Misplaced Pages

Thomas Arne: Difference between revisions

Article snapshot taken from Wikipedia with creative commons attribution-sharealike license. Give it a read and then ask your questions in the chat. We can research this topic together.
Browse history interactively← Previous editContent deleted Content addedVisualWikitext
Revision as of 13:59, 30 July 2021 editRodw (talk | contribs)Autopatrolled, Event coordinators, Extended confirmed users, New page reviewers, Pending changes reviewers, Rollbackers766,705 editsm Disambiguating links to Britain (link changed to United Kingdom) using DisamAssist.← Previous edit Latest revision as of 03:57, 11 November 2024 edit undoJevansen (talk | contribs)Autopatrolled, Extended confirmed users, Page movers, Pending changes reviewers, Rollbackers3,271,767 edits Moving from Category:18th-century classical composers to Category:18th-century British classical composers using Cat-a-lot 
(39 intermediate revisions by 29 users not shown)
Line 1: Line 1:
{{short description|18th-century British composer}} {{short description|18th-century British composer}}
{{Use dmy dates|date=April 2020}} {{Use dmy dates|date=September 2021}}
{{Infobox person {{Infobox person
| name = Thomas Arne | name = Thomas Arne
| image = Thomas Augustine Arne.png | image = Thomas Augustine Arne.png
| alt = Thomas Augustine Arne, 1778 | alt = Thomas Augustine Arne, 1778
| caption = Thomas Augustine Arne, 1778 | birth_name = Thomas Augustine Arne
⚫ | birth_date = {{Birth date|1710|03|12|df=y}}
| birth_name = Thomas Augustine Arne
⚫ | birth_place = ], London, England
⚫ | birth_date = {{Birth date|1710|03|12|df=y}}
⚫ | death_date = {{Death date and age|1778|03|05|1710|03|12|df=y}}
⚫ | birth_place = ], London, England
| death_place = London, England
⚫ | death_date = {{Death date and age|1778|03|05|1710|03|12|df=y}}
| death_place = London, England | nationality =
| nationality = | other_names =
| education = ]
| other_names =
| occupation = | occupation =
| years_active = | years_active =
| known_for = | known_for =
| notable_works = | notable_works =
}} }}
'''Thomas Augustine Arne''' ({{IPAc-en|ɑr|n}}; 12 March 1710{{snd}}5 March 1778) was an English composer. He is best known for his patriotic song "]" and the song "]". Arne was a leading British theatre composer of the 18th century, working at ] and ]. He wrote many operatic entertainments for the London theatres and pleasure gardens, as well as concertos, sinfonias, and sonatas.<ref>{{Cite book|title=Oxford illustrated encyclopedia|date=1985–1993|publisher=Oxford University Press|others=Judge, Harry George., Toyne, Anthony.|isbn=0-19-869129-7|location=Oxford |pages=22|oclc=11814265}}</ref> '''Thomas Augustine Arne''' ({{IPAc-en|ɑr|n}}; 12 March 1710{{snd}}5 March 1778) was an English composer. He is best known for his patriotic song "]" and the song "]", the latter composed for a 1777 production of '']'', which has since become popular as a folk song and a nursery rhyme.<ref>{{cite book |title=Sexuality in Eighteenth-century Britain |date=1982 |publisher=Manchester University Press |page=250}}</ref> Arne was a leading British theatre composer of the 18th century, working at the ]'s ] and ]. He wrote many operatic entertainments for the London theatres and pleasure gardens, as well as concertos, sinfonias, and sonatas.<ref>{{Cite book|title=Oxford illustrated encyclopedia|date=1985–1993|publisher=Oxford University Press|others=Judge, Harry George., Toyne, Anthony.|isbn=0-19-869129-7|location=Oxford |pages=22|oclc=11814265}}</ref>


==Early life== ==Early life==
Arne was born in 1710 in ] and baptised at ]. Arne was born on 12 March 1710 in ] and baptised as a ]. He came from a long line of Catholic ].


