A rare and original issue of The Morning Chronicle newspaper for Monday, May 9, 1836
This venerable publication was founded in 1769 and was the first employer of Charles Dickens as a journalist at this time - see below.
This issue of 2 pages, 4 sides features a fascinating variety of advertisements including positions wanted and available, apartments and houses to rent, medical cures and horses and "chariots" for sale - the equivalent for our "Auto" section today!
Of particular interest are the various musical Concerts advertised on the front page featuring famous performers of the day including Ole Bull , Norwegian violinist - see below - Maria Malibran, Spanish Opera singer - see below - and Henri Herz, pianist and composer - see below
Fascinating reading for the historian - police reports and court reports. Good condition with usual binding holes at fold and minor edge tears. Page size 17.5 x 23.5 inches . Original red tax stamp
Note: International mailing in a tube is expensive ($18).The quoted international rate assumes the paper is lightly folded and mailed in a reinforced envelope
Ole Bull
Ole Bull | |
|---|---|
 | |
| Background information | |
| Birth name | Ole Bornemann Bull |
| Born | 5 February 1810 Bergen, Denmark–Norway |
| Died | 17 August 1880 (aged 70) Lysøen, Sweden–Norway |
| Genres | Classical |
| Occupation(s) | Musician |
| Instrument(s) | Violin |
Ole Bornemann Bull (Norwegian pronunciation: [ˈù:lə ˈbʉlː];[1] 5 February 1810 – 17 August 1880) was a Norwegian virtuoso violinist and composer.[2][3] According to Robert Schumann, he was on a level with Niccolò Paganini for the speed and clarity of his playing.
Biography[edit]
Background[edit]
Bull was born in Bergen, Norway. He was the eldest of ten children of Johan Storm Bull (1787–1838) and Anna Dorothea Borse Geelmuyden (1789–1875). His brother, Georg Andreas Bull became a noted Norwegian architect. He was also the uncle of Edvard Hagerup Bull, Norwegian judge and politician.
His father wished for him to become a minister, but he desired a musical career. At the age of four or five, he could play all of the songs he had heard his mother play on the violin. At age nine, he played first violin in the orchestra of Bergen's theatre and was a soloist with the Bergen Philharmonic Orchestra.[4] At eighteen, he was sent to the University of Christiania, but failed his examinations. He joined the Musical Lyceum, a musical society, and after its director Waldemar Thrane was taken ill, Bull became the director of Musical Lyceum and the Theater Orchestra in 1828.[5] He also became friends with Henrik Wergeland, who later wrote a biography of Bull.[5]
Career[edit]
After living for a while in Germany, where he pretended to study law, he went to Paris but fared badly for a year or two. In 1832 in Paris he shared rooms with the Moravian violin virtuoso Heinrich Wilhelm Ernst. He was eventually successful in becoming a high-level virtuoso, giving thousands of concerts. In England alone these included 274 in 1837,[5]during which visit he also travelled to some of the more remote parts of Britain.[citation needed] Catherine Darwin told her brother about a Shrewsbury concert when "the best performer was Ole Bull on the Violin, who I think very superior to Paganini".[6] Bull became very famous and made a huge fortune. He is believed to have composed more than 70 works, but only about 10 are known today. Best known is Sæterjentens søndag (The dairymaid's Sunday).
Bull was caught up in a rising tide of Norwegian romantic nationalism, and acclaimed the idea of Norway as a sovereign state, separate from Sweden—which became a reality in 1905. In 1850, he co-founded the first theater in which actors spoke Norwegian rather than Danish, namely Det Norske Theater in Bergen—which later became Den Nationale Scene.[7]
In the summer of 1858, Bull met the 15-year-old Edvard Grieg. Bull was a friend of the Grieg family, since Ole Bull's brother was married to the sister of Grieg's mother. Bull noticed Edvard's talent and persuaded his parents to send him to further develop his talents at the Leipzig Conservatory. During the 1860s and 1870s Bull went on several tours across the U.S., often accompanied by soprano Varian Hoffman, baritone Ignatz Pollak, and pianist Edward Hoffman.[8] He was concertmaster at the National Peace Jubilee (June 15–19, 1869) which featured an orchestra of 525 players[citation needed]
Robert Schumann once wrote that Bull was among "the greatest of all," and that he was on a level with Niccolò Paganini for the speed and clarity of his playing.[9] Bull was also a friend of Franz Liszt and played with him on several occasions.
