Robin Humphrey Legge

Summary

Robin Humphrey Legge Dictionary of National Biography… (1895)

Meanwhile Osborne's theological studies were pursued with lessening interest, and when twenty years old he finally decided to adopt music as his profession. In this step he was warmly supported by the Prince de Chimay, who procured for him the appointment of instructor to the eldest son of the Prince of Orange, afterwards king of Holland. In Brussels Osborne, as chapel-master to the Prince of Orange, gave many successful concerts, at one of which he met De Bériot. With him he wrote no less than thirty-three duets for violin and pianoforte, many of which enjoyed a great vogue for a time.
Source: Wikisource

Robin Humphrey Legge Dictionary of National Biography… (1893)

They are consummate masterpieces or ingenuity and of learning; they are admirably constructed; they are the results of incessant labour, and the natural outcome of an intellect trained to the utmost pitch of mechanical skill, but they bear the stamp of artificiality (cf. Musical Times, December 1887) . As a composer he exercised little influence over his contemporaries, and none over his successors.
As a writer of theoretical works Macfarren will possibly be known to posterity after his compositions have been forgotten
Source: Wikisource

Robin Humphrey Legge Dictionary of National Biography… (1895)

He, however, turned his attention to composition on hearing extracts from Mozart's operas in the concert-room, and proceeded to Vienna to perfect his musical education. There he remained two years. But it was when he heard at Paris Méhul's overture to ‘Stratonice’ that (as he himself said) ‘I experienced so violent an emotion that I felt myself penetrated suddenly by sentiments which till that moment were quite unknown to me. ... From that day I saw music in a different light’ (cf. Gazette Musicale de Paris, October 1853) .
Source: Wikisource

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