Arne's father and grandfather were both ] and both held office in the ] of the ]. His grandfather fell on hard times and died in the ]. His father earned enough money not only to rent 31 King Street, a large house in Covent Garden,<ref>{{openplaque|233}}</ref> but also to have Arne educated at ]. But in later life, he too lost most of his money and had to supplement his income by acting as a numberer of the boxes (ticket counter) at the ]. Arne's father and grandfather were both ] and both held office in the ] of the ]. His grandfather fell on hard times and died in the ]. His father earned enough money to rent 31 King Street, a large house in Covent Garden,<ref>{{openplaque|233}}</ref> but also to have Arne educated at ] but in later life, he too lost most of his money and had to supplement his income by acting as a numberer of the boxes (ticket counter) at the ].


Arne was so keen on music that he smuggled a ] into his room and, damping the sounds with his handkerchief, would secretly practise during the night while the rest of the family slept. He also dressed up as a liveryman in order to gain access to the gallery of the ]. It was at the opera that Arne first met the musician and composer ], who was a major influence on him. Festing not only taught him to play the violin, but also took him to various musical events, including going to compete against ] for the post of organist at ], and a visit to Oxford in 1733 to hear ]'s oratorio '']''. Arne was so keen on music that he smuggled a ] into his room and, damping the sounds with his handkerchief, would secretly practise during the night while the rest of the family slept. He also dressed up as a liveryman to gain access to the gallery of the ]. It was at the opera that Arne first met the musician and composer ], who was a major influence on him. Festing not only taught him to play the violin, but also took him to various musical events, including going to compete against ] for the post of organist at ], and a visit to Oxford in 1733 to hear ]'s oratorio '']''.


Upon leaving school, Arne was ] to a ] for three years. However, Arne's father discovered his son leading a group of musicians at what was probably one of Festing's musical gatherings. Following this disclosure of his son's real interest and talent, he was persuaded (again probably by Festing) to allow the young Arne to give up his legal career and to pursue music as a living. Upon leaving school, Arne was ] to a solicitor for three years. However, Arne's father discovered his son leading a group of musicians at what was probably one of Festing's musical gatherings. Following this disclosure of his son's real interest and talent, he was persuaded (again probably by Festing) to allow the young Arne to give up his legal career and to pursue music as a living.


==Musical career== ==Musical career==


Between 1733 and 1776, Arne wrote music for about 90 stage works, including plays, ], pantomimes, and operas. Many of his dramatic scores are now lost, probably in the disastrous fire at the ], Covent Garden in 1808.<ref name="autogenerated1"></ref> Arne's sister, ], was a famous ], who performed in some of his works, including his first opera, ''Rosamund''. With her marriage to the Drury Lane actor ] Susannah became known professionally as "Mrs Cibber". She and their brother Richard would often perform Arne's works together. Between 1733 and 1776, Arne wrote music for about 90 stage works, including plays, ], pantomimes, and operas. Many of his dramatic scores are now lost, probably in the disastrous fire at the ], Covent Garden in 1808.<ref name="autogenerated1"></ref> Arne's sister, ], was a famous ], who performed in some of his works, including his first opera, '']''. With her marriage to the Drury Lane actor ] Susannah became known professionally as "Mrs Cibber". She and their brother Richard would often perform Arne's works together.


] ] of Thomas Arne]] ] of Thomas Arne]]
Arne was a ]<ref> {{webarchive|url=https://web.archive.org/web/20070510084204/http://www.ugle.org.uk/masonry/famous-masons.htm |date=10 May 2007 }} at the United Grand Lodge of England.</ref> and active in the organization, which has long been centred in the Covent Garden area of London, where Arne lived for many years. Like ], who also lived in the 1700s, Arne lived before the Catholic hierarchy had banned membership in the Lodges in all countries. Arne was a ]<ref> {{webarchive|url=https://web.archive.org/web/20070510084204/http://www.ugle.org.uk/masonry/famous-masons.htm |date=10 May 2007 }} at the United Grand Lodge of England.</ref> and active in the organization, which has long been centred in the Covent Garden area of London, where Arne lived for many years. Like ], who also lived in the 1700s, Arne lived before the Catholic hierarchy had banned membership in the Lodges in all countries.