Instruments[edit]
Bull also was a clever luthier, after studies in Paris with Jean-Baptiste Vuillaume. He collected many beautiful violins and violas of Amati, Gasparo da Salò, Guarneri, Stradivari and others. He was the owner of one of the finest violins of the world, made by Gasparo da Salò around 1574 for Ferdinand II, Archduke of Austria. The violin, a gift of his widow to Bull's birthplace, is now in the Bergen Vestlandske Kustindustrimuseum.[10] Bull often performed with Guarneri del Gesù violins during his career.
Ole Bull Colony[edit]
Bull visited the United States several times and was met with great success. In 1852, he obtained a large tract of land in Pennsylvania and founded a colony he called New Norway, but that is commonly referred to as Ole Bull Colony. On 24 May 1852, he formally purchased 11,144 acres (45 km2) for $10,388. The land consisted of four communities: New Bergen, now known as Carter Camp; Oleona, named after him and his mother, six miles (10 km) south of New Bergen; New Norway, one mile south of New Bergen; and Valhalla in the Kettle Creek area.[11]
Bull called the highest point in Valhalla, Nordjenskald, which became the location of his unfinished castle. He soon gave up on this venture, as there was scarcely any land to till, and went back to giving concerts.[12]
Today the site is the location of the Ole Bull State Park, 132-acre (53 ha) state park in Stewardson Township, Potter County, Pennsylvania. Norwegian citizens paid for the construction of a monument on site to honor Ole Bull. The statue was placed in the park on the 150th anniversary of New Norway in 2002.[13]
Family life[edit]
In 1836, Bull married Alexandrine Félicie Villeminot. They had six children, only two of whom survived him. Alexandrine died in 1862. Their children were:
- Ole Storm Felix Bull (1837–39)
- Alexander Ole Felix Etienne Bull (1839–1914)
- Thorvald Bull (1841–62)
- Eleonore Felicie Bull (1843–1923)
- Ernst Bornemann Bull (1844; lived only 5 months[14])
- Lucie Edvardine Bull (1846–68)
In 1868 Bull met Sara Chapman Thorp (1850–1911), the daughter of a prosperous lumber merchant from Eau Claire, Wisconsin. On a return visit in 1870, despite their age difference (he was 60, she was 20), Bull began a courtship, and the couple was secretly married in Norway in June 1870, with a formal wedding in Madison later that year. They had one daughter, Olea (1871–1913). In 1871, he bought a summer home on a rise in West Lebanon, Maine which he named Ironwell.[15] Sara traveled with Bull for the remainder of his career, sometimes accompanying him on the piano. In 1883 she published a memoir of Bull's life.[16]
Later years[edit]
Ole Bull bought the island of Lysøen in Os, south of Bergen, in 1872. He hired architect Conrad Fredrik von der Lippe (1833–1901) to design a residence on the island. Bull died from cancer in his home on Lysøen on 17 August 1880. He had held his last concert in Chicago the same year, despite his illness. A testament to his fame was his funeral procession, perhaps the most spectacular in Norway's history. The ship transporting his body was guided by 15 steamers and a large number of smaller vessels. [17]
Legacy[edit]
- Ole Bull's villa on the island of Lysøen was donated to the Association of Norwegian Ancient Monuments Conservation. Museet Lysøen consists of violinist Ole Bull's Villa, an old farm from the 17th century.[18]
- Oleona in Potter County is situated in the mountains of northern Pennsylvania at the intersection of Routes 44 and 144 (Ole Bull Road).[19]
- Ole Bull State Park in the Susquehannock State Forest is on the original site chosen for Bull's colony. The unfinished Ole Bull Castle is maintained by the park and can be visited by hikers. A monument to honor Ole Bull was placed in the park on the 150th anniversary of New Norway in 2002.
- Mammoth Cave in Kentucky has a room called Ole Bull's Concert Hall where he once gave performances.
- Loring Park in Minneapolis, Minnesota is the site of a bronze statue memorializing Ole Bull.
- Ole Bull Cottage, originally purchased to be a school for music by Ole Bull and his wife, is at Green Acre Baháʼí School in Eliot, Maine. Erected in 1896, the Ole Bull Cottage currently serves as the school library building.[20]
- Ole Bull Academy (Ole Bull Akademiet) in Voss, Norway is a music education institution founded in 1977.[21]
- Ole Bull Scene is a stage for cabaret, music and theater at the Ole Bull Plass in Bergen, Norway.[22]
- Ole Bull - Gasparo da Salò violin, a wonderful decorated masterpiece of the famous Italian maker that the virtuoso used for 40 years of world tours. Now is in the Vestlandske Kunstindustrimuseum in Bergen.
