: 6730: 6729: 6728: 6726: 6725: 6724: 6570: 6569: 6568: 6564:Classical music 6558: 6556: 6546: 6544: 6536: 6534: 6529: 6528: 6517: 6509: 6495: 6452:Romantic poetry 6437:Romantic ballet 6412:German idealism 6395: 6361:Lacoue-Labarthe 6287: 6034: 5852: 5801: 5770: 5751:Rimsky-Korsakov 5694: 5643: 5592: 5551: 5460: 5404: 5368: 5309: 5158: 5102: 5051: 5010: 4969: 4923: 4865: 4806:Maria Edgeworth 4742: 4735: 4614: 4536: 4446: 4425:Romantic genius 4355:Gesamtkunstwerk 4332: 4293:Sturm und Drang 4200: 4131: 4126: 4096: 4091: 4038:Sir John McEwen 4008:Cipriani Potter 3993: 3987: 3923: 3918: 3900:Young, Percy M. 3893: 3850: 3832: 3819: 3818: 3811: 3809: 3791: 3772: 3754: 3674:Stephen, Leslie 3634: 3615: 3592: 3568: 3522: 3479: 3461: 3437: 3401: 3343: 3321: 3300: 3266: 3185: 3184: 3164: 3131: 3126: 3114: 3110: 3098: 3094: 3086: 3082: 3070: 3066: 3061: 3057: 3052: 3048: 3043: 3039: 3034: 3030: 3024: 3006: 3002: 2996: 2994:. Bardon Music. 2986: 2982: 2977: 2973: 2968: 2964: 2952: 2948: 2938: 2936: 2927: 2926: 2922: 2917: 2913: 2908: 2904: 2899: 2892: 2887: 2883: 2878: 2874: 2869: 2865: 2860: 2856: 2851: 2847: 2842: 2835: 2830: 2826: 2821: 2817: 2812: 2805: 2794: 2790: 2785: 2781: 2776: 2772: 2767: 2763: 2758: 2754: 2749: 2745: 2740: 2736: 2731: 2727: 2718: 2714: 2709: 2705: 2700: 2696: 2691: 2687: 2682: 2678: 2673: 2669: 2664: 2660: 2646: 2642: 2632:Charlie Simpson 2626: 2622: 2610: 2606: 2594: 2590: 2581: 2577: 2572: 2568: 2563: 2559: 2554: 2550: 2545: 2541: 2536: 2532: 2527: 2523: 2515: 2511: 2506: 2502: 2494: 2490: 2485: 2481: 2476: 2472: 2467: 2463: 2458: 2454: 2449: 2445: 2440: 2436: 2431: 2427: 2422: 2418: 2413: 2409: 2404: 2400: 2395: 2391: 2386: 2382: 2377: 2373: 2368: 2364: 2359: 2350: 2345: 2341: 2332: 2328: 2323: 2319: 2314: 2310: 2305: 2301: 2296: 2292: 2287: 2283: 2278: 2274: 2269: 2265: 2260: 2256: 2251: 2244: 2239: 2235: 2222: 2218: 2210: 2206: 2201: 2197: 2192: 2188: 2183: 2179: 2174: 2170: 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572:Frédéric Chopin 512: 356:Josef Kriehuber 340: 266:King William IV 238: 209:Cipriani Potter 117: 112: 68:Arthur Sullivan 57:Robert Schumann 24: 17: 12: 11: 5: 6733: 6723: 6722: 6717: 6712: 6707: 6702: 6697: 6692: 6687: 6682: 6677: 6672: 6667: 6662: 6657: 6652: 6647: 6642: 6640:Bach musicians 6637: 6632: 6627: 6622: 6617: 6612: 6607: 6602: 6597: 6592: 6587: 6582: 6567: 6566: 6554: 6531: 6530: 6510: 6502: 6501: 6500: 6497: 6496: 6494: 6493: 6486: 6485: 6484: 6479: 6469: 6464: 6459: 6454: 6449: 6444: 6439: 6434: 6429: 6424: 6419: 6414: 6409: 6403: 6401: 6400:Related topics 6397: 6396: 6394: 6393: 6388: 6383: 6378: 6373: 6368: 