On 15 March 1737,<ref>{{cite web |url=http://www.ihgs.ac.uk/familyhistory/arne.php |title=Archived copy |access-date=2008-01-05 |url-status=dead |archive-url=https://web.archive.org/web/20071015152943/http://ihgs.ac.uk/familyhistory/arne.php |archive-date=15 October 2007 |df=dmy-all }}</ref> Arne married singer ], whose sister, Isabella was the wife of ]. During this period Arne's operas and masques became increasingly popular, and he received the patronage of ], at whose country home, ], the '']'', featuring "Rule Britannia", was debuted in 1740. On 15 March 1737,<ref>{{cite web |url=http://www.ihgs.ac.uk/familyhistory/arne.php |title=IHGS – Family History: Music, the Arne Family Tradition, 1710–1804 by Gladys Carson |access-date=5 January 2008 |url-status=dead |archive-url=https://web.archive.org/web/20071015152943/http://ihgs.ac.uk/familyhistory/arne.php |archive-date=15 October 2007 }}</ref> Arne married singer ], whose sister, Isabella, was the wife of ]. During this period Arne's operas and masques became increasingly popular, and he received the patronage of ], at whose country home, ], the '']'', featuring "Rule Britannia", was debuted in 1740.


In 1741, Arne filed a complaint in ] pertaining to a breach of musical copyright and claimed that some of his theatrical songs had been printed and sold by Henry Roberts and John Johnson, the London booksellers and music distributors. The matter was settled out of court. Arne was one of the first composers to have appealed to the law over copyright issues.<ref>''Arne, Handel, Walsh, and Music as Intellectual Property: Two Eighteenth-Century Lawsuits'': Ronald J. Rabin and Steven Zohn, ''Journal of the Royal Musical Association,'' Vol. 120, No. 1 (1995), pp. 112–145</ref> In 1741, Arne filed a complaint in ] pertaining to a breach of musical copyright and claimed that some of his theatrical songs had been printed and sold by Henry Roberts and John Johnson, the London booksellers and music distributors. The matter was settled out of court. Arne was one of the first composers to have appealed to the law over copyright issues.<ref>''Arne, Handel, Walsh, and Music as Intellectual Property: Two Eighteenth-Century Lawsuits'': Ronald J. Rabin and Steven Zohn, ''Journal of the Royal Musical Association,'' Vol. 120, No. 1 (1995), pp. 112–145</ref>


In 1742 Arne went with his wife to ], where he remained two years and produced his oratorio ''The Death of Abel'', of which only the melody known as the ''Hymn of Eve'' survives, and some stage works; he also gave a number of successful concerts. On his return to London in 1744 he was engaged as leader of the band at ], and the following year as composer at ].<ref name="EB1911">{{EB1911|inline=y|wstitle=Arne, Thomas Augustine|volume=28|page=}}</ref> In 1742 Arne went with his wife to ], where he remained two years and produced his oratorio ''The Death of Abel'', of which only the melody known as the ''Hymn of Eve'' survives, and some stage works; he also gave a number of successful concerts. Audiences of the day were exacting, and composers had to try to maintain their attention with ever more inventive means. An advertisement in a Dublin newspaper for one of Arne's performances read that he "...intend(ed) between the Acts of his Serenatas, Operas, and other Musical Performances, to intermix Comic Interludes... intended to give Relief to that grave Attention, necessary to be kept up in Serious Performances".<ref name=Steen>{{cite book |last=Steen |first=Michael |title=The Lives & Times of The Great Composers |pages=48 |publisher=] |isbn=1-84046-679-0 |year=2003 |location=London }}</ref> On his return to London in 1744 he was engaged as leader of the band at ], and the following year as composer at ].<ref name="EB1911">{{EB1911|inline=y|wstitle=Arne, Thomas Augustine|volume=2|pages=628–629}}</ref>