- In 1992, the Guarneri del Gesù "Ole Bull" violin of 1744, one of Bull's favorite violins and believed to be the last work of Guarneri del Gesù, was acquired for collection at the Chimei Museum in Taiwan.[23]
- In 2006, director Aslak Aarhus released a motion picture titled Ole Bull—The Titan, the story of Bull's exploits and the impact it had on his French wife and children, who remained neglected in Bergen.
- In 2010 the Norwegian record label 2L released world premiere recordings of Ole Bull's violin concertos and his Spanish fantasy La Verbena de San Juan and a previously unknown version for violin and strings of A Sæterbesøg. The performers on the disc are Annar Follesø, violin, and the Norwegian Radio Orchestraconducted by Ole Kristian Ruud.
- The violin played by Ole Bull in concert in Wilmington, DE c.1847 is in the Sanderson Museum in Chadds Ford, PA. www.sandersonmuseum.org. A sworn affidavit of provenance states: After Bazel Graves of West Chester, PA. purchased it from Bull in 1847, it was inherited by Graves' stepson Jefferson Shaner in 1855. Shaner subsequently sold it to Christian Carmack Sanderson in 1922 for $125. The violin is a copy of a Stainer model and was recently restored to concert condition in 2015 by luthier Teal Wintsch in Wilmington, DE.
- Around the turn of the 20th century, a commercial signature line of Ole Bull violins was manufactured in Germany.
- The Wisconsin Historical Society owns a posthumous, full-length portrait of Ole Bull with violin painted by James Reeve Stuart (1834–1915).
- The subject of Chapter 24 of the Life of Rasmus Anderson is his encounter with Ole Bull.
Maria Malibran
Maria Felicia Malibran (24 March 1808 – 23 September 1836)[1] was a Spanish singer who commonly sang both contralto and soprano parts, and was one of the best-known opera singers of the 19th century. Malibran was known for her stormy personality and dramatic intensity, becoming a legendary figure after her death in Manchester, England, at age 28. Contemporary accounts of her voice describe its range, power and flexibility as extraordinary.
Maria Felicia Malibran (24 March 1808 – 23 September 1836)[1] was a Spanish singer who commonly sang both contralto and soprano parts, and was one of the best-known opera singers of the 19th century. Malibran was known for her stormy personality and dramatic intensity, becoming a legendary figure after her death in Manchester, England, at age 28. Contemporary accounts of her voice describe its range, power and flexibility as extraordinary.
Life and career[edit]
This section needs additional citations for verification. (November 2022)
Malibran was born in Paris as María Felicitas García Sitches into a famous Spanish musical family. Her mother was Joaquina Sitches, an actress and operatic singer. Her father Manuel García was a celebrated tenor much admired by Rossini, having created the role of Count Almaviva in his The Barber of Seville. García was also a composer and an influential vocal instructor, and he was her first voice teacher. He was described as inflexible and tyrannical; the lessons he gave his daughter became constant quarrels between two powerful egos.
 | This section needs additional citations for verification. (November 2022) |
Malibran was born in Paris as María Felicitas García Sitches into a famous Spanish musical family. Her mother was Joaquina Sitches, an actress and operatic singer. Her father Manuel García was a celebrated tenor much admired by Rossini, having created the role of Count Almaviva in his The Barber of Seville. García was also a composer and an influential vocal instructor, and he was her first voice teacher. He was described as inflexible and tyrannical; the lessons he gave his daughter became constant quarrels between two powerful egos.
Early career[edit]
Malibran first appeared on stage in Naples with her father in Ferdinando Paër's Agnese, when she was 8 years old. When she was 17, she was a singer in the choir of the King's Theatre in London. When prima donna Giuditta Pastabecame indisposed, García suggested that his daughter take over in the role of Rosina in The Barber of Seville. The audience loved the young mezzo, and she continued to sing this role until the end of the season.
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Malibran first appeared on stage in Naples with her father in Ferdinando Paër's Agnese, when she was 8 years old. When she was 17, she was a singer in the choir of the King's Theatre in London. When prima donna Giuditta Pastabecame indisposed, García suggested that his daughter take over in the role of Rosina in The Barber of Seville. The audience loved the young mezzo, and she continued to sing this role until the end of the season.
Later career[edit]
When the season closed, García immediately took his operatic troupe to New York. The troupe consisted primarily of the members of his family: Maria, her brother, Manuel, and their mother, Joaquina Sitches, also called "la Briones". Maria's younger sister, Pauline, who would later become a famous singer in her own right under the name of Pauline Viardot, was then only four years old.
