Timeline of World History TIMELINE OF WORLD HISTORY
 
 

TIMELINE OF WORLD HISTORY
 

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1800 - 1899
 
 
1800-09 1810-19 1820-29 1830-39 1840-49 1850-59 1860-69 1870-79 1880-89 1890-99
1800 1810 1820 1830 1840 1850 1860 1870 1880 1890
1801 1811 1821 1831 1841 1851 1861 1871 1881 1891
1802 1812 1822 1832 1842 1852 1862 1872 1882 1892
1803 1813 1823 1833 1843 1853 1863 1873 1883 1893
1804 1814 1824 1834 1844 1854 1864 1874 1884 1894
1805 1815 1825 1835 1845 1855 1865 1875 1885 1895
1806 1816 1826 1836 1846 1856 1866 1876 1886 1896
1807 1817 1827 1837 1847 1857 1867 1877 1887 1897
1808 1818 1828 1838 1848 1858 1868 1878 1888 1898
1809 1819 1829 1839 1849 1859 1869 1879 1889 1899
 
 
 
 
 
 
 
CONTENTS
  BACK-1837 Part II NEXT-1837 Part IV    
 
 
     
1830 - 1839
YEAR BY YEAR:
1830-1839
History at a Glance
 
YEAR BY YEAR:
1830 Part I
Webster Daniel
Hayne Robert Young
Webster–Hayne debate
Blaine James
Gascoyne-Cecil Robert Arthur Talbot
French conquest of Algeria
French Revolution of 1830
Charles X
Louis-Philippe
 
YEAR BY YEAR:
1830 Part II
Francis Joseph I
Elisabeth of Austria
Diaz Porfirio
Gran Colombia
Wartenburg Johann David Ludwig
Petar II Petrovic-Njegos
Grey Charles
November Uprising (1830–31)
Milos Obrenovic I
Mysore
Red Jacket
 
YEAR BY YEAR:
1830 Part III
William Cobbett: "Rural Rides"
Coulanges Numa Denis
Smith Joseph
Mormon
Honore de Balzac: La Comedie humaine
Dickinson Emily
Emily Dickinson
"Poems"
Genlis Comtesse
Goncourt Jules
Hayne Paul Hamilton
Heyse Paul
Victor Hugo: "Hernani"
Mistral Frederic
Rossetti Christina
Smith Seba
Stendhal: "Le Rouge et le Noir"
Tennyson: "Poems, Chiefly Lyrical"
 
YEAR BY YEAR:
1830 Part IV
Bierstadt Albert
Albert Bierstadt
Corot: "Chartres Cathedral"
Delacroix: "Liberty Guiding the People"
Leighton Frederic
Frederic Leighton
Pissarro Camille
Camille Pissarro
Impressionism Timeline
Ward John Quincy Adams
Waterhouse Alfred
Auber: "Fra Diavolo"
Bellini: "The Capulets and the Montagues"
Bulow Hans
Donizetti: "Anna Bolena"
Goldmark Karl
Karl Goldmark - Violin Concerto No 1
Karl Goldmark
Leschetizky Teodor
Remenyi Eduard
 
YEAR BY YEAR:
1830 Part V
Reclus Jean Jacques Elisee
Markham Clements Robert
Brown Robert
Hessel Johann Friedrich Christian
Liverpool and Manchester Railway
Lyell Charles
Raoult Francois Marie
Reichenbach Karl
Royal Geographical Society
Thimonnier Barthelemy
Thomson Wyville
Lander Richard Lemon
Charting the Coastline
John Biscoe
Lockwood Belva Ann
 
YEAR BY YEAR:
1831 Part I
Battle of Ostroleka
Caprivi Leo
Charles Albert
Leopold I of Belgium
Belgian Revolution (1830-1831)
Goschen George Joachim
Turner Nat
Gneisenau August Wilhelm Antonius
Labouchere Henry
Clausewitz Carl
Garfield James Abram
Egyptian–Ottoman War (1831–33)
Russell John
Pedro II of Brazil
 
YEAR BY YEAR:
1831 Part II
Blavatsky Helena
Gregory XVI
Farrar Frederic William
Gilman Daniel Coit
Harrison Frederic
Miller William
Adventist
White Helen Gould Harmon
Roscoe William
Thomas Isaiah
Winsor Justin
Wright William Aldis
Rutherford Mark
Darby John Nelson
Plymouth Brethren
Balzac: "La Peau de chagrin"
Calverley Charles Stuart
Donnelly Ignatius
Victor Hugo: "Notre Dame de Paris"
Jackson Helen Hunt
Leskov Nikolai
Raabe Wilhelm
Sardou Victorien
Trumbull John
 
YEAR BY YEAR:
1831 Part III
Begas Reinhold
Reinhold Begas
Meunier Constantin
Constantin Meunier
Bellini: "La Sonnambula"
Bellini: "Norma"
Joachim Joseph
Joseph Joachim - Violin Concerto, Op 11
Joseph Joachim
Meyerbeer: "Robert le Diable"
 
YEAR BY YEAR:
1831 Part IV
Barry Heinrich Anton
Guthrie Samuel
Liebig Justus
Chloroform
Colomb Philip Howard
Darwin and the Beagle
Maxwell James Clerk
North Pole
Routh Edward John
Sauria Marc Charles
Great cholera pandemic
Garrison William Lloyd
Godkin Edwin Lawrence
Hirsch Moritz
Hood John Bell
French Foreign Legion
London Bridge
Pullman George Mortimer
Schofield John
Smith Samuel Francis
Stephan Heinrich
Whiteley William
 
YEAR BY YEAR:
1832 Part I
Reform Bill
Gentz Friedrich
Roberts Frederick Sleigh
Democratic Party
Clay Henry
Calhoun Caldwell John
"Italian Youth"
Falkland Islands
Revolution and Counter-Revolution in Europe, 1815-1832
 
YEAR BY YEAR:
1832 Part II
Bancroft Hubert Howe
Fowler Thomas
Krause Karl Christian Friedrich
Rask Rasmus
Stephen Leslie
Vaughan Herbert Alfred
White Andrew Dickson
Alcott Louisa May
Alger Horatio
Arnold Edwin
Balzac: "Le Colonel Chabert"
Bjornson Bjornstjerne Martinius
Busch Heinrich
Carroll Lewis
Lewis Carroll
Lewis Carroll - photographer

"Alice's Adventures in Wonderland" 
"
Through the Looking-Glass" 
Delavigne Casimir
Echegaray Jose
Washington Irving: "Tales of the Alhambra"
Kennedy John Pendleton
Pellico Silvio
Aleksandr Pushkin: "Eugene Onegin"
Tennyson: "Lady of Shalott"
Watts-Dunton Theodore
 
