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A Dictionary of Musicians, from the

Earliest Ages to the Present Time
The publisher John Sainsbury produced this biographical dictionary of
musicians in 1824. The book, as he acknowledges on his title page, borrows
from the previously published works of Choron and Fayolle (in French),
Gerber (in German), Orloff (Russian, writing in French), and his two notable
English predecessors, Dr Burney and Sir John Hawkings. The two-volume
work contains a summary of the history of music, as well as biographies of
varying lengths and memoirs of musicians. The range of the information
provided is immense, including the most obscure as well as the most famous:
fourteen pages on Mozart are followed by paragraphs on his wife Constanza
and on the now completely forgotten B.F. Mozin, a French piano teacher and
composer, while Beethoven is described when still living and composing,
albeit afflicted by deafness. This work is a mine of information on musical life
and perceptions of music history in the early nineteenth century.

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A Dictionary of
Musicians, from
the Earliest Ages to
the Present Time
Volum e 1
Joh n Sa i n sbu ry

C A M B R I D G E U N I V E R SI T Y P R E S S
Cambridge New York Melbourne Madrid Cape Town Singapore So Paolo Delhi
Published in the United States of America by Cambridge University Press, New York
www.cambridge.org
Information on this title: www.cambridge.org/9781108004039
in this compilation Cambridge University Press 2009
This edition first published 1824
This digitally printed version 2009
ISBN 978-1-108-00403-9
This book reproduces the text of the original edition. The content and language reflect
the beliefs, practices and terminology of their time, and have not been updated.

DICTIONARY OF MUSICIANS,
FROM THE EARLIEST AGES TO THE PRESENT TIME.
COMPRISING

THE MOST IMPORTANT BIOGKAPHICAL CONTENTS

OF THE WORKS OP

GERBER, CHORON, AND FAYOLLE, COUNT ORLOFF, DR. BURNEY,

SIR JOHN HAWKINS, &c. &c.
TOGETHER WITH

UPWARDS OF A HUNDRED ORIGINAL MEMOIRS

OF THE MOST

<0mmmt Wring
A SUMMARY OF THE HISTORY OF MUSIC.
VOL. I.

LONDON:
PRINTED FOR SAINSBURY AND CO., SALISBURY-SQUARE,
FLEET-STREET;
AND SOLD BY LONGMAN, HUBST, KEBS, OKME, BROWN, AND GREEN, PATERNOSTER-ROW ; HOOKHAM ; BIRCHALL AND CO. ; AND CHArPELL AND CO.,
NEW BOND-STREET ; GOULD1NG, D'ALMAINE AND CO., SOHO-SQUARE ;
CLEMENTI AND CO., CHEAPSIDE j AND ALL OTHER BOOK AND MUSIC SELLERS
IN THE KINGDOM.

1824.

PREFATORY OBSERVATIONS.

1 o those who are conversant with the German, Italian, and

French languages, the publication of the present work mayappear to a certain extent uncalled for; but to such musical
amateurs and professors as have not this advantage, the compilers trust that their Dictionary will prove both useful and
interesting. The " Dictionnaire Historique des Musiciens" of
Mr. Fayolle appeared in the year 1811. It is, in many respects,
very ably edited, and was decidedly a great improvement on the
first edition of Gerber's " Historisch-Biograjjhisvhes Lexicon
der Tonkunstler," which was published at Leipsic in 1791, in
two volumes octavo ; still, it is to be remarked of Mr. Fayolle's
work, as it concerns English readers, that hardly any mention is
made of the most celebrated artists of this country; indeed, the
claims of England to the slightest consideration in the annals of
music, appear to have been overlooked both by Mr. Fayolle, and
by Mr. Choron in his Summary of the Art. This deficiency
may, in a great degree, be accounted for by the political division
of the two countries, for many years preceding the publication of
the Dictionnaire Historique ; still the fact remains the same.
In the year 1813, Mr. Gerber published a second edition of his
Lexicon der Tonkunstler, in four volumes octavo; and this is certainly a work of high interest so far as respects the artists of Germany, but with regard to England it is again a blank; hardly a single
article relating to British musicians having received even a verbal
alteration from his first edition, though the second is swelled to
VOL.

i.

il

PREFATORY

more than double the length, by added details respecting the

artists of other countries. Ten years having at length elapsed
since the publication of Gerber's second edition, and intercourse with the continent being unrestrained during nine
years of that period, the compilers of the present work, enthusiastic in their love of all that relates to the art, and having had
personal experience of the neglect, they may almost say contempt, with which the advocacy of the comparative merits of
modern English music is met in foreign societythe very names
of such eminent professors as Samuel Webbe, Dr. Crotch,
Wesley, sir George Smart, &c. &c. being very frequently unknown to foreigners who have occupied themselves with musical
literature throughout their livesdisgusted with this prejudiced
and ignorant appreciation of British talent, the compilers, who
were, when abroad, in the habit of occasionally consulting Fayolle's
Dictionary, as also Gerber's Lexicon, and had found that through
their medium they became much more au fait to the merits of
foreign artists, resolved to publish a work, on their return to
England, embodying the most interesting contents of the French
and German Dictionaries of Musicians, with such authentic biographical details as they could procure of British musicians up
to the period of their publication. At that time the labour
of such a book appeared to them light. They soothed themselves with the idea that it would be but the task of a few months.
Long, however, before they had completed the half of their first
volume, it was evident that they had Underrated the trouble of
their undertaking; the conjoined abridgement and translation of
matter from as many as ten or twelve books in different languages,
necessarily engrossing a considerable portion of time. At first,
the compilers proposed to rewrite, or at least carefully to revise
the style of such extracts as they should make from some of the
older English publications, and especially from sir J. Hawkins's
History of Music: this, however, they soon found to be incompatible with their completion of the work in less than double the

OBSERVATIONS.

iii

time they were necessitated to limit themselves to ; they have

been, therefore, obliged to leave many negligences in writing
unaltered; at the same time they promise that, should a second
edition of the work be called for, the whole shall be carefully
revised and corrected. Another difficulty the compilers have
had to encounter, is the almost inconceivable trouble of collecting
the biographies of living artists, chiefly from the multiplicity of
the engagements of the most eminent professors, and their consequent inability to afford the time required to furnish such data
as were required by the compilers of the Dictionary. This difficulty they found to be, occasionally, insuperable in the present
edition; and a few very eminent names will consequently be
found accompanied with much more concise notices than their
comparative merit justly demands. In three instances only,
however,' out of above two hundred applications, the brevity of
the article is attributable to unwillingness on the part of the
professors, and one of these three arose from an excess of that
modesty so often the attendant of true genius. To conclude,
the compilers trust that their work, incomplete as it avowedly
is, will be received by the profession as a pledge that to give
clue honour to the character of British artists, at the same time
proving useful to them, has been the paramount object of the
compilation, which, if it attain a second edition, will doubtless
be more worthy of the cause it would advocate.

b2

SUMMARY

HISTORY OF MUSIC,
BY ALEXANDRE

CHORON,

(TRANSLATED FROM THE FRENCH.)

I T is not the intention of the author,of the following sketch to

comprise in it strictures on every department of the musical art,
a labour which would lead far beyond the limits assigned to this preliminary discourse, but simply to give an abstract of the modern
European system of music, considered in its essential and constituent
parts, which comprehend the laws of sounds or of notes ; rhythm ;
semeiotechnie, or the system of musical characters ; and, lastly, composition, which is so closely allied to the former subjects, that it
would be difficult to divide them without a diminution of perspicuity
and interest. I shall treat then, in the most summary manner, of all
these compartments together; and this union will be the more easy,
as the progress of these different subjects is simultaneous, and is
often comprised in the writings of the same author. Although
no great improvement is effected in any art suddenly, and without
much previous thought and consideration, and though every such
discovery is introduced in so gradual a manner, as to be hardly
perceptible, yet there are periods when accumulated observations, and wants generally felt, lead men who are happily
organized, or placed in favourable circumstances, to seize on more
extensive views of a subject, and to.create more powerful methods
of arriving at a knowledge of it, the superiority of which soon becomes generally experienced, and eventually leads the habits and
ideas of the whole mass of mankind in a new direction. These rare
moments, which are, however, renewed at intervals, form what is
called periods. They are more or less remarkable, according as the
object attained is more or less important. Whenever they have
occurred, and whatever may have been the system of ideas that has
occasioned them, they may always be traced to and classed under
one of those periods, which are regarded as principal, and are therefore designated by the term age. Five of these principal periods may

vi

SUMMAKY OF THE

be distinguished, namely, that of formation, developement, progress

towards perfection, permanence, and decline. In the subject I am
now about to treat, the three first principal periods of the musical art,
namely, its formation, developement, and progress towards perfection, are those I shall have occasion to consider. The existing state
of things appears to me to belong to the fourth or permanent period;
but I do not feel authorized to speak on that subject, lest I should be
taxed with establishing myself as arbiter, and with undertaking to
appreciate immaturely the merits of those of whom posterity alone
will have the right to judge.

First JEra.Origin and Formation of the Modern System of

Music.
Music, as well as all other arts, is chiefly derived from the ancients ;
and as it is remarked of the French language, that it is merely a
corruption or derivation from that of the Greeks and Romans, so it
may equally be observed of modern music, that it is only a corruption
or derivation from that of the same people, who probably owed their
knowledge of the art to other nations still more ancient. I do not
wish to intimate by this remark, that had the Greeks and Romans
never existed, language, arts, or music had never been known, as
some persons appear to imagine. Nature bestows on all the human
race the same faculties ; but, supposing the whole race of mankind
were endowed in the same proportion with these faculties, which is
certainly very doubtful, all are not placed in equally favourable circumstances for the developement of their talents ; thus, if a backward race of people unite or associate with a more enlightened
race, mixed systems are naturally formed in every branch of knowledge. This is precisely what occurred in Europe in the early centuries of the Christian Eera, when whole nations of barbarians invaded
and overspread the Roman empire. How this amalgamation was
accomplished is indeed a question worthy the pen of the most able
writer ; and the discussion of which would probably require an
extent of detail that the limits of this sketch will not permit. In
tracing the origin and formation of the modern system, I find four
principal periods, of which I must, successively, take a short survey :
1. antiquity; 2. the introduction of chanting in the Christian
churches; 3. the Ambrosian and Gregorian constitution ; and 4. the
invasion of the barbarians.

HISTORY OF MUSIC.

vn

Of Antiquity.
Although, there remain to us many works on the music of the
ancients, still the obscurity which prevails in them, their contradictory assertions, and, above all, the want of models, have precluded
the possibility of our having any very distinct and decided ideas on the
subject. According to Aristides Quintilianus, who has certainly left
us the most complete treatise that now exists on the music of the ancients, some authors of his time defined music to be the art of singings and all that relates to i t ; others, the contemplative and active
art of perfect and organic singing; others, the art of the beautiful
in sounds and movements. As to Quintilianus himself, he looks upon
the following exposition of music as the most correct, namely, that it
is the art of the beautiful in bodies and movements, (<yvio-i? TS TrpeirovTOS ev a-wwaen KM Kiveataiv.) This is a very general definition ;
though little so, in comparison to some authors, who affirm music
to be the universal science. Quintilianus, however, afterwards designs to reduce his definition of music to the study of the voice
and accompanying action. To give a further idea of his doctrine, I
shall here demonstrate some of the principal divisions of it, from
which I have formed the following table, adding a few observations
of my own.
Table of the Principal Divisions of Music, according to Aristides Quintilianus.
/

Natural

f General
"^Arithmetical

Contemplative
('Harmonic
.

Artificial

Music

('Sounds
| Intervals
J System
< Genera
I Tones
I Mutations
(.Melopceia

Rhythmic
..Metric
Usual
Active
or
Eruditive

Melopoeia
Rhythmoposia
(.Poetry

r Organic
Ermnciative < Odic
|_Hypercritic

The author divides music into contemplative and active. The

viii

SUMMARY OF THE

former lays down the principles, and searches the causes ; the latter
applies and employs them. In the foregoing table, we are alone
interested in that subdivision of contemplative music, which the
author has designated artificial; this treats of harmony, of rhythm, and
of metre, to which subjects he devotes the first book of his treatise.
By the word " harmony," in the meaning of which all modern
authors agree, the ancients understood what the French call intonation, or arrangement of the sounds of the system. Keeping in view
this distinction in the ancient signification of the word " harmony,"
we may proceed to observe, that Quintilianus understood the division
of the three genera with which we are acquainted ; that is to say,
the diatonic genus, the chromatic, and the enharmonic. The
diatonic genus, in a space of two octaves and a half, comprised the
interval between the la below our bass clef, (example 1) and the re
on the fifth line, above our soprano clef,(example 2)being the full extent of a man's voice: it contained eighteen strings or notes, which had
separate names. ^
(2)

The following example shows how these notes, beginning at the

second, were divided into tetrachords, that is to say, assemblages of
four notes succeeding each other by a progression of one semitone
and two tones.
' \*

p) O
Q O ^

^p
semi

tone

f|

sen? j
07? e

semi

v4

tune

r^

/-^

(_3

A 6
It may easily be conceived that either of these notes might be
the final one of an air, which would give so many modes, i. e. keys,
each mode being superior or inferior, according as the air either
extended above the key note, or as the key note occupied the centre.
Every note was represented by a particular mark, according to the
mode and genus. I should here observe, that each genus introduced
a number of new notes, which notes were represented by different
marks, varying with each mode, thus forming an almost endless
vocabulary; and as, in the formation of these marks or signs, analogy
was in no way attended to, nothing could possibly be more confused,

HISTORY OP MUSIC.

ix

and the study of music became, of course, extremely difficult. As

to rhythm and metre, music was entirely subservient, in these respects,
to poetry. Musical composition, it seems nearly certain, was, at the
time we are speaking of, exclusively confined to vocal pieces j for
the ancient authors never speak of composition, unless in treating of
the vocal part of that science, and it is impossible to discover in their
productions one single precept relative to the use of intervals as
harmonics, nor a single passage clearly proving that they were in
the habit of using that style of composition. We may therefore
conclude, that the ancients were unacquainted with our harmony;
whilst another decisive argument, in favour of this statement, is
derivable from our positive knowledge of the origin and progress of
the modern harmonic art. This I shall endeavour to prove in a
succeeding part of the present introductory discourse.

First Centuries of the Christian JEra.

Music, very generally cultivated by the Greeks, was equally esteemed by the Romans, in the reigns of some of their first emperors ;
some of whom, particularly Caligula and Nero, piqued themselves
upon excelling in this art, and on obtaining the public prizes for it.
" What a pity to kill so good a musician !" exclaimed Nero, when
about to stab himself, that he might escape the ignominious death
with which he was menaced. It is well known that he kept five
thousand musicians at his own expense. After his death they were
all expelled the city ; and music, which under his reign had enjoyed
the greatest encouragement, from that moment sensibly declined.
But what it particularly concerns us to remark is, the influence that
music received from its admission into the religious ceremonies of
the first Christians, who alone have transmitted to us all the ancient
practical music with which we are acquainted. It is well known
that, in their assemblies, every person present joined in chanting the
different parts of the liturgy, that is to say, the hymns and psalms,
&c. This chanting must, of necessity, have been of the most simple
and easy description, being sung in chorus, without any preparation,
by people who, generally speaking, had not the Least idea of music,
and who professed also, in every thing, to observe the greatest simplicity. Another cause which, no doubt, contributed to denaturalize
the ancient music, was the manner in which it was first set, in Chris-

SUMMARY OF THE

tian churches, to a semi-barbarous prose, or to still more barbarous

poetry. The result was, that the rhythm of their music being
derived solely from the words., it retained but a slight impression of
any sort of measure, and was generally drawled out in slow and
unequal time, to a language without harmony. Nevertheless, even in
this state of degradation, it still retained some constituent rules, and
a certain variety in its changes and character, which rendered it
capable of being applied to other kinds of performances.

St. Ambrose's and St. Gregory's Institution of the Ecclesiastical Chant.

During the four first centuries of the Christian church, the state
of music is not known with precision. The principles were, at the
expiration of that time, probably still the same as from the beginning, at least if we may judge from a treatise of St. Augustine ; but
it appears that the practice of ecclesiastical chanting was then falling
into great confusion, which induced St. Ambrose, who was consecrated archbishop of Milan in 374, to undertake to give a fixed constitution to church music. These two holy fathers were, as their
works prove, great amateurs of the art; and we still possess, in the
Latin church, both the music and words of a piece of their composition, which is admired even to the present time, and has met with a
success equalling that of the chef-d'reuvres of more modern masters;
I allude to the celebrated canticle of the " Te Deum." We have no
other specimen of St. Ambrose's peculiar constitution of the chant;
and, indeed, on examining the chants of the Milanese church, we find
no obvious difference from that of other churches. It appears, however, that St. Ambrose actually left some degree of musical rhythm,
in which, however, pope Gregory, who nourished two hundred
years after, far surpassed him. (See the article GREGORY in this
Dictionary.) We need not repeat what we have there stated, and
shall only observe, that with the intention of simplifying music, St.
Gregory substituted the Roman letters in place of the more complicated Greek notes. By A, B, C, D, E, F, G, he designated the
seven notes of the lower octave, (octave grave) which begins at la ;
and by a, b, c, d, e, f, g, those of the higher octave, (1'octave supe'rieur); and by the same letters doubled, the third octave. He applied himself likewise to the completion of the ritual, which he made

HISTORY OF MUSIC.

xi

up of select pieces, chosen from the best remains of antiquity. As

the result of these various labours, he formed the system known by
the name of the Roman or Gregorian Chant, which is used to this
day, precisely in the form in which it was then established. Not
satisfied with having formed this code of musical doctrine,, he maintained and propagated it, by the establishment of a school for young
orphans, who were brought up as singers for the different Christian
churches.

The Invasion of the Barbarians.

To enable us to continue the history of music with some regularity,
it is requisite to notice those nations who will soon be found to act
a principal part in the history. Long previous to the period of which
we have been speaking, that is to say, in the time of the Roman
republic, and during the whole duration of the Roman empire,
that nation was disturbed by the irruptions of swarms of barbarians.
Whilst the government continued wise and vigorous, these attempts
were easily repelled ; but when, with the children of Theodosius,
cowardice and imbecility mounted the throne, the barbarians found
but few obstacles to oppose them, and, inundating whole provinces of
the empire, soon reduced them to submission. At the commencement of the fifth century, the Goths ravaged Italy; Rome was taken
and sacked by Alaric. The Vandals, traversing Gaul and Spain,
penetrated into Africa, the Huns into Italy, and the Franks, under
Pharamond, made themselves masters, in 493, of the northern part
of Gaul, which entire country his successors soon afterwards got
possession of. In 476, Odoacre, king of the Herules, overturned
the western empire; soon after which he was taken prisoner and
killed in Ravenna, by order of Theodoric, who founded, in 493, the
kingdom of the Goths in Italy. It may easily be imagined, that, in
the midst of such revolutions, the arts were entirely neglected,
amongst which music suffered greatly; so that, at the commencement of the sixth century, when the whole western empire was
become barbarous, its music was entirely reduced to the chants of
the church, and the national songs of these barbarians. But the
Goths who settled in Italy cultivated the arts, and soon began to
imitate the enlightened manners of the people whom they had subdued. From that time the Roman school of music shone with

xii

SUMMARY OF H

renewed lustre; and'about the same time we find Clovis, king of

France, requesting Theodoric to send him a musician. Theodoric,;
wishing to please the king, sent him the singer Aicorede, who had
been selected as the best by the learned Boethius, whom Theodoric
afterwards caused to be beheaded. " On the arrival of this musician
and instrumental performer," observes William du Peyrat, in his
researches on the king of France's chapel, "Clevis's priests and
singers formed themselves after his style, and sang with greater
gentleness and sweetness; having, also, learnt to perform on
various instruments, this great monarch used them ever after at
divine service; which practice was continued under all his successors
t o t h e end of that generation: thus, it appears, music was much in
use at the courts of our first sovereigns." The Roman chant was
first introduced into England by the monk St. Augustine, (whom
St. Gregory had commissioned to preach the Christian religion in
this country, about the year 590) and some few years later was
propagated in Germany by gt. Boniface of Mentz, who is considered
as the apostle of that country. Amongst so many different nations,
the national taste tended, of course, sooner or later, to corrupt and
denaturalize the primitive purity of the', Roman chant. With regard
to France, we have a positive confirmation of this fact by an ancient
anecdote, inserted in the annals of the Franks, and which occurred
under the reign of Charlemagne. This prince being at Rome in 787J
to celebrate the festival of Easter, a quarrel arose whilst he was
there between the Roman and French singers; the latter affirming
their singing to be superior to that of the former, who in their turn
accused the French of having corrupted the Gregorian chant. The
dispute was carried before the emperor, who decided it by the
following question : " Declare to us," said that prince to his singers,
" which is most pure, water drawn from its source, or that which is
taken from a distant stream?" "Water from the source," replied the
singers. "Well, then," said the emperor, "return to the original
source of St. Gregory, of whom you have evidently corrupted the
chant." The prince then requested the pope to give him some
singers, who would correct the defects of the French singers. The
pope immediately deputed two very learned singers, named Theodore
and Benoit, to undertake this office, and gave them antiphonaries
noted by St. Gregory himself. One of these singers the emperor
placed at Soissonsand the other atMetz, commanding all the French

HISTORY OF MUSIC.

xiii

singers to correct their books from theirs, and to learn singing as

well as instrumental accompaniment of them. Though this command met with some obstacles from the obstinacy or incapacity of
the various singers, yet the Roman chant which Charlemagne thus
established in France, continued generally in use till the commencement of the eighteenth century ; about which time the French bishops
took it in their heads to reform the liturgy, and consequently the
church music. This attempt succeeded, though, with regard to
chanting, its effects were deplorable; for being now left almost
entirely to the management of ignorant people, devoid of taste, and
even, at times, to illiterate schoolmasters, they substituted for the
Roman chant, which, notwithstanding its extreme simplicity, had
always retained some sort of rhythm, they substituted, I repeat, a
slovenly and insipid style of church music, which indeed had little
more of singing than the name. I must here avow the wish that at
the next reformation of the French liturgy, which it appears is to
take place sooner or later, the Roman plain-chant may be substituted
for these miserable compositions, and reestablished in those rights of
which it should never have been deprived. It was about the same
period, that is to say, in the reign of Pepin, father of Charlemagne,
that organs were first introduced in the west. In 757, the emperor
of the east (Constantine Copronymus) sent one to that prince, who
presented it to the church of St. Corneille, at Compiegne. They
soon became universally used in the churches of France, Italy, and
England. The organ was at that time very little understood, and
was exclusively confined to the performance of the regal, which is
now no longer known ; though its introduction is not the less remarkable, from the influence which this instrument has at all times possessed
over the progress of the art, as we shall presently perceive.

Second JEn-a.Developement of the Modern System.

We have now noticed in what manner the melange of the musical
ideas of barbarous nations with the remains of Grecian music gave
birth to the modern system, and shall next proceed to observe
the gradual developement of this system. This developement may
be traced to three principal periods: first, the creation of the
gamut or scale, and of modern notation; secondly, the invention of
modern rhythm; and thirdly, the determining of the value of notes,

xiv

SUMMARY OF THE

and of the rules of counterpoint. To these same periods may be

traced the origin and progress of composition: we shall therefore
discuss them simultaneously, as we originally intended.

Invention of the Gamut and Origin of Counterpoint.

The invention of the gamut presupposes a certain degree of progress in the musical system, in the same manner that the alphabet
conveys the preliminary idea of the existence of a language. I make
this remark that the scale of music may not be confounded with the
system, which might otherwise easily be the case. It was in the
commencement of the eleventh century, in the year 1022, that
the musical scale first took the form which it now retains. This
reformation was chiefly owing to Guido, a Benedictine monk of the
monastery of Pomposa, born about 990, at Arezzo, a little town of
Tuscany; for which reason he is commonly called in France, Guy
d'Arezze. Duly to appreciate the talents of this celebrated man, we
should recall to mind what we have already said in regard to the
tetrachords of the Greeks, and the reform of St. Gregory; and we
should know that, in the intervening time between the death of that
great pontiff and the period of which we are now speaking, many
attempts were made to improve musical notation. Indeed, it may
easily be conceived, that letters placed on syllables, to indicate sounds,
could not be quickly understood; it was therefore found necessary
to seek some more intelligible method. That which most naturally
occurred was, to place the letters at different degrees of height from
each other, analogous to the elevation or depression of the voice, and
to mark these degrees in a more accurate manner by means of parallel
lines. This was the method employed before Guy, and he only
simplified and regulated it. Instead of repeating the letter, Guy
merely wrote it at the commencement of the line, and, whenever it
afterwards occurred, simply put a dot in its place. Shortly after, he
rendered this still plainer, by placing dots in the intervals of the
lines; using these intervals to denote degrees, by which he reduced
the distances from one note to another, and made the scale much
easier to perform at sight. Guy likewise added to the ancient system
a bass note answering to sol, on the first line of the clef Fa : he
designated this note by the gamma of the Greeks, (I1) and it is from
this sign that the series of sounds in the system take their name of

HISTORY OF MUSIC.

xv

gamut. To these inventions he added another; that of counting by

hexachords instead of tetrachords, and of designating by the syllables, ut, re, mi, fa, sol, la, the major hexachord, upon whatever degree
of the system it was placed : this was the foundation of his method of
solmisation, which, however, it would be tedious to explain here.
The invention of counterpoint is likewise attributed to him, though
without any foundation. It is true he was one of the first who
wrote on the subject, but he was not the inventor: for though this
art had made little progress, still it was known before Guy's time,
and the following was its real origin.
We just now observed, that the organ was introduced into France in
the year 757, and soon became universal in the churches of the west.
It was directly used as an accompaniment to the voice. This accompaniment was at first entirely in unison; but the facility with which
several sounds could be distinguished at once, occasioned the remark,
that, among the various union of sounds, many were agreeable to the
ear. The minor third was one of the first remarked for its pleasing
harmony, and was therefore generally used, though only at the close of
an air, as we shall perceive from the following example:
le

lu

id

i
and this method was called organizing. There were likewise many
other methods; for instance, holding on the sound of the organ on
some note below the chant or singing part, or playing the air a
fourth below or a fifth above, and frequently both together, which
last was called double organization. Soon after, this method was
adopted in singing without the organ; and from thence the terms
descant, meaning double chant, triple, quadruple, medins, motet, quintet,
quartet, &c, all of which preceded the term counterpoint. An uninterrupted series of authors anterior to Guy, as Notker, Remi of
Auxerre, Hucbald, and Odon de Cluny, testify the origin and progress
of this art, and historically demonstrate its being a modern invention,
totally unknown to the ancients. Their writings, as well as those of
Guy and of J. Coton, (his commentator) are to be found in the
valuable collection which the prince abbe" Gerbert published under
the title of " Scriptores Ecclesiastici de Muskd Sacrd potissimum, %c"

SUMMARY OF THE

The Invention of Modem Rhythm.

As the plain-chant consisted of notes of equal value, and as, up to
the period of which we have been speaking, it was the only music
studied by the learned, rhythm was never mentioned, for being almost
entirely null, it could not be considered an object of speculation.
From that time, either from the circumstance of profane music,
which contained a more distinct rhythm, having risen to a greater
degree of importance, or from musicians having begun to feel the necessity of stricter time when the organ and voice moved together, it is
certain that this branch of the art began more fully to be considered.
The first author who wrote on the subject was Franco, called by some
Franco of Cologne, and by others Franco of Paris. This author,
whose birthplace it appears was uncertain, was supposed to have
been a scholar of the cathedral of Liege in 1065; that is to say, in
the year in which William duke of Normandy conquered England,
and introduced into this country, which was still in a state of barbarism, the germ of manners and civilisation. Before Franco, many
attempts at the improvement of this part of the musical art had been
made, as he himself affirms; but it appears he was decidedly the first
who reduced into a system the rules respecting rhythm, which had
been established before his time, also extending and correcting them:
this entitles him, at least, to be considered as the first classical author
on the subject, if not the inventor, and as the source from whence,
for some time, all subsequent authors resorted for information. The
whole of Franco's work, entitled " Franconis Musica et Canhts Mensurahilis," is inserted in the collection of M. Gerbert. It contains
an introduction and thirteen'chapters : the ten first, with the exception
of the second, are on rhythm ; the second and three last relate to
descant. Without entering into the details of the work, I shall
endeavour to give an adequate conception of his doctrine. Measured
music, which he considers far superior to plain music, he describes
as a chant measured by long and short intervals of time; these
intervals of time being expressed either by the voice or by rests. The
subsequent details clearly prove, that the organ and organization
were the origin of musical rhythm. He distinguishes three degrees
of time, the long, the breve, and the semibreve. The long may
be divided into the perfect, imperfect, or double. It is perfect when

HISTORY OF MUStC.

xvii

in the time of three or triple; for, s ays the pious doctor, three is
the most perfect number, being the emblem of the holy Trinity, and
it is imperfect when in the time of two : the double is unnecessary
to explain. There are also two kinds of breves, which, however, he
does not describe. The semibreve is major or minor. The forms
of the notes are as follows: the long^ B ^ | ; the double long, PUffl I; the
breve, g g ; and the semibreve,^jp- Besides their own proper value,
they have many accidental properties, which, for the sake of brevity,
must here remain unnoticed. He indicates, also, the mark of relative
rests or pauses. He then proceeds to distinguish five modes, or elements of rhythm : the first mode contains longs, or a long followed
by a breve; the second a long preceded by a breve; the third a
long and two breves; the fourth two breves and a long; and, finally,
the fifth, composed of two semibreves and two breves. These are
the elements of his rhythmopoeia. With regard to descant, he defines
it to be the union of several melodies, concordant with each other,
and composed of different figures: he distinguishes four species of
descant, namely; simple, prolate, (prolatus) troncate, (troncatus)
and copulate. To these four species belong consonances and dissonances. There are three kinds of consonances, the perfect, imperfect,
and middling. The first kind consists of those of which the sounds
can hardly be separately distinguished, as in the octave and unison ;
the second, where the sounds are perfectly distinct, as in the major
and minor third; the middling consonance includes the fifth and
fourth. Dissonances are of two kinds, perfect and imperfect: the
perfect are the semitone, the tritone, and the major or minor third
with the fifth; the imperfect are the major and minor third. He
speaks afterwards of the use of consonances, and points out some
rules, which however are difficult to understand, on account of the
imperfection of the examples. An obvious progress is nevertheless
visible in these examples, in which we particularly remark the use
of the major or minor sixth between two octaves: this is the first
example of the kind to be found in the records of the art.
fcjf

After Franco, music remained in the same state, particularly with

regard to harmony, for more than a century; which may be attributed
VOL. i.
c

jtviii

SUMMARY OF THE

to the crusades taking place about that time, and so completely

occupying the attention of all Europe. I shall therefore merely mention, in a cursory manner, Walter Odington, a Benedictine monk of
Eversham, in England, who flourished in 1240, and whose work, " De
Speculatione Musics" is only a commentary on the doctrine of Franco,
enriched with a few developements relative to time. As much may
be said with regard to the work of another English author, Robert
of Handlo, entitled " Regulce cum maximis Magistri Franconis, cum
Additionibus aliorum Musicorum, compilata per R. de H.," dated 1326.
To give, however, some idea of the composition of that time, I shall
here cite a specimen taken from a manuscript of the thirteenth
century.
o -or

J-T"

-ee
Agnus

De

qvi

- - _

tol

rr

-^ Q

cy
TME

Us pec

ca

to,

mim

di

mi

se

re

re

no

bis

This descant was composed on the following rule : " Those who
chant, should remark if the chant ascends or descends. If it ascends,
the double note is sung ; if it descends, the fifth note."
Towards the close of the thirteenth century, we find another commentator on Franco, far more interesting than the before-mentioned,
and who, in some respects, may be styled an inventor. This was
Marchetti, of Padua, author of several works, particularly one on
plain-chant, bearing date, Verona, 1274. He must have written this
work when very young, for we have another of his, on measured music, dedicated to Robert, king of Naples ; and this prince
reigned from 1309 to 1344. We find by these writings, that, at this
period, they had admitted a new degree of subdivision of time, by
adding a fourth to the three before-mentioned times or values,
namely, the minim. Descant had also advanced a little ; and about
this time, chromatic passages were first used. The following are
specimens.

HISTORY OF MUSIC.

xix

,O
-Q-

-e-

3T7

The author gives the theory of them, and treats of chromatic and
enharmonic genera at some length. In short, it is evident the art
had then sensibly advanced. This remark is confirmed by the
writings of John de Muris, doctor of the Sarbonne, who some say
was an Englishman, others, a Parisian, and others again, a Norman;
the latter of which is most probable. He was long looked upon as
the author of all the inventions we have been mentioning, particularly of rhythm and the form of notes ; and would most probably
still have been considered so, if the researches of M. Gerbert and
Dr. Burney had not proved the contrary. It even appears he did not
considerably aid the advancement of musical notation ; in regard to
harmony, however, we are much indebted to him. The impropriety
of making two consecutive perfect consonances by similar movement, was first suggested in his writings; as were many other precepts relating to the succession of intervals, which are observed to
this day. We also find in his works3 for the first time, the term
counterpoint used instead of descant. Tt would appear that, about
this time, there was a great variety of opinions respecting the rules
of counterpoint, for the doctor complains of the continual changes
in the art of music ; and about the same period, that is to say in the
year 1322, pope John XXII. issued a bull, forbidding the use of the
descant in churches, it having degenerated into abuses, and having no
longer any fixed principles. It is believed that John of Muris was still
living in the year 1345. He, as well as Franco, had many commentators ; amongst whom were Philip de Vitry, of whom little more is
known than the name, and Prodoscimo de Beldomando, of Padua,
who was a professor of music in that town in the year 1422, but
whose writings are now lost. From the thirteenth century to the
close of the fifteenth, there is a complete vacancy in the history of counterpoint. It is generally supposed that no vestige now
c 2

xX

SUMMARY OF THE

remains of the compositions of that period. But Mr. Perne, of Paris,

has discovered, amongst the manuscripts of the royal library of
France, some sufficiently important materials to authorize the hope
that this interval may yet be filled up.

Fixation of the System of the Values of Notes, and of the Principles of Counterpoint.
Towards the close of the fourteenth century, the rhythmical feet,
as determined by Franco, began to be abandoned, and as many
sounds were introduced into the measure or metre, as the subdivision of the different orders of notes at that time would permit.
New forms or figures now became necessary to represent new values
of time ; these were formed towards the close of the fourteenth and
beginning of the fifteenth century. Not that we discover any
traces of their origin in the writings of that period, nor does Prodoscimo, who wrote in 1412, mention them ; but we find them not
only instituted, but fixed and regulated, in authors of rather a later
date, particularly in the writings of John Tinctor, who was first
chapel-master to Ferdinand, king of Naples, and subsequently canon
and doctor at Nivelle, in Brabant; he must therefore have lived in
the second half of the fifteenth century. This author left many musical works ; amongst which is his dictionary of music, the first ever
formed. He published it under the title " Definitorium terminorum
Musicce," the best possible title for a dictionary; as these sort of
works should be simply collections of definitions, and not alphabetical
treatises. The doctrine we find in John Tinctor is much better
developed in the works of Franchino Gafforio. This writer forms, in
truth, a memorable epoch in the history of music, as well by the
extent as the stability of his doctrine. He was born at Lodi in 1451,
and was named, in 1484, chapel-master of the cathedral at Milan,
and professor at the public school of music, founded in that town by
L. Sforce. Of the works he left, or rather, with which we are now
acquainted, the most valuable is that entitled "Pratica Musica,"
printed at Milan in 1496, and one of the first musical treatises ever
published by means of the press. It is divided into four books. The
first treats of harmony, that is to say, intonation, for at that time the
word harmony possessed the same signification as with the ancients ;
the second treats of measured chant; the third of counterpoint y and

HISTORY OP MUSIC.

XXI

the fourth, of musical proportions. The second and third are the only
books interesting to us, the first containing nothing new. As to the
value of notes,, Gafforio considers five as essential, which are the five
principal notes, and their corresponding rests, namely, the maxim,
(1) ; the long, (2); the breve, (3) ; the semibreve, (4); and the
minim, (5). There are likewise lesser figures, as the semi-minim,
of which there are two kinds, the major semi-minim (6), and the
minor semi-minim (7). Each of these have also a corresponding
rest; the long has two rests, one denoting perfection (a), the other
imperfection (6).
(1)

(2)

(3)

(4)

(a) (6)

(5)

(6)

(7)

-sThe relation these notes bear one to the other, is denoted by different terms. The relation of the maxim with the long is called the
major mode, that of the long with the breve, minor mode, that of the
breve with the semibreve is called time, lastly, that of the semibreve
with the minim, prolation. At rather a more remote period, this prolation was styled minor prolation, and the relation of the minim to the
semi-minim, major prolation. Each of these relations may be perfect or imperfect, that is to say, triple or double ; and that quoties is
designated by different signs. Besides this, these relations are perfectly independent of each other, which occasions innumerable combinations. The most generally used, as we find from Glareanus,
were first, those in which all the relations are double; secondly,
that in which all are doubled, except time : these correspond, the
first to our common time of two, and the second to our measure in triple time, using figures of double value ; the remainder are
included in our compound measures, with a similar modification.
Here then the system of values is fixed, if we except some slight modifications, of which we shall presently have to speak. The third
book of Gafforio is divided into fifteen chapters. The two first treating, in a general manner, of counterpoint and its different kinds; the
third containing eight rules on the succession of consonances, which
"rules are much, the same as those in use at the present day; the fourth.

SUMMARY OP THE

XXU

chapter is on dissonances, and plainly proves that they employed

those intervals in the time of the writer,

--

-Or

but with much circumspection, not longer than for the value of
a minim, in passages and by syncope, and even this very rarely.
Upon this point, he cites various composers who made use of them
without any scruple, as Dunstable, Binchois, Dufay, Brasart, &c.;
and concludes by agreeing that many of these intervals may be used
with propriety. The fifth and sixth chapters are on fourths, and
show how they were at that time used ; the seventh treats of sixths
and thirds ; the remaining chapters relate to the arrangement of the
different parts. The last but one is remarkable for a singular specimen of a piece, entirely composed of discords; it used to be chanted
on the eve of the festival des Morts, in the church of Milan, and was
called "Litanim Mortuorum Discordantes." The following is a verse
of it.
3EI

Gafforio remarks with great truth, that, it is totally in opposition to

good sense, and to every description of good taste. Satisfied with
laying down general precepts, Gafforio avoids all details with regard
to the form of musical pieces, or to the composers of his time. We
find, however, from J. Tinctor, that, at that time, canons were used,
and were termed fugues; even enigmatical canons were known.
We also observe the division of music into spiritual and profane ; the
former called motet, the latter cantilena. The collections of that
period, and others of rather a later date, offer a choice of compositions, and display the talents of some composers still worthy of our
investigation. We shall now, therefore, turn our attention to this

HISTORY OP MUSIC.

xxiii

point, resuming events from an earlier period. We have previously

seen, that when the invasions of northern nations had completed the
final destruction and dismemberment of the western empire, music
was reduced to the ecclesiastical chant and the national songs of the
barbarians ; to which may be added those of the nation whom they
had conquered. The first distinction between the severe and ideal
Style is here easily perceived. A collection of popular songs of the
middle age, mostly composed by the troubadours, successors of the
ancient bards, or by priests and musicians of the same period, such as
Raoul de Coney, Thibaut, count of Champagne, and others, will give
a correct notion of the ideal style ; whilst as to the severe style, it
was confined to plain-chant and the counterpoints composed on it.
.At the period, however, to which we now allude, counterpoint
rapidly advanced; the invention of canons soon leading to that of
fugues, and many other artificial compositions : the revolution was
indeed so sudden and complete, that the art of composition appeared
entirely new. According to the testimony of ancient writers, the composers who appear to have acted the principal part in this revolution
were, first, J. Dunstable, an Englishman, who died in 1453 or 1458,
and who, from the resemblance of the name, has been often mistaken
for St. Dunstan, who flourished in the eleventh century; and next,
his contemporaries in France, Dufay and Binchois. These were
immediately succeeded by Ockenheim, Busnois, Regis, and Carori.
This is Tinctor's account, who also wrongly attributes the invention
of measured chant to J. Dunstable; in which mistake he has been
followed by Seb. Heyden, who wrote in 1537, and subsequently by
J. Nucius, who joins to Ockenheim, Busnois, &c. many other composers, as Josquin de Pres, H. Isaac, L. Senfel, B. Ducis, &c.: these
last, however, are of posterior date. It is believed that the compositions of Dufay and Busnois are now extinct, as well as those of
Regis, Caron, and Binchois, who flourished at the commencement and
middle of the fifteenth century. Of that period, we have but one canon,
in six parts, which is rather a good composition, and may be found in
Dr. Burney's History of Music, vol. ii. p. 405; many works, however, still remain of the ancient masters of the Flemish and French
schools, who flourished about 1480, and subsequently. These two
schools were at that time highly renowned. According to Guichardin
and others, the Flemish was the more ancient of the two, and furnished all Europe with singers and composers. Amongst the most

. xxiv

SUMMARY OF THE

celebrated of the Flemish masters, were James Obrecht or Hobrecht,

J. Ockenheim, and, above all, Josquin de Pres. The earliest of these
three was Obrecht, music-master to the celebrated Erasmus ; he was
born in 1467, and, it is said, had such facility in composition, that in
one night he composed a beautiful mass : this'appears an amazing
effort of genius, when we reflect on the extraordinary difficulty of his
compositions. He lived towards the close of the fifteenth century.
John Ockenheim was a composer of rather later date; he composed
a mass for nine choirs and thirty-six parts, replete with artificial passages. The celebrated Josquin de Pres was his pupil, who was
unanimously regarded by his contemporaries as the best composer of
his time. Of this celebrated man we have still various pieces which
evince the most profound knowledge of his art. He was a singer at
Rome, and subsequently chapel-master to Louis X I I . of France; he
died about the year 1520. After him, we may place Pierre de la Rue,
23. Ducis, and other composers, who, up to Orlando de Lassus, maintained the glory of the Flemish school. The ancient French
school was likewise very celebrated 5 its principal composer was
Ant. Bromel, a pupil of Ockenheim, and contemporary of Josquin.
W e remark, likewise, Fevim of Orleans 5 J. Mouton, chapel-master
to Francis I . ; Arcadelt, Verdelot, L'Heritier, Goudimel, and others
that I cannot here enumerate. In Germany, about the same period,
we find H. Finck, H . Isaac, L. Senfel, and others. The collections
of Peutinger, Bodenschaft, and several more, make known the names
and works of above two hundred composers, who flourished between
the years 1450 and 1580, or thereabouts, and to .whom fugues and
the most difficult compositions were mere diversions, which they
wrote with the greatest ease and correctness. The Dodecachordon of
Glareanus contains a selection of chef-d'ceuvres of the ablest of these
masters, sufficient to gratify the curiosity of any reader. I propose,
myself, to devote one of the parts of my collection of classical music
to these works, thus rendering due homage to the memory of these
patriarchs of harmony.

Third JEra.Perfecting of the Modern System.

The sera which we have now attained, is certainly the most important of all, being the goal and result of the preceding. It
appears to offer to our notice, the permanency of various parts of

HISTORY OF MUSIC.

xxV

the art, as well of those which regard the foundation of the system,
as of those that relate to the different kinds of musical composition.
In fact, when we see doctrines, established without any variation for
nearly three centuries, being considered as fundamental principles ;
when we see chef-d'ceuvres admired for an equal length of time, and
regarded as impossible, I will not say to be eclipsed, but even to be
eqiialled ; it may with reason be supposed, that, in many points, the
art has attained the utmost limits of perfection, and that if it does not
now remain stationary at the same point, it can only recede, unless indeed the whole system were to experience a complete revolution, equal
to that which has already taken place with the music of the ancients.
To proceed with regularity, I must divide this article into two parts.
In the first I shall speak of the art itself, and its progress, without
any express allusion to the individuals or nations who contributed to
its advancement; in the second part I shall consider the question in an
opposite point of view, and allude at some length to the schools and
individuals.

i First Part.Of the Art itself.

What we have to say with regard to the art itself, must be discussed under two principal heads, namely, the musical system, properly so called, and the different styles of composition: this will be
the substance of the two following sections.

First Section,Of the Musical System.

Amongst the various combinations which resulted from the perfection or imperfection of the ancient modes, themes, and prolations,
there is one which, according to Glareanus and other authors, was at
all times the most prevalent; I mean that one, in which all the
values of the notes were imperfect, that is to say, in a double or subdouble ratio. After a time, this combination became so general, that
it was in some sort exclusive, and was regarded as the foundation
of all the musical relations. To this first simplification of the system
of values, various modifications succeeded, which were brought about
by the use of bars. As far as I can discover, bars were first introduced by composers who were desirous to render their calculation
of corresponding values easier, and therefore hit on the idea of enclosing, within the same fixed space, as many notes of the score as

toi

SUMMARY OF THE

Would agree with one note of great duration, such as a maxim or a

long; thus, in the origin of bar writing, they only drew a bar at
every eighth or every fourth measure. The works published in 1600
are printed in this manner, and are the first known with any kind of
bars, which were not very generally adopted till about one hundred
years after. The distance between the bars was in time diminished,
till they enclosed but one measure, as in the present day; the only
exception now being in the a capella time, namely, in two semibreves,
with a quick movement, when the bars are still marked only every
second measure, to avoid their too frequent repetition : this time is,
however, rarely used, except in Italy, the French and German composers having mostly submitted this measure also to the prevailing
custom. The introduction of bars with their gradual increase, has
produced the natural result of bringing into disuse notes of great
value, and at the present period the note of highest value is the semibreve, if -we except the breve in capella time. As for the round
and the maxim they are now no longer known, except by the learned.
But in lieu of these the moderns have wonderfully multiplied the
diminished notes, by forming crotchets, quavers, semiquavers, &c.
which are now very common, though formerly they were scarcely
known, except in instrumental music, and then but rarely. The
form of these notes has likewise sustained an alteration, though
scarcely worth noticing. Formerly, the head of the note was square ;
towards the middle of the seventeenth century they were formed
round, or of an inclined oval; and in the course of one hundred years
the round became universal, and is the form retained up to the present time. Rhythm, as we have previously seen, has sustained but
slight variation; but it has been quite the reverse with sounds, and
.consequently with harmony and counterpoint. Till the close of the
fifteenth century, the degenerated tones of the Greeks, as preserved
-in the chant of the Roman church, served, not only as a foundation
to ecclesiastical chanting, and to the works of composers who endeavoured to harmonize those chants, or to compose according to
that system, but various profane songs of that time, which we still
possess, and some of which are to this day popular, appear to have
partaken of the ecclesiastical modes. la the course of the sixteenth
century, however, a movement appeared, which led the art to that
state of perfection to which it has now attained. To dispel whatever may appear vague or obscure in this remark, it is necessary to

HISTORY OF MUSIC.
give a clear idea of what is meant in music by tone or mode, and
subsequently, to demonstrate the relations subsisting between the
modern and ecclesiastical modes. No one endowed with the most
ordinary musical organization, or capable of the slightest observation,
can fail to have remarked the tendency that every musical piece has
to terminate on some particular note or sound, for which, if another
were substituted, the air would be rendered incomplete. This
experiment may be tried on the most simple tunes known. You say
of a piece of music, it is in the key of such a note, when it ends on
that note or sound, and which note is called the tonic or principal;
now, if you decompose a piece of music which is supposed, to be,
throughout, in the same key, you will find it is composed of a certain
number of different keys, each having a direct affinity to the principal
key note. The ensemble or system of these affinities constitutes the
musical mode; and if, from the tonic to the octave, you place all the
intermediate sounds in regular succession, you will form the scale of
your mode. It is possible to imagine a great number of different
modes, from which may be formed a variety of systems. Each of
these systems of modes will constitute essentially the same number
of idioms or musical languages, which will belong to various races
of men. Thus the eastern nations appear to have had a system of
modes quite different from ours, and, indeed, we have not to this day
any very distinct idea of them. We have already explained in what
the tones of the Greeks consisted, from which were derived the
ecclesiastical tones. At the present day we have but two modes,
namely, the major mode, the scale of which is contained in ut, re,
mi, fa, sol, la, si, ut; and the minor mode, in which the ascending
scale is la, si, ut, re, mi, fa, sol, la , and in descending, la, sol, fa,
mi, re, ut, si, la; this is, at least, according to the notions at present
existing, though, according to my idea, there is still much want of
precision and accuracy in the theory of this subject. However
this may be, these modes are entirely modern, it being hardly more
than one hundred or one hundred and fifty years (I cannot precisely
state the period) since they have become prevalent, indeed exclusively
so, and to the extent of rendering it a doubtful question, whether or
not the modern nations of Europe can ever accustom their feelings to
any other system of tones, and further whether all other such systems
are not, for them, rather systems of modulation, that is to say, of concatenation of modes, than a system of modes, properly so called, I

SUMMARY OF THE
shall not stop to examine this question, but merely remark, en passant,
that it was in the sixteenth century that this modern tonality first
became universally known, and began to exercise its influence in
composition. It was in the school of Naples, and particularly in
that of Durante, that it was finally established, at least so far as concerns its practice j for, with regard to its theory, it is still imperfect,
as I have already noticed, and shall soon demonstrate in a work I
am preparing 'on this subject, and in which, I hope, I have suggested some improvements. Modern tonality has not influenced
melody alone, but likewise harmony and counterpoint. If the system
of tones had experienced no variation, the science would have attained
its utmost limits nearly three centuries past. The system remaining
the same, there would have been nothing to add to the labours of
Ockenheim, Josquin, Bromel, Larue, Mouton, Orlando, and other
learned masters of the ancient French and Flemish schools ; and this
we find Zarlino, Artusi, and all didactic authors, declaring, who
wrote under the impression of the ancient opinions on the subject j
but the alterations which subsequently took place in the tonal system, necessarily led to changes in the other branches of composition.
In the first place, harmony experienced, though slowly, a complete
revolution. The ancient contrapuntists had an established and
almost exclusive rule to add the third and fifth to all the notes of the
scale, with the exception of that which bears the minor fifth, to which
they put the sixth; they looked upon all harmony as allowable,
which was exempt from a succession of fifths and octaves : but the
doctrine of the new modes soon displayed the errors of this harmony,
which formed an infinity of bad combinations, such as the sixth with
the third, or frequently on many other degrees of the scale : it was
on the above principle, that Palestrina and all his school wrote. But
the most important point had yet to be divulged. A schoolmaster
in Lombardy, (Charles Monteverde) who flourished about 1590,
invented the harmony of the dominant; he was also" the first who
dared to use the seventh and even the ninth of the dominant, openly
and without preparation j he likewise employed the minor fifth as a
consonance, which had always before been used as a dissonance. Thus
the tonal harmony became known ; and his principle being once
admitted, all its consequences were naturally deduced, and musicians
arrived, almost insensibly, at the conclusion, that only three essential
harmonies were to be acknowledged in the mode, namely, that of the

HISTORY OF MUSIC.

XS13C

tonic, of the dominant, and of the sub-dominant; which are all that
should be placed, either direct or inverted, on these notes and on
those comprised in their harmony. Charles Monteverde likewise introduced into composition double dissonances, which were soon succeeded by triple dissonances, and diminished and altered chords. It
must naturally be supposed, that counterpoint was in some degree
affected by these innovations ; it now became usual to employ inters
vals in melody, which had, till then, been totally interdicted, and the
intervals in harmony soon succeeded each other in a way till then
unknown. About this time L. Viadana de Lodi formed the idea of
giving to the instrumental bass a different melody from that of the
vocal, to which it had hitherto strictly adhered; he further proposed
to make this new bass reign throughout the piece, to consider it as
the basis of the whole composition, and to represent by figures the
chord it was to carry. In these points alone can he be considered as
the inventor of fundamental bass, for it does not appear he in any
way added to harmony. All these innovations excited the indignation
of the masters attached to the ancient rules; but at length sense and
experience overcame their vague and abstract reasonings. At first,
indeed, these new methods were merely applied to profane and
modern music, and the ecclesiastical chants continued to be formed
on the ancient rules, somewhat mitigated, however, according to the
method of Palestrina and the Roman school; but, towards the close
of the seventeenth century, they began, in practice, to consider the
church tones merely as a form to enchain or keep within bounds the
modern tones, and according to this principle they applied tonal harmony to their ecclesiastical compositions. It is thus that the school
of Naples, particularly Durante, considered the subject, and the
modern tones are now universally acknowledged in church music.
Practice has ever, in all the arts, preceded theory, or rather doctrine;
and indeed it should always be thus, for doctrine should merely observe the operations of genius and reduce them to principles; it
should not advance too quickly, thereby exposing itself to be contradicted by experience. If we examine the successive doctrines of
the period we have been surveying, we shall find an additional proof
of the truth of these observations. P. Aaron, L. Fogliani, and all
those who wrote during the two first generations of the sixteenth
century, added little to the improvements of the fifteenth. Zarlino,
who published in 1571 his "Harmonic Institutions," collected and

xxk

SUMMARY OP THE

developed all the theories and precepts established up to his time j

and his work was then considered, and for long after, as the most
eminently classical ever written on music. Far, however, was he
from preceding in knowledge the composers of his day, for he appears
not to have heard of Palestrina, who flourished about 1552. All
Zarlino's doctrine was established on the practice of the masters of
the Flemish school, of whom he himself was a pupil. In this he
was followed by Artusi, Zacconi, and others, who wrote towards
the close of the sixteenth century. D. P. Ceroni, who published
at Naples, in 1613, his " Melopeo y Maestro," narrowed the boundaries of the doctrines of music. He modified his instructions
according to those of Palestrina and other masters of the Roman
school. Galeazzo Sabbatini, who, in 1644, gave rules for thoroughbass, wrote on the same principles. But it was not until we possessed the treatises of Berardi, Buononcini, and Gasparini, towards
the close of the seventeenth or commencement of the eighteenth century, that the practices in counterpoint, introduced at
the close of the sixteenth century, were reduced into a theoretical system; from that time to this, these doctrines have remained nearly the same as they were established by the lastnamed authors. Hitherto, I have cited neither French nor German
authors; for this reason, that they have generally been behindhand
with the Italian in precept, and I have merely wished to trace the
progress of the art, and not the history of different schools. But
towards the commencement of the eighteenth century, a French
writer produced some sensation with regard to doctrine; I meanRameau, who affirmed that all rules, up to his time, were merely blind
traditions, without connection or foundation, and proposed reducing
them to a few precepts which he pretended to deduce from the laws
of physics. As the opinions of this celebrated man have for some
time been much in vogue in France, and have had a useful influence
on certain points of musical doctrine, I cannot here dispense with
giving some idea of them. If we examine the various chords used in
accompaniment, we shall find they may all be traced to different
combinations of certain groups of sounds. For example, the chords
ut, mi, sol, mi, sol, ut, sol, ut, mi, are evidently but three combinations of the sounds ut, mi, sol; the chords sol, si, re, fa, si, re, fa,
sol, re, fa, sol, si, fa, sol, si, re, are four combinations of the sounds
sol, si, re, fa; in which each sound becomes successively the bass,

HISTORY OF MUSIC.

xxxi

the arrangement of the higher sounds being perfectly indifferent.

Now, if we consider one of the chords which are composed of the
same sounds as principal, the others may be viewed merely as dependents. With this idea the ancients were perfectly acquainted,
and they considered that chord as principal, in which all the sounds
were placed at intervals of thirds ; the remaining chords (composed
of the same sounds) being inversions of the first. Some ignorant
writers have attributed the origin of this idea to Rameau. In this
they are mistaken, and to be convinced of their error, they have only
to glance at the writings of Zarlino, Berardi, and others, when they
will find that the above idea, which is indeed founded in truth, had
long been familiar to the ancients. What may with truth, however,
be attributed to Rameau is, his having endeavoured to include all the
laws of harmony in those laws which govern the principal chords.
To this end, he names these chords fundamental chords; the note
which acts as bass he calls the fundamental note; and finally he terms
fundamental bass that hypothetical bass which is formed solely by the
fundamental note. This being decided, he next proceeds to prescribe
rules for the formation of this bass, or rather for the succession of
fundamental chords; and, according to his doctrine, harmony will
be regular whenever the chords of which it is formed, being brought
back to their fundamental chords, offer successions in the bass correspondent to the rules which he has established. Unfortunately
nothing can be more erroneous than this doctrine : experience and a
survey of those cases in which this method has been adopted, prove,
first, that a fundamental succession of notes, according to the method
of Rameau, may have very bad derived successions ; secondly, that
on the contrary, from excellent and generally admitted derived successions, frequently arise fundamental successions, which he rejects
as faulty. We should add, that Rameau, likewise, takes no notice
of many chords universally practised as good, nor can he explain
their successions. For these different reasons, llameau's system never
obtained the approbation of any clever practitioner : for a short time
it met with some success in France, but now it is entirely laid aside ;
indeed it never was of any other use than to attract the attention of
didactic writers to the theory of inversions, and to procure us some
lists of chords more or less complete, considered under this point of
view, as for instance they have been by Marpurg, De Knecht, De
Sabbatini, &c. The habit thus acquired in France of considering

xxxii

SUMMARY OF THE

harmony in a systematic point of -view, at length produced a much

more important advantage. When the conservatory, established at
Paris towards the close of the eighteenth century, determined, for the
benefit of the pupils, to invent and adopt an elementary work, a
professor of that establishment (Catel) proposed a treatise on harmony, which of all those hitherto published agrees best with the
practice observed for nearly two centuries past. He considers as natural chords, all such as are commonly termed consonances, also all
dissonant chords used without preparation ; he examines in a summary manner their principal successions, and demonstrates in what
way, by means of the anticipations, retardations, and alterations of
which they are susceptible, they produce all artificial chords or dissonances properly so called. This doctrine had been previously
taught by the school of Durante, as we find from the small treatise
of Fenaroli, entitled " Regole per li principiante, 8;c." and was likewise
established in Germany, as we find by the history of Forkel, (Introd.
art. 67.) ; but Catel produced it in a much clearer and more decided
form, and it has been adopted in France by all able musicians ; indeed it must be considered a most important step in the doctrine of
harmony. I imagine it is possible to effect still greater improvements in this point ; but to do this, it would be necessary to dissipate
some errors which still obscure the theory of tonality, and we cannot discuss that point here. If we now take a general survey of the
past and present state of the science, we shall clearly perceive how
our system has succeeded to that of the Greeks, from which it differs
wholly with regard to modes, and over which it has sustained considerable improvement, with regard to rhythm ; we shall observe its
progressive rise and attainment of its present state of perfection ; we
shall see how the theory of the art, originally established on the ancient system, and without any regard, at least but little, and that
merely from condescension, to the developements of the new system,
has continued in some degree up to the present day, and has diffused
an universal influence ; in the same manner as the generality of our
grammars now in use are founded on those of ancient languages,
notwithstanding the difference that exists in their genius and construction. From this conviction, acquired by analogy and close observation, we arrive at the conclusion that the didactic part of music
is now in want of a master, who, with clearness and decision, shall
be able to fix the limits of the different systems and different styles,

HISTORY OP MUSIC.

Xxxiii

and to determine the requisites for each. What we are now about
to state concerning the various styles of composition, may furnish
some new ideas on this subject.

Second Section.Of the Styles of Composition.

If we have so long deferred alluding to the different styles of composition, it is not from an idea that the period we are now discussing
is the first in which these various styles could be distinguished. For
ages past they have existed, and though, in their developements,
they have exercised a reciprocal influence, yet there has always existed constitutive and characteristic distinctions between them ; but
the fact is, it would have been by far too arduous a task, and would
have led me into long details, to trace the origin and progress of each
of these styles separately; I have therefore reserved till now, the
little I intend stating on the subject, being aware that I shall find it
occasionally requisite to retrace events some way back. Four principal styles are admitted in music; church music, chamber music,
dramatic music, and instrumental music : these will be the subject
of the following articles.

Article First.Church Music.

It is well known that church music admits of four distinct species,
the style d, capella, the accompanied style, the concertante style, and
lastly the oratorio.
Of these kinds, that which most decidedly belongs to the church,
is the style H capella. This is a kind of composition generally written on the tones of the plain-chant, in the time of two, and for voices,
without any accompaniment; this species is subdivided into four
sorts, the plain-chant, the fanx-bourdon, the counterpoint on the
plain-chant, and the ecclesiastical fugued counterpoint. One of
these sorts (the plain-chant) we have already sufficiently mentioned ;
indeed, as it has undergone no variation since the time of St. Gregory, we have nothing further to relate concerning it.
With regard to thefaitx-bourdon, we have already traced its origin;
and from this style is derived composition with many parts. This is
the most simple style of all, and consists of a counterpoint of note
against note, in which the bass bears only perfect chords; it has not
received any alteration since the period when the rules of simple
VOL. i.
d

SUMMARY OF THE
composition were unalterably fixed, which may be traced to a more
remote period than the Flemish school. This style exists to the present day; but is only used in psalmody and a few canticles.
Counterpoint on the plain-chant is frequently mistaken for and
confounded with the faux-bourdon; it immediately succeeded the former, and we should certainly understand in this light the famous
bull of pope John XXII. which forbade the use of the faux-bourdon,
as tending to produce confusion and impiety in divine service. Counterpoint on the plain-chant consists in forming on the plain-chant,
which is preserved unaltered in one of the parts, various other parts,
and displaying in them all the ingenuity of counterpoint, as imitations, fugues, canons, &c.; its history is blended imperceptibly with
that of composition itself. It was brought to great perfection by the
masters of the Flemish school, who have left many fine productions
in ' this style: but they have been eclipsed by those of the Italian
school, which possess much more taste and elegance. The finest
specimens of this style were produced in the sixteenth century.
Since that period it has been little attended to in France, and instead
of employing the riches they possessed, the clergy allowed the substitution of a sort of counterpoint, alia mente, which is sung at sight
in chorus, and is called chant from the book (sur le livre.) Padre
Martini says he heard some excellent music in this style : we have
never been so fortunate, as all we have yet known in this style has
been most disgusting. The contrapuntists of the fifteenth and sixteenth centuries did not always confine themselves, in the.basis of
their compositions, to the chant of the church books ; they frequently
employed a plain-chant, composed at the moment from their own
idea; and not unfrequently introduced vulgar airs, sometimes French
songs, and many of them very popular at the time. Among these
we may particularly notice the famous air of " L'Homme Arm,"
supposed to be the ancient song of Roland, upon which the most
celebrated composers of those two centuries made a point of composing difficult and scientific masses. They soon after this deviated
from the rule of confining the leading chant to one particular part,
and derived their successive subjects from the principal traits in the
song or plain-chant, introducing in the parts various kinds of imitations ; this was the origin of the fugue style. In this sort of composition the sense of the words was completely overlooked, and their
music tended solely to the display of the talents of the composer or

HISTORY OP MUSIC.

xxxv

powers of the singers ; in fact, it was so much abused, that the council of Trent deliberated on the means of suppressing music in churches,
and the decree would certainly have passed, had not some particular
and local considerations prevented it. In the time of pope Marcellus
II., who reigned in 1552, the impiety of this style of church music
had reached its utmost height, and he had resolved to reduce it to
the simple Gregorian chant, when a young composer, till then hardly
known, named Palestrina, presented to the pontiff a mass, in a style
entirely new. It was arranged in the same manner as that of which
we have been speaking; but instead of tumult and noise, this composition offered a religious and noble style, pure harmony, and sweet
and majestic expression : these are the distinguishing features that
characterise the style of Palestrina, and by which he differs from the
fugue style of his predecessors ; add to this that he points in a more
distinct manner to the principles of the modern tones, without discarding those of the ancients. This author may therefore be justly
considered as the inventor of these united properties, though in fact
he only improved them, and by that means fixed them, which, in
reality, is a much greater advantage. Palestrina was considered by
his successors as a model that could not be equalled ; and this conviction, joined to the continual changes in the foundation of the system, soon induced all composers to renounce a style in which they
could acquire but little glory or advantage. Thus, although it is
much admired, this style is now so little in use, that it would be difficult perhaps to find throughout Europe three composers who would
agree in the manner of using it.
The decline of the style ci capella, all the varieties of which, in the
course of the sixteenth century, had risen to a degree of perfection
since unparalleled, was useful to the other kinds of ecclesiastical
music, and particularly to the accompanied and concerted styles. I
mean by accompanied style, that in which the voices are accompanied
by the organ alone, or, at most, with some other low instruments to
sustain the basses; and by the concerted style, I mean that in which
the voices are accompanied by all sorts of instruments, as well those
of a high as of a low pitch. It is not easy to determine the precise
origin of these styles, nor to trace their progress, there being nothing very decided with regard to them. It appears, however, that
the organ or other instruments, or both together, have at all times
employed to accompany the voice in church singing; but this
d2

sxxvi

SUMMARY OF THE

has varied considerably., according to the time or place; neither of

them having had any peculiarity of progress or developement. The
first has been much influenced by the progress of the madrigal style,
and the second by that of the theatre, of which we shall presently
speak; simply observing for the present, that inasmuch as we consider
the first of these styles, that is to say, the one accompanied by the
organ or any other bass instrument, to be properly adapted to the
church, in so much do we consider the second style, or that accompanied with various instruments, as misplaced in a church, and only
adapted to produce confusion and impiety, as well from its connection with the dramatic style of composition, as from the circumstances necessarily attendant on its execution.
The preceding reflections are entirely applicable to that kind of
composition styled oratorio. This is a sort of drama, the subject of
which is an action selected from the scriptures, frequently a pious
allegorical piece, meant to be performed in a church by singers representing the different persons of the drama. We may observe from
this, in what respect the oratorio differs from the sacred drama ; the
subject of both may be the same, but the sacred drama is-intended
for the theatre, the oratorio for a church. The invention of the oratorio is commonly ascribed to St. Philip of Neii, born in 1515, and
who founded in 1540, at Rome, the congregation of the oratory.
This pious ecclesiastic wishing to turn towards religion the mania
which- the inhabitants of Rome displayed for the theatre, (a mania
that frequently caused them to absent themselves from church, particularly in the time of the carnival) formed the idea of having these
sacred interludes written by good poets, set to music by the first composers,.and performed by the most celebrated singers. The experiment succeeded to the utmost extent of his wishes. Crowds were
attracted to these concerts, which took the name of oratorios, from
the church of the oratory where they were performed.
The first oratorios were very simple and short poems; after a
time the words acquired more importance; and finally, they have become genuine dramas, the pomp of scenic effect being alone wanting,
from its being inapplicable to the local in which they are meant to be
performed, at least in Catholic countries. The most celebrated poets
and composers have exercised their talents on the oratorio. Giov.
Animuccia, one of the companions of St. Philip of Neri, was the first
composer of them. The style of the oratorio was at first a melange

HISTOEY OF MUSIC.

of the madrigal style and of the cantata; but since the modern dramatic style has usurped the place of all others, the oratorio music
differs little, or not at all, from that of the theatre j and this ought
not to surprise, when we consider that the modern masses and
other regular music for the Catholic church, vary only from dramatic
compositions, by being, if possible, still more affected and manierd,

Chamher Music.
Didactic authors,, such as Berardi and Padre Martini, commonly
distinguish three styles of chamber music, namely, simple madrigals,
accompanied madrigals, and cantatas. To these three I have ventured to add a fourth, which, under the title of fugitive pieces, contains an immense number of different sorts and varieties.
The madrigal is a species of composition much resembling the
fugue, but the style of which, being less dry than that of the latter,
is susceptible of every kind of expression. It was so called, because
it was usually set to a peculiar kind of little poem, known also by
that name. Two kinds of madrigals may be distinguished 5 simple
madrigals, i. e. those executed by voices alone, without the assistance of any instruments ; and accompanied madrigals, i. e. those in
"which the voices are supported by the organ or piano-forte; for in
this kind of composition, no other instruments are used with the
voices.
Simple madrigals appear to have been the first invented, but it is
impossible to say by whom. Many authors have considered James
Arcadelt, chapel-master to 'the cardinal of Lorraine, who flourished
towards the close of the sixteenth century, as the first who composed
this species of music ; but on reading P. Aaron, and other didactic
authors of that time, and subsequent to it, it will be seen, that this
assertion is evidently erroneous, other madrigals of more ancient
masters being there cited, and even some by the composers of the
ancient Flemish school. We may thence conclude, that simple madrigals are an invention of the commencement of the sixteenth century. This style was singularly cultivated during the whole of that
and the following century, but it has been completely abandoned
since the early part of the eighteenth century; as much on account
of the recognised impossibility of equalling the early composers in
this kind of music, as on account of the attention given exclusively to
dramatic and instrumental music, which are in some respects com-

xxxviii

SUMMARY OF THE

pletely the antipodes to this system. This style has likewise been
greatly varied. If, as Berardi says, we examine the madrigals of
the earliest composers of them, the style will be found to differ little
from that of their sacred works ; but, as we advance, we see this
kind of composition assume a style and construction peculiar to
itself 3 this improvement may be remarked more particularly in the
madrigals of L. Marenzio, a composer a little posterior to Palestrina,
and who acquired great celebrity in this kind of music ; the same
advancement may also be traced successively, in the works of G.
Gesualdo, prince of Venosa, in Monteverde, in Mazzochi; and lastly,
it seems to have attained its utmost limit in the celebrated Alessandro Scarlatti, the last great composer cited for his compositions
in the madrigal style.
Accompanied madrigals are, necessarily, a more modern invention 5
they can only have existed since the time when the custom was introduced of putting an instrumental bass, differing from the vocal
one, below the voices. This plan, as we have seen, may be dated
from the commencement of the seventeenth century. A great number of composers of this species of madrigal are known, but the
most celebrated flourished between the middle of the seventeenth and
of the eighteenth centuries. These are Frescobaldi, Carissimi, Lotti,
Scarlatti, Clari, Marcello, and Durante ; the three last of whom in
particular, have left some chef-d'ceuvres in this style of composition,
which are known to most musicians. Since these great madrigalists,
no one has attempted to excel in this kind of music, not only because
the taste and direction of musical ideas have changed, but, we must
not fear to add, because the studies in composition are, at the present
period, generally defective or altogether bad ; in fact, no sooner has
a pupil learnt to put harmony to a bass, often systematic and incorrect, and to place a badly contrived bass under a vulgar, commonplace air, than he considers himself a composer, and hastens to push
himself forward, especially in the theatrical line of composition, following the footsteps of his master, who perhaps knew no more about
the matter than himself. The ancients were persuaded that to
form a composer, and to merit the title of master, it was absolutely requisite that a pupil should devote many years to the study
of the science, and exercise himself laboriously on each separate
rule, meditating attentively on the character of different models,
and, thus, gradually capacitating himself to treat with equal faci-

HISTORY OF MUSTC.

xxxix

lity all kinds of music. The musician of the present time limits all
his glory to the composition of an air or a song, and even does not
blush to place at the head of such trifles, the pompous titles of pupil
and even professor of some school in reputation.
A cantata is a little poem, which, considered in a literary sense,
has no very determinate character, though it is usually the recital of
a simple and interesting fact, interspersed with reflections, or the expression of some particular sentiment. It may be in all styles and
all characters, sacred, profane, heroic, comic, and even ludicrous;
representing the action or feeling of either a single or several persons, it even sometimes assumes the character of the oratorio ; as, for
instance, in " The Passion" of Ramler, " The Creation" of Haydn,
and others.
The cantata takes its origin from the lyric drama. The time of its
invention is considered to be about the beginning of the seventeenth
century, (about 1620.) Poliaschi, of Rome, Loteri Vittorii, of Spoleto, and B. Ferrari, of Reggio, (called Ferrari of the Theorbo) are
the first composers cited as having acquired any degree of celebrity
in this style. After them are mentioned, T. Merula, Graziani, Bassani, and especially Carissimi; about the middle of the same century,
M. A. Cesti, a pupil of Carissimi, who perfected recitative; L. Rossi;
Legrenzi; and lastly, the celebrated A. Scarlatti, who surpassed all
his predecessors as well by the fecundity as the brilliancy of his
talent. At the commencement of the eighteenth century, we may
mention Fr. Gasparini; Giov. and Ant. Buononcini; the celebrated
B. Marcello, who composed many much admired cantatas ; Pergolese, whose "Orpheus" is cited as a chef-d'oeuvre; Vivaldi, known
by his works for the violin ; and lastly, the Baron d'Astorga, and the
celebrated N. Porpora, both of whom have left collections considered
perfectly classical in this style. Unhappily, we are under the necessity of making the same remark with regard to the cantata as we
made respecting madrigals : it is a style of composition which has
been generally abandoned and neglected for nearly two generations;
so much so, that learned amateurs alone now deign to study the
masterpieces in this style left us by preceding generations.
Fugitive pieces consist, as we have before said, of an immense
number of styles, and an amazing variety of subjects. Every nation
has its own peculiar style of music. Italy has the canzonette, the
villanelle, the flotole, the estrambotte, &c.; Spain, the bolero, &c.,

xl

SUMMARY OF THE

France, the romance, the vaudeville, &c. The history of this branch,
though apparently of slight importance, is however, as respects the
art in general, of much greater interest than would be at first imagined. First, because the musical character of every nation is
expressed in its songs ; and secondly, because it is in this kind of
music that is to be found, as we have already noticed, the foundation
of the ideal style, and the elements of the modern system. This
makes us regret that our limits in this essay will not permit us to
enter into any details on national music. Laborde, in his voluminous
essay, has made a collection of the vocal music of different nations
and ages ; but it is very incorrect; first, because many of the airs
are altered, often, even, replaced by modern ones ; and, secondly,
because they are overcharged with a harmony both ill imagined and
incorrect. In short, that collection merits no consideration whatever.

Dramatic

Music.

The invention of the lyric drama of the moderns is considered by

many persons to be of very distant date; that is to say, if by the lyric
drama we are to understand every representation accompanied by
music. And, in fact, although these older representations differ
widely from the lyric drama, of our time, (as much by reason of the
changes that have taken place in music in general as on account of
the variations that have been sustained in the particular kind of music
which we are now treating) still we cannot fail to remark in the
former the foundation and principle of the latter.
Ancient writers speak of representations, both sacred and profane,
as having been performed since the thirteenth century. An Orfeo of
Angelus Politianus is cited which was composed about the year 1475.
A musical tragedy is spoken of as having been performed at Rome
in 1480. It is said that, in 1555, Alphonso della Viola set to music,
for the court of France, " II Sagrifize," a pastoral drama by Agostino
Beccari; and that, In 1574, an opera was performed at Venice for
the reception of Henry III., when, on his return from Poland,
he passed through that town, in order to take possession of
the crown of France, to which he succeeded on the death of his
brother Charles IX. But all these facts are too remote, and so very
few vestiges of them_remain, that it is impossible to deduce any
thing positive as to the state of this branch of the musical art at that

HISTORY OF MUSIC,

xli

period,which, however, is not so very distant, being scarcely more than

two hundred and fifty years. We may, however, venture to remark,
that, up to that time, the lyric drama had no style of music peculiar
to itself, but borrowed from the style then in use in the church, also
from the madrigals and popular songs.
The real epoch to which the birth of dramatic music, properly so
called, may be fixed, is that of the invention of the recitative or recited music, which gave to the lyric drama a peculiar language
and construction. The following, it is said, was its origin.
Three Florentine gentlemen, J. Bardi, P. Strozzi, and J. Corsi,
amateurs of the art, being little satisfied with the attempts made up
to their time, to bring dramatic poetry to perfection, conceived the
idea of having a lyric drama written by their best lyric poet, and
composed by the most eminent of their musicians. They consequently
selected Ott. Rinuccini and Jacq. Peri, both of them Florentines : the
former wrote a poem entitled "Daphne," to which the latter applied
a sort of recitation, in notes, having all the sounds of music, without
its regular support and marked time. This work, thus disposed,
was performed in 1597, at the house of Corsi, and obtained the
utmost success j so much so, as to determine Rinuccini to write two
other works of the same kind, namely, "Enridice " and "Ariana." In
the same year in which "Ariana " was performed at Florence, an
oratorio, with the same description of recitative, composed by Emilio
del Cavaliere, and entitled " DiAnimu e di Corpo" was performed at
Rome. His work, together with that of Peri, was published in
1608 ; and in their prefaces the two authors claim the honour of the
invention of recitative, which they both maintain to be the revival of
the chanting declamation of the Greeks. Each of them, in support of
his claim, cites different works written previously to the time of
which we have just been speaking; and Emilio, especially, mentions
a drama of his own, "La Disperatione del Satiro," composed and performed in private since the year 1590, and "II Gioco della Cieca," represented in 1595. If we may credit J. B. Doni, the invention or revival
of recitative belonged neither to one nor the other, but to Vincent
Galileo, father of the celebrated Galileo the astronomer, who, feeling as well as Bardi and the other amateurs of Florence, the defects
in the music of that age, and filled with the ardour of research, occupied himself in recovering the musical declamation of the Greeks,
and, having imagined the recitative, applied it to the episode of the
Count Hugolin, (of Dante.) Hecomposed also, in the same style, "The

xlii

SUMMARY OF THE

Lamentations of Jeremiah," and sang them himself, with a viol accompaniment, before a numerous assembly. Julius Caccini, of Rome,
a young singer, who frequented, with many other musicians, the
house of Bardi, was enthusiastic in his admiration of this new style,
and himself composed several pieces, with recitative of a very improved description. J. Peri soon became his rival in improvements,
and "both, according to Doni, cooperated in setting to music the
"Daphne" of Rinuccini. Peri afterwards composed "Euridice," and
Caccini "Cephalus." These pieces were followed by "Ariana" which
was put into recitative by Cl. Monteverde, of whom we have already
spoken.
However the above inquiry may be decided, it is certain that, of all
the above-named works, the "Euridice" of Peri was the first which was
performed in public. This representation took place in 1600, at
Florence, on the occasion of the marriage of Henry IV. of France
with Mary de Medicis. In the preface to the poem, which was
printed the same year, Rinuccini states that the music composed by
Peri to his " Daphne," had made him cease fearing that he should
never witness the revival of the musical declamation of the Greeks.
In fact, nearly the whole of this work is in recitative; and it is difficult to discover any difference from the rest of the music, in those
passages at the^head of which is placed the word aria. The same observation applies to all the works composed up to the middle of the
same century. It is only in the opera of " Jason," written by Cicognini, and set to music in 1649 by Cavalli, that we begin to perceive
airs having a melody differing from that of the recitative ; yet still
these airs are usually insipid, and generally (to give some idea of
them) a kind of minuet, written in the time of two-three, and varying
repeatedly. A greater degree of progress is perceptible in the operas
of Cesti, who, in his " Doria," composed in 1663, began to introduce
airs in which the talent of the singer might be displayed to advantage.
But what is particularly remarkable at this epoch is, that the opera
began to degenerate into a spectacle calculated to please the sight alone;
insomuch that, in the works represented about the end of the seventeenth century, no mention whatever is made either of the poet, the
composer, or the singers, but only of the machinist and the decorator.
This, however, did not discourage an immense number of composers
from 'devoting themselves to this style. So great indeed is their
number, that it would be impossible to enter into any details with
regard to them, without the risk of being carried too far.

HISTORY OF MUSIC.

xliii

Among these composers, there were many who had great knowledge and genius; to prove which, it is sufficient to name Fr. Gasparini, Perti, Colonna, Lotti, and, above all, the celebrated Alessandro
Scarlatti, to whom the invention of the obligato recitative is generally
attributed. The principal characteristic of these celebrated composers of operas is, however, their science ; and perhaps this was all
they could do at a period such as that in which they wrote.
In the midst of this confusion, some few among them, and particularly Scarlatti, felt the necessity of making the melody conformable
to the expression of the words ; and some attempts made to this
effect were very successful. This great improvement was, howevers
left to be completed by the first generations of the eighteenth century ; and it is to the illustrious pupils of Scarlatti, namely, to Leo,
Vinci, Sarro, Hasse, Porpora, Feo, Abos, and especially Pergolese,
that this approach to perfection is attributable. They were well
seconded by the poets of their time, and particularly by Apostolo
Zeno, and his pupil Metastasio, who presented them with poems,
written with purity and elegance, and full of interesting situations.
Three generations may be considered as having followed this same
system, profiting by the successive embellishments of melody and of
the orchestra. In the first generation is comprehended the men we
have just named ; the second presents to our notice names not less
celebrated, such as Jomelli, Piccini, Sacchini, Guglielmi, Traetta,
Anfossi, Terradellas, and others ; and the third, formed from the
pupils of these last, has been rendered famous by Paisiello and
Cimarosa.
This period, however brilliant, as it certainly was, was not exempt
from faults; for instance, though their poems present some interesting and dramatic situations, essential errors may be found in the
general construction of them, and even in the form of the detailed
parts, where dramatic consistency is frequently sacrificed to the
music; added to which, the singers, who then began to display
abilities before unknown, exacted generally of the poet and composer
such situations as would best suit their talents; the result of which
was, that though dramatic music was indeed invented, the true
lyric drama did not as yet exist. These abuses, deeply felt, and exposed by the best lyric poets, (by B. Marcello and by Metastasio
himself) induced men of the greatest talent to make some efforts to
create, at length, a perfect lyric drama, that 13 to say, a drama composed

x&t

SUMMARY OF THE

according to all the dramatic rules, and in which the music should be
entirely subservient to the action. The first essays towards this
-were made by B. Marcello, who soon, however, disgusted with the
vexations he met with at the theatre on this account, contented himself with laying open his principles in his writings, and giving examples of them in his sublime collection of psalms, an incomparable
masterpiece of melody, harmony, and truth. The application of these
principles to the stage, with all the fulness of truth, was left to the
celebrated Gluck, who, without possessing, as a composer, either the
profound science or elegance of the great Italian and German masters, had sufficient talent and genius to complete, about the middle
of the last century, (in 1764) this important revolution. He was
considerably aided by the poet Calzabigi, who was the first that
wrote an essentially dramatic lyric poem, his "Orfeus." Gluck thus
became a model to his contemporaries, several of whom, such as
Piccini, Sacchini, and others, folowed in the same track.
After such successful endeavours, the art seemed to be for ever
fixed on a firm basis, with the exception of the changes that the
variations of melody would probably occasion in it; and, indeed, up
to the present time, revolutions have taken place in this respect, of
which it appears impossible to forsee the term. However, towards
the close of the last century, the advancement of instrumental music
caused a sensible movement in that of the drama; some composers
having endeavoured to introduce into operatic accompaniments the
richness of the symphony. It is on this plan that Haydn, Mozart,
Cherubini, and all of their school worked. This very brilliant system
has great advantages, but a difficulty naturally results from it not
easily to be overcome, which is, that the most essential part, the
vocal, supposing it even to have all its requisite qualities, is apt to
be eclipsed, and even sometimes to appear less important than the
accessory part.
On recapitulating the preceding observations, it will be found that at
least six distinct epochs may, be traced in the history of dramatic
music within the space of two centuries. The first which we shall
name, that of the recitative, under Peri, Monteverde, and their
imitators ; the second, that of the birth of dramatic melody, under
Cavalli, Cesti, &c.; the third, that of science, under Perti, Colonna,
and Scarlatti; the fourth, that of expression, under Vinci, Porpora,
Pergolese, and the other pupils of Scarlatti 3 the fifth, that of the

HISTORY OF MUSIC.

jdv

lyric drama, properly so called, under Gluck and his followers; and
the sixth and last, that of dramatic symphony, under Haydn, Mozart,
and Cherubini; besides the delays, deviations, and modifications of
each kind, which we shall consider in treating of the diiFerent schools,
and even of individuals.
In all that we have as yet said, we have principally had in view
the tragic drama, or rather lyric tragedy. It will be easily conceived
that in what concerns melodic language, the comic drama, otherwise
called lyric comedy, comic opera, opera buffa, interludes, &c. must
have experienced the same revolutions ; we shall therefore speak of
them here in a very summary manner, and this with the view of
pointing out those variations that have taken place in the proper
construction of comedy, and of recalling to the memory those persons who have most distinguished themselves in it. The invention
of lyric comedy is considered to be as remote as that of lyric tragedy.
The origin both of one and the other is, however, lost in the
obscurity of the middle age; probably we ought to seek it in the
farces, moralities, and mysteries with which our ancestors were
amused in the fourteenth and fifteenth centuries.
The most ancient lyric comedies expressly mentioned, seem to be
of the sixteenth century: of this kind are cited, the "Sacrifiao"
of Beccari, set to music in 1555 by Alphonso della Viola; " I Pazzi
Amanti" in 1569 ; " La Poesia rappresentativa" in 1574; " La Tragedia di Frangipani," the music by Cl. Merula ; "La Poesia representata," &c. 1678 ; " II Re Salomme," 1579 ; " Pace e Vittoria," 1580;
" Pallade," 1581, &c.; "L'Anfi-Parnasso," of O. Vecchi, 1597 : all of
which were represented nt Venice. The music of these works was
completely in the madrigal style ; and if it had its beauties, it had
also its absurdities, which were still more apparent on the stage,
where every thing should appear true. Amongst these inconveniences, we shall name, as one of the most remarkable, the use of
monologues, sung by several voices, on account of the want of instruments for accompaniment. It is not precisely ascertained when the
recitative was introduced into lyric comedy. Several comic operas
are known, written in the course of the seventeenth century; but
without resting on objects, of the details of which we are ignorant, let
us hasten to reach the period when Scarlatti and his pupils introduced expression in dramatic music. Amongst these masters we find
Pergolese, who distinguished himself by his talent in introducing

xlvi

SUMMARY OF THE

declamatory modulation into dramatic music. Logroscino is likewise

remarkable, as having, by the invention of finales, given to dramatic
melody a new kind of developement; and although, in the two generations which we have indicated as succeeding this, the greater part of
the composers and poets who rendered themselves illustrious cultivated lyric comedy equally with tragedy, still many peculiarly distinguished themselves in comedy; such as N. Piccini for instance, whose
" Buona Figliola," a masterpiece of grace and truth, announced the
composer who was to surpass his model. In this same generation flourished the illustrious Gre"try, who made Pergolese his especial model,
also the composers who, following his steps, have given to France
the true lyric comedy. In fine, comic music, after having been embellished by the genius of Guglielmi, Paisiello, Cimarosa, and other
pupils of Piccini and their contemporaries, could not escape from the
inroads of symphony: it supported the yoke under the reigns of
Mozart and his imitators. Let us not, however, exclaim against an
innovation which has produced masterpieces of an entirely new character, but rather let us endeavour to convince all those who would
be tempted to take Mozart as a model, that, to give effect to such a
school of writing, the genius of a Mozart is indispensable.

Instrumental

Music.

The subject of musical instruments should be considered under

two heads : first, as to the sonorous principle which forms the basis
of each one separately; secondly, as to the mechanism of execution.
First, in respect to the sonorous principle, instruments are divided into
stringed, wind, and vocal intruments, {d, timbre) &c.; as relates to their
mechanism, they may be divided into six classes, namely, first, bowed
instruments; secondly, wind instruments; thirdly, keyed instruments ; fourthly, stringed instruments, (pinces) ; fifthly, instruments
of percussion; sixthly and lastly, mechanical instruments, (instrumensmachines.) At the head of these six divisions, must be placed the
human voice, the first, the most beautiful of all instruments, and
which serves as a type to all others.
All instruments have not always been in use, even amongst different nations, and less amongst the same people; every nation and
every age have had their own. Without entering here into details
which would lead me too far, I shall confine myself to remarking
which are the instruments now most in use amongst the nations

HISTORY OP MUSIC.

xlvii

whose musical system resembles our own. These are., first, amongst
bowed instruments, the violin, the viola or tenor, the violoncello or
bass, and the double-bass ; secondly, amongst wind instruments, the
German flute, the clarionet, the hautboy, the bassoon, the horn, the
trumpet, the trombone, the serpent, the fife, and the flageolet; thirdly,
amongst keyed instruments, the harpsichord, the spinet, the pianoforte, and the organ; fourthly, amongst stringed instruments,
(pinde's) the harp, the guitar, the lyre, and the mandolin; fifthly,
amongst instruments of percussion, drums of different kinds, and
cymbals ; sixthly and lastly, amongst mechanical instruments, the
bird-organ, and the bulafo or organ of Barbary.
To abridge this introduction, already too long, we shall not here
speak of the history of instruments, but shall reserve this subject to
another occasion, proceeding to consider instrumental music, which
is nothing more than a melody or a system of melodies, appropriated
either to a single instrument or to several together. This leads us
to consider it in two points of view ; first, as single music, secondly,
as concerted music.
Single music is that which is composed or adapted peculiarly for a
single instrument, whether it be in fact produced by that one instrument, or, in order to increase the effect, be accompanied by one or
more additional instruments, they being entirely subservient to the
principal. This music is the solo, properly so called, and the acconi'
panied solo, of which the concerto is the most brilliant style. There are
as many styles of solos as there are of instruments; but as it is impossible that we should enter into all the details which this variety
presents, we shall confine our notice to the solo of the violin, which
is regarded, and justly, as the first of all instruments.
Solos, whether simple or accompanied, comprehend, under the
names of studies, fantasias, capricci, sonatas, concertos, &c. &c, an
infinite number of pieces in various forms and styles. We cannot
here trace their histories, but shall simply point out some historical
marks, relative to their construction, performance, and style of composition;
The construction of solos, whether simple or accompanied, comprehends their melodic form, and the choice of instruments, both
which objects have varied repeatedly, previously to attaining their
present degree of perfection. The melodic form, indeed, is still constantly changing, so much so that there appears to be no fixed rule
on this head. With regard to the selection of instruments, a subject

jclviii

SUMMARY OF THE

that concerns the whole series of accompanied solos, from the sonata
(which is the simplest of all") to the concerto, there have also been
a great number of changes. The sonata, first imagined in the course
of the seventeenth century, has been fixed, in many respects, by
Corelli; the concerto, invented by Torelli, his contemporary, under
the name of concerto grosso, employed at first only'five instruments,
namely, the quartet (quatuor) and the leading part. Fr. Benda and
J. Stamitz made the addition of wind instruments, forming it, thus,
into a kind of symphony. In every thing relating to the execution of
instrumental music, it is of the utmost importance to dispel a very
common error, which consists in believing, that music was formerly
very simple, and easily performed. This error arises from the circumstance of the old writers having made use of notes of very great
value ; and its not being remembered, at the.same time, that these
notes were executed with great rapidity, so that they had, in fact, no
greater value than those in use with us at the present time. Besides
which, if we cast our eyes upon the collections of pieces remaining
to us from the preceding centuries, for example, upon the Virginal
Book of queen Elizabeth, published in 1578, difficulties will be found
which would puzzle the most able of our modern performers.
There have been the same revolutions, as to taste and style, in instrumental music as in singing; it has indeed always been influenced
by the existing style of vocal composition. Without referring to the.
periods anterior to the seventeenth century, concerning which' we
have little or no information, we know that, during the two first
generations of that century, music was entirely in the madrigal style.
When dramatic music began to prevail under Corelli, the contemporary of Perti, Colonna, and Scarlatti, it was scientific, and rather dry;
Geminiani first enriched it by expression ; but it was under Tartini,
contemporary of Leo and of Jomelli, that it attained the highest
degree of expression, both as to composition and execution. Soon
after this period, the concerto, in particular, was greatly improved
in the hands of the elegant Jarnowick and of the graceful Mestrino ;
both of whom were still surpassed by Viotti, who gave to this style
the character which seems so peculiarly its own, and brought it to a
degree of perfection, which it seems incapable of exceeding.
All we have said concerning solos applies equally to concerted
music ; by.which term we understand instrumental music with different parts, in which all the instruments are equally obligato, either
because each of them has its appropriate part, or because each

HISTORY OF MUSIC.

xfo

takes' up the strain successively, the others_ alternately becoming

accompaniments. These two methods are practised alike, in the
duet, the trio, the quartet, the quintet, and other pieces where each
instrument has its separate part, and in the symphony, where all the
parts are doubled for effect, according to justly determined proportions. Boccherini was the first who, in 1768, gave to the trio a
fixed character; after him came (Fred.) Fiorillo, Cramer, Giardini,
Pugnani, and lastly Viotti. It is also Boccherini who, at the same
period, first fixed the quartet; he was followed by Giardini, Cambini,
Pugnani, and, in another school, by Pleyel, Haydn, Mozart, and
Beethoven. Boccherini likewise about this time fixed the quintet, in
which he has no rival but Mozart.
The symphony, improved, since the middle of the same century,
by Gossec, Toeski, Wanhall, and Emmanuel Bach, was perfected by
Haydn, who, following the steps of Bach, brought this branch of
music to a degree of superiority till then unknown, and which has
since become, for his followers, a model scarcely to be equalled.
On a recapitulation of the contents of the preceding pages, we
shall find that, within the space of three centuries, (since 1550) all
the parts of the musical system, namely, melody, the principles
of musical construction and design, and every kind of composition,
have attained a stability, and arrived successively at a degree of
excellence, which, it would seem, cannot be surpassed; and this,
during the same period in which our languages, our literary character, in a word, all the various parts of modern science, (founded,
for the most part, as well as our music, on the system of the barbarians, from whom we are descended, and combined with the remains
of Greek and Roman art) [have attained a similar appearance of perfection and stability. Far, however, from allowing this consideration to discourage us, or indulging an idea that nothing more remains
to be done, we should, on the contrary, only rejoice at living in an
age in which we enjoy the advantage of possessing an infinite
variety of chef-d'oeuvres of every kind, and every style, for models to
improve upon, where improvement is possible.

Second Division.Of the Schools.

Although all the.nations of Europe to whom our musical system
is common, have different tastes, customs, and principles peculiar to
themselves, and in this sense each one may be said to have a parVOL.

i.

SUMMARY OP THE

ticular school of music, we still, as regards the art in general, can

only consider those nations as [having a school, which have contributed, in a sensible manner, to the progress of the art, either by
the suggestion of universally adopted principles or methods, or by
the production of works universally regarded as classical. In this
sense there are, in fact, in Europe, but three schools, the Italian,
the German, and the French, with those springing from them; and
we would here have it understood, that we circumscribe the limits of
each school to those countries where the language is spoken from
which each one derives its name.
This being premised, I purpose, in this last division of my summary, to examine briefly the rights of each school, and to point out,
in a summary manner, the part that each has had in the common
fund of musical knowledge during the period, with the sketch of
which we are about to conclude. In order to proceed regularly, I
shall confine all I have to observe on this subject to a few principal
points, namely, their general history ; the most remarkable traits by
which they are characterised ; and how far they have been serviceable relatively to the different branches of the art, reduced to four
heads, namely : first, the system itself, and its general principles j
secondly, the four styles of composition, already developed; thirdly,
vocal and instrumental execution ; fourthly, the culture of music;
including, under this last head, the state of musical instruction, and
the literature of the art.
The Italian School.
According,to Padre Martini, in his " Saggio di Contrapunti," five
great schools may now be reckoned in Italy, which are subdivided
into a number of others, namely : first, the Roman school, which
comprehends those of Palestrina, of J. M. and J. Bern, Nanini, of O.
Benevoli, and of F. Foggia; secondly, the school of Venice, divided
into those of Ad: Willaert, of Zarlini, of Lotti, of Gasparini, and his
pupil B. Marcello; thirdly, that of Naples, the principal masters of
which are Rocco Radio, D. C. Gesualdo, prince of Venosa, Leonardo
Leo, and Fr. Durante ; fourthly, the school of Lombard y, which
comprehends those of P. Const. Porta, of Gl. Monteverde, both of
Cremona, of P. Pontio Parmigiano, of O. Vecchi, of Modena; fifthly,
and lastly, the school of Bologna, the masters of which are And.

HISTORY OF MUSIC.