6363: 6358: 6353: 6348: 6343: 6338: 6333: 6328: 6323: 6318: 6313: 6308: 6303: 6297: 6295: 6289: 6288: 6286: 6285: 6280: 6275: 6270: 6265: 6260: 6255: 6250: 6245: 6240: 6235: 6230: 6225: 6220: 6215: 6210: 6205: 6200: 6195: 6190: 6185: 6180: 6175: 6170: 6165: 6160: 6155: 6150: 6145: 6140: 6135: 6130: 6128:Gallen-Kallela 6125: 6120: 6115: 6110: 6105: 6103:David 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4089: 4083: 4077: 4071: 4065: 4059: 4053: 4047: 4041: 4035: 4029: 4023: 4017: 4011: 4005: 4002:William Crotch 3998: 3995: 3994: 3986: 3985: 3978: 3971: 3963: 3957: 3956: 3946: 3940: 3934: 3922: 3921:External links 3919: 3917: 3916: 3896: 3867:(2): 236–282. 3854: 3848: 3835: 3795: 3789: 3776: 3770: 3762:The Lost Chord 3757: 3742:10.2307/746502 3723: 3704:(4): 628–657. 3684: 3660: 3638: 3632: 3619: 3613: 3596: 3590: 3572: 3566: 3554:Rushton, ulian 3549: 3529: 3502: 3483: 3477: 3464: 3440: 3425:10.2307/903249 3404: 3389:10.2307/903335 3366: 3347: 3341: 3325: 3319: 3307:Caldwell, John 3303: 3288:10.2307/965069 3269: 3238:Bush, Geoffrey 3234: 3215: 3198: 3167: 3152:10.2307/920807 3132: 3130: 3127: 3125: 3124: 3108: 3092: 3080: 3064: 3055: 3046: 3037: 3028: 3000: 2980: 2971: 2962: 2946: 2920: 2911: 2902: 2890: 2881: 2872: 2863: 2854: 2845: 2833: 2824: 2815: 2803: 2788: 2779: 2770: 2761: 2752: 2743: 2734: 2725: 2712: 2703: 2694: 2685: 2676: 2667: 2658: 2640: 2620: 2604: 2588: 2575: 2573:Bennett (1907) 2566: 2557: 2548: 2539: 2530: 2521: 2509: 2500: 2488: 2479: 2470: 2461: 2452: 2443: 2434: 2425: 2416: 2407: 2398: 2389: 2380: 2371: 2362: 2348: 2339: 2326: 2317: 2308: 2299: 2290: 2281: 2272: 2263: 2254: 2242: 2233: 2216: 2204: 2195: 2186: 2177: 2168: 2159: 2147: 2138: 2126: 2117: 2104: 2091: 2082: 2056: 2047: 2038: 2029: 2020: 2011: 2002: 1993: 1984: 1975: 1966: 1957: 1948: 1939: 1927: 1918: 1896: 1887: 1878: 1869: 1857: 1845: 1836: 1824: 1811: 1802: 1793: 1784: 1775: 1766: 1754: 1745: 1719: 1704: 1673: 1665: 1664: 1639: 1626: 1609: 1595: 1594: 1587: 1584: 1583: 1582: 1579: 1576: 1570: 1567: 1543:William Cusins 1531:Tobias Matthay 1519:W. S. Rockstro 1492:(1810–76) and 1486:Queen Victoria 1477: 1474: 1447:Charles Gounod 1419:William Ayrton 1398: 1395: 1325: 1322: 1268: 1265: 1224: 1221: 1209:Hector Berlioz 1116: 1113: 1093: 1090: 1089: 1088: 1074: 1068: 1061: 1046: 1043: 1031:Joseph Joachim 990:St John's Wood 900: 897: 829:in London; an 742:Richard Wagner 680: 677: 663:and Schumann. 