After Burney's death, a writer in The Harmonicon,"Memoir of Dr. Burney, Mus. Doc., F. R. S." In: The Harmonicon (London: Longman etc., 1832), Vol 10, p.
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217; 557. University of Chicago PressThe Harmonicon (January 1826). "New York Opera", p. 16Preston, Katherine K. (2001).
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Harmonicon is a genus of South American curtain web spiders that was first described by F. O. Pickard-Cambridge in 1896.
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Another review appeared in The Harmonicon (London: Longman etc., 1832), Vol. 10, p. 216. His daughter by his second marriage, Sarah Burney, was likewise a novelist.
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Playford's original compositions were few and slight, and included some vocal and instrumental pieces in the following collections: 'Catch ... or the Musical Companion,' 1667; 'Choice Songs,' 1673; 'Cantica Sacra,' 1674; 'The Whole Book of Psalms and 'The Harmonicon'.
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It was later published in full in The Harmonicon: > But to the gifts of voice the powers divine Have joined the winning charm of > form and face; Resolv'd a two-fold conquest should be thine, By song to > charm us, and subdue by grace. Unlike the transient charmers of the day Thy > memory shall not lightly pass away, Nor from our mind thy form and talent > part: When long, long years have fled, in memory's ear Thy tones of melting > sweetness shall we hear, Thy voice persuasive, speaking to the heart.The > Harmonicon (February 1825). "Foreign Musical Report: Bologna" p.
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Edinburgh Post Office Directory 1830 He first worked as a music critic for The Harmonicon and the Edinburgh Courant magazine during the 1820s, continuing with The Harmonicon in the early 1830s after moving his family to London. In 1831 Hogarth was editor of a pro-Tory newspaper the Western Luminary, then in 1832 moved to Halifax becoming the first editor of the Halifax Guardian. In 1834, he became a music critic for The Morning Chronicle newspaper in London, and in 1835 he became editor-in-chief of The Evening Chronicle, a post he held for twenty years. From 1846–1866 he worked as a music critic for The Daily News, a paper which was founded by the novelist Charles Dickens.
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The Harmonicon was an influential monthly journal of music published in London from 1823 to 1833. It was edited at one period by William Scrope Ayrton (1804-1885.) Issues contained articles on diverse topics, including reviews of musical compositions, reviews of concert and opera performances, news of contemporary musicians and composers, features on music theory and the physics of sound, and biographical sketches of important musical figures.
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Ricci also continues touring with his band Jason Ricci and the Bad Kind as well as with other bands such as: "Harmonicon" (Sugar Blue, Billy Branch, Ricci), "JJ Appleton and Jason Ricci" and "Mark Hummel's Blues Blow Off". In 2017, Jason Ricci and The Bad Kind signed a record deal with the Eller Soul label and released their new album Approved By Snakes released on June 16, 2017.
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John Parry, On Flageolets, Harmonicon (Part II), 1830, pp. 499-500 The Pleasant Companion - The Flageolets Site Parry subsequently became this instrument's most famous player, teacher and proponent.Biography of John Parry The Pleasant Companion - The Flageolets Site By 1809, he began to compose and publish vocal compositions, especially ballads, and simple pieces for the harp and piano, as well as duets for flute and other wind instruments. He also became a facile orchestrator.
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The earliest evidence of a true xylophone is from the 9th century in southeast Asia, while a similar hanging wood instrument, a type of harmonicon, is said by the Vienna Symphonic Library to have existed in 2000 BC in what is now part of China. The xylophone-like ranat was used in Hindu regions (kashta tharang). In Indonesia, few regions have their own type of xylophones. In North Sumatra, The Toba Batak people use wooden xylophones known as the Garantung (spelled: "garattung").
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Bedouin playing a rebab during World War II The rebab was heavily used, and continues to be used, in Arabic Bedouin music and is mentioned by Johann Ludwig Burckhardt in his travelog Travels in Arabia:Music in Mekka The Harmonicon, [Vol. VII, No. 12] (December 1829): 300. > "Of instruments they possess only the rababa, (a kind of guitar,) the ney, > (a species of clarinet,) and the tambour, or tambourine." It is called "joza" in Iraq, named after the sound box material made of a coconut shell.
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Rossini's La donna del lago, Ricciardo e Zoraide, Matilde di Shabran and Saverio Mercadante's Elisa e Claudio were produced. Although the bad accounts of the season which are to be read in the ‘Harmonicon’ for 1823 must be taken with a grain of salt (Ayrton was the editor of the paper, which appeared first in that year), it is still to be perceived that the affairs of the theatre were in an unsatisfactory state. Lucia Elizabeth Vestris was the only addition to the company, and Violante Camporese retired at the end of the season.
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Over the next twenty to thirty years the opera was performed in almost every major opera house in Europe, and even in Mexico City, Havana and Constantinople. The opera formed the basis for the composer's future great success. As remarked by the critic of the London magazine, The Harmonicon, in a review of the 1825 production in Trieste: > Of all living composers, Meyerbeer is the one who most happily combines the > easy, flowing and expressive melodies of Italy with the severer beauties, > the grander accomplishments, of the German school.
