Grove's dictionary of music and musicians

EEDEKER
REDOUTE 41
that of the well-known Double Chant by Dr.
Crotch.
It would be difficult to point to two schools
more bitterly opposed to each other than those
of the early Netherlanders, and the English
Cathedral writers of the 19th century. Yet
here we see an artifice, invented by the former,
and used by one of the latter, so completely con
amore, that, backed by the harmonies peculiar
to the modern 'free style,' it has attained a
position quite unassailable, and will probably
last as long as the Anglican Chant itself shall
continue in use. [Sir John Stainer wrote a
hymn-tune 'Per Recte et Retro' in 1898 for
the Church Hymnary (No. 381) ; it is also No.
81 of Novello's edition of the composer's hymns.
It reads backwards in all the parts.] With
these things before us, we shall do well to
pause, before we consign even the most glaring
pedantries of our forefathers to oblivion, w. s. E.
REDEKER, Louise Dorettb Augustb, a
contralto singer, who made her first appearance
in London at the Philharmonic Concert of June
19, 1876, and remained a great favourite until
she retired from public life on her marriage with
Dr. (now Sir) Felix Semon, Oct. 19, 1879. She
wasbornatDuingen, Hanover, Jan. 19, 1853, and
from 1870 to 1873 studied in the Conservatorium
at Leipzig, chiefly under Konewka. She sang
first in public at Bremen in 1873. In 1874
she made the first of several appearances at
the Gewandhaus, and was much in request for
concerts and oratorios in Germany and other
countries during 1874 and 1875. In England
she sang at all the principal concerts, and at
the same time maintained her connection with
the Continent, where she was always well
received. Her voice is rich and sympathetic ;
she sings without eSbrt and with great taste. G.
REDEMPTION, THE. A Sacred Trilogy,
written and composed by Charles Gounod. First
performed at the Birmingham Festival, August
30, 188?, under the composer's direction. M.
REDFORD, John, was organist and almoner,
and master of the Choristers of St. Paul's
Cathedral in the latter part of the reign of
Henry VIII. (1491-1547). Tusser, the author
of the Hundred good Points of Husbandrie,
was one of his pupils. An anthem, 'Rejoice
in the Lorde alway,' printed in the appendix
to Hawkins's History and in the Motett Society's
first volume, is remarkable for its melody and
expression. Some anthems and organ pieces
by him are in the MS. volume collected by
Thomas Mulliner, master of St. Paul's School,
afterwards in the libraries of John StaSbrd
Smith and Dr. Rimbault, and now in the
British Museum. A motet, some fancies, and
a voluntary by him are in MS. at Christ Church,
Oxford. [See also the Monaishefle for 1902, for
list of other works by him.] His name is included
by Morley in the list of those whose works
he consulted for his 'Introduction.' w. h. h.
REDHEAD, Richabd, born March 1, 1820,
at Harrow, was a chorister at Magdalen College,
Oxford, 1829-36, having received his musical
education therefrom Walter Vioary, the organist.
He was organist at Old Margaret Chapel (now
All Saints' Church), Margaret Street, in 1839-
1864, and from the latter date at St. Mary
Magdalene, Paddington, a post he held till his
death at Hellingley, Sussex, April 27, 1901.
His works are almost exclusively written or
compiled for use in the Church of England
service, viz. 'Church Music,' etc., 1840, 'Laudes
Diurnae, the Psalter and Canticles in the Morning
and Evening Service,' 1843, Music for the
Office of the Holy Communion,' 1853; 'O
my people,' anthem for Good
'
Friday Church
;
Melodies, a collection of short pieces and Six
Sacred Songs," 1858 ; 'The Celebrant's Office
Book," 1863 ; 'Ancient Hymn Melodies, Book
of Common Prayer with Ritual music. Canticles
at Matins and Evensong, pointed as they are
to be sung in churches and adapted to the
Ancient Psalm Chants, and Parish Tune Book
and Appendix,' 1865 ; 'The Universal Organist,
a Collection of Short Classical and Modem
Pieces,' 1866-81; 'Litany with latter part
of Commination Service, Music to the Divine
Liturgy during the Gradual, Offertorium and
Communion, arranged for use throughout the
year,' 1874 ;
Festival Hymns for All Saints and
St. Mary Magdalene Days, Hymns for Holy
Seasons, Anthems, etc. a. c.
REDOUTE. Public assemblies at which the
guests appeared with or without masks at
pleasure. The word is French, and is explained
by Voltaire and Littr^ as being derived from
the Italian ridotto—perhaps with some analogy
to the word 'resort.' They soon made their
way to Germany and England. They are
frequently mentioned by Horace Walpole under
the name 'Ridotto,' and were one of the
attractions at Vauxhall and Ranelagh in the
middle of the 18 th century. In Germany and
France the French version of the name was
adopted. The building used for the purpose
in Vienna, erected in 1748, and rebuilt in stone
in 1754, forms part of the Burg or Imperial
Palace, the side of the oblong facing the
Josephs-Platz. There was a grosse and a Meine
Redoutensaal. In the latter Beethoven played
a concerto of his own at a concert of Haydn's,
Dec. 18, 1795. The rooms were used for concerts
till about 1870. The masked balls were held
there during the Carnival, from Twelfth Night
to Shrove Tuesday, and occasionally in the
weeks preceding Advent ; some being public,
i.e. open to all on payment of an entrance fee,
d