645:Stephen Heller 641:Heinrich Ernst 587:Clara Schumann 552:string quartet 511: 508: 404:Percy M. Young 381:Thomas Attwood 339: 336: 306:chapel of ease 274:The Harmonicon 270:Queen Adelaide 262:Windsor Castle 244:The Harmonicon 205:William Crotch 116: 113: 111: 108: 76:Tobias Matthay 15: 9: 6: 4: 3: 2: 6732: 6721: 6718: 6716: 6713: 6711: 6708: 6706: 6703: 6701: 6698: 6696: 6693: 6691: 6688: 6686: 6683: 6681: 6678: 6676: 6673: 6671: 6668: 6666: 6663: 6661: 6658: 6656: 6653: 6651: 6648: 6646: 6643: 6641: 6638: 6636: 6633: 6631: 6628: 6626: 6623: 6621: 6618: 6616: 6613: 6611: 6608: 6606: 6603: 6601: 6598: 6596: 6593: 6591: 6588: 6586: 6583: 6581: 6578: 6577: 6575: 6565: 6555: 6553: 6543: 6542: 6539: 6527: 6526: 6515: 6514: 6508: 6507: 6498: 6492: 6491: 6487: 6483: 6480: 6478: 6475: 6474: 6473: 6470: 6468: 6465: 6463: 6460: 6458: 6455: 6453: 6450: 6448: 6445: 6443: 6440: 6438: 6435: 6433: 6430: 6428: 6425: 6423: 6420: 6418: 6415: 6413: 6410: 6408: 6405: 6404: 6402: 6398: 6392: 6389: 6387: 6384: 6382: 6379: 6377: 6374: 6372: 6369: 6367: 6364: 6362: 6359: 6357: 6354: 6352: 6349: 6347: 6344: 6342: 6339: 6337: 6334: 6332: 6329: 6327: 6324: 6322: 6319: 6317: 6314: 6312: 6309: 6307: 6304: 6302: 6299: 6298: 6296: 6294: 6290: 6284: 6281: 6279: 6276: 6274: 6271: 6269: 6266: 6264: 6261: 6259: 6256: 6254: 6251: 6249: 6246: 6244: 6241: 6239: 6236: 6234: 6231: 6229: 6226: 6224: 6221: 6219: 6216: 6214: 6211: 6209: 6206: 6204: 6201: 6199: 6196: 6194: 6191: 6189: 6186: 6184: 6181: 6179: 6176: 6174: 6171: 6169: 6166: 6164: 6161: 6159: 6156: 6154: 6151: 6149: 6146: 6144: 6141: 6139: 6136: 6134: 6131: 6129: 6126: 6124: 6121: 6119: 6116: 6114: 6111: 6109: 6106: 6104: 6101: 6099: 6096: 6094: 6091: 6089: 6086: 6084: 6081: 6079: 6076: 6074: 6071: 6069: 6066: 6064: 6061: 6059: 6056: 6054: 6051: 6049: 6046: 6045: 6043: 6041: 6037: 6031: 6028: 6026: 6023: 6021: 6018: 6016: 6013: 6011: 6008: 6006: 6003: 6001: 5998: 5996: 5993: 5991: 5988: 5986: 5983: 5981: 5978: 5976: 5973: 5971: 5968: 5966: 5963: 5961: 5958: 5956: 5953: 5951: 5948: 5946: 5943: 5941: 5938: 5936: 5933: 5931: 5928: 5926: 5923: 5921: 5918: 5916: 5913: 5911: 5908: 5906: 5903: 5901: 5898: 5896: 5893: 5891: 5888: 5886: 5883: 5881: 5878: 5876: 5873: 5871: 5868: 5867: 5865: 5863: 5859: 5849: 5846: 5844: 5841: 5839: 5836: 5834: 5831: 5829: 5826: 5824: 5821: 5819: 5816: 5814: 5811: 5810: 5808: 5804: 5798: 5795: 5793: 5790: 5788: 5785: 5783: 5780: 5779: 5777: 5773: 5767: 5764: 5762: 5759: 5757: 5754: 5752: 5749: 5747: 5744: 5742: 5739: 5737: 5734: 5732: 5729: 5727: 5724: 5722: 5719: 5717: 5714: 5712: 5709: 5707: 5704: 5703: 5701: 5697: 5691: 5688: 5686: 5683: 5681: 5678: 5676: 5673: 5671: 5668: 5666: 5663: 5661: 5658: 5656: 5653: 5652: 5650: 5646: 5640: 5637: 5635: 5632: 5630: 5627: 5625: 5622: 5620: 5617: 5615: 5612: 5610: 5607: 