Rota, D, Gir. Giacobbi, Giov. P. Colonna, and And. Perti 5 to which

may be added Sarti, and the Padre Martini himself, This learned
historian of music does not mention that of Florence, although cited
by various masters, doubtless because those who rendered it illustrious by the invention of recitative, were only amateurs, and because the great men which it has since produced, were most of them
pupils of the schools of Rome and Bologna.
However this may be, all these schools are commonly considered
as belonging to three regions, namely, upper, middle, and lower
Italy. The first comprehends the schools of Venice and Lombardy;
the second, those of Rome and Bologna; the third, that of Naples.
The traits which principally characterise all the schools of Italy,
are a nice feeling, and profound knowledge of the essential and constitutive principles of the art, united to grace and expression. But
independently of these general traits, each of the schools has features
peculiar to itself: that of lower Italy has more particularly, vivacity
and truth of expression; those of middle Italy, science, purity of
design, and grandeur; and those of upper Italy, energy and force of
colouring.
There have always been schools in Italy, but they have not always
been equally celebrated. In this respect they have, indeed, frequently
varied. We have seen that, from the time of St. Gregory and Guy
d'Arezzo, Italy was the source of music; but it appears that [the
horrible wars of which that country was the theatre, during the middle age, extinguished the arts there, and particularly music. We
have likewise seen that, from the thirteenth up to the sixteenth
century, the most important improvements in the art were due
either to the French or to the Flemish. These last people merit
peculiar consideration, as having formed, during the last half of the
fifteenth, and early part of the sixteenth century, a school which was
destroyed during the wars, towards the close of the latter century,
but which was the source of all those now subsisting in Europe.
The French were the first who, by reason of their proximity to, and
habitual intercourse with, the Flemish, participated in the impulse
they had given. At this period, the chapels of the pope and princes
of Italy were filled with singers from Flanders and Picardy, and
throughout Italy, even at Rome itself, the music of French and
Flemish composers was sung; some of the professors of those countries were invited to Naples and Milan, and so great a uniformity
e2

Ml

SUMMARY OF THE

then existed between all the nations of Europe, that they seethed to
form but one school. The Italians followed the same doctrine, but
it must have been with little success, since not one of their compositions of that period are cited, whilst a considerable number of
those of the Flemish, French, and German composers are on record.
But, towards the middle of the sixteenth century, the schools of
Italy began to appear on the scene. The most ancient is that of
Rome, of which Palestrina is considered to be the head; he was
pupil of Gondimel, under whose care he went to France to study
composition. Adrian Willaert, pupil of Josquin and of J. Mouton,
was the founder of that of Venice : C. Porta, his pupil, founded that
of Lombardy: and that of Naples, equally ancient with the preceding, was celebrated in the sixteenth century under Gesualdo ;
but its principal fame is due to Scarlatti. The school of Bologna is
only an emanation from that of Rome. What is, however, particularly remarkable, is, that, since their origin or revival, these schools
have attained a superiority in almost every kind of music, and which
they will probably always retain : this opinion is the result of a
close examination and study of all their works, in every branch of
the art.
In the first place, with regard to the foundation of the system, and
its general principles, the Italians have ever excelled other nations.
Having received the old ecclesiastical counterpoint from the Flemish
and French, they were the first who gave to it the sentiment of
modern sounds. They have, in short, determined and fixed these
sounds; they have made phrases and melodic periods, and have
created tonal harmony ; indeed, so superior have they always been
considered to all other nations in this respect, that the chord formed
by the second and the sensible or leading note of the mixed mode,
has long been called the Italian sixth, it being generally allowed that
they were the inventors of it. The Italians have likewise perfected
counterpoint or musical design ; fugue and intricate counterpoint
also owe to them their greatest beauties. All the schools of Italy
have concurred simultaneously in these improvements ; but, in this
latter point, those of Rome and Naples appear entitled to particular
merit.
With regard to the various branches of sacred music, from the
plain-chant to the most highly ornamented styles, it is in Italy that
they have been successively developed. In fact, on taking a survey

klSTOKY OP MUSIC.

liii

of them in succession, we shall find that, in the style & capella, plainchant itself comes to us from the Italians, and that the best faux-bourdons known are those which, from time immemorial, have been chanted
in the Sixtine chapel. The finest counterpoint now extant on the
plain-chant, is that of P. Constanzo Porta, of the school of Lombardy.
The fugued style, by preserving the name of Palestrina, announces,
at the same time, the master and the school which perfected it.
The accompanied style is indebted to the Roman school for its finest
models; and, with regard to the concerted style,, although very
beautiful works of that kind have been produced by all the schools
of Italy, yet, as it approaches nearer than any other kind of music
to the dramatic style, models of it must be sought for more particularly in the school of Naples.
Chamber music, in its principal kinds, is so peculiar to Italy, that
it may be considered as belonging exclusively to that country.
Madrigals, whether simple or accompanied, are to be found in Italy
alone. In the former, or simple madrigals, it is the Roman school
that bears away the palm; those of Venice and Lombardy may claim
the best works amongst the latter. The school of Naples has produced the most beautiful cantatas, namely, those by Scarlatti, Porpora, and Astorga. Of the fugitive kind of chamber music, the
canzoni in various styles, and always full of grace and beauties, are
possessed by every people of Italy.
The theatrical style belongs almost entirely to Italy; it was
invented at Florence, and perfected at Naples, after having been
attempted by all the other schools.
That the Italians have perfected every sort of vocal composition is
generally agreed; but a fact which is apt to be overlooked is, that
they have been the instructors of all Europe in instrumental composition, and that to them we are indebted for the first and most
esteemed models in that department of the art. It is the Italians
who invented all the different kinds of instrumental music which we
have called single pieces or solos, from the sonata to the concerto.
In violin music, Corelli, Tartini, and their pupils, preceded the composers of all the other nations of Europe, to whom they have served
as models. The same may be said with regard to the harpsichord,
from Frescobaldi to Clementi. All other single pieces have been
constructed on the model of the compositions for the two last-named
instruments.

liv

SUMMARY OF THE

In concerted pieces, the schools of Italy have furnished some

chef-d'oeuvres, especially the quintet, which cannot be alluded to
without recalling to mind the name of Boccherini. But to the symphony, properly so called, the Italians have little or no claim; in
fact, they have no pretensions whatever on this head, but rest satisfied
with remarking, that, as relates to concerted music, the symphony
differs only from other pieces, by effects added to forms and ideas,
which are its essential objects, and in which their superiority cannot
be disputed. Thus, in painting, they acknowledge themselves to be
generally inferior, as to colouring, to the Flemish; but whom they
surpass in every other respect.
In musical execution, the schools of Italy have ever retained a
marked superiority over the rest of Europe : and first in singing the
multitude of excellent performers of both sexes that they have produced, can hardly be numbered; their superiority in this respect
arises from three causes, the two first of which belong to them
exclusively, and the third is a natural consequence of the others:
these are the climate, the organization of the inhabitants, and the
excellence of their rules. I cannot here speak of these causes at
length; but shall simply mention the observation made on the first
by the celebrated Haydn: he said, that the climate of Germany was
certainly injurious to the voice of Italian singers, and that he frequently sent those belonging to the chapel of prince Esterhazy into
Italy to improve their organ. Secondly, with regard to instruments,
and particularly the violin and harpsichord, it is Corelli, Tartini, and
Viotti who have instructed all Europe in the use of the former, and
the same may be said of the school of Frescobaldi with regard to
the harpsichord, and we may add, of that of the Besozzi, with regard
to the hautboy. The Italians were indeed the inventors of the harpsichord, the bassoon, and the trombone, as well as many, other
instruments, and taught the use of them.
We shall conclude this article by a few observations on the literature and culture of the art in Italy.
The preceding centuries had produced some much esteemed works
in the different branches of the art, and which were, in fact, very
estimable in many respects; although, as I have before said, they
were constantly behindhand in the practical parts. I have already
made known the best of these works. The eighteenth century has
been less productive, and for the following reason: that, in these

HISTORY OF MUSIC.

lv

latter times, the improvements in the art have been much more rapid
than they were formerly, and of a nature infinitely less susceptible of
being analyzed and reduced to rules. Indeed, most of the treatises and
other compositions which have existed in Italy, are obsolete. But the
conservatories of that country possess excellent collections of models,
and the principles of music are there taught by oral instruction the
masters having found, that it is not by books, but by personal lessons
that able artists are formed. As to the culture of the art in Italy,
it has always tended to the same end: first, in what concerns execution, the Italians devote themselves much to singing, which is, in
fact, the essential object. The number of their amateurs and professors in this style is very great; instrumental execution is much
less cultivated by them, and notwithstanding the excellence of their
rules, they are in this respect little aboVe mediocrity. In Italy,
instruments are regarded only as the means of accompaniment, and
the scores being always very clear, it is not requisite that the performers should be particularly expert; indeed, so far is this from
being the case, that probably considerable difficulty would be found
in having a symphony well performed in Italy; nor do I even [think
that such an attempt has ever been made either in middle or lower
Italy. The number of their composers in every style of music is
immense; the most indifferent of them have at least the merit of
possessing a style, but the greater part are very well instructed in
all the principles of composition. Musical theory is little cultivated
by them,; erudition rather more; but still only by a few learned
amateurs, the generality of professional men being very ignorant.
It must also be confessed that since the latter years of the last
century, music has experienced a sensible decay in Italy, and that it
is no longer what it was during the greater part of that and of the
two preceding centuries, if not as to the number, at least as to the
excellence of its professors. Formerly, there were always twelve
singers of the first order to be found in Italy, such as Farinelli, Pacchierotti, Guadagni, and Marchesi, and from sixty to eighty of the
second order, such as Mandini, &c. Several masters, likewise, of the
first order were always to be found, such as Scarlatti, Durante, and
Leo; and a great number of the second rate, together with innumerable inferior composers, and so of the rest. But now, it would be
difficult to find two singers of the first order, or five or six of the
second, and the same with regard to composition and the other

lvi

SUMMARY' 01" THE-

bratiches of the art. What is the cause of this decay > It arises, we
imagine, from the preference universally given to dramatic music, to
acquire considerable success in which, a very superficial knowledge
of the art is requisite. At the same time, however, we must remark,
notwithstanding this very sensible decay, Italy, in our opinion, still
preserves her superiority in music over all the nations of Europe,
which we think may be easily proved, both by the principles and by
the number of professors whose talents do her honour at the present time. The Italian school, too, is still excellent; and, although
public instruction is generally feeble, yet many scientific masters
are still to be found, as well as all the models left by preceding
generations: in a word, it is still in Italy that the best musical
instruction may be obtained by those who know how to study.

The German School.

In Germany as well as in Italy numerous schools are recognised;
in fact, properly speaking, there are as many schools as capitals. In a
detailed account of music, it would be proper to give the history of
each of these schools, but, in this sketch, we are obliged to confine
ourselves to a general mention of them. The Germans are in many
respects in music, what the Flemish are in painting, less scrupulous
in the design than in the effect of the colouring; that is to say, they
prefer those chords, the effects of which are the most brilliant, and
those instruments which are the most sonorous, such as wind instruments ; and this makes them pass for excellent harmonists amongst
those who confound the tumult of complicated sounds with harmony.
This science, which consists in (he simultaneous employment of
sounds, is the same throughout Europe; it is perhaps that part of the
art on thefoundations of which all nations best agree, notwithstanding
the diversity of language; but the choice of instruments, and consequently the effects, differ in every nation. Thus the Italians prefer
pure harmony, the Germans brilliant harmony, and the French, who
erroneously suppose they folloiv the example of the latter, are
generally accused of being rather fond of noise.
The origin of the German schools' is considered to be as ancient as
that of the Flemish; several German masters are cited as having
flourished at the same period with the French and Flemish: and
under this point of view, the German schools should claim priority to

HISTORY OF MUSIC.

Ivii

those of Italy. But the wars which devastated Germany during the
latter part of the sixteenth, and beginning of the seventeenth century, and particularly the terrible thirty years' war, during which
five great armies overran that unhappy country, carrying desolation
and havoc in every part of it: all these wars destroyed the arts,
which can only flourish in the bosom of peace and happiness. It
is certain that at this period, the school of Germany was greatly
inferior to that of Italy; it even appears that the French school, then
much degenerated, began before the other to emerge from obscurity.
It seems not to have been till about the end of the seventeenth century that Germany received a marked impulse from the works of
Keyser, the first German composer who, after the renovation, evinced
an original and superior talent. What follows, will point out the
progress that music has since made in that country 5 and, in order to
render it more complete and more capable of comparison, we shall
observe exactly the same order here as in the preceding article.
In all that relates to the foundation of the system, the Germans, like
all other nations, have only followed the Italians : they have never
equalled them in melody, and especially vocal melody; but with
regard to instrumental music, the Germans can boast some masterpieces of the first class. In fugues, canons, and every kind of musical
design, they have also been imitators; besides which, they have
always chiefly considered counterpoint as it relates to instruments j
from which it frequently results, that the voice parts harmonize
badly in their compositions, because they affect passages and intervals contrary to the nature and character of the human voice.
As to the different kinds of style, and first, with regard to that of
the church, the Germans received the Gregorian chant from Italy,
and they have composed some peculiar pieces, in several parts, for
the church, which they call chorals, these are sung by all the congregation, and have an extremely fine effect. This kind of music is
quite peculiar to themselves, and it is to be regretted that other
nations do not imitate it. They have counterpoint, it is true, in the
plain-chant, also fugues, but they are not equal to those of Italy. In
the other kinds T>f church music, that is to say, in the accompanied
and concerted style, they have long possessed very fine works by
their best masters, which are not inferior to the Italians; such, for
instance, are the masses of Graun, Haydn, and Mozart 5 only, we
should remark, that these partake of the style of the symphonic

Mi

SUMMAEY OF THE

drama. They possess also oratorios of the greatest beauty, such as

the Ascension and the Israelites by Bach, the Death of Jesus by Graun,
the Messiah by Handel, with many others.
With respect to the chamber or concert style; in madrigals they
have nothing very remarkable ; in the cantata, they have some extremely beautiful works, at the head of which we may name the
cantatas of the Creation and Seasons by Haydn, which are by some
erroneously called oratorios.
They do not appear to excel in fugitive pieces, that style requiring
a simplicity arid purity of melody little known amongst them. Such
of their compositions in this style as we are acquainted with, are for
the most part uninteresting.
The German theatre is of very ancient origin, although not so early
as that of Italy; but it had not attained any celebrity until about the
close of the seventeenth century, when Keyser undertook to compose
for the theatre at Hamburgh, which was then very flourishing. As,
however, few tr aes of the works of this master remain, we cannot
speak of his style; but since the commencement and during the
course of the eighteenth century, the composers of the school of Naples, or rather the German composers formed in that school, such as
Hasse, &c, conveyed that style into Germany]: it became predominant,
and served as a model to all others. The German style thus improved,
became that of Graun, Naumann, Gluck, and even of Haydn and Mo*
zart, with the addition only of a few modifications, according to the
impulse of their genius, and the latest improvements in instrumental
music.
I have just named Gluck; by which it would appear that I class his
works among those of Germany, but it will be seen that they belong
rather to France ; and although this master was much admired by a
few Germans of merit in his time, yet his talent was not by any means
duly appreciated by the nation in general. Indeed it is only lately that
his French works, translated into German, have been performed in
their theatres, and have there operated the same revolution that they
effected in France thirty years ago, to the great scandal of the
partisans of the symphonic drama, who were indignant at seeing
their countrymen abandon the brilliant Mozart for the dramatic
Gluck.
The German school derives its greatest lustre from its instrumental
music. With regard to music for single instruments, and first, as to

HISTORY OF MUSIC.

lis

that for the violin, although the composers for that instrument which
Germany has produced, have only followed the steps of Corelli, yet
they have done so with so much success, that they merit particular
notice. Thus, from the time of Corelli, whilst Locatelli and Geminiani, his two best pupils, spread his school, the one in Holland and
the other in England, we remark in Germany Fr. Benda and J. Stamitz,
formed on the same model. Their successors, still improving, created
a school of their own, at the head of which stand Leop. Mozart,
Fraenzl, and Cramer, who nearly approached Tartini, his contemporary. In harpsichord music they have produced since Kerler and
Froberger, who were formed in the Italian and French schools, a
number of excellent composers, who require only to be named to
make known the titles of the German school; these are J. S. Bach
and his children, Haydn, Kozeluch, Mozart, Dussek, Cramer, and
others whom I cannot name. It is the same with regard to their
music for wind instruments, a species of composition which belongs
almost exclusively to Germany, and in which she possesses an amazing number of good composers. In instrumental concerted music,
the claim of the Germans is not inferior. We have already cited the
quartets of Haydn, and the trios and quintets of Mozart; but Haydn,
by bringing the grand symphony to a degree of perfection which it
seems impossible should be surpassed, has raised his own glory and
that of his nation to the greatest height.
Musical execution in Germany, is a mixture of good and bad;
singing is generally but moderate : we do not know one German
singer enjoying high repute out of his own country. Execution upon
stringed instruments, and particularly on the violin, is solid; but is
generally thought wanting in grace and expression. That on wind
instruments appears to be very superior. There are a great number
of excellent German organists; indeed, with regard to that instrument, no nation can compare to Germany, The orchestras are good,
but not so much so as they might be, especially as to their proportions.
The Germans are rich in musical literature, possessing a prodigious
number of excellent works on all the branches of the art, most of
which were published in the course of the eighteenth century; such
are the writings of Fux, Mattheson, Marpurg, Kirnberger, E. Bach,
Knecht, Vogler, Albrechtsberger, Forkel, M. Gerbert, Nickelman,
Koch, and many more whom I cannot at the moment cite. In this

lx

'SUMMARY OF THE

respect, Germany is, without exception or comparison, the "richest

.country in Europe.
The culture of music in Germany is -astonishing; evendown to
the most insignificant charity schools, the art is publicly taught; no
schoolmaster is allowed to exercise his profession unless he is capable of teaching at least the elements of music and some instruments.
In the principal towns there 'are public and special schools, where
any one is admitted unconditionally, and where all the parts of composition are taught. .Besides this, the means of ordinary education
being very numerous and easily attained by every class, the artisan,
and even a man of the lowest order in society, if he does not require
the assistance of his son's industry to attain a livelihood, may give
him a good education free of all expense. From these united causes
it results, that in general the musicians of Germany are very numerous and well informed. Their methods of instruction are moreover
the same as in Italy, with some modifications ; they tend directly to
the point. Such, in few words, is the history and present state of
music in Germany, which country, as has been seen, possesses its full
share of merit.
The French School,
If the Italians were the inventors of every part of the musical art,
if they have brought them nearly all to perfection, and if the Germans have brought those parts to the same point, which the former
had left imperfect, what then have the French done will be asked,
and what right have they to figure as a school with those nations
which seem to have completed every thing ? We answer briefly, that
the French have been the inventors of some particular branches, and
have, so far, exercised a real influence; in many other instances they
have successfully imitated, and have introduced into their imitations
a sentiment and 'style peculiarly their own, observing at the same
time an order and respect for consistency, which has frequently been
neglected by other nations. Hence, in these respects, they are justly
esteemed models, and are consequently considered, in many points of
view, as possessing a school of their own.
The French, as we have already had occasion to observe several
times, were, at the period of the revival of the arts, the first to follow
the example of the Flemish. Several French composers, such as

HISTORY OF MUSIC.

l xi

Regis, Du Fay, Caron, Binehois, and others, are even said to have
preceded them ; but we shall not here speak of these, as none of
their compositions remain j others, such as Bromel, J. Mouton,
Fevin, &c. are considered to have flourished at the same period with
the Flemish; and N. Gombert, whose name is evidently French, is
distinguished by H. Finck, as having surpassed his master, the celebrated Josquin, and having much improved the art of fugue. We
shall not repeat what we have already said, and shall only here
remark, that the eminence of the French school at that time lasted
during the whole of the reign of Francis I . ; but the religious disturbances which began about the year 1550, and lasted till near
the end of the reign of Henry IV., the bloody wars and the ravages
they occasioned, the profanation of most of the churches, then the
only repositories of music, gave a destructive blow to the art, as
well by the death of a great number of artists, as by the loss of
their employment. Henry IV. was indifferent about music; Louis
XIII. liked it much ; but the gloomy and tyrannical Richelieu, who
reigned under his name, did not place it among the number of
those arts which he thought proper to patronise. The disturbances
that prevailed during the minority of Louis XIV. were still more
fatal to the arts. Music, therefore, for more than a century, was not
only generally neglected in France, but impeded in every possible
way j and the French school remained all that time far behind that
of Italy. It produced only a few musicians, the best of whom
scarcely attained mediocrity. At length, the reign of Louis XIV.
commenced, when that prince, who was passionately fond of music,
and sang and played well on the guitar, powerfully patronised the
art which he himself cultivated. Lully, a Florentine, introduced
Italian music into France as it then existed in Italy ; and it seemed,
as it were, to receive a new existence. It was reestablished in the
churches, the theatres, and concerts, and since that time it has been
constantlv cultivated with more or less success, as will be seen by
the account we are about to give of the progress of the French in
the different branches of the art.
As to the foundation of their system, the French have simply followed the steps of the Italians ; and they have done the same with
regard to melody, though at a greater distance. Indeed, although
the French, when left to their natural impulse, have a style of melody peculiar to themselves, and which interests by its freedom
and simplicity, yet they gave way at the period of which we are

ixii

SUMMARY OP THE

speaking to a very extraordinary deviation from their natural taste,

and which unfortunately carried them far out of the right path.
Lully, a man of taste and science, coming when young into France,
introduced into French melody that of Cavalli and Cesti, and formed
from the two a mixed style, estimable in many respects, and especially
on account of its simplicity. The French soon became tired of this
mixed melody, and the successors of Lully, who possessed neither
sufficient taste to perfect what he had begun, nor sufficient good
sense and learning to follow the steps of the Italian school, which
was advancing towards perfection under Scarlatti and his pupils,
attempted, by the most affected embellishments, to conceal the
poverty of their melody. The bad taste displayed at that time in
painting, by Coypel, Lemoyne, De Troy, and others, successors of
Lebrun, manifested itself in music. This corruption was carried to
a still further extent under Rameau, who, in science and taste in
music, was precisely what Boucher and Vanloo, his contemporaries,
were in painting. Without hearing this music, it is impossible to
form an idea of it; having, however, done so, we naturally ask how
it could ever have reached such a degree of depravation, and we are
tempted to admire the astonishing efforts that must have been made
to produce any thing so absurd and ^monstrous. A violent struggle
took place at the beginning of the seventeenth century, between
French and Italian melody, which lasted nearly the whole of that
century; and, to the disgrace of the art be it known, that twice,
French melody, supported by all the agents of ignorance and pedantry, twice, I repeat, the degenerated French melody, notwithstanding public clamour, triumphed at the opera and in the cathedrals of France. At length, after a musical war of sixty years, the
national taste overcame the obstinacy of a few individuals interested
in upholding a false system. The works of Duni, Philidor, Monsigny, Gretry, Gluck, Piccini, Sacchini, and some others, have since
given to France a melody of a peculiar character, in which Italian
grace is united, as much as possible, to French decorum. It
is to be hoped that this order of things will be long maintained.
With regard to practical harmony, if by this term is understood
not the art of stunning by a confused collection of sounds and a
deafening noise, but that of determining the chords which agree the
best, according to the. nature of modulation, and of selecting and
disposing the different sounds which compose these chords, so as to
produce the purest and sweetest effect 5 in this respect the French

HISTORY OF MUSIC.

kii{

have been for a long time far behind the Italians and Germans.
Laborde himself, even whilst sustaining an opposite opinion, and
likewise J. J. Rousseau, prove the truth of this assertion, when they
affirm, that none understand better than the great masters of Italy
the choice of bass notes, and the selection of notes most proper, in
the construction of the chords, to invest the harmony with its
required effect. The French do not in general know so well how to
write music as the Italians and Germans, which is to be accounted for
from the difference of their methods: let us explain this.
In Germany as well as in Italy, in teaching composition, they proceed directly to the point. They begin by showing the pupil some
very simple, but good basses, properly modulated ; they enumerate
the various positions in which a bass may be placed, they show which
chords are most appropriate to each of these different situations, and
then exercise the pupil a long while, in playing partimenti or figured
basses on the piano-forte. After this first study, an air or melody is
given him, and he is instructed which are the best basses to be
placed under particular notes of the melody, according to their
several situations, which are soon ascertained ; having put the proper
harmony to the bass, according to the given rules, he is next taught
to write this harmony for two, three, four, or a greater number of
parts, in every kind of simple counterpoint; in the same way he proceeds to more difficult counterpoint, fugue, and all other styles : the
whole without any discussion or loss of time in useless arguments.
This method has a double advantage ; it unites all possible rapidity;
and, whensoever the studies of the pupil may be interrupted, what he
already knows will prove useful to him. The only fault that can be
found with the Italian, and even German professors, is, that they do
not sufficiently enforce the motives of their precepts, and do not
give, as it would be easy for them to do, reasons deduced from
practice itself. This renders the study laborious, and sometimes disgusting> and gives an appearance of routine to a method in itself
excellent, both as respects its general order and the foundation of its
principles. Still, when a pupil is industrious, this inconvenience does
not arrest his progress, and he is richly repaid for his perseverance
by the advantage he derives from this method of acquiring style and
a great facility in writing.
In France, on the contrary, they generally pursue a plan completely
opposite; for although the above method was at one' time in use
with the French, as well as with the Italians and Germans, the same

lav

SUMMARY OF THE

errors which retarded their advancement in the art, influenced their

progress in the principles rof instruction. When, after the reform
effected by Lully, the French were desirous of following the path he
had traced out, the means were found to be reduced to a few scattered traditions, become perfectly inadequate, and which appeared
still more so, when laid down in badly conceived and badly written
works, such as those of Paran, Mignot, Madin, and others. It was
therefore deemed necessary to make some efforts to produce methods
more appropriate to the state of the science 5 but instead of seeking
them in the study of the chef-d'oeuvres of the great masters, and
establishing a musical grammar drawn from the best results of
experience, they had recourse to different sciences, having little or
nothing to do with music. Rameau, who flourished at a period when
the taste for physics and mathematics began to prevail in France,
having read or heard that the vibration of a sonorous body generated,
besides its principal sound, its twelfth and seventeenth, endeavoured
to found upon this phenomenon the theory of the inversions of harmony, which we have already described. We shall not here enter into
further details upon this article, but content' ourselves with saying
that, for want of good didactic works, those of Rameau (expounded,
simplified, and commented on by celebrated authors) became much
in vogue ; consequently there are, at the present time, a great number of professors, who, according to the method introduced by him,
begin by setting forth to their pupils physical and geometrical propositions, of which they understand nothing, and which besides have
not the slightest relation to the question. They, however, persist" in
it that all this nonsense is the foundation of the great, the sublime
science of harmony. After having encumbered the mind with' this
useless trash, the pupil is instructed in the definition of harmony,
which is the knowledge of the chords. The chords are then defined
and explained to him, and he is made to learn a catalogue of them so
large, that the best memory cannot possibly retain them all in less
than a year. He is shown all the different ways in which they succeed each other; he is accustomed to see the whole of harmony in
common chords, to find which alone he has regular rules, consequently he is obliged continually to have recourse to the inconvenient
calculation of inversions ; added to which, these rules are in themselves so vague, so imperfect, and so little capable of being applied
in most cases, that if, after a year or two of study, the unhappy pupil
is presented with the simplest bass, he is not able to place the same-

HISTORY OF MUSIC.

lxv

harmony to it that a pupil of Italy or Germany would do, without

hesitation, at the expiration of a few weeks. What then is the
result ? The pupil becomes wearied and disgusted, renounces the
study, and, if his profession or taste lead him again to attempt composition, he hastens to acquire, as he can, from bad principles,
a certain trading knowledge of the art sufRcient for his purpose, but
ever remains ignorant of its fundamental principles.
Such is the certain result of the system of thorough-bass, so cried
up, by people entirely ignorant of music, as facilitating the means of
learning the art; we should rather say, of talking of it, without
understanding any thing about it, as did Roussier, Be"thisy, and so
many more of Rameau's commentators. I have already named the
only advantage arising from this system, relatively to the classification of the chords; I shall not say more here on this subject. Finally,
there is no study of counterpoint, or, at most, that of the veneering
(placage) of chords; no study of the styles; no knowledge of the
models, even the names of whom are unknown. Such is a summary
and unexaggerated account of the usual mode of studying musical
composition throughout France.
It must, however, be confessed, that the plan of instruction
adopted by the conservatory of Paris, and that instituted by several
professors, according to the Italian and German methods, are exempt
from some of these defects ; but it is easily to be perceived, that,
withheld by local considerations, and by the fear of encountering
prejudices, they have not yet done, in this respect, all that perhaps
they would have wished to do.
This, then, is the actual state of the system in France, so far as
regards its principles and foundation. Let us now see what she has
done in the different kinds of composition. First, as to church
music, we shall begin by the various species of the style d. capella.
After having received from St. Gregory the Roman chant, that
valuable remnant of the Greek music, and having, by degrees, made
great alterations in it, it was at length totally abandoned for absurd
plain-chants, composed at the period when the art was most depraved
in France, and which, for the most part, discover great ignorance and
bad taste. Their faux-bourdons are nearly the same as those used in
Italy; but it is relatively to the counterpoint on the plain-chant,
that the French school is greatly defective. They have no writings
on the subject; which is not surprising, as the French chapel-masters
f
VOL. I .

}xvi

SUMMARY OF THE

understand so little of the plain-chant, that I have seen the most

experienced of them (soi-disant) mistake t h e tone of the chant.
And besides, writing this kind of music is not taught in France, but
they practise instead, in the cathedrals, extemporary counterpoint,
which is called chant sur le livre. T o give some idea of it, imagine
fifteen or twenty singers, of every description of voices, from the
bass to t h e highest soprano, singing as loud as they can bawl, each
according to his own fancy, without either rule or intention, and
making every note in the system, both diatonic and chromatic, heard
at the same time with t h e plain-chant, which is performed by discordant and harsh voices : you will then begin to have some conception of the plain-chant or counterpoint, called in France chant sur
le llvre. But what will be thought still more incredible is, that there
are actually choral precentors and chapel-masters of sufficiently
depraved taste to admire and encourage this horrid mockery of music
in their churches. Such people do, indeed, make the house of God a
den of thieves; it may be truly called an abomination and desolation in
the holy place.
Church music with instrumental accompaniment has, in France,
as every where else, undergone the same changes as dramatic music,
with which it has always had great connection. , The French long
pretended to excel and surpass all other nations in this style ; and
although the falsity of such a pretension is now acknowledged by
those who sustained it only a few years ago, yet it should be admitted,
that in this kind of music the French have really considerable merit.
Notwithstanding the variations that have taken place in the melody,
there have, at all times, been French composers who have acquired a
just reputation in church music; the most celebrated of whom,
reckoning from Lully, are that composer himself, Campra, La Sueur,
of Rouen, La Lande, Blanchard, and Mondonville; and amongst the
moderns, Gossec, D'Haudimont, Giroust Roze, and lastly, Le Sueur,
director of the emperor Napoleon's chamber music, who has produced some works in this style, fraught with beauties of the first order.
As to chamber music, the French have no- madrigals, except a few
by some masters who were contemporaries with the Flemish, all of
whose works are now forgotten. This style of music flourished in
Italy at the period of the troubles in France, during which music was
not at all cultivated in that country. In the cantata, the works of
Clerembaut and De Bernier, pupil of Caldara, were formerly cited.

HISTORY Of MUSIC:

lxvn

Fugitive pieces arc one of the styles in which the French succeed the
best; they possess some very beautiful specimens in all styles and
of every character, and perhaps no nation of Europe is superior to
them in this respect.
But the greatest glory of the French school is in dramatic music.
They were not precisely the inventors of it, but by borrowing the
dramatic melody of the Italians, and combining it with that of their,
own nation, they have formed, as I have before said, a melody
peculiar to themselves, and of an excellent character j and by applying this to well-imagined and well-written poems, they have given
birth to the lyric drama, properly so called, which may be considered,
therefore, in some degree, as exclusively belonging to France.
It was, however, only by following, at first, the example of the
Italians, that France attained to this brilliant result. In fact, it is
well known that when Mary de Me"de*cis, wife of Henry IV., came to
France, she brought with her the poet Rinuccini; from which time
lyric representations took place at the court. None, however,'are
mentioned as having been performed during the reign of Louis XIII.j
his minister Richelieu turned all his attention towards the French
drama. The Italian Mazarin, who succeeded him, brought the
taste of his country into France, ami caused the first Italian opera
that had ever been heard in that country, to be performed at the
Louvre, in 1646. In 1670, Perrin the poet, and Cambert the
musician, brought out the first French opera, entitled "Pomona," at
the Tennis-court in the Rue Mazarine. Two years afterwards, Lully
obtained their privilege, and enjoyed it till his death, which took
place in 1687- We have already described the kind of music which
he set to the French poems of Quinault; we have also shown in what
respects his successors erred, amongst whom are distinguished
Campra, Destouches, and Monteclair. Rameau, who made his dibut
in 1733, by " Hypolite" and by " Aricie," substituted for the true
recitative and airs, which were, doubtless, too simple, and for the
most part obsolete, and for the paltry accompaniments of Lully, an
emphatic recitative, more brilliant airs, but often irregular and in
bad taste, more ornamented accompaniments, but frequently badly
written, although, with all this, there might generally be found in
them features and parts which demonstrated both science and
genius.
His successors flourished after him in the French lyric drama, till

lxviii

SUMMARY OF THE

about 1775; but, since 1750, the comic opera had appeared in France
on the model of the interludes and buffa operas then in vogue in
Italy. It was in this style that the French melody began to regenerate under Dauvergne, La Borde, Floquet, J. J. Rousseau, Duni, and
Philidor; to whom succeeded Monsigny, Gossec, and Gre"try, who
completed the improvements in French lyric comedy. Amongst
their contemporaries and imitators were Martini, Dalayrac, Champein, and many others. The reform operated by them in comedy,
and prepared in lyric tragedy, was consummated by Gluck, who,
in 1774, gave at Paris his " Iphigfaie," and soon afterwards
enriched the French theatre by several other works. His rivals,
Piccini and Sacchini, with the same object in view, endeavoured, at
the same time, to preserve the essential forms of melody more than
Gluck had done. This diversity of pretension occasioned warm
disputes, which are now, however, terminated. Vogel, Lemoyne,
and others, followed the steps of these great masters. This generation of celebrated men was succeeded by French composers still
worthy to touch the lyre ; the principal of whom were, in tragedy,
Berton, Catel, Le Sueur, Mehul; and in comedy, the same ; to whom
may be added Boyeldieu, Eler, Gaveaux, Kreutzer, Plautade, Persuis,
and Solie. Many Italians and Germans, also, came into France
about this time, and attempte composition in the French dramatic
style, with success ; the most celebrated are Cherubini, Dellamaria,
Nicolo, Steibelt, Spontini, Tarchi, and Winter. Some composers of
the present generation have tried to introduce into the lyric drama
the effects of the symphony; but they appear, at length, to have discovered the abuses of this style, and to have since renounced it
entirely.
It is to the superiority of its national theatre, that France owes
that of its lyric drama. The great resort of company to the Theatre
Francois, considered to be the best of all of them, has rendered the
feeling of dramatic propriety so general, that the French spectator
cannot endure a work in which it is not duly observed, whatever
may be its other merits. Penetrated with the same feeling, and imbued with the same principles, the French lyric poets and composers,
whether natives or foreigners, directed by national taste, have, with
one accord, constantly worked upon the same system. It would,
certainly, be very a propos, in sketching the history of the French
lyric theatre, to give some idea of the revolutions that have taken

HISTORY OF MUSIC.

Ixix

place in the French drama itself, and to make some mention of the
poets who have contributed to its progress ; but I must here limit
myself to naming a few of the most celebrated, such as Quinault,
Lamotte-Houdart, Fontenelle, Labruere, G. Bernard, Sedaine,
Favart, Marmontel, Marsollier, Monvel, Duval, Guillard, Bouilly,
Hoffman, Picard, Etienne, and Dupaty, and refer the reader to their
articles in this Dictionary.
The French have also some celebrated names in instrumental composition, although, in this style, they have only been imitators; and
first, in music for single instruments, Leclair, Guignon, Guillemain,
Mondonville, Gavinie"s, Leduc the elder, Bertheaume, and Lahoussaye, are justly esteemed. In concerted music, the quartets of Davaux,
and the symphonies of Gossec, are cited, which preceded, in France,
those of Haydn, and some of which are still heard with delight.
During a later period, some new attempts have been made in this
style, but we must- wait a future period to decide on them with
impartiality.
The principal merit of the French school consists in the different
branches of execution.
Beginning this part of our examination by singing, we distinguish
three epochs : that of Lambert, in the time of Louis XIV.; that of
Rebel and Francoeur, in the time of Louis XV., who displayed all
the ridiculous faults and affectation of that period ; and lastly, the
modern epoch, whose style has great analogy to that of melody,
that is to say, is an Italian style modified, and rendered conformable
to the French language, and the principles of which are developed
in the excellent method of singing of the conservatory. Each of
these periods boast celebrated singers; the first has Boutelon ; the
second, Jelyotte ; the third, Garat, Chardini, Lays, and Mautin,
to whom we must add Ellevion, for grace and elegance, united to
expression and dramatic truth.
But with respect to execution, the style in which the French have
real and undisputed merit, and indeed, in many respects, have a
marked superiority, is the instrumental in general, and especially
that of the violin. On this point, the French have always had
great pretensions,, and often founded in justice. The excellence of
the twenty-four petits violins of Louis XIV. formed by Lully, and
of other French violinists, was highly spoken of so far back
as the seventeenth century.' I do not, however, kndw how to

kx

SUMMARY OF THE

reconcile these facts with the following remark of Corette in his

preface to his " Method of Accompaniment," published at Paris
about the year 1750."At the commencement of this century,"
says that author, " music was very dull and slow, &c.. . . When
Corelli's sonatas were first brought from Rome, (about 1715)
nobody in Paris could play them. The duke of Orleans, then regent,
being a great amateur of music,and wishing to hear them, was obliged
to have them sung by three voices : the violinists then began to study
them, and at the expiration of some years, three were found who
could play them. Baptiste, one of these, went to Rome to study them
under Corelli himself." Be this as it may ; since that period, instrumental music has been studied with ardour by the French^ and they
have made astonishing progress in it. France has now an excellent
school for the violin, founded upon that of Italy. We have already
named its best masters in speaking of instrumental composition; to
those names must be added Pagin, the celebrated pupil of Tartini,
and Viotti, who, during his residence (of some years) in France,
formed many excellent pupils, at the head of whom stands Rode.
These, in their turn, have communicated their skill to a number of
others, and the French violinists are now, both in number and in talent, unrivalled in Europe. The artists of greatest repute at this time,
are Baillot, Grasset, Kreutzer, Lafont, and their pupils, Habeneck,
Mazas, Fontaine, &e. The same may be said with regard to many
other instruments, and particularly the piano-forte: p.mongst the
principal masters and amateurs on which, are Adam, Rigel, Jadin>,
Boyeldieu, Madame de Montgeroult, Pradher her pupil, &e.; but
for the organ, which was in its glory under Couperin, Marchand,
-Calvifere, and Daquin, there is now scarcely any master worthy of
citation, if we except Sejan, who has followed their steps. Lastly, to
conclude this article, by a panegyric as just as it is important; what
cannot be too much admired in France, is, the excellence of their
orchestras in the execution of the symphony; in this respect they
infinitely surpass, I will not say those of Italy, which are. beneath
consideration in this respect, but those of Germany, where instrumental music has attained high reputation. This fact is acknowledged to be true, even by the most prejudiced foreigners.
The musical literature of France is of little value ; among her
works of this kind, some, compiled by artists who neither knew how
to think nor how to write, are as vicious in their principles as in their

HISTORY OF MUSIC.

lxxi

plan ; others, edited by learned men, or by literati ignorant of the art,

teach only systems and errors. From this condemnation, however,
I must except, first, some methods which concern execution, and
particularly those published by the conservatory of Paris ; secondly
concerning composition, the little treatise of harmony by M. Catel
which is a good introduction to the study of accompaniment. I consider also, the"principlesof composition of the schools of Italy, which I
have formed from the union of what I have found best on the subject in the French and other languages, to be the only authentic and
complete work for the student of this art, and, notwithstanding some
just imputations, the least imperfect of any existing of the same
kind.
Of the three nations of which we have spoken, it is in France that
music is the least generally cultivated ; it is also, of all the fine arts,
the one least attended to in France, and the only one on which there
are no public lectures, an advantage which it possesses in almost every
other country of Europe. Before the French revolution, music was
principally taught in the maitrises; but notwithstanding the number
of four thousand pupils, who were constantly supported by these establishments, they so much felt the corruption and decay of the art
in France, during the seventeenth and eighteenth centuries, that, in
the whole course of that time, they produced at most but five or six
singers, and as many composers worthy of mention. Their reestablishrnent was on a still worse footing. The ancient chapel-masters
were at all events composers ; but lately, for want of better, it has
been found necessary, with few exceptions, to employ any musicians
that could be had. Here, the chapel-master is a parish chanter ;
there, a violinist; elsewhere, even a trumpeter, or some such person;
and these men are intrusted to form singers. It will readily be imagined that the maitrises thus organized, would be even less productive
than they were formerly ; and up to the present time, it would be
difficult to find, out of the two or three hundred pupils which they
contain, one who could sing the seven notes of the scale in tune.
The conservatory, established since the revolution, has certainly,
however, produced a great number of instrumental performers, and
many good singers.
Formerly, the plain-chant, at least, was taught in many of the primary schools ; now, neither plain-chant nor any other kind of music
is taught, and the bulk of the nation is totally ignorant of the art.

Ixxii

SUMMARY OF THE HISTORY OF MUSIC.

Amongst the higher classes of society it is more cultivated; amateurs

devote themselves chiefly to instrumental music. In general, singing
is neglected; and nothing is so rare in France as good singers.
Composition is but slightly cultivated ; the studies for it being, as I
have before explained, for the most part bad and very expensive.
Besides, the profession of a composer leads to nothing advantageous
in France; there is no employment for his talents, either in the chapel or the theatre, the latter of which is occupied in a great measure by foreigners. In such a state of things, composers are formed
with difficulty, and, in fact, there are very few in France; the number
of those who have met with success in the dramatic style, at present
the most cultivated of any, is very inconsiderable. Many of these
men are now old, and we find but few successors to their talents.
Theory is little known in France, and musical erudition is still more
rare, the French are, indeed, almost ignorant of the name.
From this examination of the French school, it nevertheless
results, that it holds a much more distinguished rank amongst other
schools, than foreigners, blinded by national prejudice, will allow, or
than is believed by some Frenchmen themselves, who have been too
easily led astray by presumptuous arguments; that it possesses a
marked superiority in two essential branches, namely, lyric drama
and instrumental execution; that, notwithstanding its deviations
from the didactic, it has been very serviceable in this respect to the
art; that its inferiority in many other points at the present moment,
arises from circumstances which have before produced the same
effects in those very nations which now appear to excel France. History declares that, at different periods, the French school has held a
superiority over these same nations, and proves likewise, that, by pursuing wise measures, it would be easy to replace it upon the same
level.
On taking the trouble to compare successively the labours of the
three schools, a sketch of which I have endeavoured to draw with
as much exactness and order as impartiality and truth, it will be
found easy to judge of the merit of each of them ; that spirit of party,
those prejudices or national antipathies, which eagerly attribute every
thing to the one side and nothing to the other, will thus be avoided.
The good and the excellent will he sought for where it really exists,
and will be duly appreciated, wherever it may be found.

BIOGRAPHICAL DICTIONARY
OF

MUSICIANS.

A AR
A A R O N , abbot of St. Martin, at Cologne,
was born in Scotland. He wrote a work on
the utility and manner of singing church
music; and introduced the Gregorian nightchant from Italy into Germany. He died in
1052.
AARON, (PIETBO) a Florentine of the
order of Jerusalem, and canon of Rimini, was
a voluminous writer on music. The most considerable of his writings is, " / / Toscanello
della Musica," 1523, 1529,1539, a rare and
important work. He gave in it a decalogue,
or ten precepts for counterpoint, in honour,
it is said, of the ten commandments of God;
and six precepts of less importance, in honour
of the six commandments of the church. His
works became particularly useful, from being
for the most part written in Italian ; whereas
those of almost all the preceding musical
writers were in the Latin language. Pietro
Aaron gives a list of such extraordinary
performers as were able to sing from notes,
VOL. r.

ABE
" Cantare a libra," by which we may suppose
that the art was then in its infancy.
ABACO, -(EVARISTO FELICE DALL')

violinist and composer, born at Verona. In

the year 1726, he was musician to the court
of Maximilian Emanuel.
ABACO, (BARON) also born at Verona,
was an amateur performer on the violoncello
and composer for that instrument. One of
his pieces is dated 1748.
ABBATINI

(ANTONIO M A R I A )

was

born at Tiferno in the year 1605. He was

chapel-master of the churches of St. John of
Lateran, and of Santa Maria Maggiore at
Rome. He wrote many motets, the scientific
construction of which procured him a wellmerited reputation. Abbatini was the master of the celebrated abbe Stephani, of the
Venetian school.
ABEILLE (Louis) was born in the year
1765, it is believed, at Beyreuth. In iaO2,
he was appointed musician to the duke of
u

ABE

ABE

"Wurtemberg, at Stuttgard. He composed society, though a natural irascibility and

many esteemed works, both vocal and instru- disposition to say strong things, sometimes
rendered him overbearing and insolent in
mental, between the years 1788 and 1810.
ABEILLE, a French composer. In the company. His greatest failing was a love
year 1710 he published at Paris " Recuiil of the bottle, in which he indulged to a degree that probably shortened his life. He
d'Airs serieux et a boire."
ABEL (LEOPOLD AUGUSTUS) a violin died in London in 1787, after remaining
pupil of Benda, was born at Coethen in 1720. three days in a lethargic state, without expeHe was musician to several German princes. riencing any pain. Dr. Burney gives the
ABEL, (CHAHLES FREDERIC) younger following character of his compositions and
brother of the preceding, was born also at performance. " His compositions were easy
Coethen. During nearly ten years he was and elegantly simple, for he used to say,' I
in the band of the electoral king of Poland, do not choose to be always struggling with
at Dresden, at the time that the celebrated difficulties and playing with all my might. I
Hasse was chapel-master. Either from the make my pieces difficult whenever I please,
calamities of war having reduced their court according to my disposition and that of my
to a close economy, or, as some say, by Tea- audience.'Yet in nothing was he so superior
son of a dispute with Hasse, Abel quitted to himself and to other musicians, as in writing
Dresden about the year 1760, with only three and playing adagios; in which the most
dollars in his pocket, and proceeded to the pleasing, yet learned modulation, the richest
next little German capital, where his talents harmony, and the most elegant and polished
procured him a temporary supply of money. melody, were all expressed with such feeling,
The following year he made his way to Eng- taste, and science, that no musical production
land, where he soon obtained notice and re- or performance with which I was then acward. He was first patronised by the duke of quainted seemed to approach nearer perYork, and, on the formation of queen Char- fection. The knowledge Abel had acquired
lotte's band, was appointed chamber-musi- in Germany of every part of musical science,
cian to her majesty, with a salary of 200. rendered him the umpire of all musical conper annum. In 1763, in conjunction with troversies, and caused him to be consulted cm
John Christian Bach, he established a weekly many difficult points. His concertos and other
concert, by subscription, which was well sup- pieces were very popular, and were frequently
ported. Abel performed on several instru- played on public occasions. The taste and
ments ; but that to which he chiefly attached science of Abel were rather greater than his
himself was the viol da gamba, now hardly invention, so that some of his latter producever used. He remained in London till tions, compared with those of younger com1783, when the desire of seeing his brother posers, appeared somewhatlanguidandmonoand revisiting his native country led him tonous ; yet he preserved a high reputation
again into Germany. It was during this in the profession till his death." Abel's pubjourney, that, notwithstanding his advanced lished works consist chiefly of overtures,
age, he gave at Berlin and Ludwigslust, the concertos, quartets, and trios. His adagios
most striking proofs of his talent. King Fre- in score and for the piano-forte, have been
deric William, then prince royal of Prussia, long published separately in London ; and a
on hearing his performance on the viol da new edition of them has been lately edited
gamba, presented him with a valuable snuff- by Mr. Cramer, who was his pupil in counbox and a hundred pieces of gold. A few terpoint, previously to studying under Cleyears after this the derangement of his affairs menti.
obliged him to remain for some time at
ABEL (THOMAS) taught music and
Paris, whence he subsequently returned to grammar to queen Catherine, wife of Henry
London. Abel was a man who well knew VIII. Having written a treatise " De. non
the world and kept on tolerable terms with dissolvendo Henrki et Catharines Matri2

ABE

ABE

monio," he was hanged and quartered July very superior performer. When seventeen
the 30th, 1540.
years of age, J. E. Abel was offered the situaABEL, (AAMOB HENRY) chamber-musi- tion of instructor in the fine arts to the
cian at Hanover, was born in Westphalia, and children of a German count, for which occupublished a work in 1674, at Frankforton the pation he was thought more particularly
Maine, entitled " Erstlinge musicalische qualified, as he painted well in miniature.
Bl&men."
Here he remained during three years, when
ABEL (J. E.) was born in 1795, atLud- he was suddenly seized with a most painful
wigslust, the residence of the grand duke of disease, (the tic douloureux) that defied the
Mecklenburg'Schwerin, where his father, a power of medicine during two years, and at
nephew of C. F. Abel, has resided upwards of length made him resolve to migrate to a
fifty years, being a member of the household warmer climate, which he had a good opporband of that prince. J. E. Abel was, from tunity of doing, as his brother had previously
his earliest infancy, (together with an elder quitted his commercial pursuits, and estabrother) destined for the profession of music, blished himself in the musical profession at
and enjoyed, to that effect, the most zealous Savannah, in the United States. In the year
instruction from his father, who is a good 1819, having received a pressing invitation
violinist. Abel began his studies on the piano from his brother, he embarked at Hamburgh
and violin when he was but five years old. for America, and had the happiness to find
During a period of four years, six hours daily his disease give way on the very first touch
were devoted to the practice of both instru- of the American soil. After a few months'
ments ; and his father used to excite the residence, however, at Savannah, the climate
youthful ambition of his sons, by frequently brought on so complete a constitutional decay,
holding out to them the view of their grand- that he was again obliged to quit America
uncle's fame. At the expiration of the above and embarked for Liverpool, where he arrived
period, J. E. Abel, being then nine years old, in a state of great weakness, in September
played (with his brother) before a party of 1820. He next proceeded to London, where,
able judges; who were so surprised at the by a singular coincidence, he was introduced
attainments of the children, that several of to J . B. Cramer, while this great master was
them voluntarily offered their professional just correcting the proofs of a publication in
assistance towards the further education of grateful memory of C. F. Abel, and as a vinthe young performers. After receiving the dication of his early studies in counterpoint
promised instructions from these professors, under that master. That under such circum(some of whom were eminent) during the stances, the nephew of an honoured master
space of about two years, Abel, sen. com- should come more strongly recommended to
menced a musical excursion with his sons, such a pupil, and that he consequently met the
intending that they should perform in public kindest reception from Mr. Cramer, will
in different parts of the north of Germany. appear natural to every one who enjoys an
This plan,however,from various invidious and intimate acquaintance with the great pianist.
other motives, did not succeed in a pecuniary In short, the instructive guidance and conpoint of view; which so disappointed the tinued friendly patronage of J. B. Cramer and
father, that he decided to change the pro- Graeff, (another celebrated pupil of C. J .
fession of his sons, destining J. E. Abel for Abel) have afforded J. E. Abel the first inthe church, and his brother for mercantile ducement to, and surest foundation of, hislife. In the course of his studies for divinity, professional life in London, as teacher of the
J. E. Abel always found time, however, to piano and violoncello. J. E. Abel has pubpersevere in his musical pursuits: he now lished a few compositions for the piano.
changed the violin forthe violoncello, and took
ABELL, (JOHN) an English musician,, was
lessons of Xavier Himmer, first violoncellist celebrated for a fine countertenor voicrj, and
cf the grand duke's household band, and a for his skill on the lute, He belonged to the
E 2
3

ABO
chapel of Charles II., in which situation he
continued till the revolution, when he was
discharged as being a papist. Upon this he
went abroad, and sang in Holland, also at
Hamburgh, and other places in Germany,
where he acquired considerable wealth, but
squandered away his money, and was subsequently obliged to travel about the country
on foot, with his lute slung on his back. It
appears that after this he returned to England ;
for, in 1701, he published in London a collection of songs in several languages, dedicated to king William. This artist is said to
have possessed some secrets, by which he
preserved the natural tone of his voice to an
extreme old age. In the fourth volume of
" Pills to purge Melancholy," there are
two songs by Abell.
ABELTSHAUSER, a composer of twelve
quatuors for flutes, &c. published at Mentz.
(Boosey's Cat. 1822.). He has also written
quatuors for four horns.
ABINGDON (LORD) was an excellent
performer on theflute,and composed for that
instrument. He is said to have expended
1,6001. in a fruitless attempt to support Bach
and Abel's concerts. After the loss of this
sum, his lordship declined to volunteer any
further pecuniary guarantee, and the profession determined to try their fortune in carrying
them on. From 1785 to 1793, the performances continued toflourish;but the opposition
established by Salomon, and the increasing
taste for vocal music, put an end to the efforts
of the professors in that year. This musician
was piqued at being left out of the professional
concerts, and hearing that Haydn had been
engaged by lord Abingdon, and that he was
disappointed by the termination of his lordship's management, Salomon set off to bring
him over. It is to this circumstance that the
world probably owes those symphonies which
are the finest monuments of instrumental art.
Haydn was engaged not only to compose, but
to direct the performance of his productions ;
and thus he was roused by every motive, and
excited by the highest instances of talent, that
could be engaged in his service.
ABOS, (Syn.) chapel-master at the conservatory of La Pieta, at Naples, about the
4

ADA
year 1760. He composed the opera of " Tito
Manlio," the favourite airs of which were
published in London, by Walsh, about the
year 1756. He was a pupil of Alessandro
Scarlatti.
ABRAHAM, teacher of the clarionet at
Paris, composed a great many airs for his
instrument, about the year 1788. He also
published a methqd for the bassoon. He
died about the year 1805.
ABRAB1S, (Miss) a celebrated English
singer and composer of songs. She, with her
sister Theodosia, was first heard in public at
the opening of the ancient concerts in 1776.
Miss Abrams has, for many years past, retired from professional duties. The air of
" Crazy Jane" is the most popular of this
lady's compositions.
ABRAMS, (THEODOSIA) sister to the preceding : she possessed a fine mezzo-soprano
voice.
ACCIAJUOLT, (FiLipro) a dramatic
poet and composer, born at Rome in 1637.
He wrote the words and composed the music
to several operas. He is the first composer
whose name we observe to a comic opera,
such as was his " Girello," performed with
success in 1675. His grand operas were
" La Dumira Placata," played in 1680, and
" Ulissc."
ACCORIMBANI, (AoosTi>-o)aRoman
composer, produced several operas and other
works, between the years 1780 and 1790.
ACCORIMBONI,

(BALDASSARO)

an

Italian church composer of the sixteenth

century.
ACKERMANN, (MADAME) her maiden
name was Bachmann. In the year 1796, she
was first female singer at the Konigsberg
theatre, and performed the principal parts in
Mozart's operas.
AC1IS (ABEE) wrote about the year
1788, in the Memoircs de VAcad. Royale
des Sciences, observations on the echo in
the cathedral of Girgenti, also on the celebrated ear of Dionysius.
ADAH DE FULDA, a monk of Franconia, composer of some church music in the
fifteenth century.
ADAM, (Louis) of Paris, was born about

ADA
1760, at Miettersholtz, near the Rhine. His
first master on the harpsichord was one of his
relations, an excellent amateur; he had afterwards lessons on the piano, for some months,
from an organist of Strasburg, by the name of
Hepp, who died about the year 1800 : but
Adam is more especially indebted for the
science and talent which has placed him in
the first rank of professors of the piano, to his
unassisted study of the writings of E. Bach,
Handel,Scarlatti,andmore recently of Mozart
and Clementi. Adam, when young, taught
himself the violin and the harp, as also composition, the knowledge of which he obtained
from the writings of Mattheson, Fux, Marpurg, and other Germans. He arrived at
Paris at the age of seventeen, meaning to
follow music as a profession, and made his
debut as a composer, by two concertantesymphonies for the harp and piano, with the
violin, which were executed at the spiritual
concerts, and were the first of the kind that
had been heard. After this he applied himself
to teaching and composition. In 1797, he
was appointed professor of the piano at the
conservatory, where he has formed a great
number of excellent pupils, among whom the
most known are Kalkbrenner, F. Chanlieu, Merland, Henri le Moine, &c. Adam's
works are, " A Method of fingering for
the Piano," " A Method for Piano-playing, adopted by the Conservatory, and all
other Schools of Music in France," various
sonatas, &c.
ADAM, (D. VICENTE) a musician at
Madrid, published there, in 1786, " Instructions in Composition."
AD AMI DA #OLSENA, (ANDREA) one

of the chapel-masters to the pope at the

beginning of the last century. He published
in 1711, " Instructions for properly directing the Choristers of the Pontifical Chapel,
both for the ordinary and extraordinary
Service's," in 4to. He died in 1742.
A D A M I (ERNEST DANIEL) was director

of music at Landshut, and published, in 1750,

a work entitled " Reflections on the triple
Echo at the Entrance of the Forest of Adenbach, in Bohemia," in 4to. He also wrote
*' Dissertations on the sublime Beauties of

ADC
the Canticles, qs sung -at Divine Service,"
in 8vo. Leipsic, 1755.
ADAMI, composer of a quatuor for the
flute,&c. published at Hamburgh. (Boosey's
Cat. 1822.)
ADAMS (THOMAS) was bom in 1783. He

began his musical studies under Dr. Busby,

at about eleven years of age. In 1802, he was
appointed organist of Carlisle chapel, Lambeth, where he officiated till 1814, in which
year he was chosen (by competition of playing
against twenty-eight other candidates) organist of St. Paul's, Deptford : this situation
he still holds. T. Adams has superintended
the annual evening performances on the
Apollcm'con, since their commencement. In
his writings and extempore performances, be
makes free use both of the strict and florid.
styles, and is known to have carefully studied
the works of Sebastian Bach, Haydn, and
Mozart. T. Adams married, in 1806, the
eldest daughter of the late C. Triquet, Esq. of
the bank ; this lady is an excellent private
performer, and was a pupil of Jacob. The
following are among the principal compositions
of T. Adams : " Six Voluntaries," published
inl812 ; " Scots who. hae with Wallace bled,"
with variations for the organ, (Mayhew) ;
." Adeste fideles," with variations ; " A rose
tree in full bearing," with variations ; Paesiello's " Quant epiubella," with variations,
(the three last pieces at dementi's) ; " Deh
prendi," and " My jo Janet'."both with variations, (Harmonic Institution); " Six Fugues for the Organ," (Clementi); " Three
Voluntaries for the Organ,"
(Hodsoll.)
Thomas Adams proposes to publish, in the
couise of the year 1824, six grand organ
pieces.
ADAMS, (Miss) a professor of the piano,
forte at the royal academy of music.
ADAMUS, (DOBENSIS) abbot of a mo,
nastery near Hereford, in England, wrote, in
the year 1200, " Rudimenia Musices," The:
Rudiments of Music.
ADCOCK, (ABRAHAM) an English composer at the beginning of the last century.
His portrait is named in Bromley's Cat.
ADCOCK, (JAMES) master to the choristers of King's college, Cambridge, wa$

ADD

ADD
born in 1778, at Eton, in Buckinghamshire.
In 1786, he was admitted a chorister of his
majesty's chapel of St. George, Windsor, and
of the college of Eton, where he received his
musical education under Dr. Aylward and
Mr. Sexton, the present organist of St. George,
Windsor. In 1797, he was elected one of the
lay-clerks of St. George's chapel, and in 1799,
was appointed to the same situation at Eton
college, both of which places he gave up on
being nominated lay-clerk of King's, Trinity,
and St. John's colleges, Cambridge. Adcock's
principal compositions are glees; viz." Three
Glees, dedicated to Sir Patrick Slake,"
(Birchall); " Hark how the Sees," glee, four
voices, (Preston) ; " Welcome Mirth," glee,
three voices, (Goulding); &c. &c. In the
ensuing summer, Adcock intends to publish
rudiments of singing, with about thirty solfeggi, to assist persons who wish to sing at
sight.
ADDIMARI, (LUIGI) a Florentine nobleman, composed a musical drama, entitled
" Roberto." He died in 1708.
ADDISON (JOHN) is the soa of

an

ingenious mechanic, whose abilities were

honoured with three several commands from
his late majesty, to exhibit the machines he
was then inventing.
Addison first discovered a propensity to
music when at school; where, beginning with
the flageolet, and proceeding to the flute,
bassoon, and violin, he soon made a conspicuous figure in his village choir. About this
time a Miss Willems, (niece to the celebrated
Reinhold) being left almost destitute by the
loss of her parents, and knowing the intimacy
thathad existed between the families, claimed
the protection of Mr, and Mrs. Addison. She
possessed a fine voice, and considerable taste,
which soon captivated J. Addison, and first
made him conceive the idea of pursuing music
as a profession, particularly as it would afford
him the opportunity of cultivating her talent;
they were married, and she soon after sang at
Vauxhall, with great success.
After this she was engaged to perform at
the private theatre in Dublin, then conducted
by the Earl of Westnieath and Frederick
Edward Jones, Esq,

The interval, between the closing of Vauxhall and the opening of the Dublin theatre,
was filled up by an engagement with Mr.
Francis Aickin, at Liverpool: here it was that
Addison first stepped into the profession.
Soon after his arrival, the person who played
double bass, being taken ill, Hime, the
leader, asked Addison if he could play that
instrument; his answer was no; but as he
could play on the violoncello, he thought a
little study and practice would soon enable
him to assist in the orchestra. He accordingly
made the attempt, and soon improved so much
on the double bass, as, ever since, to rank
high as a performer on it.
Addison next went to Dublin. He had made
no engagement for himself at the private
theatre, but almost immediately on his arrival,
being found active and intelligent, as well as
skilful in his profession, he was appointed
director and superintendent of the orchestra,
which was then composed of amateurs, among
whom were the Earl of Westineath, colonel
Lambert Walpole, counsellor Curran, &c.
&c. &c. Here he had an opportunity of
studying counterpoint; and was soon employed to compose the orchestra accompaniments to the musical pieces which were
performed there.
The ensuing summer, he and his wife returned to Liverpool, where they were engaged
at both the theatre and the concerts. Being
now anxious to try his ability as a composer
of an original melody, he caused Mrs. Addison
to sing one of his songs at a rehearsal, giving
it out as a manuscript by Shield: it pleased
so much, that he was requested to let it be
performed at the next concert: he consented;
but his vanity would not permit him longer to
conceal the real composer, which he was flattered by finding did not lessen the success of
the ballad.
From Liverpool, Mr. and Mrs. Addison returned to Dublin, on an engagement for two
seasons, at a very liberal salary. His attention was now chiefly devoted to Mrs.Addison's improvement, in which he succeeded
so well, that she maintained a high rank as
a vocal performer, notwithstanding such
powerful opponents at the other theatre as

ADD
Miss Poole, now Mrs. Dickons, and Mrs.
Second.
The following summer, his father's affairs
called Addison to London,whitherhe brought
his wife, and introduced her to Mr. Harris, of
Covent-garden, who heard her, was pleased,
and instantly engaged her for as long as she
could remain before her Dublin engagement.
She made her debut in Rosetta, and performed
several principal characters with such success,
that she was offered an engagement for three
years; this, however, was not accepted, as
Mr. Jones had hopes of obtaining a public
patent, and had proposed very seducing
terms in the event of his success.
They next returned to Dublin ; where,
besides his theatrical engagement, Addison
now became in great request as a singingmaster, and taught in several noblemen's
families. Among his pupils, he had the
honour of reckoning lady Charlotte Packenham, now the duchess of Wellington.
Thinking that still more might be done for
Mrs. Addison's improvement, he passed part
of the next summer and autumn in Bath, and
placed her tinder the celebrated Rauzzini,
who was very much pleased with her, and
spoke in such handsome terms of her tuition,
that Addison declared himself her master,
and that he had a double motive for bringing
her to him, as he expected to receive much
benefit himself, by witnessing his manner of
instructing; this was pleasantly received,
and an attendance on him for some months
gratified all parties.
From Bath they returned to Dublin, where
they remained three years at the public theatre, under the management of Mr. Jones,
who had become the patentee : the summers
were passed in excursions to different parts
of the country, in the manner of our London
theatrical meteors.
About this time Bellamy, with whom
Addison was on the closest terms of friendship, became a joint proprietor of the Manchester theatre with Mr. Ward; and with
him Addison made an engagement for himself and wife, as also for the concerts at the
same place, and those at Liverpool. After
Some months' residence at Manchester,

ADD
domestic events induced Mr. Addison to
give up the musical profession; and he sought
a person who was conversant with the cotton
trade, collected the property he had, and
commenced manufacturer. In this he might
have succeeded in other times; but no
sooner had he turned the chief of his capital
into goods, than the war recommenced, and
his stock was deteriorated full twenty per
cent, in value. He now consulted his friends,
who gave him hopes that affairs would
mend; but these were delusive, for they
gradually declined ; till despairing of a
change for the better, he called his creditors
together, and found no difficulty in persuading them to take charge of the goods, convert
them into cash, pay themselves, and remit
the balance, if any, to him in London.
Previously to quitting Manchester, he
remained, however, a short time, and composed the music of a pantomime : soon after
he went to Chester with Bellamy, and
composed an opera, written by a lady of that
place.
On his arrival in London, he called on
his friend Kelly, who had for some time
opened his musical saloon. The want of a
scientific person, as well as a man of business, to conduct it, had long been felt, and
proposals at a present salary, with a prospect
of eventually becoming a partner, were made
to Addison, and accepted. He was also
engaged for the ensuing season, to play the
double bass at the Italian opera, at the
Ancient, and at the Vocal concerts, which
situations he held for several years.
In the following year, Kelly was employed
to compose the music of the Sleeping Beauty,
written by Mr. Skeffington, for Drury-lane.
Before beginning the music, however, Mrs.
Crouch was taken so ill that she was obliged
to be removed into the country: her illness
gaining ground afflicted Kelly so much that
he could not fix his mind to composition;
still the poetry having been sent, Addison
could not resist the desire of trying his ability,
and composed several songs for the piece,
which he shewed to Mr. Skeffington; at the
same time observing, that should Kelly find
himself inclined to compose them himself, he

A D I)

ADR.

" Two Words, or Silent not Dumb," " Free

and East/," &c.
For Covent-garden, he has composed the
music of " Robinet the Bandit," and arranged Boyeldieu's music, as well as composed
some pieces, in " Rose d'Amour."
When Sir George Smart first had the oratorios at Drury-lane, Addison adapted some
selections, from Winter's favourite operas, to
the sacred drama of Elijah, written by T. W.
Moncrieffe, Esq. which was successfully
repeated several times during the season.
These, with several single songs, duets,
glees, &c. are the chief of his compositions.
It should be remembered, that he was entirely self-taught \n composition, and is a
proof of what assiduity, with a persevering
mind, may accomplish.
His chief occupation, of late, has been
teaching singing. Among those of his pupils,
who are known to the public, and were
wholly instructed by him, are Messrs. Pyne,
Pearman, Leoni Lee, Millar, and Dean,
After this, Addison was engaged to com- Mesdames Rennett, Beaumont, Witham,
pose a piece for Henry Siddons; but the Healey, &c.
unfortunate conflagration of Drury-lane
ADLER (GEORGE CHRISTIAN) was born
theatre destroyed the manuscript, and his at Wohlbach, in 1674. He wrote, among
hopes for the present: however, Mr. Arnold, many other musical works, " Programma de
shortly after opening the Lyceum as an liberalium artium in Ecclesia utilitate se
English Opera House, agreed with H. Sid- rite tractentur," 1702.
dons for the piece; which he, having just
ADLER, (G.) named in Wessel and
then taken the Edinburgh theatre, put toge- Stodart's Catalogue, for 1822, as composer
ther hastily, and handed to Mr. Arnold, of a cjuintuor for violins, &c.
who brought it out, having made first such
ADLUNG, (JAMES) member of the
additions and alterations as he thought best academy of Erfurt, was born in 1699, and
adapted to his company. It was the second wrote, among other works, one entitled
opera produced on those boards, " Up at " Musical Science," a book of great utility
Night" being the first. Phillips, the emi- to organists. He died at Erfurt, in 1792.
nent singer, who had made a most successful
ADOLFATI, a pupil of the celebrated
dibut in the first opera, was not less approved Galuppi, is known as the author of several
in the second; his song of " The Young operas. In 1750, he made an attempt to
and Charming Bride," never having been unite in the same strain two sorts of time,
sung without an encore. The whole of the the one composed of two notes, the other of
music, indeed, pleased very much; and it three. The piece was effective and aphas often been regretted that a difference plauded. Adolfati imitated in this Benebetween Mr. Arnold and the author, about detto Marcello,
some further claim in the event of the opera's
ADRASTUS, a Peripatetic philosopher
exceeding fifteen nights, stopped its career.
and pupil of Aristotle, left a MS. in three
Addison has composed other pieces for the books, on harmony: this work remained
same theatre, viz. "My Uncle," " My Aunt," unknown till the year 1788, when it was
6

(Addison) would suppress his attempts. Mrs.

Croscli continuing to decline, Addison was
SMffered to proceed ; but not without that
suspicion which authors and managers naturally feel at employing untried talent. Mr.
Skeffington was very anxious to have the
words of the Woodland Maid adapted to
an air of Mozart's; but Addison having
pleased himself with his own composition for
those words, and finding that he must take
much liberty with the production of Mozart,
to adapt it to the metre, proposed that
Gibbon, who was to sing the song, should
hear both melodies, without being told whose
they were, and make his selection. The
choice fell on Addison's, and its success
proved that it was not an unfortunate one.
This song had another struggle for existence,
and was only suffered to be performed on
the first night, upon Addison's consenting to
exchange it, should it be ineffective. The
Sleeping Beauty was performed upwards of
thirty nights, with great success.

AGE
announced to have been found in good preservation, and well written, among the MSS.
in the library of the king of Sicily.

A G O

AGHTE, (F. W.) composer of some

music for the horn. (Wessel and Stodart's
Catalogue, 1822.)
ADR1AN0. See WILLAERT.
AGNELLI, (LORENZO) a composer of
ADRIANO, an Italian singer, was en- church music.
gaged at the opera, in London, in 1817.
AGNESE (MARIA TEBESA) was bom
ADRIANUS (EMANUEL) published at at Milan, about the middle of the last cenAntwerp, in 1592, a work called " Pratum tury, and is one of those composers who have
Mnsicum."
contributed much to the lustre of the LomADRIANUS (FBANCISCUS) published bard school of music. Not content with
some psalms, for four voices, at Venice, in cultivating the science to the extent usually
1567.
aimed at by her sex, she aspired to a depth
A D M E N . There are three brothers of of composition equal to the great masters of
this name : the eldest published several col- our sex; to arrive at which, she entered
lections of airs at Paris, during the time of upon studies proportionably profound and
the French revolution.
persevering.
This talent for application
J2LIANUS (CLAUDIUS) lived about seemed to be a natural inheritance in the
the year 225, and in his work, " VaritB family of Agnese, whose sister, Gaetana,
Historite," wrote jnuch on the subject of attained as much eminence in the mathemusic.
matics, as she herself did in counterAEMINGA, doctor and professor of law point. She first published several cantatas,
at Griesswald, printed, in 1740, a work on which were well received, not only as being
the productions of a female, but because
festive vocal music. He died in 1768.
AFFILARD, a didactic writer on music they bore the true stamp of genius. Her first
in Paris, at the beginning of the last century. opera was " Sofonisbu," which was well
He published " Easy Rules for singing at received, and soon followed by two others,
sight," in- which the time of the airs is "Ciro," and " Nitocri," both of which met
with decided success.
regulated by a pendulum,
AFRANIO, canon of Ferrara in the
AGOSTINI, (LUDOVICO) chapel-master
beginning of the sixteenth century : he is to duke Alphonso the Second, was born at
supposed to have invented the bassoon.
Ferrara. He published " Messe, Vespri,
AGATHON, a Greek singer, lived about Motetti, Mairigali, e Sinfonie," Ancona
400 years before Jesus Christ: his style of 1588. He died in 1590, aged fifty-six.
singing was proverbially excellent.
AGOSTINI, (PAOLO) of Vallerano,
AGAZZARI, (AUGUSTINO) born of a pupil of Nanini, succeeded to F. Soriano, as
noble family at Sienna, was chapel-master chapel-master of St. Peter's at Rome.
at Rome: according to Quadro, he was the Padre Martini has inserted an Agnus Dei
first who introduced instrumental concertos of this composer, in eight parts, which is a
into the church, about the beginning of the truly curious production, three different
sixteenth century; but by the word concerti, canons being carried on at the same time,
used in the title page of his work, is only in a clear and natural manner, both as to
meant " Salmi Concertati," or psalms melody and harmony. Agostini died at an
accompanied with violins. Agazzari wrote, advanced age, about the year 1660.
AGOSTINI, (PIETRO S I M O M ) a knight,
in 1538, a work on ecclesiastical music.
AGAZZI published three duos at Am- was born at Rome, and composed at Venice,
in 1688, " Ilratto delle Sahipe," an opera,
sterdam, in 1784.
AGELAUS obtained the first prize which which was not only represented in his own
yvas given to the players on stringed instru- country, but in several other theatres of
ments, at the Pythian games, 559 years Italy.
AGOSTINI (ROSA) was first female
before Jesus Christ.
9

A H L

A G R
singer of the theatre at Florence, in the
year 1777, when -she particularly distinguished herself with Aprile, in the opera of
Croesus, by Borghi.
AGRELL, (JOHN) chapel-master at Nuremburg, where he died, in 1767. His
compositions were numerous, and highly
esteemed in his time.
AGRESTA, (AGOSTINO) a composer of
eminence, is mentioned in the Treatise on
Music of Cerreto, published in 1601.
AGRICOLA,

(FREDERICK HENRY)

chapel-master and composer towards the

close of the seventeenth century. He died
in Germany, in 1691.
AGRICOLA, (GEORGE LEWIS)

born

at a village near Sondershausen, in

1643, was chapel-master at Gotha, and
died in 1676. He published sonatas, preludes, allemandes, &c. for two violins and
two viols da gamba; and several other
works.
AGRICOLA, (JOHN) of Erfurt, published,
in 1601, motets for four, five, six, eight, and
more voices, also canticles for the principal
festivals.
AGRICOLAj (JOHN FREDERICK) com-

poser to the court at Berlin, was a native

of Dobitschen, in Altenburg. He studied
music at Leipsic, under Sebastian Bach.
He died in 1774. Agricola translated from
the Italian, the Elements of the Art of Singing-, by Tosi. He also composed much music
both for the church and stage. Agricola's
compositions of all kinds, exhibit in their
character a happy union of genius and
facility. He was one of the best organists
of Germany.
AGRICOLA, (MARTINUS) a chorister
in the cathedral of Magdeburg. He wrote
several tracts on music, the principal of
which were republished at Wittenburg,
after his death, under the title of " Duo Lihri
Musices contincntes compendium Artis et
illustria exempla." Agricola died in 1556.

fifty years of age, she still sang bravura

airs in an astonishing manner.
AGRICOLA, (RODOLPII) an excellent
painter, orator, poet, and musician. He
was one of the builders of the organ at
Groningen. He died at an early age at
Heidelburg, in 1485. Erasmus places
Agricola among the first of mortals.
AGRICOLA, (MARTIN) singer at Magdeburg, published several musical works,
between the years 1512 and 1540. He
died in 1556.
AGRIPPA, (H."C.) born at Cologne, in
1486, was renowned for his great erudition.
In his work,"Deincertitudine Scientiarum"
he treats on music.
AGTHE, (C. C.) organist to the prince of
Anhalt Bamburg, was born in-1759. He
composed several songs and operas. He died
in 1797.
AGTHE, (A.) composer of some music for
the piano and violin. (Wessel and Stodart's
Catalogue, 1822.) We believe he is now resident at Dresden.
AGUJARI, (LUCREZIA) a celebrated female singer. She married Colla, an esteemed
composer, and sang in London for some years
at the Pantheon, where she was at one time
engaged at the enormous salary of 100/. per
night for singing only two songs. Agujari was
a truly wonderful performer. She had two
octaves of fair natural voice, from A on the
fifth line in the bass, to A on the sixth line in
the treble, and beyond that, in alt. she had
in early youth more than another octave.
Sacchini said he had heard her go up to B
flat in altissimo. She died at Parma in 1783.

AGUILERA, (SEBASTIAN DE) composer

and organist at Saragossa in the early part
of the seventeenth century.
AGUS, a composer who resided for some
years at Paris, and died there about 1798.
He was scientific, but had little taste or
genius. He published several instrumental
works, also solfeggi, which were not much
AGRICOLA,
(BENEDETTA
EMILIA approved.
MOLTENI) wife of J. F. Agricola, was a
AHL, (C. Jun.) named in Wessel and
singer at the opera of Berlin, to which place Stodart's Catalogue for 1822, as composer
she came in 1742. She had been a pupil of music for wind instruments.
of Porpora, Hasse, and Salimbeni, When
AHLE, (JOHN GEOEGE) organist at Mul10

ALA

ALB

hausen, died in 1707. He left sundry works

on the origin of music and on composition.

in 1612. He published numerous songs in

the year 1685.
AHLE, (JOHN RODOLPH) father of the
ALANUS ab INSULIS, a renowned phipreceding, was burgomaster and organist at losopher and theologian, was called, on
Mulhausen. He published at Erfurt, in account of his great learning, the Universal
1648, a method of singing, under the title Doctor. He died in 1203. In his work
of " Compendium pro Tenellis" &c. with sailed " Anti Claudiamis," he treats on
esteemed historical and critical notes. He music.
died in 1673.
ALARDUS, (L.) a protestant theologian
AHLSTROM, (OL.) organist at Stock- in Holstein, died in 1672. He wrote, among
holm, composed several operas, also sonatas. other works, one " He velerum MusicL"
He was living in 1792.
ALARIXJS set to music some songs in
AHNESORGEN (C. G.) published in a collection published at the Hague, in 1735.
1776, at Hamburgh, six sonatas for the
ALAYRAC, (D') See DAT.AYBAC.
harpsichord.
ALBANEZE or D'ALBANESE, a singer
AIBLINGER, conductor at the Italian and pupil of one of the conservatories at
opera at Munich in 1823.
Naples, came to Paris in 1747, when eighteen
AICH, (G.) regular canon of the order years old, and was immediately engaged at
of Premonstrants, published some church the king's chapel. He was first singer at the
music at Augsburgh, in 1663.
spiritual concerts from 1752 to 1762. He
AICHINGER, (G.) an organist, publish- died in 1800. His compositions consist of
ed between 1547 and 1590 a great number airs and some charming duets.
of works for the organ.
ALBANI, (MATTHIAS) a renowned violin
AIGNAN, author of a French translation maker in the Tyrol. His instruments are
of Homer's Iliad, has composed several still much sought for. He lived in the middle
operas. He was living in 1810.
of the seventeenth century, and marked his
AIGNER, (ENGELBEHTO) a German violins thus, " Matthias Albanus fecit in
composer at Vienna, of high reputation for Tyrol Bulsani," 1654.
his knowledge in counterpoint. He has
ALBANO. See SEBASTINI.
lately published " Missa quatuor vocum,
ALBARINI published some music at
tota in Canone."
Vienna, about the year 1789.
A I G U I N O ( B U E S C I A N O ) published seveALBERGANTE, (U.S.) an Italian priest,
ral musical works at Venice, between the died at Como, in 1698. He wrote several
years 1562 and 1581.
musical works.
ALBERGATI, (P. C.) of an illustrious
AIMON, ( P . L. F.) b o T n a t L i s l e i n 1 7 7 9
led the band of the theatre at Marseilles family at Bologna, was an amateur and
when in his seventeenth year. He afterwards esteemed composer of music. There are secomposed many quatuors and quintets. He veral operas of his which appeared about the
beginning of the last century, among others
was living at Paris in 1810.
AINSWORTH, a professor of music at "Gli Amici," and " II Principe Selvaggio."
ALBERGHI, (PAOLO) of Faenza, was a
Leeds, in Yorkshire, is an eminent performer
celebrated violin pupil of Tartini.
on the serpent.
ALBERGHI, (I.) an Italian composer
AIOLLAE, (FRANCESCO) a composer,
born at Florence, was living in France about and singer, was living in 1760.
ALBERICI, (G.) vicar-general at Rome,
the year 1530.
AKEROYD, (S.) an English compose; died there in 1610. He wrote biographical
towards the end of the seventeenth century. sketches of celebrated Venetian writers,
He published numerous songs in the year among whom he has noticed many eminent
musicians.
1685.
ALBERICI, (L.) an Italian poet and
ALA (G,B.) was born in 1580, and died

II

ALB

ALB

composer, at (.he end of the seventeenth and published, in 1713, ten concertos, in six
beginning of the eighteenth century. He parts, for violins.
ALBERTI, (J.) composer and court musidied in 1704.
ALBEEICI, (P. G.) an Italian poet and cian at Ferrara, lived at the beginning of
composer at the beginning of the eighteenth the last century.
ALBERTI, (J.F.) organist of the court of
century, published a musical dialogue for
Saxony, composed some chefs-d'auvres for
four voices, at Ovietto, in 1703.
the church. He died in 1710.
ALBERICI, (V.) See ALBHICI.
ALBERTI, (P.) a composer, lived at the
ALBERICUS, cardinal and Benedictine
monk of the convent of Montcassin, was beginning of the last century.
ALBERTEMI, (F.) doctor of the canon
one of the most learned men of his time.
He died at Rome, in 1106. He was the law, was born at Florence, and wrote a
treatise on music, about theyear 1510.
.author of a dialogue on music.
ALBERTINI, (G.) chapel-master to the
ALBERS, (F. B.) a composer at Jena,
king of Poland in 1784 : he composed some
was living in 1785,
ALBERT, a singer at the opera in London, operas, and was living in the year 1790.
ALBERTINI, (J.) an instrumental comin 1820. His voice was a baritone.
ALBERT, (MADAME) principal singer at poser, flourished towards the end of the
the great opera of Paris. She appeared for a seventeenth century. He composed twelve
few months at the opera in London, in 1821, sonatas, and dedicated them to Leopold I .
ALBERTUS, (MAGNUS) a learned bishop
but was not very successful. Madame
Albert is a fine actress, but a moderate of Ratisbon, died in 1280. He was the
writer of many theological works, also of
singer,
A L B E R T , ( H E N K 5 T ) a good composer and two treatises on music.
ALBERTUSj (VENETUS) a Dominican,
poet, was born at Lodestein, in 1604, and
was afterwards organist at Konigsburg, wrote a treatise on music in the middle of
where he died in 1668. He was the author the sixteenth century.
ALBICASTRO, (H.) a Swiss, whose real
of much church music, still sung in Prussia.
ALBERTI, a celebrated professor of the name was Weissenburg; be served in Spain
violin, engaged by Francis I. of France, in in the army, and subsequently published
many musical works at Amsterdam, with the
1530.
ALBERTI, a composer and guitarist at initials B. B. W. He flourished at the beginning of the last century.
Paris, was living in 1796.
ALBINI, (V.) an instrumental composer,
ALBERTI, (DoiuiNrco) a Venetian amateur, pupil of Biffi and of Lotti. He asto- published some sonatas towards the end of
nished Farinelli in Spain, by his talent in the last century.
ALBINONI, (THOMAS) of Venice, was
singing. In 1737, he set to music the Endymion of Metastasio, and a short time after, the composer of thirty-three operas for that
the Galatea of the same author. He died at city, between the years 1694 and 1730 ; he
Home very young. He was also the composer was likewise an excellent performer on the
of thirty-six sonatas in a new style. Dr. violin, and published in the beginning of the
Burney highly valued the vocal compositions 1 ast century .besides several vocal productions,
of Alberti, which are little known in England, nine different works for instruments, chiefly
and were indeed scarce, everywhere, even at light and easy concertos and sonatas for
violins. One of these works is a collection
the time the doctor was on the continent.
ALBERTI, (GUISBPPB MATTEO) a com- of airs, entitled " Balletti a tre, due Fiolinie
poser and violinist at Bologna, at the begin- Violoncello col Basso," which became so
ning of the last century. He published twelve familiar in England, that most of the comsymphonies, which being light and easy, were mon fiddlers of the time were able to play
fownerly much played in England. He also them.
12

ALB
ALBIOSO, (M.) a good musician and
poet, native of Sicily. He died in 1686,
and left a collection of * Sicilian canzonets,
which were published at Palermo.
ALBIZZI TAGLIAMOCHI, (B.) a renowned female singer at Florence, lived in
the middle of the seventeenth century.
ALBONESIO, (A. T.) born at Pavia in
1469, he was a renowned Orientalist: in
one of his works, he describes the bassoon
of Afranius, and gives a representation
of it.
ALBRECHT, (J. L.) director of the
music in the principal church of Muhlhausen, died about the year 1773. He
published many didactic works on music.
ALBRECHT, (J. M.) organist at Frankfort, was born in 1701. He composed several
concertos for the harpsichord.
ALBRECHTSBERGER (J. G.) was
born at Kloster Neubur, in the yearl 736, and
at the age of only seven years was engaged
as a singing-boy in his native town, from
whence he removed to the abbey of Moels,
where he conducted a school. In the mean
time he learnt the organ and composition
of Monn, the court organist, and was soon
himself appointed organist at Raal. In 1772,
he obtained the situation of court organist,
and member of the academy at Vienna, and
subsequently was made chapel-master at
the cathedral of St. Stephen's, at Vienna. He
died in 1803. Albrechtsberger was one of
the most learned of modern contrapuntists. He
formed a great number of eminent scholars,
among whom Beethoven is particularly distinguished. Haydn had the greatest esteem
for Albrechtsberger, and is said sometimes to
have consulted him professionally. Of his
works, his te Elementary Treatise on Composition," published in 1790, at Leipsic, is
the one by which he is most generallyknown :
it is an excellent book, andis for modemcomposition what the Gradus ofFux is for ancient
music. The principal part of this work has
been translated into French, and may be
purchased in London, in 2 vols. 8vo.

ALB

died about the year 1680. Most of his compositions are for the church.
ALBUJIO, composer and singer, was
living, about the year 1760, at Bergamo.
Some opera airs of his are occasionally met
with.
ALC^EUS, a lyric poet of Mitylene,
native of the isle of Lesbos, and celebrated
by the invention of Alcaic verse. He lived
608 years before Jesus Christ. Athenseus
calls him Musices scientissimus.
ALCOCK, (JOHN) doctor of music, was
a native of London, born inl715. When only
seven years of age, he was entered as chorister of St. Paul's, and at fourteen became an
articled pupil of Mr. Stanley, who, although
at that time himself only sixteen, was
organist of two London churches. Dr.
Alcock died at Litchfield. in 1806, aged
ninety-one. His works consist of six
suites of lessons for the harpsichord and
twelve songs, published at Plymouth; six
concertos, and some psalms, hymns, and
canons, published at Reading; twenty-six
anthems, and a collection of glees, called
the " Harmonia Festi," also many double
and single chants, published at Litchfield.
At each of the above places he was organist.
A glee by Dr. Alcock, entitled "Hail
ever pleasing solitude," gained a prize
medal at the catch club, and is considered
to be a beautiful, as well as scientific performance.
ALDAY, (P.) a composer and excellent
violin pupil of Viotti, was born at Perpignan.
He left Fiance in the revolution, and came to
London, where he published much music for
the violin. He subsequently gave lessons at
Edinburgh ; and is, we believe, at present
settled in Dublin. (Clementi's Cat.)
ALDERINUS, (COSMA) a Swiss composer, published at Berne, in 1553, fifty-seven
hymns.
ALDOVANDRINI. This Italian musician composed seven operas for Bologna
and Venice, between the years 1696 and
1711.
Some of them were comic, espeALBRICI,(V.) a Roman composer and cially one, entitled " Amor Torn a in 58, al
organist, whom the queen Christina of 50," which was written in the dialect of the
Sweden brought with her out of Italy, He Bolognese peasantry.
13

AL D

ALE

ALDRICH, (Rev. Dr. HENRY) ap- say that, for masses, motets, madrigals, and
pointed dean of Christ Church, Oxford, in anthems of the sixteenth and seventeenth
1689, was a singular instance of an unpro- centuries, the collection is the most complete
fessional musician. At the same time that of any that he had an opportunity of conhe was greatly distinguishing himself as a sulting.
ALDRIGHETTI, (ANTONIO LODOVICO)
polemical -writer, a polite scholar, a theologian, a profound critic, an architect, and a an Italian nobleman, born at Padua,
man of sound judgment and exquisite taste was professor of law there, and wrote a
in arts, science, and literature in general, he work on music and poetry. He died in
became so profound and skilled in the theory 1660.
and practice of harmony, that his composiALDROVANDINI.
See ALDOVANtions, particularly for the church, equal in DBINI.
number and excellence those of the greatALEMBERT, ( J E A N LE BOND D ' ) beest masters of his time. Though not more tween the years 1690 and 1711, composed
than five or six of his choral productions for Bologna and "Venice several operas. He
continue to be performed, except at Oxford, also published some sacred music.
yet he composed nearly forty services and
ALEOTTI, (RAFAELE A R G E N T A ) an
anthems, which are preserved in the third Augustine monk at Ferrara, published some
volume of Dr. Tudway's collection, in the motets and madrigals in the seventeenth
British Museum. Besides these, Dr. Aid- century.
rich enriched our cathedrals with many
ALEOTTI, (VITTORIA) a female comadmirable compositions, by adapting English poser of madrigals in the latter part of the
words, from the psalms or liturgy, to an- sixteenth century.
thems and motets of Tallis, Bird, PaALESSANDRI, (FELICE) born at Rome
testrina, Carissimi, Graziani, and Bassani, in 1742. He came to England in the year
which were originally set to Latin words, for 1768, and composed two comic operas for
the Roman Catholic service. Among his our stage, " Le Moglie Fedele," and "II
compositions of a lighter kind, he amused re alia Caccia," which are not devoid of
himself with setting rounds and catches, of merit. He was the husband of signora
which eight or ten are inserted in the two Guadagni, an excellent Italian singer. On
books of the Catch Club, or Merry Com- his return to the continent he composed
panion. The smoking catch, " Good ! good ! many other operas up to the year 1792.
indeed," and the round, " Hark the bonny
ALESSANDRO, (ROMANO) a singer'
Christ-church Bells," have been always admitted into the pope's chapel in 1560,
admired; the first for humour and contriv- was likewise so exquisite a performer on
ance, and the second for its pleasing melody the viol, that he obtained the cognomen of
and general effect. The admirable choral Alessandro dclla Viola. He composed modiscipline Dr. Aldrich preserved in his tets accompanied by many instruments,
college, at Oxford, for upwards of twenty which seem to have been the first of the kind.
years, is still remembered. Indeed, without Adami says, that Alessandro Romano also
neglecting more important concerns, he invented canzonets for four and five voices.
seems to have interested himself in the
ALEXANDER, (J.) violoncellist and
cultivation and prosperity of the musical art,
composer at Duisburg, has published, chiefly
with as much zeal and diligence, as if his
at Amsterdam, several works for that instrustudies and pursuits had been circumscribed
ment, since the year 1800.
to that alone. He bequeathed to his college,
ALEXANDER ab ALEXANDRO, a
at his decease in 1710, an admirable
Neapolitan lawyer, died at Rome, in 1523.
collection of music. Dr. Burney says, that
He wrote some works on ancient music.
having in 1778 and 1779 made a catalogue
ALEXANDER, (SYMPHONIAKCHA) a
of these musical works, he can venture to
composer in the early part of the seventeenth
14

ALL

A LM

century, published three books of motets,

at Frankfort, in 1606.
ALEXANDER (C. G.) author of six
duets. Paris, 1775.
ALGAROTTI, (Count FRANCESCO) was
born at Venice, in 1712. He was much
esteemed by Frederick I I . king of Prussia.
He died at Pisa, in 1764. He wrote an essay
on the opera, which was translated into
English, and published in 1767.
ALGISI or ALGHIS1, (D. P . F.) a
renowned Italian composer, bom at Brescia,
about the year 1666. He afterwards lived
at Venice, and composed two operas there,
which were much esteemed, especially, " 11
Trionfo de la Continenza."
ALLATIUS or ALLACCI (LEO) wrote
a treatise on the melodies of the Greeks.
He died at Rome in 1669. He was a professor of Greek, and principal inspector of
the library of the Vatican. He had a great
facility in copying Greek manuscripts, and,
it is said, was so much grieved as to have
wept on wearing out the only pen which he
had used in copying during the space of
forty years. Allatius was also the author of a
useful catalogue of dramatic pieces up to the
year 1667, entitled the " Drammaturgia."
ALLEGRANTI, (MADDALENA) an emi-

nent Italian singer: she made her first

appearance at Venice, in 1771, and after
singing at several other Italian theatres,
went in 1774 into Germany, where she
continued to perform at Manheim and
Ratisbon, till the year 1789, when she
returned to Venice, and after performing
there at the theatre of San Samuele, during
the carnival, came to England in 1781.
Her voice was very sweet and flexible,
though not very powerful. In 1783, she
returned to Germany, when she was engaged at Dresden, by the elector of Saxony,
at a very large salary. We find her again
performing at the oratorios in London, in
the year 1799.
A L L E G R I , (GIOVANNI

BATTISTA) or-

ganist in the Venetian States, published some

motets at Venice in the year 1700.
ALLEGRI, (GREGOBIO) bom at Rome
of the family of Corregio, was received in

1629 in' the pope's chapel as a singer and

composer. He was a pupil of Nanini, His
celebrated Miserere is still sung in the papal
chapel during Passion-week, and is forbidden
to be copied on pain of excommunication. It
is well known that Mozart, having heard it
performed twice, retained the score so strongly
in his memory,that he wrote it down in almost
perfect conformity to the original manuscript.
The Miserere of Allegri was printed in London in 1771, under the superintendence of
Dr. Burney ; and in 1810, Mr. Choron inserted it in his collection of classical music.
Allegri died in 1652, and was buried in the
chapel of Santo Filippo Neri, in the Chiesa
Nova at Rome. This is now the common
place of interment for the singers of the pontifical chapel. The following is the striking
epitaph inscribed on the walls of the chapel:
Cantores pontificii
Ne quos vivos
Concors melodia junxit,
Mortuos corporis discors resolutio dissolveret,
Hie una condi volutire.
The pontifical singers
Anxious that those
Whom harmony united in life
Should not be separated in death
Wished this as their burial-place.
ALLEN, an excellent violinist, resident at
York.
ALLISON, (RICHARD) professor of music in London, in the reign of queen Elizabeth, was one of the ten composers who
adapted the Psalms to music ; they were first
published by Thomas Este, in 1594: some
of the tunes are still in use.
ALOUETTE, (JNf.) conductor of the music
in the church of Notre Dame at Paris, is
known as a composer by his motets, and a
very fine Miserere. Lully was his master.
ALLWOODE, an English composer for
the organ in the seventeenth century.
ALMEIDA, (ANTONIO DE) was chapelmaster of the cathedral at Oporto in the
middle of the seventeenth century, and composed several comic musical works.
ALMEIDA (MANDO DE) a Portuguese
composer of church music, died in 1660.

15

A M A

A L '?
ALMEIDA or ALMEYDA, an instrumental composer, published several operas of
quatuors about the year 1800. Some of his
waltzes and other piano-forte music are published by Clementi.
ALMELOVEEN, (THEODORE JANSSON

AB) professor of medicine at Harderwyck.was

born in 1657. He wrote a work on musical
inventions, in 1712.
ALMENRAEDER, composer of some
music for the bassoon. (Boosey's Cat. 1822.)
ALMERIGHIDERIMENO,(J.) chamber-musician to the landgrave of Hesse
Darmstadt, published six sonatas in 1761,
at Nuremburg.
ALMEYDA, (C. F.) a violinist and composer at Madrid. Pleyel of Paris published
six quartets of this composer in 1798.
ALOVISIO (G. B.) published in 1628
and 1637 some church music at Bologna.
ALOYSIUS (JOHN BATTISTA)

resided

1718, a work entitled, " Compendium Musicum."