In 1750, after an argument with ], Susannah left ] for ], and Arne followed. In 1755 during another period spent in Dublin, he separated from Cecilia, who, he alleged, was mentally ill. He began a relationship with one of his pupils, ], a soprano and former child prodigy. Brent performed in several of Arne's works, including the role of Sally in his 1760 opera '']'' and Mandane in his 1762 opera '']''. Eventually Brent and Arne went their separate ways and she married a violinist named ] in 1766. In 1750, after an argument with ], Susannah left ] for ], and Arne followed. In 1755 during another period spent in Dublin, he separated from Cecilia, who, he alleged, was mentally ill. He began a relationship with one of his pupils, ], a soprano and former child prodigy. Brent performed in several of Arne's works, including the role of Sally in his 1760 opera '']'' and Mandane in his 1762 opera '']''. Eventually Brent and Arne went their separate ways and she married a violinist named ] in 1766.
Line 46: Line 46:
==Later life== ==Later life==


During the 1760s Arne transferred his services to ],<ref name="EB1911"/> and frequently collaborated with the Irish writer ]. ''Thomas and Sally'' was the first English comic opera to be sung throughout (it contained no spoken dialogue).<ref name="autogenerated1" /> '']'' was one of the most successful and influential English operas of the 18th century and is the only known attempt to write an Italianate, ] '']'', in the English language, using ] instead of spoken ].<ref name="EB1911"/><ref> {{webarchive|url=https://web.archive.org/web/20070607175801/http://www.classicalopera.co.uk/Artaxerxes.html |date=7 June 2007 }}</ref> Mozart saw it in 1764 when he visited London and said that it influenced his operas.{{citation needed|date=March 2019}} It was frequently performed in London into the 1830s and, other than ]'s '']'', it was the most popular full-length English opera before the 20th century.<ref>The Oxford Companion to English Literature, 6th Edition. Edited by Margaret Drabble, Oxford University Press, 2000 Pp 41</ref><ref>{{cite web|url=http://www.roh.org.uk/whatson/production.aspx?pid%3D10223 |title=Archived copy |access-date=2009-10-01 |url-status=dead |archive-url=https://web.archive.org/web/20091007030923/http://www.roh.org.uk/whatson/production.aspx?pid=10223 |archive-date=7 October 2009 }}</ref> In a 1791 visit to London, ] was impressed by a performance of Artaxerxes'' he attended and admitted that he had no idea such an opera existed in the English language.<ref></ref> During the 1760s Arne transferred his services to ],<ref name="EB1911"/> and frequently collaborated with the Irish writer ]. ''Thomas and Sally'' was the first English comic opera to be sung throughout (it contained no spoken dialogue).<ref name="autogenerated1" /> '']'' was one of the most successful and influential English operas of the 18th century and is the only known attempt to write an Italianate, ] '']'', in the English language, using ] instead of spoken ].<ref name="EB1911"/><ref> {{webarchive|url=https://web.archive.org/web/20070607175801/http://www.classicalopera.co.uk/Artaxerxes.html |date=7 June 2007 }}</ref> Mozart almost certainly saw it in 1764 when he visited London<ref>{{Cite web |title=Arne: Artaxerxes |url=https://mozartists.com/product/arne-artaxerxes/ |access-date=2024-06-19 |website=The Mozartists |language=en-GB}}</ref> and said that it influenced his operas. It was frequently performed in London into the 1830s and, other than ]'s '']'', it was the most popular full-length English opera before the 20th century.<ref>The Oxford Companion to English Literature, 6th Edition. Edited by Margaret Drabble, Oxford University Press, 2000 Pp 41</ref><ref>{{cite web|url=http://www.roh.org.uk/whatson/production.aspx?pid%3D10223 |title=Artaxerxes – Royal Opera House |access-date=1 October 2009 |url-status=dead |archive-url=https://web.archive.org/web/20091007030923/http://www.roh.org.uk/whatson/production.aspx?pid=10223 |archive-date=7 October 2009 }}</ref> In a 1791 visit to London, ] was impressed by a performance of ″Artaxerxes″ he attended and admitted that he had no idea such an opera existed in the English language.<ref></ref>


