Concerts at Bordeaux. The representations made by some of his family who had settled in America induced him to visit the New World. He spent a few years in Cincinnati, where his enthusiasm worked wonders in the development of taste. The Cecilia (choral) and Philharmonic (orchestral) Societies were established by him, and a large number of important works presented at their concerts for the first time in the United States. In 1862 ritter went to New York, becoming conductor of the Sacred Harmonic Society for seven years, and of the Arion Choral Society (male voices), and instituting (1867) the first musical festival held in that city. In 1867 he was appointed director of the musical department of Vassar College, Poughkeepsie, whither he removed in 1874 on resigning his conductorships. The University of the City of New York conferred on him the degree of Doctor of Music in 1878. He still retains (1881) the directorship of the musical studies at Vassar College. ritter's literary labours have included articles on musical topics printed in French, German and American periodicals. His most important work is 'A History of Music, in the Form of Lectures'—vol. i. 1870; vol. ii. 1874, Boston; both republished by W. Reeves, London, 1876; vol. iii. is in preparation. As a composer, Ritter may be classed with the modern Franco-German school.
The following works have appeared in the catalogues of Hamburg, Leipzig, Mayence and New York publishers:—
| Op. | 1. | 'Hafts,' cyclus of Persian songs. |
| 2. | Preambule Scherzo. PF. | |
| 3. | 10 children's songs. | |
| 4. | Fairy Love. | |
| 5. | 8 PF. pieces. | |
| 6. | 6 songs. | |
| 7. | 5 choruses, male voices. | |
| 8. | Psalm xxiii, female voices. | |
| 10. | 5 songs. 10 Irish Melodies, with new PF. acct. | |
| 11. | Organ fantasia and fugue. | |
| 12. | Voices of the Night, PF. | |
| O Salutaris.' baritone, organ. | ||
| 'Ave Maria,' mezzo-sopr., organ. | ||
| 'Parting.' song, mezzo-soprano. | ||
| A Practical Method for the Instruction of Chorus-classes. | ||
The following are his most important unpublished compositions:
3 Symphonies—A, E minor, E♭.
'Stella,' Poeme-symphonique, d'après V. Hugo.
Overture. 'Othello.'
Concerto, PF. and orch.
Fantasia, bass clarinet and orch.
1 string quartet; 3 do.
Psalm xlvi, solo, chor. and orch.
All of the above were produced at the concerts of the New York and Brooklyn Philharmonic Societies, 1867–1876.
Dr. Ritter's wife, née Raymond, is known under the name of Fanny Raymond Ritter as an author and translator of works on musical subjects. She has brought out translations of Ehlert's 'Letters on Music, to a Lady'; and of Schumann's Essays and Criticisms—'Music and Musicians'; and a pamphlet entitled 'Women as a Musician'—all published by Reeves, London. [App. p.772 "Add that Mme. Ritter has recently brought out a second series of the Essays and Criticisms of Schumann, and has written a sketch entitled 'Some Famous Songs.' "]
ROBERT BRUCE. A pasticcio adapted by Niedermeyer from four of Rossini's operas—'Zelmira,' the 'Donna del Lago,' 'Torvaldo e Dorliska,' and 'Bianca e Faliero.' Produced without success at the Académie Royale, Dec. 30, 1846. It is published in Italian as 'Roberto Bruce' by Ricordi.
ROBERT LE DIABLE. Opera in 5 acts; words by Scribe, music by Meyerbeer. Produced at the Académie, Paris, Nov. 21, 1831. In London, and in English, imperfectly, as 'The Demon, or the Mystic Branch' at Drury Lane, Feb. 20, 1832, and as 'The Fiend Father, or Robert of Normandy' at Covent Garden the day following; as 'Robert the Devil' at Drury Lane (Bunn), March 1, 1845. In French, at Her Majesty's, June 11, 1832, with Nourrit, Levasseur, Damoreau. In Italian, at Her Majesty's, May 4, 1847 (first appearance of Jenny Lind and Staudigl—Mendelssohn was in the house).
ROBERTO DEVEREUX, CONTE D'ESSEX. An opera in 3 acts; libretto by Camerano from Thomas Corneille's 'Comte d'Essex,' music by Donizetti. Produced in Naples in 1836 [App. p.772 "the autumn of 1837"]; at the Italiens, Paris, Dec. 27, 1838; at Her Majesty's Theatre, London, June 24, 1841. The overture contains the air of 'God save the King.' [App. p.772 "add that an opera of the same name, composed by Mercadante, was produced at Milan on March 10, 1883."]
ROBERTS, J. Varley, Mus. Doc., native of Stanningley, near Leeds, born Sept. 25, 1841. He exhibited much early ability for music, and at twelve was appointed organist of S. John's, Farsley, near Leeds. In 1862 he became organist of S. Bartholomew's, Armley, and in 1868 received his present appointment of organist and choirmaster of the parish church, Halifax, after a competitive trial, Dr. E. G. Monk acting as umpire. In 1871 he graduated Mus. Bac., and in 1876 Mus. Doc., at Christ Church, Oxford. During his organistship at Halifax, upwards of £3000 have been raised to enlarge the organ, originally built by Snetzler—the instrument upon which Sir Wm. Herschel, the renowned astronomer, formerly played—and it is now one of the finest and largest in the North of England.
In 1876 Dr. Roberts became a Fellow in the College of Organists, London. He has published a sacred cantata, 'Jonah,' for voices and orchestra (Novello); an Appendix and a Supplement to Cheetham's Psalmody; a Morning Communion and Evening Service in D; an Evening Service in F; anthems, organ voluntaries, and songs. [App. pp.772–3 "Add that in 1882 he was elected organist at Magdalen College, Oxford, succeeding Mr. Parratt. In 1884 the University Glee and Madrigal Society was founded under his conductorship; it now numbers about 150 members. In 1885 he accepted the post of organist of St. Giles's, Oxford, and in the same year was appointed examiner in music to the Oxford Local Examinations, and also became conductor of the Oxford Choral Society. In 1886 he was appointed one of the University examiners for musical degrees. The latest addition to the list of his church music is an anthem, 'I will sing unto the Lord,' written for the Jubilee Service in Magdalen College."]
ROBIN ADAIR or EILEEN AROON. This air first became popular in England in the second half of the last century, through the eminent Italian singer Tenducci. He was one of the original singers in Arne's opera of 'Artaxerxes,' produced in 1762, and was afterwards engaged by Dr. Arne to accompany him to Ireland, where he probably learnt this song. It is certain that he sang 'Eileen Aroon' in the Irish language, the words being written out phonetically for him. He sang also at Ranelagh Gardens, and an edition with the Irish words 'sung by Signor Tenducci,' was published in London with music on a half sheet. In Ireland he had drawn especial attention to the air, and among the English-speaking part of the population several songs of local interest were written to it, making Robin Adair the burthen. For these, which do not in any way concern the tune, the curious are referred to the indexes to the 3rd, 4th, and 5th
