Group piano instruction can be traced to Johann Bernhard Logier (1777-1846). Logier, an Irish business man, developed a system of teaching that increased income for teachers while lowering the cost of lessons for students. His classes accommodated up to thirty students of differing skill levels. The focus of the class was developing music theory and keyboard theory rather than developing advanced technique.
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Stewart was born in Dublin, his grandfather had moved to Ireland from the Lowlands of Scotland in 1780.Vignoles (1898), p. 3; see Bibliography. His displayed an early talent in music, fostered by his mother, who had been a pupil of Johann Bernhard Logier.
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From 1814 to 1823 Kalkbrenner lived in England. He gave many concerts, composed and established himself as a successful piano teacher. It was here that Kalkbrenner, always the astute businessman, came across an invention made by Johann Bernhard Logier. This invention was the so- called chiroplast or "hand guide".
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There are reports that it was still available for sale in London in the 1870s. In 1817, Logier teamed up with Kalkbrenner to found an academy where music theory and piano playing, of course with the help of the chiroplast, were taught.(Weitzmann 1897), p. 150–51. The proceeds from the patent made Kalkbrenner a wealthy man.
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He became director of a musical academy there, founded by Johann Bernhard Logier, where she also taught. The couple had four children, Woldemar, Eugen (1830–1907), Cäcilie (1832–1910) and Clementine (1835–1869). Bargiel is listed as a soprano of the Berliner Singakademie from 1827, as a soloist from 1829. The academy had to be closed in 1830.
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Ann S. Mounsey Ann Sheppard Mounsey, or Ann Mounsey Bartholomew on marriage (17 April 1811 – 24 June 1891), was born at 21 Old Compton Street, Soho, London, the eldest child of Thomas Mounsey, a licensed victualler, and his wife, Mary, née Briggs. She was a pianist, organist and composer. Her younger sister Elizabeth Mounsey had similar talents. She studied with Johann Bernhard Logier.
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They waited next to the mouth of the Mark river for the arrival of the boat of van Bergen and accompanied captains Logier, Fervet, and Lieutenant Matthew Held. That same day Maurice of Nassau, Francis Vere, and Count Hohenlohe with 800 Dutch and 600 English soldiers with 300 cavalry arrived at Willemstad, thirty kilometers from Breda. There they would have to wait for the signal of Heraugiere if all had gone well. At p. 293.
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His name is remembered in the title of one of the oldest tunes in Ireland's traditional repertoire: "Brian Boru's March". It is still widely played by traditional Irish musicians. He was the subject of at least two operas: Brian Boroihme (1810) by Johann Bernhard Logier (1777–1846) and Brian Boru (1896) by Julian Edwards (1855–1910). His burial in St Patrick's Cathedral is referenced in the song "Boys from the County Armagh" by Thomas P. Keenan (1866–1927).
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In addition to the BFS graduates and BFC candidates, other Bermudians entered the air services during the war. These included at least two other Great War aviators who returned to service, Squadron Leaders Rowe Spurling and Bernard Logier Wilkinson, who served with RAF Transport Command and the RCAF, respectively. An officer of the BVE, Richard Gorham, transferred to the Royal Artillery, attaching to the RAF as an Air Observation Post (AOP) pilot, directing artillery fire from the air. He played a decisive role in the Battle of Monte Cassino.
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In 1811 Blewitt moved to Ireland, where he was a private organist of Lord Cahir. He was appointed organist of St. Andrew's, Dublin; in 1813 he became composer and director of music at the Theatre Royal. He was appointed by the Duke of Leinster as organist to the Freemasons of Ireland. When J. B. Logier came to ireland to introduce his system of music teaching, Blewitt joined him, and was successful as a teacher; his book An Epitome of the Logerian System of Harmony was published in Dublin.
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In 1814 Johann Bernhard Logier patented his ‘chiroplast,’ an invention for holding the hands in a proper position while playing the pianoforte. This system of teaching was ardently taken up by Eager. The adherents of the new method were vehemently attacked by conservative musicians, and Eager came in for a full share of abuse in the Norfolk papers. He gradually convinced a considerable number of persons of the excellence of the system, which, in addition to the use of the chiroplast, professed to teach the ground work of harmony much more rapidly and thoroughly than any other method.
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Gardiner (née Meggitt); but he showed at an early age a great interest in music, and he studied with a German musical professor from 1796 to 1798. For some time after 1798 Kiallmark maintained himself by teaching the violin and piano, and when he had accumulated sufficient funds, took further lessons in violin-playing, and from Von Esch and later from J. B. Logier in composition. He held many important posts, was a member of notable concert and theatre orchestras, and was leader of the orchestra at Sadler's Wells. In 1803 he married Mary Carmichael, a cousin of the Countess of Rothes, and settled in Islington, London.
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After this, Redican focussed on solo performances in London, Ontario at Smale's Pace (later renamed the Change of Pace) Redican entered the world of television puppetry on CHCH's Adventures of Snelgrove Snail in the role of Conrad Crepidula. Redican left puppetry to focus on comedy when the Frantics formed in 1979 but he returned briefly in the late 80s to appear as a featured actor and puppeteer for the Jim Henson Company on NBC's The Jim Henson Hour. In the nineties, Redican puppeteered the character Hegdish on YTV's "Groundling Marsh" and Maurice the Maggot on YTV's Freaky Stories. In the late seventies, Redican performed as a folk singer with his band Poopy Dan and his lunch featuring Pat Logier, Rob Minderman and Doug Hux, though 'Poopy Dan' was short-lived.
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Although Ireland has never had a purpose-built opera house (the Cork Opera House is a multi-purpose theatre), opera has been performed in Ireland since the 17th century. In the 18th century, Ireland was a centre for ballad opera and created important works that helped to develop the genre in the direction of operetta, with works by Charles Coffey and Kane O'Hara. Nationally identifiable Irish operas have been written by immigrants such as Tommaso Giordani and Johann Bernhard Logier as well as by native composers such as John Andrew Stevenson and Thomas Simpson Cooke, continued in the 19th century with works by John William Glover and Paul McSwiney.Axel Klein: "Stage-Irish, or The National in Irish Opera, 1780–1925", in: Opera Quarterly 21:1 (Winter 2005), p. 27–67.
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