YEAR BY YEAR:
1832 Part III
Constable: "Waterloo Bridge from Whitehall Stairs"
Dore Gustave
Gustave Dore
Manet Edouard
Edouard Manet
Orchardson William
William Orchardson
Hughes Arthur
Arthur Hughes
Berlioz: "Symphonie Fantastique"
Damrosch Leopold
Donizetti: "L'Elisir d'Amore"
Garcia Manuel Vicente Rodriguez
Malibran Maria
Viardot Pauline
Garcia Manuel
 
YEAR BY YEAR:
1832 Part IV
Wundt Wilhelm
Crookes William
Hayes Isaac Israel
Bolyai Janos
Koenig Rodolph
Nordenskiold Nils Adolf Erik
Reaching for the Pole
Nares George Strong
Scarpa Antonio
Vambery Armin
Conway Moncure Daniel
Declaration of Independence, 1776
 
YEAR BY YEAR:
1833 Part I
Gordon Charles George
Otto of Greece
Amalia of Oldenburg
Randolph John
Harrison Benjamin
Isabella II
Santa Anna Antonio Lopez
Whig Party
Muhammad Ali dynasty
Zollverein
 
YEAR BY YEAR:
1833 Part II
Bopp Franz
Bradlaugh Charles
Dilthey Wilhelm
Fawcett Henry
Furness Horace Howard
Ingersoll Robert Green
Pusey Edward Bouverie
Alarcon Pedro Antonio
Balzac: "Eugenie Grandet"
Booth Edwin
Charles Dickens: "Sketches by Boz"
George Cruikshank. From Charles Dickens, Sketches by Boz, 1836.
Gordon Adam Lindsay
Lamb: "Last Essays of Elia"
Longfellow: "Outre-Mer"
Morris Lewis
George Sand: "Lelia"
 
YEAR BY YEAR:
1833 Part III
Burne-Jones Edward
Edward Burne-Jones
Rops Felicien
Felicien Rops
Guerin Pierre-Narcisse
Pierre-Narcisse Guerin
Herold Ferdinand
Ferdinand Herold - Piano Concerto No.2
Ferdinand Herold
Brahms Johannes
Brahms - Hungarian Dances
Johannes Brahms
Chopin: Etudes Op.10 & 25
Heinrich Marschner: "Hans Heiling"
Mendelssohn: "Italian Symphony"
 
YEAR BY YEAR:
1833 Part IV
Weber Wilhelm Eduard
Muller Johannes Peter
Roscoe Henry Enfield
Wheatstone bridge
Back George
Factory Acts
Burnes Alexander
Home Daniel Dunglas
Nobel Alfred
SS "Royal William"
Slavery Abolition Act 1833
General Trades Union in New York
 
YEAR BY YEAR:
1834 Part I
Grenville William Wyndham
Grand National Consolidated Trades Union
Quadruple Alliance
Peel Robert
South Australia Colonisation Act 1834
Xhosa Wars
Cape Colony
Carlism
First Carlist War
Battle of Alsasua
Battle of Alegria de Alava
Battle of Venta de Echavarri
Battle of Mendaza
First Battle of Arquijas
 
YEAR BY YEAR:
1834 Part II
Acton John Emerich
Eliot Charles William
Gibbons James
Seeley John Robert
Spurgeon Charles
Treitschke Heinrich
Maurier George
Balzac: "Le Pere Goriot"
Bancroft George
Blackwood William
Edward Bulwer-Lytton: "The Last Days of Pompeii"
Dahn Felix
Frederick Marryat: "Peter Simple"
Alfred de Musset: "Lorenzaccio"
Pushkin: "The Queen of Spades"
Shorthouse Joseph Henry
Stockton Frank Richard
Browne Charles Farrar
 
YEAR BY YEAR:
1834 Part III
Perov Vasily
Vasily Perov
Bartholdi Frederic Auguste
Degas Edgar
Edgar Degas
Ingres: "Martyrdom of Saint Symphorian"
Whistler James McNeill
James McNeill Whistler
Morris William
William Morris
Adolphe Adam: "Le Chalet"
Barnett John
John Barnett: "The Mountain Sylph"
John Barnett
Berlioz: "Harold en Italie"
Borodin Aleksandr
Alexander Borodin: Prince Igor
Aleksandr Borodin
Elssler Fanny
Kreutzer Conradin
Kreutzer - Das Nachtlager in Granada
Konradin Kreutzer
Santley Charles
Ponchielli Amilcare
 Amilcare Ponchielli - Dance of the Hours
Amilcare Ponchielli
 
YEAR BY YEAR:
1834 Part IV
Haeckel Ernst
Arago Francois
Buch Leopold
Faraday: "Law of Electrolysis"
Langley Samuel Pierpont
McCormick Cyrus Hall
Mendeleyev Dmitry
Runge Friedlieb Ferdinand
Phenol
Steiner Jakob
Depew Chauncey Mitchell
Burning of Parliament
Gabelsberger Franz Xaver
Hansom Joseph Aloysius
Hunt Walter
Lloyd's Register
Poor Law Amendment Act 1834
 
YEAR BY YEAR:
1835 Part I
Ferdinand I of Austria
Bernstorff Christian Gunther
Brisson Henri
Masayoshi Matsukata
Olney Richard
Lee Fitzhugh
Municipal Corporations Act 1835
Palma Tomas Estrada
Riyad Pasha
White George Stuart
Second Seminole War
Texas Revolution (1835 – 1836)
Battle of Gonzales
Siege of Bexar
 
YEAR BY YEAR:
1835 Part II
Leake William Martin
Abbott Lyman
Brooks Phillips
Caird Edward
Dahlmann Friedrich
Finney Charles Grandison
Harris William Torrey
Hensen Viktor
Jevons William Stanley
Skeat Walter William
Cousin Victor
Strauss David Friedrich
Giacomo Leopardi: "Canti"
Austin Alfred
Butler Samuel
Gaboriau Emile
Hemans Felicia Dorothea
Hogg James
Ireland William Henry
Mathews Charles
Menken Adah Isaacs
Simms William Gilmore
Mark Twain
Carducci Giosue
 
YEAR BY YEAR:
1835 Part III
Constable: "The Valley Farm"
Corot: "Hagar in the Desert"
Defregger Franz
Kunichika Toyohara
Toyohara Kunichika
Cui Cesar
Cesar Cui "Orientale"
Cesar Cui
Donizetti: "Lucia di Lammermoor"
Halevy Fromental
Halevy: "La Juive"
Placido Domingo - Rachel, quand du Seigneur
Fromental Halevy
Saint-Saens Camille
Camille Saint-Saens - Danse Macabre
Camille Saint-Saens
Thomas Theodore
Wieniawski Henri
Wieniawski - Polonaise de Concert in D major No. 1, Op. 4
Henri Wieniawski
 
YEAR BY YEAR:
1835 Part IV
Newcomb Simon
Schiaparelli Giovanni Virginio
Geikie Archibald
Chaillu Paul
Locomotive: Electric traction
Talbot Wiliam Henry Fox
Massachusetts Anti-Slavery Society
Sacher-Masoch Leopold Ritter
Masochism
Heth Joice
Bennett James Gordon
Carnegie Andrew
Chubb Charles
Colt Samuel
Field Marshall
Green Henrietta Howland
 
