Year 1845 (MDCCCXLV) was a common year starting on Wednesday (link will display the full calendar) of the Gregorian calendar and a common year starting on Monday of the 12-day slower Julian calendar.
George Macfarren (1788–1843) was a playwright and the father of composer George Alexander Macfarren. Macfarren's first play, Ah! What a Pity, or, The Dark Knight and the Fair Lady, was produced on 28 September 1818 at the English Opera House; for the next several decades, a Macfarren play was produced approximately once a year.
Eli Parish (28 February 1808, Teignmouth, Devonshire, England – 25 January 1849, Vienna) was an English harpist and composer. He changed his name to Elias Parish Alvars, and sometimes used the pseudonym Albert Alvars in his publications.
The baptismal record found at St James’s Church, West Teignmouth, reports: "Eli, son of Joseph and Mary Ann Parish". His father, an organist, voice teacher and book dealer in Teignmouth, gave him his first musical instruction.
Eli gave his first concert in Totnes in 1818. In 1820 he was sent to London to study with Nicolas Bochsa. In 1822 he applied to the Royal Academy of Music, where Bochsa had been appointed harp professor. However, he was not accepted as a student there, probably because of his family’s inability to pay the tuition. (Joseph Parish had to declare bankruptcy in 1818.) In any case, Eli Parish continued his lessons with Bochsa thanks to the help of a local landowner.
After the Dresden concert, Hector Berlioz wrote: "In Dresden, I met the prodigious English harpist Elias Parish Alvars, a name not yet as renowned as it ought to be. He had just come from Vienna. This man is the Liszt of the harp. You cannot conceive all the delicate and powerful effects, the novel touches and unprecedented sonorities, that he manages to produce from an instruments in many respects so limited. His fantasy on Moses (imitated and adapted for the piano with such happy results by Thalberg), his Variations for harmonic notes on the Naiads Chorus from Oberon, and a score of similar taste, delighted me more than I can say…" (Mémoires de Hector Berlioz, Paris, 1903);
Franz Adolf Berwald (July 23, 1796, Stockholm – April 3, 1868) was a Swedish Romantic composer who was generally ignored during his lifetime. He made his living as an orthopedic surgeon and later as the manager of a saw mill and glass factory.
Berwald came from a family with four generations of musicians; his father, a violinist in the Royal Opera Orchestra, taught Franz the violin from an early age; he soon appeared in concerts. In 1811, Karl XIII came to power and reinstated the Royal Chapel; the following year Berwald started working there, as well as playing the violin in the court orchestra and the opera, receiving lessons from Edouard du Puy, and also started composing. The summers were off-season for the orchestra, and Berwald travelled around Scandinavia, Finland and Russia. Of his works from that time, a septet and a serenade he still considered worthwhile music in his later years.
In 1818 Berwald started publishing the Musikalisk journal, later renamed Journal de musique, a periodical with easy piano pieces and songs by various composers as well as some of his own original work. In 1821, his Violin Concerto was premiered by his brother August. It was not well received; some people in the audience burst out laughing during the slow movement.
Gabriel Urbain Fauré (pronounced: [ɡabʁiɛl yʁbɛ̃ fɔʁe]; 12 May 1845 – 4 November 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane, Requiem, nocturnes for piano, and the songs "Après un rêve" and "Clair de lune". Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his greatest works in his later years, in a harmonically and melodically much more complex style.
Fauré was born into a cultured but not especially musical family. His talent became clear when he was a small boy. At the age of nine he was sent to a music college in Paris, where he was trained to be a church organist and choirmaster. Among his teachers was Camille Saint-Saëns, who became a lifelong friend. After graduating from the college in 1865 Fauré earned a modest living as an organist and teacher, leaving him little time for composition. When he became successful in his middle age, holding the important posts of organist of the Église de la Madeleine and director of the Paris Conservatoire, he still lacked time for composing; he retreated to the countryside in the summer holidays to concentrate on composition. By his last years, Fauré was recognised in France as the leading French composer of his day. An unprecedented national musical tribute was held for him in Paris in 1922, headed by the president of the French Republic. Outside France, Fauré's music took decades to become widely accepted, except in Britain, where he had many admirers during his lifetime.
1845 - until the fires die
All our hopes and our dreams are a far cry
1845 - until the hate dies
You wanna burn with the rest be my guest - die
All the sticks and the stones and the names fly
1845 - under a dark cloud
1845 - look into my eyes
You wanna walk in the past
Is it black enough now
Let's take another ride
1845
No more, I see no reason to be,
Not for a dream, not for a lie,
Not for a queen, not for a king
Not for the words in the song that you sing,
The way we live, the way we die,
The way it is - hold your head up
The way we live, the way we die,
The way it is - hold your head up
1845
Let's take another ride
No more, I see no reason to die,
Not for a flag, not for a high,
Not for a god, not for a book,
Not for the world and the way it should look
The way we live, they way we die,
The way we live, the way we die,
The way it is - hold your head up
The way it is - hold your head up
Until the fires die - A million dead
Is it black enough now?