This was the first time that Italian opera was performed in New York. Over a period of nine months, Maria sang the lead roles in eight operas, two of which were written by her father. In New York, she met and hastily married a banker, Francois Eugene Malibran, who was 28 years her senior. It is thought that her father forced Maria to marry him in return for the banker's promise to give Manuel García 100,000 francs. However, according to other accounts, she married simply to escape her tyrannical father. A few months after the wedding, her husband declared bankruptcy, and Maria was forced to support him through her performances. After a year, she left Malibran and returned to Europe.
In Europe, Malibran sang the title role at the premiere of Donizetti's Maria Stuarda. The opera was based on Friedrich Schiller's play Mary Stuart, and as it portrayed Mary, Queen of Scots in a sympathetic light, censors demanded textual amendments, which Malibran often ignored. The Library of the Royal Conservatory of Brusselsconserves a series of interesting coloured costume projects[2] for this play, created by Malibran, revealing her unsuspected drawing talent.
Malibran became romantically involved with the Belgian violinist, Charles Auguste de Bériot. The pair lived together as a common-law couple for six years and a child was born to them in 1833 (the piano pedagogue Charles-Wilfrid de Bériot), before Maria obtained an annulment of her marriage to Malibran. Felix Mendelssohnwrote an aria accompanied by a solo violin especially for the couple. Malibran sang at the Paris Opera among other major opera houses. In Paris, she met and performed with Michael Balfe.
When the season closed, García immediately took his operatic troupe to New York. The troupe consisted primarily of the members of his family: Maria, her brother, Manuel, and their mother, Joaquina Sitches, also called "la Briones". Maria's younger sister, Pauline, who would later become a famous singer in her own right under the name of Pauline Viardot, was then only four years old.
This was the first time that Italian opera was performed in New York. Over a period of nine months, Maria sang the lead roles in eight operas, two of which were written by her father. In New York, she met and hastily married a banker, Francois Eugene Malibran, who was 28 years her senior. It is thought that her father forced Maria to marry him in return for the banker's promise to give Manuel García 100,000 francs. However, according to other accounts, she married simply to escape her tyrannical father. A few months after the wedding, her husband declared bankruptcy, and Maria was forced to support him through her performances. After a year, she left Malibran and returned to Europe.
In Europe, Malibran sang the title role at the premiere of Donizetti's Maria Stuarda. The opera was based on Friedrich Schiller's play Mary Stuart, and as it portrayed Mary, Queen of Scots in a sympathetic light, censors demanded textual amendments, which Malibran often ignored. The Library of the Royal Conservatory of Brusselsconserves a series of interesting coloured costume projects[2] for this play, created by Malibran, revealing her unsuspected drawing talent.
Malibran became romantically involved with the Belgian violinist, Charles Auguste de Bériot. The pair lived together as a common-law couple for six years and a child was born to them in 1833 (the piano pedagogue Charles-Wilfrid de Bériot), before Maria obtained an annulment of her marriage to Malibran. Felix Mendelssohnwrote an aria accompanied by a solo violin especially for the couple. Malibran sang at the Paris Opera among other major opera houses. In Paris, she met and performed with Michael Balfe.
Last years and death[edit]
In 1834, Malibran moved to England and began to perform in London and Europe. In Venice, she performed Vincenzo Bellini's La sonnambula on 8 April 1835, where she donated her performance to the dilapidated Teatro San Giovanni Grisostomo, inspiring its restoration. It was renamed Teatro Malibran and she was hailed and venerated as its patroness. In late May 1836, she starred in The Maid of Artois, written for her by Balfe. Earlier that year she had returned to Milan to sing the title role in the premiere of Vaccai's Giovanna Gray. In July 1836, Malibran fell from her horse and suffered injuries from which she never recovered.[3][4] She refused to see a physician and continued to perform. In September 1836 Malibran was in Manchester participating in a music festival at the collegiate church and Theatre Royal on Fountain Street. She collapsed on stage while performing encores at the theatre, but insisted on performing in the church the following morning and died after a week of agony, attended by her private physician. Her body was temporarily buried in the church after a public funeral before being moved to a mausoleum in Laeken Cemetery, near Brussels in Belgium.[5] The Library of The Royal Conservatory of Brussels conserves, amongst others, the death mask, the poignant four-page funerary report of Dr. Belluomini as well as the authorisation of the Manchester ecclesiastical authority to have Malibran's body transferred to Brussels (Maria Malibran fund, B-Bc; FC-2-MM-006 sq.).
