In 1741 he founded the Madrigal Society, which began as a small group of mechanics and tradesmen experienced in psalmody, meeting at a tavern in Fleet Street. As a member of the Academy of Ancient Music, and as a student and copyist to Pepusch, he became familiar with much old music, which he preferred to that of his own day. He cultivated music assiduously, playing the flute, viola da gamba and harpsichord, and had a ‘cracked counter-tenor voice’. ‘He had been guilty of some indiscretions, which proved an effectual bar to success in his profession, and reduced him to the necessity of becoming a clerk to an attorney in the city’. ‘In his younger days he was a great beau’, said Hawkins, who is the chief source of information about Immyns. Aldersgate, London, d London, April 15, 1764). Between 17 Flackton was organist of St Mary of Charity, Faversham, where he presented an anthem of his composition at the installation of a new organ in. xlix of Karl Geiringer’s Instruments in the History of Western Music (London, 1943, 3/1978) William Flackton’s song The Chace has a prominent horn part in its instrumental accompaniment. He was joined in this business between 1747 and about 1767 by his brother John, a singer and horn player, in which latter connection John is said to be pictured in the painting reproduced as pl. In the Kentish Post (December 1727) he announced his return from London and his setting up as a bookseller. During this time he was also apprenticed to Edward Burgess, bookseller, stationer and cathedral lay clerk. A son of John Flackton, bricklayer and cathedral contractor, he was a chorister at Canterbury Cathedral under William Raylton from 1716 to 1725. But he continued his musical activities, compiling (in Romanian). Appointed councillor to the Tsar of Russia, Peter I, Cantemir settled in Moscow. These notations provide an important comprehensive record of the late 17th-century Ottoman instrumental repertory.īack in his country, as Prince of Moldavia (1710–11), he continued his ethnographic and folk music studies, recorded in Descriptio Moldaviae (1716). At the end of this treatise, Edvar-i musiki (‘Textbook of music’), he added notations of some 350 instrumental pieces in the peşrev and semai forms, a few of them his own compositions. In the Ottoman capital he compiled a treatise on the theory of Turkish music which used an innovative system of musical notation based on the Arabic alphabet. He started his musical studies under Jeremia Cacavelas in Iaşi and continued them in Istanbul with Kemani Ahmed and Angeli. Prince of Moldavia (1683, 1710–11), Romanian scholar, encyclopedist, composer, folklorist and theorist. ( b Silişteni-Fălciu, Moldavia, dDmitrievka, Russia, Aug 21, 1723). Membranophones (Stretched Membrane Percussion) Music Business, Institutions and Organizations
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