Page:Dictionary of National Biography volume 35.djvu/84

 In February 1831 he took over the management of the theatre in Tottenham Street, which he called the Queen's Theatre, in honour of Queen Adelaide, and here he remained until July of the following year, producing, among numerous other works, a dramatic version of Handel's 'Acis and Galatea,' for which Cipriani Potter wrote additional accompaniments (cf., Life of G. A. Macfarren, p. 36, 1892). Macfarren seems to have laid special stress upon accuracy of detail and naturalness in staging the plays which he produced. Robert Elliston, successively lessee of Drury Lane, the Olympic, and Surrey theatres, stated that 'no such perfect pictures as he saw at the Queen's Theatre had ever been put on the stage.' Stanfield painted a drop-scene, which he presented to Macfarren as a token of friendship; Winston was acting-manager, and Leitch was ultimately appointed scene-painter. However, the venture did not meet with pecuniary success, and Macfarren left the Queen's on being appointed stage-manager of the Surrey. He afterwards went to the Strand. He was a good amateur draughtsman and painter, a faculty which stood him in good stead in designing theatrical scenes.

In 1834 he visited Milan, where his daughter was studying singing, and there wrote the libretto of an opera, 'Caractacus.' During some years of his life Macfarren was totally blind, but a year before his death he underwent an operation for cataract and recovered his sight. While blind he devoted himself largely to literature, and he first suggested the formation of the Handel Society. In 1841 he became editor and proprietor of the 'Musical World.' He died suddenly on 24 April 1843 in Castle Street, Leicester Square.

Macfarren married, in August 1808, Elizabeth (b. 20 Jan. 1792), daughter of John Jackson, a bookbinder, of Glasgow, who had settled in London. Their eldest son, Sir George Alexander Macfarren, is noticed separately.

The following are the titles of his chief dramatic works, Nos. 1 to 7 being produced at the Royal Coburg Theatre: Nos. 8 to 12 produced at Drury Lane. Nos. 13 to 16 produced at the Royal Surrey. In addition to these pieces Macfarren wrote very many short poems, which were set to music by E. J. Loder, G. A. and W. C. Macfarren, Henry Smart ('Estelle') and others. There is a small oil portrait of Macfarren by H. Lejeune, R.A., and another by Davison, life size, kit-cat, which is in the possession of Mr. Walter Macfarren.
 * 1) 'Winning a Husband,' comedietta, in two acts, written for Mrs. Barrymore, produced in 1819.
 * 2) 'Guy Fawkes,' drama, in three acts, 1822.
 * 3) 'Tom and Jerry in France,' comedietta, in two acts, 1823.
 * 4) 'Edward the Black Prince,' historical drama, in three acts, 1823.
 * 5) 'George III,' historical drama, in three acts, 1824.
 * 6) 'The Horatii and Curiatii,' historical drama, in three acts, written for the appearance of Booth (1825) at the Coburg.
 * 7) 'Sir Peter Pry.'
 * 8) 'Malvina,' drama, with music by T. S. Cooke, in three acts, 1826.
 * 9) 'Oberon,' romantic drama, in three acts, 1826.
 * 10) 'Gil Bias,' drama, in three acts, 1827.
 * 11) 'Emblematical Tribute on the Marriage of the Queen,' 1840.
 * 12) 'Don Quixote' (posthumous), opera, in two acts, 1846.
 * 1) 'Auld Robin Gray,' domestic drama, in three acts, 1828.
 * 2) 'The Talisman,' drama, in three acts, 1828.
 * 3) 'My Old Woman,' farce, 1829.
 * 4) 'March of Intellect,' farce, written for the infant prodigy Burke, who acted, danced, sang, and played the violin, 1829.
 * 1) 'The Danish Wife,' drama, in three acts, produced at the Queen's Theatre, 1831.
 * 2) 'Harlequin Reformer,' Christmas pantomime, at the Surrey, 1831.
 * 3) 'Innocent Sins,' comedietta, in two acts, at the Strand, 1838.
 * 4) 'The Devil's Opera,' two acts [see ].
 * 5) 'The Matrimonial Ladder,' comic opera, in two acts, music by Ambroise Thomas, 1839, produced at the Lyceum.
 * 6) 'Latin, Love, and War,' farce, produced at the Haymarket, 1839.



MACFARREN, GEORGE ALEXANDER (1818–1887), musical composer, born at 24 Villiers Street, Strand, London, on Shrove Tuesday, 2 March 1813, was son of  [q. v.] In August 1820 he was sent to Dr. Nicholas s school at Ealing, an establishment in which his father had for many years taught dancing, and at which Cardinal Newman and Professor Huxley were educated. As a youth Macfarren was very delicate, and in 1823 he was removed from the school in order to have his eyesight (which was defective even in these early days) attended to by Mr. Alexander, the oculist. Shortly afterwards he went to a school at Lancing, where he remained eighteen months. His first musical instruction he received from his father, and in March 1827 he was placed under [q. v.], with whom he continued his studies until 1829, when he entered the Royal Academy of Music. Many years afterwards he wrote a memoir of his old master in the 'Imperial Dictionary of Biography,' At the Royal Academy his masters were Thomas Haydon, William Henry