In 1769 Arne composed the song '']'', with lyrics by Garrick, for the ] held by Garrick in ] to commemorate the life of ]. In 1773, in a performance of ] Arne introduced women's voices into the choruses for the first time.<ref name="EB1911"/> In 1769 Arne composed the song '']'', with lyrics by Garrick, for the ] held by Garrick in ] to commemorate the life of ]. In 1773, in a performance of ] Arne introduced women's voices into the choruses for the first time.<ref name="EB1911"/>
] in ]]] ] in ]]]


In 1777, shortly before his death, Arne and his wife were reconciled. They had one son, ], who was also a composer. Arne is buried at ], London. A ], unveiled in 1988, commemorates Arne at 31 King Street in Covent Garden.<ref name='EngHet'>{{cite web|url=http://www.english-heritage.org.uk/discover/blue-plaques/search/arne-thomas-1710-1778|title=ARNE, THOMAS (1710–1778)|publisher=English Heritage|access-date=2012-08-18}}</ref><ref></ref> In 1777, shortly before his death, Arne and his wife were reconciled. They had one son, ], who was also a composer. Arne is buried at ], London. A ], unveiled in 1988, commemorates Arne at 31 King Street in Covent Garden.<ref name='EngHet'>{{cite web|url=http://www.english-heritage.org.uk/discover/blue-plaques/search/arne-thomas-1710-1778|title=ARNE, THOMAS (1710–1778)|publisher=English Heritage|access-date=18 August 2012}}</ref><ref></ref>


Arne is considered one of ] ]'s greatest theatrical composers. He is best remembered for his patriotic song "]" and for others. His other works include "]". He is one of Britain's patriot composers. Arne is considered one of 18th-century Britain's greatest theatrical composers.


==See also== ==See also==
Line 70: Line 70:
* *
* in the University of North Texas Virtual Rare Book Room * in the University of North Texas Virtual Rare Book Room

'''Sheet music''' '''Sheet music'''
*{{IMSLP|id=Arne%2C_Thomas_Augustine|cname=Thomas Arne}} *{{IMSLP|id=Arne%2C_Thomas_Augustine|cname=Thomas Arne}}
*{{MutopiaComposer|ArneT}} *{{MutopiaComposer|ArneT}}
*{{ChoralWiki|Thomas Arne}} *{{ChoralWiki|Thomas Arne}}

{{Thomas Arne}} {{Thomas Arne}}
{{Baroque music}} {{Baroque music}}
Line 83: Line 85:
] ]
] ]
] ]
]
] ]
] ]
] ]
] ]
Line 93: Line 94:
] ]
] ]
] ]
] ]
] ]
] ]

Latest revision as of 03:57, 11 November 2024

18th-century British composer

Thomas Arne
Thomas Augustine Arne, 1778
BornThomas Augustine Arne
(1710-03-12)12 March 1710
Covent Garden, London, England
Died5 March 1778(1778-03-05) (aged 67)
London, England
EducationEton College

Thomas Augustine Arne (/ɑːrn/; 12 March 1710 – 5 March 1778) was an English composer. He is best known for his patriotic song "Rule, Britannia!" and the song "A-Hunting We Will Go", the latter composed for a 1777 production of The Beggar's Opera, which has since become popular as a folk song and a nursery rhyme. Arne was a leading British theatre composer of the 18th century, working at the West End's Drury Lane and Covent Garden. He wrote many operatic entertainments for the London theatres and pleasure gardens, as well as concertos, sinfonias, and sonatas.

Early life

Arne was born on 12 March 1710 in Covent Garden and baptised as a Roman Catholic. He came from a long line of Catholic recusants.