5605: 5602: 5601: 5599: 5595: 5589: 5586: 5584: 5581: 5579: 5576: 5574: 5571: 5569: 5566: 5564: 5561: 5560: 5558: 5554: 5548: 5545: 5543: 5540: 5538: 5535: 5533: 5530: 5528: 5525: 5523: 5520: 5518: 5515: 5513: 5510: 5508: 5505: 5503: 5500: 5498: 5495: 5493: 5490: 5488: 5485: 5483: 5480: 5478: 5475: 5473: 5470: 5469: 5467: 5463: 5457: 5454: 5452: 5449: 5447: 5444: 5442: 5439: 5437: 5434: 5432: 5429: 5427: 5424: 5422: 5419: 5417: 5414: 5413: 5411: 5407: 5401: 5398: 5396: 5393: 5391: 5388: 5386: 5383: 5381: 5378: 5377: 5375: 5371: 5365: 5362: 5360: 5357: 5355: 5352: 5350: 5347: 5345: 5342: 5340: 5337: 5335: 5332: 5331: 5329: 5325: 5322: 5320: 5316: 5306: 5303: 5301: 5298: 5296: 5293: 5291: 5288: 5286: 5283: 5281: 5278: 5276: 5273: 5271: 5268: 5266: 5263: 5261: 5258: 5256: 5253: 5251: 5248: 5246: 5243: 5241: 5238: 5236: 5233: 5231: 5228: 5226: 5223: 5221: 5220:Nikolai Gogol 5218: 5216: 5213: 5211: 5208: 5206: 5203: 5201: 5198: 5196: 5193: 5191: 5188: 5186: 5183: 5181: 5178: 5176: 5173: 5171: 5168: 5167: 5165: 5161: 5155: 5152: 5150: 5147: 5145: 5142: 5140: 5137: 5135: 5132: 5130: 5127: 5125: 5122: 5120: 5117: 5115: 5112: 5111: 5109: 5105: 5099: 5096: 5094: 5091: 5089: 5086: 5084: 5081: 5079: 5076: 5074: 5071: 5069: 5066: 5064: 5061: 5060: 5058: 5054: 5048: 5045: 5043: 5040: 5038: 5035: 5033: 5030: 5028: 5025: 5023: 5020: 5019: 5017: 5013: 5007: 5004: 5002: 4999: 4997: 4994: 4992: 4989: 4987: 4984: 4982: 4979: 4978: 4976: 4972: 4966: 4963: 4961: 4958: 4956: 4953: 4951: 4948: 4946: 4943: 4941: 4938: 4936: 4933: 4932: 4930: 4926: 4920: 4917: 4915: 4912: 4910: 4907: 4905: 4902: 4900: 4897: 4895: 4892: 4890: 4887: 4885: 4882: 4880: 4877: 4876: 4874: 4872: 4868: 4862: 4859: 4857: 4854: 4852: 4851:P. B. Shelley 4849: 4847: 4844: 4842: 4839: 4837: 4834: 4832: 4831:Mary Robinson 4829: 4827: 4824: 4822: 4819: 4817: 4814: 4812: 4809: 4807: 4804: 4802: 4799: 4797: 4794: 4792: 4789: 4787: 4784: 4782: 4779: 4777: 4774: 4772: 4769: 4767: 4764: 4762: 4759: 4757: 4754: 4752: 4749: 4748: 4746: 4744: 4738: 4732: 4729: 4727: 4724: 4722: 4719: 4717: 4714: 4712: 4709: 4707: 4704: 4702: 4699: 4697: 4694: 4692: 4689: 4687: 4684: 4682: 4679: 4677: 4674: 4672: 4669: 4667: 4664: 4662: 4659: 4657: 4654: 4652: 4649: 4647: 4644: 4642: 4639: 4637: 4634: 4632: 4629: 4627: 4624: 4623: 4621: 4617: 4611: 4608: 4606: 4603: 4601: 4598: 4596: 4593: 4591: 4588: 4586: 4583: 4581: 4578: 4576: 4573: 4571: 4568: 4566: 4563: 4561: 4560:Chateaubriand 4558: 4556: 4553: 4551: 4548: 4547: 4545: 4543: 4539: 4533: 4530: 4528: 4525: 4523: 4520: 4518: 4515: 4513: 4510: 4508: 4505: 4503: 4500: 4498: 4495: 4493: 4490: 4488: 