ALTNIK OL, an organist in Saxony, pupil
and relation of Sebastian Bach, composed in
the middle of the last century much church,
music.
ALUERI, an Italian composer at the
commencement of the eighteenth century.
ALVIMARE, (P. A.) a celebrated French
amateur harpist and composer for this instrument, at the commencement of the present
century. He has composed many very pleas,ing Romances.
ALIPIUS, born at Alexandria, in Egypt,
lived about the year 360. His manuscript
de Mlcsicis is preserved in the library at Bo^
logna. Without this manuscript we should
ifever have known in what manner the ancients wrote their music. Their musical
characters appear to have been 1620 in>
number, as may be seen by the Tables of
Alipius.

at Bologna towards the end of the sixteenth

and beginning of the seventeenth century.
AMADE, (COUNT THADE D') composer of
He composed much church music, part of a sonata and other music for two piano-fortes.
which was published at Venice.
(Wessel and Stodart's Catalogue,1822.)
ALOYSIUS, (JOHN PETH.) See PALESAMEDEI, an Italian composer in the. beTRINA.
ginning of the eighteenth century, composed
ALPY, (D') a composer of three songs. jointly with Orlandi, the operaof " A&sace."
(Birchall's Cat. 1818.)
AMADIO (CAR.) published some Italian,
ALSTED or ALSTEDIUS, (JOHN HEN- dramas about the year 1669.
RY) a German divine, wrote, among many
AMADIO, ( P I P P O ) a violoncellist, lived
other works, the following, which was trans- at the commencement of the last century.
lated into English, " Templum Musicum,
AMADORI, (JOSEPH) pupil of Bernacchi,
being a compendium of the rudiments both was a principal composer of the Roman school
of the mathematical and practical parts of at the time that Porpora, Leo, and Vinci were
music, on which subject not any book is ex- at the head of the Neapolitan school. He
tant in the English tongue. Faithfully trans- published at Rome, in 1702, an oratorio called!
lated out of the Latin, by John Birehensha " The Martyrdom of St. Adrian."
London, 1664." This book consists of little
AMADRT, (MICHAEL ANGELO) a t o m more than nearly unintelligible and dry poser of motets in the sixteenth century.
definitions. Alstedius died in 1638.
AMADUCCI, (DONATO) a composer in
ALT, secretary to the town of Glogau, a the seventeenth century.
composer and violinist, published some quarAMALARIUS, (SVMPHOSIUS) a priest at
tets at Berlin about the year 1790.
Metz, and composer of church music about
ALT, ( P H I L I P P E SAMUEL) composer and the year 380.
organist at Weimar, was born in 1689.
AMANTINI, knight, and first soprano
ALTENBURG, (MICHAEL) a Lutheran singer to the queen of France in 1783.
clergyman at Erfurt, where he died in 1640.
AMANTIUS lived at the beginning of the
He published some sacred music.
seventeenth century; he wrote a treatise on
ALTMANN published at Breslau, in music.
16

AMB
AMATI, an Italian composer: he was engaged in 1790 at the opera at Petersburg.
AMATI. There were four persons of this
name, natives of Cremona, and celebrated
makers of violins ; that is to say, Andrew, Jerome and Antony his sons, and Nicholas, the
son of the latter. Andrew flourished about
the year 1600. Besides these there were two
persons of the name of Stradivarius of Cremona, admirable artisans; the latter was
living at the beginning of this century: his
signature was "Antonius Stradivaritis, Cremonensis faciebat, Anno."
Andrew Guarnier, also of Cremona, signed thus, "Andreas
Guarnerius, fecit Cremotuemb titulo Sanctee
Teresa, 1680." The violins of Cremona are
exceeded only by those of Stainer, a German, whose instruments are remarkable for
a full and piercing tone : his signature is
as follows, " Jacobus Stainer, in alsam
prope JEnipontum, 1647." iEnipous is
the Latin name of Inspruck in Germany, the
chief city of the Tyrol. Matthew Albani,
also a Tyrolese, signed thus, " Matthias

Albanus fecit in Tyrol Bulsani, 1654."

AMATUS, (VINCENTIUS) born in Sicily
in 1629, was chapel-master at Palermo.
He published some church music for three,
four, and five voices. He died in 1670.
AMBREVILLE, (ROSE) wife of Peroni
the violoncellist. She was born in Italy, and
in 1773 was first singer at Prague, in the grand
opera " Constanta e Fortezza," by Fux,
which was performed in the public marketplace of the above town, by 100 excellent
singers, accompanied by 200 instruments.
AMBROGETTI, an Italian bass buffo
singer at the opera in London. Hefirstappeared in 1817, and quitted England before
the season of 1822. He had much fire, whim,
and richness in his style, but was sometimes
too extravagant and absurdj
AMBROGI, a bass singer at the Italian
opera at Berlin, in 1823. He has been also
received with great applause at Vienna.
AMBRONN, (PETER CHRISTIAN) cham-

ber-musician to the duke of Saxe-Meiningen,

was born in 1742. He is said to have been
an eminent contrapuntist.
AMBROSCH, a celebrated singer at the
VOL. I .

AMI
German theatres, and a composer of vocal
music, up to the year 1800.
AMBROSINE, a first female singer about
the year 1722, at the conservatory of La
Pietcl at Venice.
AMBROSE (ST.) introduced what is
called the CantusAmbrosianusjntohis church,
at Milan, about the end of thefourth century.
He is said by St. Augustine to have brought
this manner of singing from Greece. Those
who have written on the subject agree, that
St. Ambrose only used the four authentic
modes, and that the four plagal were afterwards added by St. Gregory.
AMBROSE, an English composer of batlads, (dementi's Catalogue.) He is a professor of music, resident at Chelmsford.
AME, a violinist and composer. He led
the band at the Italian opera at Paris ia
1760.
AMENDA, a violinist and composer for
that instrument, is the son of a clergyman in
Courland. He was at Riga in 1799.
AMENDOLA, an Italian composer of
operas towards the end of the last century.
AMERJBACH, (E. N.) organist at Leipsic
in 1571: he composed several works for that
instrument.
AMERIGHI, (SIGNORA) of Bologna, a
singer of extraordinary merit at Naples, at
the commencement of the last century.
AMICIS, (ANNA DE) an Italian female
singer; she performed in the comic operas in
London in 1763, and was afterwards selected
by J. C. Bach, to take the principal parts in
serious operas. Her figure and gestures were
in the highest degree elegant and graceful;
her countenance, though not perfectly beautiful.was extremely high-bred and interesting,
and her voice and manner of singing exquisitely polished and sweet. She had not a
motion that did not charm the eye,noratone
but what delighted the ear. De Amicis afterwards held the first rank among female singers
in the serious operas of Naples and other
capital cities of Italy.
AMICO, (RAYMUNDUS) a Dominican
monk, born in Sicily, published some motets
at Messina, in the year 1621.
c
17

AND

AMO
AMICONI, (ANTONIO) a Neapolitan
composer for the theatre at the end of the
last century.
AMIOT, a Jesuit and missionary to China,
translated the works of Ly-koang-ty, which
the Chinese consider their best publication
on music. He sent this translation in 1 754
to the secretary of the academy of inscriptions, who deposited it in the royal library
at Paris, where it is still to be found among
the manuscripts. Amiot also sent to Paris
an original treatise on the music and musical
instruments of the Chinese.
AMLING, (MATTH^EUS) music-master at
Nuremburg, was born in 1603. Some of his
compositions are to be met with.
AMMEKBACH, (EUSEBIUS) organist
and organ-builder at Augsburg, lived in the
latter part of the sixteenth century.
AMMERBACHER, (J. G.) singer at
Nordlingen, published in 1717 a short method for singing.
AMMON, (ANTON BLASIUS) a native of

the Tyrol, died in the year 1590. Many of

his sacred musical compositions were afterwards collected and published at Munich.
AMMON, (DEITEICH CHRISTIAN)

amu-

sician at Hamburgh, composed an opera there

in 1791.
AMMON, (J.) director of the music at
Heilbronn. He went to Paris about the year
1790, and has published there many instrumental works.
AMMON, (JOHANN CHRISTOPH) a cler-

gyman at Enshein in Franconia, published

in 1746, in thejournals of Ratisbon, a dissertation, in which he endeavours to produce
proof that there is really excellent music in
the life to come.
AMNER, (JOHN) bachelor of music, and
organist of the cathedral of Ely, lived in the
beginning of the seventeenth century. He
published " Sacred Hymns of three, four,
five^ and six parts, for Voices and Viols,"
London, 1615 ; likewise some anthems, the
words of which are to be found in Clifford's
collection.
AMODEI, (CATALDUS) composer and
chapel-master at Naples, died in 1695. He
published some cantatas, &c.

18

AMCEB^SUS, a celebrated Greek harper,

whenever he appeared on the stage, was paid
an Attic talent, or 193 15*. a day for his
performance.
AMON, (J.)

See AMMON, (J.)

AMOREVOLI was an admirable tenor

singer; he was engaged by the Earl of Middlesex, at the opera in London, in 1741.
AMPHION, a Theban, softened, by the
sound of his lyre, the savage manners of the
first inhabitants of Greece, and engaged
them to build towns. He invented the
Lydian measure. See PLUTARCH.
AMSELIUS, (PANCRATIUS) born atBostock in 1693, was an eminent singer.
ANACREON, born at Teos in Ionia, lived
500 years before Jesus Christ. He is said by
Athenaeus to have invented the instrument
called Barbiton. He died (as is well known)
by being choked with a grapestone.
ANASTATIUS, a modern Greek composer
and violinist, in the service of the sultan at
Constantinople, about the year 1786.
ANAXENOR, a famous'performer on the
lute, lived about forty years before Jesus
Christ. Mark Antony gave him guards, and
the revenues of four towns.
ANCHERSEN,(AusGAnius) aphysician
at Copenhagen, wrote, about the year 1720,
a dissertation on the powers of music over
the human body.
ANDERLE, (F. J.) an amateur on the
violin, was a brewer at a town in Bohemia.
In 1762 he abandoned his family, leaving his
house without taking leave of any one, and
carrying with him only his violin, a few ducats, and a change of linen. After having
traversed Poland, he went into Hungary,
where he established himself, and made
a large fortune by his extraordinary talents.
ANDERS, (HEINRICH) organist of the
old church at Amsterdam, was born in Germany in the year 1690. He published in
1720 two books of sonatas.
ANDERSON, (JOHN) a composer of
Scotch music, considered by some as unrivalled since the days of Oswald. He died
at Inverness in 1808. (dementi's Cat.)
ANDERSON, (Lucy) daughter of Mr.

AND
John Phillpot, music seller and professor of
music, was bora at Bath in 1797. The only
instruction Mrs. Anderson ever received on
the piano-forte was from her cousin, Mr.Windsor of Bath, and that was very irregularly
given; but her natural love for the art induced
her to persevere with no other assistance than
what she derived from hearing the several
eminent performers who occasionally appeared at the Bath concerts. At a very
early age, Mrs. Anderson (then Miss Phillpot) followed her profession, and played
with great success at the Bath conceits. But
in consequence of her health suffering from
a residence in that town, she was induced
to come to London, where the success she
met with determined her finally to settle.
Mrs. Anderson has played several times in
public, particularly at both the City amateur concerts; and she is the first, and indeed
the only female (as yet) who has performed
on the piano-forte at the Philharmonic concerts. In July 1820, she was married to Mr.
Anderson, also a professor of music.
ANDERSON, (GEORGEFREDERICK) hus-

band of the preceding, and professor of the

violin and piano-forte, was born at Carlton
palace in the year 1795. He was a pupil of
Wiechsell. Anderson has for many years
played at the Opera, Ancient, and Philharmonic concerts, of which last society he is
an associate. He is also musician in ordinary to his majesty.
ANDRAT (A.A.) published three quartets at Paris in 1803.
ANDRE, an excellent performer on the
serpent, and one of his majesty's household
band.
ANDRE (JOHN) was born at Offenbach,
in 1741. He was first intended for trade by
his friends, who had a silk manufactory in
that town. Andre was not regularly taught
music, though he had a great taste for i t ; all
the instruction he obtained in that art, till the
age of twelve, was from one of his little companions, who went to Frankfort to take
lessons on the -violin, which he repeated to'
Andre\ In this way he improved much :
he soon afterwards taught himself the
harpsichord and the rudiments of composi-

A ND
tion. Till the age of twenty Andre" had
only composed a few songs; but being at
Frankfort about the year 1760, he heard
the French and Italian comic operas there,
which determined him to attempt composition for the theatre. His first work of this
description was the little opera called " The
Porter," which was played at Frankfort, and
pleased the public by its gaiety and simplicity. He next composed " Erwin and
Elmira," which also succeeded. In a short
time these two pieces were performed at
Berlin, and were so successful, that their
author was sent for to compose for the
theatre of that metropolis; where also he
followed up his studies in eompositionunder
the direction of the celebrated Marpurg.
Andre' continued at Berlin for several years,
and composed many operas ; he afterwards
returned to Offenbach, where he had previously established a considerable music
warehouse. He died about the year 1800.
ANDRE, (JOHN ANTONY) third son of

the preceding, was born at Offenbach in

1775, and evinced at an early age great
talent for composition ; one of his works is
dated 1788, when he was only thirteen
years of age; this consists of six minuetto
movements for a full orchestra; from that
period he has published yearly much instrumental music till 1807, which is the date
of his Op. 80. Andre succeeded his father
in his considerable music warehouse at
Offenbach in the year 1799, and in 1802
introduced there, with much success, the art
of musical lithography. .. He has set to
music Burger's poem of Leonora; and this
composition has been so successful on the
continent, that the fifth edition of it was
published at Offenbach in 1820.
ANDRE (LEWIS) was in 1729 chapelmaster and composer to the king of Poland.
ANDRE, (YVES MARIE) a Jesuit, was

born at Caen in Normandy in 1675. He

wrote a treatise on the beauties of music.
It is contained in his work called " Essai
sur le Beau" Paris, 1741, which has gone
through many editions.
ANDRE, of Modena, a monk, published
in 1690 a work on vocal music.
c2
19

A N t>
ANDRE, (LUCREZIA) often called Cara,
a celebrated Italian singer at the beginning'
of the last century : she was in the service of
the grand duke of Tuscany.
ANDREA, (HONOFRIO D') a Neapolitan
poet, wrote a discourse on music at Naples
in 1636.
ANDREA, (NicoLAtrs) pastor in Swedish Lapland, published some church music
at Stockholm, at the beginning of the
seventeenth century.
ANDREAS ARROENSIS, a composer
of the seventeenth century, published the
Psalms, set to music, in 1626.
ANDREAS, (CRETENSIS) archbishop of
Crete, died in 724. He composed much
music for the Greek church.
ANDREAS, (SYLVANUS) a renowned
contrapuntist about the year 1540.
ANDREINI, (ISABELLA) a celebrated
singer, poet, and actress, born at Padua, in
1562. She lived a long time in France, and
died in 1604.
ANDREONI, an Italian soprano singer.
He was engaged in 1741 for the opera in
London.
ANDREOZZI, (GAETANO) bom about
the middle of the eighteenth century, was a
relation and pupil of Jomelli, and master of
the royal chapel of Naples. He composed
for all the principal theatres of this capital,
and also for the greater part of Italy. His
principal operas are " Arhace," " Olympiade," and " Catone," Florence, 1787 ;
" Agesilao," Venice, 1788. His favourite
air, " Ah ? quest' anima non speH" is
still much celebrated in Italy, and the
oratorio, " La Passione di Gesu Cristo,"
is justly esteemed. His style was learned,
graceful, and dignified. Andreozzi also composed some quartets for the violin, in
excellent taste.
ANDREOZZI, (ANNA) wife of the preceding, was principal female singer in 1791,
at Florence; and in 1801, at Dresden ; where
shortly after she lost her life by being overturned in her carriage.
ANDREWS, an excellent performer on
the tenor, resident at Manchester. He
played at the York festival in 1823.
20

ANi
ANDRIGHETTI (A. L.) published in
1620, at Padua, a work on music.
ANDRON, a flute player, born in Sicily,
is said to have invented, about the year 130,
the art of dancing in correct time to music.
ANDRONICUS, a Neapolitan musician
of antiquity. He composed a hymn, which
was solemnly chanted by a chorus of young
virgins, to appease the wrath of the Gods
against the Romans. (Vide Sallust.) In
the private as well as public sacrifices of
the ancient Romans, music was considered an important adjuvant to their ceremonials. The flute was the instrument in
use, as also in Greece, to accompany the
voices of their priests. The flutes used in
the temples were made of box-wood, those
for the theatres and public games, of silver.
The trumpet and the lituus were also introduced (according to the Grecian custom)
during the hecatombs. To show the importance which was attached to the musical
characters in ancient Rome, it is related that
early in the history of that city, the musicians
formed together a college or society, and were
accustomed to partake daily of a dinner at the
capital, given them by the state. On account
of this dinner being suppressed, they all retired to Tibur; and the only terms on which
they would agree to return to Rome, was not
only the renewal of their usual daily repast,
but to be treated with much more magnificence. As a foretaste of which enjoyments,
a banquet was prepared for them at Tibur,
where they all became inebriated, and in
that state were removed to Rome.
ANDROT (A. A.) was born at Paris in
1781; he was admitted, in 1796, a pupil of the
conservatory, and in 1802 gained the prize
for composition. He then went to Rome,
where he was patronised by Gugielmi, and
composed some church music, which was
performed in Passion-week in 1804. Just
as he had finished a " De profundis," he
died, in the twenty-third year of his age.
ANEAU, (BARTHELEMY) author of two
books, the one containing church music, and
the other the fourth eclogue of Virgil set to
music, printed at Lyons in 1539 and 1559.
ANERIO (FELICE) is said by Wailherto

AN F

ANF

have been a pupil of Maria Nauino, and by

Adami to have succeeded Palestriua as
Maestro rli Capella of the pontifical chapel.
These two circumstances alone, imply no
common degree of merit; and, according to
Adami, many admirable compositions by this
author were preserved in the pope's chapel,
and in daily use. He seems to have been
regarded as a great master of his profession.
His madrigals for six voices were piinted at
Antwerp, 1599, and canzonets for four voices
at Frankfort, in 1610; which, for a time, enjoyed a considerable share of public favour.

1773, experienced so brilliant and so continued a success, that Piccini beheld his
repose compromised, less by the merit of
the work, which could in no case have surpassed his own, than by a spirit of envy
and intrigue, which made use of it to inflict
disgrace more unjust than painful to him, but
which obliged the master to give way to the
disciple. Anfossi, freed from the presence of
his master, and proud of the unexpected
favour of the Romans, (he alone was talked
of in Rome, his music only was listened to)
redoubled that ardour with which Piccini
himself had inspired him. He became
more laborious, more active than ever he
had been; he composed with the greatest
care and the most scrupulous attention; and
having completed the opera of " La Finta
Giardiniera," it was performed in 1774,
and he beheld, with less joy than surprise,
that the public continued its favour. It was
followed by " / / Geloso in cimento," in
1775, which met with the same good fortune. This composer had, however, not yet
essayed his talents in the most difficult style.
He had not yet written a serious opera;
which, if it demands less vivacity than the
comic, requires more real genius, and a knowledge of the noblest, most intense, and most
expressive emotions of the human heart. He
wrote the opera of " U Olympiade;" it was
performed in 1776, and he had the grief to
behold the fall (as great as it was unseen) of
his work. He now experienced, in his turn,
the pain his master had undergone; he
felt that disgrace inflicted by a public, who
had lavished favours upon him, was the
most painful to endure; and like Piccini,
being unable to support the blow this event
inflicted upon his sensibility, he quitted
Rome. Anfossi traversed Italy, and stopped at Venice. The Venetians enjoyed the
new works composed for them, and this
enabled him to forget his disgrace. He
was named director of one of the conservatories of that city. With this honourable title,
he repaired to Paris in 1780, where he gave
" Caius Marius," at the academy of music.
The success of this work, although not brilliant, was satisfactory to the author. He
21

ANERIO, (G.F.) a Roman composer and

chapel-master at Verona, at the beginning of
the seventeenth century, published madrigals
and other works at Venice and at Rome.
ANFOSSI, an eminent performer on the
double-bass, at present resident in London.
He performed at the York musical festival
in 1823.
ANFOSSI, (PASQUALE) born about the
year 1736. He first applied himself to the
practice of the violin, in the conservatories of
Naples; but feeling that his imagination was
too much restrained by this study, he preferred that of composition, under the
auspices of Sacchini and Piccini; the latter
of whom, perceiving in him marks of vigour,
tact, and most of those qualities which fit a
musician for his art, conceived an affection
for him, and soon communicated to him
some part of the fine talent which he himself possessed. Piccini procured him his
first engagement, in 1771, for the theatre
Delle Dame in Rome. The first attempt
of Anfossi was unfortunate; but Piccini made
a like engagement for the following year, and
notwithstanding a second failure, he concluded a third for the next, and exhorted
Anfossi, who had prepared to leave Rome in
disgust, to apply with greater ardour, instead
of being discouraged by the first obstacles he
might encounter in his arduous career. His
counsel was prophetic, and so favourable to
his pupil, that they soon turned to the disadvantage of the master who gave them.
Anfossi hesitated not to follow them. He
composed his opera of " II Sconoscmto
perseguito," which, when performed in

A N G

A NJ

then gave " / / Sconosciuto perseguito,"

adapted to French words; but whether the
Italian style was not yet perfectly understood at Paris, or whether the translation of
the words was prejudicial to its effect, it
certainly did not succeed according to its
merit. It was uncertain whether this was
the cause of Anfossi's leaving France, but
he quitted Paris in ,1782, and repaired to
London, where he remained till 1785; but
he arrived at an unfavourable time, for Sacchini had preceded him, and the affairs of the
opera were in so embarrassed a state, that
his reputation was diminished rather than
increased by his visit to England. He returned to Rome in 1787, where he composed
several works, and had the happiness to
meet with universal applause. Pie died in
that city about 1795, in the enjoyment of
considerable reputation. The compositions
of Anfossi do not bear the stamp of genius
like his two predecessors, Piccini and Sacchini," on whose style his own was formed.
He understood the art of developing and refining musical expression, and many of his
finales became models of this department of
art. His clearness of style may be compared
to the same quality in literature, and his
fecundity proves that he wrote with facility.
Plis opera of " L'Avaro" is considered as his
chef-d'auvre;
and amongst his oratorios,
" Betulia Liberata" is most distinguished.

at Bretkow, published a work on singing, in

1798, at Stendal.
ANGIOLELLI, a celebrated singing master and singer in Portugal, in 1822.
ANGIOLINI, (GASPARO) ballet-master
to the emperor of Russia, wrote about the
year 1789 several works in Italian, on his
art.
ANGIOLINI, (GIOVANNI FEDERIGO) a

good composer, born at Sienna, has lived

chiefly in Prussia and Russia, and published
much music for the harp and piano-forte.
ANGKISTRO, composer of a sonata in
London, about the year 1795.
ANGLEBERMAEUS or ENGLEBERMAEUS, (JOANNES PYRRHUS) a lawyer at

Orleans,lived in 1540, and published a work

on music and dancing. ANGLEBERT, (J. K.) chamber-musician of the king of France and organist. He
published some works for the organ and
harpsichord, about the year 1679.
ANGLERIA, (CAMILLO) a Franciscan at
Cremona, studied counterpoint under Coreggio. He died in 1630. He is the author of
rules for composition, published at Milan in
1622.
ANGLOSINI, a composer of songs published by dementi.
ANGRISANI, (CARLO) an Italian singer
and composer, published some collections of
Notturni, at Vienna, in 1798. He sang at the
ANGEBER (W.) published some piano- opera in London for several seasons, from the
forte lessons at Augsburg about 1799.
year 1817. His voice was remarkable for the
ANGELI ( L E PERE) lived at the end of roundness, gravity, and volume of its tones.
the seventeenth century. He published in
ANIMUCCIA, (GIOVANNI) born at Flo1691 a work on counterpoint.
rence, was an eminent composer of motets and
ANGELINI, (ORAZIO) a fine performer madrigals in four parts, printed at Venice, beon the organ, lived in Italy in 1580.
fore the year 1558. He also published a set
ANGELO, (COUNT) born at' Venice, of masses at Rome, dedicated to the canons
was author of several musical dramas per- of the Vatican. He was chapel-master of
formed at Venice about the year 1654. St. Peter's at Rome, and died in 1571. AniAmong these are " Cleopatra," " Deme- muccia is named as one of the companions
trio," and " AureMano"
of San Filippo Neri, who first applied music
ANGELO DA PACCITONO, a Francis- to the purpose of attracting company to the
can, published at Venice, in 1547, a work on Chiesa Nuova, or New Church at Rome, on
music.
Sunday evenings ; whence sacred dramas, or
ANGELO, (MICHAEL) of Bologna, prin- mysteries or moralities in music, were afterwards called Oratorios.
cipal soprano at Munich in 1786.
ANGERSTEIN,(JOIUNN KARL) apriest
ANJOS, (DIONISIO DOS) a good composer

22

AN S
and harpist; he likewise performed on the
viol da gamha. He died at Lisbon in 1709.
He wrote some church music and motets.
ANNA, (D. G. D') an Italian, printed
some trios for two violins and a bass, at
Naples, in 1793.
ANNA AMELIA, duchess dowager or
Saxe-Weimar, was born at Brunswick in
1739.
She was taught counterpoint by
Wolff, and composed several musical works.
She died in 1807.
ANNA AMELIA of Prussia, sister to
Frederic the Great, was born in 1723. She
was a pupil in composition of Kirnberger,
and composed a sacred cantata of extraordinary merit, and several other musical
works. She died at Berlin in 1787, and
bequeathed her very valuable collection of
music to the Gymnasium at Berlin.
ANNELLI, an Italian vocal composer
towards the end of the last century. Two of
his songs, " Calma di Cahna," and " LaTUniembranza" are published at Goulding's.
ANNIBAL, of Padua, a renowned master on the organ at the end of the sixteenth
century. He composed motets, madrigals,
and other works.
ANNIBALI, (DOMIKICO) an Italian
singer at the court of Saxony. He was
engaged by Handel for his operas, in 1736.
ANNUNCIACAM, ( F H . GABEIEL HE)

born at Lisbon in 1679, published there a

treatise on singing.
ANSALDUS, (CASTUS IK.NOCENTIUS) a

Dominican, published in 1747 a large work

on the musical instruments of the Jews.
ANSANI or ANZANI, (GIOVANNI) an
Italian singer and composer, sang in London
about the year 1781. Dr. Burney says, his
voice was one of the sweetest, yet most
powerful tenors he ever heard. He was of
an irritable disposition, and his wife, Signora
Maccherini, a very indifferent singer, had a
still worse temper. It is said that in Italy,
when employed in the same theatre, if one
happened to be applauded more than the
other, they have been known to employ
persons to hiss the successful rival.
ANSDELL (W.F.) was born in 1798, in
the parish of Pancras, and at the age of four-

AN T
teen Commenced his musical studies under
the celebrated M. P. King, since which time
he has been improving himself under Augustus Meeves. The works that he has lately
published are, " Le Souvenir" air with
variations, " Le Bien Venn," march and
rondo, and " Aurc Felki," as a rondo.
ANSCHUETZ, (J. A.) a German composer, published some allemandes and
waltzes at Bonn, in 1798.
ANSEAUME, of Paris, composer for the
comic opera, between the years 1750 and
1780.
ANSELMI SECONDINI, a composer at
Lodi. He has written some operas since the
year 1788.
ANSON, of Manchester, an eminent performer on the trumpqt.
ANTAO DE SANTA ELIAS, a Carmelite monk, and chapel-rnaster at Lisbon, died
in 1748. He composed a Te Deum and
other sacred music.
ANTEGENIDES, an ancient Greek, improved both the flute and the dress of the
performer. He was the first who appeared in
public with delicate Milesian slippers and a
saffron-coloured robe.
ANTEGNATI, (COSTANZO) organist at
Brescia, published some works for that instrument, also masses and motets. He died
in 1619.
ANTENORI, (D.) a celebrated violin
player at Milan, in 1760.
ANTI, a composer of trios for two violins
and violoncello. (Birchall's Cat. 1818.)
ANTIGENIDAS, of Thebes, one of the
most renowned musicians of antiquity; he
was appointed flute master to Alcibiades.
Aulus Gellius relates, that Alcibiades, setting
up for a fine gentleman, and taking the utmost care of his person, was soon disgusted
with his instrument, as Minerva had been
before ; for happening to see himself in a mirror while he was playing, he was so shocked
at the distortion of his countenance, that he
broke his flute in a transport of rage, and
threw it away, which brought this instrument
into great disgrace among the young men of
rank at Athens. This disgust did not however
extend to the sound of the flute itself; for we

23

APO

ANT
find by Plutarch, that great performers upon it
continued long after to be much followed and
admired. Antigenidas, notwithstanding the
height of his reputation, regarded public
favour as a precarious possession, and was
never elated by the.acclamations of the multitude ; and so fully was he persuaded of the
coarse taste of the common people, that one
day, hearing at a distance a violent burst
of applause bestowed upon a flute player, he
said, " There must be something very bad
in that man's performance, or those people
would not be so lavish of their approbation."
ANTINORI, (LODOVICO) au Italian
singer, was engaged by Handel for his operas
in London, in 1726.
ANTIQUIS, (GIOVANNI DE) chapelmaster at a town in Naples, published some
madrigals at Venice in 1584.
ANTISTHENES, a disciple of Socrates,
wrote several works on music, 324 years
before Jesus Christ.
ANTOIN (FERDINAND D') published
some dramatic music in11792 and ] 794. ANTOINE, (D1) captain in the service
of the elector of Cologne, was a scholar of
Marpurg and Kirnberger. He set to music
several operas, and published some symphonies and quartets since the year 1780,
ANTON, (CONRAD GOTTLOB) a learned

Orientalist at Wittenburg, published some

works on sacred music, and on the ancient
metres, since the year 1770.
ANTONELLI TORRES, a Portugese
composer of operas since the year 1783.
ANTONELLIO
or ANTINELLIO,
(ABUNDIO) a Neapolitan composer of motets, &c. about the year 1614.
ANTONEI, (PIETBO DEGLI) a chapel-

master at Bologna, published several works

at the end of the seventeenth century.
ANTONIO, a composer of violin sonata:
and motets, about 1729.
ANTONIO, a tenor singer at Rome ii
1790.
ANTONIO,

(DAGL' OKGANI)

a cele-

brated organist at Rome about the year

1460. It is said that foreigners came t
E.ome from various nations purposely to
hear him play.
24

ANTONIOTTO or ANTONIOTTI-,
[GIORGIO) an Italian musician, resided
many years in London. He published, in
1760, a work entitled " VArte Armonica,"
it a treatise on the composition of music,
triginally written in Italian, and translated,
under the eye of the author, into English.
This, ^n the opinion, of some very good judges,
is a work of merit, though it is now seldom
referred to. Great expectations were excited on its first publication ; so much so,
that all the principal musicians of the time
subscribed to it.
ANTONIUS, a renowned composer in
Sicily, wrote, about the 'year 1680, a work
ailed " Cithara Septem Chordarum."
ANTONIUS, (J.G.) a singer at Bremen,
published at Dessau, in 1742, a treatise on
music.
ANTONIUS, (MARCUS) a Roman composer about the year 1647.
ANZANI.
APEL,

See ANSANI.

(FRIEDRICH

AUGUST

FERDI.

NAND) doctor of law at Leipsic, was born in

1768. He published several works on music,
up to the year 1800. He also composed a
" Te Beum," published at Offenbach.
APELL, (DAVID AARON) counsellor of

war at Cassel, was born there in 1754. He

composed many musical works for the
church, theatre, and chamber, up to the year
1806; among others a mass, which he presented to the pope, and a celebrated Te
Deum.
APOLLONI (Chevalier GIOVANNI) was
born at Arezzo. He composed the grand
operas of " Argia," " Astiage," and of
" Schiavo Regio " also " Dori," which we
believe to be either a pastoral or comic
opera.
APOLLONI, (SALVADOR^) born at
Venice towards the close of the nineteenth
century, was, at an early period of life,
nothing more than a barber and bad fiddler.
He afterwards became celebrated for the
composition of " Barcaroles," a sort of local
music sung by the boatmen of Venice.
Emboldened by the success of these songs,
which were not wanting in a peculiar description pf grace, Apolloni attempted a

A R A
higher flight in composition and wrote three
operas, entitled " Fama dell' onore," " Le
Metamorfosi," and "IIPastor Jido," which
procured him much applause from his townsmen, who were probably more indulgent to
his talent than satisfied with it.
APRILI, (GIUSEPPE) born about the
year 1764, was a soprano singer. He sang
at many of the theatres of Italy and Germany, and finally settled at Naples. Dr.
Bumey heard him there in 1770, and says
that he had a weak and unequal voice, but
was perfectly in tune and had an excellent
shake. He was a good singing master, and
a collection of his solfeggi are published in
London, which are still much used. He was
one of the masters of Cimarosa. Signor
Aprili, in his solfeggi, has attended to the
practical part of singing more than the theoretical. He first gives lessons for the intervals, both quick and slow, and the divisions
most frequently met with. His first solfeggi
are in a cantabile style, and well adapted to
form the voice. They are intermixed with
lessons that are quicker, but they still preserve the same character. They rise by degrees to higher execution, and are throughout elegant and graceful. They are of great
compass, and contain much execution, and
are of a kind most likely to be beneficial to
a singer.

ARC

was rapid, brilliant, and ingenious; his subjects were often beautiful, always varied,
ind never insignificant; his melody was
>ure and sweet, and in subordination to the
oice. He not only did honour to his art
iy his talents and learning, but rendered it
an object of general attention and interest.
The names of some of Araja's operas are as
follows : "Berenice," at Florence; " Amore
per regnante," at Rome; " Abiatare,"
'Semiramis," "Scipione," " Arsace," and
' Seleuco," at St. Petersburg.
ARANDA, ( D E SESSA D') a monk, composed some madrigals and other music,
which he published at Venice, about the
year 1571.
ARAUO or ARAUJO, (FRANCISCO DE
CORBEA D') a Spanish musician, died in
1663. He wrote a work on the organ, and
other music.
ARBEAU, (Tof NOT) of Langres, published in that town, in 1588, a work treating of music and dancing.
ARBUTHNOT ( D R . ) was a warm partisan of Handel. He wrote several anthems,
among which the words of one, "As pants
the hart," are in a collection printed in
1712, without a name, but made by Dr. Croft,
who wrote a preface to the book. He wrote
also several "burlesque poems, and what he
calls Manifestoes, on the subject of theatrical
AQUAVIVA, (ANDREAS MATTHSUS) a affairs, always espousing the cause of
Neapolitan duke, died in 1528. He wrote Handel.
ARCADELT (JACQUES) was cnapelsome works on music.
master in Lorraine. In 1572 he published
AQUINO. See AIGUINO.
AQUINO, (JOSEPH) an excellent comic at Venice five books of madrigals: his melodies are, for the age in which he wrote,
musical performer at Milan, in 1683.
AQUINUS, a Dominican of Suabia, natural, soft, and agreeable: he seems to
wrote, about the year 1494, a treatise onth< have spent the chief part of his life in
Italy.
proportions of numbers and sounds.
ARCANZA, (MXLE.) a favourite PortuARAJA, (FHANCISCO) bom at Naple
guese
singer in Lisbon, in 1822.
in 1700, was chapel-master at Petersburg
ARCHANGELUS, ra church composer
in the service of the empress Catherine. H
composed several operas, and among others of the sixteenth century. He published
" Cephalo et Procris," in 1755; this was many of his works at Venice, in 1585.
ARCHENIUS or ARRCHENIUS (L.)
the first opera in the Russian language
after the representation of it, the empres: printed at Upsal, in 1729, a dissertation on
made him a present of a magnificent sable the first inventors of music.
ARCHESTRATUS, an ancient Greek
skin. Araja amassed a handsome fortune
and retired to Bologna in 1759. His style composer at Syracuse, was the pupil of
25

ARD

ARG
ARENA, (GIUSEPPE) a Neapolitan dramatic composer, about the year 1741. He1
set to music the " Tigrane" of Goldani.
ARESTI, (FLOBIANO) of Venice, was a
composer of moderate abilities, about the
year 1712. He wrote the operas of " Cisip~
po," and " Enigma disciolta," and several
others, both tragic and comic.

Terpsion, and wrote two books " De TiUcinibus."

ARCHILEI, (LA VITTORIA) celebrated
by the poet Guaiini, was the orignal performer of the part of Euridice, in Jacob
Peri's opera. She likewise sang in " La
Desperazione di Fileno," in which recitando
she is said by the composer Cavaliere to
have drawn tears from every hearer.
ARETINO (GIOVANNI APOLLONI) pubARCHILOCHUS, one of the first poets lished some madrigals at Venice, in 1607.
and musicians of ancient Greece, lived about
ARETINUS, (PAOLO) of the Roman
720 years before Jesus Christ. He invented school of musicians, published some sacred
several sorts of verse, with their musical music at Venice, in 1567.
accomp anirnent.
ARETINUS, (GUIDO) a Benedictine
ARCHIMEDES, an ancient Greek philo- monk of Arezzo, called Guido, and by
sopher, proposed a theorem to demonstrate others Guidone, was (as far as we iknow)
the analogy between the proportions of cer- the real restorer of music, since he gave it a
tain solid bodies, and those of the musical fixed system, till then unknown or neglected.
consonances. He thought the discovery of Guido was the inventor of the six monosylsuch importance to mankind, that he caused lables of the solfeggio, ut, re, mi, fa, sol, la,
a diagram thereof to be engraved on his which we now make use of; only that, for the
tomb.
greater sweetness, the Italians have changed
ARCHINTA, (M.) of a noble family at the ut into do, having no respect to the cirMilan, about the year 1520, composed the cumstance of Guido's having drawn the six
words and music of many songs and ma- monosyllables from the words of the hymn
drigals.
of St. John, " lit queant laxts, Resonare
ARCHYTAS, an ancient Greek composer fibris," &c. since such erudition imports
little to the subject. The principal fact is,
at Mitylene.
ARCHYTAS, a Pythagorean philosopher that this author had either some well founded
of Tarentum, lived about 400 years before tradition, or some fragment of the Greek
Jesus Christ. He is said to have invented music, or else, by means of his studies, and
some musical instruments. He wrote on of his labour and genius, he formed three
hexachords into a system, which include in
the harmony of flutes.
AE.COLEO, (A.) of Candia, author of substance the true principle of the Greek
music, and that of all ages, for there can be
some music in 1690.
ARDALUS, according to Pausanius, was but one.
the inventor of the flute, and of flute accomGuido's method of solmisation was prepaniment to the voice.
served in Italy till about the end of the last
ARDEMANIO, (GIULIO CESARE) of century, and it is still used by some ; but after
Milan, was organist and chapel-master of the rest of the world had adopted a seventh
that town : he died in 1650. He published monosyllable called si, the Italians did the
motets and other music.
same, and hence the modern scales of the
ARDESPIN, (MELCHIOR D') a composer two modes, major and minor.
at the beginning of the last century.
AREVALO (FAUSTINO) published some
ARDINA published, about 1784, six sacred music at Rome, in 1784.
symphonies for a full orchestra.
AREZETO, (A.) leader of the band of
ARDORE, (Marquis de ST. GEORGES et the Spanish regiment, Guadalaxara, has
Prince d') Neapolitan ambassador at Paris, composed some music for wind instruments.
from 1767 to 1780, was a very ingenious
ARGENTI, (AUGUSTIN) a nobleman of
amateur. He published several cantatas,
Ferrara, died in 1576. He wrote a. drama
26

A RI

ARI

in 1567, called " Lo sfortunato," which at Brandenburg, in 1700, where he was apv.-.\s set to music by Alplionso de la Viola. pointed chapel-master to the electrice. But
These two authors seem to fix the true epoch before he quitted Italy we find his name
of the commencement of operas,
enrolled among the opera composers at BoARGENTILLY, (CARLO D') a chapel- logna and Venice : in the first city he set an
master at St. Peter's at Home, composed act of Apostolo Zeno's Daphne, in 1696;
some music which was much esteemed, and in the second, the opera of Erifite,
about the year 1543.
" Le Gloria della Poesia et delta Musica."
ARC E : N T I N I , (STEFFANO) called also Here he is called Padre Attilio Ariosti, SerFilippini, chapel-master at St. Stephen's at vita Bolognese : and it is believed that he
Venice, published some sacred music there had been regularly initiated as a Dominican
in 1638.
friar, but that, by a dispensation from the pope,
ARGENTINI, (CESARE) chapel-master he had been excepted from the rule of his
at Rimini, noticed by Walther, but probably order, and permitted to exercise a secular
profession. In 1706, he composed " Nebuthe same person as the preceding.
ARGYROPILUS, a Greek professor at chadonosar," an oratorio, for Venice ; and
Florence in 1430, died at Rome in 1474. the same year the opera called "La piu
He wrote a volume of songs entitled " Mo- gloriosa Fatica d 'Ercole," for his native
city Bologna. In 1708, we find him again
nodia."
ARIANUS (JOIIANN L.) v.rote an ac- at Vienna, when he set to music the opera of
"Amor tra Nemici"
His first arrival in
count of lyric poets at Erfurt, in 1581.
ARIBERTI, (?.Xarquis GIACOMO) of England was in the year 1716, where it apCremona, composed the opera of " Ar- pears, by the London Courant, that, at the
genide," at Rome, in 1651. He was one of sixth representation of Handel's Amadis, July 12th, he performed a new symthe most celebrated amateurs of his age.
ARIBO, a monk, towards the end of the phony on the viol d'amour, an instrument
eleventh century. He wrote a treatise on unknown in this country till that time. We
hear no more of him till the establishment
music.
ARICHONDAS, a musician of ancient of the royal academy of music in 1721,
Greece. He is said to have invented the when he composed the opera of " Ciro, or
Odio ed Amore," the first act of " Muzio
trumpet.
Scevola,"
and afterwards " Cais Marcius
ARIGONI, (FRANCESCO) an illustrious
musician of Ferrara in the seventeenth cen- Coriolanus," and " Vespasiano." Respecting the opera of "Mitzio Scevola," we should
tury.
mention that the directors chose to divide
ARTGOI\TI, (Giov. GIACOMO) also
the task of setting it to music among their
called / / Affetuoso, published some madrithree composers; assigning to Attilio the
gals at Venice, about the year 1623.
first act, Bononcini the second, and HanARION", a famous Grecian poet and
del the third. This opera has been thought
musician. He invented the dithyrambic
to form an epoch in Handel's life ; as it has
measure, and composed many hymns.
been concluded, though without sufficient
ARIOSTI, (ATTILIO.) This master, who
proof, that the partition of the same drama
was a native of Bologna, and intended for
among the three composers, was a premedithe priesthood, had in early youth such a
tated plan, to try their several abilities, and
passion for music, that, defeating all the indetermine preeminence. But it seems to
tentions of his family, he devoted his whole
have been thus distributed merely for greater
time to the study of it, and, in spite of all
despatch, without meaning it as a final comremonstrances, determined to make it his
petition. The same expedient has been
profession. He was known in Germany
frequently practised in Italy, for variety as
much earlier than in England ; having comwell as expedition, when two or three great
posed " La Festa d'Imeneo," and "Atis,"
27

A R I

A R N

masters have been in the city ; and nothing

"was determined in consequence of this concurrence in London. When Ariosti was at
Berlin, he gave Handel (then a child) lessons on the harpsichord, holding him it is
said for hours together on his knees.
ARISI, (F.) doctor of laws at Cremona,
died in 1743. He left a work, dated 1706,
containing a list of celebrated musicians of
the seventeenth century.
ARISTEAS, an ancient Grecian, wrote a
book relating to performers on the cythara.
ARISTIDES QUINTILIANUS, a Grecian musician, lived about the year 130.
Three of his books on music are still
extant.
ARISTOCLES, a Greek composer and
performer on the flute and cythara at Athens
in the time of Xerxes.
ARISTONICUS, a performer on the
cythara at Corcyra, was in the service of
king Philip of Macedonia.
ARISTONOUS, a famous flute player,
gained six prizes at the Pythian games.
ARISTONYMUS, a renowned performer
on the cythara at Athens.
ARISTOPHANES. There are two ancient Greek authors of this name, the one a
writer of comedies, the other a grammarian.
It is probably the latter who wrote a treatise on music.
ARISTOTLE, the celebrated philosopher and preceptor of Alexander the Great,
wrote a work on music, which is now lost.
He also treats on the utility of music, in the
eighth book of his Politics. It was in his
old age, that he applied to the practice of
the science of music, which he called " The
medicine of heaviness."
ARISTOXENUS SELINUNTIUS, cited
by Eusebius as a musician of ancient
Greece, lived in the twenty-eighth Olympiad, lie must not be confounded with
Aristoxenus of Tarentum, who lived more
than 300 years after him.
ARISTOXENUS, of Tarentum, a philosopher and musician, lived about 350
years before Jesus Christ. He is said to
have written 453 volumes; but there are
only now extant three volumes of his ffar28

monic Elements, which is the oldest musical

work at present known.
ARKADELT, See ARCADELT.
ARMAND, (MESD-EMOISELLE) two dis-

tinguished Trench singers at the grand

opera of Paris, at the commencement of
the present century.
ARMANDOLINO,

(GIOVANNI BAT-

TISTA) an excellent singer and performer

on the organ in Italy, towards the end of
the seventeenth century.
ARMON, author of .a sextuor for the
flute, &c. published at Offenbach. (Boosey's
Cat. 1822.)
ARMSDORFF, (ANDREAS) organist
at Erfurt, died in 1699, in his twentyeight year: he composed some agreeable
music.
ARNALDUS or ERNALDUS, abbot of
Bonneval, was in great repute as composer
of canticles, about the year 1141.
ARNAUD (L'ABBE) died in Paris in
1784. He published in 1754 a letter on
French music, addressed to M. de Caylus,
and several other musical essays, relating
to the performances of the day. He was a
strong partisan of Gluck.
ARNAUD ( M R . ) published some quartets at Paris in 1784 and 1787.
ARNAUD, (MADAME) a principal singer
at the grand opera at Paris, in 1817.
ARNE

(Dr. THOMAS AUGUSTINE) was

the son of Arne, a celebrated upholsterer,

in King-street, Covent-garden, at whose
house the Indian kings lodged in the reign
of queen Anne, as mentioned in the Spectator, No. 50. Arne had a good education, having been sent to Eton by his father,
who intended him for the law. But his
love for music operated upon him too powerfully, even while at Eton, for his own peace
or that of his companions; for, with a
miserable cracked common flute, he used
to torment them night and day, when not
obliged to attend the school. When he left
Eton, such was his passion for music, that
he used to avail himself of the privilege of
a servant, by borrowing a livery and going
into the upper gallery of the opera, which
was then appropriated to domestics. At

A R N
home he had contrl-ved to secrete a spinet
in his room, upon which, after muffling the
strings with a handkerchief, he used to
practise in the night while the rest of the
family were asleep ; for had his father discovered how he spent his time, he would
probably have thrown the instrument out
of window, if not the player. This youngvotary of Apollo was at length obliged to
serve a three years' clerkship to the law,
without ever intending to make it his profession ; but even during this servitude he
dedicated every moment he could obtain,
fairly or otherwise, to the studying composition by himself. He contrived, during his
clerkship, to acquire some instructions on
the violin, of Festing; upon which instrument
he made so considerable a progress, that
soon after he had quitted his legal master,
his father, having accidentally called at a
gentleman's house in the neighbourhood upon
business, found him engaged with company,
but sending in his name, he was invited up
stairs, where there was a large company
and a concert, in which, to his great astonishment, he caught his son in the very act
of playing the first fiddle! Finding him
more admired for his musical talents than
knowledge in the law, he was soon prevailed
upon to forgive his unruly passion, and to
let him try to turn it to some account. No
sooner was the young musician able to practise aloud in his father's house, than he
bewitched the whole family. On discovering that his sister was not only fond of
music, but had a sweet-toned and touching
voice, he gave her such instructions as enabled her to sing for Lampe, in the opera of
Amelia; and finding her so well received
in that performance, he soon prepared a new
character for her, by setting Addison's opera
of Rosamond, in which he employed his
younger brother likewise in the character of
the page. The opera was performed ten
nights successively, and with great applause,
the last time for the benefit of Mr. Arne, j un.
the composer. Having succeeded so well in

A R N

under the title of the Tragedy of Tragedies, having met with great success in
1731, he now got it transformed into the
Opera of Operas, and setting it to music
(after the Italian manner) had it performed,
May 31st, at the new theatre in the Haymarket; the part of Tom Thumb by master
Arne, his brother. In 1738, Arne established his reputation as a lyric composer,
by the admirable manner in which he set
Milton's Comus. In this masque he introduced the light, airy, original, and pleasing
melody, wholly different from that of Purcell
or Handel, whom all English composers had
hitherto pillaged or imitated. Indeed the
melody of Arne at this time, and of his
Vauxhall songs afterwards, forms an a2ra in
English music ; it was so easy, natural, and
agreeable to the whole kingdom, that it had
an effect upon our national taste ; and till a
more modern Italian style was introduced
in the pasticcio English operas of Messrs.
Bickerstaff and Cumberland, it was the
standard of all perfection at our theatres
and public gardens. It was in 1762 that
Arne quitted the former style of melody in
which he had so well set Comus, and
furnished Vauxhall and the whole kingdom
with such songs as improved and polished
our national taste; and when he set the bold
translation of Metastasio's opera of Artaxerxes, he crowded the airs, particularly
in the part of Mandane, for Miss Brent/ with
all the Italian divisions and difficulties
which had ever been heard at the opera.
This drama, by the novelty of the music to
English ears, with the talents of Tenducci,
Peretti, and the doctor's scholar, Miss Brent,
had very great success ; and still continues
to be represented, whenever singers can be
found who are possessed of sufficient abilities for its performance. But in setting
Artaxerxes, though the melody is less original than that of Comus, Arne had the
merit of first adapting many of the best
passages of Italy, which all Europe admired,
to our own language, and of incorporating
them with his own property, and with what
musician
tried
his
a serious opera, our young
was
still in favour of former English compowers at a burletta, and fixed upon Fieldino-'s Tom Thumb for that purpose, which, posers. Dr. Arne sold the copy-right of
29

AR N

AR N

Artaxerxes for .sixty guineas, a sum which,

though at present considered inadequate to
the value of a good opera, was in his time
reckoned a ruinous sum for such a property.
The general melody of our countryman, if
analyzed, would perhaps appear to be neither Italian nor English, but an agreeable
mixture of Ilalian, English, and Scots.
Many of his ballads, indeed, were professed
imitations of the Scots style, but in his
other songs he frequently dropt into it, perhaps without design. Arne was never a
close imitator of Handel, nor thought, by
the votaries of that great musician, to be a
sound contrapuntist. However, in the science of harmony, though he was chiefly
self-taught, yet, being a man of genius,
quick parts, and great penetration in his
art, he betrayed no ignorance nor want of
study in his scores. Iiis oratorios were so
unfortunate, that he was a loser whenever
they were performed; and yet it would be
unjust to say they did not merit a better
fate; for, though the choruses were much
inferior in force to those of Handel, yet the
airs were frequently admirable. But besides the great reputation of Handel, with
whom he had to contend, Arne never was
able to have his music so well performed;
as his competitor had always a more numerous and select band, a better organ,
which he played himself, and better singers.
None of this ingenious and pleasing composer's capital productions had full and unequivocal success, but Comus and Artascerxes, at the distance of twenty-four years
from each other. Rusamond, his first musical drama, produced in 1773, had a few
songs in it that were long in favour, and
the Judgment of Paris many ; but except
when his sister, Miss Arne, afterwards Mrs.
Cibber, sung in them, he never gained any
thing by either. Thomas and Sally, indeed, as a farce, with very little musical
merit, was often acted; and previous to
that, Eliza was a little while in favour :
but the number of his unfortunate pieces
for the stage was prodigious; yet none of
them were condemned or neglected for
want of merit in the music, but words, of
30

v/hich the doctor was too frequently guilty

of being the author. Upon the whole, though
this composer had formed a new style of his
own, there did not appear that fertility of
ideas, original grandeur of thought, or those
resources upon all occasions which are discoverable in the works of his predecessor,
Purcell, both for the church and stage ; yet,
in secular music, he must be allowed to
have surpassed him in ease, grace, and
variety, which is no inconsiderable praise,
when it is remembered, that from the death
of Purcell to that of Arne, a period of more
than fourscore years, no candidate for musical fame among our countrymen had
appeared, who was equally admired by the
nation at large. Dr. Arne died in 1778.
Of near a hundred and fifty musical pieces
that have been brought on the stage at our
national theatres within these forty years,
thirty of them, at least, were set by Arne.
A modern critic, of high authority, thus
speaks .of Arne. " He was a singular instance of that predestinate taste, which is
to be accounted for only by peculiar organization, the existence of which, among other
leas splendid instances, has been since confirmedby Crotch, Himmel, and Mozart. His
first stealthy acquisitions in musical science,
made chiefly during the night, contrary to
the direction of the principal pursuit of his
life, and in opposition to the will of his father,
are proofs of that irresistible propensity by
which genius, perhaps universally, governs
its possessors. This was the pure and unbought love of the art, generated by the
pleasurable perception of sweet sounds ; for
although Handel's operas had begun to draw
the attention of the public, Arne was too
young either to comprehend or to covet the
chances of profitable exertion, when he resorted to the means by which he obtained
the first rudiments of his future professional
skill. Perhaps the highest testimony that
Arne's music has obtained from time, has
been the continued reception ot.-Jrtaxer.rcs,
against the universal sense and feeling of
dramatic effect. Excellent and attractive
indeed must the airs be, that can atone
to English sentiments and habits for the

AR N
recitative and consequent destruction of all
interest in the language, the incidents and
the plot. It is sufficient that scarcely a
second attempt of the kind has been since
made. There was in Arne's compositions
a natural ease and elegance, a flow of melody which stole upon the senses, and a
fulness and variety in the harmony which
satisfied, without surprising the auditor by
any new, affected, or extraneous modulation. He had neither the vigour of Purcell,
nor the grandeur, simplicity, and magnificence of Handel; he apparently aimed at
pleasing, and he has fully succeeded. The
fault of Artaxerxes, if we may be allowed
to complain of an almost faultless performance, is the level uniformity that pervades
the entire piece. Tt is sweet, elegant, and
appropriate ; but the songs of most pretention do not strongly affect or carry the
hearer away. It was allotted to Arne first
to give to English singers passages of execution which equalled, in point of difficulty
and compass, those that had only been
heard from Italians of the best school. In
the present reign of brilliant execution, it
is hardly possible to find, songs of more
crowded notation. 'Fly soft ideas,' and
' The soldier tired,' are still indeed amongst
the standard airs of agility in concerts; and
the entire character of Mandane has been,
ever since Arne's time, the universal, trial
of an English singer's abilities. With this
composer ended the accession of new prinples to the art of dramatic writing. Whatever of novelty has since been appended to
our musical drama "will not be found to
sink beyond the original cast which particular composers have given to their air or
accompaniment. Arne's use of instruments
was certainly delicate, but he is neither so
scientific nor powerful as later composers
We perceive from the score of Artaxerxes,
that he employs the hautboys principally, the
flutes seldom, and the clarionets in two
songs only. In the beautiful air of ' Jf
o'er the cruel tyrant,' the violins are generally in unison with the voice. We dislike
this mode of accompaniment upon principle ; it adds nothing to the harmony, and

AE N
is disagreeable both to the singer and the
hearer; for if the precise accord be by any
means broken, (and who can insure it in
;he various necessities of breathing, speaking, &c.) the effect is interrupted and
diminished ; delicate and tasteful are however the epithets which characterise Arne's
instrumentation, as perhaps they best describe
the attributes of his style and manner."
(Mus. Rev. vol. i. p. 201.)
ARNE, (MKS.) wife to the preceding, her
maiden name was Cecilia Young; she was
a pupil of Geminiani, and sang in public for
the first time at Drury-lane in 1730. With
a good natural voice and fine shake, Mrs.
Arne had been so well taught, that her style
of singing was infinitely superior to that of
any other Englishwoman of her time. She
died about the year 1795.
ARNE, (MICHAEL) son of the preceding.
So early did the genius of this musician develope itself, that at the early age often or eleven
years his performance on the harpsichord was
such, that he was able to execute all the
lessons of Handel and Scarlatti with wonderful correctness and rapidity. Even at this
early age, so great had been his practice, and
such was his perfection on this instrument,
that it was thought he could play music at
sight as well as any performer then living.
In conjunction with Mr. Battishill, he
produced at Drury-lane theatre, in 1764,
the opera of "Alcmena,-" but its success was
not very flattering. He afterwards produced
at the King's theatre the opera of "Cymon,"
from -which he derived both emolument and
fame. Several of the airs have been lasting
favourites ; and particularly the two, " Yet
a while sweet sleep," and " The sweet passion of love," which will be for ever remembered.
The attention of Arne was, not long after
this time, turned so strongly towards the
study of chymistry, that he not merely neglected, but, for a while, entirely abandoned
his professional pursuits. Ridiculous as it
may seem at the present day, he became a
convert to the absurd notions of those persons
who believed in the philosopher's stone and
the transmutation of metals. In order that
31

A R tf
he might discover the former, he was at the
expense of building a laboratory at Chelsea;
but when he found himself deceived in his
expectations, he had the good sense to return
to his professional avocations, and he afterwards composed music for Covent-garden,
Vauxhall, and Ranelagh.
As a composer, Arne did not possess that
happy taste, nor that power of writing beautiful melody, which were so conspicuous in
his father : yet there is a certain good sense
which pervades all his works; though it
must at the same time be observed, that if
some of them were less complex, they would
perhaps be more pleasing. Upon the whole,
however, his merits very justly entitle him
to a high and distinguished rank amongst
English composers.
ARNE, (Miss.)

See CIBBER, ( M E S . )

ARNESTUS, the first bishop of Prague

in the fourteenth century. He wrote s6me
sacred music about the year 1350.
ARNKIEL, (T.) a pastor in Schleswick,
published, in 1683, a treatise on the use of
horns in music.
ARNOLD, (GEORGE) organist of the
bishopric of Bamberg, wrote much sacred
music about the middle of the seventeenth
century.
ARNOLD, (FERDINAND) born atVienna,
a celebrated tenor singer at Riga in 1796.
ARNOLD, (IGNATIUS FERDINAND), an

LL.D. at Erfurt, born in 1779, wrote several

works on music between the years 1799 and
1809.
ARNOLD, (Jon ANN GOTTFRIED) a good
composer and violoncellist, was born in
1773. He lived chiefly at Frankfort on the
Maine, where he died in 1806, in his thirtyfourth year. He published six concertos for
the violoncello, which are used as exercises,
by the pupils of the conservatory at Offenbach and Bonn; he also composed much
other music for his instrument, which is
chiefly printed.
ARNOLD, (Dr. SAMUEL) an English
musician and composer of considerable
eminence, was born in London about 1739,
and received his musical education at the
chapel royal, St. James's, under Mr. Gates
32

ARN
and Dr. Nares, who discovered in him the
most promising talents, which h'e afterwards
cultivated and strengthened by constant
study. In 1760, he became composer to
Covent-garden theatre, of which the celebrated Mr. Beard was then one of the
managers, and had the advantage of having
his compositions introduced to the public
through the medium of the vocal abilities of
that popular singer and his associates. For
them he composed " The Maid of the Mill,"
which has ever been a favourite with the
public. But, in 1767, he tried his skill in a
higher species of composition, (the oratorio)
setting to music Dr. Brown's " Curse of
Saul," in which it was universally confessed that he was eminently successful.
This encouraged him to proceed in the same
style; and he produced "Ahimelech," " The
Resurrection," and "The Prodigal Son," the
various merits of which have been justly
applauded by the best musical critics. The
latter became so much a favourite, that
when, in 1773, it was in contemplation to
install the late lord North, as chancellor of
the university of Oxford, the stewards, appointed to conduct the musical department
of the ceremony, applied to Mr. Arnold for
leave to perform " The Prodigal Son."
His ready compliance with this request,
which, however, it would have been very
imprudent to refuse, procured him the offer
of an honorary degree, and his refusal of this
did him real honour. He was not insensible of the value of a degree, but determined
to earn it in the usual academical way, and
conformably to the statutes of the university,
received it in the school-room, where he
perfoimed, as an exercise, Hughes's poem on
the power of music. On such occasions, it is
usual for the musical professor of the university to examine the exercise of the candidate ;
but Dr. William Hayes, then the professor of
Oxford, returned Mr. Arnold his score unopened, saying, " Sir, it is quite unnecessary
to scrutinize the exercise of the author of "The
Prodigal Son." About 1771, he purchased
Mary-le-bone gardens, for which he composed some excellent burlettas and other
pieces, to which he added some ingenious

A R Q

ART

fireworks. This scheme succeeded; but in

1770, the lease of the gardens expired, and
they were let for the purpose of building.
We find Dr. Arnold afterwards employed
by Mr. Colman, then manager oi' Coventgarden, as musical composer; and -when
he purchased the Haymarkat theatre, Dr.
Arnold was there engaged in the same
capacity, and continued in it for life. On
the death of Dr. Naves, in 1783, he was
appointed his successor, as organist and composer to his majesty's chapel at St. J ames's;
and at the commemoration of Handel, in
Westminster abbey, in Vi 84, was nominated
one of the subdirectors. In 1786, he began
to publish an uniform edition of Handel's
works, and about the same time brought out
four volumes of cathedral music. In 1789,
he was appointed director and manager of
the performances held in the academy of
ancient music, a post of honour in which
he acquitted himself with the highest credit.
l a private life he is allowed to have
possessed those virtues which engage and
secure social esteem. He died at his house
in Duke-street, Westminster, Oct. 22, 1802,
in his sixty-third year. Dr. Arnold's published works are, four oratoiios, eight odes,
three serenades, forty-seven opaas, three
burlettas, besides overtures, concertos, and
many smaller pieces. Perhaps the composition by which he will be longest remembered is the song "Flow thou regal purple
stream."

poSer of petit opera music, since the year

1789.
ARRHENIUS,

(LAURENT.)

See Du-

NffiUS.
A R R I G H I , ( P I E T R O DOMINICO) an opera

composer between 1783 and 1790.

ARRIGHUS, (JOAN BATMSTA) a monk

of Florence. He died in 1607, He-wrote

on the science of music.
ARRIGO TEDESCO. See ISAAC.
ARRIGONT.

See ARICONI.

ARROBAT, (COSIE D') a French

opera composer soon after the time of
Lulli.
A R T E A G A , ( S T E T F A N O ) a Spanisli Jesuit,
died at Paris in 1799. He wrote a work
in three volumes, entitled " Le Revolusioni
del Teatro Micsicale Italiano, dalla sua
origine, sino al presente," the second
edition of which appeared at* Venice in
1785. He also wrote on the rhythm of the
ancients, and was the most philosophical
and profound of all authors upon the melodrama.
ARTEMANIO, (G. C.) court-organist
and chapel-master at Milan, died in 1750.
He published several collections of motets
and other pieces.
ARTHUR AUX COUTEAUX, musicmaster to the college of St. Quintin, lived
about the year 1630. He composed psalms
and other sacred music. He was the most
eminent composer for the church during the
reign of Louis XIII.
ARTUFEL, (DAMIANUS D') a Spanisli
Dominican, published atValladolid, in 1572,
a treatise on vocal church music.
ARTUS, court-musician to the emperor
Maximilian about the year 1512.

ARNOLD, (C.) composer of some guitar

and other instrumental music. (YV essel and
Stodart's Cat. 1822.)
ARNONE, (GUGLIELMO) an organist at
Milan, published,in 1595,a "Magnificat."
ARTUSI, (GIOVANNI MARIA) a canon
ARNOULD, (SOPHIA) a celebrated
French actress and singer between the of Bologna, published, in 1598, a work
called " The Art of Counterpoint," which
years 1757 and 1778.
ARNULL, an excellent performer on the reduces the precepts of Zarlino into a compendium. In 1603, he gave a continuation
horn, at present resident in London.
ARNULPHUS wrote a treatise on sing- of this work, in which he treats more especially of the imperfections of modern music.
ing in the fifteenth century.
In
1600 and 1601, he published some furARON. See AARO?.-.
ARPILCUETA, of Navarre, a Spanish ther tracts on music. Artusi wished to
prove, by extracts from celebrated authors
musician in the sixteenth century.
of antiquity, especially from Plato, that the
ARQUIER, (JOSEPH) a French comD
33
VOL. I .

ASH
Greeks understood music in parts, in other
words the rules of counterpoint.
ASCHENBRENNER (CHRISTIAN) was

born in 1654. He was a celebrated violinist,

and composed six sonatas, which he presented to the emperor at Vienna, and was
recompensed with a chain of gold and a
medal. He died in 1732.
ASHE (ANDREW) was born in the town
of Lisburn, in the north of Ireland, about
the year 1759. His parents sent him to a
school near Woolwich in England, before he
was nine years of age. At this early period
he showed a great disposition for music, and
devoted a certain sum of his weekly allowance to the master of the artillery band,
(who occasionally attended the academy)
to receive lessons on the violin. The young
votary made such progress, that in a short
time his sphoolfellows preferred dancing
to his fiddle to their usual gymnastic exercises between school hours. He continued
at this academy until he had attained his
twelfth year : at this period a lawsuit, which
had been fending for a number of years,
between a neighbouring nobleman and his
grandfather, terminating to the great disadvantage of the latter, rendered it inconvenient to his parents to continue their son at so
distant a seminary, and caused them to resolve
on his return to Ireland. Previously to this
proposed removal, count Bentinck, a relation
of the Portland family and a colonel in the
British service, happened to be riding by
the academy at Woolwich, and perceiving
young Ashe in tears, with his letter of
recall in his hand, asked him what wa3
the matter; he replied, sobbing, that his
family were ruined by a lawsuit, and that
he was desired to return home to Ireland,
as his friends could not afford to keep him
any longer at Woolwich. The humane
nobleman, struck with the boy's apparent
grief, was induced to make further inquiry
about him from the master of the academy;
and a correspondence between the count
and the child's parents commenced in consequence, which terminated in young Ashe's
removal to the house of the count, who
shortly after took him to the island of Mi34

ASH
norca, where his regiment then was. There
he procured for him instructions on the
violin by an eminent Italian master, under
whom he improved so much, that he was
soon looked upon as a musical prodigy for
his age. He next accompanied his protector
in a considerable tour through Spain, .Portugal, France, and Germany, and finally
settled with him on his estates in Holland.
Here young Ashe's education was paid particular attention to, the count wishing to
prepare him to be a confidential servant on
his estates; but the boy was too far advanced in music and loved it too much to
permit him to pay the attention requisite to
complete himself for the intended office of
land-steward. He had now acquired a pretty
general knowledge of various wind instruments, having attended the regular practice
of his patron's regimental band, with which,
we have heard, he even used to do duty in
Minorca. About this time he showed an
evident disposition for the flute ; but it was
then so limited an instrument, that after
considerable application he relinquished it,
in consequence of its great imperfections.
Shortly after this the Sieur Vanhall (brother to the celebrated composer of that
name) arrived at the Hague from London,
and brought a flute, made by the present
Mr. Potter's father, which had six keys.
Vanhall announced a concert, in which he
was to perform a concerto on this flute with
six keys. It being the first of these improved instruments that had reached Holland, a general curiosity was excited to see
where these keys could be placed on a flute,
and no one was so actively curious in this respect as young Ashe, who lost no time in offer
ing his services on the violin, and promising
the count's patronage of the concert, which
he accordingly procured for Vanhall, These
additional keys on Vanhall's flute were in
his hands only ornamental, as he had not
acquired the use of them ; but when young
Ashe tried them, and found that they produced all the half notes as full and round as
the tones natural to the instrument in its
unkeyed state, he made up his mind to have
this flute, coute qui coute; which he accom-

ASH
plished at a considerable price, by the count's
indulgence. This was about the latter end
of 1774, when Ashe had not attained his
sixteenth year. From that period he gave
up the violin and dedicated his entire attention to his newly acquired purchase. After
some months' application, the celebrated
Wendling, successor to Quartz, the king of
Prussia's master, came to the Hague, of
whom young Ashe had some lessons ; but on
his second visit, Wendling told him his new
flute was a bad one, that the long keys on
the bottom joint spoiled the instrument, and
that the small keys were of no use, particularly in quick passages. These observations of the master not corresponding with
the high ideas and expectations the scholar
entertained of its excellence, induced him
to discontinue his lessons as soon as a proper respect for such a distinguished master
would permit. Our young aspirant had
then recourse to his own natural genius,
and, after a few years' incessant application,
became the admiration of Holland, chiefly
from the uncommon fulness of his tone in
those more abtruse keys in music, which
could not be produced from the flute then in
general use, and which perfection was,
erroneously in a great measure, ascribed to
the performer, without allowing a participation in this honour to be due to the great
improvement in the construction of his
instrument. All this time Ashe continued
under (we may call it) the paternal roof of
his benefactor, the count; but, as ingratitude
is inherent, in a more or less degree, in some
natures, we are sorry to have a particle of
it to annex to the subject of our present
article ; but the truth is, that, flushed with
the admiration he experienced, he was
anxious to launch into the world from under
the roof which had so long sheltered him;
and the count, who saw his thoughts by his
demeanour, permitted him to go, on a handsome salary, as family musician to the late
lady Torrington, then on the point of removing from Holland to Brussels. He remained
ia lord Torrington's family until that noble
man thought proper to reduce his establishment ; and was next engaged by the late

ASH
lord Dillon, who also resided in Brussels.
This nobleman was a great patron of the
opera in that city, and wished his musician
to have the situation of first flute in the opera
orchestra, to which a demur was made by
the Brabant nobility and Flemish subscribers in general. Parties ran high ; but
there being at this period, 1778 and 1779,
a great number of English at Brussels, who
were a material support to the opera, they
demanded a public trial of skill between the
resident flute of the opera and young Ashe,
which accordingly took place at the first
rehearsal of the season; and, although it
was admitted that the Sieur Vanhall was
by far the most experienced musician and
flute player, yet Ashe gained the general
approbation and situation by his superiority
of tone, for which he had to thank the improvement of his additional keys, in all
probability, more than any preference of
emboucheur. In this school of musical improvement our young flutist remained for a
few years, when an Irish gentleman of the
name of Whyte, a great amateur of music,
expressed the intention of making a grand
cominental tour ; and as Ashe was by this
time a general linguist, in addition to his
flute playing, Mr. Whyte proposed to take
Ashe with him, which was too congenial
with our young traveller's disposition to be
declined. After, however, relinquishing all
his engagements, letters called Mr. Whyte
back to Ireland, and Ashe, having long had
a hankering after the land of his birth, from
which he had been absent since his infancy,
willingly accepted Mr. Whyte's offer of
accompanying him to Dublin. Not long
after his arrival in Ireland, he was engaged
for the Rotunda concerts in Dublin, which
were then brilliantly supported. Here Ashe
remained1 a few years, and the great applause his performance always met with,
was a stimulus to his further improvement.
His celebrity having for some time reached
England, the late Mr. Salomon (who had, in
1791, brought over the immortal Haydn for
his concerts in Hanover-square, and was
anxious to have a suitable orchestra to
execute this incomparable master's sinfonies,
D2
35

ASH
which were composed expressly for these
concerts) suspended the engagement of his
principal flute until he had the opportunity
of hearing Ashe ; which was afforded him
the same summer, he being engaged to
perform at the Rotunda concerts, with a
celebrated violoncello player of the name of
Sperat.
Salomon was so highly pleased
with Ashe's intonation and tone, that he
gave him a very liberal engagement for
Hanover-square ; and accordingly, in 1792,
he made his first public appearance in
London, at Salomon's second concert, in a
manuscript concerto of his own composition,
which was replete with such novelty as to
excite very considerable admiration. After
this favourable (Ubut, it is not to be wondered that he became and remained the
reigning flute, both as an orchestra and
concerto player, at all the established concerts in London. Upon the abdication of
Monzani, Ashe was appointed principal
flute at the Italian opera, which situation
he held for several years. He next, on the
demise of Rauzzini, in 1810, was unanimously elected director of the Bath concerts, which he conducted with great ability
for twelve years; but, in consequence of the
times being unpropitious for public undertakings, was induced to relinquish their
management in the winter of 1821-2;
having, as we understand, lost a considerable sum by the last four years of his
direction. In the year 1799 Ashe married
a pupil of Rauzzini, whose vocal excellence
(as Mrs. Ashe) is too generally 'known to
make any comment from us necessary. They
have had a numerous family, nine or ten
of which are now living ; the eldest daughter
is a very finished performer on the harp,
but is not in the profession, being married
to a gentleman of property in the West
Indies. We have frequently been delighted
with the second Miss Ashe's accomplished
style of singing and very superior performance on the piano-forte, although from appearance she is not yet nineteen. AVe can
only speak of Ashe as an author, from
having heard many of his flute concertos
performed by himself, which abounded
36

ASH
with new passages fancifully dispersed,
and the melodies highly pleasing. The
reason we have heard assigned for their
not being as yet given to the public, is a
tenaciousness in the composer to reserve
them for his own performance; but we
understand he purposes shortly to print
them, when, we have no doubt, they will
be eagerly sought after by both dilettanti
and professors. We have dedicated rather
more space to this article than we can conveniently afford, having been anxious to lay
before our readers a somewhat detailed account of a gentleman so highly esteemed as
Mr. Ashe, both in his public and private
character. He continues in full possession
of his powers, is in robust health, and we
have heard him say, he has been but a bad
customer to both law and physic; never
having expended a shilling on the former,
and only a single guinea fee to the latter.
ASHE, (MRS.) wife to the preceding, was
a good singer, and for some years sang at
the oratorios and other public concerts.
ASHE, (MISSES) daughters of the preceding, are excellent performers on the harp
and piano; they also sing pleasingly. They
performed before the London public in 1821.
ASHLEY, (GEXEKAL) a celebrated English violinist. His father was the manager
of the oratorios at Covent-garden theatre,
which performances he led with great ability
for many years. After his death, his sons,
General and Charles Ashley, succeeded him
as joint managers.
General Ashley was
educated in music under Giardim and Barthelemon, and was esteemed an excellent
performer on his instrument. He was considered aHo as the best modem judge of
violins and violoncellos; of which, in the
latter years of his life, he had a very valuable collection. He died near London in
1818.
ASHLEY . (JOHN JAMES)

an eminent

organist and singing-master. He presided

for seven years at Ihe oratorios at Coventgarden, where he introduced many of his
pupils; among whom were Mrs. Vaughan,
Mrs. Salmon, Master Elliott, C. Smith, and
other favourite vocal pei formers. He was in

ASH
early life a scholar of the celebrated Scliroetev,
and well versed in the science of music, and
author of some excellent lessons for the pianoforte, canzonets, &c. &c. He was brother of
the preceding, and died a few years since.
ASHLEY, (CHARLES) brother to the two
preceding, is an eminent violoncellist, still
living in London. He is one of the original
thirty members of the Philharmonic society.
ASHLEY", (RICHARD) younger brother of
the three foregoing, is a celebrated tenor
player, residing in London. He was principal tenor at the York musical festival in
1823.
ASHLEY, (JOHN) of Bath, received his
musical education from his elder brother
Josiah Ashley, an eminent flutist and hautboy
player of his day. He has been a performer
on the bassoon at the Bath concerts and
theatre, during nearly half a century, and
was also a vocalist at the concerts, Harmonicsociety, and Yauxhall of the same city. The
sister art of poetry, or as he has termed it,
rhyming, was combined with the above professional pursuits, as may be seen by a
small volume published by him a few years
ago, under the title of " Trifles in Rhyme."
With regard to music, Ashley never aspired
to any thing great in composition ; his efforts
were confined to ballads and songs, serious
and comic; and it is believed that he has
written the words to, and composed more of
these trifles, which have been sung by
eminent performers and favourably received
by the public, than any English composer
now living. The following is a list of
some of Ashley's compositions : ballads,
*' Honest Ben" " Prior Joe the Marine,"
" The Sailor's Creed," " The Heart that
overflows" " Poor Orphan Maid," " Tom
and Susan," " Unanimity :" songs, " England's King,"
" Bundle of Proverbs,"
" Rhyme without Reason," " Boney at
Bayonne," " Origin of Old Bachelors,"
" Wonderful Song," " Lads of the Ocean,"

ASP
ASHWORTH, an Englishman, wrote an
introduction to the art of singing about the
year 1787.
ASIOLI (BONIFAZIO) was born at Correggio, about the year 1760. About the
year 1796 he came to London, where he
remained some time, and then returned to
Milan,, and was appointed chapel-master
and chamber-musician to the (then) king
of Italy. In ]808, a new conservatory was
established at Naples, to the direction of
which Asioli was appointed by the king.
Among his numerous dramatic and vocal
works, the following list is given by Gerber.
1st, "La Volubile," opera buffa; 2d, "II
Ratto di Proserpina," intermezzo, 1785;
3d, " Six Italian Duets," London, 1796 ;
4th, "Six Italian Airs, in the Style of
Canzonets," London; 5th, " Variaz. p.U
Cemb. sail' Aria, L'ame Bettinala we'I ha
fatta," Vienna; 6lh, " Ottavino a 2 V. 2 Fl.
2 Viole. Fag. e Vc" Vienna; 7th, " Capriccio p. Piano F." Op. 1, Zurich, 1803;
8th, " 3Ariette coll' ace. di Piano F." Op.
2, Zurich ; 9th, " Capriccio p. Piano F.ai
Mani," Op. 3, Zurich ; 10th, " Capriccio
p. Piano F." Op. 5, Zurich, 1803; 11th,
"ZArielte
coll' ace. di Piano F." Op. 4,
Zurich, 1803 ; 12th, " 3 Duetti p. 2 Soprani
coll ace. di Piano F." Op. 6, Zurich ; 13th,
"La Campana di Morte, Sonetto, coll'
accomp. di Piano F." Zurich, 1806. There
are several other vocal works of Asioli,
some of which are published by Birchall in
London, and evince a taste in melody equal
to that of any of the modern Italian composerd. He never attempted the more severe
order of composition ; but his works are in
music, what those of Propertius, Catullus,
and Tibullus were in poetry, as compared
with Horace and Virgil; as true music di
camera, they will very long be admired.

ASOLA orASULA, (GIOVANNI MATTEO) a composer of church music at Verona, between the years 1565 and 1600."
ASPELMEYER or APPELMEYER,
&c. &c.
ASHWELL, (T.) a church composer in (FRANZ) musician to the emperor, and
the time of Henry VIII. and Edward VI. ballet composer at Vienna, died in 1785,
He composed some instrumental music and,
Many of his works are still preserved at
two
operas.
Oxford.
r

37

ASP
ASPULL, (GEORGE.) In the more select
musical circles, where the leading professors
associate in the character of friends rather
than in that of artists, there has been unobtrusively stealing into notice a child, in
whom is developed so early and so extraordinary a talent for music, that the most
fastidious predict for him a reputation of
the highest order, and speak of him as a
genius born to bestow a character for
eminence in that art, which has hitherto
been withheld by foreigners from the natives
of this country. His present age is said to
be only eight years; which his appearance
sufficiently proves not to have been understated for the purpose of making the wonder
appear the greater. His father was formerly, we understand, in business ; but not
being successful in the pursuit he at first
chose, was compelled to resort to music as
a profession, and by diligent and successful
practice has acquired some reputation as a
performer on the violin. It was not till his
son had considerably passed the age of five
years, that he gave any indications of that
decided bent which his mind has since
taken; but the marks of genius he then
discovered were so evident, that Mr.Aspull
determined to undertake himself the care of
his education in music, and, foreseeing the
advantages to which it might lead, devoted
the whole of his time and attention to that
object. The fruit of his care and assiduity
is apparent in the surprising talent which
young Aspull now displays. The instrument on which he performs is the pianoforte, at which he does not usually sit, his
stature being so small as to render the
position of standing that which gives him
the most perfect command of the instrument.
His fingers are extremely short, even for
his age ; with the left hand he cannot reach
an octave so as to press down the two notes
which form it at one time, and is only
enabled to do so with the right hand with
much difficulty, and by depressing the
wrist. The impediment thus formed to
the acquisition of the mere mechanical
difficulties of the piano-forte will be perfectly understood by all those who have
38

ASP
ever attempted that instrument; but they
have not prevented young Aspull from
conquering the most complex and rapid
passages that have ever appeared in the
form of musical composition. With some
slight allowance only for those passages
requiring greater strength than that to
which his little frame is adequate, or combining more distant intervals than his
fingers can possibly command, there is no
difficulty of execution that can stop him for
a moment. The compositions of Kalkbrenner and Moscheles, prepared for displaying
in public the manual skill of those celebrated
professors, are played evidently without the
smallest effort by this extraordinary child.
He has also made himself master of a piece
of most singular difficulty, by a foreign
composer whose name is Czerny, and who
wrote it as a trial of skill for all the
eminent professors of Europe, and in order
to combine all the mechanical niceties of
execution of which the instrument is susceptible. This piece, consisting of only one
movement, occupies nearly forty pages of
printed music, every one of which is
crowded with rapid divisions, intricate
modulations, and the most chromatic passages that the art of the composer could
devise. Some idea may be formed of the
complexity of this movement, by the fact
that some of our most eminent professors,
to whom it has been shown, have shrunk
from the attempt to play it. But the mechanical skill of young Aspull is that which
has least surprised those who have had the
pleasure of hearing him perform. A child,
with a certain cleverness and quickness of
parts, may be taught, by repeated efforts,
to conquer the greatest intricacies, and
when conquered, there will remain nearly
the same impression from them which
results on viewing an exhibition on the tight
rope, or the antic tricks of the unfortunate
pupils of the posture-master. Mr. Aspull's
pupil is not of this class: the boy's mind
evidently participates in all that his hand
executes. A passage which he is compelled
to leave imperfect, through a defect of
physical power, does not stop or disconcert

ASP
him, as it would an ordinary pupil, but he
passes on to the next, and is as certain to
give it with effect, as if himself had composed
it. Short as the period is which young
AspuU has devoted to the study of music,
he has cultivated every style, and all with
success ; in these are included the concertos
of Handel, and the fugues of the Bachs and
Scarlatti; than which latter, perhaps, no
works could possibly be selected less accessible to a juvenile student.
Young
Aspull unites with these, the talent, which
is rare among professors, of extempore
playing; at which, if permitted to do so, he
will pass hours, and with a fluency that
would indicate musical notes to be that
vehicle by which he could best express his
ideas. We ought not to omit to state of
him, that he sings ballads to his own
accompaniment on the piano-forte, in a
voice thin and weak, owing to his extreme
youth, but with peculiar taste and delicate
expression. His appearance and behaviour
do not differ from those of other children of
the same age; but his manner, when performing on the piano-forte, is that of a
person deeply attentive. The most rapid
and involved passages do not produce a
change of countenance, nor any sign of
effort. Little study is requisite even for
the most elaborate pieces; and those of
ordinary difficulty he can execute at once,
on being permitted to cast his eye over
them before taking his station at the pianoforte. Certainly this child bears about him
prognostics of future eminence, which
could not have been greater or more conclusive in the person of Mozart himself. In
February last, Master Aspull was introduced to his majesty and a party of distinguished personages at Windsor, when
he delighted the company for two hours
with his performances. He played many
of the most difficult compositions on the
piano-forte, with a power of execution
scarcely exceeded by the most experienced
professors, and with a taste and feeling
which no practice alone can give. The
kino-, during the whole performance, ex
pressed his most unqualified delight, and

AST
'estowed upon this interesting boy that
encouragement and commendation, which,
to the friends of this phenomenon, are doubly
valuable, from his majesty's exalted rank
and scientific knowledge; and as the
reatest proof of his majesty's opinion of
him, he commanded his attendance at the
castle the following evening, to have another
opportunity of witnessing his powers. The
princess Augusta was equally delighted and
astonished by the genius of this child, and
condescendingly turned over the leaves of
his books during the whole performance. In
addition to his display on the piano, Master
AspulL sang four songs in a style which
called forth the most enthusiastic plaudits.
ASSMAYER, composer of some quintets
and other instrumental music for the pianoforte, &c. at Vienna. (Wessel and Stodart's
Cat. 1822.)
ASSOUCI, (CHARLES COYFEAU D') a

French composer for the theatre, died in

1679 at Paris.
ASSUNI or ASUNI, (GHILLINI DI) a
composer for the flute and guitar. Preston
published some of his music about the year
1795.
(See also Clementi's Cat. 1823.)
ASTARITA (GENNAEO) is celebrated
both as a serious and comic composer, but
particularly the latter. His natural and
agreeable style conciliated the favour of the
public, although the opinion of the connoisseurs was not always equally favourable.
His air, "Come lasciarposs'io," was univer
sally sung and applauded. His operas wer&t
" La Contessa di Bimbinpoli"
1772;
"Li
Visionari," 1772; " Finezze d'Amore," 1773 ; " II Marito che non ha moglie," 1774 ; "La Critica Teatrale" 1775;
" II Moilo della Luna," 1775 ; "La Dama
imaginaria," 1777; " L'Isola di Bengali,"
1777 ; " Armida," 1777 ; and " Circe e
Ulisse," which, in 1787, was given under
this title, in all the theatres of Germany, as
a new piece. Neither the nature nor the
number of the compositions of this master
entitle him to a high rank amongst classical composers; but he is worthy to be
placed at the head of the second class of
the musicians of Italy.
39

ATT
ASTER, (DAVID) a German organist
and voluminous composer at the beginning
of the eighteenth century.
ASTIER, a French composer at the
beginning of the last century.
ASTON, an English organist and composer in the time of Henry VIII. Some of
i i s music is preserved at Oxford.
ASTORGA, (Baron EMANUELE D') a
Sicilian, composed an elegant and refined
Stabat Mater, a considerable portion of
which is in the first volume of Latrobe's
selection; also several cantatas, which were
much celebrated. He came to England
some time in the beginning of the last century, and passed one or more winters in
London. Dr. Burney states the three best
of Astorga's cantatas to be, "Quando penso,"
"TorneAprile," and " In questo core." In
these, he says, there is expression, grace,
and science, devoid of pedantry.
ASTORGA (J.O.) published at London,
in 1769, six trios for the flute, and in 1780,
some Italian ariettes.
ASTRUA, (GIOVANNA) of Turin, was
an excellent singer, at first in the service of
the Sardinian, and subsequently of the
Prussian court. She died in 1758, in her
thirty-third year.
ASULA.

See ASOLA.

ATHANASIUS, bishop of Alexaudria,

died in the year 372. He wrote some works
relating to church music.
ATHENiEUS, a Greek grammarian,
was born in the year 160.
In the
fourth book of his works, he treats cf
music, musicians, and musical instruments.
ATHERSTANE, a composer of some
piano-forte music, published in London,
(dementi's Cat. 1823.) He is a professor
of music at Taunton.
ATIS, a good flute player, born at St.
Domingo about the year 1715. He resided
chiefly in France, and composed much
instrumental music.
ATTERBURY, a celebrated English
glee composer in the latter half of the last
century. His most popular works were,
" Come, let us all a Maying go," glee, four

40

ATT
voices; "With horns and hounds in chorus,"
catch, three voices; ", Take, oh take, those
lips away" round, three voices ; " Sweet
enslaver," round, three voices; " Joan said
to John," catch, three voices; " Lay that
sullen garland by," glee, three voices;
" Come Jill the hoard," glee, four voices;
" Oh ! thou sweet bird," glee, four voices";
and " Adieu, ye streams," glee, four voices;
(Birchall's and dementi's Cat.) Atterbury
died during the performance of one of his
benefit concerts.
ATTEY, (JOHN) an English composer of
some songs, published, early in the seventeenth century, in a collection entitled
" Ayres of four and more parts."
ATT1LIO. SeeAsiosTi.
ATTWOOD (THOMAS) was born in the
year 1767. When nine years of age he was
admitted a chorister in the chapel royal,
and received the rudiments of his musical
education under Dr. Nares, (the master of
the chapel boys) and his successor, Dr
Ayrton, remaining under their tuition about
five years. When Attwood had attained
his sixteenth year, he was so fortunate as to
perform at Buckingham-house before his
present majesty, then prince of Wales, who
most graciously proposed to send him to
Italy, to study under the celebrated masters
of that school; and for this purpose settled
a handsome income upon him, paid out of
his royal highness's private purse, for the
whole period of his absence from England.
This unlooked-for patronage and bounty is,
we know, remembered with the deepest
sense of gratitude by Attwood, who ascribes
to that generous act his future professional
successes. In the year 1783, he accordingly
went to Naples, where he resided two years,
receiving instructions during that time from
Fil'ippo Cinque and Latilla. From Naples
he went to Vienna, where he was so fortunate as to become the pupil of the celebrated Mozart, under whom he studied till
the year 1786, when he returned to England.
His royal highness, still most nobly and
generously continuing his patronage, nominated Attwood one of the musicians of his
chamber band, to which the celebrated

ATT
Schrseder was at that time attached. Soon
after the marriage of the duke of York with
the princess royal of Prussia, Attwood was
applied to by the duke, to instruct her royal
highness in music. On the arrival of the
princess of Wales in England, he was also
selected by his munificent patron to be her
royal highness's musical instructor. In 1795,
Attwood succeeded Jones as organist of St.
Paul's cathedral; and in 1796 obtained the
situation of composer to his majesty's chapels
royal, succeeding the late Dr. Dupuis.
Lastly, in 1821, his present majesty added
to the numerous instances of royal favour
already shown, and which he had continued
through so long a period, by appointing Attwood to the situation of organist of the
private chapel in the Pavilion at Brighton.
All these situations he is said to have had
the gratification of obtaining either directly
from his majesty, or in consequence of his
majesty's generous recommendation. For
several years Attwood devoted much of his
time to dramatic music, in which he was so
eminently successful, that the public experienced a great loss when he thought fit
to change the line of his studies. He composed several operas, of which the following
were the most popular: " The Prisoner,"
"The Mariners," "TheAdopted Child,"
" The Smugglers," and " The Castle of
Sorento."
Among his other works, the
following are the greatest favourites with
the public, viz.: songs, " The Soldier's
Dream" " The Adieu," " Sweet Charity"
and " The Convent Bells:" glees and trios,
" The Curfew," " In peace love times,"
" To all that breathe," " Qual Silenzio,"
and " Oh heavenly sympathy."
Attwood
has further produced several pieces of cathedral music ; and of late years has employed a considerable portion of his time in
this species of composition. In virtue of
his office, as composer to the chapels royal,
he wrote the coronation anthem, " / was
glad;" which was performed at the coronation of George the Fourth. In speaking
of this composition, a modern critic observes:
" We have frequently heard from persons of
undoubted authority, that Attwood has a

A U D
profound knowledge of orchestral effects,
and we now have a proof of the fact before
us. In particular we admire the use which
he has made of the wind instruments. His
admirable disposition of them is, indeed,
worthy of a pupil of Mozart."
AUBERLEN (S. G.) was living at Tubingen in 1802. He has composed many
allemandes, &c.
AUBER, born at Paris in 1780, has
composed many romances ; amongst which
" Le bon-jour" has been very popular. He
is also the author of some quartets and
concertos, and has lately produced at the
Theatre Feydeau an opera entitled "La
Neige on. le Nouvel Eginard." The music
is said to display considerable talent, but
too evidently in the style of Rossini.
AUBERT, musician to the duke of
Bourbon, was engaged at the opera at
Paris, as violinist, in 1727. He died in
1758.
He composed some sonatas and
other music.
AUBERT, son of the preceding, was first
violin at the opera at Paris till 1771, when
he retired with a pension. Either he or
one of his brothers wrote a refutation of the
principles of J. J. Rousseau respecting
French music.
AUBERT, (P. F. OLIVIER) sometimes
written O, a violoncellist at the comic
opera at Paris, was born at Amiens, in
1763. He has written an excellent instruction book for the violoncello, also much
instrumental music.
AUBERTI, a violoncellist at the Italian
theatre at Paris, published some music for
that instrument. He died about the year
1805.
AUBIGNYVON ENGELBRONNER,
(NINA B') the youngest of two sisters who
were celebrated composers of songs in Germany. She went some years since to the
East Indies with an English family.
AUBIN, (MADAME ST.) a French singer
at the comic opera about the year 1796.
AUDINOT, author of the petit opera,
" Le Tonnelier," at Paris.
AUDINOT, (MLLE.) singer at the opera
at Paris about the year 1782. Gretry
41

AVI

AUR
composed the music of some particular
parts for her, especially " Colinette d la
Cour."
AUENBRUGGER, (F.) a female composer of vocal and instrumental music, died
at Vienna in 1786. Her sister Mary-Anne
also published some music.
AUITMAN, (J. A.) a chapel-master,
published three concertos for the organ at
Augsburg, in 1754.
AUFFSCHNAITER, (BENEDICTANTON)

chapel-master at Passau, published between

1695 and 1719 various sacred compositions.
AUGUSTIN, court-musician to the emperor Maximilian I. 1512.
AUGUSTINI, (PAOLO.) SeeAoosTiNi.
AUGUSTINUS (AURELIUS) lived at
the end of the fourth century ; he wrote a
book on music, which was printed at Basil
in 1521.
AULBERUSor ALBEUUS, a* Lutheran,
professor of music at Tubingen. Many of
the canticles now in use in the Lutheran
church are cf his composition.
AULETTA (P.) composed an opera,
entitled " Ezio," about the year 1728.
AULETTA, an Italian buffo singer at
the opera at Paris, in the year 1820.
AULNAYE, ( M R . DE L') author of a
WOTIC, entitled "De la Saltation Thcatrale,"
Paris, 1789, in which there are some observations on music.
AULUS GELLIUS lived a short time
after the death of Plutarch, and wrote some
works on music.
AUMANN,

(DIETRICH

CHRISTIAN)

a composer at Hamburgh, published several

vocal works between 1787 and 1789.
AUIvIER, a composer of some theatrical
music at Vienna. (Boosey's Cat. 1822.)
AUKELI, (A.) of Venice, a voluminous
writer of dramatic pieces about the middle
of the seventeenth century.
AURELIANUS REOMENSIS, a priest
and musician at Rheims about the year
900.
AURENHAMMER, (MADAME) an in-

genious professor of the harpsichord at

Vienna, in 1787. She superintended the
42

publication of some of Mozart's works. See

BOSENHOENIG.

AURIEMMA, a Neapolitan composer

for the opera about the year 1790.
AURISICCHIO, a Roman composer
about the middle of the eighteenth century.
He died very young.
AUTREAU, (J.) a painter, died in 1745.
He wrote some French songs and an
opera.
AUVERGNE, (ANTOINE D') director of
the grand opera at Paris in 1792.
AUVRAY, (J. B.) composer of some
romances and war-songs at Paris, in 1797
and 1800.
AVANTANO, (P.) an amateur of
Naples, published in 1736, at Amsterdam,
twelve sonatas for the violin and bass.
AVANZOLINI, (GIROLAMO) a contrapuntist of the seventeenth century, published
at Venice, in 1623, some psalms for eight
voices, with the thorough-bass.
AVAUX, (D1) a musical amateur violinist at Paris, published many symphonies
and quartets between the years 1787 and
1795. He also wrote, in 1784, a letter on a
newly-invented peBduium to measure time
and music. We have not seen this work,
but probably it takes away the merit of
originality from the Metronojxie of Maelzel.
AVELLA, (GIOVANNI D') a Franciscan
monk, published a book on the rules of
music, at Rome, in 1657.
AVENARIUS, (JOHANN) a German
professor of theology, died in 1692. He
left a work entitled " Musica."
AVENARIUS, (PHILIPPE) organist at
Attenburg, published some sacred music at
Nuremburg in 1572.
AVENTINUS, (JOHANNES) a renowned
German historian, died at Ratisbon, in
1534. He wrote a work entitled " Musicm
Rudiment a."
AVERTEL, a composer of music for
wind instruments at Vienna, at the end of
the last century.
A VIA, (J.) a musical amateur, published in 1650, at Constance, a collection of
convivial songs.
AVIANUS, (JOHANN) of Eisenberg,

AY L

AYR

died there in 1617. He wrote some works

on music.
AVICENNA, a celebrated Arabian physician, died in 1036. He wrote a treatise
on music in the Persian language.
AVILES,

(MANUEL

LEITAM

DE)

chapel-master at Granada in 1625, and

composer of several masses.
AVISON, (CHARLES) organist at Newcastle, and pupil of Geminiani, was the
author of an essay on musical expression,
published in the year 1752. He assisted
in the publication of Marcello's music
to the Psalms adapted to English words.
Of his own compositions there are extant,
five collections of concertos for violins,
and two sets of sonatas for the harpsichord and two violins.
(Clementi's
Cat.) The music of Avison is light and
elegant, but it wants originality. In his
essay on musical expression, he was the encomiast of Marcello and Geminiani, frequently to the prejudice of Handel. Plis
work was answered by Dr. Hayes of Oxford,
who proved Avison to have been by no
means a profound contrapuntist. Soon after
Avison republished his book, with a reply
to Dr. Hayes, and a letter containing many
detached particulars relative to music. This
last edition of Avison's work is now very
scarce.
AVOLLO or ATOLIO (J.) appears, by
Brietkopf s Catalogue of 1802, to be a composer of instrumental music at Leipsic. (See
also Clementi's Cat.)
AVONTANO, (PIETHO) a Neapolitan
composer, published, in 1732, twelve sonatas at Amsterdam.
AVOSANI, (ORFEO) born near Milan
in the early part of the seventeenth century, by no means justified by his talents
the title which he chose to bestow on himself of Husband to Eurydice. He published
some church music.
AXT (F. S.) died in Germany in ] 745.
He wrote a work entitled "Annus Musicus."
AYLWAKD

(THEODORE) was one of

the assistant directors at the commemoration of Handel in 1784, at Westminster

abbey. He composed some church music.