Arne's father and grandfather were both upholsterers and both held office in the Worshipful Company of Upholders of the City of London. His grandfather fell on hard times and died in the debtors' prison of Marshalsea. His father earned enough money to rent 31 King Street, a large house in Covent Garden, but also to have Arne educated at Eton College but in later life, he too lost most of his money and had to supplement his income by acting as a numberer of the boxes (ticket counter) at the Drury Lane Theatre.

Arne was so keen on music that he smuggled a spinet into his room and, damping the sounds with his handkerchief, would secretly practise during the night while the rest of the family slept. He also dressed up as a liveryman to gain access to the gallery of the Italian Opera. It was at the opera that Arne first met the musician and composer Michael Festing, who was a major influence on him. Festing not only taught him to play the violin, but also took him to various musical events, including going to compete against Thomas Roseingrave for the post of organist at Hanover Square, and a visit to Oxford in 1733 to hear George Frideric Handel's oratorio Athalia.

Upon leaving school, Arne was articled to a solicitor for three years. However, Arne's father discovered his son leading a group of musicians at what was probably one of Festing's musical gatherings. Following this disclosure of his son's real interest and talent, he was persuaded (again probably by Festing) to allow the young Arne to give up his legal career and to pursue music as a living.

Musical career

Between 1733 and 1776, Arne wrote music for about 90 stage works, including plays, masques, pantomimes, and operas. Many of his dramatic scores are now lost, probably in the disastrous fire at the Royal Opera House, Covent Garden in 1808. Arne's sister, Susannah Maria Arne, was a famous contralto, who performed in some of his works, including his first opera, Rosamund. With her marriage to the Drury Lane actor Theophilus Cibber Susannah became known professionally as "Mrs Cibber". She and their brother Richard would often perform Arne's works together.

A caricature of Thomas Arne

Arne was a Freemason and active in the organization, which has long been centred in the Covent Garden area of London, where Arne lived for many years. Like Mozart, who also lived in the 1700s, Arne lived before the Catholic hierarchy had banned membership in the Lodges in all countries.

On 15 March 1737, Arne married singer Cecilia Young, whose sister, Isabella, was the wife of John Frederick Lampe. During this period Arne's operas and masques became increasingly popular, and he received the patronage of Frederick, Prince of Wales, at whose country home, Cliveden, the Masque of Alfred, featuring "Rule Britannia", was debuted in 1740.

In 1741, Arne filed a complaint in Chancery pertaining to a breach of musical copyright and claimed that some of his theatrical songs had been printed and sold by Henry Roberts and John Johnson, the London booksellers and music distributors. The matter was settled out of court. Arne was one of the first composers to have appealed to the law over copyright issues.

In 1742 Arne went with his wife to Dublin, where he remained two years and produced his oratorio The Death of Abel, of which only the melody known as the Hymn of Eve survives, and some stage works; he also gave a number of successful concerts. Audiences of the day were exacting, and composers had to try to maintain their attention with ever more inventive means. An advertisement in a Dublin newspaper for one of Arne's performances read that he "...intend(ed) between the Acts of his Serenatas, Operas, and other Musical Performances, to intermix Comic Interludes... intended to give Relief to that grave Attention, necessary to be kept up in Serious Performances". On his return to London in 1744 he was engaged as leader of the band at Drury Lane theatre, and the following year as composer at Vauxhall Gardens.

In 1750, after an argument with David Garrick, Susannah left Drury Lane for Covent Garden Theatre, and Arne followed. In 1755 during another period spent in Dublin, he separated from Cecilia, who, he alleged, was mentally ill. He began a relationship with one of his pupils, Charlotte Brent, a soprano and former child prodigy. Brent performed in several of Arne's works, including the role of Sally in his 1760 opera Thomas and Sally and Mandane in his 1762 opera Artaxerxes. Eventually Brent and Arne went their separate ways and she married a violinist named Thomas Pinto in 1766.