YEAR BY YEAR:
1836 Part I
Crockett Davy
Houston Sam
Battle of the Alamo
Battle of San Jacinto
BATTLE OF SAN JACINTO
Cannon Joseph Gurney
Chartism
Arkansas
Chamberlain Joseph
Campbell-Bannerman Henry
Great Trek
Voortrekker
Xhosa
Inoue Kaoru
 
YEAR BY YEAR:
1836 Part II
Ralph Waldo Emerson: "Nature"
Ramakrishna
Aldrich Thomas Bailey
Besant Walter
Frederick Marryat: "Mr. Midshipman Easy"
Burnand Francis Cowley
Carlyle: "Sartor Resartus"
Dickens: "Pickwick Papers"
Eckermann Johann Peter
Gilbert William Schwenk
Gogol: "The Government Inspector"
Harte Bret
Newell Robert Henry
Reuter Fritz
Pusckin: "The Captain's Daughter"
 
YEAR BY YEAR:
1836 Part III
Alma-Tadema Lawrence
Lawrence Alma-Tadema
Corot: "Diana Surprised by Actaeon"
Fantin-Latour Henri
Henri Fantin-Latour
Homer Winslow
Winslow Homer
Lefebvre Jules Joseph
Jules Joseph Lefebvre
Lenbach Franz
Franz von Lenbach
Poynter Edward
Edward Poynter
Tissot James
James Tissot
Carle Vernet
Carle Vernet
Adolphe Adam: "Le Postilion de long jumeau"
Delibes Leo
Delibes - Lakme - Flower duet
Leo Delibes
Reicha Antoine
Glinka: "A Life for the Tzar"
Mendelssohn: "St. Paul"
Meyerbeer: "Les Huguenots"
 
YEAR BY YEAR:
1836 Part IV
Bergmann Ernst
Daniell John Frederic
Davy Edmund
Ericsson John
Gray Asa
Lockyer Norman
Colt's Manufacturing Company
Crushed stone
Schwann Theodor
Pepsin
Schimper Karl Friedrich
Gould Jay
"The Lancers"
Ross Betsy
 
YEAR BY YEAR:
1837 Part I
William IV, King of Great Britain
Michigan
Van Buren Martin
Cleveland Grover
Itagaki Taisuke
Holstein Friedrich
Boulanger Georges
Carnot Sadi
Caroline affair
Ernest Augustus I of Hanover
Rebellions of 1837
Lafontaine Louis-Hippolyte
Baldwin Robert
Sitting Bull
 
YEAR BY YEAR:
1837 Part II
Thomas Carlyle: "The French Revolution"
Green John Richard
Lyon Mary
Mount Holyoke College
Mann Horace
Moody Dwight
Murray James
Oxford English Dictionary
Old School–New School Controversy
Balzac: "Illusions perdues"
Nathaniel Hawthorne: "Twice-told Tales"
Braddon Mary Elizabeth
Eggleston Edward
Ebers Georg
Howells William Dean
Swinburne Algernon Charles
Wyndham Charles
 
YEAR BY YEAR:
1837 Part III
Carolus-Duran
Carolus-Duran
Legros Alphonse
Alphonse Legros
Marees Hans
Hans von Marees
Auber: "Le Domino  noir"
Balakirev Mily
Balakirev - Symphony No.1
Mily Balakirev
Berlioz: "Requiem"
Dubois Theodore
Theodore Dubois - Piano Concerto No. 2
Theodore Dubois
Lesueur Jean-Francois
Lesueur: Coronation music for Napoleon I
Jean-François Lesueur
Lortzing: "Zar und Zimmermann"
Cosima Wagner
Waldteufel Emile
Emile Waldteufel - waltzes
Emile Waldteufel
Zingarelli Niccolo
Nicola Antonio Zingarelli - Tre ore dell'Agonia
Nicola Zingarelli
 
YEAR BY YEAR:
1837 Part IV
Analytical Engine
Borsig August
Burroughs John
Cooke William
Telegraph
d'Urville Jules Dumont
Kuhne Wilhelm
Van der Waals Johannes Diderik
Fitzherbert Maria Anne
Hanna Mark
Lovejoy Elijah
Morgan John Pierpont
Pitman Isaac
 
YEAR BY YEAR:
1838 Part I
Osceola
Gambetta Leon
Weenen Massacre
Battle of Blood River
Anti-Corn Law League
Cobden Richard
Bright John
Rodgers John
Weyler Valeriano
Wood Henry Evelyn
 
YEAR BY YEAR:
1838 Part II
Adams Henry
Bowditch Nathaniel
Bryce Viscount
Montagu Corry, 1st Baron Rowton
Lecky William Edward Hartpole
Lounsbury Thomas Raynesford
Mach Ernst
Mohler Johann Adam
Sacy Antoine Isaac Silvestre
Sidgwick Henry
Trevelyan George Otto
Lytton: "The Lady of Lyons"
Daly Augustin
Dickens: "Oliver Twist"
Victor Hugo: "Ruy Blas"
Irving Henry
Villiers de l'Isle-Adam
Rachel Felix
Roe Edward Payson
Schwab Gustav Benjamin
Scudder Horace Elisha
Creevey Thomas
 
YEAR BY YEAR:
1838 Part III
Dalou Jules
Jules Dalou
Mauve Anton
Anton Mauve
Richardson Hobson Henry
Henry Hobson Richardson
Fortuny Maria
Maria Fortuny
Berlioz: "Benvenuto Cellini"
Bizet Georges
Bizet - Carmen - Habanera
Georges Bizet
Bruch Max
Max Bruch - Violinkonzert Nr. 1
Max Bruch
Lind Johanna Maria
 
YEAR BY YEAR:
1838 Part IV
Abbe Cleveland
Cournot Antoine-Augustin
Daguerre-Niepce method of photography
Dulong Pierre-Louis
Hyatt Alpheus
Muir John
Perkin William Henry
Stevens John
Zeppelin Ferdinand
Belleny John
United States Exploring Expedition
Wilkes Charles
Hill Octavia
Wanamaker John
Woodhull Victoria
 
YEAR BY YEAR:
1839 Part I
Uruguayan Civil War (1839-1851)
Rudini Antonio Starabba
Treaty of London
First Opium War (1839-1842)
Richter Eugen
Frederick VI of Denmark
Christian VIII of Denmark
Natalia Republic
Abdulmecid I
Ranjit Singh
Van Rensselaer Stephen
Cervera Pascual
First Anglo-Afghan War
Anglo-Afghan Wars
 