AYRTON (Dr. EDMUND) was born in

1734, at Ripon in Yorkshire, of which borough his father was an active and upright
magistrate, whose three immediate ancestors held, successively, the consolidated
livings of Nidd and Stainley, within the
liberty of that town.
He was intended for the church, and received his education at the free grammarschool of his native place; where, during
five yeais, he was a contemporary of Beilby
Porteus, afterwards bishop of London. But
his Idther, finding it prudent to indulge his
son's natmal inclination for the study of
music, placed him under the instruction of
Dr. Nares, then organist of the cathedral
at \ ork, with whom he commenced an acquaintance, which ripened into a friendship
that death alone terminated. At an early age
he was elected organist, auditor, and rectorchori of the collegiate church of Southwell,
in Nottinghamshire, where he resided some
years, and married a lady of good family,
by whom he had fifteen children, of which
only three daughters and one son are now
living. He quitted that place in 1764,
upon being appointed gentleman of the
chapel royal; shortly after which, he was
installed a vicar-choral of St. Paul's cathedral, and subsequently became one of the
lay-clerks of Westminster abbey. In 1780,
he was promoted, by bishop Lowth, to the
office of master of the children of his majesty's chapels, upon the resignation of his
valuable friend Dr. liares. In 1784, the
university of Cambridge conferred on him
the degree of doctor in music; and, some
time after, he was admitted ad eundem in
the university of Oxford. His exercise was
a grand anthem for a full orchestra, which
merited and gained so much praise, that
it was ordered to be perfoimed, with a complete band, in St. Paul's cathedral, on the
29th of July, 1784, being the day of the general thanksgiving for the peace. This work
was afterwards published in score. In the
same year he was chosen one of the assistant directors of the far-famed commemoration of Handel, in Westminster abbey ;
which situation he filled at all the succeeding
43

BAB

B A C

performances in that venerable building,

till they were discontinued at the troublesome asra of the French revolution. In ] 805,
he relinquished the mastership of the children of the royal chapel, having been
allowed for many previous years to execute
the duties of all his other appointments by
deputy. He died in 1808, and his remains
were deposited in the cloisters of Westminster
abbey, near those of his wife, and several of
his children, whom he survived.
Dr. Ayrton was an excellent musician, of
which his compositions for the church bear
indubitable evidence. The performance of
these has been confined chiefly to the
royal chapel; but the publication of them,

which has long been expected, would usefully augment the musical resources of our
various choirs, and add no small lustre to
the uame'of their author.
AZAIS published, in 1776, " A Method
for Music, according to a new Plan,"
and, in 1780, some sonatas and other instrumental music.
AZERETTO, composer of a Spanish
march, published at Hamburgh. (Boosey's
Cat. 1822.)
AZOPARDI,
(FKANCESCO) chapelmaster, published, about'the year 1760, a
small treatise on composition, which was
translated into French.

B
BABBI, (GBEGOEIO) a celebrated tenor
singer at the opera at Lisbon, in 1755.
BABBI, (C.) chamber-musician to the
elector of Saxony, at Dresden, where he published some instrumental music about the
year 1780. He was a pupil on the violin
of Paul Alberghi.
BABBINI, (MATTEO) a celebrated
tenor singer of the Bolognese school: he
performed at the opera in London, in 1785.
BABELL, (WILLIAM) an organist in
London. His first essay on composition
was to make the favourite airs in the operas
of " Pyrrhus and Demetrius," "Hi/daspes,"
and some others, into lessons for the harpsichord. After that he did the same by
Handel's opera of"Rinaldo," arid succeeded
so well in the attempt, as to make from it a
book of lessons, which (by the way) few
would play but himself, but which has long
been deservedly celebrated. He also composed twelve solos for the violin, or hautboy, twelve solos for the German flute and
hautboy, and some concertos for small
flutes and violins, and some other works
enumerated in Walsh's Catalogue. Babell
died a young man, about the year 1722,
having shortened his days by intemperance.
It seems the fame of Babell's abilities had

44

reached Hamburgh, for Mattheson says he

was a pupil of Handel; but in this he is
mistaken, for Handel disdained to teach his
art to any but princes.
BABTICOCCHI published, in 1786, some
sonatas in London.
BACCHIUS, Senior, a great musician,
lived probably in the second century. He
wrote an introduction to music, which was
translated into Latin, and published at
Amsterdam, in 1652.
BACCI (PIETEO GIACOMO) was born at

Perugia, a town in the Roman states,

towards the middle of the seventeenth cehtury. He composed several operas, the
most approved of which was from a sacred
subject, and entitled "Abigail."
BACCUSI, (HIPPOLITA) a composer
at Cerreto in Italy, about the year
1550.
BACH (JOHN SEBASTIAN) was born on

the 21st of March, 1685, at Eisenach,

where his father, John Ambrosius, was
musician to the court and to the town,
and had a twin-brother, John' Christopher,
who was musician to the court and town
of Avmstadt, and was so very like him,
that even their own wives could not
distinguish them, except by their dress.

B A C
These twins were perhaps in this respect
the most remarkable ever known. They
tenderly loved each other; and their voice,
disposition, and. style of music was alike.
If one was ill, the other was so likewise :
they died also within a short time of each
other. They were, indeed, a subject of
astonishment to all who knew them. In
the year 1695, when John Sebastian was
not quite ten years of age, his father died;
he had lost his mother at an earlier period.
Being thus left an orphan, he was obliged
to have recourse to an elder brother, John
Christopher, who was an organist at
Ardraff. From him he received the first
instructions in playing on the clavichord.
But his inclination and talent for music
must have been already very great, since
the pieces which his brother gave him to
learn were so soon in his power that he
began with much eagerness to look out for
some that were more difficult. The most
celebrated composers for the clavichord in
those days, were Froberger, Fircher, John
GasparKerl, Bachelbel, Buxtehude, Bruhn,
Bohme, &c. He had observed that his
brother had a book, in which there were
several pieces of the above-mentioned
authors, and earnestly begged him to
give it to him, but it was constantly
denied, till his desire to possess the book
was so increased by refusal, that he at
length sought for means to get possession
of it secretly. As it was kept in a cupboard
which had only a little door, and his hands
were still small enough to pass through, so
that he could roll up the book, which was
merely stitched in paper, and draw it out,
he did not long hesitate to make use of
these favourable circumstances : but for want
of a candle he could only copy it in moonlight nights, and it took six whole months
before he could finish his laborious task.
At length, when he thought himself safely
possessed of the treasure, and intending
to make use of it in secret, his brother
found it out, and took from him, without
pity, the copy which had cost him so much
pains ; and he did not recover it till his
brother's death, which took place soon

B A C
after. John Sebastian, being thus again
left destitute, went, in company with one
ot his schoolfellows,named Erdmann, afterwards Russian president in Dantzic, to
Luneburg, and engaged there in the choir
of St. Michael's school as a treble or
soprano singer. His fine treble voice procured him here a decent livelihood; but he
soon lost his voice, and did not immediately acquire another good one. His inclination to play on the clavichord and
organ was as ardent at this time, as in
his more early years, and impelled him to try
to see and hear every thing, which, according to the ideas then entertained, would
contribute to his improvement. With this
view he not only went several times while
he was a scholar, from Luneburg to Hamburgh, to hear the organist, John Adam
Reinken, who was at that time very famous,
but sometimes also to Zell, in order to get
acquainted with the prince's band, which
sonsisted chiefly of Frenchmen, and with
the French taste, which was then a novelty
in those parts. It is not known on what
occasion he removed from Luneburg to
Weimar, but it is certain that he became
court-musician at the latter town in 1703,
when he was just eighteen years of age.
He exchanged this place, however, in the
following year, for that of organist to the
new church at Arinstadt, probably to be
able to follow his inclination for the organ
better than he could do at Weimar, where
he was engaged to play the violin. Here
he began most zealously to make use of all
the works of the organists at that time
celebrated, and which he could procure in
his situation, by which means he improved
both in composition and the art of playing
on the organ: further to gratify his desire
of learning, he even made a journey on
foot to Lubeck, to hear Diederich Buxtehude,
organist to St. Mary's church in that city,
with whose composition he was already
acquainted. For almost a quarter of a
year he remained a secret hearer of this
oro-anist, who was really a man of talent,
and much celebrated in his time, and then
returned with an increased stock of know45

B A C
ledge to Armstadt. The effects of his zeal
and persevering diligence must already have
excited great attention; for he received,
in quick succession, several offers of places
as organist; among others, that of the
church of St. Blasius, at Muhlhausen,
which he accepted. But a year after he
had entered upon it, making a journey to
Weimar, to perform before the reigning
duke, his playing on the organ was so
highly approved of, that he was offered
the situation of court-organist, which he
accepted. The extended sphere of action in
which he here lived, impelled him to exert
himself to the utmost; and it was probably
during this period, that he not only made
himself so able a performer on the organ,
but also laid the foundation of his great
compositions for that instrument. He had
still further occasion to improve in his art;
when his prince, in 1717, appointed him
director of the concerts, in which place he
had to compose and execute pieces of
sacred music. Handel's master, Zachau,
organist at Halle, died about this time, and
J. S. Bach, whose reputation was already
high, was invited to succeed him. He,
in fact, went to Halle, to prove his qualifications, by performing a piece as a specimen of his skill.
However, for what
reason is not known, he did not enter upon
the office, but left it to an able scholar of
Zachau's, of the name of Kirchhof. John
Sebastian Bach was now thirty-two years
of age ; he had made such good use of his
time, had studied, composed, and played so
much, and, by his unremitting zeal and
diligence, acquired such a mastery over
every part of the art, that he stood like a
giant, able to trample all around him into
dust. He had long been regarded with
admiration and wonder, not only by
amateurs, but by judges of the art, when,
in the year 1717, Marchand, formerly
much celebrated in France as a performer
on the clavichord and organ, came to Dresden, where he performed before the king,
and gained such approbation, that a large
salary was offered him, if he would engage
in his majesty's service. Marchand's merit
46

BAC
chiefly consisted in a very fine and elegant
style of performance; but his ideas were
empty and feeble, almost in the manner of
Couperin; so far at least as may be judged
by his compositions. But J. S. Bach had
an equally fine and elegant style, and at the
same time a copiousness of ideas, which
might perhaps have made Marchand's head
giddy, if he had heard it. All this was
known to Volumier, at that time director of
the concerts in Dresden. He knew the absolute command of the young German over his
thoughts and his instrument, and wished
to produce a contest between him and
the French artist, in order to give the
prince the pleasure of judging of their
respective merits, by comparing them himself. With the king's approbation, therefore, a message was sent to J. S. Bach, at
Weimar, to invite him to this musical contest. He accepted the invitation, and immediately set out on his journey. Upon
Bach's arrival in Dresden, Volumier first
procured him an opportunity secretly to
hear Marchand. Bach was not discouraged,
but sent a polite note to the French artist,
formally inviting him to a musical trial
of skill: he offered to play upon the spot,
whatever Marchand should set before him,
but requested the same readiness on his
part. As Marchand accepted the challenge,
the time and place for the contest was
fixed, with the king's consent. A large
company of both sexes, and of high rank,
assembled in the house of marshal count
Fleming, which was the place appointed.
Bach did not make them wait long for him,
but Marchand did not appear. After a
long delay, they at last sent to inquire
at his lodgings, and the compahy learned,
to their great astonishment, that he
had left Dresden in the morning of that
da}', without taking leave of any body.
Bach alone, therefore, had to perform, and
excited the admiration of all who heard
him: but Volumier's intention, to show a
sensible and striking difference between the'
French and German artist, was frustrated.
Bach received on.this occasion praise in
abundance; but, it is said, he did not

BAC
receive a present of a hundred louis d'ors, j
which the king had designed for him. He
had not long returned to Weimar, when
prince Leopold of Anhalt-Cothen, a great
judge and lover of music, invited him to
take the office of master to his chapel. He
immediately entered on this situation, which
he filled nearly six years; but during this
time (about 1722) took a journey to Hamburgh, in order to perform on the organ
there. His performance excited universal
admiration. The veteran Reinken, then
near a hundred years old, heard him with
particular pleasure; and in regard to the
chorus, "An WasserflYisien Babijlons,'"
which he varied for half an hour in the
true organ style, he paid him the compliment of saying, " I thought that this art
was dead, but I see that it still lives in
you." Reinken himself had, some years
before, composed that chorus in this manner, and had it engraved, as a work on
which he set a great value. His praise,
therefore, was the more flattering to Bach.
On the death of Kuknaw, in the year 1723,
Bach was appointed director of music and
chanter to St. Thomas's school, at Leipsic.
In this place he remained till his death.
Prince Leopold of Anhalt-Cothen had a
great regard for him, and Bach, therefore,
left his service with regret. But the death
of the prince occurring soon after, he saw
that Providence had guided well. Upon
this death, which greatly afflicted him
he composed a funeral dirge, with many
remarkably fine double choruses, and
executed it himself at Cothen. That in his
present situation he received the title o:
master of the chapel from the duke o
Weissenfels, and in the year 1736, the
title of court composer to the king o:
Poland, elector of Saxony, is of little consequence ; only it is to be observed, thai
the last title was derived from connection;
in which Bach was engaged by his office
of chanter in St. Thomas's school. Hi;
second son, Charles Philip Emanuel, en
tered the service of Frederic the Great in
1740. The reputation of the all-surpassin;
skill of John Sebastian was at this time s<

ixtended, that the king often heard it menioned and praised. This made him curious
o hear so great an artist. At first he disantly hinted to the son his wish, that his
ather would one day come to Potsdam.
But by degrees he began to ask him,
directly, why his father did not come'?
The son could not avoid acquainting his
'ather with these expressions of the king;
it first however he would not pay any atiention to them, being in general too much
overwhelmed with business. But the king's
expressions being repeated in several of his
ion's letters, he at length, in 1747, prepared to take this journey, accompanied by
Iris eldest son, William Friedemann. At
this time the king had eveyy evening a
private concert, in which he himself generally performed some concertos on the flute.
One evening, just as he was getting his
flute ready, and his musicians were assembled, an officer brought him the list of
the strangers who had arrived. With his
flute in his hand he ran over the list, but
immediately turned to the assembled musicians, and said, with a kind of agitation,
Gentlemen, old Bach is come." The
flute was now laid aside, and old Bach,
who had alighted at his son's lodgings, \vas
immediately summoned to the palace. The
king then gave up his concert for that
evening, and invited Bach to try his fovtepianos, made by Silvermann, which stood
in several rooms of the palace. The
musicians went with him from room to
room, and Bach was invited everywhere to
play unpremeditated compositions. After
he had gone on for a short time, he
asked the king to give him a subject
for a fugue, in order to execute it
immediately without any preparation.
The king admired the learned manner in
which his subject was thus executed extempore ; and probably to see how far such
art could be carried, expressed a wish to
hear a fugue with sixobligato paits. But, as
it is not every subject that is fit for such
full harmony, Bach chose one himself, and
immediately executed it, to the astonishment of all present, in the same magnificent
47

B A C
and learned "manner he had done that of
the king. His majesty desired also to hear
his performance on the organ. The next
day, therefore, Bach was taken to all the
organs in Potsdam, as he had before been to
Silvermann's forte-pianos. After his return
to Leipsie, he composed the subject which
he had received from the king, in three and
six parts, added several artificial passages
to it, in strict canon, and had it engraved
under the title of " Musicaliskes Offer"
(Musical Offering) aud dedicated it to the
inventor. This was Bach's last journey.
The indefatigable diligence with which,
particularly in his younger years, he had
frequently passed days and nights in the
study of his art, had weakened his sight.
This weakness continued to increase in his
latter years, till at length it brought on a
very painful disorder in the eyes. By the
advice of some friends, who placed great
confidence in the ability of an oculist who
had arrived at Leipsic from England, he
ventured to submit to an operation, which
twice failed. Not only was his sight now
wholly lost, but his constitution, which had
been hitherto so vigorous, was quite undermined by the use of, perhaps noxious,
medicines. In consequence of the operation
he continued to decline for full half a year,
till he expired, on the evening of the 30th
of July, 1750, in the sixty-sixth year of his
age. On the morning of the tenth day
before his death, he was suddenly able to
see again, and bear the light. But a few
hours afterwards he was seized with an
apoplectic fit, this was followed by an inflammatory fever, which his enfeebled frame,
notwithstanding all possible medical aid,
was unable to resist.Such was the life of
this remarkable man. We will only add, that
he was twice married ; and that he had by
his first wife seven, and by the second wife
thirteen children, namely, eight sons and
five daughters. All the sons had admirable
talents for music; but they were not fully
cultivated, except in some of the elder
ones. Concerning the performance and
compositions of Bach, it certainly is true
what Marpurg says, that " he was many
48

B A C
musicians in one."" No true idea," says
Kollmann " can be formed 'of S. Bach's
organ playing, except by hearing his works,
expressly composed for the organ, performed
in the manner in which he played them, viz.
those for the full organ, on a good large
instrument, and the pedal part on a double
bass stop ; those for solo stops, on as many
sets of keys with different stops as they
contain parts, and the bass part on a
suitable double bass stop. And it must be
observed, that though many of Bach's
pieces composed for the harpsichord, also
have a fine effect on a manual organ, particularly most of his forty-eight fugues in
the ' Well tempered Clavier,' the list of his
works will show, that they do not come
under the denomination of his organ pieces;
because they are deficient in his principal
requisite for such pieces, namely, a part for
obligato pedals; and consequently their
effect cannot give an idea of his organ playing, unless an obligato part for the pedals
be still selected from their bass part, and
performed on a double bass stop." Concerning Bach's abilities as a performer on
the harpsichord Kollmann thus proceeds:
" It might perhaps be supposed, that one so
familiar with the deep and heavy touches
of a large organ, and with a true organ
style, could not be equally great in the brilliancy, expression, and style calculated for
stringed instruments. But the nature of all
his compositions for the clavier, (harpsichord
and clavichord) as well as the unanimous
testimony of all the writers on that subject,
convince us of the contrary ; which is also
proved by his uncontested victory over the
elegant harpsichord player Marchand, mentioned before. That he must likewise have
been a great performer on the violin, follows,
not only from his first appointment, which
was as violinist, but also, and particularly,
from his solos for the violin. Again,
his solos for the violoncello prove, that
he also had the greatest practical knowledge on that instrument." The following
list of S. Bach's works are given by
Kollmann : "1st, 'Clavierilbung,' part first,
consisting of preludes, allemandes, courantes,

BAC
sarabands, gigues, menuets, &c. In the
new Leipsic edition, this work is entitled
'Exercices pour le Clavecin' 2d, ' Clavieriibung,' part second, (Exercices pour
le Clavecin) containing a concerto in the
Italian style, and an overture in the French
style, for a harpsichord with two sets of
keys.3d,' Clavieriibung,' part third, (Exercices, &c.) containing Vorspiele, or the
giving out of hymns, for the organ; and
four duets (pieces iu two obligato parts
only) for the harpsichord, which are a
complete harmony throughout.4th, 'Six
Chorale, (hymns) of divers kinds, for an
Organ with two Sets of Keys and Pedals.'
5th, ' Clavieriihung,' part fourth, (Exercices,
&c.) containing an air with thirty variations, for a harpsichord with two sets of
keys, as mentioned before. 6th, 'Five
Canonical Variations on the Christmas
Hymn, Von Himmel hoch, (' Behold I bring
you good tidings') for an Organ with two
Sets of Keys and Pedals.' They are in
divers intervals, similar to those of the preceding work.7th, 'Musical Offering,' (as
mentioned before) dedicated to Frederick
I I . king of Prussia, consisting in a fugue
ricercata in three parts, also one in six parts
for one performer, divers canons, and a trio
for the German flute, (that king's favourite
instrument) with a violin and bass. The
whole composed on the subject which his
majesty laid before Bach to extemporize
upon.8th,' The Art of the Fugue,' consisting in twenty-three periodical and canonical
fugues, on one subject, the last with two additional subjects, and a hymn for three sets of
keys and pedals.9 th, 'An HundredHymns,'
in four parts, published in two books, by
his son Emmanuel Bach; andfour more books

BAC

and minor key.5th, A Chromatic Fantasia

and Fugue. This is the beautiful piece printed,
with some additions of Mr. Kollmann, by
Preston.6th, A Fantasia. This is like an
allegro of a sonata.7th, Six Suites, containing preludes, allemandes, courantes, sarabands, gigues, &c. also called English suites.
8th, Six lesser Suites, containing allemandes, courantes, &c. also called French
suites.
B. Works for the harpsichord,
with accompaniments. 1st, Six Sonatas for
the Harpsichord, with aViolino Obligato.
2d, Many single Sonatas for the Harpsichord,
with Accompaniments for the Violin, Flute,
Viola da gamba, &c3d, Concertos for the
Harpsichord, with numerous Accompaniments.4th, Two Concertos for two Harpsichords, with Accompaniments for Violins,
Tenor, and Violoncello. 5th,Two Concertos
for three Harpsichords,with the same Accompaniments, which are also concerting among
themselves.6th, A Concerto for four Harpsichords, with the above Accompaniments.
C. Works for the Organ. 1st, Grand
Preludes and Fugues, for Manuals and Obligato Pedals.2d, Vorspiele (Preludes) on
various Hymns.3d, Six Sonatas or Trios,
for two Manuals and Obligato Pedals.
D. Works for bow instruments. 1st, Six
Solos for a Violin, without any Accompaniments. These are a most unique work.2d,
Six Solos for a Violoncello, without any Accompaniment. These are similar to the preceding ones.
E. Vocal Works. 1st, Five
complete Annual Choruses of Church Pieces,
(like Cantatas) with Recitatives, Airs, and
Choruses, for every Sunday and other
Festival.2d, Five Passions, among which
there is one for two Choirs.3d, Many Oratorios, Masses, Magnificats, and single
Sanctuses; also Pieces for Birthdays, Nameof hymns, published by Kirnberger.
days, and Funeral Pieces; Wedding Masses,
The following have been more recently
Evening Pieces, and several Italian Cantatas.
printed : A. Works for the harpsichord, with4th, Many Motets, for one and two Choirs.
out accompaniments,
1st, Six Preludes for
N.B. Of those for two choirs there are at
the Use of Beginners.2d, Fifteen Invenpresent only eight extant."
tions, in two parts.3d, Fifteen Inventions,
BACH, (CARL P H I L I P P EMMANUEL)
in three parts, also called Symphonies.
4th, TheWell-tempered Clavier, part one and second son of the great Sebastian Bach, and
two, each part consists in twenty-four pre- born in 1714, was commonly named Bach
ludes and fugues, being one in every major of Berlin. He was chapel-master to the
E
49
VOL. I.

B A C
princess Amelia of Prussia. His fattier was
his only master in music; but it appears that
he acquired from Hasse's operas his fine vocal
taste in composing lessons so different from
the dry and laborious style of his father. He
modestly gave as a reason for choosing a
style of his own, or at least for differing from
that of his instructor, that he was aware if
he had followed his father's method he never
could have equalled him. In the year 1767,
he was chosen director of music at Hamburgh, in which town he resided many
years, and died there in 1788. Emmanuel
Bach declares, that of all his works, those
for the clavichord or piano-forte are the
chief in which he indulged his own feelings
and ideas. His principal wish was to play
and compose in the most vocal manner possible, notwithstanding the great defect of all
keyed-instruments, except the organ, in not
sustaining their tone. To make a harpsichord
or piano-forte sing is indeed not easily accomplished, as the ear must be tired by too
thin a harmony, or stunned by too full and
noisy an accompaniment. In his opinion,
music ought to touch the heart; and he
never found that this could be effected by
running, rattling, drumming, or arpeggios.
If Haydn ever looked up to any great
master as a model, it seems to have been
Emmanuel Bach. The bold modulations,
rests, pauses, free use of semitones, and
unexpected flights of Haydn, remind us
frequently of Emmanuel Bach's early works,
more than of any other composer. But in
writing for violins, it must be confessed,
that Haydn surpassed his model, in facility
and invention. Emmanuel Bach's compositions consist of symphonies, concertos,
sonatas, and much church music. In the
whole, there are more than fifty different
published works of his composition, some of
which were printed after his decease.
BACH, (JOHN CHBISTIAN) called Bach
of Milan, and afterwards Bach of London,
was a son of Sebastian by his second wife.
He was very early in life deprived of the
instructions of his father, and was for some
time a scholar of his elder brother Emmanuel, under whom he became a fine

50

B A C
performer on keyed-instruments. He subsequently went to Italy, where his chief
study was the composition of vocal music :
here he added new lustre to his name and
family by his several dramatic compositions,
and was appointed by the empress queen,
organist of the Duomo of Milan. In 1763,
he was engaged by Mattei to compose for
the opera in London, and he soon afterwards arrived in this country. His first
opera in England, " Orione," was extremely
applauded for the richness of its harmony,
the ingenious texture of its parts, and,
above all, for the new and happy use the
composer had made of wind instruments;
this being the first time clarionets had admission in our opera orchestra. Soon after
this, J. C. Bach and Abel, uniting, opened a
subscription for a weekly concert; and as
their own compositions were new and excellent, and the best performers of all kinds
enlisted under their banners, this concert
was better patronised and longer supported
than perhaps any one that had ever been
established in this country, having continued for at least twenty years in uninterrupted prosperity. While C. Bach was in
Italy he made little use of his piano-forte,
but to compose for or accompany a voice;
but when he arrived in England his style of
playing was so much admired, that he recovered many of the losses his hand had
sustained by disuse, and by being constantly cramped and crippled by a pen ; but
he never was able to reinstate it in force
and readiness sufficient for great difficulties:
and, in general, his compositions for the
piano-forte are such as ladies can execute
with little trouble, and the allegros rather
resemble bravura songs than instrumental
pieces for the display of great execution;
on which account they lose much of their
effect when played without the accompaniments, which are admirable, and so masterly
and interesting to the audience, that want
of execution or complication in the harpsichord part is never discovered. There are
many admirable airs in the operas he composed for our stage, that long remained in
favour. The richness of the accompani-

B AC
ments perhaps deserve more praise than the
originality of the melodies ; which, however,
are always natural, elegant, and in the best
taste of Italy, at the time he came over.
The Neapolitan school, where he studied, is
manifest, in his ''Cantilena," and the science
of his father and brother, in his harmony.
The operas of this master are the first in
which da capos disappeared, and in which,
about this time, began to be generally discontinued, the second part being incorporated with the first, to which, after modulating into the fifth of the key, the singer
generally returns. Bach seems to have
been the first composer who observed the
Jaw of contrast as a principle.
Before his
time, there frequently was contrast in the
works of others, but it seems to have been
accidental. Bach, in his symphonies and
other instrumental pieces, as well as his
songs, seldom failed, after a rapid and noisy
passage, to introduce one that was slow and
soothing. His symphonies seemed infinitely
more original than either his songs or
harpsichord pieces, of which the harmony,
mixture of wind instruments, and general
richness and variety of accompaniment, are
certainly the most prominent features. J. C.
Bach remained in London almost constantly
till his death, which took place in the year
1782.
BACH,(JOHANNCHKISTOPHFRIEDRICH)

ninth of the eleven sons of Sebastian Bach,

was born at Weimar in 1732. He was a
pupil in music of his father and elder brothers; and he published some instrumental
works not unworthy the name of Bach. He
held the situation of master of the concerts,
at the court of Buckeburg. J. C. F. Bach
imitated Emmanuel Bach's manner, but
did not.equal him. According to the testimony of W. Friedemann, he was, however,
the ablest performer of all the brothers, and
the one who played most readily his father's
compositions for the clavichord.
BACH, (WILHELM FRIEDEMANN) eldest

son of Sebastian Bach, was born in 1710.

He approached the nearest to his father in
the originality of his musical conceptions.
All his melodies have a different turn from

BAG
those of other composers, and yet they are
not only extremely natural, but, at the same
time, uncommonly ingenious and elegant.
When performed with delicacy, as he himself used to play them, they cannot fail to
enchant every connoisseur. It is only to be
regretted that he tried more to play from his
fancy, and to seek after extemporaneous
musical delicacies, than to write; the number, therefore, of his compositions is but
small. W.F.Bach died at Berlin in 1784.
BACH, (CECILIA) wife to John Christian
Bach. Her maiden name was Grassi. She
performed the first woman's part for several
successive years at the opera in London.
BACH, (FRIEDRICH LUDWIG) a music-

master at Berlin, was living in 1790, and

has made many good scholars.
BACH, (GEOKGECHRISTOPHER) a singer
and composer, who lived in the year 1689
at Schweinfurt. Among the music of Emmanuel Bach was found some church music
by this composer.
BACH, (JOHANN BERNHARD)

nephew

of Sebastian Bach, was organist at Ordnuff,

where he died in 1742.
BACH, (JOHANN BERNHARD) chamber-

musician and organist at Eisenach. He died

in 1742. He composed some very fme
overtures in the French style.
BACH (JOHANN CHRISTOPH) was

pro-

bably one of the greatest contrapuntists

and most expert organists in Germany towards the close of the seventeenth century.
He was court and town organist at Eisenach.
In the archives (as they were called) of the
Bach family, which Emmanuel Bach possessed in Hamburgh, there was, among
other pieces, a motet of Johann Christoph's
composition, in which he had ventured to
make use of the extreme sixth, which, in his
days, was considered an extremely bold
attempt. He was also an uncommon master
of full harmony, as is proved by a piece of
church music, composed by himforMichaelmas-day, to the words " Es erhuh sich ein
streit," which has twenty obligato parts,
and yet is perfectly pure in respect to the
harmony. A second proof of his great skill
in harmony is, that he is stated never to have
E2
51

BAG

B A C
played on the organ and clavichord with
less than five necessary or obligato parts.
BACH, (JOHANN ERNST) chapel-master

to the duke of Weimar at Eisenach, was

born there iu 1722. He published a collection of fables set to music, and several
instrumental works. He died in 1781.
BACH, (JOHANN LUDWIG) bom in 1677,

was chapel-master to the duke of SaxeMeiningen, and died in 1730. He composed

some good church music.
BACH, (JOHANN MICHAEL) brother of

Johann Christoph, was born at Armstadt

in 1660. He composed much sacred music.
BACH, the younger, (JOHANN MICHAEL)

was an advocate in the duchy of Mecklenburg, in 1792. He published at Cassel,in

1780, a method for composition.
BACH, (OSWALD) author of rules for
singing, in 1790.
BACH,

(WILHELM) son of J. C. F.

Bach, born in 1754, was chapel-master to

the queen of Prussia in 1798. He published
a celebrated cantata, dedicated to the king,
and some instrumental works.
BACHAUMONT, (Louis PIERRE DE)
authorof memoirs on the opera, Paris, 1745.
BACHMANN

(CARL

LUDWIG)

was

chamber-musician to the king of Prussia,

and one of the founders of the amateur concert at Berlin. He had also a manufactory
of violins and tenors ; the latter are much
esteemed. Bachmann died in the year
1800.
BACHMANN, (CHARLOTTE CHRISTINE

WILHELMINE) wife of the preceding, a

celebrated singer at Berlin since the year
1779.
She has also published several
songs.

was born in 1754. He published much

music for the organ, &c.
BACHOFEN, a composer, lived at
Zurich in Switzerland, in the year 1745,
and published some vocal works.
BACHSCHMIDT,
chapel-master at
Eichstadt, about the year 1783. He composed some quartets, &c.
BACILLY, (B. DE) author of a work on
singing, Paris, 1668.
BACKOFEN, (J. G. H.) a composer
and excellent performer on various instruments, was chamber-musician at Gotha.
He has composed much instrumental music;
the last which we have seen is dated 1803.
BACKOFEN, (ERNST) younger brother
of the preceding, a celebrated bassoon
player at Nuremburg in 1803. He was a
pupil of Schwarz.
BACKOFEN, (GOTTFRIED) youngest
brother of the two preceding, wasfirstclarionet player at Nuremburg in 1803, and is
still resident in that town.
BADER, a principal tenor singer at the
German theatre in Berlin. His power,
firmness, and tone, together with his delightful performance, gain him much approbation.
BADIA,

(CARLO AGOSTINO)

court-

musician and composer at Vienna, at the

beginning of the eighteenth century. He
composed several operas and oratorios.
BADONINI, a celebrated Italian singer
about the year 1776.
BAEHR, (JOSEPH.)
BAER, (FERDINAND.)

See B E E R .
See P A E R .

BAEUMEL, director of the music at

Bamberg, died in 1796. He was an excellent performer on the violin.
BAEUMER, (FRIEDRICH) chamberBACHMANN, (FRIEDRICII WILHELM)
a violinist and composer of instrumental musician to the queen of Prussia in 1794.
He has published some romances, &c.
music, now resident at Berlin.
BAGATELLA (ANTONIO) wrote at
BACHMANN, (GOTTLOB) organist at
Zeist, in the year 1791. He published Padua, in 1796, a valuable work on the
much vocal and instrumental music between construction of violins, tenors, violoncellos,
and bass-viols.
the years 1795 and 1806.
BACHMANN, (J.) composer of sonatas,
BAGATTI, (FRANCESCO) a celebrated
&c. published at Vienna in 1796.
composer and organist at Milan. He wrote
BACHMANN, (PATER SIRT) an excel- some church music about the year 1650.
lent contrapuntist and organist in Suabia,
BAGGE, (Baron C. ERNEST DE) gentle-

52

B A I

B AK

man of the chamber to the king of Prussia,

died at Paris in 1791. He was a celebrated
amateur plaver on the violin; but had a
most singular method. He published also
a concerto for that instrument.
BAGLIONI, (FRANCOIS) born at Rome,
was an excellent singer since the year 1740.
He had five daughters, all of whom distinguished themselves as singers.
BAGLIONI, (Louis) son of the preceding, and one of the best violinists at Wurtemberg since the year 1770.
BAHIDT, a celebrated performer on the
hautboy at Copenhagen. He performed
lately at Weimar.
BAHN published at Berlin, in 1790, six
trios for the harpsichord and two violins.
BAIF,

(JOHN

ANTONY

DE)

private

secretary of Charles IX., died at Paris

in 1591. He published several musical
works.
BAILDON, a celebrated English glee
composer, flourished between the years 1760
and 1780. He is the author of the two
glees, "Adieu to the Village delights," and
" When gay Bacchus filled my breast ;"
both of which, in their different styles, must
ever delight the amateur of our English
part-songs.
BAILEY, (ANSELM) an English composer, published " A Treatise on singing
and playing with just expression and real
elegance," London, 1771.
BAILLEUX (ANTOINE) published at
Paris, iu 1758, six symphonies for four
performers ; and about 1767, six symphonies for a full orchestra. He also wrote
some solfeggi for vocal and instrumental
music, a third edition of which appeared in
1792.
BAILLON, (P. L.) guitar and singing
master, and author of a method for that instrument, published at Paris in 1781.
BAILLOT, (PIERRE) a celebrated French
violini5t, was born near Paris, about the
year 1770. He went to Rome for some
years and took lessons of Polani, an excellent professor of the school of Tartini.
About the year 1795, he succeeded Rode as
professor of the violin to the conservatory

of Paris; since which time he has edited

an excellent method for the violin, and one
for the violoncello, both of which are now
in use at the conservatory; he has also published some instrumental music.
BAILLOU, (LUIGI) director of the
music at the opera in Milan in 1784: he
has published several pieces for the theatre.
BAILLY (MONS. DE) published " Curious Remarks on the Art of Singing," Paris,
1668.
BAINI, (LORENZO) an Italian composer,
born at Venice, composed some opera
music between the years 1785 and 1790.
BAINVILLE, organist at Angers, published some music for his instrument in the
year 1767.
BAJ, (T.) author of the Miserere, commonly sung on Holy-Thursday in the pontifical chapel at Rome, was born near
Bologna, and died at Rome in 1718. His
Miserere is a chej'-d'osi/vre for its prosody
and just accentuation of the words. It is
the only modern production received in the
pope's chapel.
BAKER, ( D R . ) a composer and eminent
performer on the violin and piano-forte, was
born at Exeter in the year 1768. From his
mother's sister he received his first instructions, by which he was enabled, at the
juvenile age of seven, to perform with precision on the harpsichord, Handel's and
Scarlatti's lessons. His fiist masters were
Hiio-h Bond and the late celebrated Jackson, (at that time organist ef the cathedral,
at Exeter) and for the violin, Ward, which
combined instructions enabled him very
soon to lead the concerts in that neighbourhood.
About the age of seventeen he left
Exeter for London, from whence he was
received in the family of the Earl of Uxbridge, to whom he is indebted for the
principal part of his musical education. He
was under Cramer, (the father) for the
violin, and Bussek for the piano-forte. It
was through this nobleman's interest, exerted
in his favour, that he was permitted to perform the " Storm" in Hanover-square
rooms, which, by the late Dr. Burney, was
53

B AL
considered an inimitable imitation. During
his residence as organist at Stafford, he took
his degree at Oxford. The principal of Dr.
Baker's works are the following. His numerous manuscript compositions, we are informed.will also be printed. "Three Sonatas,
dedicated to Lady Wright, for the Pianoforte and Violin." " Three, dedicated to
Countess Talbot." " Three Duets for two
Performers, dedicated to the Duchess of
Rutland."
"Six Anthems for four, five,
and six Voices." " Voluntaries for the
Organ." " Glees, for three andfonrVoices,
dedicated to the Earl of Vxbri'dge." " The
Storm at Sea, and the whole of the Music
performed at his Concert at the Hanoversquare Rooms." " Duets for tivo Voices,
dedicated to Miss Abrams"
" The Overture and Songs of the Caffres, a musical
Entertainment performed at Covent-garden
Theatre." To the above may b e , added,
a great number of songs, several sung in
public by Incledon, &c.; duets, concertos,
solos for the violin, and airs with variations
for the piano-forte.
BALARINT, one of the most eminent
Italian singers of the seventeenth century.
BALBATRE, (CLAUDE) born at Dijon
in 1729, came to Paris in 1750. He was
an excellent organist of Rameau's school.
His organ concertos at the concert-spirituel,
were long the delight of Paris. He published some works for the harpsichord; and
died in 1799.
BALBI, (LORENZO) a violoncellist and
composer at the beginning of the eighteenth
century.
BALBI, (IGNATIUS) an Italian singer.
He composed some ariettes in Germany,
about the year 1782.
BALBO, (LODOVICO) a celebrated composer at Venice, was a scholar of Costanzo
Porta; he published some church music
about the year 1578.
BALD ACINI, (ANTONIO LUIGI) an Ita-

lian violinist, published some sonatas about

the year 1720.
BALDAN published six symphonies at
Venice in 1785.
BALDENEKER, (U.) court-musician
54

B AL
and violinist at Mentz, published some
trios for the violin at Frankfort, about the
year 1784.
BALDI, singer at Handel's operas in
London in 1726.
BALDUNI, a first female singer at the
opera at Venice in 1778.
BALESTRA, (R.) an Italian composer
at the beginning of the seventeenth century.
BALETTI (RICCOB. ELENA) was born

at Stuttgard in 1768. She was afterwards

first singer at the Opera Buffa at Paris.
BALLABENE, (GREGORIO) a vocal
composer at Rome, was born about 1720.
He composed much sacred music.
BALIJNFO, a celebrated tenor singer at
the chapel royal at Lisbon. He died in
1760.
BALL, (WILLIAM) professor of music at
Wells in Somersetshire, is eminent, in the
district of country in which he resides, as a
teacher and performer.
BALLAROTTI, a composer of opera
music at Venice at the end of the seventeenth century.
BALLETTI, (MADEMOISELLE) first female singer, in 1798, at the Opera Buffa at
Paris.
BALLICOURT, a celebrated flutist and
composer for his instrument in London,
about the year 1744. (Preston's Cat.)
BALLIERE (C. L.D.) died at Rouen
in 1800. He wrote, among other works, a
theory of music, which, although approved
by the academy of Rouen, is essentially
false.
BALTAZARINI, a celebrated violinist,
was sent, at the head of a band of violin
players, from Piedmont, by marshal Bressac, to Catherine of Medicis, and appointed
by that princess her first valet de chambre,
and superintendent of her music. He was
the delight of the court, as well by his skill
on the violin as by his invention of ballets,
or ffites with dancing and music. It was
he who composed, in 1581, the ballet for
the nuptials of the duke de Joyeuse with
Mademoiselle de Vaudemont, sister of
the queen; an entertainment that was
represented with extraordinary pomp. Dr.

BAN

BAN

Burney thinks this was the origin of the

heroic and historical ballet in France.
BALTZAR (THOMAS) was born at Lubec, and was esteemed the finest performer
on the violin of his time. He came to England in the year 1658, and lived about two
years in the house of sir Anthony Cope, of
Hanwell, in Oxfordshire. He was the great
competitor of Davis Mell, who, though a
clock-maker by trade, was, till Baltzar came
hither, allowed to be the finest performer on
the violin in England ; and after his arrival,
he divided with him the pu blic applause, it
being agreed that Mell excelled in the
fineness of his tone and the sweetness of his
manner, and Baltzar in the power of execution and command ,of the instrument.
Moreover it is said of the latter, that he first
taught the English the practice of shifting,
and the use of the upper part of the finger
board. Baltzar was given to intemperance,
and is said to have shortened his days by
excessive drinking: he was buried in Westminster abbey, in the year 1663.
BALVANSKY published twelve Hongroises at Vienna in 1795.
BALZIANI, (LEONARDO) a violin composer at the beginning of the last century.
BAMBERGER, (MADAME) a celebrated
German singer at Frankfort.
BAMBINI, (F.) of Bologna, came to
Fiance, when ten years of age, with his
father, who was manager of a company of
Italian comedians. They performed about
the year 1760 in Paris. F. Bambini composed several operas, also some instrumental
music.
BANCHIEBI, (AEIANO) a celebrated
Italian composer between the years 1598
and 1638.
BANCZAKEWIC, a chapel-master, now
resident at Warsaw, has composed some
sacred music, and is a warm promoter of
that style of composition.
B A N D I N I , (ANOELO

MARIA.) Among

the musical manuscripts purchased by Dr.

Burney at Rome in 1770, was the music
book of Salvator Rosa, the celebrated
painter, poet, and musician. No. 11, iri
the above-mentioned curious manuscript,

contains a grumbling, gloomy history of Salvator Rosa, in which the comic exaggeration
is not unpleasing; but it is rather a satire
on the times in which he lived, than a lyric
composition. However, it is set by Bandini;
but being chiefly narrative, the music is
almost wholly recitative. Dr. Burney has
published a translation of this cantata.
Bandini was a native of Florence.
BANESTER, (G.) an old English composer about the year 1490.
BANISTER (JOHN) succeeded the celebrated Baltzar, as leader of king Charles's
new band of twenty-four violins.
He is
the first English violinist of any note. He
died in 1679. He set to music the opera of
"Circe" written by Davenant, and performed at the theatre and in Dorset-gardens
in 1676. He also composed several songs.
Banister was the first musician who established lucrative concerts in London. These
concerts were advertised in the London
Gazette of the times: and in No. 742,
December 30th, 1672, there is the following
advertisement: "These are to give notice,
that at Mr. John Banister's house, now
called the Music-school, over against the
George taverne, in White Friars, this present
Monday, will be Musick performed by excellent masters, beginning precisely at four
of the clock in the afternoon, and every
afternoon for the future, precisely at the
same hour."
BANISTER, (JOHN) son of the preceding, was an eminent performer on the
violin ; he was one of king William's band,
and played the first violin at Drury-lane,
when operas were first performed there. He
died about the year 1725. He composed
several grounds, with divisions, inserted in
the " Division Violin."
BANISTER, (CHARLES) a bass singer
at the London theatres in the latter part of
the last century, and father to John Banister, the celebrated comedian. C. Banister's voice and style were alike powerful by
nature *ind feeling, though rough and unpolished. He gave Carter's very spirited
description of a sea-fight, " Stand to
yum guns, my hearts of oak," with a
55

BAN

BAN

departure of the celebrated Agujari from

London, the managers of the Pantheon engaged Madame Banti for three seasons,
upon condition that 100 a-year should be
deducted from her salary, for the payment
of an able master to cultivate her voice.
Sacchini was the first appointed to this
office ; but he found her so idle and obstinate,
that he soon quitted her as an incurable
patient. She was next assigned to Piozzi,
whose patience was likewise soon exhausted,
>y her incorrigible inattention. Her last
master in England was Abel ; soon after
which she left this country, and sang with
enthusiastic applause at several of the
German courts, and subsequently at almost
ivery principal town in Italy. Her great
BANNUS, (JOAN ALBERTUS) a writer
success certainly exemplifies most strongly
on music in the first half of the seventeenth
the truth of the old adage, " That there are
century. His works were published in Hola hundred requisites necessary to constitute
land ; amongst others, a book in the Italian
a good singer, of which, whoever is gifted
language, called " Alimenta Musictz."
with a fine voice, is already in possession of
BANTI, (BRIGIDA GEOEGI) a celebrated
ninety-nine." After several years' absence,
female Italian singer, was the daughter of
Banti returned to England in the spring of
a Venetian gondolier, and in her youth
1790, when her performance and singing
nothing more or less than a street singer
in Gluck's opera of "Alceste," was thought
in Georgi, her native town; where a noble
to be most perfect; every look, every
amateur, having noticed the brilliancy of
action, every note, appearing to be strictly
her voice, had her instructed in singing
appropriate to the character she had asat his expense. It is probable she was
sumed, and to no other. Soon after this,
shortly after advised to try her fortune in
on the occasion of Lord Howe's victory,
a foreign country, for she soon left Venice
Banti introduced in one of her cantatas the
on her road to Paris; not however, as it
national air of " God save the King," in a
would seem, in prosperous circumstances,
style which perfectly electrified the ausince she sang at coffee-houses and inns at
dience. In the year 1799, she enraptured
Lyons, and other towns, for small sums
every hearer by her performance in " Ines
collected from the guests. Monsieur de
de Castro," composed by Francesco Bianchi,
Visnes, then manager of the opera at Paris
and then first produced. The celebrated
relates, that, in the year 1778, he stopt one
prayer in it, "Gran Dio che reg-oli," was
evening at a coffee-house on the Boulevards
given in a style of tenderness and approbeing struck by the sound of a very beautipriate devotion, which perhaps has never
ful voice; it was Banti whom he heard, as
been exceeded on the stage. We believe
she was singing in the coffee-room. He put
that the year 1802 was the last season of
a louis d'or into her hand, desiring her to
Banti's singing in England. She died at
call on him the next morning. The resul
Bologna, in 1806, aged about fifty. It is
was, that Monsieur de Visnes engaged her
said, that, on opening her body, the lungs
immediately for the Opera Buffa, when
were found to be of an unusually large
she made her dilut, by an air sung
size.
between the second and third acts of
"Iphige'nie enAulidc," and created an uni
BANUS. See BANNUS.
versal sensation of delight. After the
BANWART, (JACOB) a composer of
56

corresponding animation.
Shield wrote
" The Wolf" for him.
BANISTER, (H. J.) a composer of
vocal music and teacher, resident in London. Some of his songs are published at
the Harmonic Institution.
BANK, (J. C. H.) a composer and
organist at Magdeburg, published some
music for the piano at Leipsic, about the
year 1797.
BANKHART, professor of music at
Leicester, is an eminent violoncellist. He
performed at the York musical festival in
1823.
BANNEUX, a theatrical composer at
Paris about the year 1798.

BAR

BAR

(Preston's
motets, &c. in the latter half of the seven- been published in England.
Cat.)
teenth century.
BAPTISTA, ( F R . FRANCISCO) an AuBARBER, an English composer of
gustine monk and music-master at Cordova,
ocal and instrumental music about the
in 1625.
year 1790. (Preston's Cat.)
BARBICI published some quartets for
BAPTISTE, (JOHN.) See BONNOMETTI.
BAPTISTE, a celebrated French violinist violins at Paris in 1769.
BARBIER, (Madame WALBONDE) a
at Paris, at the commencement of the last
century. He went to Rome, to learn of French female singer about the year 1800.
Corelli the method of playing his sonatas,
BARBIER, (MRS.) an English singer
which no one at that time in Paris could between the years 1711 and 1729. Her
execute.
timidity, on her dibut, is favourably alluded
BAPTISTE, (LUDWIG A L B . FRIEDE- to by Addison, in No. 231 of the Spectator.
RICH) a composer of instrumental music,
BARBIERE, a dramatic composer about
died at Cassel, between the years 1760 and the year 1790. He wrote an oratorio, " La
1770. See BATTISTA.
Pazienza di Tobia."
BAPTISTIN. See BATISTIN.
BARANELLT. See GALUPPI.

BARBIERI,

(GIOVANNI

ANGELO)

an

Italian singer and composer about the year

BARANIUS, (HENRIETTA) a female 1650.
singer at Berlin between the years 1784
BARCA (Don ALESSANDRO) published
and 1797.
a new theory of music at Padua in 1786.
BARAVICINI, (MADAME) a celebrated
BARDI, (GIOVANNI BE) of Florence.
female performer on the violin. She was maestro di camera, towards the close of
born at Milan in 1778.
the sixteenth century, to pope Clement
BARBA, (DANIEL) a composer of VIII., by whom he was tenderly beloved.
instrumental music at Vienna about the This most accomplished nobleman was
year 1799.
particularly attached to the study of antiBARBANDT, (CHARLES) about the quity, and to the theory and practice of
year 1764, organist at the Bavarian chapel music, to which he had applied himself for
in London. He was the master of Samuel many years so closely, that he became, for
Webbe, the celebrated glee composer, the time in which he lived, a correct and
and in 1766 published a small collection good composer.
BARDI, (GIROLAMO) son of the preof pieces for the catholic service, under
the following title, " Sacred Hymns, An- ceding, wrote some works on music about
thems, and Versicles, for Morning and the year 1651.
BARETTI (GUISEPPE) was born at
Evening Service." This work is now exTurin in 1716. He was a language mastremely scarce.
BARBARINO, (BARTOLOMEO) called ter in London, and wrote several volumes
II Pesarino, a composer, born at Fabriam of travels, in which much is related on the
at the end of the sixteenth century. He subject of Italian music.
BARETTI, (A.) brother of the precedpublished some madrigals at Venice.
BARBELLA, (EMANTJELE) a modest ing, resided at Turin in 1770. He was a
ingenious musician, and true follower of good instrumental composer. Some of his
Tartini's principles on the violin. He duets for violoncellos were published at
studied composition under the celebrated Paris.
BARGAGLIA, (SCIPIONE) a composer
Leo, and pleasantly remarks of himself,
that, " notwithstanding this advantage, Bar- of the sixteenth century. In his works on
bella is a mere ass, who knows nothing.' music, the word concerto seems (according
He died at Naples in 1773. Some o: to Dr. Bumey) to be used for the first time.
BARILLE, an Italian buffo singer. He
Barbella's compositions for the violin have
57

BAR

BAR

was engaged at the Italian opera in Paris, of Charles I. He published a noble collection of church music by different English
in 1719.
BARILLI, (MADAME) a good Italian masters. This work unfortunately was not
singer in Paris at the commencement of the printed in score, and the consequence of the
parts being separated is, that at present it is
present century.
entirely lost to the world.
BARIPHANUS. See BAEYPHANUS.
BARNETT (JOHN) is the eldest son of
BARIZEL, an excellent Trench performer on the double bass. He played a Mr. Barnett Barnett, a respectable jeweller
concerto on his instrument at the SociUe and diamond-merchant, residing in London;
he was born at Bedford in 1802. When
Philharmonique at Paris, in 1823.
BARK, (WILLIAM) son of John Bark, only two years of age, he discovered so
an eminent attorney of London, was born in strong a genius for music, that he could,
the parish of St. Andrew, Holborn. His after having once heard an air, sing it with
father intended to bring him up to his own an exactness truly astonishing; besides
profession ; but the son having a dislike to which, he could sing a part of a glee, or
the law, and a relation being a professor of form exact harmony to any theme that
music, he took lessons from him in that happened to be sung, of course without
science, from the age of twelve. Shortly any knowledge of notes. We cannot here
after, he had an offer of accompanying a resist the desire of introducing an anecdote
friend abroad, which he eagerly embraced. respecting him at this time. His mother
In the course of his excursion, he met with lulled him to rest with a German national
a celebrated Flemish professor of the cla- air, (her own native music) which he soon
rionet, under whom he studied that instru- learnt by the frequent hearing of it, and
ment and the science of music generally. actually sang in the cradle; the same
After travelling with his master for some will be found among his piano-forte works,
time, he quitted him at Lisbon, from whence arranged as a fantasia. From the age of
he returned to England, and has since ap- eight he became passionately fond of singplied himself equally to the flute and cla- ing and declamation, and composed the
rionet, on both which instruments he gives melodies of many little songs for himself
instructions. Bark has arranged much and his brothers, which he taught them
music for the flute, especially many beauti- from memory, not yet having a knowledge
ful foreign and English airs as solos, and in music, nor any means of writing down his
" Sixteen favourite Italian Melodies for effusions. At ten years old his voice betwo Flutes." (Clementi.) He has also came peculiarly powerful, and distinctly
different from the generality of juvenile
published " Instructions for the Flute."
voices, being a contralto, a species of voice
BARLY, a celebrated performer on the
never before known in a boy; possessing
hautboy at Madrid about the year 1790.
at the same time the compass and quality
BARMAN, (F.) of Munich, a celebrated
of the tenorc, contralto, and soprano. At
performer on the clarionet. He is remarkthis time he was able to sing the most
able for his beautiful piano, and for his
difficult songs of Braham without the least
facility more than for his general tone. He
knowledge of music. In 1813, he was
has composed eight operas of duos for flutes,
introduced to Mr. S. J. Arnold, (proprietor
some of which are inserted in dementi's
of the English opera, and then manager of
Catalogue.
Drury-lane) who, upon hearing him, was
BARMANN, (JOHANN BAPTIST) a Gerso much astonished, that he immediately
man Benedictine, died in 1788. He pubentered into articles of agreement with Mr.
lished some church music at Augsburg in
Barnett, sen. to take his son under his direc1760.
tion for five years, and provide him with
BARNARD, (Rev. JOHN) a minor canon
proper instructors in music, &c. He brought
of St. Paul's church, London, in the time
58

BAR
him before the public on the 2d of July,
1813, (after giving him but a very few
days time to study his part) at the English
opera, in the Skipiurech, which made a
considerable impression upon the audience.
The ensuing winter, 1813-14, Mr. Arnold
brought him out at Drury.-lane, where he
sang in one piece thirty successive nights or
upwardSj and was, the same season and three
following, engaged as principal singer at
the oratorios. Mr. Arnold behaved in the
kindest manner towards him ; but being
much occupied with his management of
Drury-lane and the rebuilding of the English
opera, which had recently been pulled
down, he did not attend to his musical
studies, but intrusted his tuition to a master,
who took advantage of Mr. Arnold's occupations by not instructing young Barnett at
all on the piano, and endeavouring to teach
him composition from an abstruse work of
Gasper Heck, to understand the elaborate
rules of which, required a course of study
of at least three years. In consequence
of this, Barnett gained little knowledge
during the five years, at least from the
instructions of his teacher. At this period,
however, he exercised his natural talents for
composition, and printed several things
(which are now to be seen) as by "Master
Barnett;" one of which, entitled " The
Groves of Pomona" a scena, is peculiarly
noticed and highly spoken of in the Musical
Quarterly Review, No. IX. In 1815, Barnett appeared at Covent garden, at which
theatre he was engaged for two years, or a
longer period, at the discretion of the proprietors. His voice changing about the close
of that season, he received his discharge, as
though he had been regularly engaged for
one season only; upon which occasion a
lawsuit ensued, and Mr. Barnett, sen. recovered damages to a satisfactory amount.
Having now been long without instruction
in any branch of music whatever, Barnett
felt compelled to pursue his studies from the
perusal of works only, depending much on
his own natural talent for any improvement
he might make. Having, however, inculcated numerous bad habits in piano-forte

BAR
playing, he was placed by his father under
the celebrated Ferdinand Bies, who improved him considerably on the piano, and
also in the German sehool of composition.
The following is a lit of Barnett's principal
works. All those which are in manuscript are intended for publication. Vocal,
" GrandMass," No. 1, in G. min.; " Grand
Mass," No. 2, in C ; " Russian Melodies,
with Words," one vol.; " Cantata for four
Voices, with Solos and Choruses, including
Storm Chorus;" " Three Glees," one set;
" Shadows fly hence" madrigal; " Canon
for three Voices, for Miss Paton;" " Three
Catches^" "Abraham on the Altaroj'Isaac,"
scena; "The horn hath called," scena;
" Death of Moore," scena; " Groves of Pomona," scena; " The Dart of Isdabel,"
cantata, one voice; " Comforts lasting,"
cantata, in ancient style ; " Sower of Love,"
song, in ancient style; " Serenades, 1, 2,
and 3, in the Spanish Style"
"Love
wakes and weeps," serenade; " Lady, the
silver moon," serenade; "Sixltalian Songs,"
set one; " Three Italian Duettos," set one ;
" Non Temer," duetto sop. and bass; " Ebben Lauretta," duetto sop. and bass ; " Primavera," canzonetta; " Knight of St.
Edward," romance; " Alphonso and Leonore," romance; "Land
of my birth"
romance ; " A Farewell, in the Scottish
style;" "Ronald," scena : songs, "A Bard's
Song;" "Dear sainted form " "Spirit of
the sunny brow," "Hide, oh hide, those ebon
tresses," " Sun's last rays," " Twilight's
Invitation to Cupid," " There's a magic
in thine eye," " Smiles and Tears," " Beam
brightly," "Book of Love," " When Clara
touched the fairy string," " Poor Rose,"
" 'Tis sweet to hear," "No dearer moments!'
Orchestral, " Overture in C;"
"Overture in A;" "Mozart's
Fantasia,
in C min. as a Quintetto;" " Fugue for
two Voices, ten. and bass." Piano-forte,
"Sonata in E flat" "Sonata in, C min.;"
" Sonata in G, with Violin Oblig. "
"Fantasia Duetto, on a Theme of Mozart;" "Fantasia and Fugue on a German Air ;" " Fugue Canon" " Introduction and Rondo on an Air from Beggar's
59

BAR

BAR
Opera;" " Fantasia on an Air from
" Three Waltzes,
brilliant."
Rosina"
Violin, "Fantasia, in which are introduced two Airs Russes, Piano-forte ace."
Flute, " Fantasia on an Air from Mozart;
" Solo, in which is introduced an Air in the
Tyrolean Style," &c. &c.
BARNI, (CAMILLE) of the Lombard
school of musicians, was born at Como in
1762. He commenced his musical career
chiefly by arriving at eminence as a violoncellist. He next became second, then first
violin at the grand opera in Milan ; subsequently he settled at Paris, where he
has composed many French romances and
Italian ariettes; also airs, with variations,
for the violin and violoncello.
BARON (ERNST GOTTLIEB) published

some works relating to music at Berlin. He

died in 1760. He was author of an historical
treatise on the lute.
BARONI, (ADRIANA) of Mantua, for
her beauty surnamed the fair, was a fine
singer. She lived in the beginning of the
seventeenth century.
BARONI, (ANTONIO) an Italian composer. Some of his music was published at
Vienna in 1799.
BARONI, (CATHARINA) a sister of the
following, was a poetess and musician.
BARONI, (LEONOKA) a daughter of
Adriana Baroni, born at Naples, came in
1638 to Rome, where she was considered
the finest singer in Italy.
BARRE, (ANTONIO) publisher at Milan,
in 1588, of a large collection of motets by
various composers.
BARRE, (TRILLE LA.)

See LABARRE.

BARRETT, (JOHN) a pupil of Blow, was

an organist in London at the beginning of
the last century. In the " Pills to purge
Melancholy," are many songs composed by
him, among others, the air, " When he holds
up his hand," in the Beggar's Opera,
BARRETTI.

See BARETTI.

BARRIERE,(E.B.J.) a French violinist

and composer, was born at Valenciennes
in 1749.
BARRINGTON (Hon. DAINES) wrote
in the Philosophical Transactions, vol. lx.
60

an account of a very remarkable young

musician. This was the celebrated Mozart,
who had been performing, as a child, in
London. D. Barrington published also a
volume of * * Miscellanies" in which there
are some particulars of Dr. Crotch's precocity of musical talent, also of the early
genius for music evinced by Samuel Wesley.
BARSANTI, (FRANCESCO) a native of
Lucca, born about the year 1690. He studied
the civil law in the university of Padua,but,
after a short stay there, chose music for his
profession. Accordingly he put himself under the tuition of some of the ablest masters
in Italy, and having attained to a considerable degree of proficiency in the science of
practical composition, took a resolution to
settle in England, and arrived here with
Geminiani, who was also a Luccese, in the
year 1714. He continued many years a
performer at the Opera-house; at length
reflecting that thpre was a prospect of advantage for one of his profession in Scotland, he went thither, and, with greater
truth than the same is asserted of David
Rizzio, may be said to have meliorated the
music of that country, by collecting and
making basses to a great number of the
most popular Scots tunes. About the year
1750, Barsanti returned to England ; but
being advanced in years, he was glad to be
taken into the opera band as a performer
on the tenor violin, and in the summer
season to that of Vauxhall. At this time
he published twelve concertos for violins,
and shortly after, " Set Antifone," in which
he endeavoured to imitate the style of Palestrina and the old composers of motets;
but from these publications little profit
resulted. Among his earlier compositions
were six solos for a flute, with a thoroughbass, and afterwards "Six Solos for a German Flute and a Bass."
He likewise
formed the first six solos of Geminiani into
sonatas for two violins and a bass.
BARTA or BARRTA, (J.) a composer
of operas at Vienna, and other music,
between the years 1780 and 1795.
BARTALI, (A.) chapel-master to the
emperor at Vienna, about the year 1780,

BAR
was reckoned one of the best composers of
his time.
BARTELOZZI (B.) composed some
variations for the guitar in 1802.

BAR

this farce was performed a hundred and

eight nights in one year. Garrick thus
cleared by it several thousand pounds, and
rewarded Barthelemon with the sum of
BARTH, (CHRISTIAN SAMUEL) a cele- forty guineas instead of fifty, which he had
brated master on the hautboy, died at originally promised him, alleging, as an
excuse, that the dancing cows had cost him
Copenhagen in 1809.
BARTH, (F. P.) son of the preceding, so much money, that he really could not
performed on the hautboy at the king's afford to pay him any more. Barthelemon
chapel at Copenhagen, and composed for has composed the music to several other
petit pieces for the theatres; particularly
that instrument.
BARTHEL, (JOHANN CHRISTIAN)court- to general Burgoyne's dramatic entertainorganist at Altenburg, since the year 1804. ment, " The Maid of the Oaks," which was
BARTHELEMON, (F. HIPPOLITE) a first acted at Drury-lane, about the year
celebrated violinist and composer,was born at 1774. At length, however, disgusted with
Bourdeaux, in France, in 1741, and lived the conduct of managers, he declined writsome time in Paris, in which capital he com- ing any thing more for the stage; and, about
posed, among other music, an opera called "Le the year 1794, was engaged, with his
Fleuve Scamandre," for the Italian theatre. family at the Rotunda in Dublin. Mrs.
In the year 1765, he came to England, and Barthelemon and her daughter were both
in the following season produced a serious musical, aud had also a taste for composiopera for the King's theatre, entitled "Pe- tion. The former published a set of hymns
lopida," which was received with so much and anthems for the Asylum and Magdalen
applause, that Garrick was induced to pay chapels. We should have observed that,
the author a visit for the purpose of asking whilst in England, Barthelemon led for
him if he thought he could set English several seasons the opera band. As a
words to music. On Barthelemon's reply- violinist, his adagios were much admired:
ing affirmatively, Garrick asked for pen, he also particularly excelled as a solo perink, and paper, and wrote the words of a former of Corelli's music. He died in Lonsong to be introduced in the play of The don, at an advanced age, in the year 1808.
Country Girl. Whilst thus engaged, BarBARTHELEMON, ( M R S . ) See YOUNG.
thelemon, looking over Garrick's shoulder,
BARTHOFFER, a musician at Vienna
actually wrote down music, in parts, to the about the year 1799.
song, as fast as the other penned the words.
BARTHOLDY,
(MENDLESSOHN)
a
Garrick then turning round, and handing highly-gifted young composer of instruBarthelemon the words, said, " There, sir, mental music at Berlin.
is my song;" to which the other answered,
BARTHOLINI, (RINDIO) a composer
" A n d there, sir, is my music for it." Asto- at Sienna about the year 1600. He pubnished and delighted at this unexpected lished motets, &c. at Venice.
exertion of talent, Garrick invited the comBARTHOLOMAEUS, an Englishman,
poser to dine that day with him, in com- wrote a work in 1366, in which various
pany with Dr. Johnson. The song proved musical instruments of that time are deso successful, that it was encored every scribed. Sir John Hawkins states, that he
time it was sung; and Garrick, in the ful- frequently consulted this work, in writing
ness of his heart, promised to make Bar- the history of music during the dark ages.
thelemon's fortune.
As a beginning of
BARTLEMAN, (J.) the celebrated bass
encouragement, he employed him to set to singer, was a pupil of Dr. Cooke, and originmusic the operatic farce of "A Peep behind ally in the choirs of Westminster abbey and
the Curtain." The little burletta of Orpheus, the chapel royal. Miss Hawkins, in her
in the second act, was so much admired, that anecdotes, states of Bartleman as follows:
61

BAR
"There was one singular feature in his
history, that he lived to occupy the identical
house in Berners-street, in which his first
patron resided. This patron, Mr. Eoyer,
who had a situation in one of the public
offices, perceiving the promise of his voice,
presented him to Dr. Cooke for his acceptance as a singer.
" Though delicate in person and constitution, and often ill, Bartleman was lively
and spirited to a remarkable degree. It
used to puzzle me to find out when or how
he learned; and, indeed, I have heard Dr.
Cooke say, ' Those boys of mine learn of one
another more than from me' Of his early
superiority he was as little vain as if it had
consisted in spinning a top, or trundling a
hoop ; he never went further in setting himself above another, than by humorously
caricaturing something ludicrously bad.
In short, he was one of the most agreeable
lads that ever had ' the run' of a house. An
instance of Bartleman's nice feeling I call
to mind. My father had made him a present, annexing to the gift the condition that
he should copy out some music for him,
which he undertook cheerfully; but just
afterwards, having reached a point in his
musical studies that left him less leisure, he
found he had not time to do what he had
promised, and having detained the music he
had to copy long enough to make the experiment he returned it, together with his present, with an extremely well-penned note,
saying, that ' as he could not perform the
task, it was not just to accept the reward.'
I remember my own astonishment at this
promptitude, though, indeed, being out of
the choir, we had for some time seen less of
him; but it appeared to me as if a boy had
on a sudden, without the intervention of
what shall I sayiladhood? started into
manhood. I can add with pride and acknowledgment, that, in the goodness of his nature,
he never forgot where he had spent many of
his boyish hours, and that whatever time
elapsed without our meeting, he was always
on every occasion prompt to show, and cordial
in expressing the continuance of his regard.
Success never altered him, applause never
62

BAR
elevated him; and he died, I am confident,
as he had lived, beloved beyond the usual
degree of love bestowed on those, whose
excellence, to use Wordsworth's beautiful
words respecting longevity, ' has no companion.'"So far Miss Hawkins. We have
now to remark that Bartleman as he advanced to manhood became celebrated for
his powers as a bass, or rather baritono
singer, in which line he first appeared in
public, we believe, at the concerts at Freemasons'-hall. He was next engaged at the
Ancient concerts, and lastly, became one of
the proprietors and conductors of the Vocal
concerts at the Hanover-square rooms. He
died in 1820. For an excellent critique on
his singing, we refer our readers to the
Quarterly Musical Review, vol. i. p. 325.
BARTLETT, (JOHN) author of "A
Book of Ayres for the Lute and Viol da
Gamba," London, 1606.
BARTOLI, (DANIEL) of Bologna, was
the author of a work entitled " Del
Suono de Trcmore Armonici
e dell
Udito," published in 1680. In this truly
scientific and ingenious work are to be
found several discoveries in harmonic's
that have been enlarged upon by posterior
writers on the subject. It contains four
dissertations: the first treats of the similarity between the circular undulations'
occasioned in still water when a stone is
thrown into it, and the propagation and motion of sound. The second, of the motion
of sound compared with that of light: of
echoes or reflection of sound, and of its
augmentation in a whispering room or gallery. Third, of harmonic vibrations and
ratios of sound; of sympathetic sounds; of
the breaking a glass with the voice.
Fourth, of the mixture of sounds ; of consonance ; harmonics; and the immense increase of sounds in a vessel or enclosed
place, by repercussion ; with many other
curious inquiries, and ends with the anatomy
of the ear. He was the author of many
other profound and learned works, and died
at Rome in 1685.
BARTOLINI P E R U G I N O , ( S I M O N E ) a

singer in the pope's chapel atRome about the

B A S
year 1543. He was sent with eight other
singers, by the pope, to the council of Trent.
BARTOLOZZI, an excellent performer
on the tenor, now living in England.
BARTOLUS, (ABRAHAM) a professor at
Leipsic, at the beginning of the seventeenth
century. He wrote a mathematical work on
music.
BARTON, (JUSQUIN) a composer of the
French school in the sixteenth century.
BARTSCH, (C.F.) author of a collection
of airs, published at Halle, in 1792.
BARTSCH, a pianist in the orchestra at
the theatre of Venice, and composer of some
operas, about the year 1796.
BARUTA, a celebrated violinist at
Padua about the year 1800.
BARYPHONUS, (HENRY) a skilful
theorist, flourished about the year 1630, and
was author of several treatises, particularly
one in Latin, entitled " Plejades Musica,"
which Walther styles excellent.
BASANIER, (MARTIN) author of a
work entitled " Plusieurs beaux Secrets
touchant la Theorie et la Pratique de la
Musique," Paris, 1584.

BAT
would still receive great pleasure from the
performance of Bassani's sonatas for two
violins and a bass. Specimens of Bassani's
music may be found in Latrobe's and
Stephens's selections.
BASSANI, (GERANIMO) born at Venice
towards the close of the seventeenth century, was an excellent singing-master and
composer of tragi-comic dramas, among
which are especially cited " Bertoldo," and
" L'Amor per Forza."
BASSANI, (ORAZIO) a celebrated Italian
composer in the sixteenth century. Purcell
is said, but we believe without reason, to
have imitated some of the compositions of
this master.
BASSEGGIO, (LORENZO) an Italian
composer about the year 1715.
BASSI, an Italian buffo singer about the
year 1797.
BASSIRON, ( P H I L I P P ) a composer of
church music at Venice in 1513.
BASTAMENTO, an eminent Spanish
musician in the sixteenth century.
BASTERWLTZ.

See PASTERWITZ.

BASTIDE, a French author. In his

works called " Varidle's Littiraires, GaBASILE, (ADMANA.) See BARONI.
BASILICAPETRI, (CARLO) bishop of lantes, Sfc." Paris, 1774, is a letter on the
Novara, died in 1615. He wrote a work great schools of music.
BASTINI, (VTNCENZO) a composer of
entitled " De Chords."
BASILU, (D. F.) a composer in the the sixteenth century. He published madrilatter part of the seventeenth century. He gals, &c. at Venice.
BASTON, (JOSQUIN) a good composer of
lived at Perouse.
BAS1LIO, (FRANCESCO) an opera com- Flanders between the years 1545 and
1559. " He wrote," says Dr. Burney,
poser at Milan about the year 1790.
BASSANI, (GIOVANNI BATTISTA) of " in a clear and clean manner."
BATAILLE, (GABRIET,) a lute player at
Bologna, the violin-master of Corelli, was
a pupil of Carissimi, and a man of extensive Paris between the years 1608 and 1612.
BATEN, (FLEUR) a native of Flanders,
knowledge and abilities in his art, having
been not only a successful composer for the wrote a work on music about the year 1350.
BATES, (JOAH, Esq.) one of the comchurch, the theatre, and the chamber, between the years 1680 and 1703, but an ex- missioners of the customs, was a good musicellent performer on the violin. His sona- cal theorist, and an excellent performer on
tas for the violin, and accompaniments for the organ. He was a native of Halifax, in
that instrument to his masses, motets, Yorkshire, and born about the year 1740.
psalms, and cantatas, manifest a knowledge Such were his talents, and so great was his
of the fingerboard and bow, which appears repute as a sound musician, that, at the
in the works of no other composer anterior to commemoration of Handel in Westminster
Corelli; and the lovers of the pure harmony abbey, he was fixed upon as manager to
and simple melody of that admirable master, arrange the band, and to superintend and.
63

BAT

BAT

and first violoncello at the opera at Paris.

He died in 1745.
BATON, the younger, wrote in favour
of the ancient style of French music, in opposition to J. J. Rousseau, in the year 1754.
BATTEN, (ADRIAN) organist of St.
Paul's in the reign of Charles I. and II.
He composed some church music of no
remarkable character.
BATTEUX (CHARLES) died in Paris in
1780. He was an abbot at Rheims, and
wrote several works relating to music.
BATTTFERNI, (LUIGI) a composer of
BATES, (MRS.) wife of Joah Bates,
was a celebrated female singer. She was church music in the first half of the sevenremarkable for her fine and clear articula- teenth century.
BATTINO, an Italian composer of
tion, which has been compared to that of
Garrick in acting. She is said by a pro- instrumental music in London, in the year
(Preston's Catalogue.)
fessor of great reputation to have possessed 1790.
BATTISHILL (JONATHAN) was the son
vast natural requisites for a singer, to which
was added high cultivation. She studied of an attorney, and born in the year 1738.
Handel with that great judge and enthusi- At the age of about nine years he was
astic admirer of his compositions, the late placed in the choir of St. Paul's, where he
Mr. Bates, her husband, and the Italian received the usual instructions in singing
school with Sacchini. Her voice was full from Mr. Savage, who was at that time the
and rich, her shake brilliant and equal, and master of the boys there. At an early age
her expression, especially of Handel's pa- he was regularly articled as apprentice or
thetic airs, matchless. She was not con- pupil to this person, and prosecuted his
fined to the soprano, for she sung the con- studies with great diligence. This anxious
tralto songs, " He was not despised," and spirit of research, combined with constant
" Return, O God of Hosts," with such feel- practice on the organ, (says the writer of his
ing and expression as they had not received life in the "Public Characters") at once
since the days of Mrs. Cibber.
In the stored his mind with those riches of
" Rosy Bowers" and "MadBess" of Pur- harmonic combination and evolution on
which he formed his style, and gave him a
cell, she was inimitable.
BATES, junior, professor of music at command of hand adequate to the execution
Halifax, in Yorkshire, is an eminent per- of whatever his imagination suggested; and
former on the violin; his brother is also emi- at the expiration of his engagement with
Mr. Savage, he was considered one of the
nent on the double bass.
BATESON, (THOMAS) organist of the best extemporary performers on the organ
cathedral at Chester about the year 1600. which his country could boast. He had
He published a set of " English Madrigals not been long his own master before he was
for three, four, and five Voices /' he also solicited to compose some songs for the
contributed to Morley's collection of madri- theatre of Sadler's Wells ; and he produced,
gals, called " The Triumphs of Oriana." for that place, several of the best ballads
Bateson is justly placed among the best of of the time. He was next engaged to
preside at the harpsichord at Covent-garden
our madrigal writers.
BATHE, (W.) an Irish Jesuit, wrote a theatre ; and long afterwards was appointed
organist, first of the united parishes of
work on music in 1596.
BATISTIN, or BAPTISTIN, (JEAN St. Clement, Eastcheap, and St. Martin
STUCK) born at Florence, was a composer Orgar, and subsequently of Christchurch,
conduct the performance. How admirably
these were done must be well recollectedby
every person who was present. To this
gentleman are also to be ascribed the undeviating correctness and energy, which, for
many years, attended the choral performances at the concert of ancient music, of
which he was conductor till the year 1793,
when he was succeeded by Mr. Greatorex.
It is understood that none of the compositions of Mr. Bates have hitherto been given
to the public. He died in 1799.

64

BAT

B AU

Newgate-street. About this time, in conjunction with Michael Arne, he wrote

the music of an opera entitled " Alcmenu,"
the subject of which was taken from the
Persian history. It was performed at
Drury-lane in the year 1764, and excellent
as the music was, the managers found it
necessary, from the general insipidity of the
drama, to lay it aside, after having been
repeated five times. This piece was shortly
afterwards succeeded by the "Rites of
Hecate," a musical drama, in which he
afforded further proofs of his very superior talent. Notwithstanding Battishill's
numerous engagements with the theatre
and his pupils, he by no means neglected
the study of sacred music ; but produced at
different times several anthems and hymns,
which, for their various excellences, have
been much admired. In the composition
of catches and glees, he has afforded numerous proofs of the diversity of his taste
and genius. About the year 1770, he
obtained the prize of the gold medal, given
by the nobleman's catch club, at the
Thatched-house, St. James's-street, to the
composer of the best cheerful glee: this was
obtained by his well-known glee for three
voices, " Underneath this myrtle shade."
In 1776, he published by subscription two
excellent collections of three and four part
songs.
Soon after his engagement at
Covent-garden, Battishill married a Miss
Davies, one of the vocal performers of that
theatre. She died in the year 1775, and
from this period he dissipated much of his
time in convivial parties, and so far gave
way to excess, as gradually to undermine
his constitution. He died at Islington in
1801, aged sixty-three years; and, according to his last request, was interred near
Dr. Boyce, in the vaults of St. Paul's
cathedral. It has been stated that the
memory of Battishill was such, that even
the longest compositions of Handel, Corelli,
or Arne, were always sufficiently present to
his recollection during the time he was
playing them, to render the assistance of
the text unnecessary. It is said, that if he
had once heard music, the impression of it

was almost indelibly fixed on his mind; and

a very singular instance has been recited in
proof of this fact. He was one day dining
with Dr. Arnold, when he played, from
memory, several passages of the doctor's
oratorio of the Prodigal Son, which he had
not heard for thirty years, and which the
doctor himself had entirely forgotten.
With respect to the general character of
Battishill's compositions, they are marked
by a peculiar strength of idea, great
force and justness of expression, a masterly
disposition, and a happy contrivance in the
parts. Four of his anthems, " Call to
remembrance"
" How long wilt thou
forget me, 0 Lord!" " I will magnify
thee, O Lord," and "Deliver us, O Lord
our God," are printed in Page's Harmonia Sacra. He also left in manuscript at his
death six anthems, several psalm tunes,
and some glees, rondos, and songs. Some
of his choruses in " Alcmena," for science,
dignity, and expression, deserve to be classed
with the first-rate productions. Most of his
songs are likewise extremely energetic and
vigorous; this, in particular, is the characteristic of the two bass songs, " Pois'd in
heaven's eternal scale," and " Thus when
young Amman march'd along." As proofs
of the beauty and originality of his fancy in
ballad composition, every one will admit
the charming pastoral melody of " Ye
shepherds and nymphs vf the grove,"
the mellifluous and affecting air of " When
Damon languished at my feet,"
the
expressive passages in " Whtn beauty on
the lover's cheek," and, above all, his
popular song of "Kate of Aberdeen."
BATTISTA (ALB. L. F R . ) composed
some sonatas at Augsburg He was an
excellent violinist, born in Suabia in 1700.
BATTISTINE, (G ucuuc) chapel-masler
at Novarain 1700, published a collection of
sacred music at Bologna.
BATU, a composer of instiumental music
at Paris in 1798.
BAUCK, an organist in Saxony, and
composer in 1799.
BAUD (M.) published atParis, inl 803, observations on strings for musical instruments.
65

VOL. I.

B A U
BAUDIOT,

(CHARLES

BAY
H.)

an in-

strumental composer at Paris in 1802. He

was also professor of the violoncello at the
conservatory, and one of the authors of the
method for his instrument, approved by that
body.
BAUDRON, (ANTOINE LAURENT) first

violin at the Theatre Fran?ais, was born at

Amiens in 1743. He has composed the
music of several operas, among others the
new music to the " Pygmalion" of J. J.
Rousseau.
BAUER, (FRANCOIS) a violinist of extraordinary quickness and precision, was
bom in Bohemia. Mozart heard him at
Prague, and is said to have much admired
his playing.
BAUER, (CATHERINE) an amateur
pianist, pupil of Sterkel, published some
piano-forte music in the years 1798 and
1799.
She was born at Wurtzburg in
1785.
BAUER, (G. CHARLES) a composer
about the year 1785.

Hague. He composed also for his instrument, in various parts of Germany and
Holland. He died at Eichstadt in 1782.
BAUMGARTEN, (C. F.) organist of
the Lutheran church in the Savoy, and
leader of the orchestra at Covent-garden
theatre, towards the close of the last century.
Besides his performance on the
violin and organ, he deserves notice as an
instrumental composer and profound harmonist, (dementi's Cat.)
BAUMGARTEN, (GOTTHILF VON) an

officer in the Prussian service, composed and

published several German operas between
the years 1775 and 1779.
BAUMGARTEN, an excellent performer
on the bassoon. He resided in London
about the year 1734.
BAUR (CHARLES ALEXIS) was born at

Tours, in France, in 1789. Both his father

and mother were professors of the harp and
piano in that town, and gave their son instructions on those instruments. At the age
of sixteen Baur went to Paris, and became
BAUERSACHS, (CHRISTIAN FRIED- a harp pupil of the celebrated Naderman.
RICH) a performer on the bass horn and In the year 1820 he came to London, where
violoncello, also composer for the above in- he is established as professor of his instrustruments. He was born at Anspach, in ment, and has published some pleasing
music for the harp, piano, and flute, among
1770.
BA'UERSCHMIPT, pianist and com- which we may name " Le Caravan, by
Gretry, arranged for the Harp." (Harm.
poser, resided at Petersburg in 1794.
BAULTJ, an Italian singer at the opera Inst.) "Duet for the. Harp and Flute" (Id.)
BAURANS, (N.) a French composer of
at Paris, at the time Madame Catalani was
petit operas in the Italian style, died in
manager.
BAUMANN, ( P A U L CHRISTOPHE) di- 1764.
BAURSCHMEDT. See BAUERSCIIMIDT.
rector of the music and composer at StuttBAUSTELLER, (JOHANN CONRAD) an
gard, about the year 1740.
BAUMBACH (F R .A.)was director of the instrumental composer since the year 1729.
orchestra at the theatre of Hamburgh about He published at Amsterdam six sonatas for
the year 1783^ He has published from that the harpsichord, in the year 1760.
BAVERINI, (FRANCESCO) an Italian
time up to the year 1799, a great variety of
composer, wrote a sacred opera called " La
vocal and instrumental pieces.
BAUMBERG, a German instrumental Conversio7ie di S. Paolo," at Rome, in 1440.
composer since the year 1783 ; some of his
BAYART, (CONSTANZ A. M.) a Gerworks have been published at Amsterdam, man composer at Osnabruck about the
others at Berlin.
year 1799. He has published some pianoBAUMGAERTNER, (JEAN-BAPTISTE) forte music and also songs.
a celebrated violoncellist. He wrote " InBAYER, (JOSEPH D.) a composer for the
struction de Musique tMorique et pratique piano, published his Op. 1 at Augsburg, in
a I' Usage duVioloncelle," published at the 1801.
66

B EA
BAYER, (ANDRE) an organist and composer at Wurtzburg in 1710.
BAYER, (MLLE.) a female composer at
Vienna in 1797.
BAYLY (ANSELM, LL.D.) published
" The Alliance of Music, Poetry, and Oratory," London, 1789.
BAYON (MLLE.) published six sonatas
at Paris in 1770.
BAZZINO or BAZZANI, (NATALE) a
composer of masses, motets, &c. at Venice.
Pie died in 1639.
BAZZINO or BAZZANI, (FRANCESCO)
younger brother of the preceding, was a
celebrated theorist and composer, born in
the Venetian states in 1600. He died in
1660.
BEALE, (JOHN) an English pianist, and
pupil of the celebrated Cramer. In 1820,
he was elected a member of the Philharmonic, having performed repeatedly at the
concerts of that society. About the same
period he became associated with Messrs.
Attwood, Braham, &c. in the unfortunate
speculation of rebuilding the Argyle rooms,
was a performer and director in the concerts
undertaken by that musical combination,
and contributed as a composer in the formation of their musical catalogue. In 1821, a
commemoration of Mozart took place, at
Beale's suggestion, on which occasion
Cramer united with his pupil in the performance of a duet, (on two piano-fortes)
selected from the most classical music of
that departed genius. Beale has been
recently appointed a professor of his instru
ment, in the royal academy of music, and
to one of his pupils was adjudged the annual prize medal distributed at the first
concert of the students, in July last.
Among various pleasing compositions by
Beale for his instrument may be mentioned
the two dramatic airs, "Will great lords and
ladies," from the Haunted Tower, and
" Fra tante angoscie," by Carafa, both arranged beautifully as rondos for the pianoforte. (Harm. Ins.)
BEALE, (WILLIAM) an English composer of madrigals, glees, and other vocal
music. He was educated as a chorister of

B EA
Westminster abbey, and is an excellent
part-singev. In 1813, he obtained the prize
cup given by the Madrigal society ; his composition on that occasion being " Awake
sweet Muse."
W,. Beale published at
Birchall's, in 1820, a collection of glees and
madrigals which do him great credit. " He
borrows," says an eminent modern critic,
" from the old school, with the lofty and
independent air of a man who is conscious
he can repay; and as he has given us sufficient proof of his ability to copy other
styles, we trust that he will go on to form
and improve a style of his own." Certainly
we may add, that the peculiar harmony of
the old madrigals, has never been so well
imitated as by Beale, since the publication
of Dr. Cooke's " In the merry month of
May"
Among various songs by Beale, the
cantata of "Brutus" is especially worthy
the attention of amateurs.
BEALE, professor of music at Manchester, is an excellent violoncellist.
He performed at the York meeting m
1823.
BEARD, an English singer of celebrity.
His name first appears in the Dram. Pers.
of Handel's operas performed at Coventgarden in 1736.
Beard had his musical education in the chapel royal under
Bernard Gates. He first became a great
favourite of the town, by his style of singing
Galliard's hunting song, " With early horn."
His voice was a rich tenor. He died in
1791, in the seventy-fifth year of his age.
Soon after Beard appeared on the stage, he
married the Earl of Waldegrave's only
daughter, "with whom he lived very happily,
during fourteen years, when she died. His
second wife was the daughter of Rich, then
patentee of Covent-garden theatre, at whose
death Beard, in right of his wife, became
one of the proprietors of that theatre, but he
soon sold his share and retired from the
stage. Beard was a highly esteemed character in private life.
BEATTIE, (Dr. JAMES) the celebrated
author of the poem " The Minstrel," wrote
also an essay on poetry and music as they
affect the mind. In his essay on the nature

r2

67

BEC

BEE

and immutability of truth, are likewise to be was a very able theoretical and practical
found several ingenious observations on the musician, and a scholar of the Hayes's of
Oxford. Some very simple instructions by
subject of music.
BEAUJOYEUX DE .
See BALTA- him, for playing thorough-bass, are given in
the first volume of the Quarterly Musical
ZAB1NI.
BEAUMARCHAIS, ( P I E R E E AUGUS- Review, page 380. Dr. Beckwith was the
TIN CARON DE) a professor of the harp, and master of Vaughan the singer. H e comcomposer of light vocal music at Paris, died posed the glee, " Hark o'er the waves," and
" The Suppliant's
Prayer,"
a song.
there in 1779.
BEAUMESNIL (MLLE.) composed the (Goulding'sCat.) "Six Anthems" of his are
operetta, " Les Le'gislatrices," at Paris, in also published by Clementi.
1786.
BECZWARZOWSKY, (A.) vocal and
BEAUMONT, (SAUNIEE DE) a French instrumental composer in Germany between
author, wrote a letter on ancient and modern the years 1794 and 1801.
BEDARA, author of a method for the
music, Paris, 1743.
BECHE. There were several brothers violin, Paris, 1800.
of this name, musicians to the king of
BEDFORD (ARTHUR) died in EngTrance, about 1750; one of them assisted land in 1770. He published " The great
in editing the solfeggi of Italy.
Abuse of Music," London, 1711. Also,
BECK, (C. F.) an instrumental composer " The Temple of Music, or an Essay conin Germany, between the years 1789 and cerning the Method of Singing the Psalms
of David in the Temple before the Baby1794.
BECK, (FRANCOIS) an eminent compo- lonish Captivity" 1712.
BEECHE, (VON) captain of dragoons
ser at Bourdeaux. His " Stabat Mater"
was performed at Paris in 1783, and highly in the regiments of prince Frederick of Wurapplauded. He died in 1809, at an ad- temberg, atVienna, composed a considerable
vanced age. Four operas by Beck, each quantity of vocal and instrumental music
consisting of six symphonies, were published between the years 1780 and 1802. His
compositions for the piano-forte are much
at Paris about the year 1776.
BECKEK or BEKER, (C. L.) organist admired at Vienna. He died in 1803.
BEER, (JOHANN.) See BAEHE.
at Nordheim, and an instrumental composer
since the year 1790.
BEER, (JOSEPH) chamber-musician to
BECKEK, (D.) violinist and instru- the king of Prussia since the year 1792.
mental composer at Hamburgh, in 1668.
He is an eminent performer on the
BECKEB, (FEED. AUG.) composer of clarionet, and has composed much for his
vocal music at Frankfort in 1775.
instrument between the years 1794 and
BECKER (JEAN) died at Cassel in 1807.
1803. He was organist there, and com- BEETHOVEN (LUDWIG VON) was bora
posed much music for the church.
in the year 1770 at Baun, where his
BECKER, (J. M.) a German composer father was at that time the tenor singer in
of songs in 1802.
the chapel of the elector. He received his
BECKER, (MADAME) a celebrated first instruction in music of Neefe, the courtGerman theatrical singer, now living.
organist, and so rapid was his progress unBECKMANN, (JEAN-FEEDEEIC-GOTT) der this master, that at an unusually early
a celebrated popular instrumental and vocal age he was able to perform that first of all
composer in Germany between the years works for forming a finished player on the
1769 and 1790. He died in 1792, aged organ or the piano-forte, the preludes and
fugues of the great Sebastian Bach, or, as
fifty-six.
BECKWITH, ( D R . ) organist of the they are generally called, " Le Clavecin
cathedral and of St. Peter's at Norwich, bien tempe're'." At this time he displayed
68

BEE
equal progress in composition; for, in the
same year, we find published at Manheim
and Speyer, under his name, variations to a
inarch, sonatas, and songs, all for the pianoforte. In 1792, he was sent by the elector
of Cologne, (whose attention had been attracted to his youthful genius) entirely at
his expense, to Vienna, as court-organist, to.
study the theory of music under the celebrated J. Haydn. His instructor, however,
on leaving Vienna for London two years
after, intrusted his pupil, till his- return, to
the care of the learned Albrechtsberger.
How much Beethoven was benefited by the
instruction of such masters, is best known
by his works. It may, however, be doubted,
whether he was not, at this time, more distinguished for his performance than his composition. Judging by the criticisms of his,
earlier works, contained in the Allgemeine
Musikalishe Zeitung, of Leipsic, (the first
journal in Europe with regard to. musical
reviews) he was not allowed even the ability of composing variations of any merit.
Harshness of modulation, melodies more
singular than pleasing, and an evident struggle to be original, were among the principal
faults of which he was then accused. Severe
as these critics were on Beethoven as a
composer, they were lavish in their praises
of him as a player. In their opinion, no one
could equal him in spirit and brilliancy of
execution ; and nothing more was wanting
to perfect his performance, than more precision and distinctness of touch. His greatest
power consisted, as was unanimously agreed,
in extemporary performance, and in the art
of varying any given theme without the
least premeditation. In this he approached
nearest to Mozart, and has never had a rival
since.
The precarious situation of the court of
Cologne during the war, and still more the
death of the elector in 1801, in whom not
only Beethoven, but the art of music, lost
one of its most zealous patrons, induced
Beethoven to choose Vienna as his permanent residence ; and in this he acted judiciously, as it is unquestionably the first city in
Germany for the encouragement of the fine

BEE
arts, although by no means for that of the
sciences. Original and independent in his
general way of thinking, as he is in his
musical productions, a decided enemy to
flattery, an utter stranger to every thing dishonourable, he disdained to court the favour
of any one, however wealthy or high in rank.
Thus he has resided nearly thirty years in
that splendid metropolis, in open hostility
with too many, and in friendship with only
the few, whom the admiration of his great
genius will not allow to take offence, either
at the singularity of his manner, or at the
ill-judged candour with which he gives his
opinion of persons, however unfavourable it
may be. Till very lately, he had hardly any
other emolument than what his compositions produced him, and consequently too
often lived in circumstances very unworthy
of such a great genius. In Austria, the
native composers have experienced a neglect
similar to that which Frederick the Great
displayed to the literati of Prussia. There
the Klopstocks, Lessings, Wielands, entirely disregarded, had not the slightest
access to royal favour, while the Voltaires,
D'Alemberts, and the myriad of other
foreigners, received the highest honours and
rewards. At Vienna, the present imperial
family have a predilection for Italian music
and Italian composers. Salieri the Italian
has all the honours, and (what he probably
likes just as much) all the emoluments of
principal maestro di capella to their majesties ; whereas Beethoven, the inimitable
Beethoven, has to rely entirely on his own
strength, without the smallest portion of imperial munificence. It must have been a
consideration like this, together with the increase of difficulties, that determined him, in
1809, to accept an offer from the new Westphalian court of Jerome Buonaparte, of the
situation of maestro di capella. Fortunately
for the honour of Vienna and of Austria,
the archduke Rudolph, and the princes
Lobkowitz and Kinsky, induced him to alter
this resolution. In expressions at once the
most favourable and delicate, these princes
had a document drawn up, by which they
settled oa Beethoven an annuity of 4000
69

BEE
florins, with no other condition, than that so,
long as he derives the benefit of it, he must
reside at Vienna, or in some other part of
the Austrian dominions, but he cannot travel
into foreign countries, unless with the consent of his patrons. The issue of the last
war has sufficiently proved how judiciously
he acted in declining the offer from Cassel,
and in resolving to remain at Vienna on
such conditions. Vienna has thus become
the permanent place of his abode during the
principal part of his life. Although he had
a great wish to see foreign countries, particularly England, it seems he has never
hitherto made any application for leave of
absence to the archduke Rudolph, who is
now his only patron, the princes Lobkowitz
and Kinsky being dead. It may, however,
be doubted whether his presence would add,
either here or any where else, to his celebrity.
His warmth of temper, extreme
frankness and singularity of manners,
(which he is little able to rule according to
the prescribed forms of society) his little
reserve in judging of people, and above all,
that deplorable calamity, the greatest which
can befall a man of his profession, his extreme
deafness, seem little calculated to endear
his person to the true admirers of his genius.
It should, however, be here mentioned, that
notwithstanding his foibles, which much
more frequently belong to great than to ordinary men, his character, as a man and as
a citizen, ranks deservedly high. Although
his originality induces him to deviate from
ordinary rules in the little affairs of common
life, yet his high feeling of honour and right
has produced a rectitude in his moral conduct, which ensures to him the esteem of
every honourable man.
To give a detailed critique on Beethoven's
works would exceed the limits of this
sketch. They are universally known and
acknowledged to be, for the greater part,
productions of the highest order. In the
loftier strains of composition, in which the
greatest master can most fully develope
both the fertility of his imagination in the
invention of melodies, and his dexterity and
learning in the construction of harmonies,
70

BEE
Beethoven has attained so eminent a rank
that it is difficult to ay who excels him. In
many of his orchestral symphonies, overtures, quartettos for the violin, concertos,
trios, and sonatas for the piano- forte, he may
be placed without the slightest presumption
by the side of Haydn and Mozart. His overture to the '' Men of Prometheus" and his
piano-forte concerto in C minor, Op. 37,
would alone be sufficient.. to immortalize
him. They will ever be heard with delight
after any overture or concerto even of
Mozart. The following list of the works of
Beethoven, is copied from that very excellent periodical work, the Harmonicon.
Op. 1. " Three Trios for
Piano-forte,
Violin, and Violoncello''2. " Three Sonatas for Pianorforte, dedicated to Haydn."
3. " Trio, in E flat, for Violin, Viola, and
Violoncello."4. " Quintet, in E flat, for
two Violins, two Violas, and Violoncello."
5. " Two Sonatas for Piano-forte, with
Violoncello or Violin Obligato, dedicated to
the King of Prussia."6. '' An easy Sonata for the Piano-forte, for four hands."
7. "Sonata, in E flat, for Piano-forte,"
8. " Serenade, in D, for Violin, Viola, and
Violoncello!'9. " Three Trios for Violin,
Viola, and Violoncello; Paris Edit, from
Op A."10. " Three Sonatas for the Pianoforte."11. " Trio, in B, for Piano-forte,
Clarionet, or Violin and Violoncello."
12. " Three Sonatas for Piano-forte and
Violin."13. " Sonate Pathitiaue, for
Piano-forte."14.
" Two Sonatas for
Piano-forte."'15. " Concerto, in C, for
Piano-forte, No. 1, with Orchestra."16.
" Quintet, in E flat, for Piano-forte,
Hautboy, Clarionet, Horn, and Bassflm"
17. "Sonata, for Piano-forte and Horn,
or Violoncello."18. " Six Quatuors for
two Violins, Viola, and Violoncello."19.
"Concerto, in B,for Piano-forte, No. 2,
with Orchestra."20. "Septetto, in Eflat,
for Violin, Viola, Clarionet, Horn, Bassoon, Violoncello, and Contra-kasso."21.
" Sinfonia, in C,for Orchestra, No. 1."
22. " Sonata, in B,for
Piano-forte."23.
" Sonata for Piano-forte and Violin."
24. " Sonata for Piano-forte and Violin."