In 1834, Malibran moved to England and began to perform in London and Europe. In Venice, she performed Vincenzo Bellini's La sonnambula on 8 April 1835, where she donated her performance to the dilapidated Teatro San Giovanni Grisostomo, inspiring its restoration. It was renamed Teatro Malibran and she was hailed and venerated as its patroness. In late May 1836, she starred in The Maid of Artois, written for her by Balfe. Earlier that year she had returned to Milan to sing the title role in the premiere of Vaccai's Giovanna Gray. In July 1836, Malibran fell from her horse and suffered injuries from which she never recovered.[3][4] She refused to see a physician and continued to perform. In September 1836 Malibran was in Manchester participating in a music festival at the collegiate church and Theatre Royal on Fountain Street. She collapsed on stage while performing encores at the theatre, but insisted on performing in the church the following morning and died after a week of agony, attended by her private physician. Her body was temporarily buried in the church after a public funeral before being moved to a mausoleum in Laeken Cemetery, near Brussels in Belgium.[5] The Library of The Royal Conservatory of Brussels conserves, amongst others, the death mask, the poignant four-page funerary report of Dr. Belluomini as well as the authorisation of the Manchester ecclesiastical authority to have Malibran's body transferred to Brussels (Maria Malibran fund, B-Bc; FC-2-MM-006 sq.).
Henri Herz
Henri Herz (6 January 1803[1] – 5 January 1888[2]) was a virtuoso pianist, composer and piano manufacturer, Austrian by birth and French by nationality and domicile. He was a professor in the Paris Conservatoire for more than thirty years. Among his major works are eight piano concertos, a piano sonata, rondos, nocturnes, waltzes, marches, fantasias, and numerous sets of variations.
Henri Herz (6 January 1803[1] – 5 January 1888[2]) was a virtuoso pianist, composer and piano manufacturer, Austrian by birth and French by nationality and domicile. He was a professor in the Paris Conservatoire for more than thirty years. Among his major works are eight piano concertos, a piano sonata, rondos, nocturnes, waltzes, marches, fantasias, and numerous sets of variations.
Biography[edit]
Herz was born Heinrich Herz in Vienna. He was Jewish by birth, but he asked the musical journalist François-Joseph Fétis not to mention this in the latter's musical encyclopaedia,[3] perhaps a reflection of endemic antisemitism in nineteenth-century French cultural circles. As a child he studied with his father, and in Koblenz with the organist Daniel Hünten, father of the composer Franz Hünten. In 1816 Herz entered the Conservatoire de Paris, where he studied piano with Louis-Barthélémy Pradher, harmony with Victor Dourlen and composition with Anton Reicha. He won first prize in piano in 1818. Herz's style of playing was, by his own admission, strongly influenced by Ignaz Moscheles.[4] His brother Jacques Simon Herz (born Jacob-Simon; 1794–1880) was a fellow-pupil at the Conservatoire who also became a pianist and teacher. In the first of many extended concert tours, Henri Herz—along with the violinist Charles Philippe Lafont—visited Germany and England in 1831 and 1834, respectively, winning great acclaim.[5]
In 1825, Herz joined the piano workshop of Henri Klepfer et cie as a partner, but that connection proved unsuccessful, and in 1839 he founded his own piano factory, which became one of the three most important factories in France, the others being Erard and Pleyel. All three were awarded the "Médaille d`honneur" for "Pianos d'une sonorité très-remarquable" at the Paris World's Fair in 1855.[6] Among important developments of Herz's early time as a piano maker in the 1820s and 1830s was the change from a single-layered hammer to one that was multi-layered, on the inside two layers of leather, several layers of fabric, and rabbit fur; on the outside wool felt in up to nine layers of decreasing hardness. The characteristic sound of Frédéric Chopin's grand pianos, to which the labor-intensive, hand-made hammers after Herz's patents make a distinctive contribution, disappeared with mid-century developments in the USA (Steinway). The Herz hammer sets have the drawback that pianos cannot be played quite as loud, because the hammers are less densely pressed, but the dynamics and colorfulness – in combination with traditional materials of wrought iron strings (before the invention of Bessemer steel) – are very finely graduated and fiery. In the second half of the 19th century, simplification and impoverishment of the piano's sound variety occurred with two-layer, industrially produced Dolge hammers. To Herz's work as a piano maker can also be attributed the implementation of a simplified version of Sebastian Erard's double repetition. Through the "Herz spring" (Repetierfeder)[7] the mechanics of the instrument found their modern form.
In 1849, the Academy of San Juan de Letrán launched a convocation, with the object of acquiring a suitable letter for a hymn that represented Mexicans, especially abroad. In this call, three compositions were received, of which two were chosen: that of the American composer Andrew Davis Bradburn, and that of the Mexican poet Félix María Escalante, which was set to music by the Austrian Henry Herz; however, this hymn was not to the taste of the people.
Herz's anthem appears in the 1934 film, Juárez y Maximiliano as Maximilian and Carlota's musical theme. It also appears in Carlota: The Mad Empress.