YEAR BY YEAR:
1839 Part II
Fesch Joseph
Paris Gaston
Peirce Charles Sanders
Reed Thomas
Anzengruber Ludwig
Sparks Jared
Galt John
Herne James
Longfellow: "Hyperion"
De Morgan William
Ouida
Dickens:  "Nicholas Nickleby"
Pater Walter
Рое: "The Fall of the House of Usher"
Praed Winthrop Mackworth
Smith James
Sully-Prudhomme Armand
Stendhal: "La Chartreuse de Parme"
 
YEAR BY YEAR:
1839 Part III
Beechey William
William Beechey
Cezanne Paul
Paul Cezanne
Sisley Alfred
Alfred Sisley
Thoma Hans
Hans Thoma
Yoshitoshi Tsukioka
Tsukioka Yoshitoshi
Gomes Antonio Carlos
Antonio Carlos Gomes - Il Guarany - Ouverture
Antonio Carlos Gomes
Moussorgsky Modest
Moussorgsky - Boris Godunov
Modest Mussorgsky
Paine John Knowles
John Knowles Paine - Symphony No.1
John Knowles Paine
Randall James Rider
 
YEAR BY YEAR:
1839 Part IV
Crozier Francis Rawdon Moira
Grey George
Into the Interior
Garnier Frangois
Goodyear Charles
Vulcanization
Jacobi Moritz
Mosander Carl Gustaf
Przhevalsky Nikolay
Smith William
Mond Ludwig
Stephens John Lloyd
Catherwood Frederick
George Henry
Kundt August
Schonbein Christian Friedrich
Steinheil Carl August
Doubleday Abner
Macmillan Kirkpatrick
Cadbury George
Cunard Samuel
Cunard Line
Grand National
Lowell John
Lowell Institute
Rockefeller John
Stanhope Hester Lucy
Weston Edward Payson
Willard Frances
 
 
 

Francois Gérard. Corinne at Cape Miseno
 
 
 
 
 HISTORY, RELIGION, PHILOSOPHY, ART, LITERATURE, MUSIC, SCIENCE, TECHNOLOGY, DAILY LIFE
 
 
 
 
YEAR BY YEAR:  1800 - 1899
 
 
 
1837 Part III
 
 
 
1837
 
 
Constable John, Eng. landscape painter, d. (b. 1776)
 
 

Constable John. Self-portrait 1806, pencil on paper,
Tate Gallery London.
 
 
 
     
 
John Constable
     
 
 
     
  Neoclassicism and Romanticism
Realism, Impressionism and
Post-Impressionism
Symbolism
     
 
 
 
1837
 
 
Carolus-Duran
 

Charles Auguste Émile Durand, known as Carolus-Duran (Lille 4 July 1837 – 17 February 1917 Paris), was a French painter and art instructor. He is noted for his stylish depictions of members of high society in Third Republic France.

 

Carolus-Duran
  Biography
Carolus-Duran studied at the Lille Academy and then at the Académie des Beaux-Arts in Paris. In 1861, he traveled to Italy and Spain for further study, especially devoting himself to the pictures of Velázquez.

His dramatic painting Murdered, or The Assassination (1866), was one of his first successes, and is now in the Lille museum.

Carolus-Duran became best known as a portrait painter, and, as the head of one of the principal ateliers in Paris, a teacher of some of the most brilliant artists of the next generation who were his pupils.

His painting Lady with the Glove (1869), a portrait of his wife, was bought for the Musée du Luxembourg in Paris.

In 1889, he was made a commander of the Legion of Honour.

In 1890, he participated in the creation of the National Society of French Art (Société Nationale des Beaux Arts).

He became a member of the Académie des Beaux-Arts in 1904, and in the next year, was appointed director of the French Academy in Rome to succeed Eugène Guillaume.

From Wikipedia, the free encyclopedia

 
 

Carolus-Duran. Portrait of Edouard Manet
 
 
 
     
 
Carolus-Duran
     
 
 
     
  Neoclassicism and Romanticism
Realism, Impressionism and
Post-Impressionism
Symbolism
     
 
 
 
1837
 
 
Baron Gerard Francois, Fr. portrait painter, d. (b. 1770)
 
 

Francois Gérard aged 54, by Sir Thomas Lawrence
 
 
 
     
 
Frangois Gerard
     
 
 
     
  Neoclassicism and Romanticism
Realism, Impressionism and
Post-Impressionism
Symbolism
     
 
 
 
1837
 
 
Legros Alphonse
 

Alphonse Legros (Dijon 8 May 1837 – 8 December 1911 Watford), was a French painter, etcher, sculptor, and medallist.

 

Self portrait etching by Alphonse Legros
  His father was an accountant, and came from the neighbouring village of Véronnes. Young Legros frequently visited the farms of his relatives, and the peasants and landscapes of that part of France are the subjects of many of his pictures and etchings. He was sent to the art school at Dijon with a view to qualifying for a trade, and was apprenticed to Maître Nicolardo, house decorator and painter of images. In 1851 Legros left for Paris to take another situation; but passing through Lyon he worked for six months as journeyman wall-painter under the decorator Beuchot, who was painting the chapel of Cardinal Bonald in the cathedral.

In Paris he studied with Cambon, scene-painter and decorator of theatres, an experience which developed a breadth of touch such as Stallfield and Cox picked up in similar circumstances. At this time he attended the drawing-school of Lecoq de Boisbaudran (the "Petite école") where he found himself in sympathy with Jules Dalou and Auguste Rodin. In 1855 Legros attended the evening classes of the École des Beaux Arts, and perhaps gained there his love of drawing from the antique, some of the results of which may be seen in the Print Room of the British Museum.

He sent two portraits to the Paris Salon of 1857: one was rejected, and formed part of the exhibition of protest organized by Bonvin in his studio; the other, which was accepted, was a profile portrait of his father. This work was presented to the museum at Tours by the artist when his friend Cazin was curator.

 
 
Champfleury saw the work in the Salon, and sought out the artist to enlist him in the small army of so-called "Realists," comprising (round the noisy glory of Courbet) all those who raised protest against the academical trifles of the degenerate Romantics.

In 1859 Legros's L'Angelus was exhibited, the first of those quiet church interiors, with kneeling figures of patient women, by which he is best known as a painter.
 
 
Ex Voto (1861), a work of great power and insight, now in the museum at Dijon, was received by his friends with enthusiasm, but it only obtained a mention at the Salon. Legros came to England in 1863 and in 1864 married Miss Frances Rosetta Hodgson. At first he lived by his etching and teaching. He then became teacher of etching at the South Kensington School of Art, and in 1876 Slade Professor at University College, London.
He was naturalized as a British citizen in 1881, and remained at University College seventeen years. His influence there was exerted to encourage a certain distinction, severity and truth of character in the work of his pupils, with a simple technique and a respect for the traditions of the old masters, until then somewhat foreign to English art. He would draw or paint a torso or a head before the students in an hour or even less, so that the attention of the pupils might not be dulled. As students had been known to take weeks and even months over a single drawing, Legros ordered the positions of the casts in the Antique School to be changed once every week. In the painting school he insisted upon a good outline, preserved by a thin rub in of umber, and then the work was to be finished in a single painting, "premièr coup."
  Experiments in all varieties of art work were practised; whenever the professor saw a fine example in the museum, or when a process interested him in a workshop, he never rested until he had mastered the technique and his students were trying their apprentice hands at it.
As he had casually picked up the art of etching by watching a comrade in Paris working at a commercial engraving, so he began the making of medals after a walk in the British Museum, studying the masterpieces of Pisanello, and a visit to the Cabinet des Médailles in Paris. Legros, considered the traditional journey to Italy a very important part of artistic training, and in order that his students should have the benefit of such study he devoted a part of his salary to augment the income available for a travelling studentship.