BEE
25. " Serenade, in D, for Flute, Violin,
and Viola."26. "Sonata, in A flat, for
Piano-forte."27.
" Sonata, quasi Fantasia, for Piano-forte, Nos. 1 and 2."28.
" Sonata, in D, for Piano-forte." 29.
" Quintetto, in C,for two Violins, two Violas, andVioloncello."30. " Three Sonatas
for Piano-forte and Violin, dedicated to
Alexander I."31. " Three Sonatas for
Piano-forte, Vienna Edit, from Op. 29."
32. "Six So7igs, by Gellert."33. " Bagatelles for the Piano-forte."34.
"Six
Variations for Piano-forte"35. " Variations for Piano-forte."36. " Sinfonia, in
D, for Orchestra, No. 2."37. " Concerto, in C minor, for Piano-forte, No. 3,
with Orchestra."38. " Grand Trio for
Piano-forte, Clarionet, or Violin, and Violoncello, arranged after the Septetto, Op.
20, by the Author."39. " Two Preludes,
in all the twelve major keys, for the Pianoforte or Organ."40. " Romance, in G,for
Violin, with Orchestra."41. " Serenade
for Piano-forte and Flute, or Violin, arranged from the Serenade, Op. 25, by the
Author."43.
" Overture to Prometheus,
in C. for Orchestra."44. "Fourteen Variations for Piano-forte, Violin, and Violoncello."45. " Three Marchesfor Piano" Scena ed
forte, for four hands." 4
Aria, 'Ah, perfido !' for a Soprano, with
Accompaniments for Orchestra."47. "Sonata for Piano-forte and Violin Ohligato,
dedicated to Kreutzer."48.
"Adelaide,
by Matthisson, (in Italian and German)
with Accompaniment for Piano-forte,"
49. "Two easy Sonatas, for Piano-forte."
50. " Romance for Violin princ. in F,
with Orchestra."51. "Two Rondos for
Piano-forte, in C and G, Nos. 1 arid 2."
52. " Eight Songs, with Accompaniments,
for Piano-forte, ' Urian's Reise,' ' FenerFarbe,' ' Im Arm der Liebe,' &c."53.
" Sonata, in C, for Piano-forte" 54.
" Sonata, in F, for Piano-forte." 55.
" Heroic Sinfonia, in Eflat, for Orchestra,
^Vb. 3."56. " Concerto, in C,for Pianoforte, with Orchestra."57. "So?iata,in
F minor, for Piano-forte."58. " Concerto 4, in G, for Piano-forte, with Orches-

BEE
tra."59. " Three Quartets, for two Violins, Viola, and Violoncello,"60. " Sinfonia, in B, for Orchestra, No. 4."61.
" Concerto, in I), for Violin, with Orchestra."62. " Overture to Coriolanus, in C
minor, for Orchestra." 64. " Grand
Sonata for Piano-forte and Violoncello,
arranged from the Trio, Op. 3, by the
Author."67. " Sinfonia, in E flat, for
Orchestra, No.5."68. "Pastoral Sinfonia,
in F,for Orchestra,No. 6."69. " Sonata
for Piano-forte and Violoncello." 70.
" Two Trios for Pia?io-forte, Violin, and
Violoncello"' 73. " Concerto, in E flat,
for Piano-forte, with Orchestra." 74.
" Quartet, in E flat, for two Violins, Viola,
and Violoncello."75. "Six Songs, by
Gb'the, with Piano-forte Accompaniments,
' Kennst du das Land,' ' Neue Liebe,' &c.
&c."76. " Variations for Piano-forte."-
77. " Fantasia for Piano-forte."78. "Sonata, in F sharp, (major) for Piano-forte."
79. " Sonatina, in G,for Piano-forte."
80. " Fantasia, in C minor, for Piano-forte,
with Orchestra."81. " Septetto, in Eflat,
for Violin, tyc."81*. " Sonata for Pianoforte, ' Les Adicux,' Sic."82. " Four
Ariettes and a Duet, (Italian and German)
with Accompaniments for Piano-forte."
83. (i Three Songs, by Gb'the, with Accompaniments for Piano-forte, ' Wonne der
Wehmuth,' ' Sehnsucht,' ' Gemaltes Bund,'
&c."84. " Overture to Egmont, in F
minor, for Orchestra." 84*. " Entre
Actes to Egmont, for Orchestra."85.
" Oratorio, ' The Mount of Olives.'"86.
" Overture to the Opera of Leonora, for
Grand Orchestra."87. " Trio for two
Hautboys and English Horn."88. " Fidelia, a grand Opera, the Scorein MS."90.
" Sonata, in E minor, for Piano-forte.".
91. " Battle of Vittoria,for a full Orchestra."92. " Sinfonia, in A, for Orchestra, No. 7."93. " Sinfonia, in F, for
Orchestra, No. 8."94. " Song, ' Andie
Hoffnung,' from Tiedge's Uriania, with
Accompaniments for Piano-forte." 95.
"Quartet 2, in F minor, for two Violins,
Viola, and Violoncello."96. " Sonata for
Piano-forte and Violin."97. " Trio, in
71

BEE
B,forPiano-forte,Violin,and
Violoncello."
98. "Song, 'Andie feme Golibte,' by
Jeitteles."99. " Bass Song,' Der Mann
von Wort,' "100. "Romance, ' Das Lehluss Markenstein.' "101. " Sonata, in A
major, for Piano-forte" 102. " Two Sonatas, for Piano-forte and Violoncello."
104. " Quintuors, in C minor, for two Violins, two Tenors, and Violoncello, or three
Violins, Tenor, and Violoncello, arranged
after a Piano-forte Trio, by the Author."
105. "Easy Variations for
Piano-forte,
with Flute or Violin Accompaniment ad
lib. to Six Themes."106. " Sonata for
Piano-forte."109. " Sonata for Pianoforte."110. " Sonata for Piano-forte."
111. " Grand Sonata for Piano-forte."
118. " Quartet for two Violin, two Tenors,
and Violoncello." 120. " Thirty-three
Variations on a Waltz, by Diabetti."
Beethoven has lately completed a new
grand mass.
We will now subjoin some further particulars respecting this great composer from the
pen of the intelligent Gerber. We have already seen that Beethoven was, in early
life, more celebrated as a pianist than for
his powers in composition. In extemporaneous performance he peculiarly excelled.
One of the most striking instances of his
ability in this respect is said to have been
given in the year 1791, when Karl Ludwig
Junker, before a large party of musicians,
proposed to him a thema, upon which he
immediately extemporized to the admiration
of all present. After having resided nearly
eighteen yeais at Vienna, in a state of respectable privacy, the circumstances of
Beethoven became more and more embarrassed, partly from the political difficulties
of the times, and partly from the jealousy
of other professors. This was the principal
reason that he decided on accepting the situation of chapel-master at the new court
of Westphalia ; which decision led, as we
have before seen, to his receiving a pension
from the Austrian court,where his value as a
composer now began to be better appreciated. The talents of a Haydn and Mozart
raised instrumental composition in Germany
72

BEE
to an astonishing elevation; and Beethoven
may be said not only to have maintained
the art in that stupendous altitude, but even
in some respects to have brought it to a still
higher degree of perfection. Reichardt, in
his letters from Vienna, says, "Haydn drew
his quartets from the pure source of his sweet
and unsophisticated nature, his captivating
simplicity and choerfulness ; in these works
he is still without an equal. Mozart's
mightier genius and richer imagination took
a more extended range, and embodied in
several passages the most profound and
sublime qualities of his own mind. Moreover, he was much greater as a performer
than Haydn, and as such,expected more from
instruments than the latter did. He also
allowed more merit to highly wrought and
complicated compositions, and thus raised
a gorgeous palace within Haydn's fairy
bower. Of this palace Beethoven was an
earl)1 inmate; and in order adequately to
express his own peculiar forms of style, he
had no other means but to surmount the
edifice with that defying and colossal tower
which no one will probably presume to
carry higher with impunity."
Whoever
doubts the justness of this last remark, need
only consult Beethoven's " Concerto in C
minor,(No. 37 of the preceding catalogue);
it is worthy of being studied with attention;
consulting, at the same time, th,e review of
it, in No. 28 of the^seventh year of the
Leipsic Musical Gazette. Let the student,
who is inclined duly to appreciate the comparative merit of Beethoven'c works, endeavour further to hear the performance, by
a good orchestra, of his Pastoral Sinfonia;
and in order properly to estimate this grand
and difficult work of art, it is even desirable
that he should first read, with attention, the
beautiful and spirited description of this exquisite masterpiece, given by Mr. Frederick
Mosengeil, of Meiningen, in No. 133 of the
Zeitung f. die eleg. Welt, 1810. One
of the principal regrets respecting Beethoven's music is, that in most of his works
his style inclines to the solemn and melancholy ; "feelings," says Gerber, "which the
calamities of the times have rendered but

BEE
too prevalent amongst his German brethren."
Beethoven now usually passes the summer at the pleasant village of Baden, about
twelve miles from Vienna. He is extremely
deaf, but can hear without the assistance of
any machine, when addressed loudly and
distinctly. His principal amusement in the
country is taking long walks in the most
romantic parts of the vicinity, which excursions he sometimes extends even through the
night. It is said that he does not write
down a single note of his compositions till
he has mentally completed them, and that
he holds his own earlier compositions in
contempt. " I f any man," says an able
contemporary writer in the Quarterly Musical Review, "can be said to enjoy an almost universal admiration as composer, it
is Beethoven ; who disdaining to copy his
predecessors in any, the most distant, manner, has, notwithstanding, by his energetic,
bold, and uncommon style of writing, caTried away the prize from our modern Olympus. His peculiar beauties may be enumerated as follows: originality of inventionuncommon passagesa very energetic mannerimitative passages almost innumerableand abstruse scientific modulation. The first of these peculiarities, no
sincere lover of music who has heard any of
his symphonies will refuse to admit, and it
is principally to this prominent feature in
all his works that the fame he has acquired
is owing. There is something in the first
movements of all his overtures and symphonies, which, to the hearer, conveys a clear
impression that the piece is not similar to
any he ever heard before by other composers. The frequent employment of discords
unresolved with a full harmony, the appa
rent sombre cast of expression by a continual richness and depth of the bass, the
evident preparation for some beautiful allegro or vivace movement; all these conspire
to raise the author in our estimation, and
to keep our attention alive. Yet when h
does lead us to the quick, it is not upon
a light, unmeaning, or dance-like passage
that he chooses to work; conscious of hii

BEE
esources, he .gives an excellent subject,
;radually rising into importance as the initruments one after the other join in the
itringed chorus, and when (as Maister
Mace would say) ' that vast concording
unity' of the whole band comes ' thundering in,' we perceive with what admirable
skill the orchestra are brought together, and
afterwards, to the latter part of the piece,
continue our admiration of the scientific
manner in which the parts are worked up.
The conclusion leaves us in regret." In
the " Mount of Olives," the introductory
symphony is considered to be so affecting
and appropriate as to be equal, if not superior, to Haydn's introductionor representation of Chaos in the " Creation." The
whole is a striking instance of Beethoven's
originality of invention. With respect to
his energetic manner, nearly the whole of
his works abound with specimens of this
description of beauty. We must next advert to another peculiarity in Beethoven's
music, his unexpected and abstruse modulations ; which by some amateurs are considered beauties, by others are thought to
counteract taste and expression. This latter
opinion is refuted by Dr. Burney. It is
true that " i n the first ages of music, and
when the first compositions in parts were
given to the world, it was thought necessarary by the theorists and contrapuntists of
the day to give rules for modulation, and
woe to the adventurous, hardened being
who dared sacrilegiously 1o break through
them. Still, notwithstanding this restraint,
Monteverde published his ' System of Discords.' Immediately the whole host of
critics were up in arms, and could scarcely
find words to express their astonishment and
horror at so audacious an attempt. Yet in
time these, were received as current, and
other composers gradually extended the
number of chords, derivative discords, and
modulations, each succeeding generation of
musicians, until Haydn's time, improving
upon and rejecting the severe fetters which
the rules imposed by the preceding one
would have laid upon it." In the midst of
Beethoven's energy, variety, and abstruse73

BEG
ness, ideas may sometimes, however be
discovered which create enthusiasm solely
from their simplicity. Of this description
is the well-known passage in his "Battle
Sinfonia," where the one fiferis supposed to
be heard attempting to rally the disordered
ranks of the French army, by playing their
national air of Malbrouk, which he performs
in a minor key from his own presumed
thirst and fatigue.
BEFFROI D E REIGNY,(L. A.) called
Le Cousin Jacques, a song writer at Paris,
and author of some petits ope'ras, between
the years 1786 and 1805.
BEGNIS, (Monsieur Dr.) See DEBEG-

BEL
first tenor at the King's theatre; to which
establishment he remained attached till the
end of the season of 1821, since which time
he has quitted the stage, and confined himself to concert-singing and tuition. He has
been engaged at most of the principal concerts in London and provincial music meetings ; is also first tenor at the Bavarian chapel
in Warwick-street. Begrez has a beautiful
tenor voice, is an excellent musician, and
performs in concert very sweetly, and in a
chaste good style.
BEGUE ( L E ) or LEBEGUE.a celebrated
organist at Paris, died in 1700.
BEHR (SAMUEL RUDOLPH) published

some instrumental trios at Leipsic in 1703.

BEINET, a composer for military bands
BEGNIS, (Madame Dr.) See DEBEGNIS.
BEGREZ (P. J. M.) was born at Namur, at Paris in 1798.
in Belgium, in 1790. At the age of six years
BEKER, composer of vocal and instruhe was entered as a chorister in the cathedral mental music at Gottingen between the
church of St. Aubain.where the beauty of his years 1784 and 1790.
voice was much admired. A few years afterBELESTA, ( D E . ) See MERCADIER.
wards, he quitted the Netherlands for Paris,
BELKE, (M. F.) a celebrated performer
where he was received as a violin pupil at the on the clarionet, and chamber-jausieian to
conservatory of music. After this time, he the king of Prussia.
was, during several years, employed in the
BELL (Rev. DR.)published about 1789,
orchestra at the Italian opera at Paris, which a Nunc dimittis for two voices.
was under the direction of the celebrated
BELLA, (DOMENICO DALLI)
a perGrasset. He then quitted the violin, his former on the violoncello, and composer in
voice having settled in a fine tenor, and Italy, in the beginning of the eighteenth
devoted himself entirely to the study of sing- century.
ing, under the first masters then at Paris;
BELLAMY (THOMAS LUDFOED) was
so that, in the year 1814, he gained the first born in the parish of St. John,Westminster,
prize for singing at the conservatory. In in 1770. He is the son of Richard Bellamy,
1815, he made his debut at the grand opera, the celebrated bass singer of his day, from
and obtained the greatest success in the prin- whom he received his first musical educacipal parts of the several operas, "Armide," tion. His next instruction was from Dr.
"Les Bayaderes" and " Anacreon." He Cooke ; and afterwards, when his voice
still, however, although he received much changed to a bass, he became a pupil of the
encouragement, felt that his studies had celebrated Tasca, with whom he was to
formed him rather for the Italian than the have gone abroad in the year succeeding to
French school of singing; he consequently that in which Tasca died.
Thus disapdecided to take the earliest opportunity of pointed, Bellamy pursued his studies in
quitting the French opera establishment, and London for some time, and was appointed
travelling in Italy. However, at the close deputy to his father, and others, in the
of the year 1815, Mr. Lees, private secre- king's chapel at St. James's, and in St.
tary to Mr. Waters, then proprietor of the Paul's, and Westminster abbey. He was
King's theatre in London, being in Paris also employed, from time to time, at
for the purpose of engaging singers, pre- the Ancient concerts; on one of which ocvailed on Begrez to come to England, as casions, and some time preceding the last
NIS.

74

BEL
commemoration of Handel in 1791-2, he
was particularly noticed by Joah Bates, who
kindly volunteered giving him a series of
lessons in singing ancient music. In consequence of such instruction, Bellamy's performance at those concerts was soon
crowned with the most nattering success. In the year 1794, finding little hopes
of promotion, but in the event of deaths,
Bellamy resolved on accepting an offer
made him to go to Ireland, as agent to a
nobleman's estates, which he enjoyed but a
short time, as certain mortgagees foreclosed,
and he was superseded, and left to speculate
in a theatrical career, which commenced by
his being appointed stage-manager to the
Dublin theatre, in the year 1797. Here he
was extremely successful, and in the year
1800, purchased into the Manchester, Chester, Shrewsbury, and Litchfield theatres, as
joint proprietor ; which property he sold in
the years 1803-4, and purchased the Belfast, Londonderry, and Newry theatres, becoming sole proprietor. This last speculation
proving unfortunate, Bellamy accepted an
engagement at Covent-garden theatre for
five years, and was also appointed a member
of the Ancient and Vocal concerts, oratorios,
&c. In 1812, he was engaged at Drurylane for five years, retaining his concert
engagements and the country meetings, in
conjunction with Bartleman, who was his
friend and contemporary (man and boy) until
the day of his death; upon which event
Bellamy was appointed principal bass singer
of the Ancient concerts. He also holds
the appointment of master of the choir
of his catholic majesty's chapel, under
the Spanish embassy, to which he was
nominated in the year 1819. Bellamy
has not had time to write for publication,
all his hours unoccupied in public performances having been engaged in tuition, and
latterly, in the conduct of his music academy,
established upon the Logierian system, since
the year 1818.

BEN

BELLCHAMBERS, (MES.) an English

female singer of some eminence. She was
engaged at the oratorios in 1821. Mrs. B. is
an honorary member of the royal academy
of music.
BELLERMAN, (CQNSTANTIN) born at
Erfurt in 1696, published many vocal and
instrumental musical works between the
years 1726 and 1735.'
BELLEVAL, (CHARLES) born in France,
published some instrumental music at
Leipsic. He was an emigrant, residing at
Erfurt in the time of the French revolution.
BELLI, (GIOVANNI) a celebrated soprano
singer, in 1750, at Dresden. He drew tears
from most of his audience in the air of
" L'Olimpiade"
beginning " Consola il
genitore." He died at Naples in 1760.
BELLOCHI, (Signora GEOBGI) an
Italian singer. She sang at the opera and
various, concerts in London in the year 1817,
and several subsequent seasons. She had a
sound good style, but her voice was remarkable neither for tone nor compass.
BELLGLI. There are two celebrated
horn-players of this name (father and son) at
Milan.
BELTRAME, an eminent organist and
church composer at Verona in 1799.
BEMETZRIEDER, born in Alsace in
1748, came to Paris and formed an acquaintance with Diderot, to whose daughter he
taught music. Bemetzrieder has written
several didactic works on music, published at
Paris and in London, in which latter capital
he resided several years. Some of his music
for the piano-forte was published by Preston.
BEMUCKY, a composer, living at
Vienna in 1797.
BENARD, a French composer at Paris in
the beginning of the eighteenth century. He
published some solos for the violin in 1729.
BENAZET, an excellent French violoncellist. He performed, in 1823, at the
Socie'te' Philharmonique, at Paris.
BENCINI, (P.P.) an Italian vocal comBELLANDA, (LUDOVICO) a very cele- poser at the beginning of the eighteenth
century. He is the author of the oratorio,
brated Italian vocal composer about 1590.
BELLAVER, (VINCENT) a poet and " L'lnnocensaprotetta," arranged for four
voices.
composer of madrigals at Venice in 1568.
75

BEN

BEN

BENDA, (FRANZ) musician to Frederick Theseus in the island of NaxoS. This is

I I . of Prussia, and founder of a German done wholly without singing. The narraschool of violinists, was born in Bohemia, tive part is spoken in blank verse, and^the
in 1709. He was appointed a singing-boy several passions and sentiments are seconded
to the church of St. Nicholas, at Prague, in and highly coloured in fragments of sym1718; and from thence he went to Dresden, phony, like those of accompanied recitative
where he was engaged at the chapel royal. of the most select, impassioned, and exquiAbout the same time he applied himself to site kind. G. Benda was received, in 1742,
the study of the violin, and had no other as first violin at the chapel of the king of
resource to save himself from poverty (hav- Prussia, and subsequently was chapel-masing quitted the king's chapel) than to engage ter at Gotha. About the year 1760, he
with a company of street-musicians, among obtained permission to visit Italy, and it
whom there happened to be a blind Jew, was after his return that he composed his
named Lobel, an excellent violinist, and best vocal music. Dr. Burney says, that
who became Benda's master and model. the music of G. Benda is new, profound,
Fatigued with his wandering life, Benda, and worthy of a great master; the only
then eighteen years of age, returned to objection that can be made to it, is an
Prague, and soon afterwards went to occasional affectation of too great novelty;
Vienna, where he received lessons from but this observation can only apply to his
one of the first masters of the place. There earlier productions, before he went to Italy.
he remained two years, when he pro- He died in 1795.
ceeded to Warsaw, and procured the situaBENDA (FRIEDRICH LUDWIG) died in
tion of chapel-master. The prince royal of great poverty at Konigsberg, in Prussia, in
Prussia, afterwards Frederick II., took 1792, aged forty-eight. He composed several
Benda into his service in 1732, on the re- cantatas and operettas.
commendation of Quarz. Finally, in 1772,
BENDA, (FRIEDRICH W I L H E L M H E I N he succeeded Graun, as concert-master to RICH) usually called Friedrich Benda, was
the king. He died at Potsdam, in 1786. born in Potsdam, in 1745. He was a good
Dr. Burney says, that Benda's manner of instrumental composer, and also published
playing was neither that of Tartini,nor Somis, several oratorios.
nor Veracini, nor any other great master, but
BENDA, (JOSEPH) musician to the king
peculiarly his own. He published " Studies of Prussia, was brother and pupil to
for the Violin," "Progressive Exercises," Franz Benda. He died at Berlin, in 1804,
and other instrumental works; especially aged seventy-five.
" Eight Solos for the Violin," which are
BENDA
(CARL HERRMANN HEIN)
extremely admired for their good taste and was born at Potsdam, in Prussia, in 1748.
truly cantabile style.
He was ballet-master at the opera at Berlin,
BENDA, (GEORGE) brother of the preceding, was born in 1722. He was many
years in the service of the court of Gotha,
and published, in 1757, a very beautiful set
of sonatas for the harpsichord, in the style of
Emmanuel Bach. He also composed several
German comic operas, and two works, which
he calls duodrames, " Ariadne in Naxos,"
and " Medea." The author has manifested
great abilities and feeling in the expressive
and picturesque symphonic composition with
which he has told the story and painted the
distress of Ariadne, when abandoned by

76

and was appointed chamber-musician to the

king of Prussia, in 1802.
BENDA, (MADAME.)
BENDELER

See H E Y N E .

(JOHANN P H I L I P P ) pub-

lished some works on music, between the

years 1688 and 1706. He was born near
Erfurt, in 1660.
BENDER, a celebrated performer on the
clarionet in Germany. In beauty and richness of tone, facility, brilliancy of execution,
and fine taste, he is said to rival the first
performers on that instrument.
BENDINELJJ,

(AGOSTINO)

a com-

BEN

BEN

poser of church music between the years he had known of the same description.
1585 and 1604. He was a regular canon of This is probably the mass which Benevoli
the Lateran, born at Lucca, in 1550.
composed for "the cessation of the plague at
BENECKEN, ( F . B.) a clergyman, Rome, for six choirs, of four parts each, the
near Hanover, published some sacred and score consisting of twenty-four different
dramatic music at Hanover since the year parts.
It was performed at St. Peter's
church, of which he was maestro di ca1787.
BENEDICT, of Appenzel, a composer pella ; and the singers, amounting to more
of church music in the middle of the six- than two hundred, were arranged in different circles of the dome, the sixth choir
teenth century.
BENEDICTUS, ( J O H . BAPTIST A) a occupying the summit of the cupola.
mathematician at Venice, died at Turin,
BENGRAF (JOHANN) published at
in 1590. He wrote some works on music. Vienna, in 1786, some instrumental music.
BENEDIKT, a pianist at Dresden, is a
BENINCASA, an Italian tenor singer, at
pupil of C. M. Von Weber. He is said to present at Dresden.
have great firmness of finger.
BENINCORI, (ANGELO) an instrumentBENEKEN. See BENECXEN.
al composer in France and Germany since
BENELLI, (ALEMANNO.) See MELONI. the year 1802.
BENELLI, (ANTONIO) an Italian tenor
BENINI, (GIUSEPPE) born at Florence
singer and composer. He sang, about the in 1704, was a celebrated performer on
year 1798, in England ; and in the follow- the harpsichord, and composer for his ining year was engaged at Dresden, where strument. He died at an early age, in
he remained in 1810, and published some France.
sonatas.
BENINI, (SIGNOEA) a buffo singer at
BENELLI, (SIGNOR) an Italian singer, the opera, in London, in 1787.
and director of the King's theatre for the
BENNET, (JOHN) one of our best
madrigalists, seems to have had a melody
season of 1824.
more phrased and chantante than most of
BENET, (JOHN.)
See BENNET.
BENETTT, an Italian bass singer, engaged his contemporaries. Besides his madrigals
at the King's theatre for the season of for four voices, published in 1599, and of
which several are still noticed by the ad1824.
BENEVENTO, (GUISEPPE J . U.) an mirers of old music, he contributed largely
Italian composer at Venice between the to the compositions inserted in a work pubyears 1680 and 1727, during which time he lished by Thomas Ravenscroft, in 1614,
entitled " A briefe discourse of the true but
brought out eleven operas.
BENEVENTO D I SAN RAFFALE, neglected use of characterising the degrees
( L E COMTE) an excellent amateur violinist of mensurable musicke, fyc,"
BENNET, (SAUNDEHS) organist at
at Turin. He published six duos for the
violin, in London and Paris, about the year Woodstock, in Oxfordshire ; he died at an
1770. He also wrote some letters on music. early age, of consumption, in 1809. Some
BENEVOLI, (OEAZIO) chapel-master of of his compositions, both vocal and instruSt. Peter's at Rome, was one of the greatest mental, are in print.
BENNET, (WILLIAM) professor of
composers of the seventeenth century, and a
pupil of Bernardo Nanini. Liberati asserts music, and organist of St. Andrew's church,
that Benevoli was superior to his master, Plymouth, is descended from an ancient
and all other composers, in the art of writing and highly respectable family. His ancesfugue and counterpoint for four and six tor, John Bennet, was sheriff of London in
choirs, each of four parts. Dr. Burney the fourteenth century, and having great
cites a mass of this kind, composed by Bene- wealth, purchased the manor of Wycroft, in
voli, which surpasses, in effect, every thing Devonshire, and settled there. William
77

BEN
Bennet's father resided at Coombinteignhead, near Teignmouth, having inherited a
comfortable estate in that parish. He was
a highly respectable character. The subject
of our memoir was the eldest son, and born
about the year 1767. He was educated in
music at Exeter, by Bond and Jackson, both
composers and eminent musicians. He
afterwards went_ to London, and finished
his studies under the direction of the late
Christian Bach, at whose death he placed
himself under the celebrated Schroeter, who,
it is well known, by his superior and Very
elegant performance on the grand pianoforte, brought that instrument into public
notice, and superseded the use of the harpsichord. His pupil, Bennet, did the same
at Plymouth. Being invited to settle there,
he was the first person that introduced a
grand piano-forte into that town; and by
his perseverance and repeated performance
on that instrument, at the public and private
concerts, he overcame the prejudice of the
natives and professors for harpsichords.
Soon after his arrival at Plymouth, in the
year ]793, Fennet was appointed organist
of St. Andrew's church, and is considered
one of the best extemporary performers in
England, on the organ. In the year 1797,
he married the eldest daughter of John
Debell, Esq., of Guildford, by whom he
has a family. His musical compositions
are extensive and classical. They consist
of " Three Sonatas for the Piano-forte,
with Accompaniment, dedicated to Lady
Warren" "A Concerto for the Grand Pianoforte, with Accompaniments for a full
Orchestra, dedicated to Mrs. Gough." "A
first Divertimento, dedicated to Miss Patey"
6i
A second Divertimento, dedicated to Miss
Warrington." " Three Sets of six Songs,
with a Glee to each Set." " Three Duets
for two Performers on the Piano-forte."
"A Coronation March." "A Coronation
Anthem," expressly composed for the coronation of his present majesty. The celebrated American glee, " When shall we
three meet again," with several other glees
just published. "A Portuguese Hymn, with
Far," "An Air from Loves of the Angels,

78

B E It
with Tar."
"Here a noddin, with Var."
"Vien que Donni Bella, with far." Bennet
has nowinthe press twovery extensive works,
"The Collects of the Church of England,
in Score," for the use of cathedrals, or for
other public or private performances ; and the
" New Version of Psalms, in four parts,"
with a full accompaniment for the organ
or piano-forte. He has likewise composed
several overtures and fugues, and voluntaries
for the organ, which are not yet published.
BENNETT, (THOMAS) organist of the
cathedral, and of the episcopal chapel of
St. John, Chichester, received his musical
education in the choir of Salisbury, under
the late Joseph Corfe. Bennett's principal
works are, "An Introduction to the Art
of Singing ; " " Sacred Melodies," a selection which is allowed to be made with
much judgment and good taste ; also, " Cathedral Selections," consisting of anthems,
commandments, and chants. Each of the
above productions have met with much
approbation in the musical world.
BENSER, a pianist and composer at
London. He published some works for
his instrument since the year 1784. (Clementi's Cat.) Benser was a German by
birth, and the first master of the celebrated
J. B. Cramer.
BENUCCI. There have been several
Italian singers of this name at the opera at
Vienna, since the year 1783.
BERARD, born in 1710, published "The
Art of Singing," Paris, 1755, a work of
much merit at the time it was written.
BERARDI, (Don ANGELO) a chapelmaster at Spoletto, published at Bologna, in
1687, " Documenti Armonici," containing
the rules of counterpoint; in ] 689, "Miscellanea Musicale; " in 1690, "Arcani Musicali;" and in 1693, "II Perche Musicale."
Bernardi's works were a high authority in
music at the time he wrote. Many of his
precepts are arranged and given by Choron
in his great work on composition.
B E R A R D I , (STEFFANI.) See BERNAHDI.

BERAUDIERE,
(Monsieur D E ) a
French composer of vocal music at the beginning of the seventeenth century.

BER
B E R B I G U I E R , ( A N T O I N E TRANQTJILLE)

BER
B E R G E R ( J O H A N N WILHELM VON) died

a pupil of Berton at the conservatory at atWittenberg, in 1751. He was professor and

Paris ; he is a good flutist, and has composed dean of that university, and wrote several
many works for his instrument. He is also works relative to music.
author of an excellent method for the flute,
BERGH, (VAN DEE.) See VANDERand some useful exercises for the same in- BERG.
strument. Berbiguier's compositions for the
BERGHEM, (JACKET, or GIACHETTO)
flute are excellent, full of beautiful passages, composer of several motets and madrigals,
conducted with fine taste, knowledge, and published at Venice in 1539. Some of his
correct judgment, and always written, both works are to be found in a collection of
for the performer and the effect, according to motets, published at Venice in 1543, a copy
the genius of the instrument. Some of of which is in the British Museum.
Berbiguier's works are in the Catalogue of
BERGOGNONI, (BERNARDO) an opera
Clementi.
composer at Venice in the beginning of the
BERCHEM, (JAQUES GIACHETTO, or last century.
JACKET OF MANTUA) a native of the Ne-

therlands, lived for a considerable time at

Mantua. He published motets and various
other vocal music of great merit at Venice,
between the years 1539 and 1561. Some of
his compositions are preserved in the British
Museum.
BERESFORD, ( R E V . ) an English
clergyman, published at Berlin several
pleasing collections of German songs, with
English words, between the years 1797 and
1799.
BERG, a German, published some pianoforte music in London between the years
1770 and 1797. (Preston's Cat.)
BERGAMENO, (JOHANN BAPTISTA.)
See BONOMETTI.

BERGANCINI, an Italian composer of

instrumental music at Vienna.
BERGER, (G.) a composer of music for
the organ at Munich.
BERGER, (J.) the younger, a violoncellist, and composer for his instrument at
Paris since the year 1796.
BERGER, (Louis) a celebrated pianist
and pupil of Clementi, now residing at Berlin. He has lately published a valuable
work, entitled "Douze Etudes pour le Pianoforte," which is reprinted at dementi's,
in London. The exercises are stated, in
Clementi's Catalogue, to hold a middle station between facility and extreme difficulty.
They are fingered by the author, ^so as to
render them of great advantage to performers
who have small hands,

BERGOMUS, (ALEXANDER) a com-

poser of masses in 1572.

BERGT,

(CHRISTIAN

GOTTLOE A U -

GUST.) organist of St. Peter's church at

Baugen, was born at Freyberg in 1772. He
originally studied theology, but soon gave
up that pursuit for music. Since the year
1801, he has published many admired vocal
compositions for the church, theatre, and
chamber. His grand chorus, "Christ Jesus"
is said to be the most effective ever performed in England. It was sung at the
Manchester Philharmonic concerts, and the
score of the oratorio whence it is taken was
brought to this country and adapted to
English words by an eminent minister of
the United Brethren.
BERLIN,

(JOHANN DANIEL) organist

in Norway. He published " The Elements

of Music" and some other didactic works,
at Copenhagen, about the middle of the last
century. He died about the year 1775.
BERLS (JOHANN RUDOLPH) was born

near Erfurt, in 1578. He has composed

various symphonies, also some vocal music,
since the year 1780.
BERMUDI, (JUAN) a Spanish musician,
wrote, in the sixteenth century, a work entitled "Libro de la Declaration de Instrumentos."

BERNABEI, (ERCOLE) the scholar and

successor of Benevoli at St. Peter's at Rome,
and instructor of the abbate Steffani, may
be ranked among the greatest masters of
harmony in the ancient ecclesiastical style
79

BE R

B ER

of the last century. This composer, being

invited by the elector of Bavaria to Munich,
about the year 1650, entered into the service of that court, where he continued the
rest of his life. A specimen of his works
may be seen in Stevens's sacred music.

BERNARDI (STEFFANO) was a learned

theorist, as well as composer of masses and
madrigals of a most elaborate and correct
kind. He flourished from 1611 to about
1634, and in 1623 was chapel-master of the
Duomo at Verona. He published a didactic
work, called " Porta Musicale," at Verona,
in 1615. This elementary tract has the
merit of clearness and brevity.
BERNARDI (FRANCESCO, commonly
called SENESINO) was an excellent soprano
singer, born at Sienna about the year 1680.
His celebrity appears to have commenced at
Dresden, in 1719. Handel, hearing of his
talent, then engaged him for his opera in
London, at a large salary, andj he made
his debut in our metropolis in 1721.
Senesino's voice was considered on the continent as a mezzo soprano, though in England
it was regarded as a contralto. In the
year 1726, he was taken ill, and as soon as
he was able to travel, went to Italy for the
recovery of his health; after remaining
there about two or three years, he returned
to London. Senesino's voice was penetrating, clear, equal, and flexible; his intonation
was pure, his shake perfect, and he was peculiarly renowned for his delivery of recitative. In 1739, Senesino was residing at
Florence. He died about the year 1750.
BERNARDINI, (MARCELLO, called

BERNABEI, (GIUSEPPE ANT.) son of

the preceding, after following his father's

steps in the study of ecclesiastical harmony,
surpassed him considerably in melody and
modulation, as he lived long enough to see
a great relaxation in the rigour of ancient
rules. After succeeding his father as maestro di capella to the elector of Bavaria, by
whom he was honoured with the title of
Conseiller Aulique, and publishing several
compositions for the church, replete with
musical science of the first class, he lived
till the year 1732, extending his existence
to the great age of eighty-nine.
BERNACCHI, (ANTONIO) an Italian
singer, engaged by Handel, in the yearl716,
for the opera in London. This performer's
voice seems by nature to have been feeble
and defective, but he supplied the defects
of nature by so much art, that his performance was always much more admired by
professors than by the public in general.
He staid here at first but one year, after
which he wentback to Italy; but returned
in 1729. After quitting the stage, Bernacchi established a school for singing at Bologna, where he had himself been educated,
and where he formed several admirable
scholars, who rendered his name and school
famous.
BERNARD, (ANTON.) chamber-musician to the king of Prussia, at Berlin, in
1791.
BERNARD (GIFFAHD) translated into
English, in 1779, Bemetzrieder's " Treatise
on Singing." He has also composed some
vocal music.
BERNARDI, (BARTOLOMEO) chambermusician to the king of Denmark at Copenhagen, in 1720, was a good violinist and
composer of vocal and instrumental music.
BERNARDI, (FRANZ) a flute player
and composer for his instrument in Austria,
was born in 1767. (Clementi's Cat.)
80

also MARCELLO DI CAPUA) a composer of

many operas since the year 1784, to several

of which he has also written the words.
BERNARDINO, (NANINI.)

See NA-

NINI.

BERNASCONI, (ANDREA) of Verona,

a contemporary of Hasse. He was long
in the service of the king of Bavaria, and
died at Munich. He composed several
serious operas between the years 1741 and
1766.
BERNER, (ANDREA) a violinist and
composer at Bonn, was born in Bohemia in
1766.
BERNER, (LUDWIO) a composer at
Berlin arid Dresden since 1801.
BERNHARD, (CHBISTOPH) a composer
and tenor singer, was chapel-master to the
court of Saxony. He died in 1692. He

B ER
published some sacred music of great science,
at Dresden and Hamburgh.
BERNHARD, a German organist, so
early as the year 1470 invented pedals for
the organ , at Venice; a discovery which
reflects great honour upon the organists of
his country, as it implies ideas, harmony,
and effects beyond the power of human
hands.
B E R N I E R (NICOLAS) was bom in the

year 1664 at Mantes, on the Seine. By

his merit in his profession, he attained to be
conductor of the music at the chapel of St.
Stephen, and afterwards at that of the king
of France. The regent duke of Orleans admired his works, and patronised their author.
This prince, having given him a motet of his
own composition to examine, and being impatient for his observations thereon, went
to the house of Bernier, and entering his
study, found the abb de la Croix there,
criticising his piece, while the musician
himself was in another room, conversing and
singing with a company of his friends. The
duke broke in upon, and interrupted their
mirth, with reprimanding Bernier for his
inattention to the task assigned him. This
musician died at Paris in 1734. His five
book of cantatas, and songs for one and two
voices, the words of which were written by
Rousseau and Fuselier, have procured him
great reputation. There are, besides, of his
composition, " Les Nuits de Sceaux," and
many motets, which are still in great
esteem. Bernier was a pupil of Caldara,
and is regarded by Mons. de la Borde
as one of the greatest contrapuntists and
fughists that ever existed. He died in
1734.
BERRETARI (AURELIO, called also
FIESOLI) published a mass and psalms at
Venice in 1656.
BERRETTA published several quartets
in London about the year 1780.
BERSELLI, a celebrated Italian singer
in the middle of the last century.
BERTALI, (ANTONIO) chapel-master at
Vienna, was born at Verona in 1605. He
composed much vocal and instrumental
music.
VOL. I.

BER
BERTANI, (LELIO) born at Brescia in
1520, was chapel-master there, and afterwards at Vienna. He was a voluminous
composer of madrigals.
BERTAUT, (MADAME) a French singer,
formerly a pupil of the Paris conservatory.
BERTEZEN, (SALVADOU) an Italian
composer, published a work entitled " The
Principles of Music," at Rome, in 1780.
BERTHAUD or BERTAUD, a violoncellist.and scholar of Duport, at Hamburgh,
in 1796.
BERTHEAUME, about 1790, first violin
at the comic opera at Paris, has published,
since 1780, eight instrumental works. Bertheaume was conductor at the concertspiriluel, in 1783. Some of his pupils,
Grasset, for instance, have arrived at much
celebrity on the violin.
BERTHOLDO, (SPER' IN D I O ) a com-

poser of madrigals at Venice in 1561 and

1562.
BERTIN, a composer of operas in France
between the years 1706 and 1720.
BERTIN, a composer of instrumental
music in London since the year 1793.
BERTINI, (SALVATOEE) born in the
year 1721 at Palermo, received his musical
education at the conservatory of La Pietd,
under the celebrated Leo. He was a skilful composer. His first works were for the
theatre ; he then composed church music,
and was successful in both styles, hismelodies being sweet and simple in his dramatic pieces, whilst in those for the church
they were sublime and pathetic. He died
at Palermo in 1794.
BERTINI, (BENOIT AUGUSTE) born at

Lyons in 1780. He was a pupil of d e menti on the piano, and published some
sonatas in London. Since his return ta>
Paris, in 1806, he has also published some
instrumental music.
BERTINI, (H. J.) a composer of pianoforte music, lately resident in London. (See
ChappelPs Cat.)
BERTINOTTI, (SIGN.) a French singer
in Leghorn, in 1802, and wife to Signor Radicati the composer. She sang in London,
in the year 1811, in the opera of "Phedra,"
a
81

BER
composed by her husband. She was a correct and pathetic singer, and quitted this
country for Lisbon in 1812, where she was
engaged as prima donna.
BERTOJA, two brothers, both eminent
violoncellists at Venice in the year 1800.
BERTOLA, (Giov. ANTONIO) a composer of sacred music in Italy at the
beginning of the seventeenth century.
BERTOLDI, an Italian composer of
madrigals in the seventeenth century.
BERTOLDI, (SIGNORA) a good female
singer in Handel's operas, in London, in
the year 1729.
BERTOLOTTI, a celebrated Italian
singer in the latter half of the last century.
BERTON, (PIERRE MONTAN) a cele-

brated French musician, was taught music

from four years of age, and at six years old was
able to read common vocal compositions at
sight; at twelve he sang in the cathedral of
Senlis, and occasionally played the organ. In
the year 1744, he made his dibut as a singer,
at the opera at Paris, which situation, however, from the failure of some notes in his
voice, he did not long hold; but obtained,
about two years afterwards, the place of
chef-d! orchestre at the grand opera. Here
his talents became so conspicuous, that he
obtained successively the offices of chambermusician to the king and director of the
opera. P . M. Berton composed or made
considerable alterations in nine or ten
operas. It was during his direction that
Gluck and Piccini came to Paris, when the
great revolution in French music was effected. Gluck had such confidence in the
talents of Berton, that he requested him to
revise and alter the denouement of his
" Iphige'iiie en Aulide," which is still performed as Berton arranged it. Berton did
all in his power to appease the parties of the
Gluckists and Piccinists, by reconciling the
chiefs. He died at Paris in 1780.
BERTON, ( H E N R I MONTAN) son of the

preceding, was born at Paris in 1767. He

was taught music from six years of age, and
entered the opera band, as a violinist, at
thirteen. The teste of young Berton was
formed on the models constantly presented
82

BER
to him in the performance of the dramatic
compositions of Gluck, Piccini, and Sacchini. He soon became anxious to compose
an opera, although one of his masters in
composition had given it as his opinion, that
he would never succeed as a dramatic composer. Having obtained the words of a
comic opera, "La Dame Invisible," he
composed the music, and expressing great
fear that it would not succeed, a female
friend showed the manuscript to Sa echini,
who not only decided in his favour, but
desired to see the author, and from that
time had so tender a regard for him, that he
called him his son, and was his friend and
guide, till Sacchini'sdeath, in 1786. H. M.
Berton has composed several oratorios for
the spiritual concerts, and near thirty operas,
the most admired of which at the present
time are, " Montano et Stephanie," "Aline,"
and "Francoise de Foi.v." He has also
published several cantatas, and a great
variety of romances. On the establishment
of the conservatory of music, Berton was
named professor of harmony. He has also
written several didactic works of great celebrity, of which the following are the titles:
" Arbre Gendalogique des Accords," " Mithodesur VHarmonie," and a "Dictionnaire
sur les Accords."
BERTON, (FRANCOIS) son of the pre-

ceding, was born at Paris in 1784. He is

a good pianist, and has composed several
romances, &c.
BEUTONI, a celebrated blind organist
and composer at Padua. He was livingin
the year 1800.
BERTONI, (FEBDINANDO)
chapelmaster at the conservatory of iheMendicanti,
at Venice, was born in 1727. He was pupil
of Padre Martini. In the year 1776, he
obtained great renown by his composition of
the opera of " Orfeo," which was received
with enthusiasm at the theatre in Venice.
In 1779, Bertoni accompanied Pacchierotti
to England; however, Sacchini was than in
too high favour in London for Bertoni to
have much success. Few masters knew
better than him the mechanical parts of
their business : his melody was flowing and

BER

BES

graceful, though not often new, his parts tion; at the same time he prosecuted his
were clear and -well arranged, and his studies in composition and on the pianocounterpoint perfectly correct; still there forte. Several of his instrumental works
was sometimes a pacific smoothness in his have been published in Germany since the
music that bordered upon languor. Upon year 1798.
the death of Galuppi, in 1785, Bertoni
BESARDUS, (JEAN BAPTISTE) a perwas appointed chapel-master to St. Mark's former on the lute, and composer for his
church and the state of Venice, the most instrument, at the commencement of the
honourable and lucrative employment to seventeenth century.
which a musical composer can aspire iri
BESCHORT or BAUSCHET, a singer
Italy. Bertoni was the master of the cele- and composer of songs at Berlin and Hambrated singer Tenducci.
He composed burgh about the year 1796.
thirty operas, the words of most of which
BESLER, (SAMUEL) a composer of
were written by Metastasio, Apostolo Zeno, church music, published atBreslau in 1611.
and other eminent Italian poets.
BESNECKER, (J. A.) a celebrated orBERTRAM, (BALTHASAR CHRISTIAN ganist and church composer at Prague in
FRIEDRICH) chamber-musician to the ting the beginning of the seventeenth century,
BESON. See BESSON.
of Prussia, and a pupil of Graun, died in
1787.
BESOZZI, (JOSEPH) a musician at Parma
BERTRAND, (ANTONY) born in Au- in the latter part of the seventeenth century.
BESOZZI, (JEROME) born at Parma in
vergne, set to music the songs of Ronsard,
the favourite bard of France, during the 1712, was bassoon player to the court of
reigns of Henry II., Francis TL, Charles IX., Sardinia from the year 1730. He went
and Henry III, He published them in four with his brother Alexander to Paris for a
parts, in 1578, under the title of "Amours short time, where they were heard with
the greatest applause. The two brothers
lie Ronsard."
BERTRAND, ( M I L E . ) an eminent fe- subsequently lived together at Turin, till
male performer on the harp at Paris. She their death.
BESOZZI, (ANTOINE) brother of the two
was pupil of Nadermann.
BERTUCH (CARL VOLKMAR) was born preceding, was, in 1755, a performer on the
at Erfurt about the year 1730. He was hautboy at the chapel at Dresden. He
organist of St. Peter's church, at Berlin, and died at Turin in 1781. He performed, at
Considered to be a fine player of Sebastian different times, at the principal courts of
Europe.
Bach's music.
BESOZZI, (GAETAN) brother of the three
BERTUCH or BERTOUCH (GEORG
VON) was born in 1668. He was a Danish preceding, was born at Parma in 1727, and
general officer, and composed several can- first entered the service of the court of
Naples as performer on the hautboy, and
tatas and other music.
BERTUS, (CAR.) chapel-master at Flo- subsequently held the same situation at the
rence, published some church music in 1593. court of France. His playing was much
BERTUZZI, (PIETEO) a violinist in admired in London about the year 1793.
BESOZZI, (CHARLES) son of Antoine
Italy about the year 1791. He has pubBesozzi, was born at Dresden. He was
lished some music for his instrument.
B E R W A L D (JOIIANN FKIE'DEICH) was also a performer on the hautboy.
BESSEGHI, (ANGELO MICHELE) an
born at Stockholm in 1788. When between
four and five years of age, he played at a instrumental composer at Bologna about
public concert on a small violin. After that the beginning of the eighteenth century.
time he visited, with his father, various courts Some of his works were printed at Amsterof Europe, whence he received medals dam.
and many other marks of royal1 apwbbaBESSEI/(A.M. S.E* VON) published some
6 2
83

B E U

B E V

instrumental music in Germany, between

the years 1790 and 1793.
BESSER, (T. G.) an organist at Halberstadt, and composer, between the years
1779 and 1784.
BESSON orBESON, a French composer,
published some sonatas at Paris in 1729.
BETHISY, a French composer, published,
in 1752, a treatise entitled " An Explanation of the Theory and Practice of Music,
according to the new Discoveries." The
author has availed himself of Rameau's
principles. It is a work of little merit.

BEURHUSIUS, (FRIEDERICUS) a writer

on music in the latter half of the sixteenth
century.

BETHOVEN.

See BEETHOVEN.

BETTELI, a composer of violin quartets

at Vienna in 1799.
BETTINELLI (SAVERIO) was born in
1718. He was a Jesuit at Mantua, and
published, in 1775, a work, part of which
relates to music.
BETTS (ARTHUR) was born in Lincolnshire. At the age of nine years, his brother
John Betts, the celebrated violin maker of
the Royal Exchange, London, (to whose
business he has lately succeeded) took the
charge of his education. He received instructions of Hindmarsh and Viotti on the violin,
and of Eley, Dussek, and Steibelt, in the
theory of music; he also derived great benefit from the friendly lessons of Russell, and
from his long practice and experience, may
be ranked among the most eminent teachers
of the present day. The best compositions
of A. Betts are as follows: " Three Sonatas
for Piano-forte and Violin;" "A Duet for
two Performers on the Piano-forte:" "Set
of Duets for Violin and Violoncello ;"
" Set of Duets (easy) forViolin andTenor;"
"A Sonata for Piano-forte, {Violin Obligato) and Violoncello (ad lib.);" "A Divertimento for Piano-forte and Violin;"
"Andante for Violin Obligato, with second
Violin Alto and Bass." He has also composed some songs and arranged pieces,
amongst which is the much admired " Overture to the Men of Prometheus," by Beethoven, arranged as a quintet for two violins,
alto, flute, and violoncello.
BEUF (JEAN LE) published at Paris, in
1739> a treatise on church music.
84

BEUTHNER,

(JOHAHN

HEINHICH)

director of the music at Riga, was born at

Hamburgh in 1693. He published a cantata
at Riga in 1717.
BEUTLER,

(JOHANN

GEOEG

BERN-

HARD) director of the musical academy at

Berlin, and composer of piano-forte music.
He is both an excellent pianist and
violinist.
BEVERINI, (FRANCESCO) one of the

oldest, and probably the first, dramatic

composers, lived at Rome about the year
1480.
BEVIN, (ELWAY) a musician eminently
skilled in the knowledge of practical composition, flourished towards the end of
queen Elizabeth's reign.
He was of
Welsh extraction, and had been educated
under Tallis, upon whose recommendation
it was, that, in 1589, he was sworn in gentleman extraordinary of the chapel; from
whence he was expelled in 1637, it being
discovered that he adhered to the Romish,
communion. He was also organist of Bristol
cathedral, but forfeited that employment at
the same time with his place in the chapel.
Child (afterwards Dr.) was his scholar.
He has composed sundry services, and a few
anthems. Before Bevin's time, the precepts
for the composition of canons were known to
few. Tallis, Bird, Waterhouse, and Farmer
were eminently skilled in this most abstruse
part of musical practice. Every canon, as
given to the public, was a kind of enigma.
Compositions of this description were sometimes exhibited in the form of a cross, sometimes in that of a circle ; there is now one
extant, resembling a horizontal sundial: and
the resolution (as it was called) of a canon,
which was the resolving it into its elements,
and reducing it into score, was deemed a
work of almost as great difficulty as the
original composition. But Bevin, with a
view to the improvement of students, generously communicated the result of many
years' study and experience, in a treatise
which is highly commended by all who have

B I A
taken occasion to speak of it. This book
was published in 1631, (4to.) and dedicated
to Goodman, bishop of Gloucester, with the
following title: " A briefe and short Instruction of the Art of Musicke, to teach
how to make discant of all proportions that
are in use; very necessary for all such as
are desirous to attain to knowledge in the
Art; and may, by practice, if they sing,
soon be able to compose three, four, and jive
Parts, and also to compose all sort of
Canons that are usuall by these directions,
of two or three Parts in one upon the plain
Song." The rules contained in this book
for composition in general, are very brief;
but for the composition of canons there are
in it a variety of examples of almost all the
possible forms in which they are capable of
being constructed, even to the extent of sixty
parts.
BEYEN, a composer of some instrumental
music at Spire in 1793.
BEYER, a German, invented at Paris a
new kind of piano-forte, with glass instead
of strings. Franklin called it the Glass
Chord. I t was publicly exhibited at Paris
in 1785, and has since been used in
dramatic music on some particular
occasions.
BEYER, (JOHANN SAMUEL) director of

music at Freyberg, published several vocal

works between the years 1703 and 1730.
B E Y E R , (MLLE.)

BEZOZZI.

See BAYEH.

See BESOZZI.

BIAGINO, a singer at Rome about the

year 1792.
BIAGIO: his real name was Campagnari.
He was a secular ecclesiastic at Cremona.
In 1758, he went to Prague, and obtained
the situation of master of the choir there.
He died in 1771.
BIAGIOLI, (SIGNOEA) a professor of the
piano at the royal academy of music in
London. She was < appointed by Mr. John
Cramer, of whom we understand she was a
pupil. She was engaged as a double at the
Opera-house, for the season of 1824.
BIANCA, (SACHETTI) a good female
contralto singer in the conservatory at
Venice in 1791.

B I A
BIANCARDI, (VINCENZO) an opera
composer at Florence in 1790.
BIANCHETTA, a celebrated female
singer, in one of the conservatories at
Venice, in 1800. Haydn is said to have
written his Ariadne for her.
BIANCHI, (PIETRO ANTONIO) a cele-

brated composer at Venice, between the

years 1571 and 1609.
BIANCHI,

(GIULIO CESAKE)

a com-

poser of motets at Venice in 1620.

BIANCHI, (Giov. ANTONIO) a writer
on subjects connected with music, died at
Rome in 1758.
BIANCHI, (GIOVANNI) an instrumental
composer at Milan, about the year 1710.
BIANCHI, (ANTONIO) a singer and
composer, was born at"Milan in 1758, and
sang at various courts of Europe, until the
year 1793, when he came to Berlin, and
composed several Italian intermezzi. He
quitted Berlin in the year 1797, and
subsequently visited various of the great
towns in Germany. His compositions are
all vocal, and for the most part dramatic.
Among his operas are, " La Reduction de
Paris," performed at Paris. " Le Mart
marie"?' also at Paris. " Castore e Polluce,"
at Florence. " Caio Mario," "Demofoonte,"
" Arbace," " Piramo e Tisbe" " Scipione
Africano," " Artaserse," " Pizarro," and
" IlRitratto," all for Naples.
BIANCHI (FRANCESCO) was born at
Cremona. He composed either fifty-seven
or fifty-eight entire operas, besides a considerable quantity of church and other
music. He wrote a great deal for Pacchierotti and Marchesi, and some of his operas
remain in public estimation, and were performed both in Italy and in England, at
least as often as those of any other master.
He composed his " Disertor Franchese" at
Venice in 1785, which obtained its celebrity
in the following manner: Pacchierotti performed the part of the deserter, and in the
proper costume of a French soldier. The
dress of common life had never before been
seen upon the opera stage, and so shocked
was the classical taste of the Venetians at
this innovation, that they actually refused
B5

B IA

BIB

As a learned contrapuntist Bianchi

the piece a fair hearing. I t happened,'
however, that some royal personage, passing ranked high, and a great work of his on the
through Venice, expressed a strong desire theory of music remained unpublished at
to see this opera, and in deference to him, his death in the hands of his widow, now
the music suffered no interruption: their Mrs. Lacy. This manuscript had been sent
rapture was equal to their first unwarrant- by Mr. Bianchi to France during the peaoe
able disgust, and the poor discarded of 1802, and was submitted to the inspecDisertor became a reigning favourite. tion of Lacepede, Guingene', and Prosny, at
Bianchi wrote the first opera, both for our the especial desire ef the minister of the
Storace and our Billington, " Castore e interior. When the war was renewed
Polluce" for the former, and " Inez di between France and England, the manuCastro" for the latter. His forte lay in fine script was returned to Mr. Bianchi, who
expression. Though his " Merope" (the was then living in England. The entire
best of his works) displays how thoroughly work has been lately intrusted, by Mrs.
he understood the use of instruments., his Lacy, to the care of the editor of the
accompaniments were rather natural and Quarterly Musical Review, with permission
easy than recherche". He went hand in to publish extracts. A series of these will
hand with the style of his contemporaries, be found in the above wqrk, commencing at
Paesiello, Cimarosa, &c. preferring sim- vol. ii. p. 22. See LACY.
plicity to the more complicated effects
BIANCHI, (ELIODORO) an Italian tenor
introduced by the Germans. His " Semi- singer, engaged at the opera in London in
ramide" is remarkable as having been 1820, a modern critic says, had a heavier
chosen by Banti for her deT>ut in this voice than generally belongs to singers of
country, when it had an extraordinary run. his class, and there was nothing in his style to
The fame of his success induced the mana- compensate for his lack-lustre tones. His
gers to send for him to England, where he science and execution, were the natural
remained till the end of his life. Bianchi was organ finer, would have carried him to greater
preyiously engaged by the court of Vienna, elevation, but as he was, he never rescued
but his residence in the service of the his auditor from neutral indifference.
emperor was prevented by the death of
BIANCHI (J. M. C.) was a celebrated
that great personage. It is said that the em- performer on the violin. As a musician,
peror having desired his presence at some both practical and theoretical, he has1 not
town in Italy, after conversing with him for often been excelled; and in other respects
near two hours with great familiarity, at he was an highly accomplished scholar.
length questioned him as to bis willingness His manuscripts consist of Italian operas,
to settle at Vienna. Bianchi assented, and English canzonets, violin concertos, &c.;
an engagement was formally made out by and it has been said, that the late Mr.
the Austrian minister at Venice. He had Moorehead was about to print and edit
just read the paper of his appointment, when them. This excellent musician died at
news of the death of the emperor was Neuilly, 'near Paris, of a deep decline, in
brought him, and his good fortune died with 1802, aged only twenty-seven years.
the prince. We may relate an anecdote
BIANCIARDI, (FHANCESCO) an Italian
which is, perhaps, the strongest proof of this
composer of madrigals about the year 1590.
composer's talents. While Haydn was in
BIANCOLINI, an Italian composer of
England, he assured Bianchi that, whenever
some instrumental music about the year
the accidents of life disturbed his temper,
1590.
he kept one leaf of Bianchi's works turned
BIBER, (HENRY JOHN FRANCIS) vice
down for reference; to this he always rechapel-master
to the bishop of Saltzburg,
sorted, and it never failed to restore his
published in 1681 a set of solos for a violin
serenity.
and bass. He seems to have been amongst
86

BIF

BIL

the first violin players of his time; and his

solos are the most difficult and fanciful,
says Dr. Burney, of any music of the same
period. One of the pieces is written on
three staves, as a score for two violins and
bass, but meant to be played in double
stops. Others are played in different turnings of fourths and fifths, as for a treble
viol. A second work by this musician,
entitled "Fedicinum Sacro Prophanum"
consists of twelve sonatas, in four and five
parts, to be played on three instruments;
and a third, "Harmonia artificiosa ariosa,"
published at Nuremburg, consists of pieces
of seven parts, to be played on three instruments.

BIFFI, (GUISEPPE) a composer at

Milan in the sixteenth century. Many
madrigals of his composition were published
between the years 1582 and 1600.
BIFFI, (Don ANTONIO) a Venetian
chapel-master to the conservatory of the
Mendicanti, composed some oratorios, &c.
in 1704.
BIGAGLIA, (Don DIOGENIO) a Venetian Benedictine, composed some cantatas
and other music about the year 1720.
BIGATTI, (CARLO) one of the best
pupils of Padre Mattei, and also of Zingarelli, was born at Milan in 1778. He has
published nearly twenty-five works of
masses, motets, and airs, with variations.
He is said to show in his works a profound
knowledge of harmony.
BIGGS, a celebrated English composer
of songs and canzonets, has been in the
profession above thirty years. He was a
particular friend of Mrs. Opie, and set much
of her poetry to music. Among his publications are a collection of Hindoo airs,
and a collection of Welsh airs, the words
of both by Mrs. Opie. Biggs ranked very
high in this country as a teacher. He now
resides abroad.
BIGOT, professor of music at Leeds, is
an excellent violinist. He performed at
the York musical festival in 1823.
BIHLER, (FRANZ) chapel-master at
Augsburg. He has published much vocal
and instrumental music between the years
1792 and 1803.
BIHLER, (GREGORIUS) a composer at
Donawert, in Germany; some of his music
was printed at the Hague in the year
1796.
BILLARD, (J. P.) a performer on the
guitar, and composer for his instrument, at
Paris, in 1786.
BILLINGTON, (ELIZABETH.)
This
celebrated singer, musician, and piano-forte
player was a daughter of Weichsell, a
native, we believe, of Freyberg, in Saxony.
She was born in England about the year
1770. Her mother, who was a singer of
some eminence, died while her offspring,
Mr. C. Weichsell, the celebrated violinist.and
87

BIBOCOFF published some sonatas at

Vienna in 1799.
BICHI LOLI (L.) published some instrumental music at Vienna in 1799.
BIDAUX.

See BIDEAU.

BIDEAU (DOMINIQUE) published an

esteemed method for the violoncello, and
some other instrumental works, since the
year 1796.
BIEGO, (PAOLO) a Venetian dramatic
composer between the years 1680 and
1690.
BIELBY, an English organist: he is the
author of " Six easy Voluntaries," published
by Clementi.
BIEREY,

(GOTTLOB

BENEDICTUS)

chapel-master and chef-d'orchestre at the

theatre at Breslau, was born at Dresden in
1772.
He has composed near twenty
operettas, and much other instrumental and
vocal music. He is a man of judgment,
cultivated taste, and science.
BIFARI, (NICOLAS) of the Neapolitan
school of musicians, was born at Naples in
1749. The characteristics of his style of
composition are facility and good taste.
After leaving a favourable impression of
his talents in Italy he went to Paris, where
he was appointed a chapel-master. He
then published a work entitled " TraitS de
Musiqne abrigi" in which the arts of singing, accompaniment on the piano-forte,
composition, and fugue are well taught, in
language remarkable for its perspicuity.

B I L
Mrs. Billington were young. These children
were trained to music at the earliestpossible
age, and even performed on the piano-forte
and violin for the benefit of Mrs. Weichsell,
at the Haymarket theatre, at six years old, a
time of life when they might have been well
thought incapable of any acquirements deserving public notice. Her first master was
Schroeter, an excellent teacher of the pianoforte, and her father superintended her
musical education with a degree of severity
that could scarcely be justified even by the
proficiency of the pupil. Few persons have
attained the perfection that Miss Weichsell
reached upon this instrument. At fourteen
she came before the public as a singer at
Oxford, and at sixteen married Mr. Billington, then a performer on the double bass,
who carried her immediately to Dublin,
where she commenced her theatrical career
in the opera of " Orpheus and Eurydice."
Here, perhaps, for the only period of her
life, she was doomed to suffer mortification,
in the greater applause and respect obtained
by Miss Wheeler, a singer much inferior to
herself, and such was the effect on the
ardent mind of Mrs. Billington, that it had
nearly been the occasion of her leaving the
stage in disgust. The reputation of Miss
Wheeler procured her an engagement at
Covent-garden theatre for three years.
Mrs. Billington followed her to London, and
no sooner had she arrived, than Mr. Harris,
the proprietor, and Mr. Lewis, the manager, waited upon her with a proposal to
play three nights. So short a trial she
positively refused, expressing her desire to
substitute twelve nights, under the apprehension that her too anxious solicitude to
please her countrymen might defeat her first
efforts. Such, indeed, was her distrust, that
she considered this as a final experiment,
and she had determined, in the event of any
failure either in the ease of self-possession
or of deficiency of powers and attainments, to
quit the profession of an actress at once.
They proceeded to discuss the terms of her
engagement, and she desired a salary of
twelve pounds per week ; to which the
managers objected, as being the highest mm

B I L
then given, and as the remuneration assigned to Miss Wheeler, whose reputation
was so high and established. The comparison was unfortunate, it irritated Mrs.
Billington, and she instantly declined to
enter into any permanent contract. She
consented, however, to appear for the
twelve nights, and was advertised for the
part of Rosetta, in Arne's opera of " Love in
a Villager
She was announced for the
Wednesday night, but the name of Mrs.
Billington, late Miss Weichsell, having
caught the attention of the king, his majesty
commanded her appearance to take place
two days sooner; a circumstance highly
flattering, as it was a solitary instance, and
contrary to the custom generally observed
by the sovereign.
It will readily be conceived, that Mrs.
Billington, whose habits of study and practice had been fixed by the severest exercise
of parental authority, omitted no preparatory exertion to ensure her success with the
public under such auspices. Indeed, she
laboured night and day, and nothing could
be more complete than her triumph over
the esteem of her audience and the rivalry
of her former favoured competitor. Miss
Wheeler was laid on the shelf, as the
theatrical phrase goes, and at the expiration
of the twelve nights, the managers again
waited on Mrs. Billington to renew her
engagement on a permanent footing. They
questioned her cautiously respecting her
expectations, and she, rather in jest than in
earnest, demanded one thousand pounds
and a benefit for the remainder of the
season, with which, to her utter astonishment, they immediately complied, and they
afterwards voluntarily gave her a second
night, in return for the extraordinary emolument they had derived from the exercise
of her talents. During this season, although
her theatrical duties were unremitted, she
never relaxed from the most sedulous general pursuit of the knowledge and practice of
her art. She laboured incessantly, and
received lessons of Mortellari, an Italian
master of celebrity, at that time in England.
The theatre hart no sooner closed, than she

B I L
availed herself of the interval to fly to
Paris, where she enjoyed the instructions
of the great Sacchini the composer. Thus
she continued from the first to fortify and
enrich her natural gifts with the strength
and ornaments of high science, an example
to be followed by every student who
aspires to the character of a polished and
expressive singer.
At this time, Madame Mara arrived in
England, unequalled in the eminence she
had attained. In 1785, the subject of our
memoir made her dibut at the concert of
ancient music. Mara herself is said not to
have beheld her reception quite unmoved,
and some disputes even arose respecting
place and preeminence in the seats of the
orchestra, a species of contention very unworthy the transcendent abilities of these
gifted individuals. Mrs. Billington's fame
continued to spread, while her neverceasing ardour and assiduity were day by
day enlarging her stock of knowledge,
acquirement, and facility. She was a constant performer at the concerts of the
metropolis, and she sung at the memorable
Westminster-abbey performances. She remained at Covent-garden until 1793, when
she adopted a resolution to retire from
public life, which she vainly imagined she
had firmness enough to adhere to. At the
instigation of her husband and her brother,
she was induced to make a continental
tour, with a view solely to amusement, and
to this intent she declined all letters of
introduction, intending to travel incognito.
Tor some time they succeeded, and passed
along without notice; but at Naples, the
English ambassador, Sir W. Hamilton,
penetrated their secret, and persuaded Mrs.
Billington and Mr. Weichsell to perform
in private before the king and queen, at
Caserto, a country residence. The gratification they received induced their majesties
to request Mrs. Billington to perform at the
great theatre of St. Carlo, then thought to
be the finest opera established in the world.
She accordingly, in May, 1794, made her
debut in "Inez di Castro," which was
composed expressly for her by the maestro,

B I L
Francesco Bianchi, who wrote an opera
worthy the supereminent ability of this
prima donna. Her success was complete,
for indeed her celebrity made her name
known in Italy, and previous to her quitting
England the Venetian ambassador had been
in treaty with her to accept an engagement, which however she broke.
Her performance at Naples was interrupted by a sudden and affecting event.
On the second night, as Mr. Billington was
seeking his hat to accompany his wife to the
theatre, he fell down in a fit of apoplexy,
and died in the arms of Bianchi, at the
residence of the bishop of Winchester.
Nor was this the only circumstance that
impeded her progress. About this time, an
eruption of Mount Vesuvius took place, and
the superstitious bigotry of the Neapolitans
attributed the visitation to the permission
granted to a heretic to perform at St.
Carlo. Serious apprehensions were entertained by Mrs. Billington's friends for the
consequences of such an impression. Her
talents, however, triumphed, she renewed
her performance, and no prima donna was
ever more rapturously received in that
country, where the opera is best cultivated
and understood.
Paesiello, Paer, and
Himmel, successively wrote for her after
Bianchi.
In 1796 she went to Venice, where,
after the first performance, she was taken
so ill that she could sing no more during
the season; and it is among the records
honourable to human nature, that the
manager generously brought her the whole
of her salary, which she compensated by
playing the succeeding season without any
other reward than the pleasure of reciprocating the liberality of her employer.
Conceiving that the air of Venice did not
agree with her, she quitted the place. On
her journey from Venice to Rome, she was
earnestly requested to give a concert at
Rome, which she at first declined; but a
society of Cavalieri undertook the whole of
the arrangement, and she and Mr. Weichsell
performed to a very crowded audience.
Between this period and the year 1798, she
89

BI L
visited all the principal theatres in Italy,
and in this year married Mr. Felissent, and
appeared only twice subsequently at Milan.
In 1801, still retaining the name of Billington, she returned to her native country.
No sooner was her arrival known, than all
the conductors of the public amusements
were alike eager to engage her. The
managers of Covent-garden and Drurylane theatres evinced equal anxiety to
secure her talents, and the disposal of hei
services were at length referred to arbitrators, who awarded that she should appear
at the two theatres alternately. Mandane,
in Arne's "Artaxerxes," was the character
selected for her debut, and the audience
were struck with rapture and astonishment
at her amazing powers, which were then in
their full meridian. On this occasion she
introduced a song from Bianchi's j " Inez di
Castro," to the English words, "Lost in
anxious doubts;" which, being composed
expressly for her, exhibited at one view
her prodigious qualities, heightened by the
delightful execution of her brother's obligato
violin accompaniment. Perhaps no other
singer could have sung this song; very certain it is, no one has ever attempted it.
Engagements now multiplied upon her.
She sung at the Italian opera in 1803, at the
king's concert, at the Hanover-square Vocal
concerts, and at a round of provincial meetings, from this time till 1809, when she
finally retired. Two remarkable circumstances attended her during this period of
her public life. On her reappearance at
the opera, Banti, then in the zenith of her
excellence, played the character of Polifonte
to Mrs. Billington's Merope, in Nasonini's
opera of that name. Never was the house
so crowded as on this occasion: the stage
was so covered with ladies and gentlemen,
that the performers had scarcely room to
move. The second occurrence was her
performance with Mara on the 3d of
June, 1802, the last night of that most
distinguished singer's appearing in this
country. They sung a duet together, composed to display their mutual accomplishments, and the contest excited both to the
90

BIN
utmost pitch of scientific expression. Never,
certainly, was such a transcendent exercise of ability ! At length Mrs, Billington, having gained a competency, and feeling her health very sensibly affected by her
efforts in the service of the public, she resolved to retire from exertions, which, with
a mind so keenly alive to the approbation
of her auditors, and so devoted to the
strictest execution of her professional duties,
could not have failed to have shortened her
prospects of repose, and even of existence.
No entreaties were spared on the part of
the noble directors of the ancient music,
and of every public theatre or concert at
which she had assisted; but her resolution
was finally taken, and in 1809 she retired
from all public performances, and was never
afterwards induced to forego it except on
one occasion, when she sung for the benefit
of a charity at Whitehall, in the presence
of the queen, the prince regent, and other
branches of the royal family. Mrs. Billington finally quitted England with her husband in 1817, and died, after an illness of a
very few days, at her estate of St. Artien,
near Venice.
BILLINGTON, (THOMAS) husband of
the preceding, and whose sudden death at
Naples has been before mentioned, was a
musician of talent and composed some
pleasing vocal pieces, among which were
" Gray's Elegy," "Maria's Evening Service," " Eloisa to Abelard," " Pope's
Elegy," "Prior's Garland," " Children in
the Wood," and part of " Young's Night
Thoughts," all set for one or more voices.
(Clementi's Cat.)
BILS, (FRANZ) an organist in Germany,
and voluminous composer, towards the end
of the last century.
BINCHOIS, a celebrated French composer between the years 1400 and 1460.
He is cited by Gafforio, as being, together
with Dunstable, Caron, Regis, Dufay, and
Brasart, one of those musicians, who, at
the commencement of the fifteenth century,
gave a great impulse to the art of counterpoint, and were, in fact, the precursors of
the masters of the Flemish school.

B I R

BIR

BINDER, (AUGUST SIEGMUND) organist

at Dresden, was born there in 1761. He

received his instructions in music of his
father, C. S. Binder, and has composed
several vocal and instrumental pieces.
B I N D E R , (JOHANN

GEOBGE) a

com-

poser of piano-forte music at Vienna in 1802,

BINDERNAGEL, (JOSEPH) a German
musician, living about the year 1800 in
Paris. He published some instrumental
music in the years 1799 and 1800.
BINETTO, (RAFAELE) an Italian bass
singer at the opera at Turin in 1822.
BINFIELD, an English bass singer. He
sang at the king's private concerts in the
year 1805. He is, we believe, the composer of a set of canzonets, and some other
vocal music. (Goulding's Cat. Part 2.) He
is also an excellent performer on the violoncello.
BINGHAM, a flute player and composer
for his instrument. He lived at Amsterdam
at the beginning of the last century.
BINGTON, (WALTER) an Englishman,
wrote, in the thirteenth century, a work entitled " De Speculations Musicee."
B I N I , (PASQUALINO) of Pesaro, was one
of the favourite pupils of Taitini. About the
year 1757, he was director of concerts to
the duke of Wurtemberg, at Stuttgard, at the
same time that Jomelli was chapel-master
to the duke.
.BIORKMAN, (HANS) a musician in
Sweden about the year 1770. He was a
bass singer, and wrote some instructions for
organists.
BION, a Greek philosopher, wrote a
work on music, which is now among the
manuscripts in the king's library at Vienna.
BIONI, (ANTONIO) a voluminous composer of opera music, and pupil of Giovanna
Porta, was born at Venice in 1700. He
went to Breslau, in Germany, where, and
at Vienna, he composed numerous operas
between the years 1724 and 1738.
BIRCH, (H.W., Esq.) was a friend of the
celebrated Dr. Croft. On the death of the
doctor, in 1727, Mr. Birch erected a monument for his friend at his own expense.
This gentleman was remarkable for the

singularity of his character. He was a matt

of abilities in his profession ; was one of the
counsel for Woolston, in the prosecution
against him for his blasphemous publications concerning the miracles of our blessed
Saviour, and made for him as good a defence
as so bad a cause would admit of. He was
possessed of a good estate, and was there,
fore at liberty to gratify his passion for
music, which was a very strange one, for he
preferred that style which had a tendency
to draw tears. Of all compositions he most
admired the funeral service by Purcell and
Croft, and would leave the circuit and ride
many miles to hear it. At the funeral of
queen Caroline, for the greater convenience
of hearing this music, he, with another
lawyer, who was afterwards a judge, walked
among the choirmen of the abbey, each
clad in a surplice, with a music paper in
one hand and a taper in the other, though
neither he nor his friend could sing a note.
BIRCHENSHA, (JOHN) an Irishman,
published a prospectus, in 1672, of a complete system of music, intended to be published by him under the title of " Syntagma
Musiccs." It is doubtful whether this work
ever appeared. He wrote, however, two
other small works on music, and translated
the " Elernentale Musician" of Alstedius.
BIRCKENSTO CK, (J. A.) chapel-master
at Eisenach, was born in 1687. He composed some instrumental music. He died
in 1733.
BIRD, (WILLIAM) the worthy and admirable scholar of Tallis, is supposed to
have been the son of Thomas Bird, one of
the gentlemen of Edward the Sixth's chapel,
in which he was himself a singing-boy. By
the great number of his ecclesiastical compositions to Latin words, and the several
portions of the Romish ritual which he so
frequently set to music, and published late
in life, he seems to have been long a zealous adherent to that religion. He must,
however, have conformed to the church
establishments of queen Elizabeth's reign,
for, in 1563, he was chosen organist of
Lincoln cathedral, where he continued till
1569; when, upon the accidental death of

91

BIS

B IR
Bobert Parsons, who was drowned atNewark-upon-Trent, he was appointed gentleman
of the chapel royal; notwithstanding which
office, he seemed to have composed the chief
part of his choral music to Latin words, and
to have published it in that language as late
as the middle of the reign of king James I.
Bird composed a vast quantity of vocal music,
chiefly sacred, between the years 1575 and
1611.
Dr. Tudway's collection, in the British Museum, contains a whole service in D minor, by
Bird, with responses, and the anthems, "Sing
joyfully unto God," " Oh Lord, turn thy
wrath," (all published in the second and
third volumes of Dr. Boyce's Cathedral
Music) " Oh Lord, make thy servant,"
"Save me, 0 God," "Prevent us, 0
Lord," and " Civitas sancti tui." One of his
eacrarum canlionum, or sacred songs, published in 1589, has been long sung in our
cathedrals to the English words, "Bow thine
ear, O Lord," and is one of the admirable
pieces of harmony in the second volume of
Boyce's printed collection.
Dr. Aldrich was a great admirer and collector of the works of Bird, and adapted
English words to most of his compositions,
which were originally set to parts of the
Romish service in Latin. He bequeathed to
Christchurch, Oxford, beautiful and correct copies of these productions.
His pieces for the organ and virginals are
almost innumerable. In a magnificent folio
manuscript, curiously bound in red morocco,
already mentioned, which is generally
known by the name of queen Elizabeth's
virginal book, there are nearly seventy of his
compositions.
It has been imagined that the rage for
variations, that is, multiplying notes, and
disguising the melody of au easy and generally well-known air, by every means that
a note-splitter sees possible, was the contagion of the present century; but it
appears from the virginal book, that this
species of influenza or corruption of air
was more excessive in the sixteenth century
than at any other period of musical history.
None of Bird's pieces for keyed-instruments
92

seeem to have been printed, except eight

movements in a thin folio book of lessons,
that were engraved on copper, and published in the reign of king James I., under the
following title, " Parthenia, or the Maidenhead of the first Musiche that ever was
printed for the Virginals, composed by three
famous Masters, William Byrd, Dr. John
Bull, and Orlando Gibons, Gentlemen of
his Majesties most illustrious Chapel." These
lessons, though not equally difficult with
some of those in the virginal books of queen
Elizabeth and lady Nevill, are rather more
dry and ungraceful.
The canon, " Non nobis Domine," appears
in none of his works published by himself
or collected by others before the year 1652,
when Hilton inserted and prefixed the name
of Bird to it, in a collection of catches,
rounds, and canons ; but as no claim was
laid to it, by or in favour of any other composer before or since that time, till about
the middle of the present century, when it
was given to Palestrina by Carlo Ricotti,
who published, in Holland, among his concertos, a fugue in eight parts, on the same
subject, there seems no doubt remaining
of our countryman Bird having been the
author of that pleasing and popular composition.
Bird died in 1623, surviving his master,
Tallis, thirty-eight years; and if we suppose him to have been twenty in the year
1563, when he was chosen organist of
Lincoln, he must have been eighty at his
decease.
BIRK, (ANTOINE) a composer of
symphonies at Vienna about the year
1760.
BIRK, (WENCESLAS-RAIMOND) a com-

poser of music for the harpsichord at Vienna

about the year 1760.
BIRKENSHA, (JOHN)
SHA.

See BIRCHEN-

BIRNBACH, (J. C.) a composer of

piano-forte music, resident in Berlin.
BIRON.

See BYRON.

BISACCIONI, an Italian composer, lived

about the middle of the seventeenth century.
He composed at Venice, in 1645, the opera

BIS
" Ercole Arnante," which was performed at
Paris in 1660, on the king's marriage.
BISCH, (JEAN) author of " Elements of
Music," published in 1802. This is probably the same Bisch, a German by birth, who
published some military music atParisinl794.
BISCHOFF (JEAN-GEORGES) was born
at Nuremburg in 1733. He was a skilful
performer on several instruments, and composer of some violin music.
BISCIOLA, (LELIO) a learned Jesuit,
wrote on the subject of music, at the beginning of the seventeenth century.
BISGARGUI. See VrscARour.
B I S H O P , ( J O H N ) a scholar of Rosingrave,
was organist of the cathedral at Winchester,
early in the last century. He published a
collection of airs for two flutes, and composed some church music. His " Hymnus
Malutinus" is even now elegant.
BISHOP (HENBY ROWLEY) was bora in

London, and early in life was placed under

the musical tuition of the celebrated Francesco Bianchi. In the year 1806, he
commenced the course of composition which
still distinguishes him, by a part of the
music of a ballet produced at the King's
theatre, under the title of " Tamerlan et Bajazet;" subsequently to which he wrote the
ballet called "N'arcisse et les Graces." After
the lapse of two seasons, he came forward
at Drury-lane theatre with " Caractacus,"
a grand ballet of action, in which his efforts
were again successful; but when, about
twelve months afterwards, he made his first
decided attempt as a dramatic composer, it
was thwarted by circumstances of peculiar gloom and misfortune. On the 23d
of February, 1809, an opera, called the
" Circassian Bride," was produced at Drurylane, with Bishop's music. On the following night Drury-lane theatre was burnt to
the ground, and the scores of the new opera
were entirely consumed in the flames. This
music had been received with enthusiasm
by those who are qualified to criticise it,
and there are specimens still occasionally
performed, such as the duet of " I'll
love thee," which amply communicate the
extent of the loss. But by a calamity even

BIS
of this extent, Bishop's tide of fortune was
not to be turned : the proprietors of Coventgarden theatre, seeing his merits and knowing how to employ them, formed an engagement with him for three years, to compose
and direct the music of that establishment.
He entered on this important office with the
season of 1810-11.
The first piece, in consequence of this
arrangement, upon which Bishop's talents
were employed,, was a musical drama in
three acts, by Norton, selected from Scott's
poem of the Lady of the Lake, with some unimportant variations, and produced as the
" Knight of Snowdown." In the music of
this piece Bishop displayed a degree of
talent seldom surpassed by British composers. Before the expiration of this engagement, the " Virgin of the Sun," the
"JEthiop" and the Renegade" were produced ; and the great musical picture of a
storm and earthquake, with which the first
of these pieces was enriched, will be long
and rapturously remembered. A fresh engagement, for five years, was now concluded; and when we say that Bishop
signalized it immediately by the "Miller
and his Men," no ampler proof can be
given of the indications with which it commenced. " For England hoi" a melodramatic trifle of superior pretensions, next
enabled him to maintain the impression his
prior works had just made ; and the annexed
record of his compositions will show the
magnitude of his labours during these five
years, and recall to the minds of many those
proofs of copious fancy, profound research,
and unerring judgment with which these
works are so intimately joined.
A new engagement of Bishop at Coventgarden theatre took place in 1818, and
being made, as before, for a term of five
years, of course expired with the last
season.
In 1819, Bishop became a joint proprietor of the oratorios with Mr. Harris,
and they were confided to his exclusive
direction: in 1820, a separation of interests occurred, and these splendid performances were conducted by Bishop
93

BIS

BIS

upon his own responsibility, and under his the royal academy of music, as a professor*
entire control. Arrangements had been of harmony.
made which invested him with the same
Bishop has been concerned in the producdegree of power for seven successive sea- tion of more than seventy theatrical pieces;
sons ; he profited, however, by a clause in the of this number, more than half are his own
contract to relinquish them at the end of unassisted compositions. He also supplied
the Jirst, and withdrew to the continuance the musicof three tragedies, the "Apostate,"
of those theatrical avocations they had too "Retribution," and " Mirandola;" and a
sensibly interrupted.
"Triumphal Ode," performed at the oratoA great public honour was paid to Bishop rios : he has published a multiplicity of single
in the autumn of 1820, when he visited songs, duets, glees, &c. of great merit. He
Dublin, and received the freedom of that arranged the first volume of the " Melodies
city by the cordial and unanimous suffrage of various Nations;" three volumes of the
"National Melodies" are also furnished
of those who presented it.
On the institution of the Philharmonic with his symphonies and accompaniments;
society, Bishop was appointed one of its and he has finally stipulated with Mr.
directors; he has also held the same office Power to superintend his future publicaseveral times since. He further belongs to tions of Irish and other classical airs.
List of Bishop's Dramatic Productions.
Tamerlan et Bajazet (composed and
selected)
Grand heroic ballet.. King's theatre
Narcisse et les Graces
Anacreontic ballet . . Ditto
June
Caractacus
Grand ballet of action Drury-lane . . . . Mar.
Love in a Tub
Ballet
Ditto
Nov.
The Mysterious Bride (composed and
selected)
Romantic d r a m a . . . . Ditto
June
The Circassian Bride
Opera
Ditto
Feb.
Mora's Love
Ballet
King's theatre . . June
The Vintagers
Musical r o m a n c e . . . . Haymarket . . . . Aug.
The Maniac
Opera
Lyceum
Mar.
Covent
-garden., Feb.
Knight of Snowdown
Ditto
"
Ditto
Jan.
Virgin of the Sun
Ditto
Ditto
The jEthiop
Ditto
Oct.
The Renegade
Ditto
Ditto
Dec.
Haroun Alraschid, (altered from the
^Ethiop)
Ditto
Ditto
Jan.
The Brazen Bust
Melo-drama
Ditto
May
Harry le Roy (composed and selected) Burletta
Ditto
July
The Miller and his Men
Melo-drama
Ditto
Oct.
Tor England ho ! (with the exception
of three airs)
Melo-dramatic opera Ditto
Dec.
The Fanner's Wife (with Davy, Reeve,
Ditto
&c.)
Opera
Feb.
. Ditto
The Wandering Boys
Melo-drama
Feb.
Sadak arid Kalasrade (first act of) . . Grand spectacle . . Ditto
April
The Grand Alliance (composed and
selected)
: . . . . Allegorical spectacle Ditto
June
Doctor Sangrado
Ballet
Ditto . . . . . . . . Sept.
The Forest of Bondy
Melo-drama
Ditto
Sept.
The Maid of the Mill, additional
music in
Opera , . ; .
Ditto
Oet.
John of Paris (composed a.nd selected
from the French of Boieldieu) . . . . Ditto
Ditto . . . . ^ . . . Nov.
Brother and Sister (with Mr. Reeve) Musical entertainment Ditto
Feb.
April
, Ditto
The Noble Outlaw
Opera

94'

1806
1806
1806
1806

1808
1809
1809
1809
1810
1811
1812
1812
1812
1813
1813
1813
1813
1813
1814
1814
1814

1814
1814
1814

1814
1815
1815

BIS

BIS

Telemachus, (composed and selected) Opera

Covent-garden.. June 1815
Magpie or the Maid
Melo-drama
Ditto
.-. Sept. 1815
John du Bart
Ditto
Ditto
, Oct. 1815
Cymon (overture and additional music in)
Musical entertainment Ditto
Nov. 1815
ComUS (additional music in)
Ditto
Ditto
1815
Midsummer Night's Dream (composed
and selected)
Opera
Ditto
Jan. 1816
Mar. 1816
Guy Mannering (with Whittaker, &c.) Ditto
Ditto
April 1816
Who wants a Wife
Melo-drama
Ditto
Royal Nuptials (selected and arranged)
Occasional interlude.. Ditto
Nov. 1816
The Slave
Opera
Ditto
Nov. 1816
Heir of Veroni (with W h i t t a k e r ) . . . . Operatic piece
Ditto
Feb. 1817
Humorous lieutenant
Opera
Ditto
Jan. 1817
The Libertine (adapted from Mozart) Operatic piece
Ditto
1817
Duke of Savoy
Opera
Ditto
Sept. 1817
Pather and his Children
Melo-drama
Ditto
Oct. 1817
Zuma (with Braham)
Opera
Ditto
Feb. 1818
Illustrious Traveller
Melo-drama
Ditto
Feb. 1818
December and May
Operatic piece
Ditto
May 1818
Barber of Seville (overture and additional music, and adapted from
Rossini)
Ditto
Ditto
Oct. 1818
The Marriage of Figaro (composed
and adapted from Mozart)
Ditto
Ditto
Mav. 1819
Fortunatus
Melo-dram. romance Ditto
April 1819
The Heart of Mid-Lothian (composed and selected)
Opera
Ditto
April 1819
A Rowland for an Oliver, music arranged of
Musical entertainment Ditto
1819
Swedish Patriotism
Melo-drama
Ditto
May 1819
The Gnome King
Operatic piece
Ditto
Oct. 1819
The Comedy of Errors
Opera
Ditto
Dec. 1819
TheAntiquary(composed and selected) Ditto
Ditto
Jan. 1820
Battle of Bothwell Brig (composed
1820
and selected)
Musical entertainment Ditto
Henri Quatre
:
Opera
Ditto
April 1820
1820
TwelfthNight
Ditto
Ditto
1821
Don John (part of the music)
Ditto
Ditto
Ditto
1821
Two Gentlemen of Verona
Ditto
*-._
, Ditto
"Feb. 1822
Montrose (composed and selected) . . Ditto
, Ditto
May 1822
The Law of Java
Ditto
, Ditto
Dec. 1822
Maid Marian
Ditto
. Ditto
May 1823
Clari
Ditto
Oct. 1823
The Beacon of Liberty
Musical romance.. , Ditto
, Ditto
Nov. 1823
Cortez
Opera
Feb. 1824
Native Land .
, Ditto
""'"
Ditto
EISSONI, a church composer at Lugo, in
Italy, in 1788.
BISSET, (CATHARINE.) The subject of
this memoir is the eldest daughter of the
late Robert Bisset, LL.D. the celebrated
author of the Life of Burke, and the Reign
of George III. At an early age, Miss
Bisset gave promise of those musical abilities for which she has since been so
highly distinguished. In consequence of

the death of her father, when she was quite

a child, she was advised by many friends to
study, as a profession, that art which she
had previously cultivated as an accomplishment ; and notwithstanding' the high rank
of several of her nearest relatives, at twelve
years of age she was giving lessons to assist in supporting her family. Shortly after,
she became acquainted with J. B. Cramer,
who, with the liberality of mind which so
95

BL A
peculiarly characterises that great man
instructed her without any emolument.
In 1811, Miss Bisset performed at the
New Musical Fund concert Cramer's difficult concerto in C minor, with the most
unbounded applause. Having played at
several other great concerts with the same
approbation, and established her fame as a
public performer, Miss Bisset has preferred
being heard at the nobility's private concerts until the season of 1823, when she was
prevailed on to play at Paris, where she was
enthusiastically received, and pronounced,
by several of the first professors in that city,
to be the only performer of the present
day in the true style of her inimitable
master.
BISSET, (Miss ELIZABETH)- pupil of
Mr. Dizi, is as celebrated on the harp, as
her sister on the piano-forte.
BISSON, (Lotris) a French composer in
the latter half of the sixteenth century. He
altered many four-part songs of Nicholas
Chemin into duets, without changing the
first part.
BITTHEUSER, (F. R.) a monk and
composer of music at Wurtzburg, in the
latter half of the last century.
BITTI, (MARTINI) a distinguished violinist and composer of instrumental music
at Florence, about the year 1714.
BITZENBERG, (MADAME) a celebrated
pianist, singer, and violinist at Vienna,
about the year 1796.

B L A
BLAGDON, an English composer of
songs. (Clementi's Cat.)
BLAGRAVE, (THOMAS) a gentleman
of the chapel of Charles II., and a performer
on the cornet there. A few songs of his are
printed in " Select Ayres and Dialogues,"
1669. His picture is in the music-school,
Oxford.
BLAHETHA,

(LEOPOI.DINA)

a Ger-

man child, now twelve years of age. She

played in public at Vienna, in 1823, piano
variations, with orchestral accompaniments,
composed by herself, and received great
applause.
BLAINVILLE, (CHABLES HENRY DE)

a violinist and music-master at Paris, published, in 1767, a " General History of

Music," of no great merit.
BLAISE, a performer on the bassoon at
Paris. He composed, in 1759, the charming comic opera "Jsabelle et Gertrude"
since reset, in 1808, by Pacini.
BLAKE, ( D R . ) an English musician..
He composed, about the year 1780, a
celebrated anthem, " / have set God always
before me." He also published at Preston's
some duets for the violin and tenor.
BLAKE (BENJAMIN) was born in 1751,
at Kingsland, in the parish of Hackney.
He was sent by his parents to Stamford, in
Lincolnshire, in 1760, to a relative, (a musician) where he went to school, and soon
began to learn the violin. He came to
London in 1768, and received instructions
BIUMI, (GIACOMO FILIPPO) an organist on that instrument for about two years,
and composer at Milan, died in 1652. He from Antonio Thammell, a Bohemian,
eminent in his day, also from the late
published motets and church music.
BIZARRO, a celebrated composer of celebrated William Cramer ; and by attendmadrigals, &c. at Rome, in the fir3t half of ing with his masters, to their friends, (who
were of the first rank) he soon gained
the seventeenth century.
BLACKE, (B.) a composer of instru- friends, even to royalty. He played the viomental music at Paris, about the year 1780. lin eighteen years in the Italian operaband;
BLACKWELL, (ISAAC) an English also at the king's concert of ancient music,
composer of songs, some of which were from its first establishment till he resigned
printed in a collection entitled "Choice in 1793. He was always most partial to
Ayres, Songs, and Dialogues to sing to the the tenor, on which instrument he filled
Theorbo Lute and Bass Viol," fol. 1675. many respectable situations ; Was honoured
There are some compositions of his for the with the then prince of Wales's commands,
church, in the books of the chapel royal, and attended his royal highness's concerts
(as his principal tenor) {ibout thirty years.
and in those of Westminster abbey.
96

B L A
He also enjoyed the sincere and generous
patronage of his late royal highness the duke
of Cumberland for many years, and until
his death, in the year 1790. Blake was
appointed one of his late majesty's band of
musicians in ordinary, in 1786; soon after
which, on losing his royal patron the duke
of Cumberland, he began to study the
application of the piano-forte, so far as was
necessary to qualify him for teaching, for
he never professed that instrument as a performer. To this undertaking he was advised and zealously instructed by his friend
William Dance; he also received much
useful information from Messrs. Charles
Frederick Baumgarten and Muzio Clementi.
Thus assisted, in 1792, Blake commenced
teaching; in 1793 was engaged at Camdenhouse boarding-school, Kensington; and
soon, by his success, found it necessary to
resign all his orchestral engagements, and
attend to teaching only, which he continued
till 1820, when he was obliged to resign
all business on account of severe indisposition. During the early part of Blake's
career, he published " Three Works, of Six
Duets each, for a Violin and Tenor;" and
during the period of his teaching, a set of
" Six easy Sonatas for the Piano-forte, with
an Accompaniment for the Violin;' also
"Nine Divertimentos, with a Musical Dialogue prefixed, and separate Violin Accompaniment;" " A miscellaneous Collection of
Vocal Music, with a separate Accompaniment for Harp or Piano-forte;" a single
" Duet for the Violin and Tenor;" and
latterly, " Three Solos for the Tenor, with
an Accompaniment for the Violoncello."
BLAMONT (FRANCOIS COLIN BE) was

born at Versailles in the year 1690, and, for

his merit in his profession, was made a
chevalier of the order of St. Michael. He
was a composer for the opera, and enjoyed
the places of superintendent of the king's
music, and master of that of his chamber.
The operas by him are, " Didon," and " Les
Fites Grecijues et Romaines."
He died in
the year 1760.
BLANC, (DIDIER LE) a French composer of four-part songs in 1597,
VOL. I.