4485: 4483: 4480: 4478: 4475: 4473: 4470: 4468: 4465: 4464: 4462: 4458: 4455: 4453: 4449: 4443: 4440: 4438: 4437: 4433: 4431: 4428: 4426: 4423: 4421: 4418: 4416: 4413: 4411: 4408: 4406: 4403: 4401: 4398: 4396: 4393: 4391: 4390: 4389:Mal du siècle 4386: 4384: 4381: 4377: 4374: 4372: 4369: 4368: 4367: 4364: 4362: 4359: 4357: 4356: 4352: 4350: 4347: 4345: 4342: 4341: 4339: 4335: 4329: 4326: 4324: 4321: 4319: 4316: 4314: 4311: 4309: 4308: 4304: 4302: 4299: 4295: 4294: 4290: 4289: 4288: 4285: 4283: 4280: 4278: 4275: 4273: 4270: 4268: 4265: 4263: 4260: 4258: 4255: 4253: 4250: 4248: 4245: 4243: 4240: 4238: 4235: 4233: 4230: 4228: 4225: 4223: 4220: 4218: 4215: 4213: 4210: 4209: 4207: 4203: 4197: 4194: 4192: 4189: 4187: 4184: 4182: 4179: 4177: 4174: 4172: 4169: 4167: 4164: 4162: 4159: 4157: 4154: 4151: 4149: 4146: 4144: 4141: 4140: 4138: 4134: 4130: 4123: 4118: 4116: 4111: 4109: 4104: 4103: 4100: 4087: 4084: 4081: 4078: 4075: 4072: 4069: 4066: 4063: 4060: 4057: 4054: 4051: 4048: 4045: 4042: 4039: 4036: 4033: 4030: 4027: 4024: 4021: 4018: 4015: 4014:Charles Lucas 4012: 4009: 4006: 4003: 4000: 3999: 3996: 3992: 3984: 3979: 3977: 3972: 3970: 3965: 3964: 3961: 3954: 3950: 3947: 3944: 3941: 3938: 3935: 3932: 3928: 3925: 3924: 3913: 3909: 3905: 3901: 3897: 3890: 3886: 3882: 3878: 3874: 3870: 3866: 3862: 3861: 3855: 3851: 3845: 3841: 3836: 3829: 3823: 3807: 3806: 3801: 3796: 3792: 3786: 3782: 3777: 3773: 3771:0-253-33518-3 3767: 3763: 3758: 3751: 3747: 3743: 3739: 3735: 3731: 3730: 3724: 3722:(free access) 3719: 3715: 3711: 3707: 3703: 3699: 3698: 3693: 3689: 3685: 3681: 3680: 3675: 3670: 3665: 3661: 3657: 3653: 3649: 3648: 3643: 3639: 3635: 3629: 3625: 3620: 3616: 3610: 3606: 3602: 3597: 3593: 3591:0-333-23111-2 3587: 3583: 3582: 3577: 3573: 3569: 3563: 3559: 3555: 3550: 3546: 3542: 3538: 3534: 3530: 3526: 3518: 3514: 3510: 3509: 3503: 3499: 3495: 3491: 3490: 3484: 3480: 3478:0-19-816232-4 3474: 3470: 3465: 3458: 3454: 3450: 3446: 3441: 3434: 3430: 3426: 3422: 3418: 3414: 3410: 3405: 3398: 3394: 3390: 3386: 3382: 3378: 3377: 3372: 3367: 3363: 3359: 3355: 3354: 3348: 3344: 3338: 3334: 3330: 3329:Conway, David 3326: 3322: 3320:0-19-816288-X 3316: 3312: 3308: 3304: 3297: 3293: 3289: 3285: 3281: 3277: 3276: 3270: 3263: 3259: 3255: 3251: 3247: 3243: 3239: 3235: 3231: 3227: 3223: 3222: 3216: 3212: 3208: 3204: 3199: 3195: 3189: 3181: 3177: 3173: 3168: 3161: 3157: 3153: 3149: 3146:(1209): 351. 