His later works, after he resigned his professorship in 1892, were more in the free and ardent manner of his early days—imaginative landscapes, castles in Spain, and farms in Burgundy, etchings like the series of "The Triumph of Death," and the sculptured fountains for the gardens of the Duke of Portland at Welbeck Abbey.

From Wikipedia, the free encyclopedia

 
 

Alphonse Legros. La mort de St François
 
 
 
     
 
Alphonse Legros
     
 
 
     
  Neoclassicism and Romanticism
Realism, Impressionism and
Post-Impressionism
Symbolism
     
 
 
 
1837
 
 
Marees Hans
 

Hans von Marées (24 December 1837 – 5 June 1887) was a German painter. Initially specialising in portraiture he later turned to mythological subjects. He spent the last years of his life in Italy.

 
 

Hans von Marées. Self Portrait
  Life
Marées was born into a banking family at Elberfeld, part of Wuppertal since 1929, in Germany. In 1847 his family moved to Koblenz, where he was educated at the Gymnasium (grammar school). From 1853 to 1855 he studied at the Berlin Academy, and in 1854 he entered the studio of the painter and printmaker Carl Steffeck. He served in the military in 1855–7, after which he moved to Munich where he met Franz von Lenbach.

During his time in Munich he concentrated mainly on portraiture. In 1864 Count Adolf von Schack sent Marées and Lenbach to Italy to copy old masters. In Italy he became friendly with the art theorist Konrad Fiedler, who later became his patron, and the sculptor Adolf von Hildebrand.

In 1869, he visited France, the Netherlands and Spain with Fiedler. He served in military in the Franco-Prussian War (1870–71) and then lived in Berlin and Dresden for a while. In 1873, he decorated the library walls of the newly built German Marine Zoological Institute in Naples, Italy The murals consist of five scenes depicting figures in landscapes, set into a framework of friezes and pilasters designed by Hildebrand.

They have no specific symbolic or mythological scheme, being intended simply to express, in Marées' own words, "the joys of sea and beach life".

 
 
The next year, he moved to Florence, where he became acquainted with Anselm Feuerbach and Arnold Böcklin, two leading members of the group of idealist, intellectual artists known as the "German Romans".

He turned increasingly to mythological subjects and developed a complex and individual technique, overpainting tempera with layers of oil and creating a depth of colour quite unlike the muted tones used by his fellow classicist, Feuerbach. Fritz Novotny wrote that in Marées' brand of classicism "a completely new role is assigned to colour", and that, after Ingres, he was "the second great classicist in the nineteenth century who was also a great artist".

In the 1880s Marées painted four monumental triptychs: The Judgment of Paris, The Hesperides, Three Saints on Horseback and The Wooing. During this time he also produced smaller mythological paintings and some portraits. He spent these last years of his life in Rome, supported by Fiedler. He died there in 1887, at the age of 49, and was buried in the Protestant Cemetery.

From Wikipedia, the free encyclopedia
 
 

Hans von Marées. Schlafender Savoyardenknabe
 
 
 
     
 

Hans von Marees
 
     
 
 
     
  Neoclassicism and Romanticism
Realism, Impressionism and
Post-Impressionism
Symbolism
     
 
 
 
1837
 
 
Auber: "Le Domino  noir"
 

Le domino noir (The Black Domino) is an opéra comique by the French composer Auber Daniel, first performed on 2 December 1837 by the Opéra-Comique at the Salle de la Bourse in Paris.

 
The libretto to the three-act piece is by Auber's usual collaborator, Eugène Scribe. It was one of Auber's most successful works, clocking up 1,207 performances by 1909. It received its UK premiere in 1838 and appeared in the USA the following year. Some of Auber's music has a Spanish flavour to reflect its setting.

In 1869, Pyotr Ilyich Tchaikovsky provided recitatives to replace the spoken dialogue for a proposed production of Le domino noir by an Italian opera company visiting Russia. No performances are believed to have taken place, but four of Tchaikovsky's recitatives were included in Richard Bonynge's recording of the opera.

Performance history
There was a production of the opera by Pierre Jourdan at the Théâtre Imperial at Compiègne in 1995.

In 2007, the St. Petersburg Conservatory Theatre in Russia included Tchaikovsky's recitatives in its production.

  Synopsis
Time: c. 1780
Place: Madrid

The action concerns a young novice nun, Angèle de Olivarès. Enjoying her last freedom before taking final vows, Angèle slips out of the Ursuline convent along with her companion Brigitte to attend a ball in honour of the Queen of Spain's birthday. To conceal her identity, she wears a black half-mask (the "domino" of the title). A year previously, at the same ball, Angèle had met a young man, Horace de Masserena. Horace has fallen in love with her and returns to the ball in the hope of seeing her again. Instead he meets the unknown woman in the black mask and dances with her.

Thinking to help Horace, his friend Count Juliano, sets the clock back an hour causing Angèle to miss leaving at midnight, which would have allowed her to get back to the convent in time before the gates close. Angèle runs off and tries to take shelter for the night in a house she finds on the way. Unfortunately, it turns out to belong to Count Juliano who is holding a late-night party for his friends.
 
 
Angèle persuades the housekeeper to disguise her as her niece from the country. She manages to fool everyone except, of course, Horace who recognises her from the ball a year ago. He does not tell anyone else but locks Angèle in a room where he hopes to keep her until she gives him an explanation. But Angèle is inadvertently freed by the housekeeper's lover, the drunken Gil Perez, who opens the door and runs off, having mistaken her for a demon in her mask and cloak. Angèle manages to slip undiscovered into the convent, where on the very same day she is to be installed as an abbess. Shortly before the ceremony, a letter from the queen frees her from her vows, which allows her to marry Horace and Ursule, her jealous rival for the office, to the chagrin of other nuns, is named the new abbess instead.

From Wikipedia, the free encyclopedia
 
 
 
 
Daniel-François-Esprit Auber - Le domino noir - Ouverture
 
Le domino noir, opéra comique in three acts, first performance 2 December 1837, Opéra-Comique, Paris.