Among the most important performance venues in Paris were halls built by the instrument manufacturers. In 1838,[8] Herz and his brother Jacques Simon Herz followed this model and built the 668-seat Salle des Concerts Herz on the rue de la Victoire, used for performances by Berlioz and Offenbach.[9] The Ecole Spéciale de Piano de Paris, which the brothers founded, was housed in the same building.[10] The building was still in use for concerts as late as 1874 but was demolished in that year.
Herz was possibly married to Pauline Thérèse Lachmann (or Esther Lachmann), a French courtesan known as La Païva. It is generally believed that they married in London, but it is not clear that this actually occurred. In any case, such a marriage would have been bigamous, as she was already married.[11]By him she had a daughter.[12] Her extravagant spending nearly ruined Herz's finances, and he traveled to America in 1848 to pursue business opportunities. While he was away, Herz's family turned Thérèse out of the house.[13]
Herz was born Heinrich Herz in Vienna. He was Jewish by birth, but he asked the musical journalist François-Joseph Fétis not to mention this in the latter's musical encyclopaedia,[3] perhaps a reflection of endemic antisemitism in nineteenth-century French cultural circles. As a child he studied with his father, and in Koblenz with the organist Daniel Hünten, father of the composer Franz Hünten. In 1816 Herz entered the Conservatoire de Paris, where he studied piano with Louis-Barthélémy Pradher, harmony with Victor Dourlen and composition with Anton Reicha. He won first prize in piano in 1818. Herz's style of playing was, by his own admission, strongly influenced by Ignaz Moscheles.[4] His brother Jacques Simon Herz (born Jacob-Simon; 1794–1880) was a fellow-pupil at the Conservatoire who also became a pianist and teacher. In the first of many extended concert tours, Henri Herz—along with the violinist Charles Philippe Lafont—visited Germany and England in 1831 and 1834, respectively, winning great acclaim.[5]
In 1825, Herz joined the piano workshop of Henri Klepfer et cie as a partner, but that connection proved unsuccessful, and in 1839 he founded his own piano factory, which became one of the three most important factories in France, the others being Erard and Pleyel. All three were awarded the "Médaille d`honneur" for "Pianos d'une sonorité très-remarquable" at the Paris World's Fair in 1855.[6] Among important developments of Herz's early time as a piano maker in the 1820s and 1830s was the change from a single-layered hammer to one that was multi-layered, on the inside two layers of leather, several layers of fabric, and rabbit fur; on the outside wool felt in up to nine layers of decreasing hardness. The characteristic sound of Frédéric Chopin's grand pianos, to which the labor-intensive, hand-made hammers after Herz's patents make a distinctive contribution, disappeared with mid-century developments in the USA (Steinway). The Herz hammer sets have the drawback that pianos cannot be played quite as loud, because the hammers are less densely pressed, but the dynamics and colorfulness – in combination with traditional materials of wrought iron strings (before the invention of Bessemer steel) – are very finely graduated and fiery. In the second half of the 19th century, simplification and impoverishment of the piano's sound variety occurred with two-layer, industrially produced Dolge hammers. To Herz's work as a piano maker can also be attributed the implementation of a simplified version of Sebastian Erard's double repetition. Through the "Herz spring" (Repetierfeder)[7] the mechanics of the instrument found their modern form.
In 1849, the Academy of San Juan de Letrán launched a convocation, with the object of acquiring a suitable letter for a hymn that represented Mexicans, especially abroad. In this call, three compositions were received, of which two were chosen: that of the American composer Andrew Davis Bradburn, and that of the Mexican poet Félix María Escalante, which was set to music by the Austrian Henry Herz; however, this hymn was not to the taste of the people.
Herz's anthem appears in the 1934 film, Juárez y Maximiliano as Maximilian and Carlota's musical theme. It also appears in Carlota: The Mad Empress.
Among the most important performance venues in Paris were halls built by the instrument manufacturers. In 1838,[8] Herz and his brother Jacques Simon Herz followed this model and built the 668-seat Salle des Concerts Herz on the rue de la Victoire, used for performances by Berlioz and Offenbach.[9] The Ecole Spéciale de Piano de Paris, which the brothers founded, was housed in the same building.[10] The building was still in use for concerts as late as 1874 but was demolished in that year.