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Through questionable practice,The Metronome; The Harmonicon, Volume 8, 1830 Johann Maelzel, incorporating Winkel's ideas, added a scale, called it a metronome and started manufacturing the metronome under his own name in 1816: "Maelzel's Metronome." The original text of Maelzel's patent in England (1815) can be downloaded.Maelzel's patent of the Metronome The Repertory of patent inventions: and other discoveries and improvements in arts, manufactures, and agriculture ... published by T. and G. Underwood, 1818 (alternative) Ludwig van Beethoven was perhaps the first notable composer to indicate specific metronome markings in his music. This was done in 1817.
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In 1829, after a courtship of several years (they had first met in 1821 when she was 16), Fanny married the artist Wilhelm Hensel, and the following year gave birth to their only child, .Todd (2003), pp. 219, 230 She later had at least two miscarriages or stillbirths, in 1832 and 1837. Wilhelm Hensel: Self-portrait (1829) In 1830 came her first public notice as a composer, when John Thomson, who had met her in Berlin the previous year, wrote in the London journal The Harmonicon in praise of a number of her songs that had been shown to him by Felix.Gates (2006), p.
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The Harmonicon (1830) p. 352 She also sang Zoraide in Rossini's Ricciardo e Zoraide in its first performance at the Théâtre-Italien in Paris (23 October 1830). Although the Rossinian repertoire (including Rosina in The Barber of Seville) figured primarily in the earliest years of her career, she would later sing the title role in his Armida for a major revival at La Scala in 1836. By the summer of 1830, Eugenia and Giovanni Tadolini had settled in Paris where both were engaged at the Théâtre-Italien, she as a singer in a company that included Maria Malibran and Giuditta Pasta and he as maestro concertatore.
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In a review, the English journal The Harmonicon commented: "At this period no music but Italian had a chance of being listened to in the Austrian capital; it is not to be wondered at, therefore, that Meyerbeer's opera, written upon an opposite principle and very nearly in the same style with his Daughter of Jeptha, failed completely."Letellier (1999), 367 The opera received further performances in Prague (22 October 1815), and, under the name Alimelek, oder die beiden Kalifen, in Dresden on 22 February 1820. Both these performances were conducted by Meyerbeer's friend Carl Maria von Weber, who wrote of its "active imagination. [and] well-nigh voluptuous melody", and praised its instrumentation.
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Born in Faenza, then part of the Papal States, Tamburini studied the orchestral horn with his father and voice with Aldobrando Rossi, before making his debut as a singer, aged 18, in La contessa di colle erbose (Pietro Generali). He went on to become one of the finest baritones of his age. He had a beautiful, smooth and flexible voice the quality of which is indicated by the bel canto music written for him. Castil-Blaze described his voice in The Harmonicon of May 1833: :His voice is a fine baritone, well defined, extending from A to F, occasionally reaching G#, and sometimes descending to Gb. I might have allotted to him the two full octaves without reserve, but I prefer to retrench the semitone, above and below, that I may give to his voice and tone the full praise it merits.
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The symphony was dedicated to the Philharmonic Society, who performed the London première on May 25, 1829, with Mendelssohn conducting.Mercer-Taylor, P. J. The Cambridge Companion to Mendelssohn, CUP (2004) For this performance Mendelssohn orchestrated the scherzo from his Octet Op. 20 as an alternative third movement for the symphony. The London première was reviewed in The Harmonicon: > ... though only about one or two-and-twenty years of age, he has already > produced several works of magnitude, which, if at all to be compared with > the present, ought, without such additional claim, to rank him among the > first composers of the age.... Fertility of invention and novelty of effect, > are what first strike the hearers of M. Mendelssohn's symphony; but at the > same time, the melodiousness of its subjects, the vigour with which these > are supported, the gracefulness of the slow movement, the playfulness of > some parts, and the energy of others, are all felt.... The author conducted > it in person, and it was received with acclamations....
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In subsequent years several regular journals dedicated to music criticism and reviews began to appear in major European centres, including The Harmonicon (London 1823–33), The Musical Times (London, 1844-date), the Revue et gazette musicale de Paris (Paris 1827–1880, founded by François-Joseph Fétis), the Berliner allgemeine musikalische Zeitung founded in 1825 by A.M. Schlesinger and edited by A. B. Marx, and the Neue Zeitschrift für Musik founded in 1834 in Leipzig by Robert Schumann and Friedrich Wieck, and later edited by Franz Brendel. Other journals at this period also began to carry extensive writings on music: Hector Berlioz wrote for the Parisian Journal des débats, Heinrich Heine reported on music and literature in Paris for the Stuttgart Allgemeine Zeitung, the young Richard Wagner wrote articles for Heinrich Laube's magazine Zeitung für die elegante Welt and during his 1839–42 stay in Paris for Schlesinger's publishing house and German newspapers. In 1835 James William Davison (1813–85) began his lifelong career as a music critic, writing 40 years for The Times.
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