Libretto: Scribe

Ouverture

Orchestra: Philarmonia Slavonica

 
 
 
 
 
     
 
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Balakirev Mily
 

Mily Balakirev, in full Mily Alekseyevich Balakirev (born December 21, 1836 [January 2, 1837, New Style], Nizhny Novgorod, Russia—died May 16 [May 29], 1910, St. Petersburg), Russian composer of orchestral music, piano music, and songs. He was a dynamic leader of the Russian nationalist group of composers of his era.

 

Mily Balakirev
  Balakirev received his early musical education from his mother. He also studied with Alexander Dubuque and with Karl Eisrich, music director to A.D. Ulibishev, a wealthy landowner who published well-known books on Mozart and Beethoven. Balakirev had the use of Ulibishev’s music library and at age 15 began to compose and was allowed to rehearse the local theatre orchestra.

From 1853 to 1855 he studied mathematics at the University of Kazan, where he wrote, among other things, a piano concerto (completed 1856).
He made his first appearance as a concert pianist in Kronshtadt in December 1855. Thereafter Balakirev performed often, composed an Overture on Russian Themes and music to King Lear (1858–61), and became the mentor of two young composers, César Cui and Modest Mussorgsky.

In 1861 and 1862 his circle of disciples was joined by Nikolay Rimsky-Korsakov and Aleksandr Borodin, forming the group known as The Five. In 1862 he joined the Free School of Music, which had been opened in opposition to the St. Petersburg Conservatory, and soon became principal concert conductor.

During the 1860s Balakirev was at the height of his influence. He collected folk songs up and down the Volga and introduced them in his Second Overture on Russian Themes, which ultimately became the symphonic poem Russia; he spent summer holidays in the Caucasus, gathering themes and inspiration for his brilliant piano fantasy Islamey (1869) and his symphonic poem Tamara (1867–82); he published the works of composer Mikhail Glinka and visited Prague to produce them; and for a time (1867–69) he conducted the symphony concerts of the Russian Music Society.

 
 
Balakirev’s despotic nature and his tactlessness made him innumerable enemies, so that even his friends and young disciples came to resent his tutelage; and a series of personal and artistic misfortunes led to his almost complete withdrawal from the world of music during 1872–76 and his taking a post as a railway clerk. Balakirev had passed through a period of acute depression 10 years earlier; now he underwent a more severe crisis from which he emerged a totally changed man, a bigoted and superstitious Orthodox Christian. He gradually returned to the music world, resumed directorship of the Free School, and from 1883 to 1894 was director of the imperial chapel. He also resumed musical composition, completing several works, including a symphony he had abandoned many years before, and writing several new pieces, among these his Piano Sonata (1905), Symphony No. 2 (1908), and a number of piano pieces and songs. The last decade of his life was spent in almost complete retirement.

It has been said that it was Balakirev, even more than Glinka, who set the course for Russian orchestral music and lyrical song during the second half of the 19th century. He developed an idiom and technique that he imposed on his disciples (above all on Rimsky-Korsakov and Borodin, and to some extent on Pyotr Ilyich Tchaikovsky) not only by example but by constant autocratic supervision of their own earlier works. His music is superbly colourful and imaginative, but his creative personality was arrested in its development after 1871, and his later work is couched in the idiom of his youth.

Encyclopædia Britannica

 
 
 
 
Balakirev - Symphony No.1
 
Philharmonia Orchestra - Herbert von Karajan. Recorded 1949.
 
 
 
 
 
     
 
Mily Balakirev
 
     
 
 
     
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1837
 
 
Berlioz: "Requiem"
 

The Grande Messe des morts, Op. 5 (or Requiem) by Berlioz Hector  was composed in 1837. The Grande Messe des Morts is one of Berlioz's best-known works, with a tremendous orchestration of woodwind and brass instruments, including four antiphonal offstage brass ensembles placed at the corners of the concert stage. The work derives its text from the traditional Latin Requiem Mass. It has a duration of approximately ninety minutes, although there are faster recordings of under seventy-five minutes.

 
History
In 1837, Adrien de Gasparin, the Minister of the Interior of France, asked Berlioz to compose a Requiem Mass to remember soldiers who died in the Revolution of July 1830. Berlioz accepted the request, having already wanted to compose a large orchestral work. Meanwhile, the orchestra was growing in size and quality, and the use of woodwinds and brass was expanding due to the increasing ease of intonation afforded by modern instruments. Berlioz later wrote, "if I were threatened with the destruction of the whole of my works save one, I should crave mercy for the Messe des morts."

The premiere was conducted by François Antoine Habeneck on 5 December 1837 in commemoration of General Damrémont and the soldiers killed in the Siege of Constantine. In his autobiographical Mémoires, Berlioz claimed that Habeneck put down his baton during the dramatic Tuba mirum (part of the Dies irae movement) while he took a pinch of snuff, prompting the composer to rush to the podium to conduct the rest of the work himself, thereby saving the performance from disaster. The premiere was a complete success.

Berlioz revised the work twice in his life, first in 1852, making the final revisions in 1867, only two years before his death.

From Wikipedia, the free encyclopedia
 
 
 
 
Hector Berlioz - The Grande Messe des morts, Op. 5 (Requiem)
 
Orchestra: London Symphony Orchestra
- Choirs: London Symphony Chorus, Wandsworth School Boys' Choir
- Conductor: Sir Colin Davis
- Soloist: Ronald Dowd (tenor)
- Year of recording: 1969

Requiem (Grande Messe des Morts), for tenor, chorus & orchestra, H. 75 (Op. 5), written in 1837.

- Introit
00:00:00 - 01. Requiem aeternam & Kyrie: Introitus
- Sequence
00:11:41 - 02. Dies irae: Prosa, Tuba mirum
00:25:25 - 03. Quid sum miser
00:28:43 - 04. Rex tremendae
00:35:39 - 05. Quaerens me
00:40:59 - 06. Lacrymosa
- Offertory
00:52:08 - 07. Domine Jesu Christe {Offertorium}
01:03:06 - 08. Hostias
- Sanctus
01:06:45 - 09. Sanctus
- Agnus Dei
01:18:02 - 10. Agnus Dei

 
 
 
 
 
     
 
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1837
 
 
Dubois Theodore
 

François-Clément Théodore Dubois (24 August 1837 – 11 June 1924) was a French composer, organist and music teacher.

 

Theodore Dubois
  Theodore Dubois, in full François-Clément-Théodore Dubois (born Aug. 24, 1837, Rosnay, Fr.—died June 11, 1924, Paris), French composer, organist, and teacher known for his technical treatises on harmony, counterpoint, and sight-reading.

He studied under the cathedral organist at Rheims and at the Paris Conservatoire.

In 1871 he succeeded César Franck as organist at the church of Sainte-Clotilde.

In 1868 he was choirmaster at the Church of the Madeleine and later succeeded Camille Saint-Saëns as organist there.

He taught harmony at the Paris Conservatoire (1871–90) and was director there (1896–1905).

He wrote music of all types, including operas and choral and orchestral works; his outstanding composition is his oratorio, Les sept parole du Christ (1867; “The Seven Words of Christ”).

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Theodore Dubois - Piano Concerto No. 2
 
 
 
 
 
     
 
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1837
 
 
Field John , Irish pianist and composer, d. (b. 1782)
 
 

John Field
 
 
 
     
 
John Field
 
     
 
 
     
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Hummel Johann Nepomuk , Austro-Hungarian composer and pianist, d. (b. 1778)
 
 

Johann Nepomuk Hummel
 
 
 
     
 
Johann Nepomuk Hummel
 
     
 
 
     
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1837
 
 
Lesueur Jean-Francois
 

Jean-François Lesueur, Lesueur also spelled Le Sueur (born February 15, 1760, Drucat-Plessiel, near Abbeville, France—died October 6, 1837, Paris), composer of religious and dramatic works who helped to transform French musical taste during the French Revolution.

 

Jean-François Lesueur
  In 1781 Lesueur was appointed chapelmaster at the cathedral of Dijon and in 1786 at Notre-Dame de Paris. There he aroused controversy by introducing a large orchestra to accompany his masses, which, he maintained, should make a dramatic appeal. Though Lesueur’s masses, admired by operagoers, caused Notre-Dame to be described as L’Opéra des gueux (“The Beggars’ Opera”), he succeeded in blending the sacred and secular styles, thus anticipating the religious works of Hector Berlioz and Charles Gounod and also the Requiem of Giuseppe Verdi. In his Christmas oratorio he transformed themes in a manner suggesting Richard Wagner’s use of leitmotif. After 1789 he wrote several odes and chants for performance at the open-air celebrations of the Revolution by vast numbers of choristers and instrumentalists. Between 1793 and 1796 he wrote his operas La Caverne, Paul et Virginie, and Télémaque. He was inspector of the Paris Conservatoire from 1795 to 1802 and in 1804 was made director of music to Napoleon I, to whom he dedicated his opera Ossian; ou, les bardes. He was later director of music to Louis XVIII and in 1818 professor of composition at the Conservatoire, where his pupils included Berlioz, Gounod, and Ambrose Thomas.

Encyclopædia Britannica

 
 
 
 
Lesueur: Coronation music for Napoleon I
 
J. F. Lesueur & N. Roze: Coronation music for Napoleon I (Paris, 1804) / V. Tchernouchenko
I. Marche, Marsch, March - 0:05
II. Unxerunt Salomonem (Motet) - 4:32
III. Vivat - 9:28
IV. Tu es Petrus (Motet) - 11:05

Brass Ensemble Guy Touvron & Soloists, Chorus and Orchestra of the Capella, Saint Peterbourg / Vladislav Tchernouchenko (conductor)

1996

 
 
 
 
 
     
 
Jean-François Lesueur
 
     
 
 
     
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1837
 
 
Lortzing: "Zar und Zimmermann"
 

Zar und Zimmermann (Tsar and Carpenter) is a comic opera in three acts, music by Lortzing Albert, libretto by the composer after Georg Christian Römer's Der Bürgermeister von Saardam, oder Die zwei Peter, itself based on the French play Le Bourgesmestre de Sardam, ou Les deux Pierres by Anne-Honoré-Joseph Duveyrier de Mélésville, Jean Toussaint Merle, and Eugène Centiran de Boirie. In 1956 it was adapted into a film in East Germany, The Czar and the Carpenter. Gaetano Donizetti had set the same story in his 1827 opera Il borgomastro di Saardam.

 
Performance history
The opera was first performed at the Stadttheater in Leipzig, on December 22, 1837. Lortzing's most successful and enduring work, it is still regularly performed in German-speaking countries.
 
 

Peter the Great of Russia in Holland
 
 
Synopsis
The action takes place in Saardam, Holland, in 1698.

Peter the Great of Russia, disguised as Peter Michaelov, a common laborer, is working in a shipyard in the Dutch town of Saardam, to learn shipbuilding techniques for his navy. He befriends a fellow Russian also working in the yard, Peter Ivanov, a deserter from the Russian army. Peter Ivanov is in love with Marie, the niece of Van Bett, the Burgomaster of Saardam. Tsar Peter is told of trouble in Russia, and decides to return home.

Van Bett has been told to find a foreigner named Peter in the shipyard. The English ambassador, Syndham, and the French ambassador, Chateauneuf, have both heard the rumor of Tsar Peter's disguised presence and are looking for him, which convinces Van Bett that "Peter" is an important man. But in confusion, he identifies the wrong Peter. Chateauneuf recognises the real Tsar, and concludes an alliance with him. Syndham is fooled and presents Peter Ivanov with a passport.

Van Bett, very confused, salutes Peter Ivanov with an elaborate ceremony. Peter Ivanov gives the passport to Tsar Peter, who uses it to leave quietly, having first blessed Peter Ivanov's marriage to Marie, and appointed him to a high office in Russia.

From Wikipedia, the free encyclopedia

 
 
 
 
Albert Lortzing: Zar und Zimmermann
 
 
 
 
 
     
 
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Cosima Wagner
 

Cosima Wagner, née Liszt, also called (1857–68) Cosima von Bülow (born Dec. 25, 1837, Bellagio, Lombardy, Austrian Empire [now in Italy]—died April 1, 1930, Bayreuth, Ger.), wife of the composer Wagner Richard  and director of the Bayreuth Festivals from his death in 1883 to 1908.

 

Cosima Wagner in 1879,
painted by Franz von Lenbach
  Cosima was the illegitimate daughter of the composer-pianist Franz Liszt and the countess Marie d’Agoult, who also bore Liszt two other children. Liszt later legitimatized their births; he also provided generously for their education and, in the case of his daughters, their dowries. With her sister, Blandine, Cosima was educated in Paris by the governess of her father’s mistress, Princess Wittgenstein, and then at the house of the mother of Hans von Bülow in Berlin. In 1857 she married Hans von Bülow, one of the outstanding conductors of his time and a favourite pupil of Liszt; but, though she encouraged him in his work and remained devoted to him throughout her life, their marriage proved unsatisfactory. She bore him two daughters; the two daughters subsequently born to Cosima—Isolde (1865) and Eva (1867)—were Richard Wagner’s children. In 1868, Cosima with her four daughters left von Bülow and went to live with Wagner in Triebschen; they were finally married in 1870. In that year, too, Wagner composed the Siegfried Idylle to commemorate the birth of their son, Siegfried (1869–1930).
With the passing of Wagner (1883), she took upon herself the management of the Bayreuth Festivals, of which she was art director until 1908, when her son took over. To this self-imposed task she applied her characteristic energies and her continued devotion to Wagner’s works. She was the moving force behind the festival plays in both commercial and social matters, influencing the selection of repertory, artists, and style of presentation. She died in Bayreuth in total blindness.

