Thomas Roseingrave

Thomas Roseingrave (* Winchester, 1688 - † Dún Laoghaire, June 23rd 1766) was a musician (Organiste) English.

Biography

It passed the first part of its life to Dublin and studied the music with his father, Daniel Roseingrave. In 1707, it entered to the Trinity College of Dublin but left there without finishing its studies. In 1709, it was sent in Italy with a purse provided by the chapter of the Cathédrale Saint-Paul of London in order to improve there for the music. With Venice, it became acquainted with Domenico Scarlatti, its elder three years which highly impressed it by its virtuosity with the Clavecin. It accompanied it with Naples and Rome; it was, later, to publish an edition of the sonatas of Scarlatti which would be at the origin of the great popularity of this last in England.

In Italy, Roseingrave composed several musical works, in particular a Anthem and a Cantate. It is probably in 1714 qu ' it turned over to England. In 1720, it produced the opera Amor of one will ombra E Gelosea of one will have of Scarlatti under the title of Narciso to the Haymarket Theater, by adding two to it Aria S and two duets of its composition. It was named in 1725 organist of the church Saint George (located Hanover Square). It became very famous as an improviser, especially of Fugue S. It nourished greatest admiration for the music of Palestrina and was a contrapuntist of very great talent. Charles Burney reports that it was able to carry out, by deciphering it at sight, the most complex music.

During the years 1730, it was at the top of its Article Pourtant its career brilliant finished brutally when it did not manage to marry an young graduate with which it had become in love. The father of icelle did not want to give his agreement to a marriage with a musician. Contrariety had fatal consequences on its reason, its behavior became irrational and he neglected his obligations and his duties. In fact, it ends up being withdrawn in Dublin. He died in 1766 and was buried in the family vault of the cemetery of the Cathédrale Saint-Patrick of Dublin.

Its work

The best compositions of Roseingrave are, in a surprising way, those which show less continental influences. Its parts of harpsichord point out sometimes the style of Scarlatti, but its parts of organ are closer to the English style of Purcell and Blow. They are impressed of dissonnances and a marked chromatism which are not without evoking that of imaginations for viols of Purcell. Their phrased irregular lets think that they are can result from its improvisations, to which it owes its celebrity. It also composed of the solos for flutes and the Italian cantatas. Its contemporaries often criticized its hard harmonies, its extravagant and unusual modulations. The majority of the English type-setters of the 18th century had adopted the Italian style imported by Haendel, and the English amateurs were accustoming itself with the enjouée harmony, with the more tempting and easy forms of the gallant Style. Thus, the style of Roseingrave ends up their appearing too intellectual and obsolete.

Media

Source

Translated article into English, who refers to:
The New Grove Dictionary off Music & Musicians, ED Stanley Sadie; 1980; ISBN 1-56159-174-2

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