Bray, Anna Eliza. Autobiography of Anna Eliza Bray. Editor Kempe, John A., Chapman and Hall.
94
Connections | Author name Sort descending | Excerpt |
---|---|---|
Intertextuality and Influence | Patricia Beer | This poem's subject is the love-affair of Semele with Jove. Semele wished to see Jove in his true, not assumed form; when he complied and appeared as godhead she was burned to death in his... |
Education | Anna Eliza Bray | Her father taught her music and she had the privilege of learning to play on a family treasure, a spinet originally belonging to Handel
. Bray, Anna Eliza. Autobiography of Anna Eliza Bray. Editor Kempe, John A., Chapman and Hall. 94 |
Textual Production | Anna Eliza Bray | During the summer and autumn of 1834 AEB
began Handel
: His Life, Personal and Professional, with some thoughts on sacred music. British Library Catalogue. http://explore.bl.uk/primo_library/libweb/action/search.do?dscnt=0&tab=local_tab&dstmp=1489778087340&vid=BLVU1&mode=Basic&fromLo. |
Textual Features | Mary Whateley Darwall | |
Textual Production | Mary Delany | MD
wrote for Handel
a libretto adapted from Milton
's Paradise Lost; it has not been traced. Blain, Virginia et al., editors. The Feminist Companion to Literature in English: Women Writers from the Middle Ages to the Present. Yale University Press; Batsford. Delany, Mary. The Autobiography and Correspondence of Mary Granville, Mrs. Delany. Editor Augusta Hall, Baroness Llanover, R. Bentley. II: 280 |
Occupation | Mary Delany | MD
was still playing the harpsichord (performing for friends in private) until well into her eighties. Linney, Verna. “A Passion for Art, a Passion for Botany: Mary Delany and her Floral ’Mosaiks’”. Eighteenth-Century Women: Studies in their Lives, Work, and Culture, edited by Linda V. Troost, Vol. 1 , pp. 203-35. 210n9 Hayden, Ruth. Mrs. Delany: Her Life and Her Flowers. British Museum. 53-4 |
Textual Production | Mary Delany | MD
was a great admirer of Handel
and in her letters often mentions attending performances of his music. She wrote of her efforts on the libretto that it has cost me a great deal of... |
Leisure and Society | Frances Ridley Havergal | FRH
could play much of Handel
, Beethoven
, and Mendelssohn
from memory, and her powers as a solo singer were very much in request in the Philharmonic Society at Kidderminster. Enock, Esther E. Frances Ridley Havergal. Pickering and Inglis. 20 |
Occupation | Caroline Herschel | |
Occupation | Caroline Herschel | Her career in this field began strongly, although copying music for her brother made it hard for her to find practising time. By 1778 she had become the lead singer in public concerts at the... |
Occupation | Adelaide Kemble | AK
, aged nineteen, sang professionally for the first time, in a concert featuring music by Handel
; she was too nervous to do herself justice. Matthew, Henry Colin Gray et al., editors. Oxford Dictionary of National Biography. http://www.oxforddnb.com/. |
Textual Features | Mary Lamb | Charles
, she observes (echoing a published confession of his own), has no ear. For him to voice criticism of Handel
or of the gamut is ridiculous: he does not know what he is talking... |
Intertextuality and Influence | Agnes Maule Machar | |
Intertextuality and Influence | Caroline Norton | Juanita sounds overtly like a conventional song of love-longing, but a musical allusion to Handel
'opera Rinaldo (the aria Lascia ch'io pianga) invokes the idea of a woman imprisoned and suffering. Swafford, Joanna. Songs of the Victorians. An Archive. http://www.songsofthevictorians.com/. |
Textual Production | Anne Ridler | AR
's earliest translations were from Italian, of Dante
and Eugenio Montale
. She first thought of translating a libretto for performance when she was asked to do so by Jane Glover
, who later... |
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