BLA
BLANC (HUBERT I E ) published a
work on the bass-viol at Amsterdam in 1740.
BLANC, (LE) music-master at Paris,
composed two operettas in the years 1787
and 1788.
BLANC, a composer for the flute. (Clementi's Cat.)
BLANCHARD, (E. J. A.) a celebrated
French musician, died at Versailles in
1770.
He was chamber-musician to the
king of France, who granted him letters of
nobility and the order of St. Michael. He
composed some sacred music containing
beauties of the first order, among which is
a magnificent motet, called " Laudate
Domimtm."
BLANCHET, author of a work on singing of no great merit, at Paris, iu 1576.
BLANCHIS, (PETRUS ANIONIUS.)

See

BIANCHI, (P. A.)

BLAND (MRS.) is the daughter of an

Italian Jewess of the name of Romanzini,
and was first introduced into public life by a
Mr. Cady, hair-dresser to the Royal Circus,
who heard and approved of her voice while
an infant, and by the consent of her mother
she was engaged at a small salary. She
soon distinguished herself by her wit and
pleasing manner of singing, and rapidly advanced in the good opinion of her audience.
Miss Romanzini soon aspired to a regular
stage, and was engaged by Mr. Daly, manager of the Dublin theatre, where she was
well received.
When Mrs. Wrighten left the stage, the
managers found great difficulty in supplyingher place. Among others, Miss Romanzini
was engaged for that purpose, and in a short
time she proved herself an excellent substitute. The public were greatly pleased with
her performance of the Page, in Richard
Cosur de Lion, which added much to the
popularity of the piece and her fame.
In the summer of 1789 she went to
Liverpool, and became a favourite with the
inhabitants of that place, both as an actress
and as a concert singer. About this period
she married Mr. Bland, brother to Mrs.
Jordan, by whom she has had several children. This lady, both as an actress and as
H
97

B L A

BL E

a singer, afforded much pleasure to the chef-d'orchestre at the Italian opera in

public. She has for several seasons nearly Paris. He published, in 1796, a method for
the clarionet. He also arranged Haydn's
retired from the stage.
BLANGINI ( J O S E P H - M A R C - M A I U E - sonatas as quartets, &c, several operas aad
FELIX) was born at Turin in 1781. At the instrumental pieces.
BLATHWAYT (COL.) was a pupil of A.
age of twelve or thirteen he did the duty of
organist at the cathedral of that town, and Scarlatti, and an extraordinary performer on
at fourteen led a mass with a full orchestra. the harpsichord at the age of fourteen. His
He went to Paris in 1799, and devoted picture when a boy, painted by Sir Godfrey
himself with the greatest success in giving Kneller, hangs in the music school at
lessons in singing and composition. He at Oxford.
the same time composed operas and many
BLATMANN, ( P . P.) a harpist at
pleasing romances, and other light vocal Paris in 1790, published, in 1792 and 1798,
pieces. In 1805, he was invited to Munich, some music for his instrument.
and appointed chapel-master to the king of
BLAVET (N.) died in 1768. He was a
Bavaria; and in 1809, the king of West- celebrated flutist at Paris.
phalia conferred on him the situations of
BLAVIERE, about the year 1772, was a
chapel-master, chamber-musician, and chef- singing-master at Antwerp. Dr. Burney
d'orchestre to the theatre. Blangini has speaks highly of his intelligence in musical
also composed some instrumental music, literature and compositions for the church.
and especially four symphonies for grand
BLATZE (H.) published some piano-forte
orchestra. The following are some of the music at Paris, between the years 1799 and
principal of Blangini's vocal compositions : 1802.
" Six Nocturnes for two Voices, dedicated to
BLEIN, (Louis) a French composer,
Paer ;" "Six Canzonets," three sets, each published a selection of popular airs for the
consisting of " Six Ariettes,"
(Birchall's piano in 1799.
Cat.) Among the more favourite of his
BLEWITT (JONATHAN) was born in
operas may be cited, " Lafausse Duegne," London in 1782. He is the son of Jonas
"Nephtali," " Zdlie et Terville," " Ines Blewitt, an organist in London, and author
de Castro," " Les Fetes Lace'de'moniennes," of the first treatise on the organ, published
and " Le Sacrifice d? Abraham."
in England. Jonathan Blewitt received the
BLANGINI, (MLLE.) sister of the pre- groundwork of his musical education under
ceding, is a good violinist, and has per- his father, and was afterwards placed under
formed concertos on that instrument at the his godfather, Jonathan Battishill. At an
public concerts of Turin, Milan, Vienna, early age Blewitt evinced a taste for
and Paris. She has also composed some music, and at eleven years old was apmusic for the violin.
pointed deputy organist to his father. He
BLANKENBORG, (QUIRINUS VON) was afterwards engaged to play at Allorganist at the Hague, published a book on hallows Barking, Tower-street, for evening
thorough-bass in 1739, also some church lecture, for which a choir was engaged. He
then became organistof the chapel at Blackmusic.
BLANKENBURG (FRIEDRICH VON) heath, at the time it was attended by her
died at Leipsic in 1796. He edited the new royal highness the princess of Wales. From
edition of " Suiter's Theory of the Fine thence he removed to Haverhill, Suffolk, at
Arts," and added to the musical articles the recommendation of Dr. Arnold, one of
his early friends. He next became organist
of that work.
BLASIS (FRANCESCO ANTONIO) com- at Brecon, succeeding Mr. Campion, a pupil
posed at Milan the opera of "Arminio " in of his father's, where he remained three
years. On the death of his father, he re1790.
BLASIUS (MATHIEU F B E D R I C ) was turned to London; first, in the expectation

98

BLE
of succeeding him in his situation, and secondly, because he had composed an opera
written by a lady of distinction, which
was to have been brought out at Drurylane. The theatre, however, being burnt
down at this period, and circumstances
occurring which prevented his election to
his father's place, he was disappointed in
both expectations, and again returned to
the country, where he succeeded in gaining
the situation of organist at Sheffield, after a
competition in playing with many candidates. In the year 1811, Blewitt visited
Ireland, and was patronised by the late
lord Cahir, in whose family he resided for
some months; he then became composer and
director to the theatre royal in Dublin.
After Logier commenced propagating his
system of musical instruction in Ireland,
Blewitt was the first who joined him ; and
being an able lecturer, and possessing sound
musical knowledge, he soon procured the
great majority of musical tuition in the metropolis of Ireland. He has since been appointed, by the duke of Leinster, grand
organist to the masonic body of Ireland ; he
has also conducted concerts in Dublin, and
officiated in this capacity at the coronation
concert during the stay of his majesty inr
that kingdom. He is at present organist
of the parish church of St. Andrew's Dublin. Blewitt is much admired for his
extemporaneous performances on the
organ, especially in the fugue style. His
compositions are numerous; among the
principal are, " The Corsair," an opera.
" The Magician," an opera. " The Island
of Saints, an opera. "Concerto for the
Piano-forte."
" Grand Sonata for the
Piano-forte."
"La Nymphe Heureuse."
" The Battle of Vittoria." " Royal Divertimento, dedicated to the King."
"Royal
Scotch Divertimento, dedicated to the King
on his Visit to Scotland." o" I Pezzi Scelti."
" La Violetta." " Duets for the Pianoforte." "The Vocal Assistant." " Simplification of Modulation and Accompaniment."
" Voluntaries for the Organ."
&c. &c. &c. Songs in the Irish style:
" Katty
0'Lynch;'
" Emerald Isle,"

BLO
" Norah Mac Friskey," Paddy CfRan."
&c. &c. &c. Songs and duets : " Rosalie."
"Rosabel."
"Dear maiden."
"Susan of the Valley." " The New Year."
"Thou modest crimson tipped flower" Burns.
" Woman's Lip." " The Jessamine Bower."
" Rose of Glena." " The Minstrel's Song."
" I've seen a soft and speaking eye."
"Anna Maria." " I blame thee not." &c.
&c. &c.
BLEYER, (GEOKGE) chamber-musician
to the duke of Schwartzburg in 1660. He
composed some vocal and instrumental
music, chiefly of a sacred character.
BLIESENER, (JOHANN) a pupil of
Giornovichi on the violin. He composed
much music for his instrument at Berlin
and Vienna, between the years 1789 and
1801.
BLITHEMAN, (WILLIAM) organist of
the chapel royal to queen Elizabeth. He
was music-master to Dr. Bull.
BLOCKLAND.

See BEOCKLAND.

BLONDEAU, (Au. Louis) born at Paris

in 1786, is a pupil of Mehul, and gained,
in 1808, the grand prize for composition
given by the Paris conservatory. The cantata composed for the prize was "Mary
Stuart," the words by Monsieur de Jouy.
Blondeau has arranged some of the sonatas
of Beethoven as quartets. His cantata of
"Mary Stuart" may be found in the
" Journal Hebdomadaire " of Leduc, thirtyeighth year, Nos. 45, 46, 47, and 48.
BLONDEL, a rhymer or minstrel to
Richard I. king of England, about the year
1190. Whilst his master, being a prisoner
of the duke of Austria, was pining in a
tower in Germany, Blondel traversed the
whole of the Holy Land and all parts of
Germany, in search of the king, whom he at
length discovered to be confined in the
castle of Lowenstein, by singing near the
walls of the castle a song which the king and
himself had jointly composed. This anecdote
furnished the subject of Gretry's beautiful
opera " Richard Caur de Lion."
BLOUNT (J. W.) was born in the year
1784, at Peterborough, in the county of

Northampton, and at the age of eight years

H2
99

B LO
Was apprenticed to the late John Calah, then
organist of the cathedral in that city, at
whose death he proceeded to study under
H. P. Simpson, of Tinedon, Northamptonshire, a man of extraordinary musical attainments, although born blind. He subsequently received instructions on the violin
from a pupil of Giordini, and some other
eminent professors. . At the age of seventeen
Blount was appointed organist of the parish
church of St. Neots, in the county of Huntingdon, where he remained seven years, till
he was offered the situation of organist of
the collegiate church at Wimborne, Dorsetshire, which is the only cathedral in the
county, and where he has resided sixteen
years. He has composed some music for
the church, most of which is in manuscript.
BLOW, (JOHN) doctor of music, born in
1648, at North Collingham, in Nottinghamshire, was one of the first set of children
of the chapel royal, after the Restoration.
In 1673, he was sworn one of the gentlemen of the chapel, and in 1674, upon the
decease of Humphrey, appointed master of
the children. In 1685, he was nominated
one of the private musicians to king James
II., and in 1687, he was likewise appointed
almoner and master of the choristers in the
cathedral church of St. Paul; but in 1693,
he resigned this last place in favour of his
pupil, Jeremiah Clark. Blow had his degree of doctor in music conferred on him by
the special grace of archbishop Sancroft,
without .performing an exercise for it in
either of the universities. On the decease
of Purcell, in 1695, he was elected organist
of St. Margaret's, Westminster, and in 1699,
appointed composer to the chapel of their
majesties, king William and queen Mary,
at a salary of 40/. a-year, which afterwards was augmented to 73/. A second
composer, with the like appointment,
was added in 1715, when John Weldon
was sworn into that office; at which
time it was required, that each should produce a new anthem on the first Sunday of
his month of waiting. That Blow was a
composer of anthems, while a singing-boy
in the chapel royal, appears from Clifford':
100

B LO
collection of the words of the servipes and
anthems used in our collegiate and cathedral churches in 1664; for among the
ecclesiastical composers mentioned in this
book, amounting to upwards of sixty, are included the names of Pelham, Humphrey,
John Blow, and Robert Smith, children of
his majesty's chapel. Humphrey was born
in 1647, and Blow in 1048, so that, at the
Restoration, the first was only thirteen, and
the second but twelve. Their composing
anthems fit for the chapel royal, before they
had attained the age of sixteen or seventeen,
would now be regarded as more wonderful
proofs of precocity, if Purcell, soon after,
at a still more early period of his life, had
not produced compositions that were superior to these. Dr. Blow died in 1708,
at sixty years of age; and though he did
not arrive at great longevity, yet, by beginning his course and mounting to the summit of his profession so early, he enjoyed a
prosperous and eventful life. His compositions for the church, and his scholars who
arrived at eminence, have rendered his name
venerable among the musicians of our country. Though there are strokes of pathetic,
and subjects of fugue in Blow's works that
are admirable, yet I have examined, says
Dr. Burney, no one of them which appears
to be wholly unexceptionable, and free from
confusion and crudities in the counterpoint.
He has been celebrated by Dr. Boyce for
" his success in cultivating an uncommon
talent for modulation;" but how so excellent
a judge of correct and pure harmony could
tolerate his licenses, is as unaccountable as
any thing in Blow's compositions, considering the knowledge and known probity of the
late Dr. Boyce. The ballads of Dr. Blow
are in general more smooth and natural than
his other productions, and, indeed, than any
other ballads of his time; there is more
melody than in those of Henry Lawes, or any
composers of the preceding reign ; yet it is
not of that graceful kind in which the
Italians were now, advancing towards perfection with great rapidity. It is either
of a Scots cast, or of a languid kind, that
excites no other sensation than fatigue and

BLU
drowsiness. His pastoral, "Since the spring
comes on," is, however, as chantante as any
mongrel mixture of Scots, Irish, French,
and English, that has been since compiled.
The first movement, particularly, seems to
have been the model of most of the Vauxhall songs of the last forty years. " Fill
me a bowl " has the same kind of merit.
The collecting his secular compositions into
a folio volume, in 1700, under the title of
"Amphion Anglicus," was doubtless occasioned by the great success of the Orpheus
Britannicus, a similar collection of Purcell's
dramatic and miscellaneous songs, published
by his widow in 1698. But whether Dr.
Blow was stimulated to this publication by
emulation, envy, or the solicitation of his
scholars and friends, by whom there are no
less than fifteen encomiastic copies of verses
prefixed to the work, the ungrateful public
seems to have always remained insensible
to these strains of the modern Amphion,
which were not only incapable of building
cities, but even of supporting his own tottering frame. " Go, perjured man, " is the
best of all his secular productions ; but that
which was an imitation of a duet by Carissimi, " Dite, Ocieli," is overloaded, in his

"Amphion Anglian,"

with a laboured

B OC
B L U M A U E R , ( M L L E . ) a German singer ;
she was engaged in 1822 at Weimar.
BLUME, (CAHL) a dramatic composer,
guitarist, singer, and director of the opera
at Berlin. In the present year he composed
new music to a German translation of
" Les deux Pages du Due de Vendome;"
the piece went off with great success, and
the music is full of fine flowing melody.
He has also brought forward this year,
" LeMariage Infantine," from the French,
which is highly applauded. Carl Blume
is a great favourite with ' the German
public.
BLUME, (HEINEICH) brother of the
preceding ; also a good singer at Berlin.
BLUMHOFER (MAE.) published, in
1790, in Germany, a grand sonata for the
piano-forte.
BLYMA, (F. XAV.) director of the orchestra at Moscow in 1796, published some
violin music at Vienna and Leipsic between
the above year and 1803.
BOBRE (HENRICH) published some
sonatas at Vienna in 1799.
BOCCACINI, an Italian singer of much
talent, now resident at Dresden, His voice
is not powerful.
BOCCHERINI (LUIGI)

was bom

at

and unmeaning accompaniment.

Pages Lucca in 1740. He received his first lessons
44 and 46 of this collection, contain in music and on the violoncello from the
two of his best ballads, " Sabina has a abbe Vannucci, then music-master of the
thousand charms," and "Philander, do not archbishopric. Boccherini, at an early age,
think of arms" In these ballads, the union showing a great disposition for music, his
of Scots melody with the English is first father, himself an ingenious musician, culticonspicuous. The subject of a song, page vated his son's talent with care, and at
168, " Orithea's bright et/es," is likewise length sent him to Rome, where he soon
broad Scots.
acquired a high reputation for the originality
BLUHME, (JOHANN) a musician at and variety of his productions. A few years
after this, he returned to Lucca, where his
Dresden about the year 1729.
BLUHER, (C. G. A.) a composer of sonatas were first performed in public. F.
Manfredi, a pupil of Nardini, and also a
some piano-forte music at Leipsic in 1796.
BLUM, (M. H.) of the royal Berlin na- native of Lucca, being there at the time of
tional theatre, is considered an eminent Boccherini's return from Rome, they exetheatrical singer in Germany. Among many cuted together his sonatas for the -violin and
other first parts, he has performed Don Juan, violoncello, (Op. 7) to the great delight of
the audience. After this, the two professors
and Caspar in the Freysdmtz.
BLUM, (J. C. F.) chapel-master to the became intimate, and quitted Italy together,
cathedral of Magdeburg, published some for Spain, where Don Louis, the Infanta, was
collecting professors of the first talent. They
sonatas for the harpsichord in 1783.
101

B OC
were received at Madrid with particular
distinction, and Boccherini at length determined to remain in Spain. He was well
received by the king, who showed much
partiality for him, and loaded him with
honour and presents. The only professional
obligation imposed on him, was to produce,
every year, nine pieces of his composition,
for the use of the royal academy. Boccherini assented to these conditions, and faithfully kept them. He died at Madrid in
1806, aged sixty-six. It is said that
Boccherini kept up a regular correspondence
with Haydn, these two great musicians endeavouring to enlighten each other respecting their compositions. Carter has said of
this composer, that, " I f God wished to
address man, he might be supposed to do
so by the music of Haydn ; but if he wished
to hear music kimself, he would prefer that
of Boccherini." Puppo has well appreciated
Boccherini's music, by calling him " the wife
of Haydn." Dr. Burney says," There is, perhaps, no instrumental music more ingenious,
elegant, and pleasing, than Boccherini's
quintets; in which, invention, grace, modulation, and good taste, conspire to render
them, when well executed, a treat for the
most refined hearers and critical judges of
musical composition." Part of the " Stabat
Mater " of Boccherini may be seen in the
second volume of Latrobe's selection ; it is a
truly original and highly finished production.
BOCHSA, (the father) principal performer on the hautboy at the theatre at
Lyons. He composed some music for the
flute. (Preston's Cat.)
BOCHSA (ROBERT NICHOLAS CHARLES)

was born in 1789 at Montmedi, in the department of the Meuse, in France. His
father being first performer on the hautboy
at the grand theatre at Lyons, the young
musician, while yet an infant, had the means
of hearing, and consequently imbibing, some
notions of good music. Nor were these
opportunities neglected, for, at the age of
seven years, he publicly performed a concerto on the piano-forte. Even at this early
period his genius for composition also
developed itself; for, in his ninth year, he
102

BOC
composed a duet and a symphony for the
flute. At eleven he played on the flute a
concerto of his own composition; and at
twelve he composed several overtures for
ballets, and soon after a quartet, without
knowing a single rule of composition. At
sixteen he set to music, at Lyons, the opera
of " T r a j a n " At the same period, he applied himself to the study of the harp, and
had made himself familiar with that instrument, when he went with his family to
Bourdeaux. Here, meeting with the celebrated Beck, he studied composition under
him with the greatest enthusaism, for the
space of a year, and set to music the ballet
of "La Dansomanie," and an oratorio, in
which he introduced a chorus for two orchestras. About this.time, Bochsa had so far mastered the difficulties of the harp, the pianoforte, the violin, the tenor, and the flute, as to
be able to perform concertos on either of these
instruments, besides being able to play in a
slight degree on the hautboy, and understanding perfectly the scale and capabilities of
nearly all other instruments. On his arrival
at Paris, he was received into the conservatory
of music, and placed as a pupil of Catel,
under whom his progress was so great, that,
at the close of the first year, he obtained the
principal prize in harmony. After this, he
studied the higher branches of composition,
under the celebrated Mehul, who manifested
for his pupil particular kindness and friendship. As Bochsa still continued to apply
himself to the harp, he received also some
lessons from Nadermann, and afterwards
studied more particularly under the celebrated viscomte Marin. But judging, with
reason, that no one could rise to eminence
by imitating the productions of another, he
seems, from his publications, which appeared
soon after this time, to have applied himself
to a style of composition for the harp,
which had hitherto been unknown. It
is, doubtless, to this self-confidence that
may be attributed the celebrity which he
since has acquired. It frequently indeed
happens that, through a want of proper
confidence, the most original talents remain
dormant. To give a detailed account of

BOC

BOE

Bochsa's many improvements in harp com- pieces for the harp. In 1822, he became
position would require more space than we director of the oratorios, which, under his
can devote to a single life. It has been by management, have been gradually imhis eminent talents that the harp, which was proving both in selection and performance.
before so far confined as to be only adapted At the opening of the royal academy of
for accompanying the voice, is now capable music in 1822, he became a life-governor,
of performing the highest species of musical and was appointed professor of the harp and
composition.
To conclude, Bochsa has secretary to the musical department of that
obtained a generally allowed preeminence institution.
on the harp, which few individual performBOCK (JEAN CHRETIEN) published in
ers on any other instrument have acquired. 1771, at Nuremburg, a solo for the violin.
His compositions for the harp, which were
BOCK ( L E PERE DE) published at
published at Paris, amount to about one Amsterdam, in 1740, two sonatas for the
hundred and fifty, consisting of concertos, harpsichord.
symphonies, quintets, quartets, trios, duets,
BOCK, (JOSEPH) an instrumental comsonatas, fantasias, capriccios, &c. &c. be- poser at Vienna since the year 1803.
sides two methods and fifty studies, dedicated
BOCKEMEYER. See BOKEMEYER.
to G. B. Cramer. I n 1813, the emperor
BOCKLET, (M. C. M. VON) professor
Napoleon appointed Bochsa first harpist of of the violin and piano at Vienna.
his private concerts. Soon after this he
BODANOWIG. See BOHDANOWIG.
applied himself with great enthusiasm to
BODE, (JOHANN JOACHIM CHRISTOPII)
dramatic composition, and composed forthe a printer at Hamburgh and composer of some
royal comic opera "L'Heritier de Paimpal," music since the year 1773. He published
an opera in three acts, which experienced a German translation of some of the works
great success. I n 1814, he was appointed of Dr. Burney.
(on the restoration of Louis XVIII.) to comBODENBURG, (JOACHIM CHRISTOpose an opera called " Les Heritiers Mi- PHE) a German, wrote a work on ancient
chaux," which production received the music especially of the Jews, also a work on
approbation of the king and of the emperors the music of the middle ages and modern
of Austria and Russia. This opera is said times. He died in the year 1759, at the age
to have been prepared by Bochsa in a few of sixty-eight.
days, and we have heard that the overture
BODLNI, (SEEASTIEN) musician to the
was positively composed in two hours. The margrave of Baden Dourlack about the year
following is a list of the other dramatic 1756.
He published much instrumental
productions of this composer, in the order in music at Augsburg.
which they appeared : " La Lettre de
BODINUS, (JEANAUGUSTE) first violin
Change," in one act; "Le Roi etlaLigue,': in the chapel of the prince of Schwartzburg,
in two acts ; " Les Noces de Gamache," in was born in 1725. He was a pupil of Benda.
three acts; and " Le Roi tfArragon" in
BOECK, (ANTOINE and IGNASIUS) brothree acts.
thers, were excellent performers on the
On the 20th of January, 1815, a grand
requiem was performed for the service of
Louis XVI., composed by Bochsa for
wind instruments only. About this time he
was appointed harpist to the king and the
due de Berri, by whom, as well as by
Monsieur, he was particularly patronised
Bochsa came to England in 1817 ; since
which time he has published yearly more
on an average, than seventeen or eighteen

horn in I1) 82.

BOECKLIN, (FRANCOIS FREDEBIC S I GISMUND AUGUSTE BABONDE) an amateur

composer, was born at Strasburg in 1745.

He was a favourite pupil of Jomelli; he also
took lessons of Richter ; he composed symphonies, church music, and also some operas.
BOEHM, (JOHANN) manager of a theatre in Germany, composed the music of
some operas about the year 1785.
103

BOH

B OI

BOHM, of Munich, a celebrated flutist

BOEHM, (IWAN) violinist at the chapel
royal at Berlin, was born at Moscow in now living.
1713. He was pupil of Graun.
BOHRER, (ANTHONY and MAXIMIBOEHM (GOTTFKIED) published some LIAN) two celebrated performers, the one
instrumental music at Nuremburg between on the violin, the other on the violoncello,
are brothers. They performed, in 1823, at
the years 1744 and 1750.
BOEHMER published, in 1802, some Milan. It is said that in their performance
of a duet, so great was the similitude of their
symphonies for a grand orchestra.
BOEKER, (H.) the editor, in the year tones, that the auditor could scarcely deter1791, of a collection of vocal and instru- mine which of the two was the performer on
mental music, by celebrated modern com- the violin.
posers ; this work, we believe, was published
BOIELDIEU, (ADRIEN) a celebrated
at Berlin.
dramatic composer at Paris, was born at
BOELSCHE, (J.) an organist and com- Rouen in 1770. He came to Paris about
the year 1795, and first became known by
poser in Brunswick, died in 1684.
BOESENHOENIG, (JOSEPHA) a cele- his talents on the piano-forte and as a combrated pianist and composer at Vienna. poser of romances, some of which had proShe was a pupil of Mozart, Kozeluch, and digious success, especially the two, " $'il est
Richter; she published much music for the vrai qued'Stre deux," a"nd " Le Menestrel."
piano-forte between the years 1791 and He soon after began to compose operas;
among the more favourite of which may be
1799.
BOESSET (JEAN BAPTISTE) was the named " Le Calife de Bagdad, 1800," " Le
Voiture versie"
favourite secular composer of the early part Petit Chaperon,"and"La
of the seventeenth century, also the best Boieldieu has been one of the professors of
lutist and principal composer of songs of his the piano at the conservatory at Paris since
time. Some of his " Court Ayres with their the year 1797; some time since, however,
Ditties Englished" were published in Lon- he resided at Petersburg, having been apdon by Filmer, 1629, of which it is now pointed, in 1803, chapel-master to the emperor of Russia, after the death of Sarti.
difficult to find the measure or accent.
BOETHIUS, (A. M. T. S.) a writer of We rather think he is still resident in
iive books on music in the latter part of the Russia.
fifth century. His works were printed at
BOINEBURGH, (VON) a German violinist of eminence, lately performed at
Basil between the years 1546 and 1570.
BOETTNER, (JOHN CHRISTIAN) organ- Weimar.
ist at Hanover, published some music for
BOISGELOU ( P A U L LOUIS ROUALLE
that instrument in 1787.
DE) was born at Paris in 1732. He was
BOETTICHER, (JOSEPH) a good musi- celebrated as an infant musician, by J. J.
cian at Erfurt, died in 1635.
Rousseau, in the following passage of his
BOETTICHER, (MARTIN) a composer Emile : " J'ai vue chez un magistrat, son
of sacred music at Erfurt in 1647.
fils petit bon homme de huit ans, qu'on
BOETTNER published a collection of mettait sur la table au dessert comme une
vocal music in Westphalia. He died in statue au milieu des plateaux, jouer la d'un
1795.
violon, presque aussi grand que lui, et
BOHDANOWICZ, (B.) a musician surprendre par son execution les artistes
at Vienna, has composed many instru- mfanes." He died at Paris in 1806.
mental works between the years 1780 and
BOISJERMA1N, (LVNEAU DE.) See
1798.
LuNEAU.
BOHLEN, (A.) a composer of church
BOISMORTIER, a composer of some
music and singer, was born in Friesland in operas and other music, died at Paris in
1679. He died in 1727.
1755, aged sixty-four. He was remarkably
104

BON

BON

absent, so much so that he would not un- Bonanni, seconda Edisione rivedutd, cordertake to direct the orchestra at the rehear- retta ed accresciuta dell' Ahbate Giacinto
sals of his own music, but would say, Ceruti, ornata con 140 rami."
"Messieurs, voiU ma partition, faites-en ce
BONARDI, (FRANCESCO) an Italian
<me vous pourrez; car, pour moi, je n'en- composer of madrigals at Venice in 1565.
tends pas plus & la faire valoir que le plus
BONAZZI, (ANTONIO) an amateur viopetit enfant de choeur." A motet of this linist, was born at Cremona. At his death,
composer, " Fugit No.r," has been much he left a collection of upwards of a thousand
celebrated.
instrumental pieces by different composers,
BOISSET, (ANTOINE) chamber-musi- among which were a few of his own comcian to the king of France at the beginning position. He also left forty-two violins, made
by Guarnerius, Amati, Stradwari, and other
of the seventeenth century.
BOLICIO, (NICHOLAS.) See WOLLICK. great makers ; several of these instruments
BOLLA, (SIGNORA) a female buffo were worth 150 ducats a piece. Bonazzi
singer at the opera in London, in the year died in 1802 at Mantua.
1800.
BOND, (HUGH) a collector and editor of
BOLOGNA, (LCIGI) born at Bologna, psalms, hymns, and anthems in London
is a composer of opera music since the year previously to the year 1795. (Preston's
and Broderip's old Cat.)
1786.
BOND, an eminent performer on the
BOLTON, (T.) a professor of the guitar,
resident in London.
He has published double bass, resident in London. He was
several works for his instrument, also many engaged at the York musical festival in
vocal compositions. (See Goulding's and 1823.
Wheatstone's Cat.)
BONDINERI, (MICHELE) a Florentine,
BOMPORTI. See BONPOETI.
composer of operas between the years 1785
and 1791.
BOMTEMPO. See BONTEMPO.
BON (GIROLAMO, called MOMOLO) was
BONDIOLI, (GIACINTO) a composer of
born at Venice, and published at Nuiem- sacred music, published at Venice between
burg, in 1764, some easy sonatas for the the years 1620 and 1625.
violin and bass.
BONEL, an admired tenor singer at the
BONA, (VALERIO) a Franciscan monk grand opera at Paris in the year 1820.
at Milan in 1596. He published madri"BONELO, (AURELIO) of Bologna, pubgals, motets, and church music, also rules lished some vocal music at Venice about the
for composition.
year 1596.
BONADIES (PERE J E A N ) was a CarBONESI, (B.) of Bergamo, a composer
melite, and the master ofFranchinus Gassu- of operas, &c. resident at Paris in the year
ruis. P. Martini has given a fragment from 1806.
He studied composition under
a "Kyrie Ekison," composed by Bonadies Fioroni, a pupil of Leo-Boneo, and was
in 1473, when Gaforio was twenty-two master of the celebrated Choron.
years old.
BONEVENTI, (GIUSEPPE) a favourite
BONAGO (P.) published six instru- composer of operas between the years 1690
and 1727.
mental trios at Vienna about 1780.
BONI, (CHARLES) composer of some inBONANNI, (FILIPPO) a Jesuit at
Rome, was born in 1638, and published in strumental music published at Paris in 1776.
BONINI, a monk, published some motets
1732 a work on music, called the " Cabinetto
Armonico Pieno (Tlstromenti Sonori." In at Venice in the year 1615.
BONINI, (SEVERO) born at Florence,
1776, a new edition of this work appeared at
Rome with a French translation, and the published the " Lamento d'Ariana," a
following title, " Descrizione degV Istro- cantata, at Venice, in 1613; probably he is
menti Arnwnici d'ogni genere del Padre the same person as the foregoing.
105

B O R

BON
BONJOUR, (L.) organist, in 1786, of
the military school at Paris. He published
" Nouveaux Principes de Musique" in 1800,
also several sonatas, &c. in preceding
years.
BONIVENTO.

See BONEVENTO.

lished in 1695, in one small volume folio,

He is considered by Dr. Burney as an excellent composer for the age in which he
lived, and as a profound theorist. Bontempi
has given an exhibition of the ancient diatonic system, as applied to the key of A
minor, exactly corresponding with that of
Pythagoras.
BONTEMPO, (ALESSANDEO) an Italian
composer of motets at the beginning of the
seventeenth century,
BONTEMPO, (J. D.) an excellent
pianist and composer of instrumental and of
church music. He lived some years at
Paris, and at present is resident at Lisbon,
where he has formed a Philharmonic society.
A requiem composed by Bontempo at
Lisbon is said to be a work of great
merit.

BONNAY, (F.) a composer of operas

at Paris about the year 1787.
BONNE D'ALPY (MLLE.) published
some romances at Paris in 1804,
BONNET, (JACQUES) author of " L'Histoire de la Musique et de ses Effiets" published at Paris in 1715. I t is a work of no
great merit.
BONNET, (J. B.) organist at Montauban, and a pupil of Jarnowich, has composed much music for the violin. He was
born in 1763, and formerly held the situation of chef-d'orckestre at the theatres of
Brest and Nantes.
BONWICK, an English composer of
BONNEVAL, (RENE DO) author of a piano-forte music and songs, published in
defence of the French music against J . J. London about the year 1795.
Rousseau ; this work was published at Paris
BORBERG, (C. L.) a German organist
ia 1754.
and composer, was born in 1676.
BONNO. See BONO.
BORCACCIA, an Italian buffo singer.
BONNOT. See MABLY.
He was engaged at the Italian opera in
BONO, (JOSEPH) chapel-master and Paris in 1719.
court-musician at Vienna in 1710, died
BORCHGREVINCK,
(MELCHIOB)
there in 1788. He composed several operas court-organist at Copenhagen at the end of
and oratorios.
the sixteenth century. He published, in
BONOMETTI, (GIOVANNI BATTISTA) 1606, a large collection of madrigals by the
a composer, born at Bergamo, was in the most celebrated Italian composers.
service of the grand duke Ferdinand of
BORDE, ( J E A N BENJAMIN DE LA.) See
Austria at the beginning of the seven- LABOEDE.
teenth century. He published a large colBORDET, a flutist and composer of
lection of motets, psalms, &c. by eminent music for his instrument, published also a
masters, also some trios for two violins and method for music at Paris in 1755.
bass.
BORDIER, chapel-master at Paris, pubBONONCINI. See BUONONCINI.
lished a method for music in 1760. It
BONORA published some piano-forte was reprinted, in 1770, with additions, after
music at Vienna in 1795.
his death, and entitled "A Treatise on
BONPORTI, (ABATE) a celebrated Composition."
Italian violin maker towards the end of the
BORDOGNI, a singer of eminence at
seventeenth century.
the Italian theatre at Paris since the year
BONPORTI, (FKANCESCO ANTON.) an 1819.
He is also professor of singing at
instrumental composer, published some mu- the Paris conservatory.
sic at Augsburg about the year 1741.
B O R D O N I , (FAUSTINA.) See HASSE.
BONTEMPI (GIOVANNI ANDRIA A N -

BORETTI,

(GIOVANNI

ANDREA)

CELINI) was born in the Roman states. He composer of serious operas at Parma, between
was the author of a history of music, pub- the years 1666 and 1672.
106

B O R

B OS

BORGHESE, (A.) an Italian composer

of an operetta at Paris in 1787.
BORGHI, (GrovANHi BATTISTA)chapelmaster at Loretto in 1770. He composed
several operas for the theatres of Venice
and Florence. His compositions are much
esteemed. Among his operas are " Ciro,"
performed at Venice; " Piramo e Tisbe,"
at Florence; " Ewmene," and " Ricimere."
BORGHI, (LUIGI) a pupil of Pugnani,
was the leader of the second violins in the orchestra, at the commemoration of Handel at
Westminster abbey. He has published much
music for his instrument in London, Berlin,
Paris, and Amsterdam. There are also some
Italian canzonets by this composer published
by Broderip, (dementi's and Preston's
Cat.)
BORGO, (CESAR E) organist at Milan,
published many part-songs and masses of
his composition atVenice and Milan, between
the years 1584 and 1614.
BOGOGNINI,

(D. BERNARDO)

an

Italian composer at Venice at the beginning

of the last century. In 1700, he brought
forward the opera " La Nicopili."
BORGONDIO, (SIGNORA) an Italian
singer, was born at Brescia, in Italy, in the
year 1780. She is of a noble family, and
dedicated her talents to theatrical pursuits
on account of family misfortunes, arising
from the consequences of the French revolution. Madame Borgondio made her dihut
in Italy, at the court of the duke of Modena.
She then passed to Munich in 1816, and was
the first singer who performed Rossini's
music on the German stage; she appeared
in " Tancredi," and in the " Itialiana in
Algieri," and was much applauded. She
afterwards proceeded to Vienna, where she
remained three years, and met with much
success. She next went to Moscow and
Petersburg, at which latter capital she sang
six times before the emperor, and received
from him several handsome presents. On
quitting Russia, she visited Dresden and
Berlin, and finally came to London, where she
appeared three times in the season of 1823,
in the character of Tancredi; but was not
well received, owing, as we have been in-

formed, to the indifferent state of her health

at the time.
BORIN, author of a French work on
music and dancing published at Paris in
1746.
BORNET, l'aine', first violin at the
opera in Paris in 1770. He published a
method for the violin.
BORNHARDT, (J. H. C.) of Brunswick, a composer of popular vocal and
instrumental music since the year 1794.
BORNIANSKY.

See BOBTNIANSKY.

BORNKESSEL, (J. G.) a composer of

some songs at Jena in 1799.
BORONI or BURONI, (ANTONIO) a
pupil of Padre Martini, was born at Rome
in 1738. He composed much dramatic and
church music between the years 1765 and
1792. Buroni was the principal composer
of St. Peter's church for some years; he
also went to Germany, and was chapelmaster to the duke of Wurtemberg. He was
the earliest master of the celebrated Clementi, to whom he was related. His principal operas are "Sofonisba," and "La
Notte Critica."
BOROSINI (FRANCESCO) was a good
tenor singer at the opera in London about
the year 1724.
BOROSINI, (LEONORA) a French female
singer, was wife of the preceding.
BORRA was bom at Turin. He published, about the year 1780, two concertos
for the violin.
BORSARI, (ARCANGELO) a composer
of part-songs at Venice at the end of the
sixteenth and commencement of the seventeenth century.
BORTNIANSKY, (DEMETRIO) a com-

poser of church music at Moscow since the

year 1783.
BORZIO, (CARLO) chapel-master at
Lodi, published some church music, also
some dramatic pieces, about the year 1616.
BOS, (ABBE DU.)

See DUEOS.

BOSCH, (VAN DER) an organist at

Antwerp in 1772. He composed and published at Paris some music for the pianoforte.
BOSCHI, (GIROLAMO) a native of
107

BOT
Viterbo, was a celebrated bass singer, whom
Handel engaged, in 1710, to sing at his
operas in London. Boschi's wife had been
a great singer, but was much past her prime
when she came to England.
Handel's
genius and fire never shone finer than in
the bass songs which he composed for
Boschi, whose voice being sufficiently
powerful to penetrate through a multiplicity of instrumental parts, Handel set every
engine to work in the orchestra to enrich
the harmony and enliven the movement.
BOSCKA, a composer of some quatuors
for the clarionet, &c. in Germany in 1802.
BOSE, (CABLO DI) a composer of some
instrumental music at Dresden since the
year 1792.
BOSELLI, (MLLE.) a delightful singer,
in the service of prince Antony Esterhazy
at the same time with Haydn, of whom she
was for many years a great favourite.

BOT

lection for music first appeared at a concert,

to which his parents had taken him, when
theeffects produced upon him by theperformance were so remarkable, that a gentleman present warmly advocated the propriety
of his being educated for the profession.
His parents, availing themselves of the intimation, procured him instructions as soon as
possible, and at the age of seven he performed a concerto on the violin, exciting
at once feelings of pleasure and astonishment in a numerous audience. His studies
on the piano-forte did not commence before
he was eight years of age. At twelve, he
was removed to Manchester, where he was
placed under the tuition of Grimshaw, organist of St. John's, and of Watts, leader
of the concerts. Upon the recommendation of Watts, he afterwards received instructions on the violin from Yaniewitz,
who was engaged at that time to perform1
concertos at Manchester. At fifteen, he
BOSELLO, (ANNA MOBICHELLI) prin
cipal female singer at Milan in 1788, and was apprenticed to Lawton, organist of St.
subsequently at Paris in 1791. She died in Peter's, Leeds, who had been an apprentice
1800 aged forty. She was a great patroness of Dr. Miller, and a pupil of the celebrated
Baumgarten.
Under this gentleman he
and friend to Catalani in early life.
BOSI, of Ferrara, a composer of operas obtained considerable theoretical information, both by bis private instructions and
at Milan in 1783.
BOSSI, a ballet composer in London from his excellent musical library.
since the year 1795. He died in 1802,
After the completion of his term with
of a deep decline, in the King's Bench Lawton, Bottomley went to London, where
prison, at the early age of twenty-seven he devoted a short time to the instructions
years.
of the renowned Woelfl.
BOSTEKZKY, (FELIX) a good flute
At nineteen, having finished his musical
and violin player in the orchestra of St. education, he announced himself to the
Stephen's church at Vienna in 1796. He public as a professor. Although he was
composed some instrumental music.
appointed organist of the parish church of
BOTTARELLI, (JOHANN W A L P E H T ) a Bradford, in the year 1807, yet Halifax,
Florentine poet, published in London, in being a very musical town, and affording
1757, "Del Canzoniere d'Orazio Ode 12 him much teaching, became his principal
Messe in Musica da' p'm renomati Pro- place of residence. In 1820, after teaching
fessori Inglesi."
in some of the most respectable families in
BOTTESI, one of the greatest violinists the country, giving instruction to several
professors, and leading a very considerable
of Tartini's school about the year 1770.
BOTTI published in 1784, at Paris, six number of performances both sacred and
miscellaneous, he was induced, by a liberal
trios for the harpsichord and violin.
BOTTICELLI, an Italian bass singer, salary, to accept the situation of organist of
at present engaged for the opera at Dresden. the parish church, Sheffield, at which place
BOTTOMLEY (JOSEPH) was born at he is now stationed. As a stimulus to
Halifax, in Yorkshire, in 1786. His predi- exertion, it may not be improper to add, that,
108

B O U
notwithstanding an inattention to literature
in early life, and a continual devotion of
time to teaching and composition, Bottomley
has found opportunities of cultivating an
acquaintance with several languages, the
mathematics, and most of the sciences.
The following is a list of Bottomley's principal works, published : "SixExerdsesforPiano-forte," "Twelve Sonatinas," "Two Divertimentos, Flute Ace." "TwelveWaltzes,"
" Eight Rondos," " Ten Airs, with Var."
" One Song;" " One Duet, Piano-forte."
"One Sonata" " Twenty-eight Songs, set to
Dr. Watts's familiar Poems." All the foregoing are for the piano-forte. " A small
Dictionary of Music." His manuscript
works, which are numerous, consist of overtures, quintets, one quartet, trios, concertos,
fugues, anthems, &c. &c.
BOTTRIGARI (II Cavaliere EECOLE)
was born at Bologna in 1531. He was a
man of rank, fortune, and erudition, who
seems to have spent his whole life, which
extended to eighty-eight years, in the study
of music and in musical controversy. He
died in 1609, and bequeathed his very
valuable musical library to his friend Padre
Martini.
BOUCHER

(ALEXANDRE JEAN)

was

born in Paris inl770. At seventeen years' old

he went to Spain, where he was appointed
violinist of the chamber and chapel of
Charles IV. During the time that monarch
resided in France, Boucher was also in his
suite. He has published some pieces for
the violin at Brussels. Boucher was at St.
Petersburg in 1823, and performed before
the empress mother.
BOUCHER, (Madame CELESTE) an
excellent harpist at Paris, and pupil of
Nadermann.
BOUDOGNT, an Italian tenor singer
He was engaged at the Italian opera in
Paris in 1719.
BOUFFLERS, (STANISLAS DE) composer
of some French songs. He also inserted in
the Mercure for 1809, a very curious article
on the subject of the guitar.
BOUFIL, a celebrated performer on the
clarionet at Paris in the year 1820.

BOULANGER, (MADAME) a celebrated

French singer at the Theatre Feydeau. She
was a pupil of the conservatory.
BOURDELOT, (L'ABBE) an advocate at
Paris, published a letter relating to dramatic music about the year 1760.
B O U R D E L O T , ( P E T E H B O N N A ) younger

brother of the preceding, commenced a

history of music conjointly with his brother,
which work was completed by Jacques
Bonna after their decease. An edition of
this book was published at the Hague and
at Frankfort in 1743. Some amusing absurdities extracted from it on the subject of
" The Effects of Music upon Animals," may
be found in the Quarterly Musical Review,
vol. v. p. 159.
BOURGEOIS, born in Hainault in 1675.
He published many cantatas between the
yearsl713 and 1750; also two operas, " Les
Amours de'guise's," and " Les Plaisirs de la
Paix."
Bourgeois died at Paris in 1750.
BOURKE, an English composer of glees,
(dementi's Cat.)
" BOURNONVILLE, (JEAN) organist at
Amiens, published several masses between
the years 1618 and 1630.
BOURNONVILLE, (VALENTINY DE)

son of the preceding, published several musical works in 1646.

BOURNONVILLE, grandson to Jean
Boumonville, died about 1758. He composed and published many motets. He
was a pupil of Bernier, and much celebrated
amongst the French musicians of his age.
BOUSSET (JEAN BAPTISTE DE) died at

Paris in 1725. He was chapel-master at

Louvre, and published some sacred music.
BOUSSET, (DROVART DE) organist to
Notre Dame at Paris in 1760. He died suddenly in the church just after he had finished
performing a mass with unusual energy.
BOUTEILLER (M. FILS) gained the
prize for the composition of a fugue at the
conservatory of Paris in 1806.
BOUTELOU, a celebrated countertenor
singer in the chapel of Louis XIV. He
was so extravagant that he was frequently in
prison, where the king senthim dinners daily
of six covers, and frequently paid his debts.
109

BOY

BOY
BOUTMI, (L.) composer of some romances at Paris in 1793.
BOUTMY, born at Brussels in 1725,
was the author of a treatise on thoroughbass, published at the Hague in 1760. He
also composed much harpsichord and church
music, some of which was printed at the
Hague and Amsterdam.
BOUTROY, (ZOZIME) the inventor of
a machine called the planisphere or harmonic compass, at Paris, in 1785. He afterwards published a symphony for eight
instruments, the bass being numbered according to the plan of the above machine ;
he likewise composed some romances.
BOUVAN, composer of a collection of
songs published at the Hague in 1735.
BOUVARD, composer of two operas
and other vocal music in Paris at the commencement of the eighteenth century.
BOUVIER, (M. J.) a composer of instrumental music and violinist at Paris in 1785.
BOVICELLI

(GIOVANNI

BATTISTA)

published rules for music at Venice in 1594,

also some madrigals and motets.
BO WIN,

(JEAN.)

See BOYVIN.

BOYCE, (Dr. WILLIAM) born in 1710,

was the son of a cabinet-maker in London.
He was a professor to whom our choral
service is greatly indebted for the wellselected, correct, and splendid collection of
cathedral music, which he published in
three volumes large folio, upon the plan and
on the recommendation of his master and
predecessor Dr. Greene. In 1734, he was
a candidate for the place of organist of St.
Michael's church, Cornhill. But though
he was unsuccessful in this application,
Kelway having been elected, yet he was
appointed the same year to the place of organist of Oxford chapel; and in 1736, upon
the death of Weldon, when Kelway, being
elected organist of St. Martin's in the Fields,
resigned his place at St. Michael's, Cornhill,
Boyce was not only elected organist of
that church, but organist and composer in
the chapel royal. The same year, he set
"David's Lamentation over Saul and Jonathan," which was performed at the Apollo
society. About the year 1743, he produced
110

the serenetta of " Solomon," which was long,

and justly admired as a pleasing and ele-,
gant composition. His next publication was
twelve sonatas or trios for two violins and
a bass, which were longer and more generally purchased, performed, and admired
than any productions of the kind in this
kingdom, except those of Corelli. They
were not only in constant use as chamber
music in private concerts, for which they
were originally designed, but in our theatres
as act-tunes, and at public gardens as favourite pieces, during many years. In
1749, he set the ode written by the Rev.
Mr. Mason, for the installation of the late
duke of Newcastle as chancellor of the university of Cambridge, at which time he was
honoured with the degree of doctor in music
by that university. Soon after this event,
he set for Drury-lane theatre "The Chapkt,"
a musical drama in one act, the dialogue of
which is carried on in recitative. It had a
very favourable reception and long run, and
continued many years in use among the
stock pieces of that theatre. Not long after
the first performance of this drama, his friend
Mr. Beard brought on the same stage the!
secular ode written by Dryden, and originally set by Dr. Boyce for Hickford's
room, or the Castle concert, where it was
first performed. This piece, though less
successful than " The Chaplet," by the animated performance and friendly zeal of Mr.
Beard, was many times exhibited before it
was wholly laid aside. These compositions,
with occasional single songs for Vauxhall
and Ranelagh, disseminated the fame of
Dr. Boyce throughout the kingdom as a
dramatic and miscellaneous composer, while
his choral compositions for the king's chapel,
for the feast of the sons of the clergy at St.
Paul's, and for the triennial meetings at the
three cathedrals of Worcester, Hereford,
and Gloucester, at the performances in all
which places he constantly presided till the
time of his death, established his reputation
as an ecclesiastical composer and able
master of harmony. Dr. Boyce, with all
due reverence for the abilities of Handel,
was one of the few of our church composers

B R A
who neither pillaged nor servilely imitated I
him. There is an original and sterling merit
in his productions, founded as much on the
study of our own old masters, as on the best
models of other countries, that gives to all
his works a peculiar stamp and character
for strength, clearness, and facility, without
any mixture of styles, or extraneous and
heterogeneous ornaments. Dr. Boyce dying
in 1779, was succeeded in the chapel royal
by Mr. Dupuis, and as master of his majesty's band, by Mr. Stanley.
BOYCE, ( M R . ) a good performer on the
double bass. He was engaged at the vocal
concerts in 1817, and at the Birmingham
musical festival in 1820.
BOYELDIEU.

See BOIELDIETJ.

BOYER (PASCAL) was chapel-master

at Nimes in his seventeenth year ; he afterwards came to Paris, and published a biographical sketch of Pergolesi in the Mercure
de France of July 1772. He subsequently
published some instrumental music.
BOYER, ( J . M . P.) a French dramatic
composer, who died in 1755.
BOYTON published some piano-forte
music in London in 1785.
BOYVIN published a treatise on accompaniment, and much organ music, at
Paris and Amsterdam, about the beginning
of the eighteenth century.
BRADE (WILLIAM) published some
vocal and instrumental music of a light description, at Hamburgh and Frankfort on the
Oder, at the beginning of the seventeenth
century.
BRADLEY, (ROBERT) an English composer of songs at the beginning of the
eighteenth century.
BRAETTEL (ULEICH) published some
motets, &c. at Augsburg, about the year
1545.
BRAHAM (JOHN) was left an orphan
when very young ; but having a natural inclination for the study of music, he was
taken under the protection of Leoni the
singer, and at the age of about ten, made
his first appearance on the stage at the
Royalty theatre, then Tinder the management of the late John Palmer. His vocal

BRA
powers were at that time so great, that he
was able to execute with correctness most of
the bravuras that had been sung by Madame Mara. The subsequent breaking of
his voice, however, deprived him for a while
of the means of making a further progress in the public favour. It was about
this period that Mr. Leoni, from the disarrangement of his domestic concerns, was
compelled to leave the country. He went to
Jamaica, andleft Braham a second time unprovided for. In this emergency his abilities
and good conduct procured him a shelter in
the friendship of the Goldsmids, a family of
high respectability in the city, and under
their protection he became a teacher of the
piano-forte. His greatest assiduity, however, was employed inrecoveringthepowers
of his voice ; and in the numerous musical
societies he frequented, he exerted his utmost efforts to regain his former excellence.
At one of these meetings he accidentally
became acquainted with Mr. Ashe, the celebrated performer on the flute, who, delighted
with his vocal abilities, persuaded him to
accept an engagement for the subsequent
season at Bath. He readily assented, and
in the year 1794 made his first appearance
as a tenor singer at the Bath concerts, of
which Rauzzini was the conductor. No
sooner had Braham appeared at these concerts, than he became a pupil of Rauzzini,
and greatly profited by his able instructions.
This liberal master even received him gratuitously into his house, and gave him lessons, for three years; and when Braham
afterwards sang at his annual concerts, be
insisted on his receiving a very ample remuneration. In the spring of the year 1796,
Braham was engaged by Storace to sing
at Drury-lane theatre for a limited number
of nights ; but before the opera of Mahmoud
was performed, in which he was to appear,
that invaluable composer sank into the grave.
It was, however, brought forward after his
death, and Braham's vocal talents received
from a London audience those unequivocal
marks of applause which they so justly merit. The following season Braham made
his first appearance on the boards of the

in

BRA
Italian opera, in "ZemiraandAtar."
Not,
however, satisfied with himself, so long as
he conceived there was a possibility of further improvement, he determined to seek in
Italy the last and highest accomplishment of
his talents. For this purpose he embarked
for the continent. He went first to Paris,
where he continued nearly eight months,
during which time he had several concerts, which were crowded at the high price
of a louis per ticket. From hence he travelled to Italy. The first engagement Braham accepted in Italy was at Florence,
"where he was received with the most flattering marks of approbation. From Florence
he proceeded to Milan and Genoa, at which
places he accepted several successive engagements. At the latter town he continued
for some time, and assiduously applied himself to the study of composition under the
able maestro, Isola, of whose school he has
exhibited such successful specimens. When
at Genoa, he received offers from the conductors of the theatre at Naples, but the
troubled state of the country at that time
did not make it desirable to accept them.
He therefore directed his route to Leghorn,
Venice, Trieste, and finally to Hamburgh,
every where accompanied with the most
gratifying marks of approbation. Having
had numerous solicitations to return to his
native country, he, at length, waved some
suspending engagements at Milan and Vienna, and accepted one from the theatre of
Covent-garden. Here he appeared, in the
winter of 1801, in the opera of " Chains of
the Heart," the composition of Mazzinghi
and Reeve, and has since that period held
the very fust rank among our English stage
and concert singers. In energy and pathos
of style, Braham is unrivalled; and his
powers in this respect are especially conspicuous in accompanied recitative, which
generally expresses strong passion ; thus,
" Deeper and deeper still" of Handel, is
the chef-d'ceuvre of Braham's declamatory
and pathetic manner, describing as it does
Jeptha in the agony of his rash vow. In
the order of musical effects his singing of
this accompanied recitative is ranked, by an

112

BRA
ingehious contributor to the Quarterly Musical Review, with the finest efforts of
Mrs. Siddons in the drama. Braham is likewise remarkable, among the natives of England, for his power in sustaining, with the
proper manner and pronunciation, the principal male character on the Italian stage,
so much so, indeed, that, by many, his
Italian singing is thought far to transcend
his English.
He performed at the'King's theatre several seasons, from 1806 to 1816, with those
celebrated singers, Mrs. Billington, Madame
Grassini, and Madame Fodor. In 1809, he
was engaged to sing at the Theatre Royal,
Dublin, on such terms as were never given
before (nor since we believe) to any performer, viz. two thousand guineas for fifteen
nights; and so well was the manager satisfied with the bargain, that it was extended
to thirty-six performances on the same terms.
Of late years, Braham has been engaged
at Drury-lane theatre, where he generally
"runs the round of his characters" withundiminished power and effect. Foreign singers,
who are engaged in this country, pay his
talents the highest compliments, by saying,
" Non c'e tenore in Italia come Braham"
With regard to his merits as a composer,
we have only to observe, that if it be allowed
that true genius is required to produce chaste
mellifluous melodies, then is Braham highly
gifted, for he certainly has written a vast
number of songs, duets, &c. &c. which
havegained the greatest degree of popularity;
as a proof of which, most candidates for
vocal fame introduce some of them at their
debuts. " As a national song," says an ingenious modern critic, " Braham's Death of
Nelson has pleased and continues to please
a vast majority of the inhabitants of the
British isles: it has therefore accomplished
its purpose; for to whom are national songs,
which are always appeals to the passions
and seldom free from vain-glory, addressed \
To the multitude. They are meant to flatter
the pride of the people, to cherish their love
of country, and to inflame their zeal in its
defence. Of such compositions, this most
popular singer has produced some that have

BRA

B 11 E

operated with great force oh public fueling, posed some romances and piano-forte
and will hereafter even be considered as fea- ' music.
tures in the musical history of the present
BRANDI, a composer of flute mueventful age. They will be preserved along sic in England previously to the year
with the Tyrttean strains of Purcell, Arae, 1795.
and Dibdin."
BRAUN, (G.) a celebrated performer
Our space will not permit us to give a list on the hautboy at Berlin. He has lately pubof the various pieces composed by him, but lished a curious paper on the character and
they may be found to constitute the promi- treatment of the hautboy, an extract from
nent established favourites in the following which may be seen in the Harmonicon,
operas : " The Cabinet," " The English vol.i.p. 163.
Fleet," " Thirty Thousand," " Out of
B R E D E (SAMUEL FHIEDERIOH) pubPlace," " Family Quarrels," " The Para- lished some sonatas for the, piano-forte in
graph," "Kais,"
"Americans,"
" The 1784, and some ariettes in 1786, at OffenDeviVs Bridge,"
" False
Alarms," bach. He was a singer at Stettin, and died
" Zuma," " JVavensky," &c. &c.
in 1796.
Braham is remarkably quick in " explorBREE, (Monsieur VON) a Dutch
ing a score;" he enters into the spirit of the violinist and composer, now living at
composition immediately, and takes up the Amsterdam.
accompaniments for the various instruments,
BREDOW AUF LANDIN, (BaronVON)
with the greatest facility, on the piano-forte. a celebrated amateur piano-forte player at
We eannotbetter conclude this article than Berlin, published some of his compositions
by recording our knowledge of a prominent about the year 1798. He died suddenly, in
trait in Braham's private character, which the twenty-fourth year of his age.
deserves to be recorded on brass. He was
BKEIDENBACH, a German composer
never known to speak disrespectfully of any at Paris, published there some sonatas for
public singer, but when asked his opinion, the harp and piano in 1784.
always gives it in the most liberal manner,
BREIDENSTEIN, (JEAN P H I L I P P E )
declining to condemn where he cannot ap- organist at Hanau, died in 1785. He pubprove. In 1816, Braham was married to lished sonatas for the piano-forte, and
Miss Bolton, of Ardwick, near Manchester, some songs.
who has blessed him with a fine family, and
BREINDEL, a pupil of Albrechtsberger,
perhaps one of his sons,
was director of the choir in St. Peter's
church, in Vienna, in 1796. He has com" At some not distant period, may
Become the Braham of his day."
posed some church music.
BREITENGATZER, (WILHELM)
a
BRAILSFORD, organist at Doncaster,
in Yorkshire, is a celebrated violinist. He celebrated composer in Germany in the first
performed at the York musical festival in half of the sixteenth century. He published
at Nuremburg, in 1539, a collection of
1823.
BRANCHU, (MADAME) a good French fifteen masses by celebrated composers.
BREITKOPF, (JOHANN GOTTLOB I M singer at the grand opera at Paris. She was
MAN) a letter-founder, printer, and booka pupil at the Paris conservatory.
BRAND (A. C.) published some in- seller at Leipsic, was born there in 1719.
In 1755, he invented a new mode of
strumental music at Vienna in 1793.
BRANDENSTEIN, (CHARLOTTE DE.) A musical typography, which has since beea
sonata of her composition, in 1780, is in- imitated by other nations. Fout, a Swede,
procured a patent, and attempted, some
serted in the musical journal of Vogler.
since, to introduce in London
BRANDES, (CHARLOTTE GUILLEMETTE years
FP.ANCOISE) a singer and composer at Breitkopf's mode of printing music; but his
Hamburgh, died in 1788. She com- specimens were so incorrect, in comparison
113
i
VOL. i .

ERE

BRI

to the music engraved on pewter, that he lished a method for adapting a score to the
was soon obliged to relinquish his project. piano-forte, also some pleasing romances.
BRETEUIL, ( L E BARON) a zealous
The best specimen of musical typography
which has since appeared in England, is in French minister, and a friend of every thing
the periodical publication called the Har- which tended to good, founded, in 1784,
monicon.the type for which was, we under- the royal school of singing and declamation
stand, originally procured from Breitkopf, at in' Paris, from which the present conserLeipsic, and has subsequently been improved vatory originated.
BRETON, (MAHONI LE) violinist at the
in this country. Breitkopf died at Leipsic
in 1794, and left his business to his son Italian theatre at Paris in 1760, published
Christopher. Besides a general catalogue, several trios for violins and duos.for the
with the prices marked, of printed and ma- flute.
nuscript
music, the Breitkopfs have
BREVAL, (JEANBAPTISTE) a celebrated
annually, ever since the year 1762, dis- violoncellist at Paris. He publfshed^in
tributed a theme-catalogue, in which the 1804, a method for the violoncello; also,
subject of each piece is exhibited in notes, previously to that date, much music for the
so that a musical collector is enabled to violin, violoncello, and wind instruments.
discover whether he is in possession of any (Clementi's and Preston's Catalogue.)
of the works specified.
BREVI, (GIOVANNI BATTisTA)achapelBREITKOPF, (BERNARD THEODORE) master at Milan at the close of the sevenson of the preceding, composed some vocal teenth century. He published vocal music
and piano-forte music. He was born at of various descriptions at Modena and
Leipsic in 1749, and was in 1780 director Venice.
BREWER, (THOMAS) a performer on
of the printing-office to the senate at Petersthe viol di gamba, and compose! of fanburg;
tasias and of rounds and catches, in the
BREITKOPF,(CHRISTOPHERGOTTLOB)
brother to the preceding, was born at reign of Charles I. He is the author of the
Leipsic in 1750. He composed some vocal well-known glee, "Turn, Amaryllis,"'which
was originally set by him in two parts, and
and piano-forte music.
BREMNER, (ROBERT) an English com- is said to have been injured by the addition
poser, published in London, in 1763, the of a third part.
" Rudiments of Music, with Psalmody "
BREWSLER, author of a treatise on
he also published " Thoughts on the Per- thorough-bass, inserted in Clementi's
formance of Concert Music," " Instructions Catalogue, London, 1799.
for the Guitar," " A Collection of Scots
BREYMANN, a composer of some
Reels," "A Selection of Scotch Songs," &c. duos at Vienna in 1792.
(Preston's Catalogue.)
BRIAN, (ALBERT) a church composer
BRENGERI, a composer of some trios in England in the seventeenth century.
for the harpsichord at Vienna in 1784.
Dr. Boyce has inserted some of this comBRENNESSEL, (FRANCOIS) harpist and poser's music in his collection of anthems.
composer for his instrument at Berlin since
BRICCIO, (GIOVANNI) a composer of
the year 1766.
canons, &c. at Rome. He died in
BRENT, (Miss.) See PINTO, (MRS.)
1646.
BRESCIANELLO, (JOSEPH ANTOINE)
BRICCIUS, (THEODORUS) a composer
chapel-master to the duke of Wurtemburg, of madrigals at Venice in the latter half of
is known by twelve concertos for the violin, the sixteenth century.
published at Amsterdam in the year 1738.
BRIDE, an English composer of canBRESSON
(MIXE.) was born in zonets previous to the year ] 800. (Clemen1785. She was a pupil on the piano of ti's Catalogue.)
Adam, during nine years, and has pubBRIDGES, organist at Newark, is an
114

BEO

BRI
excellent violinist; he performed at the
York musical festival in 1823.
BRIDGETOWER. This eminent performer op the violin, is said to be a
descendant of an Indian prince. He was a
pupil of Giornoviehi, and, for theory, of
Attwood. In the early part of his life he
was much patronised by his present majesty.
At present he is residing on the continent,
and is, we believe, about forty-eight years
of age.
BRIEGEL, (WOLFGANG CARL) chapel-

master at Darmstadt and Gotha, was born

in 1626. He composed a great variety of
vocal and instrumental music, and died in
1709, aged eighty-three.
BRIJON, (C. R.) a French musician,
published some didactic works on music, at
Paris and Lyons, between the years 1776
and 1781.
BRILLIARD, a French composer of
violin music about the year 1786.
BRILLONDE JOUY, (MADAME) a
celebrated amateur performer on the pianoforte, and composer for her instrument.
Dr. Burney heard her near Paris, and
speaks highly of her talents in his travels.
BRIND, organist of St. Paul's cathedral
in London in 1660, and the master of
Dr. Greene. He composed two thanksgiving anthems, now hardly known.
BRINDLEY, an excellent performer on
the clarionet, resident in London.
BRIO CHI, an Italian composer of
instrumental music before the year 1770.
BRISCOLI, a composer for the flufe.
(dementi's Cat.)
BRITTOF, (THOMAS) the famous
musical small-coal-man, was born in
Northamptonshire. In early life he took a
stable in Clerkenwell, and turned it into a
house for his trade; soon after this, he
became acquainted with a chymist in h:
neighbourhood, and fitted up a moving
elaboratory, becoming at length very skilful
in chymistry. At the same time he studied
the theory and practice of music. He died
in 1714, from the effect of a sudden alarm
caused by the joke of a ventriloquist, who
foretold his decease in a mysterious manner,

at one of his concerts. There wasamusical

club kept up at Britton's expense, in his
own little cell, for many years; this club
was at first begun, or at least confirmed by
Sir Roger Le Strange. Handel sometimes
played the harpsichord at these concerts.
Dr. Pepusch also performed at them.
BRIVIO, (CARLO FBANCESCO) an Italian

singing-master, and composer of vocal

music at Milan, in the first half of the last
century.
BRIXI,

(FBANCOIS

XAVIER) chapel-

master at Prague, was born in 1732. He

was a voluminous composer of sacred and
other music.
BRIXI, (VIOTOBIN) an organist in
Bohemia, was born in 1717. He composed
much sacred music, and some sonatas for the
piano-forte.
BRIZZI, a Florentine by birth, was considered an excellent tenor singer. He was
engaged at Vienna in 1801.
BROADHEAD (JOHN) was bora at
Wakefield, in the West Riding of the
county of York, in 1795. At the age
of five years, copying the then prevailing
military spirit of the times, he received,
whilst he was performing the sword exercise
with a brother two years older than himself,
a very severe wound in one of his eyes,
from the point of a carving-knife, which, in
a very short time after, though he underwent many painful operations, caused an
entire deprivation of sight. At twelve years
of age, through the interest of Benjamin
Gaskell, Esq. M.P. for Maiden, Broadhead
was received into the Liverpool asylum for
the blind, where he remained six years,
under the instructions of Messrs. Anford
and Molineaux, and made great progress in
the science of music. In the year 1814,
the Rev. R. Lacey, rector of Whiston,
made him an offer of the situation of
organist, which, though the salary was
small, he accepted, by the advice of his
friends, as an opening to Kis future profession. Whitworth, organist of Barnsley,
a town about twelve miles distant from
Whiston, having also at that period declined
giving instructions in music, Broadhead
i 2
115

B RO
received an invitation from some of the
gentlemen of that town and neighbourhood
to visit their families, for the purpose of
giving lessons on the piano-forte. Hitherto
the general opinion of his capabilities in
correct teaching appeared unfavourable to
his hopes of success. A notion had been
formed that, as his organ of vision was completely obscured, he was thereby rendered
incapable of detecting the incorrect movements of his pupils' fingers. It however
required little more than a few moments'
attendance during his tuition to perceive
that, by a mode of teaching1 peculiar to
himself, this opinion was groundless. Indeed, the rapid progress of his pupils, in the
theory as well as the practice of music,
have proved his capabilities as a teacher.
Broadhead's compositions are chiefly variations to popular airs, arranged for the use of
his scholars, and are said to possess considerable merit.
BROADHURST, ( M B . ) an English
tenor singer of much sweetness, in part
songs.
BROCHE, (C.) a composer of instrumental music at Paris in 1786.
BROCK, (OTHONE VON DEN) a per-

former on the horn, has published much

music for his instrument at Paris since the
year 1788.
BROCKLESBY

(Dr. RICHARD) pub-

lished u Reflections on Ancient and Modern

Music, with its Application to the Cure of
Diseases" London, 1749.
BRODERIP, of Bristol, was a good
composer of Protestant church music
towards the end of the last century.
BRODSKY published some music at
Brussels about the year 1782.
BROGNONICO, (ORAZIO) a composer
of madrigals, in Venice, in 1611.
BRONNER, (GEORGE) an organist and
composer of operas, &c. at Hamburgh
between the years 1693 and 1715.
BROOK, an English composer of pianoforte music and glees since the year
1794.
BROOK, professor of music at Harewood, in Yorkshire, is an esteemed violinist.
116

B RO
He performed at the York musical festival
in 1823.
BROOKBANK, (JOSEPH) author of
" The well-tuned Organ, or a Discussion,
on the Question, whether or no Instrumental
and Organical Music be lawful in Holy
Public Assemblies," London, 1660.
BROOKS, an excellent performer on
the violoncello, resident in London. He
has also composed some ballads. He performs in the orchestra at the Opera-house,
and has been engaged at most of the great
provincial musical festivals.
BROSCHI, (CARLO.)

See FARIMELLI.

BROSCHI, (RICCARDO) chapel-master

at Naples, was the brother of the celebrated
Farinelli, whom he instructed in the first
rudiments of music. Broschi composed the
opera called "L'Isola d'Alcina," for the
Roman theatre, in 1728: it was in this
opera that the memorable contention happened between Farinelli and a celebrated
performer on the trumpet,'over whom that
matchless singer obtained a complete
victory. In 1730, Broschi acpompanied his
brother to Venice, where he composed his
opera of " Idaspe," in which Farinelli,
Nicolini, and Guzponi performed. His style
was grand without bombast, elevated, and
noble. It did not possess the majesty of
Leo or Jomelli, nor the depth and purity of
Feo, but delicacy and expression were
principally apparent.
B R O S S A R D , ( S E E A S T I E N DE) a French

nvusican, born in 1660, was chapel-master

and grand chaplain to the cathedral at
Meaux. He is the author of a musical
dictionary, first published at Amsterdam in
the year 1708, and translated into English
by Grassineau in 1740, but not called by
him a translation, which it ought to have
been. Brossard also composed some vocal
and instrumental music, and collected a very
complete musical library, which, at his
death, in 1730, he left to Louis XIV.
BROWN, (ABRAHAM; an English performer on the violin, succeeded Festing, in
1752, as leader of some of the concerts at
Ranelagh. He was, according to Burney,
an inferior, though self-sufficient performer.

B RU

B R Y

BROWN. There are three professors of

music of this name, two at York and one at
Leeds; they are all good performers on the
double bass, and were engaged at the York
musical festival in 1823.
BROWN, (JOHN) author of " Letters on
the Poetry and Music of the Italian Opera,"
London, 1789. His lines of criticism seem
to be drawn from nature, as exemplified in
the passions and sentiments of men. So far
as they go they are immutable, and are
therefore applicable to all times and to all
countries.
BROWNE, an English composer about
the year 1500.
. BRUCKHAUSEN, an amateur composer of an operetta atMunster in 1791.
BRUCKNER, (CYRIAQUE) an organist
and composer, died in the Palatinate in
1599.
BRUCKNER, (ALOYSIUS) a German
composer of the seventeenth century.
BRUGUIER, (D.) a professor of the
harp and piano-forte, resident in London.
He has arranged some showy and pleasingmusic for the above instruments. Among
his most favourite works are the following :
" Airs from the Zehnira of Rossini, as
Duets for Piano and Harp;" " Naderman's
Fantasia, as a Duet for Harp and Pianoforte;" and " Winter's Overture to Zaire,
as a Duet for the Piano-forte;" "A grand
Duet for Harp and Piano, arranged from
a Concerto of Dussek.
BRUHL, (COUNT) an excellent amateur
performer on the violin and violoncello, &c.
in the latter half of the last century.
BRUNINGK, (VON) a composer of
some sonatas for the harpsichord, Leipsic,
1796.
BRUNINGS,

(JOHANN

DAVID)

pianist and composer at Zurich, published

some sonatas for his instrument in 1792,
1793, and 1794.
BRUMEL, (ANTONY) a composer of
sacred music about the year 1500. He is
considered as the founder of the French
school of music.
BRUN, ( L E ) a composer of opera music
at Paris between the years 1791 and 1800.

BRUN, ( L E FRANCISCA) an excellent

female singer, died at an early age at
Berlin in 1791. She composed some pianoforte music. Madame Le Brun was resident in England for some time, and sang
at the late king's private concerts.
BRUN, (L. A. LE) a celebrated French
performer on the hautboy, died in 1790. He
published some music for his instrument at
Paris, Mentz, and Berlin.
BRUN (L. S. LE) published some
romances at Paris in 1802. He is probably
the same as the opera composer before
mentioned.
BRUNETTI, (ANTONio.orGuALBEETo)
an opera composer, born at Pisa. He is
the author of several operas performed in
the principal towns in Italy between the
years 1786 and 1790. He was chapelmaster at Pisa. His most admired opera is
" Bertholdo."
BRUNI, (BARTOLOMEO) born in Piedmont in 1759, has chiefly resided in Paris,
and been employed as chef-d'orchestre of
different theatres there. He has composed
some violin music and sixteen operas between the years 1785 and 1802.
BRUNI, (SIGNOH) an Italian singer,
who was engaged as first man at the opera
in London in 1793.
BRUNMAYER, (ANDREAS) organist at
Saltzburg in 1803, has composed some
church and instrumental music.
BRUNMELLER, (ELIAS) a composer of
instrumental music at Amsterdam at the
beginning of the eighteenth century.
BRUNST, composer of some pianoforte music in Germany about the year
1789.
BRUZA, (FRANCESCO) a composer of
dramatic music at Venice in the first half
of the last century.
BRYAN, an English composer of three
canzonets, also of some glees. (Goulding's
Cat.)
BRYNE, (ALBERTUS) an English composer in the seventeenth century, and organist of St. Paul's church. He died about
the year 1670. Some of his anthems are to
be found in Clifford's collection.

117

BUN

BUL
BUCAUT, composer of some organ music
in Paris about the year 1780.
J5UCH, a German performer on the horn
at the grand opera at Paris. He published
some quartets for his instrument in 1788.
BUCHOLTZ, (JOHANN GOTTFRIED) a

musician at Hamburgh, published some instrumental music there between the years
1782 and 1798. He died in 1800.
BUDD, a composer of some harp music
in London about the year 1785.
BUECHNER, (JOHANN CHEJSTOPH) a

singer and church composer at Gotha in

1800.
BUERDE, (SAMUEL GOTTLIEB) private

secretary to the king of" Prussia, was born

at Breslau in 1753. He published some
collections of sacred music between the
years 1787 and 1794.
BUERINGER, (JOSEPH) a composer of
music for the piano-forte at Vienna in 1799.
BUISSON

(MICHAEL CHARLES DE)

singer and composer of vocal music published at Munich in 1573.

BUINI, (Gcis. MARS.) an opera composer in Italy in the early part of the last
century.
BULGARELLI, ( MARIANNA, called
LA ROMANINA.) She was much celebrated
as a singer in Italy between the years 1700
and 1730.
BULL, (Dr. JOHN.) This celebrated
musician was born about 1563, in Somersetshire. His master in music was William Blitheman, organist of the chapel
royal to'queen Elizabeth, in which capacity
he was very much celebrated, Bull, on the
death of his master in 1591, was appointed
his successor in the queen's chapel; and in
1596, at the recommendation of her majesty,
he was made professor of music to Gresham
college, which situation he resigned in 1607.
During more than a year of his professorship, Mr. Thomas Bird, son of the venerable
William Bird, exercised the office of a substitute to Dr. Bull, while he travelled on the
continent for the recovery of his health.
After the decease of queen Elizabeth, Bull
was appointed chamber-musician to king
James, and on July the 16th, 1607, when his
118

majesty and prince Henry dined at Merchant

Taylors' hall, the royal guests were entertained with music, both vocal and instrument
tal, as well as with several orations. And
while his majesty was at table, according to
Stowe, " Dr. Bull, who was free of that company, being in a citizen's gowne, cappe, and
hood, played most excellent melody upon a
small payre of organs, placed there for that
purpose only." In 1613, Dr. Bull finally
quitted England, and entered into the service of the archduke, in the Netherlands.
He afterwards seems to have settled at
Lubec, from which place many of khis
compositions, in the list published by
Dr. Ward, are dated, one of them as
late as 1622, the supposed year of his
decease. Dr. Bull has been censured for
quitting his establishment in England; but
it is probable that the increase of healtri
and wealth was the Cause and consequence.
Indeed, he seems to have been praised at
home more than rewarded; and it is nouncommon thing, for one age to let an artist
starve, to whom the next would willingly
erect statues. The professorship of Gresbam college was not then a sinecure. His
attendance on the chapel royal, for which
he had 401. per annum, and on the prince
of Wales, at a similar salary, though honourable, were not very lucrative appointments for the first performer in the world,
at a time when scholars were not so profitable as at present, and there was no putilic
performance where this most wonderful
musician could display his abilities, and
receive applause and reward. A list of more
than two hundred of Dr. Bull's compositions,
vocal and instrumental, is inserted in his
life; all of which, when his biography was
written in 1740, were preserved in the collection of Dr. Pepusch. The chief part of
these were pieces for the organ and virginal.
BULTESO, an eminent Spanish musician
in the sixteenth century.
BUNTING, an English musician and
editor of two collections of Irish music.
(Clementi's Cat.) Bunting has also prefixed to one of his works, an historical

B U O

BUO

and critical dissertation on the Egyptian, was about the year 1707, and so deep was
the impression which the music of BuononBritish, and Irish harp,
BUOCHNER, (JOHN.) See BUECHNER. cini had made upon the minds of the people
BUONONCINI, (GIOVANNI M A E I A ) here, that, till the year 1710, the managers
one of the first masters ,of the Lombard found themselves reduced to a kind of neschool, and father of the celebrated, Giovanni cessity of introducing,into every opera they
and Antonio Buononcini, was a pupil of exhibited, more than an equal proportion of
Carissimi. He published, in 1763, a work Bupnoncini's airs, s.elected from a variety of
entitled " XI Musico Prattico," dedicated to works, which by that time he had compose(d.
the emperor Leopold. This treatise con- In the year above-mentioned, Handel artains many useful precepts and examples .of rived in England, and gave to the English
composition; but is neither so accurate as the opera of "Rinaldo," thereby laying the
to be implicitly followed, nor so ample as to foundation of his musical fame: still, howsupply all the wants of a musical student of ever, Buononcini, who was still at Borne,
the present time. A t page 18 of this work, had many admirers in England, and he was
he speaks of a canon, in his opera of sent for to London, on occasion of the found"Terza" for 1592 voices, or 648 choirs ; ation of a royal academy of music. I t was
which, on account of the difficulty of find- hardly possible that men possessed of talents
ing such a number of singers assembled tp- so different as were those of Handel an,d
gether, he has reduced to twenty-two. Gio- Buononcini, should be equally admired
vanni Maria Buononcini published other and patronised by the same persons.
chamber and church music at Bologna The style of Buononcini was tender,
between the years 1673 and 1691: his elegant, and pathetic : Handel possessed
chamber duets, published in the latter year, all these qualities, and numberless others,
are remarkable as learned and laboured and his invention was inexhaustihle. Tor
some or other of these considerations, and
compositions.
perhaps for others of a very different kind,
BUONONCINI, (GIOVANNI BATTISTA)
son of the preceding, was also a native of two parties were formed of the English
Modena. After having finished his musical nobility, the one professing to patronise
studies, probably under his father, he went Handel, and the other Buononcini. The
to Vienna, and having a very fine hand on works of the latter, published in England,
the violoncello, was entered in the band of consist of cantatas, chamber duets, the
the emperor Leopold, and retained at a very operas of "Astartus" and " Griseldus," a
large salary. At this time, Alessandro funeral anthem for John duke of MarlScarlatti had gained great reputation by borough, and twelve sonatas for two violins
the operas he had composed, and Buononcini and a bass. Before he quitted England,
desirous to emulate him, though but eighteen Buononcini was much disgraced, by its
years of age, composed one, entitled " Ca- being discovered that a madrigal, which he
milla," which was performed at Vienna, had given out as his composition, was
and also at different Italian theatres, with the work of another person in Italy. Dr.
greater applause than had ever been given Greene, who had introduced the madrigal
to any work of the kind. Mr. Haym, con- in question into the academy, notwithstandvinced of the meritof "Camilla," and of the ing the evidence to the contrary, was one of
possibility of altering it to the taste of an the last to believe that it was a composition
English audience, then but little sensible of of any other than his friend Buononcini;
the charms of Italian music, contrived to but finding himself almost singular in this
adapt it to English words ; and, notwith- opinion, he withdrew from the royal society,
standing the disadvantages arising from this carrying with him the boys of St. Paul's;
conjunction, it is said to have been received and calling in to his assistance Mr. Festicg,
no less favourably here than abroad. This the first violinist of the king's band, he
119

B U O
tstablished a concert at the Devil tavern,
Temple-bar: the joke Upon this occasion
among the academicians was, that " D r .
Greene was gone to the Devil." from a
propensity, that must seem unaccountable,
he affected to be thought a much older
man than he was ; and' in the year 1730,
When every circumstance in his person and
countenance bespoke the contrary, he
scrupled not to assert that he was on the
verge of fourscore. About the year 1733,
his affairs were come to a crisis in England.
There was at that time about the town a
man, who, with scarcely any other recommendation than fine clothes and a great
stock of impudence, appeared at court, and
assumed -the title of count Ughi. It is said
that he was a friar; but his pretence here
was that he was an Italian nobleman, and
a natural son of our king James II. Being a
man of parts and well accomplished, he, on
the footing of relationship, such as it was,
gained an easy admission to the duchess of
Buckingham, and became so much her favourite, that those who were not aware of
the supposed consanguinity between them,
hesitated not to say she meant to make him
her husband. This fellow, among various
other artifices, pretended to possess the secret of making gold; and Buononcini, who
had never in his life known the want of it,
was foolish enough to believe him. In short,
he was prevailed on to leave the hospitable
loof under which he had so long been sheltered, and became a sharer in the fortunes
of this egregious impostor. They quitted the
kingdom together ; but it is possible that this
connection lasted not long, and that Buononcini was constrained to recur for alivelihood to
the exercise of his profession ; for, a few years
after his leaving England, he was at Paris, and
composed for the royal chapel there, a motet,
in which was a solo, with an accompaniment
for the violoncello, which he himself performed in the presence of the late king of
France. Upon the conclusion of the peace
of Aix-la-Chapelle, Buononcini was sent for
to Vienna by the emperor of Germany, and
wrote the music for that occasion, being
rewarded with a present of 800 ducats,
120

BUR
Th'is was in the year 1748; and soon after
the rejoicings for the peace were over, h<S,
together with Monticelli, a singer who had
appeared in the1 opera at London, set out
for Venice, the one having been engaged as
a composer, the other as a principal singer
there. We here lose sight of Buononcini,
who probably died at Venice.
BUONONCINI,

(MARK

ANTONIO)

elder brother of G. B. Buononcini, was an

eminent composer and vvioloncellist, also
born at Modena; he lived in the strictest
friendship with his brother, and they travelled together to various towns in Germany. I t does not, however, appear that
Antonio accompanied his brother to England, but he probably remained at Modena.
M. A. Buononcini composed several operas
between the years 1679 and 1718. A work
on composition, printed at Venice in 1765,
is also attributed to him.
BUONPORTI, (FRANCESCO ANTONIO)

a nobleman of the city of Trent, published;

between the years 1702 and 1714, ten different works, chiefly for violins.
BUONTEMPI. See BONTEMPI.
BURANELLO. See G A L U P P I .

BURCHARD (GEORGE) composed a

mass and some symphonies, which were
published at Augsburg in 1624.
BURCHELL, an English compose? of
songs at the latter end of the last century.
(Preston's Cat. 1797.)
BURCKHOEFER, (J. G.) a performer
on the harp, published much music for his
instrument between the years 1765 and
1794.
BURETTE

(PIERRE

JEAN)

was

French physician, and born at Paris in the

year 1605. During his infancy he was so
feeble and sickly, that he was chiefly
allowed to amuse himself by playing on the
spinet, which he had been taught to do by
his mother, and so early was he a proficient
in music, that at the age of eight years he
was invited to play in a concert before the
king, who expressed himself well satisfied
with his performance. Not long after this
period he assisted his father, who was at
that time a teacher of music, iu instructing

BUR
fc% pupils; but 'having a turn for literature
as well as for music, he determined, when
at the age of eighteen, to adopt one of the
learned professions. He consequently became a student in the college of Harcourt,
and in 1690 Was admitted to the degree of
doctor of physic. Besides the Latin and
Greek languages, which he had previously
acquired, he attained whilst at Harcourt,
and afterwards, a knowledge of Hebrew,
Syriac, Arabic, Italian, Spanish, German,
and English. He afterwards became eminent as a physician, read a course of
lectures on the Materia Medica, and, in
1710, was nominated professor of medicine
in the royal college at Paris. His literary
attainments were such that he had a considerable share, for more than thirty years,
in the publication of the " Journal des
Soavans," and, in 1718, had an appointment
in the Bibliothe'que du Roi. Amongst his
other productions there is, in the memoirs
of the French academy, " A Translation of
Plutarch's Treatise on Music," accompanied
by notes and remarks. In this work, to
which almost all late writers on the subject
have been under great obligations, he has
exhibited much genius and learning;
"but," observes Dr. Burney, " h e does not
seem always to have been possessed of an
equal share of sagacity, or of courage
sufficient to confess himself unable to
explain inexplicable passages in his author.
He never sees a difficulty; he explains all.
Hence, amidst great erudition and knowledge of antiquity, there are a thousand
unintelligible explanations in his notes."
He died in the year 1742, at the great age
of eighty-two.

BUR
He is president of the royal academy of musicians in London, which establishment owe
its origin, in a great degree, to his lordship's
exertions and influence. Lord Burghersh,
is said to have studied music in England, in
Germany, and in Italy. He has composed an
oratorio entitled " Bajazet," which is much
admired for its smooth and elegant style;'
he has also published various cantatas,
which an eminent modern critic declares to
be really good, not speaking of them
relatively as the works of an amateur, but
positively as music. Among'lord Burghersh's
principal compositions are the following:
" Bajazet," above-mentioned, " La Primavera," " II primo Amore," " L'Amor
timido," " Cantata, by Leoni," " Cantata,
by Count Girard," " La Gelosia," " L'lnciainpo," " 'Tis done, 'tis done," " Day
set on Norham's castled steep," " Seven
Canzonets, Duets, fyc." "Spirit of bliss,"
" Fly to the desert,"
" Bendemeer's
Stream," " Why so pale," and "A Song
and Catch for four Voices."
BURI, (VON) a German officer, composed an opera and some violin music iu
Germany about the year 1785.
BURINGER.

See BOERINGER.

BURKHOEFER, (J. G.) a German

musician at Paris, published some instrumental music there and at Vienna
about the year 1784.
BURMANN

(GOTTLOB

WILHELM)

published some vocal and instrumental

music at Berlin between the years 1792
and 1794. He died at Berlin in 1805.
BURNETT, (WILLIAM) a composer of
music for wind instruments. (Bland's
Cat. 1789.)
BURNETTI, (DOMENICO) chapel-masBURGESS, (HARRY) a composer for
the harpsichord, and performer on that ter at Bologna, published some sacred music
instrument at Drury-lane theatre, in 1744. there in 1633. He, together with Francesco
BURGH, ( V A N ) a composer of songs, Bertacchi, founded a musical society at Bowas born in the Netherlands. He pub- logna in 1633, called the Academia de
lished a book of his compositions in London Musici Filarchisi, having, for its symbol, a
early in the last century: the work was pair of kettle-drums, with the motto, " Orbem demulcet attactu."
entitled "Mirth and Harmony."
BURNEY, (JAMES) an eminent musicBURGHERSH, (LORD) son of the Earl
of Westmoreland, and British ambassador at master and organist at Shrewsbury. He
Florence, is a celebrated musical amateur. was halkbrother to the celebrated Dr.
121

BUR
Bjimey and one of his first, instructor? in
music. He died in 1789, aged eighty.
BURNEY (Dr. CHARLES) was-born at
Shrewsbury in 1726. He received part of
his education at the free-school founded by1
queen Elizabeth in that town, and part at
the public school at Chester, in which city
he- first began his musical studies under
Mr. Baker, the organist of the cathedral.
About the yearl741,he returned, to Shrewsbury , and pursued the study of music under
his half-brother Mr. James Burney. In
1744, he-met with Dr.Arne, who persuaded
his friends to send him to London, and he
was then", placed .under that master for three
years. In 1749, he was elected organist of
a church in Fenchurch-street, with an annual salary of only thirty pounds, and in
the course of the same year was engaged to
take the organ part at the new concert
established at the King's Arms, Cornhill,
instead of that which had been held at the
Swan tavern, burnt down the year before.
In the winter of 1749-1750, he composed for Drury-lane three musical dramas,
namely, "Alfred"
"Robin Hood," and
" Queen Mab." Being in an ill state of
health, which,, in the opinion of the physicians, indicated a consumption, he was
prevailed upon to retire into the country.
Accordingly he went to Lynn Regis, in
Norfolk, where he was chosen organist,
with a salary of one hundred pounds a year.
He continued there nine years, and at that
period formed the design of compiling his
" General History of Music." In 1760,
his health being reestablished, he gladly
returned to .the metropolis, with a large and
young family, and entered upon the pursuits
of his profession with an increase of profit
and reputation. His eldest daughter, who
was then about eight years old, obtained
great notice in the musical world by her
astonishing performances on the harpsichord.
Soon after his arrival in London, he composed several much admired concertos;
and in 1766, he brought out at Drury-lane
theatre a translation of Rousseau's Devin du
Village, which he had executed during his
residence at Lynn. In 1761, he had the
123

BV R
honorary degree of doctor of music conferred
upon him by the university of Oxford,, on
which occasion he performed an exercise
in the musical school of that university. This
exercise, consisting of an anthem of_ great
length,with an overture, airs, recitatives, and
choruses, was several times.afterwards performed at the Oxford music meeting, under
the direction of the famous Emmanuel Bach.
In the year following he travelled through
France and Italy, as well with a view to
improvement as to collect materials for his
intended history of music, an object which
he never had out of his mind from the time
he first conceived the plan of such a work.
In 1771, he published his "Musical Tour,
or present State of Music in France and
Italy," a work which was well received by
the public, and deemed so good a model
for travellers, that Dr. Johnson professedly
adopted it in his account of the Hebrides.
Speaking of his own book, " I had," said
the doctor, " that clever dog Burney's Musical Tour in my eye." In 1772, he travelled through the Netherlands, Germany, and
Holland, and in the course of the next year
he published an account of his journey, iu
two volumes octavo. In the same year he
was elected a fellow of the royal society. In
1776 appeared the first volume, in quarto,
of his " General History of Music." The
remaining volumes of this elaborate and intelligent work were published at irregular
periods; and the four, of which it now consists, were not completed till the year 1789.
In 1779, at the desire of Sir John Pringle,
Dr. Burney drew up for the Philosophical
Transactions, " An Account of little
Crotch, the Infant Musician," now professor of music in the university of Oxford.
The grand musical festival in 1785, in commemoration of Handel, held in Westminster
abbey, was considered as deserving of a
particular memoir; the historian of music
was therefore fixed upon as the most proper
person to draw it up. Accordingly, in the
same year, a splendid volume was published
by Dr. Burney, in quarto, for the benefit of
the musical fund. In this work the doctor
displayed eminent talents as a biographer;

BUR
and the life of Handel is one of the best
memoirs to be found in our language. In
1796, he published the "Life o/Metastasio,"
in three volumes octavo; but this performance wants that arrangement and judicious
selection which characterise his former publications. Besides these productions, Dr..
Burney wrote "An Essay towards the History of Comets," " A Plan of a Public
Music School," &c. &c. His musical works,
in addition to those already mentioned,
are, " Sonatas for two Violins and a Bass,
two parts," "Sis Cornet Pieces, with an Introduction and Fugue for the Organ," "A
Cantata and Song," "Six Duets for two
German Flutes," "Six Concertos,for Violin,
S[C. in eight parts" " Two Sonatas for a
Piano-forte, Violin, and Violoncello, two
parts," "Six Harpsichord Lessons," &c. &c.
Dr. Burney was twice married, and had
eight children, of whom several have manifested very superior abilities. His eldest
daughter was celebrated for her extraordinary musical powers. Madame d'Arblay,
the author of Evelina, Cecilia, Camilla, and
The Wanderer, is the second. His eldest
son, James, sailed round the world with
captain Cook, and afterwards commanded
the Bristol, of fifty guns, in the East Indies :
lie has published some judicious tracts on
the best means of defending our island
against an invading enemy, and has commenced a history of voyages" of discovery.
The second son is the very learned Charles
Burney, LL. D. His youngest daughter is
pursuing the career of her sister as a novelist. For many years Dr. Burney resided in a
house in St. Martin's-street, Leicester-fields,
which was formerly occupied by Sir Isaac
Newton; but during the last twenty-five
years of his life, having been appointed
organist of Chelsea college, he inhabited an
elegant suite of apartments there, and enjoyed a handsome independency. He died
in the year 1814, aged eighty-eight. His
remains were deposited in the burying
ground belonging to Chelsea college, and
the funeral was numerously attended by
the governor, deputy governor, and chief
officers of the college, and by the
family and friends of this accomplished

BUR
and excellent man. Dr. Burney was intimately acquainted with all the distinguished characters who flourished in his
time, as well in other countries as in Great
Britain, and in habitsof peculiar friendship
with Dr. Johnson, of whom he used to
relate many interesting anecdotes. Indeed
it is known that soon after the death of that
colossus of learning, he had some thoughts
of giving a memoir of him to the world,
but the subject was so overwhelmed by
various publications, that he relinquished
his design. In all the relations of private
life, his, character was exemplary, as a husband, father, and friend. His manners also
were peculiarly easy, spirited, and gentlemanly, and he had the graces of the Chesterfield school, without any of its formality,
BUBONI. SeeBAEONi.
BURRO WES,

(JOHN FRECKLETON) pu-

pil of William Horsley, Mus. Bac. Oxon,

was born in London on the 23d of April,
1787. He first became known to the public
by the production of an overture and several
vocal pieces with full orchestral accompaniments at the Hanover-square concerts, and
subsequently by an overture at the Philharmonic, of which society he was one of the
original associates and is now a member.
The knowledge of instrumental efiect
evinced in these compositions, and the
favourable impression they made, render it
unaccountable, and, we think, blamable,
that he should have abandoned this, the
higher branch of the art, in which he had so
fair a prospect of success, for the less exalted, though more lucrative, branch of composing for the piano-forte. Such is however
the fact; and it is for this instrument that
Mr. Burrowes has published several sonatas
with accompaniments, besides numerous
rondos, divertimentos, and variations upon
original as well as popular airs; he has
adapted nearly the whole of Mozart's operas
for the piano-forte, and made large selections from the works of Handel, Haydn,
Rossini, &c. and arranged them both for that
and various other instruments. Burrowes
is also the author of two elementary works,
viz. " The Piano-forte Primer," and the
" Thorough-Bass Primer"
which are

123

BUR
strongly recommended by the first masters
for their clearness and usefulness; indeed
there are very few students now without
them. The success of his publications, and
the rapidity with which they succeed each
other, justify us in pronouncing him to be
one of the most prolific as well as most
popular writers of the day. The following
list contains his principal works :
Op. 1. " Six English Ballads :" Goulding.2. " Six Divertimentos for Pianoforte :" Preston. 3. " Three Sonatas,
with Violin Accompaniments:" Preston.
4. " Sonata, with Flute
Accompaniment:" Birchall.-5. "Piano-forte Duet:"
Birchall:6. "Three Sonatinas" Birchall.7. " Sonata, with Violoncello Accompaniment :" Chappell.8. "First Overture:"
Chappell,9. " Sonata, with Scotch Airs;"
Clementi.10. " Three Sonatinas, with
favourite Airs:" Chappell.11. "Easiest
Lessons, containing many favourite Airs,
with the Fingering marked for Beginners :"
Chappell.12. "Trio for three Flutes:"
Goulding.13. "Overture, as performed at
the Philharmonic Society:" Chappell.
The above are all the numbered operas.
The remaining works are classed according
to the publishers, in alphabetical order.
At Birchall's : Mozart's Overtures for
Piano-forte to "La Clemenza di Tito," "II
Don Giovanni," " Le Nozze di Figaro,"
" Zauberflote" " Cosifan tutti," "II Seraglio," " Idomeneo," and " / / Direttore "
" Gluck's Overture to Iphigenia" " Reichinburg Waltz." At Chappell's: Rondos
for Piano-forte ; " The Lothian Lassie,"
" Le Chasse-ennui," " Peruvian Air, Flute
Accompaniment," "Airs with Variations,
Nos. 1, 2, 3, 4, 5, 6," " Psalm Tunes, with
Thorough-Bass figured," " Handel's Choruses, arranged for Piano-forte, Nos. 1 to
6," " Graun's Te Deum for Piano-forte,"
" Blackbird Rondo," and " Quadrille
Rondos, Nos. 1, 8, and\%" At dementi's:
Haydn's " The Heavens are telling, Pianoforte," " The praise of God," " Achieved
is the glorious work," " Mozart's Overtures as Quartets, for Piano-forte, Flute,
Violin, and Violoncello, to Zauherflote,
Figaro, and Don Giovanni," " Opening
134

BUR
of the DetHngen Te Deum as Duet for
Piano-forte." By Goulding: " Overture
and select Pieces from Rossini's Tancredi,
for Piano-forte," four books; " Overture
from Othello," three books; '.' Overture
from Zalmira," four books; " The Music
in Macbeth, for Pianoforte,"
" Introduction and Air with Variations," " Auld
Robin Gray, with Variations for Harp,"
" The Old Woman, with Variations for
Harp," " Handel's Choruses, far two performers on Piano-forte, Nos. 1 to 12," "Overture to Othello," " Overture to La Gassa
Ladra," " Overture to Guy Mannering,"
" Select Airs from the Beggar's Opera, in
three books, for Piano-forte," " Scots wha
hae, with Variations for two Performers on
Piano-forte," " John Anderson, and Duncan Gray," " Charlie is my Darling, and
They're a' nodding," "Scottish
Rondos,
for Piano-forte, Nos. 1 to 17," "Hibernian
Airs, for Piano-forte, Nos. \to 5," " Caledonian Airs for Piano-forte, Nos. 1 to 12,"
"Select
Melodies for Flute and Piano,
Nos. 1 to 12." At Lavenu's : " Cabinet
of Handel, consisting of his Choruses, for
Piano-forte, Nos. 1 to 12," " I love thee,
with Variations for two Performers,"
" Mora's Love, for two Performers,"
" Le MJlange, Nos. 108 and 109," " Hornpipe Rondo," and " La Cosita."
By
Power: "Oh lady fair, with Variations." By
Clementi and Chappell: " The Piano-forte
Primer," "The Thorough-Bass Primer."
Besides the above, are numerous airs with
variations, by different publishers, and the
following among many other songs : "London's bonnieWoods,for one andfour Voices,"
" Edwin's Ghost," " Rose Bud," " Oh let
me seek," " Violet of the Vale," "If it be
love," "The Owl," "Ah, Mary, sweetest
maid," "How pleas'd within my native
bow'rs," "Now dove-eyed spring," "Hope
no more," and " When Mira bloomed."
BJJRTIUS or BURZIO, (NICOLAS) professor of the fine arts at Bologna, was the
Guidonian adversary of Bartholomew Ramis, and a Pythagorean follower of Boethius : he wrote a Latin work entitled "Encomium Musical," Bologna, 1489, also,
"Mwices
Opusculum," 1487,
Burtius

BUS
admitted no consonances but octaves, fifths,
and fourths; he calls the thirds and sixths
allowable dissonances, and has given five
precepts of counterpoint, which will ever be
classical, particularly that of avoiding consecutive fifths and octaves.
BURTON, (JOHN) an English pianist,
who died in 1785, was a pupil of Keeble.
He was an enthusiast in his art; but having
in' his youth exercised his hands more than
his head, he was not a deep contrapuntist;
he had, however, in his pieces and manner
of 'playing them, a style of his own, to which,
from his having been one of the first harpsichord players in our country who attempted
expression, and light and shade, he excited
an interest and attention which would now
perhaps be much more difficult to obtain.
BURTON, professor of music at Wakefield, in Yorkshire, is a good violinist. He
played at the York.musical festival in 1823.
B U R T O N , ( A V E R Y ) an English composer
and musician in the time of Henry VIII.
BURY, (BERNARD BE) born at Versailles in 1720, was a court-musician and
composer of some sacred music.
BURY, a performer on the horn, and
composer for his instrument atParisin 1800.
BUSBY, (THOMAS) doctor ofnrasic, was
born in Westminster in 1755. He was an
articled pupil of Battishill, and, soon after
he had served his time, was appointed organist to St. Mary's, Newington, in Surrey.
He then began to compose, and his first
essay in composition was an oratorio, called
" The Prophecy 1' which was performed with
some applause at the Haymarket theatre in
1799, after having received improvements
for many years from its author. The other
principal works of Dr. Busby consist of a
collection of sacred music, entitled " The
Divine Harmonist;" ic Melodia Britannica,
or the Beauties of British Songs,-" the music
to Gray's ode, The Progress of Poesy, under
the title of " British Genius;" the music to
Pope's ode on " St. Cecilia's Day;" " Comala," a dramatic poem from Ossian; " Johanna," a dramatic romance ; " Britlannia," an oratorio; and the music to three
minor pieces at Covent-garden, namely,

BUT
" A fale of Mystery," " The fair Fugitives," and " Rugahtino." Dr. Busby has
also published a small musical dictionary
and a grammar of music.
BUSCHE, (EEN^T VON DEM) an ama-

teur composer of vocal music at Hanover

about the year 1796.
BUSCHMANN, a German musician,
and inventor of a new musical instrument
called by him the Terpodion. He exhibited this instrument in London, in the
year 1820. The greater part of it resembled the horn finely played, the upper notes
had precisely the tone of a flute.
BUSNOY, one of the chief writers of
the French school of music in the sixteenth
century.
BUSSEL, an excellent performer on the
tenor, resident in London.
BUSTYN or BYSTYN, (PIERRE) organist and composer of piano-forte music in
Zealand about the year 1720.
BUTLER, (CHARLES) author of a work
entitled " The Principles of Music in Singing and Setting, with the twofold Use thereof, ecclesiastical and civil," 1636. This
book is a good one for the time in which
it was written, and, according to Dr. Burney, contains more knowledge, in a small
compass, than any other work of that period,
in our language. Butler was master of arts
of Magdalen College, Oxford.
BUTLER, (THOMAS HAMLY) professor

of music, is the son of James Butler, who

was also respectable for his musical talents.
He was born in London, about the year
1762, and received his musical education
under Dr. Nares, as one of the late king's
singing-boys, in which situation he continued
for about ten years. On the expiration of
this term, he went to Italy to study composition under Piccini, and. remained three
years under that master. Whilst in Italy,
he was introduced to Sir William Hamilton,
the English ambassador.at the court of Naples, from whom he received great attention.
On his return to his native country, he attracted the notice of the late Mr. Sheridan,
member of parliament, and also of the
managers of Covent-garden theatre, th
125

C A F

C A C
Musical department of which house he was
engaged to superintend. About this time he
brought out his book of sonatas, dedicated
to the duke of Gloucester. On the. termination of his theatrical appointment, Butler
went to Scotland, and afterwards spent most
ofhislifeas a teacher of music atEdinburgh,
occasionally visiting London, to dispose of
his numerous compositions. The beautiful
Scotch air of " Lewie Gordon," being sung
by the maid of the house, struck Butler's
fancy when he first went to Scotland, and
in consequence was the first theme he chose
for the rondo he composed in that oountry.
About ten years since, Butler published a
new edition of the above rondo, with alterations and additions; and also about four
years ago he set new, variations to the same
tune. Among Butler's other works we may
notice his " Hfusical Games," et Si Hook
,of Sonatas, dedicated to the late Princess
Charlotte," and many Scotch airs with variations. His music is chiefly published
by Clementi. Butler died in Edinburgh in
1823.