Herz was possibly married to Pauline Thérèse Lachmann (or Esther Lachmann), a French courtesan known as La Païva. It is generally believed that they married in London, but it is not clear that this actually occurred. In any case, such a marriage would have been bigamous, as she was already married.[11]By him she had a daughter.[12] Her extravagant spending nearly ruined Herz's finances, and he traveled to America in 1848 to pursue business opportunities. While he was away, Herz's family turned Thérèse out of the house.[13]
The Morning Chronicle
The Morning Chronicle was a newspaper founded in 1769 in London.[1] It was notable for having been the first steady employer of essayist William Hazlitt as a political reporter[2] and the first steady employer of Charles Dickens as a journalist.[3] It was the first newspaper to employ a salaried woman journalist Eliza Lynn Linton;[4] for publishing the articles by Henry Mayhew that were collected and published in book format in 1851 as London Labour and the London Poor; and for publishing other major writers, such as John Stuart Mill.
The newspaper published under various owners until 1862, when its publication was suspended,[5] with two subsequent attempts at continued publication. From 28 June 1769 to March 1789 it was published under the name The Morning Chronicle, and London Advertiser. From 1789 to its final publication in 1865, it was published under the name The Morning Chronicle.[6]
The Morning Chronicle was a newspaper founded in 1769 in London.[1] It was notable for having been the first steady employer of essayist William Hazlitt as a political reporter[2] and the first steady employer of Charles Dickens as a journalist.[3] It was the first newspaper to employ a salaried woman journalist Eliza Lynn Linton;[4] for publishing the articles by Henry Mayhew that were collected and published in book format in 1851 as London Labour and the London Poor; and for publishing other major writers, such as John Stuart Mill.
The newspaper published under various owners until 1862, when its publication was suspended,[5] with two subsequent attempts at continued publication. From 28 June 1769 to March 1789 it was published under the name The Morning Chronicle, and London Advertiser. From 1789 to its final publication in 1865, it was published under the name The Morning Chronicle.[6]
Contents
Founding[edit]
The Morning Chronicle and London Advertiser was founded in 1769 by William Woodfall as publisher, editor, and reporter.[5][7][8][9][10] From 1769 to 1789 the editor was William Woodfall. (In 1789 he sold his interest in the Morning Chronicle and in the same year founded The Diary, or Woodfall's Register, which was the first to fully report on proceedings in Parliament as a regular feature. Since note-taking was prohibited, he worked from memory, at least to the extent of writing notes outside the chamber.)[11][12] Woodfall's journalism slanted toward the Whig party in the House of Commons.
Newspapers of the time were subject to persecution by the government, and in typical fashion Woodfall was convicted of libel and spent a year in Newgate prison in 1779; a similar fate also befell some of his successors.
The Morning Chronicle and London Advertiser was founded in 1769 by William Woodfall as publisher, editor, and reporter.[5][7][8][9][10] From 1769 to 1789 the editor was William Woodfall. (In 1789 he sold his interest in the Morning Chronicle and in the same year founded The Diary, or Woodfall's Register, which was the first to fully report on proceedings in Parliament as a regular feature. Since note-taking was prohibited, he worked from memory, at least to the extent of writing notes outside the chamber.)[11][12] Woodfall's journalism slanted toward the Whig party in the House of Commons.
Newspapers of the time were subject to persecution by the government, and in typical fashion Woodfall was convicted of libel and spent a year in Newgate prison in 1779; a similar fate also befell some of his successors.
Later owners and reporters[edit]
The Chronicle was bought by James Perry in 1789, bringing the journal firmly down on the Whig side against the Tory-owned London Gazette. Circulation increased, and by 1810, the typical sale was 7,000 copies. The content often came from journalists labelled as radicals, a dangerous connotation in the aftermath of the French Revolution.
From 1801 the former United Irishman Peter Finnerty combined reporting for the Chronicle on Parliament with active participation in the election campaigns of Sir Francis Burdett (1802 and 1804); Richard Brinsley Sheridan, the Irish playwright and satirist (1807); and the abolitionist and proponent of minimum wages, Samuel Whitbread (1811).[13] As a war correspondent in 1809 he reported on the disasters of the Walcheren Campaign, laying blame at the feet of Lord Castlereagh.[14][15] 1811 Castlereagh succeeded in having him imprisoned for libel.[16][17]
William Hazlitt joined to report on Parliament in 1813, by which time several charges of libel and seditious libel had been levelled against the newspaper and its contributors at one time or another,[18] Perry being sentenced to three months in gaol in 1798. Woodfall died in 1803.
Perry was succeeded by John Black, probably in 1817 when Perry developed a severe illness. It was Black who later employed Dickens, Mayhew, and John Stuart Mill. William Innel(l) Clement (the owner of several titles) purchased the Morning Chronicle on the death of James Perry in 1821 for £42,000, raising most of the purchase money by bills. The transaction involved him with Messrs. Hurst & Robinson, the publishers, and their bankruptcy in 1825 hit him very hard. After losing annually on the Morning Chronicle, Clement sold it to John Easthope in 1834 for £16,500.