Encyclopædia Britannica

 
 

Richard and Cosima Wagner, photographed in 1872
 
 
 
     
 
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Waldteufel Emile
 

Emile Waldteufel (9 December 1837 – 12 February 1915) was a French pianist, conductor and composer of dance music.

 

Emile Waldteufel
  Life
Émile Waldteufel (German for forest devil) was born in Strasbourg to a Jewish Alsatian family of musicians. The original surname of the family was Lévy. His father Louis had a respected orchestra, and his brother Léon was a successful performer. When Léon won a place to study violin performance at the Conservatoire de Paris, the family followed him there. It was in Paris that Waldteufel spent the rest of his life.

Waldteufel studied the piano at the Conservatoire de Paris from 1853 to 1857. Among his fellow pupils was Jules Massenet. During his time at the conservatory, Louis Waldteufel's orchestra became one of the most famous in Paris, and Émile was frequently invited to play at important events.

At the age of 27, Émile became the court pianist of the Empress Eugénie. He also led the orchestra at state balls. After the Franco-Prussian War had dissolved the Second French Empire, the orchestra played at Presidential balls at the Élysée. At this time only a few members of the French high society knew of Émile; he was nearly 40 before he became better known.

In October 1874 Waldteufel played at an event that was attended by the then Prince of Wales, future King Edward VII of the United Kingdom. The Prince was enthralled by Waldteufel's "Manolo" waltz, and was prepared to make Waldteufel's music known in Britain.

 
 
A long-term contract with the London-based editor Hopwood & Crew followed. Part of the company belonged to Charles Coote, director of the Coote & Tinney’s Band, the first dance orchestra in London. Through these means, Waldteufel's music was played at Buckingham Palace in front of Queen Victoria. Waldteufel dominated the music scene in London and became world-famous. During this period he composed his best known works, many of which are still heard today around the world. He became best known for the waltz "Les Patineurs" (The Ice Skaters), composed in 1882.

His waltz Dolorès (op. 170; 1880) was the basis for the Russian romance Honey, do you hear me (ru: «Милая, ты услышь меня»).

Waldteufel gave concerts in several European cities, such as London in 1885, Berlin in 1889 and the Paris Opéra Balls in 1890 and 1891. He continued his career as conductor and writing dance music for the Presidential Balls until 1899 when he retired.

In 1915 Waldteufel died in Paris at the age of 77. His wife, Célestine Dufau, a former singer, had died a year earlier. They had two sons and a daughter.

Waldteufel conducted with a stick rather than the then-customary violin bow. His compositions were first created at the piano and later orchestrated. The typical Waldteufel orchestra consisted of strings and a doubled woodwind section, two cornets, four horns, three trombones, and ophicleide or euphonium, along with percussion.

Waldteufel's music can be distinguished from Johann Strauss II's waltzes and polkas in that he used subtle harmonies and gentle phrases, unlike Strauss's more robust approach. It was considered that Waldteufel's music was not revolutionary, which explained why his waltzes fell out of favor as the age of Impressionism came to Paris.

A biography of the Waldteufel family by Andrew Lamb was published in 1995.

From Wikipedia, the free encyclopedia

 
 
 
 
Emile Waldteufel - waltzes
 
 
 
 
 
     
 
Emile Waldteufel
 
     
 
 
     
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Zingarelli Niccolo
 
Niccolo Antonio Zingarelli (4 April 1752 – 5 May 1837) was an Italian composer, chiefly of opera.
 
 
Niccolo Antonio Zingarelli
  Life
Early career

Zingarelli was born in Naples, where he studied (from the age of 7) at the Santa Maria di Loreto Conservatory under Fenaroli and Speranza. In 1789–1790 Zingarelli went to Paris to compose Antigone. He left France hurriedly at the time of the revolution and eventually returned to Italy. He was appointed maestro di cappella at Milan Cathedral in 1793, and remained there until 1794, when he took up the prestigious post of maestro di cappella at the Santa Casa, Loreto.

Rome
In 1804, Zingarelli was appointed choir master of the Sistine Chapel in Rome. In 1811 he refused profusely, as an Italian patriot, to conduct a "Te Deum" for Napoleon's son, newly born and known as King of Rome, in St. Peter's, Rome and he was taken as a prisoner to Paris. However, Napoleon père was a fan of Zingarelli's music and so quickly released him. In addition, Zingarelli was awarded a state pension.

Naples
In 1813, Zingarelli moved to Naples, where he became Director of the Conservatory. Among his notable pupils were Vincenzo Bellini, Michael Costa, Alessandro Curmi, Saverio Mercadante, and Luigi Felice Rossi. Then in 1816 he replaced Giovanni Paisiello as choir master of Naples Cathedral, a position he held until his death in 1837.
He died at Torre del Greco in 1837. Bellini wrote a sinfonia funebre for his funeral.

 
 
Works
Opera

In his early career Zingarelli concentrated on writing opera; his debut was with the opera seria Montezuma, given at San Carlo on 13 August 1781, which aroused some interest, although the public in Naples found it too “learned”. Indeed, in 1785 Haydn revived it at the Eszterháza theatre.

Antigone, in which Zingarelli adopted some of the reform principles of French opera, won little favour in Paris; after that he eschewed innovation and contented himself with tried and tested formulae.

Zingarelli wrote 37 mainly comic operas in all in a prolific career. Between 1785 and 1803 he wrote mainly for La Scala of Milan, the first to be produced here being Alsinda. He achieved immediate success with Il mercato di Monfregoso and La secchia rapita. However Giulietta e Romeo is nowadays often considered his best opera. His last opera Berenice achieved considerable success in his lifetime after its initial production in Rome.

Sacred music
Being a deeply religious Catholic, Zingarelli devoted most of his attention to masses, oratorios, cantatas, and motets. For Loreto he composed 541 works, including 28 masses. In 1829 he wrote a cantata for the Birmingham Festival. Less than a month before his death he produced an oratorio, "The Flight into Egypt", and his requiem mass, composed for his own funeral, is said to embody his most devotional church style.

From Wikipedia, the free encyclopedia
 
 
 
 
Nicola Antonio Zingarelli - Tre ore dell'Agonia
 
Ernesto Palacio, Juan Diego Florez, Simone Alaimo
Collegium Musicum, Pierangelo Pelucchi
Picture by: Marc Chagall - Crocifissione bianca

- Intro: già trafitto in duro legno
- Prima Parola: Pater dimitte illis quia nesciunt quid faciunt
- Seconda Parola: Hodie mecum eris in paradiso
- Terza Parola: Mulier, ecce filius tuus. Filius, ecce mater tua
- Quarta Parola: Deus meus, Deus meus utquid me dereliquisti me
- Quinta Parola: Sitio, Sitio, Sitio. Qual giglio candido allora che il cielo
- Sesta Parola: Consummatus est. L'alta impresa è già compita
- Settimana Parola: In manus tua Domine, commendo spiritum meum
- Amen

 
 
 
 
 
     
 
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