BUTLER, prpfessor of music at Leeds,

in Yorkshire, is au excellent performer on
the violoncello. He played at the York meeting in 1823.
BUTTSTETT, (JOHANNHEINRICH) bprn
in 1666, a scholar of Pachebel, and organist
of the principal church of Erfurth, the capital of Thuringia, is numbered' among the
great organ players and composers fpr that
instrument of his time. He died in 1727.
BUXTEHUDE, (DIETRICH) son of Jor

hann Buxtehude, an organist qf Lubec, was

one of the greatest performers on that instrur
ment in Germany. His compositions for the
harpsichord were numerous and masterly.
In 1696, he published two sets of sonatas.
BUZZOLENI, (GIOVANNI) of Brescia,
a celebrated singer about the year 1700.
B Y R D . See B I R D .

BYRENHEY D E , organist and composer in Saxony. He died in 1750.

BYSTROM, (THOMAS) a Swedish officer,
and amateur composer of some sonatas published at Leipsic in 1801.
BYSTYN. SeeBusxYN.

c
CACCINI, (GIULIQ, called also GIULIO
ROMANO.) He was born at Rome, but resided thirty-seven years at Florence. He
was a celebrated scholar, and likewise a dramatic composer. Giulio Romano composed,
in conjunction with Jacobo Peri, the opera
called " Euridice," which was produced on
the occasion of the marriage of Henry IV.
of France to Mary de Medicis, and acted
at Florence in 1600. Dr. Burney considers
"Euridice" to have been the first opera ever
, performed in public, though primary attempts
at dramatic music were probably made at an
earlier period. Giulio Romano diedin 1615.
His most celebrated work was entitled
" Nuove Musiche," published at Venice just
before his death.
CACCINI, (FRANCESCA, called also L A
CECHINA) daughter of Giulio Caccini, was
for many years the admiration of Florence,
126

not only for her musical abilities, both in

singing and composition, but for her poetry,
in the Latin as well as Tuscan languages.
She flourished about the year 1640.
CADENZE, (SIGNORA.)

See NICOLINI.

CAERWARDEN, (JOHN) chamber-mucian to Charles I., was a celebrated teacher

on the viol and a composer.
C J E S A R , (Dr. J U L I U S ) a physician of

Rochester. Two good catches of his composition are published in the " Pleasant
Musical Companion," 1726.
CiESAR,

( W I L L I A M or SMEGERGILL)

a composer of songs, printed in " Playford's

Musical Cpmpanion," 1669.
CAFFARELLI, (GAETANO MAJOHANO)

a celebrated Italian singer, was the son of

a peasant in the kingdom of Naples, and
was born in 1703. He was the pupil of
Porpora at the same time as Farinelli,

C AF
whom he equalled in reputation and talent,
though not in modesty. It is said that Porpora taught him thus.: during five years he
made him constantly learn the elements qf
singing, and a few graces and passages from
one single sheet of music paper. In the sixth
year, he proceeded to give him lessons in articulation, pronunciation, and declamation.
At the end of that year, Caffarelli thought
himself very little beyond the elements of
his art, and was much surprised when his
master said to him, " You may now leave
me, young man, you have nothing more to
learn from me, and are the first singer in
Italy, if not in the world." Caffarelli came to
England in the year 1738. It is said that he
was never well or in voice all the time that
he remained here. In Italy he had long before this gained considerable reputation as a
singer ; but it was not till after he returned
from England that he was classed, by his
countrymen, among their most exquisite
singers. Caffarelli amassed much money
by his profession, and purchased the duchy
of Santo Dorato, in the kingdom of Naples.
He died in 1783, aged eighty, and bequeathed a large fortune, with the dukedom,
to his nephew.
CAFFARO (PASQUALE) was born, in
1706, at Lecce, one of the provinces of the
kingdom of Naples. He quitted the conservatory after profound study, and his operas were successively represented at several
Italian theatres, where he had no cause to
complain either of the severity or the coldness of the public. He chiefly excelled in
the cantabile: his air, " Belle luci che accendete,". has served as a model in this style
to his successors ; and is said to have been
so popular at the time of its appearance,
that the subject was painted on the porcelain of the manufactory of the king of Naples. This air was sung throughout Italy
after the lapse of a century. Caffaro also
excelled as a composer for the church: his
" Stabat Mater" for four voices, and in
double canon, will bear comparison with the
immortal production of Pergolesi. Caffaro
was master of the king's chapel at Naples,
and also of the conservatory of La Pieta.

C AL
CAFFIAT or CAFFIAUX, (PHIL. JOS.)
author of an essay on.the history of music,
Paris, 1755.
QAFFRO, (JOSEPH) a performer on the
hautboy and composer for his jnstrunient
between the years 1793 and 1807.
CAGIATI, (GIOVANNI) a pianist and
composer, published some piano-forte music
in Germany, in the years 1794 and 1795.
CAJANI, (GUISEPPE) a composer for
the theatre at Verona in 1791.
CAIMO, (GUISEPPE) a voluminous composer of canzonets and madrigals at Milan
between the years 1560 and 1585.
CAINEA, (CHEVALIER LE) a celebrated
amateur singer. He was in England far
several years at the commencement of the
present century, and was frequently heard
in the first circles of our metropolis:
his voice was a beautiful tenor, and his
style of chamber singing was replete with
taste.
CAITO, (GIOVANNI CABLO) a celebra-

ted violinist at Naples at the beginning of

the last century.
CAIVANI, a composer for the theatre at
Rome about the year 1768.
CALCAGNI, (SIGNOP.) an Italian soprano singer to the king of Sweden. He
sung at Salomon's concerts in 1792.
CALCINA, a composer at Turin at the
beginning of the present century.
CALDARA, (ANTONIO) one of the vice
chapel-masters of the emperor Leopold under Fux. He is celebrated for the sublimity
of his style, which he manifested in two
oratorios of his composition, the one entitled
" Guiseppe," performed in the year 1722,
the other, " / / BA del Dolore." He published
two operas of sonatas for two violins and a
bass, printed at Amsterdam, and " Cantatc
da Camera a Voce sola," printed at Venice.
He continued the favourite composer in
the imperial service till the year 1736,
having been a dramatic composer near
fifty years. He died at Vienna in 1763,
aged ninety.
CALEGARI, (ANTONIO) a dramatic
composer and performer on the violoncello,
born at Padua. He flourished towards
127

CA t

C AL

the latter end of the last century, and played by the Philharmonic band, but not
yet publicly performed. The following list
resided, during many years, at Paris.
CALEGARI, (CORNELIA) a female includes James'Calkin's principal composisinger, and composer of vocal music, prin- tions : divertimentos, " La Serieta con
cipally for the church at Milan. She' was I'Alkgria," "LesGraces," "TheShamrock,"
"La petite Flore," "VAmitii"
"Spanish
born at Bergamo in 1644.
CALKIN, (JOSEPH) violin and tenor Waltz," "La belle Ecossoise," "The Gordon
player, was born in 1781. He first studied Waltz," " L'Offrande de VAmitii," "C'esl
music under Thomas Lyon, and subse- I'Amour," " Les Plaisirs de Noel," air var.,
quently was articled for two years to Spag- "Waly, waly up yon bank," " he Troubanoletti. Hisfirstengagement in an orchestra dour duPage," air var., "Divertimento d la
was at Drury-rane theatre in 1798, where Militaire," "Divertimento d la Polonaise,"
he remained ten years; since which period " Quadrille Rondos," Nos. 3 and 10, " Le
he has been engaged as a tenor at the Opera, Pas Seul de Terpsichore," divertimento,
Ancient and Vocal concerts, and the Phil- &c. &c.
harmonic, of which society he is a member
CALL, (LEONARD DE) avoluminous'Coniand likewise librarian.
poser of instrumental music, chiefly for the
In 1813, Calkin married the widow of guitar accompanied, and published at Vithe late Mr. Budd, bookseller, of Pall-mall, enna since the commencement of the present
and has now the honour of being bookseller century.
to the king, therefore we may justly say,
CALLCOTT (JOHN W A L L ) was born at
he has " two strings to his bow." In 1821, Kensington Gravel-pits, Middlesex, in 1766.
he was appointed one of the king's state He gave early indications of that love for
band, which gives him the title of musician knowledge by which he was afterwards so
in ordinary to his majesty.
much distinguished.
CALKIN, (JAMES) younger brother to
At the age of seven, he was sent to a
the preceding, was born in London in 1786. neighbouring school, where he made conHe finished his education at Dr. Burrows's siderable progress in Latin and Greek.
school in Soho-square, and reflects with great When only twelve years old, he was taken
pleasure that he sat at the same desk with from school, and from that period may be
the celebrated H. It. Bishop. He began to said to have educated himself.
learn the violin at a very early age, being
In the summer of 1778, he obtained an
taught at that time by his elder brother, and introduction to the organist of Kensington,
at the age of thirteen was apprenticed (for and, constantly attending the organ-loft,
seven years) to Thomas Lyon, of whom he acquired, as a recreation, the first rudiments
learned the piano-forte, violin, violoncello, of music, having previously determined to
and thorough-bass.
follow surgery as a profession.
Four or five years ago, Calkin was elected
His study of anatomy was however but
(unanimously) an associate of the Philhar- for a short period; for, witnessing a severe
monic society; and last year an honorary operation, his feelings received such a shock
associate of the Concentore society. He that he abandoned from that time all idea
has composed many divertimenti, &c. for of the medical profession.
the piano-forte, also several instrumental
In 1779, he commenced his practice of
quartets, one of which was performed at music, attempted composition, and wrote
the British concerts last season : the latter various pieces for a private play. He also
has been published, and, as a mark of re- continued to improve himself in classical
spect for the inimitable manner in which he learning, and in the French, Italian, Hebrew,
played it, is inscribed to Mr. Mori.
and Syriac languages, algebra, and some
Calkin has further written a grand sinfo- branches of the mathematics.
nia for a full orchestra, which has been
In 1782, he was introduced to, and
128

C A L
became intimate with the late Drs. Arnold
and Cooke, also with Mr. Sale.
In 1783, he became assistant organist at
St. George the Martyr, Hanover-square
and in 1785, Dr. Cooke introduced him to
the members of the academy of ancient
music. The professional connections he
now formed gave him his first bias toward:
glee writing.
Having assiduously studied harmony and
counterpoint, in 1784 he sent his first glee
to the catch club as a candidate for the
prize. It was unsuccessful; but he was not
discouraged, and diligently prepared a number of compositions for the following year,
when he experienced the gratification of
finding himself signally rewarded with three
medals.
About this period, he actively engaged
with Dr. Arnold in the formation of the glee
club ; and in compliance with an invitation
to take a bachelor's degree, from Dr.
Philip Hayes, professor of music at Oxford,
he commenced bachelor in 1785, and set for
the occasion Wharton's "Ode to Fancy''
In 1786, two more medals were awarded
him from the catch club, and through the
recommendation of Dr. Arnold he succeeded to several valuable engagements as
a teacher.
In 1787, the catch club admitted him as
an honorary member, and he sent in nearly
one hundred compositions as candidates for
the prizes. On that occasion, oniy two
pieces, a canon and a glee, were successful
but in consequence of this extraordinary
influx of compositions, it was resolved that
the pieces presented should be limited to
three of each description. Complying with
this new regulation, in 1789, Callcott offered
on)y twelve pieces, but all the four medals
were assigned him, a circumstance unparalleled in the history of the catch club. This
same year, he was chosen joint organist, with
C. Evans, of St. Paul's, Covent-garden.
In 1790, Callcott obtained an introduction to Haydn, then in England, and under
that great master for some time studied
instrumental music.
From 1789 to 1793, (after which the
VOL. I.

CAL
catch club ceased to offer prizes) he never
failed annually to obtain distinction, but
the chief part of his time was occupied in
teaching.
At this period he began to study the
theoretical writers in music. Irom the
perusal of these works he felt emulous to
rank among the didactic writers of his
country. An intimacy formed about this
time with Overend, the organist of Isleworth, greatly increased this desire.
On the death of Overend, Callcott purchased all his manuscripts, as well as those
of Dr. Boyce, and it was the study of these
which determined him to compile and write
a musical dictionary.
In 1797, the plan being completed, he
began to collect his materials, and contrived
each day, notwithstanding other numerous
engagements, to gain a portion of time for
reading and making extracts at the Britisk
Museum, of which labour many volumes
remain.
In 1800, he took his doctor's degree in
music at the university of Oxford, and his
exercise on the occasion was a Latin anthem.
In 1801, the Kensington volunteer caips
was established, and Callcott determined
to form a military band from among the
inhabitants of the place. Assisted by a
subscription, he procured instruments, and
not only composed, compiled, and arranged
all the music for the performance, but even
taught the performers himself. The great
fatigue he thus underwent had an injurious
effect upon his health, and his friends
ventured to remonstrate, but were silenced
by that cheerful confidence he always expressed in his own powers.
The- compilation for his dictionary still'
ent on, but the labour of classifying his
materials interfering too much with other
occupations, he resolved to relinquish its.
further prosecution until a future period;
a period which wasneverto arrive. Think'ng, however, that the public had ground
to expect something from him on the theory
of music, in consequence of his prospectus for
the dictionary, he wrote', in 1804 and 1805,
lis "Musical Grammar." In the same year,
K
129

CAM

C AL
he succeeded Dr. Crotch as lecturer1 on
music at the royal institution; but his
health was now too seriously impaired, and
the very anxiety he felt to execute with
honour the task he had undertaken completely overcame him, and he became at
once incapable of all business.
During the indisposition which followed,
the public esteem and admiration for Dr.
Calleott's talents and character displayed
themselves in a remarkable manner.
In his absence he occasionally employed
himself in composition, and, among other
things, planned a work on musical biography, but was never able to carry it into
execution.
At the end of five years his friends indulged the idea of his complete and permanent restoration to health ; but their hopes
were eventually disappointed. After a
period of two years his indisposition returned, and in the spring of 1821 his constitution was unable to resist any longer
the ravages made upon it by repeated
attacks, and he was released from a life of
affliction on May 15, 1821, in the fiftyfifth year of his age.
Of the character of Dr. Callcott, it is
sufficient to observe, that the excellent qualities of his heart were fully equal to his extraordinary talents, and that he possessed the
sincere affection of every one who knew him.
His compositions were very numerous,
and his printed works are by no means
equal in extent to those which still remain
in manuscript.
Many of these consist of anthems, services, odes, &c. &c; but his fame will chiefly
Test upon his admirable glees, catches, and
anons.
These were given to the world at various
times, and in a great variety of publications;
but a collection of the most favourite among
them has been lately made, in two folio
volumes, by his son-in-law Mr. Horsley,
together with a memoir of the author,
whence we have extracted the greater part
of the above account.
CALLCOTT, (Miss SOPHIA) daughter
f the preceding, is eminent as a teacher
130

of thd piano-forte;
London.
CALLEGARI.
CALLENBEBG,

she resides near

See CALEGARI.
(GEORGES ALEXAN-

DER H E N R Y HERRMANN Count of) a Ger-

man nobleman, born in 1744. He composed

some sonatas, which were published at
Berlin in 1781.
CALLENBERG, a celebrated organist
at Riga about the year 1739.
CALMUS, a performer on the violoncello,
and composer for his instrument, at Altona,
in 1797. He died at Dresden in 1809.
CALORI, (SIGNORA) an Italian female
singer in London, in the year 1758.
CALVI,

(GIOVANNI

BATTISTA)

an

amateur composer of dramatic music at

Milan, between the years 1784 and
1788.
CALVI, (LORENZO.)

See CALVO.

CALVIERE or CALVIAIRE, a celebrated organist and composer at Paris, was

born in 1695. His " Te Deum" is a very
fine composition. He died in 1755.
CALVISIUS, (SETHirsor CALVITZ) the
son of a poor peasant, and, born in
Thuringia in 1556, was a learned theorist
and a good practical musician; he published a Latin work on mus;ie in 1592, and
composed much music for the church. He
died in 1617.
CALVOER, (GASPA.TID) a German
writer on music, who died in the year
1725.
CAMBERT, organist at Paris, and the
first French musician -who tried to set an
opera, quitted France in disgust on Louis
XIV. taking from him. the management
of the opera and giving it to Lulli. He
came to London, and was appointed master
of king Charles II.'s band.. I t has been said
that Cambert, who died ir i London in 1677,
broke his heart on acci mnt of the bad
success of his operas in EB gland.
CAMBINI, (GUISEPPI ) a voluminous
composer of vocal and ins1 .rumental music,
published in France and & ermany between
the years 1780 and 1800.- He was a pupil
of P. Martini, and a correci theorist.
CAMBIO, (PijKissoNE] a composer of

CAM
little national songs, " Canzone Villdttescke,
alia Napolitana," some of which were published at Venice in the middle of the
sixteenth century. Dr. Burney says, " In
these canzone there is generally more
humour in the words, and more air and
vivacity in the melody, than in any other
compositions equally ancient. They appear
to have been originally sung in the streets
in parts, as the words of several imply. In
one of them a singing-master speaks, who
offers to teach the gamut in an hour, and
the syllables, ut, re, mi, fa, &c. are ingeniously applied in most of the parts, to
such sounds as require them in solmisation."

CAM
CAMPBELL, (ALEXANDER) editor of
some Scotch songs in 1792, also of some
harp music. We believe he was an organist
at Edinburgh.
CAMPELLI, an opera composer at
Padua in 1707.
CAMPION, a French composer, and
didactic writer on music, in Paris, at the
commencement of the last century.
CAMPION, (Dr. THOMAS) an English
poet and musician in the seventeenth
century; he published also didactic works
on music.
CAMPIONI, (CAULO ANTONIO) chapel-

master to the grand duke of Tuscany. He

composed a celebrated " Te Deum" in
1767. He also published some violin
duets.
CAMPOBASSO, (VCNCENZO) adramatic
composer at Milan in 1789.
CAMPORESE (MADAME.) This celebrated singer is the wife of Signor Giustiniani, a gentleman of family and respectability.
She was principal chamber-singer at the
court of Buonaparte, and never appeared as
an actress till shemadeher ddbut, in 1817,
at the King's theatre in the Haymarket,
in Cimarosa's Penelope. She was at first
extremely embarrassed; but every successive performance dispelled a part of her
fears, and in her next character, the Contessa, in the Nozze di Figaro, she had so
entirely conquered them, that her reputation
as an actress was completely established,
her deficiency from the first having been
only in the usages and manners of the
theatre. In Agnese, and Donna Anna ia
II Don Giovanni more especially, she gave
proofs of consummate talents. In the
season of 1818, the management of the
Opera-house having passed into other hands,
Miss Corri was substituted as prima donna
for Madame Camporese, who quitted
England, but was reengaged by Mr.
Ayrton for the season of 1821, when she
gave peculiar satisfaction in the pan of
Ninetta, in La Gazza Ladra, where the
situations, more interesting than the music,
called into full exertion her abilities as an

CAMEFORT, a French composer of

songs in the reign of Louis XIV.
CAMERA, (M.) a violinist and composer
for his instrument, born at Venice about
the year 1770.
CAMERLOHER
or CAMMERLOCHER, (Don PLACIDO DE) chambermusician at Munich, published some instrumental music at Amsterdam and Nuremburg about the year 1760.
CAMIDGE, ( D R . ) an eminent organist
and composer, resident at York. He presided at the organ, at the grand vocal
festival at York, in 1823. His organ introductions to some of Dr. Croft's anthems,
performed at the meeting, were so masterly
as to attract great and deserved attention.
(Clementi's Cat.)
CAMIDGE, ( M R . ) an eminent musician, also residing at York. He was an
assistant conductor, with Dr. Camidge, at
the York festival. (Clementi's Cat.)
CAMILLE, a composer of piano-forte
music at Paris about the year 1780.
CAMPAGNOLI, (BAETOLOMEO) violinist at Dresden in 1783. He was born in
Italy in 1751. He has published much
instrumental music, and was living in
Germany in the year 1802. Among his
more favourite productions are, " Variations
on three Themes of Mozart," " Threi
Duets Concertante, dedicated to his friend
Dtirand," and " Three Duets, dedicated to
actress.
W. Schrepffer."

K2

In 1822-1823, she appeared

131

CAN

CAN

in Deidemona, in Bossini's Otello, which at Paris towards the end of the seventeenth
was considered as her best character, and century.
at the end of the season, after singing
CANDEILLE, (M. or P . J.) a dramatic
admirably at the oratorios and various public composer at Paris in the latter half of the
concerts, she retired from the stage and last century; he also composed some
public singing. The purity and force of motets.
Madame Camporese's style as a singer, the
CANDEILLE
SIMONS, ( E M M )
sweetness of her voice, and the tenderness, daughter of the preceding, a French actress,
power, and, above all, the delicacy of her singer, and composer at Paris since the year
expressive manner as an actress, will not 1787. She was a good performer on the
soon be forgotten in this country.
harp.
CAMPBA, (ANDRE) born at Aix, in
CANDIDO, (LODOVICO) a violinist and
Provence, in 1660, was at first a chorister composer for his instrument at Venice in
in the cathedral of that city, having for his 1712.
instructor iu music William Poitevin,
CANETTI, (FRANCESCO) an Italian
preacher to that church. Soon after his dramatic composer between the years 1784
leaving the choir, he became distinguished and 1790.
by his motets, which were performed in
CANGE, (CHARLES DU.) See FBESNI.
churches and private concerts. His genius
CANIS, (CORNELIUS) a Belgian, comhaving been too much confined, while re- posed several good canons, which were
strained to the narrow limits of a motet, he published in the Antwerp and Louvain
set himself to compose for the stage, and collections of songs, printed about the
made the music to sundry operas. The grace year 1544. He died before the year
and vivacity of his airs, the sweetness of his 1556.
melody, and, above all, his strict attention to
CANNABICH, (CHRISTIAN) chapelthe sense of the words, render his com- master to the elector of Bavaria, was a
positions truly estimable. Campra died at pupil of Stamitz, and considered as one of
Versailles in 1744.
the best violinists in Germany. He comCANABICH,
(CHIUSTIAN) chapel- posed some operas and other dramatic
master to the elector of Bavaria, a native of music between the years 1788 and 1794.
Manheim, and a pupil of Stamitz for the He died in 1797.
violin and composition, was, about 1726,
CANNABICH, (CARL) son of the prefirst violin, and in 1765, concert-master and ceding, was born at Manheim in 1769.
director of the Italian opera at Munich, He was a good violinist, and published
with a salary of about two thousand three twelve works of vocal and instrumental
hundred pounds. He was considered as music between the years 1797 and 1803;
one of the best solo players in all Germany. his compositions display much talent. He
Many of his compositions, in symphonies died at Munich in 1806.
and other instrumental pieces, were pubCANOBIO, (CARLO) a violinist and
lished even in Paris and London.
composer towards the end of the last
CANABICH, son of the preceding, was century.
first violin at the theatre of Munich. He
CANTING, (PAOLO) a composer of
published three sonatas for the piano-forte, madrigals at Venice in 1785.
with accompaniments for the violin and
CANTOSCHKIN. See CHANDOSCHKIN.
violoncello.
CANUTI, (GIOVANKI ANTONIO) an
CANAILLE or CANAL, an instru- Italian composer of vocal music about the
mental composer in London about the year year 1790.
1798.
CANZI, (MLLE.) an Italian singer
CANAVASSO, two brothers of this and pupil of Salvieri ; she lately made her
name, violinists and composers, were living first appearance at Stuttgard.
132

CAR

C A R

CAPARELLI, an Italian performer on was the baron De Mttnck, a native of

the horn and composer for his instrument; Alsace, who formerly held the rank of
some of his music was published at Vienna colonel in the French service.
in 1799.
The musical education of Mademoiselle
1
CAPOLLINI (MICHEL ANGELO) com- De Munck was completed entirely under
posed the music to a sacred drama at the guidance of her mother, without the aid
Mantua in 1627.
of masters or any other auxiliary. The death
CAPORALE, a celebrated violoncellist. of the baron de Mtlnck, and the consequent
He came to London in 1735, and though failure of pecuniary resources in his family,
no profound musician, nor gifted with a at length obliged his daughter to employ
very powerful hand, he was heard for some her musical powers professionally ; and for
years with great partiality, from the almost this purpose she came to England, and under
single merit of a full, sweet, and vocal tone. the name of Caradori, derived from a branch
He published some solos for his instrument of her mother's family, made her de'but at
the King's theatre on the 12th January,
in London.
CAPPONI, (GIOVANNI) an Italian 1822. The first character in which she
dramatic composer about the year 1600. appeared was the Page, in Figaro, and it
He was probably in the service of the duke is not a little remarkable that circumstances
required her to learn that part, and to make
of Savoy.
CAPPONI, (RANIEKI) an Italian abbe", her first appearance on any stage within
published twelve sonatas at Florence in the short period of three days.
It is, perhaps, needless to add, that this
1743.
CAPPUS, (JEAN BAPTISTE) a French attempt was completely successful, and
composer of vocal and instrumental musie, that she has since been equally fortunate
in the operas of " II Barone de Dolsheim,"
between the years 1730 and 1733.
CAPRANICA, (MATTEO) an Italian " Elisa e Claudio," " Coradino," and " La
Clemenza di Tito," in the latter of which,
dramatic composer at Rome in 1746.
CAPRICORNUS
or BOKSHORN, she sustained the part of prima donna. As
(SAMUEL) chapel-master at Stuttgard ; much a concert singer, Madame Caradori has
of his vocal and instrumental music was rapidly risen into public estimation by her
published between the years 1655 and performances at the Philharmonic society
1708, though some of it probably is post- and other musical establishments in different
humous, as he is supposed to have died at parts of the kingdom, especially at Brighton,
Oxford, Bath, Bristol, Gloucester, &c. &c.
Stuttgard in 1669.
CAPRIOLI (GIOVANNI PAOLO) pub- As a composer, she is best known as the
authoress of the pleasing romances, "La
lished some sonatas at Venice in 1628.
CAPRON, a French composer. He plus jolie," " Le sourire," and " La
made his dibut at the spiritual concerts Jileuse."
The principal advantages possessed by
about the year 1768, and soon after published some sonatas and quatuors for the Madame Caradori are, a voice of great
sweetness, flexibility, and justness of intonviolin.
CAPUTI, (ANTONIO) a dramatic com- ation ; an extensive knowledge of the
different branches of the art which she
poser about the year 1754.
CAPUZZI or CAPUCCI, (ANTONIO.) possesses; and a facility of reading music,
There are two brothers of this name, by which she is enabled at once to sing and
violinists at Venice, composers of dramatic accompany (a prima vista) any vocal piece
and instrumental music since the year which is presented to her. To these may
be added, an intimate knowledge of four
1785.
CARADORI (MADAME) was born in languages, of which the English is one, and
the Casa Patalani at Milan. Her father the possession of youth, an agreeable person,
133

CAR

CAR

greatly in favour with the nation at the

time he finished his studies, he composed
chiefly in this style. One of his religious
hymns is still sung at Naples, on the fete
of Santa Francesca Romana. Carapella
afterwards set to music, with great success,
the opera entitled " Massimi."
After
having successively and equally succeeded
in both the sacred and profane styles, and
taken rank among the best masters of his
school and of Italy, he published a collection of his hymns and cantatas for two
CARAFFA, ( L E CHEVALIER) a dis- voices, distinguished for their perfection in
tinguished Neapolitan composer, now living, melody; a work which recommends him to
is considered as uniting an ardent mind to the esteem of posterity, although not his
the most exquisite sensibility. All his only claim to honourable recollection.
compositions attest these two qualities.
CARAVACCIO, (GIOVANNI) a comThe opera entitled " II Vascello del' Occi- poser of church music at Venice in 1620.
dente," first introduced him as a composer
CARAVAGGIO, (GIOVANNI GIACOMO
to a Neapolitan audience. " Galriella de CAYTOLDI EE) a poet and composer of
Vergey," which succeeded it, is undoubtedly vocal music at Venice in 1590.
one of the best modern compositions. He
CARAVOGLIA, (BARBARA) principal
has lately composed, for the Parisian stage, female singer at Naples in 1788.
the opera of " Jeanne d'Arc," which is
CARAVOGLIA,
( M A R I A CARACCI)
extremely popular ; also several other operas principal female singer at Florence in
for the theatres of Rome, Venice, Milan, 1788, and principal female singer at
and Paris ; among which may be named, Vicenza in 1790.
" Abvfa, ossia la Famiglia Araba."
CARBONEL, (JOSEPH NOEL) a very
CARAFFE, the younger, chamber-mu- celebrated French performer on the tamsician to the king of France ; he published bourine ; he published a method for his
several symphonies about the year 1752.
instrument in 1766. He died in 1804.
CARAPELLA (TOMMASO) was born at
CARBONEL, (JOSEPH FRANCOIS NARNaples about 1700, and delighted that city OISSE) probably the son of the preceding,
by his compositions, which, although in was born at Vienna in 1773. He has
the ancient style, termed by the Italians composed much vocal and instrumental
madrigalesco, united energy with taste and music, published at Paris.
sentiment. His master is unknown, but his
CARBONELLI, (STEFFANO) a celecompositions obtained the approbation of brated violinist and pupil of Corelli,
the learned, both in the theory and practice came to England from Rome about the year
of music. The sound doctrines and pure 1720. He was received into the family of
principles which had presided at the found- the duke of Rutland, a great patron of
ation of the Neapolitan school, and under music. During his residence with this
whose auspices its numerous great works nobleman, he published and dedicated to
had been produced, revived under the pen him twelve solos for a violin and bass, of his
of Carapella, or rather, he was one of its composition, which he frequently played in
most religious defenders, and endeavoured public with great applause. About the
to prevent the diffusion of bad taste or year 1725, he quitted the Opera-house and
false doctrines, and the destruction of the went to Drury-lane theatre, where he led
sacred and venerable vestiges of ancient the band, and frequently played select
simplicity.
Hymns and cantatas being pieces between the acts. After continuing
134

a graceful deportment, and high moral

character.
In August, 1823, Madame Caradori was
married to Mr. Allan, the secretary of the
King's theatre ; and from this circumstance,
as well as the fact of her engagement at the
opera for two unexpired years, it is improbable that she will soon quit England.
It is even understood that proposals have
been made to her for the transfer of her
talents from the Italian to the English
boards.

CAR
a few years at Drury-lane, Carbonelli
quitted his station there and attached himself to Handel, at the time when he
began to perform oratorios. For a series
of years, he played at the rehearsal and performance at St. Paul's, for the benefit of the
sons of the clergy. At his first coming into
England, Carbonelli professed himself to be
- of the Romish persuasion ; but after his
arrival he became a Protestant, and married
the daughter of Mr. Warren, parish-clerk of
St. James's, Westminster. In the latter
part of his life, he in some measure declined
the profession of music, and betook himself
to that of a merchant, and an importer of
wines from France and Germany. By the
interest of a powerful friend, he obtained
the place of one of the purveyors of wine to
the king, and died in that employment in
the year 1772. At the time of Carbonelli's
resigning his profession of violinist for that
of wine merchant, the following lines were
written, which have been admirably set to
music, as a duet, by Dr. Cooke :
Let Rubinelli charm the ear,
And sing, as erst, with voice divine.
To Caibonelh I adhere,
Instead of music, give me wine.
But yet, perhaps, with wine combined.
Soft music may our joys improve,
Let both together then be join'd,
And feast we like the gods above.

CARBOR, (ROBERTTJS) one of the oldest

known composers of sacred music in Scotland : a mass of his composition in the
twelfth century is extant.
CARCANI, (JOSEPH) chapel-master at
Venice, was a celebrated dramatic composer
about the year 1 742.
CARD, (W.) an English professor of the
flute, now living, and composer of music for
his instrument and for the piano-forte.
CARDANE, (A.) a composer of masses,
some of which were published at Paris, in
a collection of masses, in the year 1554.
CARDINI, an Italian violinist, engaged
at the King's theatre in 1818.
CARDON, a harpist at Paris,^and composer for his instrument; his method for the
harp was published at Paris in 1785. He
died in Russia about the year 1805,

CAR
CARDOT.

See SUEIET.

CARDUCCI, (GIOVANNI GIAOOMO) a

vocal composer at Venice in the latter half

of the sixteenth century.
CAREAU, (Du) a composer of songs at
Paris in 1712.
CARELIO, (ANTONIO) a violinist and
composer, born in Sicily. He published
some sonatas at Amsterdam in 1810.
CARESANI, (CrusTOFono) organist at
the chapel royal of Naples about the year
1680, is considered one of the best composers of his time. His duos, which appeared
in 1681, are especially held in estimation.
Choron, at the end of his " Principes de
Composition" has given exercises on all
the intervals by Caresani, which are in the
highest degree useful.
CARESTINI, (GIOVANNI) a celebrated
Italian singer, was born at Mount Filantrana, in the M .rch of Ancona, and at
twelve years old went to Milan, where he
was patronised by the Cusam family, whence
he s was frequently called Cusnnio. His
voice was at first a powerful and clear
soprano, which afterwards changed to the
fullest, finest, and deepest countertenor
that has perhaps ever been heard. His first
appearance on the stage seems to have been
at Rome, in 1721, in the female character of
Costanza, in Buoooncini's opera of "Griselda." In 1723, he was at Prague during
the great musical congress there, on occasion of the coronation of the emperor
Charles VI. as king of Bohemia. In 1724,
he was at Mantua; and in 1726 at Venice,
where he performed with Farinelli and the
famous tenor Paita. In 1728, he was at
Rome, and again in 1730, where he performed in Vinci's celebrated operas of
"Alessandro nell Indie," and " Artaserse,"
both written by Metastasio. He was now
engaged by Handel to supply the place of
Senesino, who, together with his whole
troop, except Strada, had deserted from his
service, and enlisted under the banners of
Porpora and the nobility at Lincoln's-innfields. Handel is said, however, to have
treated Carestini but scurvily after having
engaged him, though probably not without
135

CAR
a cause, if we may judge from the following
anecdote. The very simple and well-known
air, " Verdi prati," in Alcina, which was
constantly encored, was at first sent back to
Handel by Carestini as too trifling for him
to sing; upon which, he went in a great
Tage to his lodgings, and, with a tone in
which few composers except Handel ever
ventured to accost a first-rate singer, exclaimed, in his usual curious dialect, and
with his accustomed impetuosity, " You
tog! don't I know better, as yourseluf,
vaat is pest for you to sing 1 If you vill not
sing all de song vaat I give you, I vill not
pay you ein stiver." Carestini's person was
tall, beautiful, and majestic. He was also
a very animated and intelligent actor. He
manifested great agility in the execution of
difficult divisions from the chest in a most
articulate and admirable manner. It was
the opinion of Hasse, as well as of many other
eminent professors, that whoever had not
heard Carestini was unacquainted with the
most powerful style of singing. He continued in the highest reputation for twenty
years after quitting England, and sang at
Berlin in 1750, 1754, and 1755, and at
Petersburg till *the year 1758, when he
returned to Italy and soon after died.
CAREW, (Miss.) This eminent English
vocalist was born in London, of a good
family, originally Irish. Her grandfather
was a captain in the navy, and her father
enjoys a respectable situation in one of the
government offices. She gave early intimations of musical ability, and was placed
under the tuition of Mr. James Welch
Her musical education was directed to the
stage, and she appeared at Covent-garden
in 1815. She attracted a good share o:
public regard, and appeared subsequently
at the Haymarket, the English opera, and
at Drury-Iane. She was also engaged in
the Philharmonic and various public and
private concerts of London; at Bath, Oxford, York, Manchester, Norwich, and other
places. Miss Carew has of late seceded from
the stage, and is occupied in teaching and
singing at concerts. Miss Carew's voice is
not extremely powerful, but her intonation
136

CAR
;s perfect, and the sweetness and ductility
if her notes, joined to excellent taste and
cience, justly entitle her to a high rank
amongst the most distinguished British
'emale singers of the present day.
CAREY (HENRY) was a man of faceious temper. He was a musician by pro?
ession, and one of the lower order of poets.
His first preceptor in music was Olaus
Westeinson Linnert, a German; he received
some further instructions fromRoseingrave;
and, lastly, was a disciple of Geminiani;
but with all the advantages he might be
supposed to have derived from these instructors, the extent of his abilities seems
to have been the composition of a good
ballad air, or at most a cantata. About
the year 1744, in a fit of desperation, he
laid violent hands upon himself at his
house in Warner-street, Coldbath-fields,
putting a period to a life which he had led
without reproach. In all the poems and
songs written by Carey on wine, love, aod
such kind of subjects, he manifested an
inviolable regard for decency and good
manners. He composed the air of " Sally
in our Alley," as also, we believe, " All in
the downs,"
CARISSIMI, (GIACOMO) chapel-master
of the German college at Rome, and of the
pontifical chapel, from about the year 1640.
His productions are very numerous, though
it does not appear that he composed for the
theatre. His sacred and secular cantatas
and motets have always had admission into
every collection of good music. He did
not invent the cantata, but has the merit of
transferring this invention from the chamber to the church, also of improving recitative in general. There is something interesting, says Dr. Burney, in the most trivial
compositions of this admirable master, and
iu his works may certainly be traced more
traits of fine melody than in those of any
composer of the seventeenth century. It is
manifest that Purcell partly formed his style
on the productions of Carissimi. He is said
to have acquired a considerable fortune by
the exercise of his profession, and to have
lived to the age of ninety. Being praised

CAR

CAR

for the grace and ease of his melodies, he

is said to have replied, "Ah ! qneslo facile,
quanto t! difficile !" " A h ! with what difficulty is this ease acquired!" There are some
curious specimens of this composer's works
in Dr. Burney's History, vol. iv. p. 143.
CARLETON, (RICHARD) an English
clergyman and composer of madrigals in
1601. His madrigal (No. 8.) in the " Triumphs of Oriana," is said, in the Quarterly
Musical Review, to be only remarkable for
the bad arrangement of the parts.
CARLO, (GIOVANNIGASPARO) an Italian
composer in the first half of the seventeenth
century.
CARLOBONI, a harpist and composer
for his instrument at Paris in 1794.
CARLSTATT, (JOHANN) a vocal composer in Germany at the beginning of the
seventeenth century.
CARNABY. ( D R . ) an English composer,
resident in London. His vocal works are,
in general, scientific, but their taste is by
no means commensurate with modern improvements.
CAROLI, an Italian composer of church
music in the middle of the eighteenth
century.
CAROLUS, (JOANNES) a Spanish writer
on the guitar in 1626.
CARON, (AUCUSTIN) a composer of
music for the piano-forte at Paris about the
year 1800.
CARON, an old French composer, who
flourished before the period of the renovation
of the arts.
CAROSO,

(MARCO FABRIZIO)

author

of a collection of dances at Venice in 1581;

the music of them is regularly barred, which
is not the case with any other music of the
fourteenth century that Dr. Burney ever
saw.
CARPANI or CARPINL (GAETANO) a
church composer of the year 1750; he was
considered the most profound contrapuntist
of his day in Rome. The celebrated Clementi took lessons of him for some time.
See CLEMENTI.

CARPENTIER, author of a method for

the guitar, Paris, 1770,

CARPIANI, (LUCAS) chapel-master at

Bologna, and dramatic composer, in 1673.
CARPINL SeeCARPANi.
CARRE, (Louis) a French writer on
music at the commencement of the last
century.
CARRE, (REMI) a French monk and
writer on singing in the year ] 744.
CARTELLIERI, (A.) a composer of
vocal and instrumental music, published at
Berlin and Vienna between the years 1792
and 1806.
CARTER, (THOMAS) a singer and composer of vocal music, was a native of Ireland, but left that country very young, and
was patronised by the Earl of Inchiquin.
He finished his musical education in Italy;
and while at Naples was much noticed by
sir "William and lady Hamilton. He composed the beautiful ballad of " O Nanny
wilt thou gang with me" also the celebrated description of a sea-fight, " Stand to
your guns, my hearts of oak." He was
likewise known as composer of a capriccio,
beginning with the words "Fairest Z)o
rinda," in which he united all the elegances
of musical science with the most humorous
comic expression. Carter passed some time
in India, where he conducted the musical
department of the theatre in Bengal; but
the climate so greatly affected his health
that he was under the necessity of returning
to England; and it is supposed that in India he imbibed a liver complaint, which, at
length, in the year 1804, terminated his
existence. Mr. Carter did not always
meet with that encouragement to which his
musical talents might have entitled him;
and, as economy was not among the virtues
which he cultivated in early life, he was
often reduced to those straits and difficulties
from which genius and talent can plead no
exemption. In one of those scenes of embarrassment, his means and resources having
been exhausted, he ransacked the various
species of composition he had by him, but
finding that none, nor all of them, would
produce a single guinea at the music shops,
he hit upon the following expedient for
the immediate supply of his most pressing
137

CAR

CAS

necessities. Being well acquainted with the ' and from thence proceeded to Sicily, where
character of Handel's manuscript, he pro- he was named chapel-master at Palermo.
cured an old skin of parchment, which he The style of this composer was formed upon
prepared for the purpose to which he meant that of the best masters.
CASALI, (GIOVANNI BATTISTA) chapelto turn it, and imitating as closely as he
could the handwriting as well as the style master at Rome in 1760. He had the
and manner of that great master, he pro- honour of being master to Gretry. He comduced, in. a short time, a piece, which so well posed a great number of masses, some oradeceived a music-seller, that he did not torios, and also a few works for the theatres.
hesitate to give twenty guineas for it, and The second mass in the first volume of
the piece passes this day, amongst many, for Novello's collection is by Casali.
a genuine production of Handel.
CASALI, (LUDOVICO) a writer on music
CARTIER, (JEAN BAPTISTS) a good at Modenain 1629.
French violinist at Paris since the year
CASATI, (FRANCESCO) an organist and
1791. He was a pupil of Viotti, and pub- composer of motets in Venice at the beginlished much music for his instrument be- ning of the seventeenth century.
tween the years 1792 and 1801 ; he has
CASATI, (GASPABO) a Venetian vocal
also edited the sonatas of Corelli, Porpora, composer in the middle of the seventeenth
and Naidini,
century.
CARTONI, an Italian bass singer at
CASATI, (TEODOEO) an organist and
the opera in London in 1822. He is a vocal composer at Milan in the middle of
bass of limited volume, unimpressive tone, the seventeenth century.
and defective intonation. He is an hoCASE, (JOHN) an English physician,
norary member of the royal academy of born at Woodstock. He wrote a work
music.
called " The Praise of Musicke," an edition
CARULLI, (FERDINANDO) a Neapolitan of which was published at Oxford in 1786.
guitarist and composer for his instrument. Also, two years afterwards, a Latin work on
He was born in 1770. He has published music. He died in 1600.
at Paris an excellent method for his instruCASEGRANDI, a vocal composer in
ment.
London about the year 1794.
CARUSO, (LTJIGI) born at Naples in
CASELLI, (GUISEPPE) an Italian vio1751,was son of a chapel-master of some esti- linist and composer for his instrument. He
mation, and brother of Emmanuale Caruso, was at Petersburg in 1760.
who also distinguished himself as a musiCASENTINI, (MARSILIO) a composer
cian. He quitted Naples at the conclusion of madrigals and other vocal music, pubof his studies, which were pursued under lished at Venice in 1607 and 1615.
his father. Hisfirstopera was " II Medico
CASIMIR, (Louis HENRY FHEDEHIC
magnifico" given at Florence in 1771. BEECHER) a harpist, born at Berlin in 1790.
Encouraged by its favourable reception, He was brought into France at ten years of
Caruso composed for Rome, in 1781, " II age by Madame de Genlis, and has since
Fanatico per la Musica," which succeeded performed in public with much success.
completely, and supported several repreCASINI, ( D . G I O V A N MARIA) a Florensentations. I t was followed by "La Tem- tine priest and composer, was chapel-master
pesta," " Colombo," and " / / Maledico con- and organist to the grand duchess of Tusfuso," which were equally fortunate. He cany in the year 1700, and published some
returned to Naples, where he gave " Gli vocal and instrumental music between the
Amanti dispettosi," founded on "Le Dipit years 1706 and 1714.
Amoureux" of Moliere. Caruso resided
CASSANI, (SICNOR) an Italian singer
some time in Germany, where he dis- at the opera in London in 1708.
tinguished himself in vocal composition,
CASSJODORUS, (MAGNUS A U B E H U S )
138

CAS

CAT

a Roman consul, who wrote on the subject

of music. He died in 1575.
CASTAGNEDA Y PAREES, (D.
ISIDORA) author of a theoretic treaty on the
first elements of music, published at Cadiz
in 1785.
CASTALDI.

See GASTOLDI.

CASTEL published some violin music at

Paris in 1780.
CASTELBIANCO,

(QUIEINO

DI) a

performer on the harpsichord and composer

for his instrument, living in Italy in the
year 1700.
CASTELLI, (PAOLO) a dramatic composer and poet at the court of Vienna in
1683.
CASTELLI, (VALENTINO) an Italian
composer, now living. A very pleasing duet by him, "In quel modesto asilo,"
has lately been imported by Messrs.
Boosey.
CASTELLO, (DA RIO) a composer of
instrumental music published at Venice in
the years 1627 and 1629.
CASTELLO, (GIOVANNI) an Italian
performer on the harpsichord, and composer
of some music for his instrument, published
at Vienna in 1722.
CASTELLA, (PAOLO.)

See CASTELLI.

CASTOLDIorGASTOLDI, (GIOVANNI

GIACOMO) born at Carraggio, was the author

of thirty musical works, the titles and dates
of which may be seen in Walther's " Musicalisches Lexicon." His ballads, printed at
Antwerp in 1596, under the title of " Balletti a 5 e 6 Versi per Cantate, Sonare, e
Battare; con una Mascherata di Cacciatori
a 6, e un Concerto di Pastori a &," put the
derivation of our word balladout of all doubt,
which originally meant a song, sung and
danced to at the same time. " The tunes
of Gastoldi," observes Dr. Burney, " are
all very lively, and more graceful than any
I have seen before the cultivation of melody
for the stage."
CASTRO, (JOHANNES A) a voluminous
composer of vocal music, published in the
Netherlands between the years. 1596 and
1600.
CASTRO VILLARI, a monk and Italian

dramatic composer in the middle of the

seventeenth century.
CASTRUCCI, (PIETKO) by birth a
Roman, was an excellent performer on the
violin. He succeeded Corbett as first violin
at the Opera-house, about the year 1718,
and led the opera band for many years; but
growing old, Handel had a mind to place a
young man named John Clegg, scholar of
Dubourg, at the head of the orchestra.
Castrucci, being in very necessitous circumstances, and not in the least conscious of
any failure in his hand, was unwilling to
quit his post: upon which Handel, in order
to convince him of his inability to fill it,
composed a concerto, in which the second
concertino was so contrived as to require
an equal degree of execution with the first;
this he gave to Clegg, who in the perform-,
ance of it gave such proofs of his superiority,
as reduced Castrucci to. the necessity of
yielding the palm to his rival. Oppressed
with years, he immediately sunk into oblivion, and at the age of eighty, upon the
merit of his past services, became a supplicant to the public for a benefit, at which he
performed a solo, and soon after died. He
published two sets of solos for a violin, with
a thorough-bass, and twelve concertos for
violins, which, though hardly known, have
great merit. It is Castrucci who is represented in one of Hogarth's prints as the enraged musician, the painter having sufficient
polissonnerie, previous to making the drawing, to have the musician's house beset by
all the noisy street-instruments he could collect together, whose clamorous performance
brought him to the window in all the agonies
of auricular torture.
CASULANA, (MADDELANA) a female
composer of some madrigals, published at
Venice and Brescia between the years 1568
and 1583.
CATALANI (ANGELICA.) This celebrated singer and actress is a native of
Sinigalia, in the neighbourhood of Rome,
where she was born, in the year. 1782.
Her father was a merchant, and lived in
high respectability, but, from the incursions
of the French, lost all his property. Very
139

CAT

CAT

early in life Catalani was noticed by

cardinal Onorati, who, being delighted
with the power and sweetness of her voice,
recommended her to the convent of Gubio,
with such injunctions on its masters, with
respect to the care and attention of their
fair pupil's talents, as soon rendered her
the accomplished subject of general conversation. During her residence in this house
of learning and religious repose, the fame
of her extraordinary voice brought persons
from distant parts of Italy to hear her sing.
As a striking instance of the delight which
the tones of her voice produced on her auditors at this period, it may be mentioned that
she was publicly applauded in the chapel of
the convent, when she sang with the nuns;
which the cardinal could by no other
means prevent, than by forbidding her performance in the church. At the age of
fifteen she left the above convent, when the
unexpected revolution in her father's affairs
first induced her to become a public performer ; for which purpose, she went to
Venice, where she made her first appearance
on the boards of a theatre, at the early age
of fifteen. She next proceeded to Milan,
where she made her de'but in an opera, in
which the celebrated Marchesi performed.
The great success which accompanied her
first exertions, together with the valuable
instructions she received in music from
Marchesi, soon gave Madame Catalani a
very high degree of professional eminence.
After having delighted the inhabitants of
Venice, Verona, and Mantua for three years
in her professional capacity, she was called
to Lisbon, where she continued three years,
enjoying every kind of attention her heart
could possibly pant for. In this city Monsieur de Valebreque, then a very young
officer in the 8th'regiment of French hussars,
fell in love with her during her performance;
and it is said, that a presentiment, on first
seeing each other, produced the following
remark: " I f ever I marry, that gentleman
(meaning the above) will be my husband :"
and the same sentiment was expressed by
Monsieur de Valebreque. In a short time
they were married, and, we understand,
140

have, to this time, passed eighteen years

together, in an uninterrupted state of domestic happiness. They have three children, two of whom were born in England.
Madame Catalani (for so we shall continue to call her) stood so high in the estimation of the court of Portugal, that when
she signified her intention of leaving Lisbon, the consort of the prince regent wrote
a letter to her mother, the queen of Spain,
recommending Catalani to her majesty
in terms of the strongest respect and admiration. On her arrival at the court of
Spain, her majesty received her with the
most familiar kindness, and was profuse in
her royal presents and favours. The king
also gave many proofs of his respect for her
moral demeanour and extraordinary talents;
one of which was the free use of the operahouse, by his command, for the performance
of a concert. Her reputation had, at this
time, advanced so rapidly in Spain, that the
grandees of the court fixed the prices of the
first seats in the opera at six ounces of gold,
which is equal to twenty-one guineas. Even
at this high price the theatre was crowded;
and the receipts, independent of presents,
amounted to two thousand five hundred
guineas. From Spain Madame Catalani
went to Paris, where her reception was the
most flattering, and where she gave four
concerts, the price of admission to which
was increased from the usual sum of six
francs (ten shillings) to one pound five
shillings, and each of these entertainments
produced to her twenty-four thousand francs.
The celebrity this beautiful and accomplished artist had acquired in Italy and
Lisbon soon reached England, and, as soon,
created a wish on the part of British amateurs, to attach such an acquisition to the
Italian opera of this country.
All the English who were in Portugal
at the time, and who witnessed the prodigious powers and great success of Madame
Catalani, recommended her going to England, and accepting whatever salary might
be offered her; but only for a single season,
as they were convinced that in the second
year she might make htpr own terms, both

CAT
at the King's theatre and at the London
concerts. In compliance with this advice,
she engaged herself for one year at the
King's theatre, at a salary of two thousand
guineas; and on the 13th of December,
1806, made her first appearance in London,
in the character of Semiramide, in the serious opera of that name, composed expressly for her by Portogallo. The prognostics of her friends in Lisbon were now soon
to be completely verified ; for in the second
season of Madame Catalani's residence in
England, she cleared more than ten thousand
guineas, as will appear by the following
calculation. She received five thousand
guineas from the King's theatre, and two
benefits assured to her at one thousand
guineas each ; one thousand one hundred
and fifty guineas from Harrison's and the
king's concerts; one thousand guineas from
the oratorios at Covent-garden; and more
than one thousand from different subscription concerts: thus forming a total receipt
of upwards of ten thousand guineas in less
than six months !
In 1807, she performed the part previously enacted by Mrs. Billington, in the
opera of cc II Fanatico per laMusica;" and
in 1808, appeared in various new characters, evincing her admirable powers as well
in the comic as tragic scene. In 1809, her
talents were withdrawn from the King's
theatre, in consequence of a misunderstanding with the managers. The same season
she gave six concerts at the Hanover-square
rooms, and performed at the oratorios. In
1810, she reappeared at the King's theatre,
and had two benefits, in which she personated La 'Vestalc in Pucitta's opera of
that name, and La Buena Figliuola in Piccini's opera so called. She also performed
at the oratorios, and succeeded Mrs. Billington at the Aucient concerts. In 1811,
she performed the " Elfrida " of Paesiello,
for her benefit. In 1812, she appeared in
the following, among other operas: " Enrico IV." of Martini; " La Clemenza di
Tito," of Mozart; "Camilla," of Paer; and
" IlNozze di Figaro," of Mozart. In 1813,
the Opera-liouse opened with " / / furbo

contra ilfurlo," aburletta by Fioravanti, in

which Madame Catalani performed. At her
benefit she appeared in an unsuccessful
opera, by Ferrari, " L'Eroina de Raai."
She also returned to the Ancient concerts,
which, for one season, she had seceded from.
In 1815, Madame Catalani quitted England, and proceeded to Paris, where the
king of France granted her the patent of the
Theatre Royal Italien, and condescended to
annex, by way of encouragement, an annual
allowance of about seven thousand pounds
sterling. She continued for four years proprietor and sole manager of that theatre,
then the most elegant in Paris. She gave
alternate engagements to the celebrated
composers, Paer and Spontini, for conducting the musical department, and also en-*
gaged, during the time mentioned, almost
all the first singers, both male and female,
of Italy. Nevertheless, as, when Madame
Catalani did not herself sing, the receipts
were trifling, the establishment became a
burthen to her, and she resolved on leaving
Paris, and exerting her talents in all the
capitals of Europe. The trumpet of fame
has successively announced to us the glorious fruits of this determination.
From Paris she went direct to Berlin,where
success the most flattering, and honours the
most distinguished, awaited her. She ex
cited no less admiration by her beneficence,
than by her extraordinary talents ; and his
Prussian majesty bestowed upon her the
most honourable reward, in deigning to
write her a most gracious letter, transmitting
to her, at the same time, the grand medal
of the academy (similar to that which the
great Frederick sent to Voltaire.) The
king's letter was published in all the journals of the time. Madame Catalani likewise
received from the court of Prussia the most
distinguished testimonies of kindness.
Laden with honours and presents, she
went from Berlin to Hanover. His royal
highness the duke of Cambridge, whose enlightened taste for the arts, and particularly
for music, is generally known, received her
with all that amenity which distinguishes
him; and all the ladies of the court
141

CAT
hastened to make her sensible of their goodness. She gave a concert for the benefit of
the poor, and was, the same evening,
crowned at the theatre.
Madame Catalani afterwards went to
Stuttgard. The charms of her voice made
such an impression on the late king, who,
as we know, was passionately fond of music,
that some minutes before his death, which
happened a few days after his hearing her,
he pronounced her name.
From Stuttgard she went to Munich. At
this first visit to that capital, in consequence
of a trifling misunderstanding, she did not
sing. But returning some time after, when
she paid her duty to the queen, her majesty
embraced her, and lavished her goodness
upon her, as if to indemnify her for the
slight mistake that had occurred. The king
was not less obliging in his conduct to
Madame Catalani, and was so good as to
recommend her to the friendship of his
daughter the empress of Austria.
Furnished with this powerful recommendation, she proceeded to Vienna, where
'she met with prodigious success. To give
an idea of it, without overstepping those
bounds and that reserve which we have
prescribed to ourselves, it will be sufficient
to cite the following facts :At each of her
concerts, the great room of the Redoubt
was filled to excess, though the price of admission was very high : the room contains
three thousand persons. She also obtained
the favour of the whole imperial court, and
his majesty the emperor made her a present
of a superb ornamental set of opal, enriched with diamonds. The poor shared her
success, and blessed the benevolence of her
heart. The magistracy of the city testified
at once their own admiration and the public
gratitude, by causing to be struck, expressly
for her, a medal which bears the most
honourable inscription.
For a long time, pressing invitations
called for Madame Catalani in Russia,
where the brilliance of her reputation had
excited an impatient desire to hear her.
On leaving Austria, she made the journey
to St. Petersburg, where she commenced
142

CAT
with a concert, the tickets for which were
fixed at twenty-five roubles. Such was the
impression she made, that the room could not
contain the crowds of persons which came
to the succeeding concerts, and every evening
several hundred were disappointed of placed.
At length she chose, for the scene of her
concluding concert, the public exchange;
and. more than four thousand persons were
present. Always the patroness of the poor,
Madame Catalani determined that the large
receipts of this evening should be devoted
to the wants of two hundred unfortunate
families in St. Petersburg. When, after
this, she took leave of the empresses, their
majesties condescended to embrace her,
giving her assurances of the interest with
which the preeminence of her talents, and
the excellence of her conduct, had inspired
them. The reigning empress made her
presents of a pair of gold ear-rings and a
diamond necklace. The emperor Alexander
was not less generous. In the presence of
his whole court, he graciously kissed her
hands, thanking her for the good act she
had done, and presenting her with a magnificent girdle of brilliants.
Madame Catalani remained four months
in Russia, and in that space of time the
concerts which she gave, as well in the
capital as at Riga, at Moscow, and at
Wilna, produced her, all expenses paid,
more than fifteen thousand guineas, exclusive of presents of great value. The
liberality with which the Russian nobility
encourage the fine arts is well known, and
the following is a new testimonial. When
Madame Catalani went from Moscow to
Warsaw, she found, on her arrival at this
latter city, a letter from the principal Muscovite nobles, in which they offered to secure to her two hundred and forty thousand
roubles, (about ten thousand guineas) if,
during- the winter, she would come and give
ten concerts in their ancient capital. Fearing that her health would not bear the severity of the climate, she was compelled to
decline this offer, adtantageous as it was,
and for which she conveyed an answer in
terms at once of gratitude and regret.

CAT
Besides the capitals we have named
above, Madame Catalani has sung in fifty
or sixty populous towns of Germany and
Italy; and every where the most august
personages, as well as the public at large,
have shown her, by brilliant favours, that
their esteem for her personal conduct and
beneficent disposition, equalled their admiration for the wonders of her talent. It may
t e said, that her success, and the distinctions with which she has been honoured at
all courts, have hitherto been, and will probably remain, without a parallel.
In the summer of 1821, Madame Catalani returned to London, and immediately
announced a concert at the Argyle rooms,
which was brilliantly attended. She sang,
on that occasion, an air by the marquis
Sampieri, "Delia superba Roma;"
"An
Air by Rode, with Variations, originally
written for the Violin;" a recitative and
air of Pucitta, " Mio bene;" and Mozart's
bass song in Figaro, " Non piu andrai."
In point of energy, force, and brilliant execution, it seemed hardly possible that Catalani could exceed the degree of perfection
she had arrived at before quitting England;
competent critics gave it, however, as their
opinion, that her powers were certainly improved. The Quarterly Musical Reviewer,
who was present at her first concert in 1821,
speaks of her in these words : " Madame
Catalani's style is still purely dramatic.
By this epithet, we mean to convey the
vivid conception that exalts passion to the
utmost pitch of expressiveness; the bril
liancy of colouring that invests every object
upon which the imagination falls with the
richest clothing, that gives the broadest
lights and the deepest shadows. Hence there
is a particular point in the perspective from
which alone she canbeviewedto advantage.
Distance is indispensable, for her efforts are
calculated to operate through amplitude
of space, and upon the largest assemblies.
Approach her, and she is absolutely terrific;
the spectator trembles for the lovely frame
that he perceives to be so tremendously agitated. They who have never witnessed the
enthusiasm which illuminates that finest of

CAT
all created countenances, have never seen,
no, not in Mrs. Siddons herself, the perfection of majesty, nor in Miss O'Neill,
the softest triumphs of the tender affections.
Madame Catalani's person is a little increased, and her features are now stamped
with the complete and perfect dignity of
consummate beauty in its richest maturity.
Her thoughts literally coruscate through the
bright radiance of her eyes and the everchanging varieties of her countenance.
Hers is the noblest order of forms, and
every vein and every fibre seems instinct
with feeling the moment she begins to, sing.
Never do we recollect to have observed such
powerful, such instantaneous illuminations
of her figure and her features as Catalani displays. Thus the whole person is
aiding (how strongly!) the effects of the
most extraordinary voice, the most extraordinary energy, and the most extf aordinary
facility the world of art has ever known,
and the combined results are irresistible.
The mind is now allured, and now impelled,
now awed by dignity surpassing all that
can be conceived, now transported by smiles
of tenderness more exquisite than poetry has
ever fancied." In the season of 1822, Madame Catalani gave five concerts at the
Argyle rooms, with her usual success. She
sang four airs in various styles at each concert ; and is said to have given the opening
of the Messiah, " Comfort ye my people,"
in the traditionary style of Handel, with her
own magnificence and force, and with
nearly as much purity as Mr. Vaughan
himself.
Since these concerts, she has
been heard at the two celebrated provincial music meetings of York and Birmingham, which took place in the autumn
of 1823. At the former meeting, she sang
the " Gratias agimus," from a mass by
Guglielmi: ''Holy,
holy," by Handel:
" Seena deve 2 il chnento," by Facci: Rode's
violin air with variations, "Al dolce incanto :" " Comfort ye," and "Every valley,"
by Handel: " / know that my Redeemer
liveth," Handel: "Angels ever aright and
fair," Handel: "Luther's Hymn:" "Domine
labia mea," Grand aria, "La tu vedrai,"
143

CAT
Clementi. "Robin Adair, with Variations :'
"Non piu andrai," Mozart: "Sing y*
unto the Lord," Handel. At Birmingham
she sang " Mio ben," Pucitta: "Mode's
Air:" grand scena, " La di Marte," Morlacchi: " Semai turbo," Cianchettini: &c.
An invitation having been made to Madame Catalani to perform for a few nights in
London, in the opera season of 1824, and
it being the ardent wish of the public
that she should acquiesce, (her legitimate
throne being most decidedly the boards of a
theatre and not the orchestra of a concert
room, where the half of her unrivalled talents
is alone within the sphere of observation)
she has accordingly reappeared on the
boards of the King's theatre, after an
absence of ten years, and we have only
here space to add, with powers unimpaired.
CATALISANO, (GENARO) writer of a
work on the principles of music, published
at Rome in 1781.
CATEL, a French musician, born at
Paris in the year 1773. He was a pupil of
Gossec, and is still we believe professor of
harmony in the conservatory of Paris. He
has composed a great number of musical
works, but none has done him so much
credit as his " Treatise on Harmony,"
printed in 1802, and adopted by the conservatory. This work is now very generally received throughout Europe. It contains a theory which may be considered as
a simplification of Rameau's system; but
which is, in fact, the developement of a
more ancient and fertile observation. It consists in regarding only as chords, properly
so called, those which need no preparation.
Mons. Catel calls them natural chords;
their employment gives natural harmony;
artificial harmony is deduced from these by
the retardation of one or other of several
parts, which are prolonged in the following
chords. This theory is extremely simple
and luminous.
CATHER, (FRANCIS) an English amateur composer of some pleasing vocal music,
published in a periodical work, entitled
" The Vocal Anthology," London, 1823-4.
344

C AV
The following are some of his compositions:
"May," a duet for two voices; "Breathe
not again," a canzonet; " 0 knowst thou,"
duet; " Ce n'est pas d'Amour," romance;
" The Evening Star;" " The Streamlet;"
" Rest awhile," a duet, from the opera of
Trilby; &c.
CATTANEO, (FBANCISMAKIA) chapelmaster and instrumental composer at Dresden in the year 1700.
CAUCIELLO, (PROSPERO) a composer
of instrumental music, published at Lyons
in 1780: he belonged to the chapel royal
at Naples.
CAULERY, ( J E A N ) chapel-master to
the queen of France; he published a collection of sacred songs at Antwerp in
1556.
CAURROY, ( F R A N ? 0 I 3 EOSTACHE Dtr)

successively chapel-master to Charles IX.,

Henry III., and Henry IV. of France, and
also canon of the holy chapel in Paris, and
prior of St. Aioul, was born in the year
1549. Although considered as one of the
greatest musicians of his day, he does not
appear to have been much known out of his
own country. There is extant of his composition, "A Mass for the Dead,'' which
was formerly sung once every year in the
cathedral church of Notre Dame at Paris ;
and a posthumous work, published in 1610,
entitled " Melanges de la Musique de Eustache de Caurroy." He died in the year
preceding the date of the last publication.
CAUSSE, (J.) a French musician; he
published some piano-forte music at Paris
in the years 1801 and 1802.
CAUSSE, (HONOUE FRANCOIS) brother

of the preceding, has also published some

music for the piano.
CAVACCIO, (GIOVANOT) a singer and
composer, born at Bergamo in 1556. He
spent some years of his youth in Bavaria.
He composed much vocal music, published
after his return to Italy between the years
1581 and 1615. He died at his native
town in 1626.
CAVALIERE, (EMILIO DEL) a celebrated Roman nobleman and amateur comer. He set to music the first

C A V
oratorio, which was performed at Rome, in
the year 1600: it is called " Rappresentatione di Anima, e di Corpo," and was represented in action on a stage in the church
of La Vallicella, with scenes, decorations,
and chorus, a Vantique, and analogous
dances. Emilio del Cavaliere, as well as
the vest of the early composers of dramatic
music, imagined that lie had recovered, in
his recitative, that style of music which the
ancient Greeks and Romans used in their
theatres. And a singer of such music is
required by Cavaliere to have a fine voice,
perfectly in tune, and free from all defects
in his delivery ; together with a pathetic expression, the power of swelling and diminishing the tones, and an equal respect for
the composer and poet, in singing plain,
and being particularly attentive to the articulation and expression of the words. It is
recommended to place the instruments of
accompaniment behind the scenes, which in
the first oratorio were the following :
Una lira doppia.A double lyre, perhaps
a viol da gamba.
Vn clavicembalo.A harpsichord.
Tin, chitarone.A large or double guitar.
Duiflauti, o vero did"}
., . ,
..
> Two common flutes.

Tiin aU antica.

No violin is mentioned here; but what excites the most surprise at present, ia these
instructions for the performance of an oratorio on a stage in a church, are the directions for the dances. There are, however,
examples of religious dances in the sacred writings, as well as in the history of
almost every ancient people, in which their
religious ceremonies are mentioned. Most
of these dances are performed to the music
of choruses, which are singing at the same
time, in the manner of those in the old
French operas. On many occasions it is
recommended for the actors to have instruments in their hands, as the playing or
appearing to play upon them would assis
illusion more than a visible orchestra.
CAVALIERI, (GIROLAMO) an Italian
priest and composer 'of some vocal music,
published at Milan and Louvain between
the years 1600 and 1616.
VOL. I.

C E It
C A. VALINA, composer of twelve sonatas,
mblished at Hamburgh in 1800.
CAVALLI, (FRANCISCO) chapel-master
at Venice, and composer of thirty-five
operas, between the years 1637 and 1667;
several of these were frequently revived
long after his decease. Dr. Burney says,
that the " grave recitative began first to be
interrupted with that ornamented sort of
stanza called aria, in the opera of ' Giasone,' set by Cavalli in 1649."
CAVALLO, (TIBERIO) an author of a
paper on musical instruments, in the London
Philosophical Transactions for the yearl788.
CAVALLO, an Italian composer of
church music in the year 1799.
CAVAZZA, (Don MANUEL) a musician
to the king of Spain, at Madrid, in the year
1770 : he published some violin music there
in 1772.
CAVI, (GIOVANNI) a Roman composer
of operas between the years 1783 and 1791.
CAZZATI, (MAUEITIO) a voluminous
composer, born at Mantua. In the year
1678, he published his sixty-fifth musical
work : his compositions chiefly consist of
motets and masses.
CECCHI, (DOMENICO, called also CORTONA) an Italian singer at the commencement of the eighteenth century.
CECCHIELLI, (DOMENICO) chapelmaster at Rome in 1649.
CECCHINI, (ANGELO) an Italian musician and dramatic composer at Rome in 1641.
CELESTINT, chapel-master to the duke
of Mecldenburg-Schwerin, was born at
Rome in 1755. He was a celebrated violinist, and resided for some time in London:
some of his compositions for his instrument
were published in London previously to the
year 1797.
CELLA, (LUDWIG) a pianist and composer for his instrument at Erlangen in 1797.
CELONIAT, (IGNAZIO) an Italian dramatic composer in the year 1768.
CENCI, (LUDOVICO) an Italian madrigal composer in 1650.
CERCIA, (DOMENICO) a Neapolitan
dramatic composer in the present century.
CERO, (LUIGI) an Italian composer,
L
145

CE 8

CH A
and was in such favour as to be revived in
different towns of Italy during thirty-four
years. The most celebrated, however, of
all Cesti's operas was "LaDori;" this first
appeared at Venice in 1663, and was frequently performed in other principal cities
of Italy. Cesti was also one of the first
writers of cantatas.
CHABANON, (MONSIEUB DE) member
of the French academy, died at Paris in
1792. He was the author of several works
on music; he also composed some music
for the piano-forte. Chabanon- wrote in
favour of the music of his own country, and
says, among other things, the French manner of singing is more placid and more
mitigated than the Italian: we believe
there are few judges of vocal music who
will accede to this opinion.
CHABANON D E MAUGRIS, brother
of the preceding, was a poet and dramatic
composer ; the piano-forte music which has
been attributed by Forkel to his brother, is
probably of his composition. He died in 1780.

born at Genoa. His compositions are dated

since the year 1785.
CERONI, (D.PEDRO) born at Bergamo,
was a singer at Naples, and author of a
didactic work on singing in 1609. He published also a very ample musical treatise,
written in the Spanish language, and entitled " El Melopeo," Naples, 1613. This
is a scarce and curious book, consisting of
nearly 1200 folio pages, among which,
though many are bestowed upon cbsolete
science, there is a complete body of the
speculative and practical musical knowledge
of the times.
CERRELLINI, a pianist and composer
for his instrument in the present century :
some of his music has been published at
Vienna.
CERVETTO, (JAMES) the elder, a
violoncellist, born in Italy in 1682. He
came to London in 1738, where he continued till 1783, and died at the great age
of 101. He first brought the violoncello
into favour in England, though his tone, in
CHABRAN. See CHIABRAND.
comparison to more modern performers, was
CHABRAN, a composer of vocal and
raw and uninteresting.
CERVETTO, (JAMES) the younger, son instrumental music, arranged for the guitar,
of the preceding, was born about the year and published in London about theyearl789,
CHAGNIOT, an excellent artist in the
1740 : he inherited a good fortune from his
father. When quite a child, and hardly manufacture of violins at Paris. He is said
acquainted with the gamut, he had a to have greatly improved the instrument,
better tone on the violoncello, and played and has changed its shape a little, making
what he was able to execute in a manner it rather resemble the guitar. If he has
much more chantante than his father; and not obtained the liquid tone of those of
when arrived at manhood, his tone and ex- Italy, at least he has already produced a
pression were equal to those of the best tenor tone both as powerful and of as fine quality,
voices. It was at the professional concerts which successfully rivalled one made by
in London that he established his reputation, Stradivarius at a public competition.
till at length he was considered matchless
CHALLONER, (NEVILLE
BUTLEH)
on his instrument. He composed and pub- born in London in 1784, began the violin at
lished some instrumental music.
a very early age under the tuition of Claude
CESAR, (P. A.) a pianist at Paris, and com- Joseph Duboeck, a native of Brussels, and
poser for his instrument, since the year 1787, performed a concerto on that instrument at
CESSARINI, a composer of piano-forte nine years of age. At thirteen he was articled to General Ashley, and, previously to
music. (Bland's Cat. 1788.)
CESTI, (PADRE MARC ANTOINE) an receiving any instruction, was found compeItalian composer. He was admitted as a tent to assist in the orchestra of the oratotenor singer in the pope's chapel in 1660, rios at Covent-garden theatre, and at the
but he had set an opera for Venice eleven public performances at Ranelagh. In 1799,
years before this; it was called " Orontea," being then fifteen, he was engaged to lead
146

CHA

C H A
the band at the Richmond theatre; the following year he held the same situation at
the Birmingham theatre. In 1803 and 1804,
he studied the harp and piano-forte, and
led the band at Sadler's-wells. In 1805, he
entered the royal society of musicians, and
the next year published " Four Preceptors,"
for the piano-forte, violin, harp, &c. In
1807, he was appointed first tenor at the Harmonic City concerts, at which were the first
performances of Mozart's Don Giovanni,
&c. in this country. In 1809, he was engaged as harpist at the Opera-house, and
has continued in that situation ever since,
with the exception of the two seasons of
1817 and 1818.

the years 1780 and 1800. There are at the

Theatre Feydeau at Paris two rival schools,
the first composed of the works of Monsigny,
Gretry, Dalayrac, and Champein; the second, of those of Cherubini, Mehul, Kreut'
zer, Berton, Boieldieu, and their pupils.
CHAMPION, a French composer of vocal music at Paris in 1786.
CHAMPNESS, ( M R . ) an English bass
singer. He sang at the first institution of
the Ancient concerts.
CHANDOSCHKIN, a Russian violinist
and composer for his instrument: some of
his works were published at Petersburg in
1795 and 1796.

In 1813, Challoner was engaged as principal second tenor at the Philharmonic concerts, being also an associate of that society.
Challoner's chief claim to public patronage
he conceives, however, to be, the supporting
of his parents during the last twenty years,
and at the same time bringing up a family
of eight children, who are all well provided
for, solely by his own industry. His piano
preceptor has been already sold to the extent
of nearly 9000, and his violin and harp preceptors to the number of between 3000 and
4000 each. He has taught upwards of six
hundred private pupils, and is now in a
state of easy affluence. Challoner opened
the first music shop in Regent-street, previous to the Harmonic Institution being
established, which is opposite. His son performs admirably on the harp and piano, and
has several pupils.
CHALON, (F.) an arranger of opera
music for the flute and clarionet, at Paris,
in the present century.
CHALONS, (CHARLES) a composer of
some instrumental music, published at Amsterdam in 1762.
CHAMPKIN (STANISLAS) was born at
Marseilles in 1753. "When only thirteen
years of age, he composed a mass and other
sacred music. He came to Paris in 1776,
after which time he was principally known
as a dramatic composer. His operas have
been very numerous, amounting nearly, if
not quite, to the number of fifty, between

TIN) a French violinist and dramatic composer, between the years 1785 and 1795.
He was born at Rouen in 1756.
CHAPPLE (SAMUEL) was born at Crediton, in Devonshire, in 1775. At the age of
fifteen months he was attacked with the natural small-pox, which deprived him of sight.
As soon as he could reach the distances on a
violin, he began to take lessons on that instrument. At about fifteen years of age he commenced the piano-forte, under Eames of
Crediton, who learnt of Thomas, a pupil of
Stanley ; all these three organists were blind.
Chappie has also at present with him two
young men as pupils, who are blind. He was
appointed organist of Ashburton in the year
1795. His publications consist of the following, viz.: "'ThreeSonatasfor the Pia?w-forte,
with an Accompaniment for theViolin;" "Six
Songs, dedicated to Miss Amelia Temp'er;"
" Five Songs and a Glee, the Words written
by A. G. C. Tucker, Esq.;" also several single songs. " Six Anthems in Score;" " A
second Set of Anthems in Score;" " A third
Set of six Anthems and twelve Psalm
Tunes" also, " An Anthem" composed
expressly for the coronation of his present
majesty, and sung in Ashburton church on
the coronation day,
CHARD, ( D R . ) an English composer,
now residing, we believe, in the north of
England. A hymn by him, upon a passage
of sir W. Scott's " Lay of the last Minstrel" beginning,
x.2
147

CHAPELLE

( P I E R R E DAVID AUGUS-

CHE

CHA
' The hymn was sung and prayers were read,
And solemn requiem for the dead j "

was considered elegant and effective, at the

Liverpool music meeting. It is in the style of
Dr. Crotch's " Methinhs I hear."
CHARDAVOINE, (JEAN) a French
composer of songs in 1585.
CHABDE, (JOANNES) professor of music at Oxford in 1518.
CHARDINI or CHARDIN was born
at Eouen, and entered as tenor singer at
the grand opera at Paris, about the year
1780.
Chardini composed also an oratorio,
called " Le Retour de Tobie," and several
operas. He died young in 1790.
CHARKE, (RICHARD) a violinist in the
band at Drury-lane in the middle of the last
century. He was the first that composed
medley overtures.
CHARLES, a French composer of songs
in 1710.
CHARPENTIER

(MARC

ANTOINE)

C H A S T E L L U X , ( L E MARQUIS) a French

writer on the subject of music. He died at

Paris in 1788. He wrote " Essai surt Union
de la Pohie et de la Musique," Paris, 1765.
CHAUVET, (F.) a blind organist at
Paris, composed some songs, &c. about tie
year 1798.
CHAUVET, le jeune, (C. E.) probably the son of the preceding, published
some piano-forte music at Paris in 1J3O3.
CHECCI ( R E N E ) published some flute
music at Augsburg in 1798.
CHELLERI (FORTUNATO) was born at
Parma in 1668. He was a celebrated dramatic composer, his first opera met with
much success at Placenza, in 1707. After
this he travelled for three years in Spain,
and, on his return to Italy, composed many
operas; he was then invited by the bishop
of Wurtzburg to go into Germany, where he
remained till the year 1726, which he spent
in England, publishing there a set of cantatas, and being received a member of the
royal academy of music. His next journey
was to Sweden, where he remained four or
five years, afterwards retiring to Cassel,
where he died in the year 1757.

was superintendent of the music of the duke

of 'Orleans, and his instructor in the art of
musical composition. He has left several
operas, one of which, viz. his " Midie" was
in its time highly celebrated. He composed
another, called ' 'Philomele,"which was thrice
CHENARD, (N.) a celebrated singer at
represented in the Palais Royal. The duke the Theatre Feydean, at Paris. He was also
of Orleans, who had composed part of it, a violoncello pupil of Duport, and is an exwould not suffer it to be published. Char- cellent performer on that instrument.
pentier died at Paris in 1704.
CHENIE ( M A R I E P I E R R E ) was born at
CHARPENTIER (J. J. BEAUVARLET) Paris in 1773 ; he is professor of the double
was born at Abbeville in 1730. He was an bass at the grand opera, and has composed
organist at Paris, and published much sacred several masses, also several romances.
music up to the time of the French revoluCHERON, a French composer for the
tion. He died in 1774.
flute about the year 1720 ; he also composed
CHARPENTIER, (J. M . B E A U V A B L E T ) some motets.
son of the preceding, was born at Lyons
C H E R U B I N I ( M A R I E LOUIS CHAM.ES
in 1766. In the year 1789, he was organist ZENOEI SALVADOR) was born at Florence
of St. Paul's church at Paris. He has pub- in 1760. Before the completion of his thirlished some masses arranged for the piano- teenth year he made his talent known by
forte, also a work entitled " Thdorie a" Or- the composition of a mass, which he followed
gue," between the years 1796 and 1800.
up a few years after by several light draCHARTRAIN, a French violinist-and matic works, the success of which procured
composer for his instrument, at Paris, about for him the patronage of Leopold II, grand
duke of Tuscany, who, in 1788, granted him
the year 1780.
CHASSIRON,
(PIERUE
MATTHIEU a salary to enable him to prosecute his stuMAIITIN DE) author of a work on dramatic dies in music at Bologna, under the tuition
of the celebrated Sarti. Here Cherubini
music, published at Paris in 1751.
148

CHE
remained about four years; shortly after
which he quitted Italy for London, where
he continued above a year, but had little
opportunity of displaying his abilities, his
opera of " Giulio Sabino" being murdered
in its birth, for want of the necessary support of capital singers in the principal parts.
On quitting London he went to Paris, and
after a journey to Turin, in which town he
produced his celebrated opera of " Iphigenia
in Aulide," he returned to Paris, producing
" Demophoon," the first of his dramatic
works represented in France. In 1791,
Cherubim composed for the The'dtre Fey dean
his celebrated opera of " Lodoiska," which
soon became known throughout Europe.
Since then he has produced at short intervals
various dramatic compositions of great merit,
among which may be named, " Elisa"
" Les deux Journees" and " Anacreon."
In 1810, a most beautiful mass of Cherubini's
composition was published at Paris, and has
since been recherche by all amateurs of
charch music. Cherubim is at present one
of the professors of composition at the conservatory of Paris, and was one of the committee who edited the " Methods de Chant"
of that body. A celebrated modern critic
observes, " Cherubini's style may be denominated the mixed style, scientific enough
to have received its education in Vienna,
but yet tinged by the more melodious qualities which adorn the compositions of equally
favoured natives of Italy." Many persons
have been heard to regret that Cherubini
has not obliged the world by the production
of an entire " symphony" for instruments,
in which the science and genius yet undeveloped by him might appear to the fullest
advantage.
CHERUBINO, (NICOLO) an Italian
composer of sacred music in the seventeenth century.
CHEVALIER, a composer of small dramatic pieces, and actor of the French theatre
in Hamburgh, in 1796, 1797, and 1798.
CHEVALIER, (MADAME) niece to the
foregoing, and actress at the French theatre
in Hamburgh, in 1796,1797,and 1798. She
was a beautiful woman, an, excellent actress*

CHI
and a very pleasing singer. From Hamburgh
she went to Petersburg, where she was
patronised by the emperor Paul, and realized
a considerable fortune. On the death of
Paul, she was sent out of Russia by the
government.
CHEVPJER,

(FRANCOIS ANTOINE)

writer on dramatic music at Paris in 1755.

He died in Holland in 1762.
CHIABRANO or CHABRAN, a violinist, born at Turin. Some solos of his
composition were inserted in Preston's Cat
1797. Chabran was a pupil of Lorenzo Somis.
CHIAPAPuGLLI, a composer for wind
instruments; some of his works for the flute
were published in Paris in 1782.
CHI ARINI, (P.) a performer on the harpsichord, between the years 1739 and 1744.
CH1AVACCI, (VICENZO) a composer,
born at Rome. Several of his vocal works
were published at Vienna about the year
1799. In 1801, he produced an opera at
Warsaw.
CHILCOTT, (THOMAS) organist of the
abbey church at Bath, was composer of
some concertos forthe harpsichord. (Preston's
Cat. 1797.) He was the first master of the
celebrated Thomas Linley.
CHILD (Dr. WILLIAM) was a native
of Bristol, and a pupil of Elway Bevin. In
1631, being then of Christchurch college,
Oxford, he took his degree of bachelor of
music; and in 1636 was appointed one
of the organists of St. George's chapel,
at Windsor, and soon after one of the
organists of the royal chapel at Whitehall. After the Restoration he was made
chanter of the king's chapel, and one of the
chamber-musicians to Charles I I . In 1663,
the university of Oxford conferred on him
the degree of doctor in music. Dr. Child,
after having been organist of Windsor chapel
sixty-five years, died in that town in 1697,
at ninety years of age. His works are,
" Psalms for three Voices, fycivith a continued Bass, either for the Organ or Theorbo,
composed after the Italian way," London,
1639 ; " Catches, Rounds, and Canons,"
published in Hilton's Catch that Catch can,
1652 ; " Divine Anthems ;" and composi149

CHI
tions to several pieces of poetry, some of
which were written by Dr. Thomas Pierce
of Oxford. Some of his secular compositions likewise appeared in a book entitled
" Court Ayres," printed in 1655. But his
principal productions are his services and
full anthems, printed in Dr. Boyce's collection. His style was so remarkably easy and
natural, compared with that to which choirmen had been accustomed, that it was frequently treated by them with derision.
Indeed, his modulation at present is so
nearly modern, as not to produce that solemn, and, seemingly, new effect on our
ears, which we now experience from the
productions of the sixteenth century.

CHL
ous directions for the practice of extempo
rary descant.
CHINELLI, (GIOVANNI BAPTISTA) an

Italian composer of vocal and instrumental

music about the year 1630.
CHINZER, a violinist, published two
sets of duets for his instrument, in London,
previously to the year 1797. (Preston's
Cat.)
CHIODI, (SiGNort) an Italian singer,
engaged by Madame Catalan!, in 1817, for
the Italian opera at Paris.
CHIPP, (T. P.) professor of the harp at
Covent-garden theatre. He has composed
some pleasing and familiar music for his instrument, published at Power's.