3145: 3141: 3140: 3134: 3133: 3122: 3119: 3118: 3112: 3105: 3101: 3096: 3089: 3084: 3077: 3073: 3068: 3059: 3050: 3041: 3032: 3022: 3018: 3014: 3010: 3004: 2993: 2992: 2984: 2975: 2966: 2959: 2955: 2950: 2934: 2930: 2924: 2915: 2906: 2897: 2895: 2885: 2876: 2867: 2858: 2849: 2840: 2838: 2828: 2819: 2810: 2808: 2800: 2799: 2792: 2783: 2774: 2765: 2756: 2747: 2738: 2729: 2722: 2716: 2707: 2698: 2689: 2680: 2671: 2662: 2655: 2654: 2649: 2644: 2637: 2633: 2629: 2624: 2617: 2613: 2608: 2601: 2597: 2592: 2585: 2579: 2570: 2561: 2552: 2543: 2534: 2525: 2518: 2513: 2504: 2497: 2492: 2483: 2474: 2465: 2456: 2450:Wright (2005) 2447: 2438: 2429: 2420: 2411: 2402: 2393: 2384: 2375: 2366: 2360:Squire (1885) 2357: 2355: 2353: 2343: 2336: 2330: 2321: 2312: 2303: 2294: 2285: 2276: 2267: 2258: 2249: 2247: 2237: 2230: 2226: 2220: 2213: 2208: 2199: 2190: 2181: 2172: 2163: 2154: 2152: 2142: 2133: 2131: 2121: 2114: 2108: 2101: 2095: 2086: 2070: 2066: 2060: 2051: 2042: 2033: 2024: 2015: 2006: 1997: 1988: 1979: 1970: 1961: 1952: 1943: 1934: 1932: 1922: 1912: 1911: 1906: 1900: 1891: 1882: 1873: 1864: 1862: 1852: 1850: 1840: 1831: 1829: 1821: 1815: 1806: 1797: 1788: 1779: 1770: 1761: 1759: 1749: 1740: 1738: 1736: 1734: 1732: 1730: 1728: 1726: 1724: 1716: 1715: 1708: 1702: 1701:Firman (2004) 1697: 1695: 1693: 1691: 1689: 1687: 1685: 1683: 1681: 1679: 1674: 1672: 1671: 1661: 1657: 1653: 1649: 1643: 1636: 1630: 1623: 1619: 1618:Royal Charter 1613: 1606: 1600: 1596: 1593: 1592: 1580: 1577: 1573: 1572: 1566: 1564: 1559: 1554: 1552: 1546: 1544: 1540: 1536: 1532: 1528: 1524: 1520: 1516: 1512: 1508: 1507: 1502: 1499:The novelist 1497: 1495: 1491: 1487: 1483: 1482:John Betjeman 1472: 1467: 1465: 1461: 1460:Henry Purcell 1457: 1456: 1450: 1448: 1444: 1440: 1436: 1431: 1426: 1422: 1420: 1416: 1411: 1403: 1394: 1392: 1387: 1385: 1384: 1380: 1377:and Handel's 1376: 1375: 1370: 1366: 1362: 1358: 1354: 1350: 1346: 1342: 1338: 1336: 1331: 1321: 1319: 1318: 1313: 1312:The May Queen 1309: 1305: 1301: 1297: 1296:The May Queen 1293: 1289: 1287: 1283: 1278: 1277:The May Queen 1274: 1264: 1260: 1258: 1257: 1252: 1248: 1247: 1242: 1233: 1231: 1230:John Caldwell 1220: 1218: 1214: 1210: 1205: 1200: 1198: 1194: 1177: 1174: 1173:Geoffrey Bush 1157: 1152: 1148: 1146: 1142: 1138: 1134: 1130: 1126: 1120: 1109: 1108:The May Queen 1104: 1099: 1086: 1082: 1078: 1075: 1072: 1069: 1066: 1062: 1060: 1056: 1052: 1051: 1050: 1042: 1040: 1036: 1032: 1028: 1024: 1020: 1019: 1014: 1009: 1007: 1003: 999: 995: 994:Henry Purcell 991: 986: 984: 980: 976: 972: 967: 964: 963:Covent Garden 960: 959:Henry Chorley 955: 953: 949: 945: 941: 936: 934: 930: 926: 920: 918: 914: 913:Charles Lucas 905: 896: 893: 888: 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William Sterndale Bennett

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