Charles Dickens began reporting for the Chronicle in 1834. It was in this medium that he also began publishing short stories under the pseudonym "Boz".
The articles by Henry Mayhew were published in 1849, accompanied by similar articles about other regions of the country, written by other journalists.
Eliza Lynn Linton joined the newspaper in 1849 and, in doing so, became the UK's first salaried woman journalist on a daily newspaper.
The Morning Chronicle was suspended with the 21 December 1862 issue and resumed with the 9 January 1864 issue. Then it was suspended again with the 10 January 1864 issue and again resumed with the 2 March 1865 issue.[19]
The Chronicle was bought by James Perry in 1789, bringing the journal firmly down on the Whig side against the Tory-owned London Gazette. Circulation increased, and by 1810, the typical sale was 7,000 copies. The content often came from journalists labelled as radicals, a dangerous connotation in the aftermath of the French Revolution.
From 1801 the former United Irishman Peter Finnerty combined reporting for the Chronicle on Parliament with active participation in the election campaigns of Sir Francis Burdett (1802 and 1804); Richard Brinsley Sheridan, the Irish playwright and satirist (1807); and the abolitionist and proponent of minimum wages, Samuel Whitbread (1811).[13] As a war correspondent in 1809 he reported on the disasters of the Walcheren Campaign, laying blame at the feet of Lord Castlereagh.[14][15] 1811 Castlereagh succeeded in having him imprisoned for libel.[16][17]
William Hazlitt joined to report on Parliament in 1813, by which time several charges of libel and seditious libel had been levelled against the newspaper and its contributors at one time or another,[18] Perry being sentenced to three months in gaol in 1798. Woodfall died in 1803.
Perry was succeeded by John Black, probably in 1817 when Perry developed a severe illness. It was Black who later employed Dickens, Mayhew, and John Stuart Mill. William Innel(l) Clement (the owner of several titles) purchased the Morning Chronicle on the death of James Perry in 1821 for £42,000, raising most of the purchase money by bills. The transaction involved him with Messrs. Hurst & Robinson, the publishers, and their bankruptcy in 1825 hit him very hard. After losing annually on the Morning Chronicle, Clement sold it to John Easthope in 1834 for £16,500.
Charles Dickens began reporting for the Chronicle in 1834. It was in this medium that he also began publishing short stories under the pseudonym "Boz".
The articles by Henry Mayhew were published in 1849, accompanied by similar articles about other regions of the country, written by other journalists.
Eliza Lynn Linton joined the newspaper in 1849 and, in doing so, became the UK's first salaried woman journalist on a daily newspaper.
The Morning Chronicle was suspended with the 21 December 1862 issue and resumed with the 9 January 1864 issue. Then it was suspended again with the 10 January 1864 issue and again resumed with the 2 March 1865 issue.[19]
Editors[edit]
- 1769: William Woodfall
- 1789: James Perry
- 1817: John Black
- 1834: Andrew Doyle
- 1848: John Douglas Cook
- 1769: William Woodfall
- 1789: James Perry
- 1817: John Black
- 1834: Andrew Doyle
- 1848: John Douglas Cook
Letters from Sydney, 1829[edit]
A series of letters, penned by Edward Gibbon Wakefield, actually in prison at the time for the abduction of a minor but purporting to come from a gentleman settler in Sydney, New South Wales, were published in the Chronicle in 1829. Each was dubbed "A letter from Sydney". These outlined his theory of systematic colonisation, which were embraced with enthusiasm by Robert Gouger, widely promulgated after being published as a book, and later led to the British colonisation of South Australia.[20][21]
A series of letters, penned by Edward Gibbon Wakefield, actually in prison at the time for the abduction of a minor but purporting to come from a gentleman settler in Sydney, New South Wales, were published in the Chronicle in 1829. Each was dubbed "A letter from Sydney". These outlined his theory of systematic colonisation, which were embraced with enthusiasm by Robert Gouger, widely promulgated after being published as a book, and later led to the British colonisation of South Australia.[20][21]
In Fiction[edit]
In Jules Verne's "Around the World in Eighty Days", The Morning Chronicle is mentioned among the papers reporting on Phileas Fogg's travel around the world. Verne attributes to the Chronicle a position hostile to Fogg and skeptical of his chances to complete his journey in 80 days.
In Jules Verne's "Around the World in Eighty Days", The Morning Chronicle is mentioned among the papers reporting on Phileas Fogg's travel around the world. Verne attributes to the Chronicle a position hostile to Fogg and skeptical of his chances to complete his journey in 80 days.