Later life

During the 1760s Arne transferred his services to Covent Garden Theatre, and frequently collaborated with the Irish writer Isaac Bickerstaffe. Thomas and Sally was the first English comic opera to be sung throughout (it contained no spoken dialogue). Artaxerxes was one of the most successful and influential English operas of the 18th century and is the only known attempt to write an Italianate, Metastasian opera seria, in the English language, using recitative instead of spoken dialogue. Mozart almost certainly saw it in 1764 when he visited London and said that it influenced his operas. It was frequently performed in London into the 1830s and, other than Michael William Balfe's The Bohemian Girl, it was the most popular full-length English opera before the 20th century. In a 1791 visit to London, Joseph Haydn was impressed by a performance of ″Artaxerxes″ he attended and admitted that he had no idea such an opera existed in the English language.

In 1769 Arne composed the song Soft Flowing Avon, with lyrics by Garrick, for the Shakespeare Jubilee held by Garrick in Stratford-upon-Avon to commemorate the life of William Shakespeare. In 1773, in a performance of Judith Arne introduced women's voices into the choruses for the first time.

Arne's memorial plaque in St Paul's in Covent Garden

In 1777, shortly before his death, Arne and his wife were reconciled. They had one son, Michael Arne, who was also a composer. Arne is buried at St Paul's, Covent Garden, London. A blue plaque, unveiled in 1988, commemorates Arne at 31 King Street in Covent Garden.

Arne is considered one of 18th-century Britain's greatest theatrical composers.

See also

References

  1. Sexuality in Eighteenth-century Britain. Manchester University Press. 1982. p. 250.
  2. Oxford illustrated encyclopedia. Judge, Harry George., Toyne, Anthony. Oxford : Oxford University Press. 1985–1993. p. 22. ISBN 0-19-869129-7. OCLC 11814265.{{cite book}}: CS1 maint: others (link)
  3. Plaque #233 on Open Plaques
  4. ^ Thomas and Sally, or The Sailor's Return, opera ...: Information and Much More from Answers.com
  5. Website reference Archived 10 May 2007 at the Wayback Machine at the United Grand Lodge of England.
  6. "IHGS – Family History: Music, the Arne Family Tradition, 1710–1804 by Gladys Carson". Archived from the original on 15 October 2007. Retrieved 5 January 2008.
  7. Arne, Handel, Walsh, and Music as Intellectual Property: Two Eighteenth-Century Lawsuits: Ronald J. Rabin and Steven Zohn, Journal of the Royal Musical Association, Vol. 120, No. 1 (1995), pp. 112–145
  8. Steen, Michael (2003). The Lives & Times of The Great Composers. London: Faber and Faber. p. 48. ISBN 1-84046-679-0.
  9. ^  One or more of the preceding sentences incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Arne, Thomas Augustine". Encyclopædia Britannica. Vol. 2 (11th ed.). Cambridge University Press. pp. 628–629.
  10. Artaxerxes Archived 7 June 2007 at the Wayback Machine
  11. "Arne: Artaxerxes". The Mozartists. Retrieved 19 June 2024.
  12. The Oxford Companion to English Literature, 6th Edition. Edited by Margaret Drabble, Oxford University Press, 2000 Pp 41
  13. "Artaxerxes – Royal Opera House". Archived from the original on 7 October 2009. Retrieved 1 October 2009.
  14. Artaxerxes: the opera that time forgot | Music | The Guardian
  15. "ARNE, THOMAS (1710–1778)". English Heritage. Retrieved 18 August 2012.
  16. "THOMAS ARNE, London, England" at flickr.com

Sources

External links

Sheet music

Thomas Arne
List of compositions
Operas
Other works
Category
Baroque music
List of Baroque composers
Transitional
and early (c. 1600)
Middle (c. 1650)
Late (c. 1700)
Galant (c. 1720)
Musical
Instruments
Ensembles
Musical forms
Other topics
Background
 ← Renaissance musicClassical music → 
Premier Grand Lodge of England
Active 1717–1813, united with the Ancient Grand Lodge of England (1751–1813) to create the United Grand Lodge of England (1813–present)
Grand
Masters
Related
articles
Members
Prime ministers
Categories: