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David Murray, 2nd Earl of Mansfield, 7th Viscount of Stormont, KT, PC (9 October 1727 – 1 September 1796) known as The Viscount of Stormont from 1748 to 1793, was a British diplomat and politician. He succeeded to both the Mansfield and Stormont lines of the Murray family, inheriting two titles and two fortunes.
William David Murray, 4th Earl of Mansfield, 3rd Earl of Mansfield, KT, DL (21 February 1806 – 1 August 1898) was a British Conservative politician, known as Lord Stormont between 1806 and 1840. Early life
The latter was a noted politician in his own right and served as Lord Justice General, Secretary of State for the Northern Department and Lord President of the Council. He was succeeded by his and Louisa's eldest son, the third Earl (of the 1792 creation). He was Lord Lieutenant of Clackmannanshire. On his death, the title passed to his son ...
Viscount of Stormont is a title in the Peerage of Scotland. It was created in 1621 by James VI for his friend and helper Sir David Murray who had saved him from the attack of the Earl of Gowrie in 1600. Murray had already been created Lord Scone, also in the Peerage of Scotland in 1605.
David Murray, 1st Viscount of Stormont (died 27 August 1631) was a Scottish courtier, comptroller of Scotland and captain of the king's guard, known as Sir David Murray of Gospertie, then Lord Scone, and afterwards Viscount Stormont. He is known for his zeal in carrying out the ecclesiastical policy of James VI and I, in which he was effective ...
Lord Stormont (1727–1796), British ambassador to France in the 18th century; Lady Stormont (1737–1766), German-British salonnière and wife of Lord Stormont; Robert Stormont (1872–1943), Scottish footballer, played for Preston North End, Dundee, Tottenham Hotspur and Brentford. Bill Stormont (1898–1925), New Zealand rugby player
He succeeded to the Viscountcy of Stormont on his father David's death in 1731. His mother was Marjory Scott, and among his brothers were the Earl of Mansfield and the Jacobite James Murray . [ 1 ]
In jazz music, on the other hand, such chords are extremely common, and in this setting the mystic chord can be viewed simply as a C 13 ♯ 11 chord with the fifth omitted. In the score to the right is an example of a Duke Ellington composition that uses a different voicing of this chord at the end of the second bar, played on E (E 13 ♯ 11).