15-585: Anthony or Tony Shaw may refer to: Anthony Shaw (violinist) (1747–1792), English violinist Anthony Shaw (British Army officer) (1930–2015), director general of the Army Medical Services Tony Shaw (Australian rules footballer) (born 1960), Australian rules footballer Tony Shaw (rugby union) (born 1953), Australian rugby union player Antony Shaw , New Zealand barrister and law professor [REDACTED] Topics referred to by
30-733: A member of the Royal Society of Musicians in 1754. Anthony's father was a "superannuated musician" according to the European Magazine and London Review when he died in Bath in 1792. By 1768, Anthony was already living in London; indeed he is likely to be the Anthony Shaw, a Saint-Augustine parish resident, marrying Rachael Collier, a spinster of the same parish, on 30 May 1768. The first known fact about Anthony's career
45-581: A short walking distance (in fact just across the road) from his working place: the Theatre Royal at Covent Garden. He is known to have played in the oratorio concert at the King's Theatre on 24 February 1792. In October 1792 the pasticcio afterpiece Harlequin Chaplet with "music selected [by Shaw] from Pepusch , Dr Arne , Arnold , Fischer, Michael Arne , Vincent, Dibdin , Reeve, and Shield "
60-514: A year (about £1075 in today's money ). Two months after her husband's passing, she was granted an additional monthly income of about £2 (about £179 in today's money ) by the Royal Society of Musicians. Pasticcio In music , a pasticcio or pastiche is an opera or other musical work composed of works by different composers who may or may not have been working together, or an adaptation or localization of an existing work that
75-579: Is different from Wikidata All article disambiguation pages All disambiguation pages Anthony Shaw (violinist) Anthony Shaw was born in 1747, probably in Bath , and died aged 45 on 26 August 1792 in Margate . He was a violinist and was the band leader at the Covent Garden Theatre until his death. Anthony Shaw was the son of Bathonian musician Thomas Shaw (1715-92) and
90-984: Is loose, unauthorized, or inauthentic. The term is first attested in the 16th century referring both to a kind of pie containing meat and pasta ( see pastitsio ) and to a literary mixture; for music, the earliest attestation is 1795 in Italian and 1742 in English. It derives from the post-classical Latin pasticium (13th century), a pie or pasty. In the 18th century, opera pasticcios were frequently made by composers such as Handel , for example Oreste (1734), Alessandro Severo (1738) and Giove in Argo (1739), as well as Gluck , and Johann Christian Bach . These composite works would consist mainly of portions of other composers' work, although they could also include original composition. The portions borrowed from other composers would be more or less freely adapted, especially in
105-556: Is that he played first violin at the Commemoration of Handel ( Handel Memorial Concerts at Westminster Abbey and the Pantheon from 26 May to 5 June 1784) for which a total of 493 performers were gathered together. By this time, however, he must have already been well established as a musician as he became a member of The Royal Society of Musicians about 7 years earlier in 1776 or 1777. By 1788, he had joined and become
120-562: The case of arias in pasticcio operas by substituting a new text for the original one. In late 18th-century English pasticcios , for instance by Samuel Arnold or William Shield , the "borrowed" music could be Irish or British folksongs. Instrumental works would also sometimes be assembled from pre-existing compositions, a notable instance of this being the first four piano concertos of Wolfgang Amadeus Mozart . These concertos ( K. 37, 39–41) were assembled almost entirely from keyboard sonata movements by contemporary composers, to which
135-475: The early 1790s, Anthony became the orchestra's superintendent at the Theatre Royal of Margate. The latter had only just been built three years earlier in 1787 on one of the town's most fashionable squares. In the late 1780s-early 1790s, Anthony had received an eighth interest in the Margate theatre. (Upon his death, this share in the Theatre Royal of Margate will go to his brother, the composer Thomas Shaw .) At
150-572: The leader of the band at Covent Garden , whilst his brother, Thomas Shaw, held the same post at the rival Drury Lane theatre . Anthony Shaw was in charge of selecting the music of the instrumental interludes inserted in William Shield 's and John O'Keeffe 's pasticcio afterpiece Aladin, or the Wonderful Lamp which premiered on 26 December 1788 at Covent Garden. In November 1790, Anthony lived at 10 Bow Street in London, at
165-406: The same term This disambiguation page lists articles about people with the same name. If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Anthony_Shaw&oldid=1220738239 " Category : Human name disambiguation pages Hidden categories: Short description
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#1732791362927180-519: The time of his passing in 1792 Anthony was still the band leader at Coven Garden during the season, but would also work at Margate during the summers. The Manchester Chronicle reports that Anthony Shaw died on 26 August 1792 in Margate and was buried there at St. John's on 29 August 1792. On Friday 31 August 1792, the Kentish Gazette thus reported his death: His passing left his widow Rachael in dire straights with an annual income of £14
195-555: Was produced at Covent Garden. Although there is no details about who this "Shaw" was, it is plausible that Anthony could have put the piece together and that it was produced after his death. It is less likely that his brother Thomas was involved as he was then officially employed by the Drury Lane theatre, Covent Garden's direct competitor.) During the Georgian era, the town of Margate (also known by its parish name "St. John's")
210-546: Was the older brother of the composer Thomas Shaw. There is virtually no information about Anthony Shaw's early life and his career prior to going to London. Through elements of his brother's biography, we know that he was the son of a musician born in 1715 called Thomas Shaw who was a double-bass player active in Bath and London for many years as a leading string player and concert director, including in music festivals in Westminster and at Covent Garden, and who had become
225-414: Was transformed from a small fishing village into one of the first sea-side resorts. The Kentish Gazette of 31 August 1792 thus comments the sea bathing season: The "Margate hoys", though not without risks, provided cheap and ready access from London. These were the early days of sea bathing, and, among other things, visitors could rely on hotels, assembly rooms, and a theatre for their entertainment. In
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