CHLADNI, (ERNST FLOHENS FHIED

CHILMEAD, (EDMUND) a deeply read
mathematician, and well skilled both in the RICH, LL. D.) was bom at Wittenburg in
theory and practice of music, was the author 1756. His father was first professor of
of a tract, " De Musicd Antiqud Grtecd," law in that town. Dr. Chladni published,
printed at the end of the Oxford edition of in 1787, a work entitled " Discoveries con" Aratus," in 1672. He was bora at Stow cerning the Theory of Sounds," and in
in the Wold, in Gloucestershire, and be- 1802, "A Treatise on Acoustics," which
came one of the clerks of Magdalen college, was reprinted at Paris in 1809. This
Oxford. About the year 1632, he was one latter work contains many very valuable
of the petty canons or chaplains of Christ- and novel experiments on the nature of
church ; but being ejected by the parlia- the vibrations of sonorous bodies; prefixed
ment visitors, in 1648, he came to London, to it is a biographical memoir of the author
and took lodgings in the house of Thomas from his own pen, a translated abridgement
Est the musician, in Aldersgate-street. In of which we copy from the third volume of
a large room of this house he held a weekly the Musical Review : " My father (first pro>
music meeting, from the profits of which his fessor of law at Wittenburg, in Saxony)
chief subsistence was derived. He was an had given me a good education in ray paterexcellent Greek scholar, and was employed nal mansion, and at length in the provincial
to draw up a catalogue of the Greek manu- school of Grimme'. My education left me
scripts in the Bodleian library. Wood very little liberty, so that, if others consider
mentions a treatise of his, " De Sonis," their youth as the most happy part of their
which does not appear to have been pub- lives, I cannot say as much of mine. This
lished. The rest of his works seem chiefly continual restraint, which would not have
to have been translations. He died in the been necessary, because I was not disposed
year 1654, in the forty-thirdyearof his age. to abuse liberty, produced a quite contrary
His tract, " De Musicd Antiqud Gratca," effect, by impressing me with an almost
contains a designation of the ancient gene- irresistible inclination to choose for myself
ra/agreeable to the sentiments of Boethius, my occupations, to travel, to strive against
with a general enumeration of the modes, adverse circumstances, &c. Being returned
after which follow three odes of Dionysius, to Wittenburg and to Leipsic, and after
with the Greek musical characters adapted having fulfilled what was required, I obtained at Leipsic the employment of a proto the notes of Guido's scale.
fessor of law; but after the death of my
CHILSTON, an old English musician

about the year 1155, He wrote some curi150

father I quitted jurisprudence, because it

CHL
was hot conformable to my inclinations, and
I applied myself principally to the study of
nature, which had always been my secondary
occupation, and yet the most cherished. As
a lover of music, of which I had begun to
learn the first elements a little late, in my
nineteenth year, I observed that the theory
of sound had been more neglected than
many other branches of physics, which inspired me with the wish to supply the want,
and of being useful to this part of natural
philosophy by some discoveries. In making
(in the year 1785) a great many very imperfect experiments, I had observed that a
plate of glass or metal gave different sounds
when it was confined and struck at different
places; but I found no part of the discovery
on the nature of the manner of these vibrations. The journals had given in those
times notices of a musical instrument, made
in Italy by the abbd Mazzochi, and consisting of bells, to which he applied one or
more violin bows, which caused me to conceive the idea of making use of a violin
bow in order to examine the vibrations of
different sonorous bodies. When I applied
the bow to a round plate of brass, fixed in
the middle, it gave different sounds ; which,
compared with each other, were equal to
the squares of 1,2, 3, 4, 5, &c. &c; but the
nature of the movement to which the sounds
corresponded, and the means of producing
each of these movements at pleasure, were
hitherto unknown to me. The experiments
on electric figures, formed by a plate of
resin covered with sand, discovered and
published by Litchenburg, (in the Memoirs
of the Royal Society of Gottingen) made me
presume that the different vibratory motions
of a sonorous plate ought to offer different
appearances, if a little sand or other similar
matter was strewed on their surface; and employing these means, the first figure which
presented itself to my eyes on the surface of a
round plate of which I have been speaking,
resembled a star with ten or twelve rays,
and a very acute sound was heard in the
series mentioned above, such as agreed with
the square of the number of the diametrical
lines. Only guess my astonishment, in

CHL
ing this phenomenon which no other
person had ever seen before. After having
effected on the nature of these movements,
I did not find it difficult to vary and multiply the experiments, whose results followed
with rapid succession. My first memoir,
which contains researches on the vibrations
of a round plate, of a square plate, of a bell,
of a ring, &c. appeared at Leipsic in 1787.
The results of the researches which I have
since made on longitudinal vibrations, and
on other objects of acoustics, are to be found
in certain German journals, and in the memoirs of different societies. Finally, after
having made yet more experiments, I have
united as much as possible the results in my
' Treatise on Acoustics," which appeared
in German at Leipsic, in which I have
abridged, changed, and added a great deal,
as appeared to me most convenient. The
invention of the euphon, and of the claircylindre, and their execution, in very unfavourable circumstances, cost me much more time,
more labour, and more expense, than my
researches on the nature of sound, of which
these two instruments are the practical applications. Those who have laboured in a
similar, as, for example, those who have
tried to perfect the harmonica, know full
well the unforeseen difficulties which are
met with in similar efforts. Too often,
when we would apply to practice t"he ideas
which appear conformable to theory, nature,
consulted by experiments and trials, disavows our conjectures, and opposes to us
insurmountable obstacles which we could
not foresee. Thus, after having laboured in
vain during a long space of time, we must
sometimes destroy all we have done and
begin again. The euphon, invented in
1789, and finished in 1790, consists, externally, in small cylinders of glass, which
are rubbed longitudinally with the fingers
moistened with water. These cylinders, of
the thickness of a pen, are all equal in
length, and the difference of the sounds is
produced by interior mechanism. The sound
more resembles that of the harmonica than
that of any other instrument. The claircylindre, began about the year 1800, and

151

C H O

C H O
since brought to perfection, contains a
fingerboard, and behind this fingerboard
a cylinder of glass, which is turned by
means of a pedal and a leaden wheel. This
cylinder is not itself the sonorous body, as
the bells of the harmonica, but it produces
the sound by its friction on the interior
mechanism. The principal quality of this
instrument is the power of prolonging the
sounds at pleasure, with all the shades of
crescendo and diminuendo, according as we
augment or diminish the pressure of the
keys. This instrument never gets out of
tune. The reports of the institute of France
and the conservatory of music have judged
very favourably of this instrument, which,
if well made, will always be conformable
to the theory. The best manner of producing the sounds will be to use a violin
bow."
CHLEK published some trios for the
violin at Paris about 1783.
CHOQUEL, advocate in the parliament
of Provence, published, in 1759, a work in
octavo, entitled " La Musiquc rendue sensible par la Mecanique." The author here
attempts to teach sol-fa-ing and correct time
by means of two instruments called the
monochord and chronometer.
CHOQUER, ( D E ) a French guitarist and
composer for his instrument about the year
1797.
CHORON (ALEXANDRE ETIENNE)

was

born in 1772, at Caen, in Normandy. His

father had a small place under government,
and Choron did not commence the study of
music till about the age of fifteen, when he
left school. He then, without any assistance, and thwarted in his wishes by his
friends, began to teach himself, even without books, to note down all the airs that he
had retained in his memory or could imagine, and at length acquired much facility
in this practice. He then 2,ot possession of
the musical works of D'Alembert, Roussier,
and Rousseau, and other writers of the
school of Rameau, which served him as a
guide in the study of composition, and enabled him to compose passably well both
jn score and accompaniments, Gretry, to
152

whom he showed some of his first regular

attempts at composition, persuaded him to
follow up his studies, and recommended to
him the abb Rose, from which master he
some time afterwards took lessons. Being
then desirous of becoming acquainted with
the foreign schools of music, he became a
pupil of Bonesi, a celebrated Italian master,
then in France, and read with much care the
best didactic German works, learning that
language fortheexpresspurpose. Whilstengaged in the study of the works of D'Alembert, the desire of understanding certain
calculations which he there met with, induced him to undertake the study of mathematics, which he pursued with so much
ardour, that the celebrated Monge received
him as a pupil, and appointed him undermaster of descriptive geometry at the Normal school, in 1795, and subsequently named
him chef de brigade at the Polytechnic
school, at the time of its formation. Choron
also found time to join to these studies metaphysics, general literature, and the ancient
languages, even to Hebrew, the class of
which language he often conducted at the
college of France in the absence of the professor. But it is time we should speak of
the musical works of this celebrated person.
His first didactic work is entitled "Principes
d'Accompagncment des Ecoles d'ltalie, en
Socie'U avec le Sieur Fioccki," Paris, 1804.
His second and greatest work is entitled
"Principes de Composition des Ecoles d'ltalie
adoptds par le Gouvernemenl Frangais, pour
servir AT Instruction des Eleves des Maitriscs
de Cathddrales, Ouvrage classique, forme de
la reunion des Modeles les plus parfaites en
tout genre, enrichi d'un Te.xte me'thodique,
redige selon I'Enseignement des Ecoles les
plus ce'lebres et des Ecrivains didactiques les
plus estimds," 3 vol. fol, Paris. Choron at
first meditated a work of even greater extent than the above, but certain considerations induced him to contract his design to
the publication of his "Principes de Composition," and it appears that he executed
a double purpose in this treatise. Nicola
Sala, one of the most learned scholars of
Leo, died at the age of nearly a hundred

C H E
years, at the close of the century which gave
him birth (An. Dom. 1800.) He was chapelmaster and a professor ia the conservatory
of i a Pietd, at Naples. He had devoted
Ms long life to the collection of the finest
models in the various styles, and in 1794
they were printed in a most superb style, at
the expense of the king of Naples. I n the
course of the ravages of that city in 1799,
the plates of Sala's works were taken from
the royal printing-office and dispersed or
destroyed, thus the general circulation was
precluded. Mons. Choron therefore thought
it more conducive to the perfection of his
own plan, to interweave the examples collected by Sala, at the same time distinctly
separating the parts, and using them merely
as auxiliary examples to the plan laid down
for his own profound illustration of the principles of composition. Thus are comprehended thematerials amassed by the science,
erudition, and long labours of Sala, and by
Mons. Choron himself. The ingenious editor of the Quarterly Musical Review, in
speaking of this work, of Choron, says, " If
the books on theory, which our English
harmonists have given the world, condense
and simplify the information contained in
Choron's valuable and elaborate work, they
bear no sort of comparison with the abundance of precept and example it contains.'
Choron has also composed some dramatic
music and romances, of which however we
know but little. We should not omit mentioning that Choron intended publishing,
and furnished the principal materials of,
the " Dictionary of Musicians," edited by
Fayclle in 1810, Paris, 2 vols. 8vo.

CIA

lumber of the "third year of the "BibMotheh

ler Graz'ien," Sheyei-,1791.
CHURCHILL, an English composer of
nstrumental music. (Bland's Cat. 1796.)
CIAMPI, (VINCENZO) an Italian dramatic composer, who came to London about
the year 1749. Dr. Burney says that his
airs were full of common-place passages.
His "Didmie" is considered the most agreeable of all his serious operas that were performed on the English stage. He published
also some instrumental music.
CIAMPI, (FRANCESCO) a Neapolitan
composer and violinist. He published several operas at Venice between the years 1729
n d l 7 6 2 ; he was likewise the author of
some admirable productions for the church.
Dr. Burney was in possession of a. Miserere
and a mass by this master possessing great
merit.
CIANCHETTINI, (Pio) son of F. Cianchettini, of Rome, and of Veronica Dussek,
was born in London in 1799. When only
five years old, he performed in public a
sonata of his own composition, in the Opera
concert-room in London; after which he
travelled with his father through Germany,
Holland, and France, in each of which
countries he exhibited his talent with great
applause, and was even called the British
Mozart. On his return to London he continued his studies; and at eight years old
spoke perfectly well the French, English,
Italian, and German languages. Immediately after this age, he commenced the composition of various . instrumental pieces ;
amongst the rest a grand concerto, which
he executed himself at a concert in London,
CHRETIEN, (M.) a celebrated French in 1809, receiving the greatest applause.
violoncellist. He composed a French oper; Cianchettini attended Madame Catalani
in 1760.
when first in England, in several of her
CHRISTMANN, (JEAN FREDERIC) a musical tours, acting as her composer and
Lutheran clergyman in Wurtemburg, was conductor of her concerts ; and we underan excellent amateur performer on the stand that he was reengaged in the same
harpsichord andflute: he published much capacity by Madame Catalani on her return
vocal and instrumental music between th to England in 1822. In the Italian songs
years 1790 and >1802. His compositions composed for Catalani by Cianchettini, he
are highly esteemed in Germany, especially has been very happy in adapting his music
his sixth work, entitled " Die Stimme am so as to display the most brilliant powers of
dem ffalsadat," published in the Januarj that singer. I n the other songs which he
153

CIE

C IM

has written, he lias shown great taste in

selecting the most classical words in British
poetry; thus attempting to embody with
music the finest effusions of a Milton and a
Pope. His cantata for two voices, the
words of which are taken from the Paradise
Lost, was his first specimen in this style of
composition, and abounds in sweet and tender, and at the same time scientific passages.
His music to Pope's Ode on Solitude is
also fraught with grace and feeling. The
following are among the principal works of
Pio Cianchettini: " A Cantata for two
Voices with Choruses, Words from the Paradise Lost," (Mitchell); "Take, oh! take
those lips away," song, (Mitchell); " Fantasia on Di tanti palpiti, for Piano-forte"
(Mitchell); " Introduction and an Italian
Air, with Variations for Piano-forte and
Flute or Violin" (dementi); "Pope's Ode
on Solitude," (Phillips); " Sixty Italian
Catches for two, three, and four Voices, by
Padre Martini, with an Accompaniment
for Piano-forte," (Birchall); scena ed aria,
"Ah quando cessera," (Mitchell); duetto,
" Ecco di Pafo il Tempio," (Mitchell);
" Benedictus, three Voices," (Birchall) ;
Rode's celebrated Air for Piano-forte, by
permission, with Madame Catalani's Variations," (Yaniewicz, Liverpool.)

diminish the horror of perpetual night, he

began, in a childish manner, to sing; but
advancing towards maturity, and becoming
more and more captivated with music, he
began seriously to study it as an art, first
by learning to sing, and afterwards by applying himself to the practice of instruments,
particularly the organ, which he soon played,
without ever having seen the keys, in so
masterly and sweet a manner as to astonish
every hearer. Indeed his superiority was
acknowledged so unanimously, that, by the
common consent of all the musicians of his
time, he was publicly honoured at Venice
with the laurel crown, in the manner of
a poet-laureate, for his admirable performance on that instrument before the king of
Cyprus and the duke of Venice. He died in
1390, and is buried in the church of St.
Lawrence.

CIFOLELLI, an Italian dramatic composer in France about the year 1770.

CIFRA, (ANTONIO) a pupil of Palestrina, was chapel-master at Rome. He
published some motets and psalms at
Venice in 1629, which are better than his
secular music ; in reference to some of which
Dr. Burney says, " We cannot help respecting these old masters for their science
in ecclesiastical composition, in which they
CIBBER, (MKS.) sister to Dr. Arne; have left such admirable examples ofpure
she was celebrated as a singer till the year harmony and ingenious contrivance; yet
1736, when she first appeared as a tragic whenever, like Mr. Vellum, in Addison's
actress. Her singing was much esteemed comedy of the Drummer, they choose
by Handel, who adapted one of the airs in to be jocular or to attempt grace and
gaiety, they become grotesque and ridithe Messiah principally for her voice.
CIBER, a composer of some piano-forte culous."
music published at Paris in 1775.
CIMA, (GIOVANNI PAOLO) an eminent
CIBULKA or ZIBULKA, (M. A.) a organist and composer at Milan from 1591
good vocal composer, born in Bohemia to 1610. He acquired great reputation
about the year 1770. He published much among the learned musicians of his time
vocal and instrumental music between the for his construction of perpetual fugue or
years 1791 and 1810.
canon.
CIECO, (FRANCESCO) a celebrated FloCIMA, (GIOVANNI BATTISTA) a good
rentine organist. He was the son of Jacobo, organist and composer at Milan about the
a painter, of great probity and simplicity of year 1626.
manners. During childhood he was deprived
CIMA, (ANDREA) a brother of G.
of his sight by the small-pox ; being arrived P. Cima, was chapel-master and orat adolescence, and beginning to be sensi- ganist at Milan and Bergamo. He pubble of the misery of blindness, in order to lished concertos for two, three, and four
164

C I M
voices, at Milan in 1614, and at Venice in
1627.
CTMADOR, (GIAMEATTISTA) born at
Venice in the year 1750, was a musician of
no great scientific acquirement, though his
works are full of fire and imagination.
Before he quitted Italy, he composed an
opera called " Pigmalione," which was well
received by the public as a spirited and
original work ; the composer himself was,
however, so discontented with it, that he
threw the score in the fire, proposing never
to write original music again ; he kept his
word, we believe, as we are not aware that
he subsequently did more than arrange the
music of other composers. His most important work in this latter way, was an
arrangement of twelve symphonies of
Mozart, as sestets, with a seventh part
ad lib.; this was done while Cimador was in
England, where he remained many years,
being, during part of the time, engaged in
the music trade. It is stated by Gerber,
that Cimador was a pupil of Haydn, for
composition.
CIMAROSA (DOMINICO) was born at
Naples in 1754. He received his first instructions in music from Aprile, and subsequently studied on the principles of the
great Durante, at the conservatory of Loretto, where he took advantage of the valuable lessons of Fenaroli, a pupil of Durante.
He became early in life celebrated as a
dramatic composer, and in 1787 received
an invitation from the, empress Catherine
of Russia to accept the office of dramatic
composer to the court of St. Petersburg.
He did not, however, long remain in that
capital, for we find him in 1791 again in
Italy, whence he was invited to Vienna by
the emperor Leopold, being offered the appointment of conductor of the Italian opera
in that city, in the room of Salieri. In the
following year he accordingly proceeded to
Vienna, and soon composed for the theatre
there one of his best operas, " / / Matrimonio Segreto." He next revised his opera of
" II Pittore Parigino," and produced it
on the same stage. " Shortly after this, the
emperor Leopold died, when his successor,

CIM
the emperor Francis, presented Cimarosa
with a splendid gold snuffbox, as an acknowledgment of the sense he entertained
of his talents ; Jit the same time stating,
that he had ceded to the wishes of the inhabitants of Vienna, by restoring their favourite Salieri to his office of opera conductor. Up to this period Cimarosa had made
himself known by the composition of the
following operas: " IIItaliana in Londra,"
1779; " / / Convicto," " Idue Baroni," " Gli
Inimici Generosi," and " / / Pittore Parigino," 1782; " Artaserse," of Metastasio,
and " II Falegname," 1785; " Idue Supposti Conti," 1786; " Folodimiro,"
"La
Ballerina Amante," and " Le Trarne Deluse," 1787; " V'Impresario in Angustie,"
" II Credulo," " I! Marito Disperato," and
" II Fanatico Burlato," 1788; " 11 Convitato di Pietra," 1789; " Giannina e Bernadone." " La Villanelle riconosciuta," and
" Le Astuzie Feminili," 1790; and " II
Matrimonio Segreto," 1792.
Cimarosa
now resumed his function of chapel-master
at Naples, where his talents and industry
had acquired him numerous friends and
admirers. He, however, continued his labours in that city only a very few years
longer, producing there, amongst other
minor works, the following: " II Matrimonio per Sussuro," " La
Penelope,"
" L'Olivipiade," and " II Saerifizio d'Abramo," in 1793 ; " Gli Amanti Comici," and
" Gli Orazi," in 1797.
When the French revolutionary armies
extended their successes to Naples, and occupied that city, during which time it was
said that Cimarosa evinced a decided partiality for their cause, he lost the favour
of the court, and at length very nar
rowly escaped the forfeiture of his life. He
died at Venice in 1801 from the effects,
according to some of his biographers, of the1
cruel treatment he experienced in the prisons of Naples. This fact, however, appears
to rest on no good authority, as after bis
arrival at Venice in 1800, he not only completed the composition, and brought out his
opera, of " L'Imprudent! Fortunato," but
commenced writing another opera, entitled

155

C I M
" Artemisia," only the first act of which he
had completed before his death. Several
composers afterwards attempted to finish it,
and the piece in this state was announced
for performance at Venice, but the public
caused the curtain to be lowered in the middle of the second act. All the operas of
Cimarosa are distinguished by their contrivance, originality of ideas, richness of accompaniment, and the skill displayed in
scenic effect. These merits are peculiarly
conspicuous in his comic operas. Most of
his motivi are evidently di prima intenzione,
and one cannot help feeling, as we listen
attentively to each passage, that the score
must have been dictated by the inspiration
of the moment. The enthusiasm excited in

Italy by the " Matrhnonio Srgreto" can

hardly be conceived. In a word, it at once
fixed the wavering taste of the Italians.
Cimarosa himself presided at the piano during the first seven representations of the
opera at Naples, a circumstance very unusual there. At Vienna, the emperor, after
hearing the first representation of it, invited
both the vocal and instrumental performers
to a banquet, after partaking of which, they
proceeded the same evening to the theatre,
for its second performance.
Several traits have been cited of the modesty of this great master. A painter, desirous of paying him a compliment, said,
that he considered him superior to Mozart.
" Sir," replied Cimarosa with warmth,
" what would you think of the man who
shouldsay that you are superior to Raphael?"
^Amateurs have differed much in opinion as
to the comparative pleasure derivable from
the dramatic worts of Mozart and Cimarosa.
Napoleon once asked Gietry, (who, en passant, knew little about Mozart's music)
what was the exact difference between these
two great composers. " Sire," replied
Gretry, " Cimarosa places the pedestal in
the orchestra, and the statue on the stage ;
whereas Mozart fixes the pedestal on the
stage, and the statue in the orchestra;"
meaning by this to express, that the renown
of Cimarosa depended on the vocal, of
Mozart, on the instrumental parts. Some of

156

C I R
Cimatosa's serious operas, especially his
"Orazi e Curiaci," are as great in their style
as his buffa compositions.
CINTI,_ (SIGNOBA) a female Italian
singer, engaged at the King's theatre in
1823.
She performed previously at the
Italian opera at Paris.
CIPRANDI, a good Italian tenor singer;
he sang at the opera in London from 1755
to 1765.
CIPRIANI, (LORENZO) an Italian
singer at the opera in London in 1796.
CIPRIANO D I RORE, one of the most
renowned composers of the sixteenth century, was born at Mechlin, in Flanders,
1516.
In the titlepage of a book published
at Venice in 1549, he is called the scholar
of Adrian Willaert. In the preface of the
Canti Carnascialeschi, published at Florence
in 1559, he is called Cantore, as if he had
been merely a singer in the service of the
house of Medicis. However, he seems to
have spent the greatest part of his life in
Italy as a-composer ; in which characterhe
is mentioned with great respect by Zarlino,
Vincenzo Galilei, Pietro Pontio, and almost
every Italian musical writer of his time ;
and, after having been successively maestro di capella to the duke of Ferrara,
the republic of Venice, where he was the
immediate predecessor of Zarlino, and the
duke of Parma, he died at the court of that
prince, in 1565, aged forty-nine. His
motets and madrigals were first published
at Venice in 1544, '^nd after his decease
were republished with his masses. His
" Cantiones Saeras," or motets, were likewise printed at Louvain in 1573.
CIPRIANO, (CoHMiEn) a violinist, resident in Poland ; he was a scholar of Nazari,
of Venice, and was born in that town. He
composed much music for his instrument,
and died at Warsaw in 1789.
CIRET, a French harpsichord playerand
composer for his instrument at the beginning
of the sixteenth century.
CIRILLI, (FRANCESCO) a Neapolitan
dramatic composer about the year 1650.
CIRRI, (GIAMBAT'TISTA) an Italian
violoncellist and. instrumental composer

CL A
between trie years 1763 and 1795. Some
of his music has been published in London,
and other pieces at Berlin and in Italy.
CIVETTO, a violoncellist and composer
for his instrument; some of his works were
published previously to the year 1799.
CLAGGET, an English composer, and
inventor of several improvements in musical
instruments, which he commenced exhibiting to the public in what he called a musical museum, about the year 1789. His
compositions are chiefly instrumental, the
names of which are to be found in Preston's
Cat. for 1797.
CLAIR, (J. M. LE) a French violinist
and composer for his instrument. He was
chamber-musician to Louis XY. He was
assassinated in the streets of Paris in
1764.
CLARCHIES, (JULIEN) a violinist,born
at Curacao in 1769. He was a pupil of
Capron, and composed some instrumental
music.
CLARI,

(CARLO MAHIA)

of Pisa, a

scholar of Colonna, and chapel-master of

the cathedral of Pistoja. His excellent
chamber duets and trios were not published
till the year 1720 ; they had however been
dispersed in manuscript long before that
period, and though the duets of Steffani
were more early known, it does not appear
that they had been his model; for he was a
composer of great eminence so early as the
year 1695, when he set an opera for the
theatre of Bologna, entitled " / / Savio
Delirante," which was extremely admired.
His style of duetti and ter-etti certainly
resembles that of Steffani ; but wefindno
similarity of passage, and sometimes he is
even superior to the Abate, in grandeur of
subject and elegance of phrase, in his melo
dies. Handel is supposed to have availed
himself of Clari's subjects, and sometimes o
more, in the choruses of Theodora.
CLARK, (RICHARD) born at Datchet,
near New Windsor, in 1786, was educated
under Dr. Aylward and Mr. Sexton, in the
choir of St. George's free chapel of Windsor
and under Stephen Heather, at Eton college
On the death of his grandfather, Mr. Sale,

n 1802, Clark was elected his successor, as

ay-clerk of St. George's chapel, and gen'
tleman extraordinary at Eton college. In
1805, he was appointed a deputy at Westminster abbey for J. B . Sale, and on the
death of Page was appointed deputy at his
majesty's chapels royal, for Bartleman, and
secretary to the glee club. In 1811, he
quitted his places at Windsor. In 1814, he
published, principally for the use of the
above-named club, a volume containing the
poetry of glees, madrigals, rounds, and
catches, with a preface, in which is given
an account of the national anthem of
God save the King," the music of which is
there attributed, by Clark, to H. Carey;
also a notice of the origin of the glee club,
with some account of the word madrigal,
and its introduction into this country about
1583 ; together with a list of the prizes
given at different periods by the nobleman's
catch club, and the glee club, up to the year
1812; some remarks on the custom of
applauding the grace, " Non nobisDomine ;"
also his regret at not being able to discover
the author of those beautiful words beginning,
When winds breathe soft along the silent deep,
The vrateis curl, the peaceful billows sleep.

The account of " God save the King" itt

this volume being contradicted, Clark set
himself about finding the real author and
composer ; and after more than eight years
research, (in which time he appears to have
been most indefatigable) by a strong chain
of circumstantial evidence he proves, that
the national anthem was written by Ben
Jonson, the music by Dr. Bull, and that it
was first sung at Merchant Tailors' hall, on
July 7th, 1607, by the gentlemen and children of his majesty's chapel royal, when king
James I. was present, at a dinner given
by that company on his escape from the
Powder plot. This curious account was
published in 1821, with forty-three plates,
among which are portraits of Jonson, Bull,
king James, &c.; the work appears by the
list of subscribers to have been very highly
patronised. There are, indeed, some curious
facts in it which had previously not appeared
157

CLA

CV A

in print. After this work was published,

Clark produced three tunes from very rare
collections, which he had spoken of, but
from their scarcity could not meet with in
time to print for his subscribers; by these
it is further proved, that the same air of
" God save the King" existed in the reign
of king Charles, and was composed by
Bull.
On the death of Corfe, Clark was
appointed one of the gentlemen of his
majesty's chapels royal, and continued a
deputy for J. S. Smith; he was also appointed a deputy at St. Paul's for Sale.
Clark's compositions consist of several
" Chants, Commandments, Anthems, and
Glees" one of these was a candidate for
the prize given by the gentlemen of the
glee club. None of them have been printed.
CLARK, (REV. M B . ) a minor canon of
St. Paul's, and celebrated tenor singer. He
sang at the first institution of the Ancient
concerts.
CLARKE, (CHARLES E. J.) the present
organist of the cathedral at Worcester, was
a chorister in the same cathedral. He was
appointed organist to the cathedral at
Durham before he had attained his sixteenth
year, and two years afterwards, in 1814, a
vacancy occurring in the situation of
organist to the cathedral at Worcester, his
native city, he was elected.
CLARKE (Dr. JEREMIAH) was educated
in the royal chapel, under Dr. Blow, who
entertained so great a friendship for him
that he resigned in his favour the place of
master of the children and almoner of St.
Paul's : Clarke was appointed his successor
ift 1693, and shortly after he became
organist of that cathedral. In July, 1700,
he and his fellow pupil were named gentlemen extraordinary of the royal chapel; and
in 1704, they were jointly admitted to the
place of organist. Clarke had the misfortune to entertain a hopeless passion for a
very beautiful lady, in a station of life far
above him; his despair of success threw
him into a deepjnelancholy, and on the 5th
of November, 1707, he shot himself. He
was determined upon this method of putting
158

an end to his life by an event which,

strange as it may seem, is attested by the
late Mr. Samuel Wesley, one of the layvicars of St. Paul's, who was very intimate
with him, and heard him relate it. Being
at the house of a friend in the country, he
took an abrupt resolution to return to London : his friend, having observed in his
behaviour marks of great dejection, fur.
nished him with a horse and servant.
Riding along the road, a fit of melancholy
seized him, upon which he alighted, and
giving the servant his horse to hold, went
into a field, in a corner whereof was apond
and also trees, and began to debate with
himself whether he should then end his
days by hanging or drowning. Not being
able to resolve on either, he thought of
making, what he looked upon as chance, the
umpire, and drew out of his pocket a piece
of money, and tossing it in the air, it came
down on its edge, and stuck in the clay;
though the determination answered not hi?
wish, it was far from ambiguous, as it
seemed to forbid both methods of destruction. Being thus interrupted in his purpose,
he returned, and mounting his horse, rode
on to London; a short time after this he
shot himself. The compositions of Clarke
are few; his anthems were remarkably
pathetic, at the same time that they preserve
the dignity and majesty of the church
style ; the most celebrated of them are,
" / will love thee," printed in the second
book of the Harmonica Sacra; " Bow down
thine ear;" and " Praise the Lord, 0 Jerusalem." The only wqrks of Clarke published
by himself, are lessons for the harpsichord,
and sundry songs, which are to be found in
the collections of that day, particularly in
" The Pills to purge Melancholy;" but
they are there printed without the basses.
He also composed for D'Urfey's comedy of
" The Fond Husband, or the Plotting
Sisters," that sweet ballad air, " The bonny
grey-ey'd morn," which Mr. Gay has introduced into the " Beggar's Opera," and
is sung to the words, " 'Tis woman that
seduces all manhind,"
CLARKE, ( W I L L I A M ) a professor of

CLA
the piano of much celebrity, resident in
Edinburgh.
CLARKE, (Dr. JOHN) now Clarke
Whitfield, was born at Gloucester in 1770.
He commenced his musical education at
Oxford, in 1783, under the late Dr. Philip
Hayes, professor of music, went to Ludlow in 1789, under the patronage of the
present Earl of Powis, and was elected
organist of St. Lawrence's church in that
town. In 1793, he took his degree of
Mus. Bac. at Oxford, and in 1795 went to
Ireland, being appointed organist of the
metropolitan cathedral at Armagh. In the
same year he was created Mus. Doc. by
Trinity college, Dublin, and elected master
of the choristers of Christchurch and
St. Patrick's cathedral in that city, being
honoured with the patronage of his excellency the present marquis of Camden, then
lord-lieutenant of Ireland. Dr. Clarke returned to England in 1798, owing to the
Irish rebellion; and was next elected organist
and master of the boys of Trinity and
St. John's colleges, Cambridge, which appointment he held for more than twenty
years. In 1799, he was admitted Mus.
Doc. in the university of Cambridge, and
in that of Oxford in 1810. In 1814, he
took the surname of Whitfield, by sign manual, on the death of his maternal uncle,
Henry Fotherley Whitfield, Esq., of Rickmansworth park, Herts. In 1820, Dr.
Clarke was elected organist and master of
the choristers of Hereford cathedral; and
in November, 1821, professor of music at
Cambridge, by a majority in the senate of
more than one hundred. Dr. Clarke is still
resident at Hereford. His vocal compositions are numerous. The principal are,
four volumes of cathedral music in score,
several sets of glees, two volumes of vocal
pieces, with original poetry, by Sir Walter
Scott, Lord Byron, Mrs. Joanna Baillie,
Mr. Hogg, &c. Various songs and glees,
from the Lay of the last Minstrel, Marmion,
Rokeby, Lord of the Isles, The Pirate, &c,
many of which were popular, as, "FitzEustace," "Lochinvar," "The last Words of
Marmion," "TheCoronach," 'The Cypress

CLA
wreath," "Is it the roar of Teviot's tide?"
"Ave Maria" "Sweet Teviot," &c. with
numerous single miscellaneous songs, duets,
and glees. An oratorio in two acts; the first
act consisting of the crucifixion, the second
of the resurrection. The crucifixion was
inimitably performed in the cathedral at
Hereford, at the triennial music meeting,
1822, by a select and numerous band, led
by Mr. F. Cramer, and received with
universal approbation. This oratorio excited additional interest from the publicity
of the circumstance of its, having been
composed during the agonized feelings of
the author, for the loss of his eldest son, an
amiable young man, midshipman in his
majesty's ship York, Capt. Mitford, who
perished with the whole crew, December
24th, 1808. Dr. Clarke further edited
several works, principally consisting of
fifteen volumes of Handel's oratorios and
coronation anthems, with a compressed accompaniment for the organ or piano-forte.
The beauties of Purcell, in two vols.; two
volumes of anthems, by celebrated composers ; Arne's Artaxerxes ; Matthew Lock's
music in Macbeth; with numerous single
songs, duets, glees, &c. &c.
CLASZEN, (F. L.) composer of some
piano-forte music published at Manheim in
1780.
CLAUDE or CLAUDIN, le jeune,
whom the French rank among their first
composers of the sixteenth century, waa
a native of Valenciennes. He was not only
in the service of Henry IV., but in great
favour at the court of his predecessor Henry
III., particularly in the year 1581, at Ihe
wedding of the duke de Joyeuse, when his
music is said by several writers of the times
to have produced an extraordinary effect.
Thomas d'Emhry, who was his intimate
friend, and had the story from Claudin
himself, relates what happened on this
occasion in a less suspicious manner than
the rest. " This great musician," says he,
" at first caused a spirited air to be sung,
which so animated a gentleman who was
there, that he clapped his hand on his
sword, and swore it was impossible for him
159

CtE
to refrain from fighting with the first person
he met: upon which Claudin caused another
air to be performed of a more soothing kind,
which soon restored him to his natural temperament. Such power," continues he,
" have the key, movement, measure, and
inflexions of the voice over the affections."
His works consisted chiefly of miscellaneous
songs and psalms. His songs are chiefly
French, and in many parts like the madrigals of Italy.
CLAUDIO, a violinist, born at Lucca.
He was second violin at the Opera-house
in London many years, and composed six
solos for his instrument, published about the
year 1740.
CLAUDIO DA CORBEGGIO. See
MERULO.

CLAYTON, (THOMAS) one of the royal

band in the reign of king William and
queen Mary. Having been in Italy, he
persuaded himself that he could reform the
bad musical taste of the English by his own
compositions in the Italian style, and he
accordingly, in the year 1705, arranged
an opera called " Arsinoe," in which Dr.
Burney 'says, " Not only the common rules
of musical composition were violated in
every song, but also the prosody and accents of our language."
CLAYTON, a composer of piano-forte
music, now living, (dementi's Cat.)
CLEEMANN, (F.) a native of Mecklenburg, published some German songs in
1797, and in 1800 a work entitled " The
Musician's Manual."
CLEGG, (JOHN) an English violinist.
He travelled with Lord Ferrers to Italy, and
much improved his taste during his stay in
that country. Clegg, by the account of
contemporary professors, seems to have been
superior to all performers on the violin in
tone and execution, till about the year
1742, when he had so deranged his faculties
by intense study and practice, that he was
confined in the hospital of Bethlehem, where,
during intervals of sanity, he was allowed
the use of his instrument; and it was long
a fashionable, though inhuman amusement,
to visit him there, among other lunatics, in
160

CLE
hopes of being entertained by his fiddle or
his folly.
CLELAND, (GEORGE) late organist of
St. Mary's chapel, Queen-square, Bath,
now a teacher of the piano-forte in London,
has published, amongst other music, a selection of original chants, with a Sanctus and
Kyrie eleison.
CLEMENS NON PAPA, (JACOB) an
excellent Flemish composer, principal
chapel-master to the emperor Charles V.
Seven books of his motets, in four parts,
were published after his decease, at Louvain,
in 1567, as was his " Missa Defunctorum"
in 1580. His style is clear, his harmony
pure, and every subject of fugue or imitation simple and natural.
CLEMENT, (FEANZ. J.)born at Vienna
in 1782; he displayed a great genius for
music at a very, early age. When seven
years old he came to London, and performed
publicly on the violin with the first masters
of the day, in some instances taking the first
violin part. In 1805, he was chef-d'orchestre
at one of the theatres at Vienna. He has
composed some instrumental music, chiefly
at Vienna, among which we may especially
notice " Far. Op. 1."
CLEMENTI (Muzio.) We have no
hesitation in extracting from the Musical
Review, vol. ii. the following memoir of
the above celebrated artist, as being by far
the most satisfactory that has been seen
in print:
" Muzio Clementi was born at Rome,
in the year 1752. His father was a worker
in silver of great merit, and principally
engaged in the execution of embossed vases
and figures employed in the Catholic
worship. At a very early period of his
youth, he evinced a powerful disposition for
music, and as this was an art which greatly
delighted his father, he anxiously bestowed
the best instructions in his power on his son.
Buroni, who was his relation, and who
afterwards obtained the honourable station
of principal composer of St. Peter's, was his
first master. At six years of age he began
sol-fa-ing, and at seven he was placed
under an organist of the name of Cordicelli

CLE
for instruction in thorough-bass; at the age
of nine he passed his examination, and was
admitted an organist in Rome. This
examination consists in giving a figured
bass from the works of Corelli, and making
the scholar execute an accompaniment,
after which he is obliged to transpose the
same into various keys. This Clementi
affected with such facility, that he received
the highest applause from his examiners.
He next went under the celebrated Santarelli, the last great master of the true vocal
school. Between his eleventh and twelfth
years he studied under Carpini, the deepest
contrapuntist of his day in Rome. A few
months after he was placed under this
master, he was induced by some of his
friends, and without consulting his preceptor, to write a mass for four voices,
for which he received so much commendation, that Carpini expressed a desire to hear
it. It was accordingly repeated in church
in the presence of his master, who, being
little accustomed to bestow praise on any
one, said to his pupil after his dry manner,
' Why did not you tell me you were about
to write a mass? This is very well, to be
sure ; but if you had consulted me, it might
have been much better.' Under Carpini
he was practised in writing fugues and
canons on the canto fermo, and his master
was frequently heard to say, that had
Clementi remained under his instruction
a year longer, he might have passed his
examination in counterpoint. During these
studies he never neglected his harpsichord,
on which he had made so great a proficiency
between thirteen and fourteen, that Mr.
Peter Beckford, nephew of the alderman of
that name, who was then on his travels in
Italy, was extremely desirous of taking
him over to England. The declining riches
of the Romish church, at this period, not
giving much encouragement to the trade of
his father, he agreed to confide the rising
talents of his son to the care of Mr. Beckford, and soon after this Clementi set off for
England. The country seat of Mr. Beckford was in Dorsetshire, and here, by the
aid of a good library and the conversation
VOL. I.

CLE
of the family, Clementi quickly obtained a
competent knowledge of the English language. The plan of study adopted by a
man, who, independently of the great celebrity he has acquired by his own art, has
made so uncommon a proficiency in the
dead and living languages, and in the
whole circle of belles lettres, would furnish
a highly instructive lesson to the rising
generation; and we regret that it is not in
our power to communicate any particulars
on so interesting a subject. With regard to
his own art, we have learnt from good
authority, that his early studies were principally employed on the works of Corelli,
Alessandro Scarlatti, Handel's harpsichord
and organ music, and on the sonatas of
Paradies. His efforts to acquire preeminence on the harpsichord were in the mean
time as indefatigable as they were successful ; and at the age of eighteen he had not
only surpassed all his contemporaries in the
powers of execution and expression, but had
written his Opera 2, which gave a new aara
to that species of composition. Three years
afterwards this celebrated work was submitted to the public. The simplicity,
brilliancy, and originality which it displayed, captivated the whole circle of professors and amateurs. It is superfluous
to add, what all the great musicians of the
age have uniformly allowed, that this admirable work is the basis on which the
whole fabric of modern sonatas for the
piano-forte has been erected. The celebrated John Christian Bach spoke of it
in the highest terms ; but, although one of
the most able players of his time, he would
not attempt its performance; and when
Schroeter arrived in this country and was
asked if he could play the works of
Clementi, he replied, " That they could
only be performed by the author himself, or
the devil!" Yet such is the progress which
executive ability has made, that what was
once an obstacle to the most accomplished
talent, is now within the power of thousands. At the same time it should be
remarked, that merely to execute the notes,
is very far from expressing the intention of
M
161

CLE
the author, which can only be effected
by a powerful hand, guided by a still
more powerful mind. Those who have
heard these compositions from the hand
of the author and some of his best scholars,
will readily acknowledge the justness of
this remark. A well-known popular air
with variations, his Ops. 3 and 4, and a
duet for two performers on one instrument, were the next productions of his
youthful pen. Soon after he had quitted
Dorsetshire to reside in London, he was engaged to preside at the harpsichord, in the
orchestra of the Opera-house ; and had an
opportunity, which he never neglected, of
improving his taste by the performances of
the first singers of that age. The advantage
which he derived from this species of studywas quickly shown by the rapid progress he
made, beyond his contemporaries, in the
dignity of his style of execution, and in his
powers of expression. This, also, he carried
into his compositions ; and we have heard
Dussek, Steibelt, Woelfl, Beethoven, and
other eminent performers on the continent,
who had had no opportunity of receiving
personal instructions from Clementi, declare
that they had formed themselves entirely on
his works. His ability in extemporaneous
playing has perhaps no parallel. The richness of harmonic combination, the brilliancy
of fancy, the power of effect, and the noble
style of execution, which he displays, make
him stand alone in an age which has produced such a host of executive talent. We
recollect being once present amongst many
of the greatest musicians of the day, when
Clementi was prevailed upon to treat the
company with a performance of this description. The inspiration which beamed in his
eye, the bard-like enthusiasm with which
he swept the keys, and the admirable effects
which he produced, astonished and delighted
every body. Dussek was afterwards requested to play; and we remember, with
pleasure, the modest and just reply which he
made: ' To attempt any thing in the same
style would be presumption; and what sonata,
what concerto, or what other regular composition could a man play without falling
162

CLE
into insipidity, after what we have heard!'
His reputation, without the protection of any
patron, rose with such rapidity, that, in a
very short time, he received the same remuneration for his instructions as J. C. Bach;
and the fame of his works and of his executive
talents having spread over the continent, he
determined, in the year 1780, and at the
instigation of the celebrated Pacchierotti,
to visit Paris. In that city he was received
with enthusiasm, and had the honour to
play before the queen, who bestowed on
him the most unqualified applause. The
warmth of French praise, contrasted with
the gentle and cool approbation given by
the English, quite astonished the young
musician, who used jocosely to remark,
' That he could scarcely believe himself to
be the same man.' Whilst he remained in
that capital, he composed his Ops. 5 and
6, and published a new edition of his Op.
1, with an additional fugue. Having enjoyed the unabated applause of the Parisians
until the summer of 1781, he determined on
paying a visit to Vienna. In his way there
he stopped at Strasburg, where he was introduced to the then prince de Deux Ponts,
the present king of Bavaria, who treated
him with the greatest distinction: and also
at Munich, where he was received with
equal honour by the elector. At Vienna,
he became acquainted with Haydn, Mozart,
and ali the celebrated musicians resident in
that capital. The emperor Joseph II., who
was a great lover of music, invited him to his
palace ; where, in the latter end of the year
1781, he had the honour of playing alternately with Mozart before the emperor, and
the grand duke Paul of Russia and his
duchess. At Vienna, he composed three
sonatas, (Op. 7) published by Artaria;
three sonatas, (Op. 8) published at Lyons;
and six sonatas, (Ops. 9 and 10) also published by Artaria. On his return to England, he deemed it necessary to publish his
celebrated " Toccata" with a sonata, (Op.
11) a surreptitious copy, full of errors, having
been printed without his knowledge in
France.
In the autumn of 1783, John
Baptist Cramer, then about fourteen or

CLE
fifteen years of age, became his pupil. He
had previously received some lessons from
Schroeter, and was studying counterpoint
under Abel, dementi, at this time, resided
in Titchfield-street, and Cramer used to
attend him almost every morning, until the
following year, when Clementi returned to
France. Previous to his undertaking this
second journey, he was engaged at the nobility's concerts, and had published his
Op. 12; upon one of the sonatas of which
work, both Dr. Crotch and Samuel Wesley
afterwards gave public lectures in London.
In the year 1784, he again came back to
England, and soon afterwards published his
Ops. 13, 14, and 15. From this period, to
the year 1802, he remained in England,
pursuing his professional labours with increasing reputation; and wishing to secure
himself sufficient time for the prosecution of
his studies, he raised his terms for teaching
to one guinea per hour. His fame, however,
"was so great, that this augmentation of
price rather increased than diminished the
candidates for his instruction. The great
number of excellent pupils, of both sexes,
which he formed during this period, proves
his superior skill in the art of tuition ; the
invariable success which attended his public
performances, attest his preeminent talents
as a player; and his compositions, from Op.
15 to Op. 40, are a lasting proof of his application and genius. Before the publication
of this last work, he had produced one, the
advantages of which have been, and are
still felt and acknowledged, by almost all
the professors of our time; we mean his
excellent and luminous 'Introduction to the
Art of Playing on the Piano-forte! About
the year 1800, having lost a large sum of
money by the failure of the well-known
firm of Longman and Broderip, 26, Cheapside, he was induced, by the persuasions of
some eminent mercantile gentlemen, to
embark in that concern. A new firm was
accordingly formed, and from that perioi
he declined taking any more pupils. Th
hours which he did not thenceforward employ in his professional studies, he dedicate'
to the mechanical and philosophical im-

CLE
provement of piano-fortes; and the originality
md justness of his conceptions were crowned
with complete success. The extraordinary
.nd admirable talents of John Field must
ie still fresh in the memory of a great number
of our readers. These talents Clementi had
cultivated with unceasing delight; and he
has often been heard to say, 'That such was
the quickness of conception, retentiveness of
memory, and facility of execution, which
this highly gifted boy possessed, that he
seldom had occasion to make the same remark to him a second time.' With this
'avourite pupil, in the autumn of 1802, he
paid his third visit to Paris, where he was
received with unabated esteem and admiration. This pupil delighted every one who
heard him; and what is still more worthy
of remark, he played some of the great
fugues of Sebastian Bach with such precision and inimitable taste, as to call forth,
from a Parisian audience, the most enthusiastic applause. From Paris he proceeded
to Vienna, where he intended to place
Field under the instruction of Albrechtsberger, to which his pupil seemed to assent with
pleasure ; but when the time arrived for
Clementi to set off for Russia, poor Field,
with tears trembling in his eyes, expressed
so much regret at parting from his master,
and so strong a desire to accompany him,
that Clementi could not resist his inclinations ; they therefore proceeded directly to
St. Petersburg. In this city Clementi was
received with the greatest distinction ; he
played extemporaneously in the society of
the principal professors with his accustomed
excellence, and to the admiration of his
audience; and having introduced Field to
his friends, soon afterwards left Russia, in
company with a young professor of the
name of Zeuner. A short characteristic
anecdote of Palschau, of St. Petersburg,
who is, perhaps, the most exact fugue player
in existence, may not be unacceptable to
our readers. When Field had one day
performed several of Sebastian Bach's fugues,
in his exquisite manner, and to the inexpressible delight of all present, Palschau
turned dryly round to Clementi, and said,
M 2
163

CL E
in a grave tone, ' JMafoi, ila Hen e
Zeuner was the principal piano-forte player
and teacher in Petersburg, and having received some instructions from Clementi
during his residence there, he became so
attached to his master, that he left all his
scholars for the sake of accompanying him
to Berlin. In the latter city Clementi
played, both extemporaneously and from his
works, before all the most eminent musicians
with his wonted vigour and effect; and,
after remaining there two months, took
Zeuner with him to Dresden, the place of
his birth, where he left him well prepared
to acquire the reputation which he afterwards obtained. In Dresden, an unassuming, but very able and excellent young musician, of the name of Klengel, introduced
himself to the acquaintance of Clementi, and,
after obtaining some instructions, became
exceedingly desirous of accompanying his
master in his travels. Clementi was so
much pleased with his character and talents,
which have since become well known to
the public, that he consented; and after a
few weeks' residence at Dresden, he took
him on toVienna, where, during some months,
his pupil worked very hard under his instruction. It was at this time that he became acquainted with and cherished, by
counsel and the frequent exhibition of his
own powers on the piano-forte, the rising
talents of Kalkbrenner, who has since raised
himself to such distinguished eminence.
During the summer following, Clementi
took his pupil Klengel a tour through Switzerland, and returned immediately afterwards to Berlin, where he married his first
wife. In the autumn he took his bride
through Italy, as far as Rome and Naples;
and on his return to Berlin, having had the
misfortune to lose her in childbed, he immediately left the scene of his sorrows, and
once more visited Petersburg. In this journey he took with him another promising
young pupil, of the name of Berger, who had
previously received his instructions, and who
is now the principal professor of the pianoforte at Berlin. At Petersburg, he found
Tield in the full enjoyment of the highest

164

CL E
reputation; in short, he might be said to
be the musical idol of the Russian nation.
Here he remained but a short time; and
finding relief from the contemplation of his
severe loss in the bustle of travelling, he
again went back to Vienna, The following
summer, having heard of the death of his
brother, be proceeded once more to Rome,
to settle the affairs of his family. He then
made short residences at Milan and various
other places on the continent, where he was
detained, in spite of his inclinations, by the
disastrous continuation of the war; and
seizing a hazardous opportunity of conveyance, in the summer of 1810, he once more
arrived in England, and the year following
married his present amiable and accomplished
wife. Although, during this period of
nearly eight years, he published only a
single sonata, (Op. 41) his mind and his
pen were still occupied in the composition of
symphonies, and in preparing materials for
his ' Gradus ad Parnassian.' Hisfirstpublication, after his return, was the appendix
to his 'Introduction to the Art of Playing
on the Piano-forte,' a work which has beeu
of infinite use both to the profession and to
the public; and the demand for which has
constantly augmented, in proportion as its
excellence has been discovered and appreciated. He next adapted the twelve grand
symphonies of Haydn for the piano-forte,
with accompaniments for the flute, violin,
and violoncello. This work was a great
desideratum, since that which had already
been published by Salomon was awkwardly
and imperfectly done. Before he went abroad,
he had adapted Haydn's ' Creation' for
the piano-forte and voices; and he now published the oiatorio of the' Seasons,' which he
had done'in the same manner. He afterwards
adapted Mozart's overture to ' Don Giovanni,' besides various selections from the
vocal compositions of the same author. The
Philharmonic society having been now
established, he gave two grand symphonies,
which were received there, and at various
other concerts, with enthusiastic applause.
We understand, from good authority, that
he has several other manuscript symphonies

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C L I

to the
ready for performance."The following is John Banks.42. "Introduction
nearly a complete list of dementi's works: Art of Playing on the Piano-forte" tenth
Op. 1. " Six Sonatas."2." Sim Sonatas, Edition.43. " Second Part of Introducwith Flute or Violin Accompaniment''4. ion to the Art of Playing on the Piano" Gradus ad Parnassum,"
" Six Sonatas, with Flute or Violin Accom- forte"44.
paniment," dedicated to Mrs. Phillips.5. vol. i. and ii., dedicated to Her Excellency
" Piano-forte Duct."6. " Three Sonatas, the Princess Sophia Wolkonsky.46. " SoViolin and Violoncello Duets," dedicated to nata," dedicated to Kalkbrenner.47."Two
Mr;. Chinnery.7. " Three Sonatas."8. Capriccios," dedicated to Mrs. Clementi.
" Three Sonatas."9. "Three Sonatas." 48. "Fantasia, with Variations on 'Aw
10. "Three Sonatas."11. "One Sonata." clair de la lune,'" dedicated to Madame
12. "Four Sonatas and one Duet, for Moreau.49. " Twelve Monferrinas," detwo Piano-fortes." 13. " Six Sonatas, dicated to Signora Barbarina Frigerio.50.
with Flute and Violin Accmnpaniment," "Three Sonatas," dedicated to Cherubini.
dedicated to Count de Brurl.14 and 15. 51. " Three Duettinos," dedicated to his
" Three Sonatas, with Violin Accompani- child, Cecilia Susanna.52. " Third and
ment."16. "LaChasse."17. " Capric- last Volume of the Gradus."
cio."19. "Musical
Characteristics."
CLERAMBAULT, (Louis NICOLAS) a
20. "Single Sonata."21. "Three So- French vocal composer, and a great fanatas for Flute or Violo?icello, and Violin vourite of Louis XIV. He died at Paris in
Accompaniment," dedicated to Miss Mey- 1749.
sey.22. " Three Sonatas for Flute or
CLEREAU, (PIERRE) a French comVioloncello, and Violin Accompaniment," poser of vocal music, published at Paris, in the
dedicated to Miss Maria Caroline Blake. middle of the sixteenth century, " Chan23. " Single Sonata."25. "Six Sonatas," sons Spirituelles a quatre Voix," and a work
dedicated to Mrs. Meyrick.26. "One So- entitled " Tricinia."
nata."27. "Three Sonatas, with Violin
CLERICO, (FRANCESCO) ballet-master
and Violoncello Accompaniment"
dedi- and dramatic composer at Venice in 1789.
cated to Miss Blake.28. " Three Sonatas,
CLIFFORD, (Rev. JAMES) a minor
with Violin and Violoncello Accompani- canon of St. Paul's, died about the year
ment," dedicated to Miss Gilding. 29. 1700. He edited, in 1664, a useful little
" Three Sonatas, with Violin and Violon- book, containing a collection of the words of
cello Accompaniments," dedicated to Mrs the services and anthems used in our colBenn.31. " One Grand Sonata, with legiate and cathedral churches.
Flute Accompaniment."32. " Three SoCLIFTON (JOHN C.) was born in Lonnatas,with Flute and Violoncello Accompani- don in 1781 : he was intended for merment," dedicated to Miss Newbury.33 cantile life by his father, who at length,
"Three Sonatas, with Flute and Violon. Ac- however, on the persuasion of his son,
companiment," dedicated to Miss Janson. placed him under the musical tuition of
34. " Two Sonatas and two Capriccios,' R. Bellamy, father to the present Bellamy,
dedicated to Miss Savory. 35. " Thret who was related to the Clifton family.
Sonatas."36. " Six Progressive Sona- R. Bellamy was at that time almoner and
tinas," sixth Edition.37. " Three Sona- master of the choristers of St. Paul's cathetas," dedicated to Miss Gompertz.38 dral. Under his able instructions Clifton
" Twelve Waltzes, with Flute Accompani- remained nearly five years; at the expiraments,"
new Edition. 39. " Twelve tion of which time his father sent him to a
Waltzes, with Tambourine and Triangh classical school, and again wished to turn
Accomjianivients"40. " Three Sonatas,' his mind to commercial pursuits, at the
dedicated to Miss Fanny Blake.41. "On, same time not purposing to neglect his
Sonata," new Edition, dedicated to the Rev musical education; which soon after re-<
165

CL I

CL I

commenced under the celebrated Charles

Wesley, of whom Clifton became a favourite
pupil. Again, however, his father took him
suddenly from his musical pursuits, and
placed him in a counting-house, to the duties
of which he could not at all get reconciled.
When about eighteen years of age, he hecame acquainted with Cimador, Spagnoletti,
and other musicians, who changed and improved his taste to such a degree that he
determined immediately to follow music as
a profession; but when on the point of
doing so, he was given a situation in the
government stationary-office, where he did
Mot continue more than two years, again
finding calculation and account-books to interfere too much with his favourite pursuit.
The first opening of Clifton's professional
life was at Bath, where he was engaged
to conduct the musical department of the
Harmonic society, for which he set to
music a Latin grace," Seu edamus," written
by Dr. Morgan, and which continued to be
sung for many years before supper. While
at Bath, he composed several glees and
songs, among the latter his admired song,
"If music be the food of love." In 1802,
he visited Ireland, with the best introductions. During the time of his residence
there, he met with great encouragement in
composition, and published many of his
works in Dublin ; he also wrote a biographical sketch of his friend sir John Stevenson,
for one of the literary reviews. In 1815,
Clifton produced a musical piece called
" Edwin," at Crow-street theatre, the music
of which was well received. He resided in
Ireland, chiefly in Dublin, for nearly fourteen
years, and conducted during that time several concerts. The last which he conducted,
conjointly with sir John Stevenson, did
credit to their feelings, as well as to all the
professors, who volunteered their services, it
being for the benefit of the poor of Ireland,
who were then in a state of famine. The
concert was on a very grand scale, and to
make it more attractive, Clifton collected
from the military bands all who were able
to sing, and rehearsed them in the choruses
of Haydn, Mozart, and Beethoven. He
166

likewise added some hundreds of the charity

children, and taught them Handel's halle^
lujah chorus, which produced a sublime
effect. The orchestra was composed of
more than four hundred performers. For
his exertions on this occasion, Clifton received the public thanks of the committee,1
and was offered a professor's degree, which
his modesty declined. In 1816, he finished
a " Theory of Harmony simplified,"
and invented a machine called the Eido*
musicon, which, being fastened to the
piano-forte, over the action, produced the
notes and chords as they were struck, and
gave you the different intervals so distinctly,
that the eye and the ear were engaged at
the same time, which rendered vocal distances easily attainable for sight-singing,
He next publicly lectured on his new plan
and invention, which gave much satisfaction.
Being advised to publish it, he came to
London and prepared his book for the
press ; but finding the expenses enormous,
and the difficulty attending the prosecution
of his new design to be very great, he
abandoned the idea altogether. In 1818,
Clifton adopted the principles of Logier's
system, and settled in London, where he
holds a highly respectable rank in his profession, as a teacher of singing and of the
theory and practice of harmony. The following list contains Clifton's principal vocal
publications :
Songs: "If music be the food of love,"
''Nay, if you threaten," " When I am
doomed," " It may be love," " Sweet
stream," " A thousand charms," " The
moments fly" " Here is the bower,"
" Think,
oh think,"
The first
whisper of love," " Give me the lyre,"
" Answer to it," "Edward and Emma,"
" Mary" Serenade, " O come," " I live in
thy smile," "The Moss Rose," "Twelve
Moral Songs," "A bumper of sparkling
wine," "My Sarah dear" "Love and
Kilarny"
" The Sleeper," "Near the
purple moon," "Soft as the violet bank,"
" The first dawn of love," " The Lark,"
"British Melodies," "Irish Songs," and
" As through life." Glees: " Come to these

coc
scenes," " Sett edamus," " The Maid of
Truro," " Kain Ullin," " Thersis," " Two
Glees harmonized," " Fresh flows," "A
Blossom," "On a rock," " Hushed is the
harp," "Dirge of the Princess," "'Tis
live to young loves," " Two Volumes British
Melodies." " One Volume French Songs,"
" One Volume Moral Songs." Duets:
" See when the falling day," " O'er
Albion's bier," " Faithful Love," " When
care is drowned," and " Farewell to
thee." (dementi's Cat.)
CLIVE, (MRS.) a good English actress
and comic singer. She first appeared at
Drury-lane theatre in 1730.
COBB, (RICHARD) organist to Charles
I. of England. Several of his compositions
may be found in "The Triumphs of Oriana."
COBBOLD, (WILLIAM) an English
composer of madrigals and psalms at the
close of the sixteenth century. Some of his
compositions are to be found in Thomas
Este's collection of psalms, published inl591,
and in a work entitled " The Triumphs of
Oriana,", published in 1601.
COBHAM, an excellent violinist, engaged at the King's theatre in 1818. He
died at Chelsea in the year 1819, aged only
forty-six.
COCCHI, (GIOACCIIINO) a Neapolitan
dramatic composer; he was engaged in
1757 to write for the opera in London.
"When he first arrived in England, he
brought over the new passages that were
in favour at Rome and Naples, to which,
however, he added so little from his own
stock of ideas, that, by frequent repetition,
the public was soon tired of them ; and his
publications in this country are now as much
forgotten as if he had lived in the fifteenth
century. He remained here long enough to
save a considerable sum of money by teaching to sing. Plutarch informs us that
Dionysius the tyrant of Syracuse, when he
had lost his kingdom, became a schoolmaster, the common resource of opera composers and singers, who, after being dethroned in the theatre, often submit to the
same drudgery. In 1762, his engagement
as opera composer in London ceased, About

c oc
1772 he retired to Venice, where he had'
been maestro of a conservatorio before his
arrival in England. The exact year of his
death is unknown.
COCCIA, (CARLO) a celebrated dramatic composer, was born at Naples about the
year 1792. He studied counterpoint under
Finaroli, and theatrical composition under
Paesiello. In the year 1820 he went to
Lisbon, where he was engaged for two
years as composer to the theatre, and produced during that time four operas. From
Lisbon he came to this country, where he
arrived in August, 1823, and was engaged
for the season of 1824 at the opera in London, as composer and conductor. This
master is said to inspire great hopes in the
musical world. His most admired operas
are, probably, "La Festa delta Musica,"
"La Clotilde," "La
Selvaggia," and
" Fajel." The following list comprises the
principal of his works:
At Rome, " II Matrimonio per CamMale," composed in 1808, and " Rinaldo
d'Asti," in 1816. At Florence, " II Poeta
foriunato," 1808, " Carlotta e Werter,"
1814, and "Fajel," 1819. At Ferrara,
an opera, in 1809, the name of which we
have not been able to procure. At Venice,
farces, "La Verita nella buzia," 1810, "La
Matilde," 1811, " I Solitari," 1812, "Arrighetto," 1814, and"i2 Crescendo," 1815:
operas, " II Sogno verificato," 1812, "La
Seloaggia,"
1814, " Euristea," 1815,
" Clotilde," 1816, " Claudine in Torino,"
1817, and " Etelinda," 1817. In Trieste,
two cantatas, "La vera Gloria," 1817, and
" La Fedelta," 1819. At Padua, a cantata
on the occasion of the entry into Paris of
the allied forces. At Milan, two operas,
"Evelina,"
1815, and "I begli Usi di
Citta," 1816. At Turin, an opera, " Teseo
e Medea." At Genoa, an opera, "Donna
Caritea," 1818. At Lisbon, four operas,
"Atar," 1820, "Mundane," 1821, "La
Festadella Rosa," 1821, and "Elena e Costantino," 1821 ; also a cantata, "II Genio
Lusitano," 1820. At Treviso, a cantata
on occasion of the birth of the king of
Rome,
167

COL

COL

COCHEREAU, a celebrated French sition, motets and songs. Colasse destroyed

singer at Paris towards the close of the both his fortune and health in an infatuated
seventeenth century; he likewise composed pursuit of the philosopher's stone, and died
some ariettes.
at Versailles in the year 1709.
COLBRAN, (ISABELLA ANGELA.) See
CCEURIOT. SeeCuKioT.
COGAN, (Dr. PHILIP) an English com- ROSSINI.
poser, chiefly of instrumental music, since
COLEMAN (Dr. CHARLES) was a genthe year 1788. He resides in Ireland.
tleman of the private music of king Charles
COGGINS, (JOSEPH) an English pro- I. After the rebellion he taught music in
fessor of the piano-forte, was for many years London. Coleman, Henry Lawes, captain
a pupil and assistant of the late Dr. Callcott. Cook, and George Hudson, composed the
He published, in 1815, an excellent work music to an entertainment written by sir
called "The Musical Assistant; contain- William D'Avenant, intended as an imitaing all that is truly useful to the theory tion of the Italian opera, and performed
and practice of the piano-forte, explaining, during the usurpation, at Rutland-house, in
by the most easy method, the use of every Charter-house-yard.
musical character necessary for the informCOLETTI, (A. B.) a Venetian dramatic
ation of young performers; with appro- composer at the beginning of the eighteenth
priate preludes and lessons; also a complete century.
dictionary of the musical terms adopted by
C O L I Z Z I , ( J E A N ) an Italian instrumental
the best modern masters." He has also composer in the latter half of the last
published a divertimento from a theme of century. Some of his music was published
Steibelt's, and other piano-forte music, in in London. (Preston's Cat. 1797.)
very good taste.
COLLA, (Giu SEPPE) husband of Agujari
COICK or LE COQ, (GIAN) author of the singer, and composer of most of the
several songs in the collections of his time, music which she sung in public during her
particularly of one in five parts, printed at stay in England. Dr. Burney says that
Antwerp bySusato, 1545, in the sixth book Colla's music, though often good, was by no
of " Chansons a cinq et six Parties." Tn means either very original or varied.
COLLARD, a violinist, engaged at the
this song, the two upper parts are in canon,
in which the second part inverts the melody King's theatre in 1818, also at the Vocal
of the first, while the other three move in concerts.
fugue. " Tout tirebours va mon affaire," is
COLLET, (RICHARD) an English viothe motto of this canon. This composition linist. He was reckoned amongour principal
is curious and valuable, merely from the native performers on that instrument inl745;
difficulty of its construction.
but having neither taste nor knowledge of
COIGNET, a merchant at Lyons. He music, he was always an inelegant player.
COLOMBE or COLOMBA, an instruwas a collaborator with J. J. Rousseau in
mental composer at Paris in 1783.
the opera of Pygmalion.
COLOMBINI, an author of some madriCOLASSE, (PASCAL) chapel-master to
'Louis XIV., was born at Paris in 1636. He gals published at Venice in 1633.
COLONNA, (FABIO) a Roman noblewas a pupil of Lulli, and took him for his
model in all his compositions, as the follow- man and celebrated mathematician, published, in 1618,a speculative work, now being lines testify :
come very scarce, on the division of the
Colasie de Lulli craignit de smarter,
scale, which at no time could be of much use
11 le pilla, dit-on, cherchant a l'imiter.
But it is said that, whether he imitated to practical musicians, but at present, when
Lulli or not, his opera of " Thetis and Pe- so many better treatises on harmonics are
lens" will always be esteemed an excellent extant, would not be read,- if it could be
production. There are besides of his compo- found. Colonna died in 1647.
168

CON

CON
COLONNA

(GIOVANNI

PAOLO)

was

born at Brescia in 1630. He was chapelmaster at Bologna. He composed but few

operas: but he published, about the latter
end of the last century, many excellent
works for the church, of which P . Martini
has given a list to the amount of twelve, in
the second volume of his history of music.
It was the opinion of Dr. Boyce, that Colonna was Handel's model for choruses accompanied with many instrumental parts
different from the vocal. His psalms in
eight parts, published at Bologna in 1694,
have been very justly admired for their
masterly composition.
COLTELLINI, (CELESTE) a celebrated
Italian female singer since the year 1780.
COMA, (ANNIBALE) a composer of madrigals, published at Venice at the latter end
of the sixteenth century.
COMANEDO, (FLAMINIO) a composer
of canzonets, published in Venice and
Milan at the beginning of the seventeenth
century.
COMI, (GAUDENZIO) an Italian musician in the service of the prince of Conti, at
Paris, in 1790. He has published some
symphonies and other instrumental music
since the year 1786.
COMIN, (GIACOMO) music-master to
queen Margaret of France, and composer of
some Italian part-songs, lived in 1589.
COMPTON, (HENRY) an English composer of piano-forte music, now living. His
latest work is "Marie Louise," a French
air, with variations for the piano-forte. I
is said that the empress Maria Louisa was
accustomed to play this air to Napoleon, to
calm his temper when ruffled.
COMTE, (MONSIEUR L E ) a principa
singer at the grand opera at Paris in 1820.
CONCIATINI, (GIOVANNI CARLO) ai

eminent singer of the Bolognese school, was

born in 1745. He was first singer at the
opera at Berlin till 1796, when he retired
with a handsome pension from the Prussian
court.
CONDELL, a good violinist at the King':
theatre in 1818.
CONFOPvTI, (GIOVANNI BATTISTA)

lUpil of Claudio da Corregio, published a

iook of madrigals at Venice in 1567.
CONFOBTO, (NICOLO) composer of
he opera "Antigono," which was success'ully produced in London in 1757.
CONOBIO, a composer of some flute and
riolin music, published at Paris in 1780.
CONRAD (J. G.) published some presides for the organ at Leipsic in 1798.
CONRADI, (JOHANN GEOBG) chapel-

master at Dettingen, wa3 one of the first

opera composers for the Hamburgh theatre
in the years 1691, 1692, and 1693.
CONSATO, (NICOLA) an Italian dramaic composer. One of his operas, "Antigono," was performed in London in 1757.
CONSTANTINI, (FABIO) a Roman
composer of sacred vocal music about the
year 1630. He also published a collection
of the vocal works of the most esteemed
masters of the preceding ages.
CONTAMINE (MLLE. DE) published a
collection of airs of her composition, with an
accompaniment for the guitar, at Paris, in
1780.
CONTAMINE,

(COUSIN

DE.)

See

COUSIN.

CONTI, (ANGIOLA, called LA TACCA-

RINA) a much esteemed Italian prima donna

about the year 1760.
CONTI, (GIACOMO) chef-d'orchestra
of the Italian opera at Vienna in 1790. He
has composed much instrumental music.
CONTI (GIOVACHINO, called GIZZIELO,

from his master Gizzi) was a celebrated

Italian singer about the yearl750. He was
engaged by Handel for the opera in London. Conti excelled in the pathetic. At
the time he was in England he was a young
singer, and so modest and diffident, that
when he first heard Farinelli at a private
rehearsal, he burst into tears and fainted away
from despondency. Gizzielo narrowly escaped
with his life duri ng the earthquake which h appened at Lisboninl755,andhe was impressed
with such religious awe on witnessing that
tremendous calamity, that he retreated to a
monastery, where he ended his days.
CONTI, (IGNAZIO) an Italian composer
of dramatic music in the service of the em169

CON
peror of Germany at Vienna; his compositions bear date from the year 1728 to 1736.
CONTI, (LAURA) a female Italian singer,
educated at the' conservatory of V Ospidaletto at Venice. Dr. Burney was delighted
with her taste and expression; he heard her
at Venice in 1770. She was a pupil of
Durante.
CONTI, (NICOLO) a composer of Italian
songs about the year 1750.
CONTI, (FRANCESCO) a celebrated theorbist, born at Florence, was, upon the decease of Ziani, in 1703, appointed vice
chapel-master to the emperor of Germany,
at Vienna. He composed an opera entitled
" Archelaa Re di Cappadocia," the words
whereof were written by Abbate Pariati;
as also the opera of " Clotilda," performed
at London in the year 1709. He was also
the composer of variots other dramatic
pieces ; among which may be remarked the
comic opera of " Don Quixote," said to be
one of the first examples of good comic
dramatic music. The following anecdote
of Conti is preserved. In the year 1730,
this musician, having been insulted at
Vienna by a secular priest, took satisfaction
on the spot, by beating the holy father. The
transaction having been public, a criminal
process was issued against Conti; he was
convicted, and an ecclesiastical sentence
passed upon him, that he should be exposed for an hour, each of three successive
days, at the great door of the cathedral
church of St. Etienne. The emperor commuted the sentence to one instead of three
humiliating exhibitions to which he had
been condemned ; but not having conducted
himself with sufficient humility on the first
occasion, he was ordered to suffer the remaining portion of his original sentence,
by being exposed on the other two days,
dressed in a loose robe or shirt, and bearing
in his hand a lighted torch ; to this was superadded a fine of one thousand francs, to be
given to the priest who had been struck.'
All the expenses of the proceedings were
ordered to be defrayed by him; that he
should be imprisoned four years; and after
that, banished for ever from the Austrian
170

C O O
dominions. On this occasion the following
epigram appeared:
Non ea musa bona est musica, composnisli
Quam, Conti, tactus nam fuit ille gravis
Et bassus nimium crassus, rieque consonaclavis,
Perpetuo nigras hie geris ergo notas.

CONTINI, (GIOVANNI) chapel-master

at Brescia, and composer of madrigals and
sacred music, published at Venice between
the years 1560 and 1570.
CONVERSI or CONVEBSO, (GIROLAM o) born at Correggio, composed two*
books of madrigals, published at Venice iu
1575 and 1584. His madrigal, " When all
alone my pretty love," will ever be a fa
vourite with the amateurs of this style of
music.
COOK (HENRY) was educated at the
chapel royal, during the reign of king
Charles I . ; but at the commencement of
the rebellion he quitted it, and entered the
army. About the year 1642, he had in*
terest enough to obtain a captain's commission ; and, from that time, he was always
distinguished by tb e name of captain Cook.
The loyalty and skill of this musical soldier
recommended him to the notice, and secured him the patronage of Charles II.; by
whom he was not long afterwards appointed
master of the children of the royal chapel.
A hymn in four parts, composed by Cook,
was performed instead of the Litany, in
the chapel of St. George, at Windsor, by
order of the sovereign and the knights of
the garter, on the 17th of April, 1661.
None of his church music has hitherto
been printed ; and, if we may judge from
his few secular compositions that are to
be found dispersed in the collections of the
times, he seems to have by no means possessed the requisite qualifications for the
high office to which he was appointed. In
the second part of Playford's " Musical
Companion," published in 1667, there are
two or three of his songs, which are in
almost every respect dry and uninteresting.
He was the musical instructor of Humphrey,
Blow, and Wise ; and, as Anthony Wood
informs us, died of grief in the year 1672,
in consequence of the talents and musical

coo
reputation ojf his pupil Humphrey having
become far superior to his own.
COOKE, (Dr. BENJAMIN) a celebrated
English musician, was the son of Benjamin
Cooke, a music-seller in New-street, Coventgarden. About the year 1780, he was organist and master of the boys of Westminster abbey. Dr. Cooke composed many
beautiful vocal pieces ; among' which may
be named, the duets of " Thyrsis when he
left me," and " Let Rubinelli charm the
ear;" also the glees, " Hark the lark,"
" How sleep the brave," " In paper case,"
and " In the merry month of May;" the
latter of which is an admirable imitation
of the ancient madrigal style. Dr. Cooke
had the character of a most amiable and
agreeable man. Miss Hawkins, in her
anecdotes, says, " No one was ever less
vain of superior excellence in an art, or
rather, less sensible of it, than Dr. Cooke;
he certainly supposed that every body could
do what he did, ' if they would but try;'
and he would lend his abilities to assist, in
the least ostentatious manner. When seated
at the organ of Westminster abbey, where
no one ever excelled him in accompanying
an anthem, he would press every hand
that could be useful into his service; and,
even at the risk of addressing himself to
persons ignorant of the first principles of
music, would say to any lad, v/Yio had
strolled into the church and found his way
up to the organ, ' Young gentleman, can't
you lend us a hand here V To his boys he
would say, ' Come, come, don't stand idle ;
put in one hand here under my arm.' " Dr.
Cooke died in the year 1793.
COOKE, (ROBEBT) organist and master
of the choristers of Westminster abbey,
died in the year 1814. He was a composer
of some excellent vocal music. The most
admired of his works, is, " An Ode to
Friendship" which was sung on the first
night of the British concerts. Among his
other works are, " In the rose's fragrant
shade," glee, four voices ; " Love and folly
were at play," glee, four voices ; " Mark
where the silver queen," glee, foui voices ;
" Queen of the Sea," " Round thy pillow,"

COO
three voices; " Soft Spirit" three voicesJ
&c. &c. (Birchall's Cat.)
COOKE (NATHANIEL) was born at
Bosham, near Chichester, in 1773. He received the principal part of his musical education in London, from his uncle Matthew
Cooke, organist of St. George's, Bloomsbury. N. Cooke has published many small
pieces for the piano-forte, some of which
are particularly pleasing, and their value
not sufficiently appreciated by the composer,
who has taken little pains to recommend or
give them publicity. He has further published " A Collection of Psalms and Hymns
for the Use of the Brighthclmstone Church
Choir," which includes a well-constructed
canon, " I have set God always before
me," and a " Te Deum laudamus," that
has been much admired al Brighton, having
been sung in the church nearly every Sunday for fifteen years past, and is still constantly inquired after. N. Cooke has various compositions, vocal and instrumental,
ready for publication. We understand that,
at the election of an organist for the parish
church at Brighton, though several candidates were put in nomination, all the persons present, amounting to four hundred,
with one exception only, held up their
hands in Cooke's favour.
COOKE, Senior, professor of the
hautboy at the royal academy of music.
He is an excellent theoretical and practical
musician.
COOKE, (THOMAS) son of the preceding,
was born in Dublin. Having evinced an
early genius for music, he studied under his
father, and at seven years of age played a
concerto on the violin in public, with an
effect and precision hardly ever equalled
by so young a performer. A talent for
composition soon appeared, when he had the
advantage of further instruction in theory
from the celebrated Giordani, at that time
resident in Dublin. It may be asserted,
without any chance of contradiction, that
no living musician has a greater knowledge
than T. Cooke of the various musical instruments now in use, on nine of which he performed solos for his benefit, in one night,
171

coo
at Drury-lane theatre, about four years ago,
and for all of which he writes with much
facility. At a very early age, T. Cooke
succeeded to the directorship and leading
of the music at the theatre royal, Dublin.
While in this situation he composed several
musical pieces, which were eminently successful ; but the ambition of ardent genius
is seldom at rest so long as there is any
thing to attain; and to the surprise of all
his friends he suddenly announced himself
in Dublin, to perform the arduous singing
character of the Seraskier, in the " Siege
of Belgrade." The play-going part of the
town knew not what to think, not having
the least idea of his possessing any vocal
powers beyond those -necessary to join in a
glee; but it proved that he well knew his
ground, for, to the astonishment of a most
brilliant house, (it being his own benefit) he
acquitted himself in such a manner as at
once to place him on the line of first-rate
singers. After this successful dibut, he, at
the request of the proprietors, played some
nights more in Dublin, and soon afterwards,
having occasion to visit London, he accepted
a proposal from the proprietors of the
English opera, at which theatre he filled
the situation of first singer some seasons,
during which time he composed many successful operas. This led to offers from
Drury-lane, where he closed an engagement for a series of years as principal singer,
and at which theatre he is now engaged as
musical director, leader, and composer.
His preference to the duties attached to
these latter situations, may be naturally accounted for, by their having been the objects
of his earliest pursuit. T. Cooke was married early in life to Miss Howells, formerly
of Covent-garden theatre, and a singer
possessing many first-rate acquirements;
having a family, she left the stage. Their
eldest child is a daughter, who has a most
extraordinary musical talent, being a scientific performer on the piano-forte and
harp ; and fortunately nature has bestowed
upon her a voice of the most perfect order,
which, under her father's able tuition, she
has cultivated to a high degree of perfection.

173

COO'
We leam it is the intention of this young
lady to devote herself to concert singing,
and giving instruction in vocal music, on
the principles so very successfully adopted
by Miss M. Tree, Miss Povey, Mrs. Austin, &c. who have for some years been also
Cooke's pupils. T. Cooke's two sons are
students at the royal academy of music; and at the late examination of the
pupils of that establishment, one of them
was awarded a silver medal. They give
every promise of becoming ornaments to
the musical profession. We cannot better
prove the estimation in which T. Cooke is
held in the various branches of his profession, than by enumerating some of the situations and societies to which we have
ascertained he has with unanimous concurrence become attached. He has been elected
a member of the Philharmonic society, of
the royal academy of music, of the nobleman's catch club, and of the glee
club ; director, leader, and composer of the
music to the theatre royal, Drury-lane;
and principal tenor singer to the Bavarian
legation, at their chapel in Warwick-street,
Golden-square, &c. &c.
T. Cooke's publications are numerous
and of extensive sale. He is happy in the
esteem of a most respectable private circle
of acquaintance ; he possesses a lively wit,
and his society is much sought by those
who appreciate talent, combined with a
liberal, unaffected, and cheerful disposition.
His principal compositions are as follows : Operas : " Frederick the Great"
(Power.) " The King's Proxy," (Fentum.) Songs: " Who would not love"
(Power.) "Lilla come down to me," (Power.)
" No joy without my love," (Power,)
" This is love," (Harm. Inst.) " Father, accept the humble prayer,"
(Harm. Inst.)
" The smile of early love," (Clementi.)
" Bolivar's March," Clementi. " The
Shepherd Boy," (Clementi.) " Rememier
the moment," (Clementi.) "Pot Pourri,"
harp, (Power.) Piano-forte duets : " Triumphal March," (Harm. Inst.) " Ah se
puoi," (Harm. Inst.) Overture to "Maid or

coo
Wife," (Harm. Inst.) " Heart beating,"
(Harm.Inst.)" Caermarthen House,"'(Harm.
Inst.) "Irish Capriccio," (Goulding.) Glees,
"Fill my boy," (Power.) "A knight there
came," four voices ; " Comrades come," three
voices; (Williams.) Piano-forte, "Lord
Hardwick's March," (Power.) " Pastoral
and Military
Overture,' (Williams.)
"Scale, withfifty-sevenVariations for young
Performers on thePiano-forte," (Goulding.)
COOMBE

(WILLIAM

FRANCIS)

was

torn at Plymouth, in Devonslme, in 1786.

He began his musical studies under his
father, who is a professor of singing at Plymouth, in which town he sang at the early
age of nine years, on occasion of some oratorios being given, at which the principal
London performers were present. He next
studied music under Churchill, and a short
time with Jackson, of Exeter. At the age
of fourteen he was appointed organist of
Chard, in Somersethire, afterwards at Totness, in Devonshire, which situation he held
for nine years, subsequently removing to
Chelmsford, in Essex, where he has held
the organist's place eleven years. Having
been much engaged in teaching, he has had
but little time for composition. He has,
however, published a few sonatas, &e.
chiefly for the use of his pupils.
COOMBS, (JAMES MORRIS)

born at

Salisbury, was admitted a chorister in the

cathedral, and received his musical education from Dr. Stephens and Mr. Parry. At an
unusually early period of life he composed
and published a " Te Deum," which was
much admired for its originality, and is still
occasionally performed in various cathedral
churches. In 1789, he was appointed organist of Chippenham. He afterwards published several single songs, glees, a set of
canzonets, &c. many of which were very
popular. In 1819, he edited a selection of
psalm tunes, which is very highly approved
of, and has an extensive circulation. His
last attempt in composition, was an "Agnus
Dei," by competent judges deemed particularly beautiful; it has hitherto remained in
manuscript, but is now about tobe published.
He died in the year 1820, aged fifty-one, to

C O Q
the great regret of numerous friendsy who
properly appreciated his professional abilities, and who respected his social qualities
as a neighbour.
COPERARIO or COOPER, (JOHN) a
celebrated performer on the viol da gamba,
and composer for that instrument and the
lute, was one of the musical preceptors to
the children of king James I. Some of his
vocal compositions are to be found in sir
William Leighton's collection, and there
are several others extant in manuscript. In
conjunction with Laniere and another person, he composed the songs in a masque
written by Dr. Campion, on the marriage of
the Earl of Somerset with lady Frances
Howard, (the divorced countess of Essex)
which was represented in the banquetinghouse at Whitehall, on St. Stephen's night,
1614. One of the songs in this masque,
beginning with the words " Come ashore,"
is inserted in Smith's "Musica Antiqua," as
a specimen of the music of this composer,
Coperario was the author also of " Funeral
Tears for the Death of the Right Honourable the Earl of Devonshire; figured in
seven Songes, whereof six are soe set that
the Wordes may be expressed by a treble
Voyce alone, to the Lute and Base-Viol, or
else that the meane Part may be added, if
any shall effect more fulnesse of Parts,
The seventh is made in forme of a Dialogue,
and cannot be sung without two Voyces,"
printed in 1606 ; and "Songs of Mourning
andBewailing the untimely Death of Prince
Henry," printed in 1613. It has been supposed by some persons that Coperario was,
by birth, an Italian. This, however, is an
error, arising from the circumstance of his
having Italianized his plain and genuine
name of John Cooper, into Giovanni Coperario.
COPPENNEUR (J. H.) published
three duets in 1801, probably at Paris.
COPPOLA, (GUISEPPE) a Neapolitan
composer, published an oratorio entitled
" L'Apparizione di St. Michele," in 1788.
COQ.

See COICK, (GIAN LE.)

COQUET, a French musician, and author

of a work entitled "La Musiaue ,-endue
173

COR
'simiMe." He lived in the first half of the
last century.
COBELIN, a harpist at Paris, published a method for his instrument in 1783,
and other musical works up to the year
1802.
CORBETT, (WILLIAM) one of the king's
band, was a celebrated performer on the
violin, and leader of the first opera orchestra
at the Haymarket, at the time when
" Arsinoe" was performed there. Of this
person there are some particulars worth
noting. He was a good composer and a
great collector of music and musical instruments. When the Italian opera, properly
so called, was established in London, (that
is to say, in the year 1710, when "Rinaldo"
was performed at the Haymarket) a set of
instrumental performers were introduced,
and Corbett, though in the service of the
king, was permitted to go abroad. Accordingly he went to Italy, and resided at Rome
many years, during which time he made a
valuable collection of music and musical instruments. Those who were acquainted with
his circumstances, at a loss to account for
his being able to lay out such sums as he
was observed to do in the purchase of books
and instruments, confidently asserted that,
besides his salary, he had an allowance
from government, and that his business at
Rome was to watch the motions of the
Pretender. In his younger days, and before
he left England, he had published two or
three sets oi sonatas for violins and flutes,
twelve concertos for all instruments, and
sundry sets of tunes made for plays; but
upon his return, about the year 1740, he
brought over with him a great quantity of
music of his composing during his residence
abroad, from the publication of which here,
he hoped to derive considerable advantage;
he was however disappointed in his expectations. Corbett died at an advanced age,
about the year 1748.
CORDANS, (Don BAHTOLOMEO) a Ve-

netian dramatic composer between the years

1707 and 1731.
CORDICELLI, (S. GIOVANNJ) a Roman
Organist and composer of motets about the
174

COR
year 1750. He taught Clementi thoroughbass.
CORELLI, (AKCANGELO) founder of the
Roman school, what may now be termed
the ancient school, of violinists, was born
at Fusignano, near Imola, in the territory of
Bologna, in 1653. He is said, byAdami, to
have received his first instructions in counterpoint from Matteo Simonelli, of the papal
chapel: his violin master was Giovanni Battista Bassani, of Bologna. It has been
said, without authority, that Corelli'went to
Paris in the year 1672, but was soon driven
thence by the jealousy and violence of
Lulli. That he visited Germany, after he
had finished his studies, we are assured by
Gaspan Printz, who informs us that he was
in the service of the duke of Bavaria in
1680. Soon after this period he returned
to Italy and settled at Rome, where, about
1683, he published his first twelve sonatas.
In 1685, the second set appeared, under the
title of " Balletti da Camera." In 1690,
Corelli published the third opera of his
sonatas; and in 1694 the fourth, which,
consisting, like the second, of movements ft
for dancing, he called also "Balletti da Camera,"
About this time the opera was in
a very flourishing state at Rome, and
Corelli led the band as principal violin.
His solos, the work by which he acquired
the greatest reputation during his lifetime,
did not appear till the year 1700, when they
were published at Rome under the following title, " Sonate a Violino, e Viotone, o
Cembalo, Opera Quinta, Parte Prima, Parte
Seconda, Preludii, Allemande, Corente,
Gighi, Sarahande, Gavotte, e Follia." This
work was dedicated to Sophia Charlotte,
electress of Brandenburg. Corelli's great
patron at Rome was cardinal Ottoboni, the
great encourager of learning and the polite
arts; to whom, in 1694, he dedicated his
"Opera Quinta," and in whose palace he constantly resided," col spetiosa caraltere it at'
tuale servitore" of his eminence, as he expresses himself in the dedication. Crescimbini, speaking of the splendid and majestic
academic, or concert, held at cardinal Ottoboni's every Monday evening, says, that the

COR
performance was regulated by Arcangelo
Corelli, that most celebrated professor of
the violin, " famosissimo professore di
violino." The following anecdotes of this
eminent musician were communicated by
Geminiani, one of his most illustrious pupils,
and who was himself an eye and ear witness of what he thus related. At the time
when Corelli enjoyed the highest reputation, his fame having reached the court of
Naples, excited a curiosity in the king to
hear his performance ; he was consequently
invited by order of his majesty to that capital. Corelli, with great reluctance, was at
length prevailed upon to accept the invitation ; but, lest lie should not be well accompanied, he took with him his own second
violin and violoncello. At Naples he found
Alessandro Scarlatti, and several other masters. He was entreated to play some of his
concertos before the king : this he for some
time declined, on account of his whole band
not being with him, and there was no time,
he said, for a rehearsal. Although, however,
he consented, and in great fear performed the
first of his concertos, his astonishment was
very great to find that the Neapolitan musicians executed his productions almost as
accurately at sight, as his own band after
repeated rehearsals, when they had almost
got them by heart. " Si suona (says he to
Matteo, his second violin) a Napoli." After
this, being again admitted into his majesty's
presence, and desired to perform one of his
sonatas, the king found an adagio so long
and dry, that, being tired, he quitted the
room, to the great mortification of Corelli.
Afterwards he was desired to lead in the
performance of a masque, composed by
Scarlatti, which was to be represented before the king. This he undertook; but from
Scarlatti's little knowledge of the violin,
Corelli's part was somewhat awkward and
difficult; in one place it went up to F, and
when they came up to that passage, Corelli
failed and could not execute it: but he was
astonished beyond measure to hear Petrillo,
the Neapolitan leader, and the other violins,
perform with ease that which had baffled
his utmost skill. A song succeeded this, in

COR
C minor, which Corelli led off in C major.
" Mecamminciano," (let us begin again)
said Scarlatti, goodnaturedly. Still Corelli
persisted in the major key, till Scarlatti was
obliged to call out to him and set him right.
So mortified was poor Corelli at this disgrace, and the deplorable figure he imagined
he had made at Naples, that he stole back
to Rome in silence. Soon after this a hautboy player, whose name Geminiani could
not recollect, acquired such applause at
Rome, that Corelli, disgusted, would never
again play in public. All these mortifications, joined to the success of Valentini,
whose concertos and performances, though
infinitely inferior to those of Corelli, were
become fashionable, threw him into such a
state of melancholy and chagrin, as was
thought to have hastened his death. This
account of Corelli's journey to Naples is not
a mere personal anecdote ; it throws light
upon the comparative state of music at
Naples and at Rome in Corelli's time, and
exhibits a curious contrast between the
fiery genius of the Neapolitans, and the meek,
timid, and gentle character of Corelli, so
analogous to the style of his music. In 1712,
his concertos were beautifully engraved at
Amsterdam by Estienne Roger and Michael
Charles le Cene, and dedicated to John
William, prince palatine of the Rhine ; but,
alas ! the author survived the publication of
this admirable work but six weeks; the
dedication bearing date the 3d of December, 1712, and he dying on the 18th of
January, 1713. He was buried in the
church of Santa Maria della Rotonda, the
ancient Pantheon, in the first chapel on the
left hand of the entrance of that beautiful
temple, where a monument, decorated with
a marble bust, is erected to his memory,
near that of the greatest of painters, Raffaele, by Philip William, count palatine of
the Rhine, under the direction of cardinal
Ottoboni. During many years after Corelli's
decease, a solemn service, consisting of selections from his own works, was performed in
the Pantheon by a numerous band, on the
anniversary of his funeral. This solemnity
continued as long as any of his immediate
175

COR
scholars survived to conduct the performance. Of the private life and moral character of this celebrated musician, no new
information can now be obtained; but if we
may judge of his equanimity and natural
disposition by the mildness, sweetness, and
even tenour of his musical ideas, his temper
and talents must equally have endeared
him to all his acquaintance. The account
that is given of his having amassed six thousand pounds, exclusive of a valuable collection of pictures, and of his havingbequeathed
the whole of his property to his patron, cardinal Ottoboni, savours more of vanity than
true generosity ; and the cardinal magnanimously evinced his opinion of this bequest,
by reserving only the pictures, and distributing the remainder of Corelli's effects
among his indigent relations, to whom they
naturally appertained. In regard to the
peculiar [merits of Corelli's productions, it
may be briefly said, that his solos, as a
classical book for forming the hand of a
young practitioner on the violin, have ever
been regarded as truly valuable by the most
eminent masters of that instrument; and it
is said that his " Opera Quinta," on which
all good schools for the violin have since
been founded, cost him three years to revise and correct. Tartini formed all his
scholars on these solos; and Giardini observed, that of any two pupils of equal age
and abilities, if the one were to begin his
studies by Corelli, and the other by Geminiani, or any other eminent master whatever, he was certain that the first would
become the best performer. The concertos
of Corelli have withstood all the attacks of
time and fashion, with more firmness than
any of his other works. The harmony is so
pure, the parts are so clearly, judiciously,
and ingeniously disposed, and the effect of
the whole, from a large band, so majestic,
solemn, and sublime, that they preclude all
criticism, and make us forget that there is
any other music of the same kind existing.
Geminiani's character of Corelli, upon the
whole, seems very just: " His merit was
not depth of learning, like that of his contemporary Alessandro Scarlatti, nor great
176

COR
fancy or a rich invention in melody or harmony, but a nice ear, and most delicate
taste, which led him to select the most
pleasing melodies and harmonies, and to
construct the part so as to produce the most
delightful effect-upon the ear." At the
time of Corelli's greatest reputation, Geminiani asked Scarlatti what he thought of
him, who answered, that " he found nothing
greatly to admire in his composition, but
was extremely struck with the manner in
which he played his concertos, and his nice
management of his band, the uncommon
accuracy of whose performance gave the
concertos an amazing effect, even to the eye
as well as to the ear." For, continued Geminiani, " Corelli regarded it as an essential
to a band, that their bows should all move
exactly together, all up or all down, so that
at his rehearsal, which constantly preceded
every public performance of his concertos,
he would immediately stop the band if he
saw an irregular bow." There was little
or no melody in instrumental music before
Corelli's time; and though he has more
grace and elegance in his cantilena than
his predecessors, and though slow and
solemn movements abound in his works,
yet it must be confessed they are destitute
of true, pathetic, and impassioned melody.
However, when we recollect that some of
his productions are upwards of a hundred
and thirty years old, we shall, in spite of
this deficiency, admire, and wonder at their
grace and elegance, which can only be accounted for on the principle of their ease
and simplicity, which have conferred longevity on the works of Corelli. His productions continued longer in unfading favour in
England, where they still retain a considerable portion of esteem, than e\ en in his own
country, or indeed in any other part of
Europe. They have, however, been compelled to submit to the superior genius and
talents of Haydn, Mozart, Beethoven, and
Cherubini.who, in the ideas of the generality
of our musical readers, will probably, and
perhaps justly, be considered to have left at
an immeasurable distance, the comparatively
humble efforts of their laborious predecessors.

COR'

COR

CORETTE, (MICHAEL) organist of the studied the piano-forte under Clementi. In

Jesuit's college at Paris in 1738, composed 1804, he was elected organist and master
much instrumental music between the years of the choristers of the cathedral of Salis1780 and 1786. He also wrote numerous bury. Mr. A. T. Cbrfe's compositions are
treatises on music, and methods for different a Te Deum, Jubilate, Sanctus, and Cominstruments. He was a furious partisan of mandments; an anthem, "Lord thou art
the French school of music.
become gracious," for a countertenor ; the
CORFE, (JOSEPH) born at Salisbury Ordination Hymn, from Handel's Works ;
in 1740, was one of the choristers of the and also several piano-forte pieces.
CORKINE, (WILLIAM) an English comcathedral of that city, and received his
musical education from Dr. Stephens the poser of "Airs to sing to the Lute and Bassorganist. Early in life Corfe was honoured viol," published at London, in two volumes,
with the patronage of James Harris, Esq., in 1610 and 1612.
grandfather to the present Earl of MalmesCORNELIE, (MADAME.)
See P O M bury, by whose friendship he was recom- PEATI.
mended to the notice of bishop Lowth,
CORNEO, (ALESSANDBE) a Roman
which procured for him, in 1782, the ap- opera composer in 1790.
pointment of one of the gentlemen of his
CORNET, (A.) a composer and singingmajesty's chapel royal. In 1792, he was master at Vienna in 1796. He published
elected, by the dean and chaplain of Salis- some duettini at Vienna in 1793.
bury, organist of that cathedral and master
CORNISH, a good English performer on
of the choristers; which situation he re- the hautboy. He was engaged at the King's
signed, in 1804, to his son Arthur, the theatre in 1818.
present organist. Few men stood higher,
CORNISHE, (WILLIAM) composer for
both in public and private estimation, than the chapel royal in the time of Henry VII.
Corfe. His compositions are chiefly for
CORRADI,
(GIOVANNI
BATTISTA)
the church, and his morning and evening chapel-master and composer at Milan in
service, with many excellent anthems, are 1600.
in constant use at Salisbury and other
CORRADINI, (NICOLO) organist and
cathedrals. He died in 1820. The fol- composer at Cremona.
His " Canzoni
'owing is a list of his publications: " A Francese" were published at Venice in 1624.
Morning and Evening Service, a SancCORREGIO (CLAUDIO) published some
tus, with eight Anthems, dedicated to the madrigals at Venice in 1566.
Dean and Chapter of Salisbury," 1 vol.;
CORRI, (DOMINICO) an Italian composer,
" A Treatise on Singing ;" " A Treatise on resident in London, was a pupil of Porpora
Thorough-Bass ;" "The Beauties of Handel, at Naples, from the year 1763 till Porpora's
dedicated to his late Majesty," 3 vols.; death, in 1767. Corri came to London in
Sacred Music, adapted to some of the 1774, and the same year produced an opera,
choicest Compositions ofJomelli, Pergolesi, entitled " Alessandro nelV Indie;" but his
8{c. Sfe. by the late James Harris, Esq. de- name was not sufficiently blazoned to give
dicated to the Earl of Malmesbury ;" " The his opera much iclat, or indeed to excite
Beauties of Purcell, dedicated to Miss S. the attention it deserved. In 1788, Corri
Beckford," 2 vols.; " Three Sets of Glees, published three volumes of English songs,
from Scotch and other Melodies;" "The with original accompaniments, a work which
Second Volume of Kent's Anthems."
was moderately successful. About the year
CORFE, (ARTHUR THOMAS) son of the 1797, he entered into partnership with
preceding, was born at Salisbury in 1773. Dussek in a music warehouse, where he
He was placed as chorister at Westminster published a great deal of his own and other
abbey in 1783, and received his musical music; but the works by which he is chiefly
education from Dr. Cooke; he afterwards known in England, are his opera of " The
177
VOL. I.

COR
and a treatise on singing, in !
two volumes, called " The Singer's Preceptor."- Corn is still living in London, at
the very advanced age of near eighty. He
is father to Antonio Com, now in America, Haydn Corri, of Dublin, M. Corri,
of Manchester, and also to Mrs, Moralt,
late Mrs. Dussek.
CORItl, (MLLE.)

See MORALT, ( M A -

DAME.)

CORRI, (HAYDN) third sou of Doroinico

Corri, is a good pianist and singing-master,
now resident in Dublin. A work written
b.y him on the art of singing is, we believe,
preparing for the press. H. Corri has
composed some vocal music, published by
Chappell.
CORRI, (MONTAGUE) second son of
Dominico Corri, was born in Edinburgh
about the year 1785. At an early age he
was taught fencing by the late Mr. T.
Angelo, and became unusually expert at it
when only ten years old. As all his family
were musical, it was intended he should be
brought up to the same profession; but his
inclinations leading him to prefer painting,
for which he also showed a talent, some
family differences took place, which occasioned his suddenly leaving home and entering the sea service ; he soon, however, became tired of this life, and returned to his
family, where, on approaching the age of
nineteen, he began to reflect that he must de pend entirely on himself for support, and flew
with avidity to music as his last resource.
M. Corri may be said to have been almost
self-taught in music, never having received more instruction than six lessons
from his father, twelve from his mother, and
a few oocasionally from Winter and Steibelt
on composition; whatever further knowledge he derived was from reajing over the
scores of the most celebrated composers.
His career in instrumental practice was
soon stopped, first by an accidental wound
in his head, and soon after by the complete
dislocation of one of the fingers of his right
hand, which prevented him from playing on
the piano-forte. Composition and the arrangement of instrumental music, both, for

178

COR
theatres and military hands, then became
his only means of support, and in this
branch of business his expedition was wonderful. He was first employed at the
Surrey theatre as composer and compiler of
their music. As an instance of his quickness
and cleverness in theatrical business, we
will relate the following two anecdotes:
he once received the words of two songa in
the morning, both, of which were sung the
same evening in a theatre. At another
time Mr. Liston had advertised the Forty
Thieves for his benefit at Covent-garden,
but on the Saturday previous to his benefit,
which was to happen on the following
Tuesday, it was found that the orchestra
parts were not to be had, they having never
been reset since the fire of Drury-lane
theatre; thus circumstanced, M. Corri was
named as the person most likely to replace
them. On Sunday he was sent for, and
after reflecting a little on the difficulty of the
undertaking, ultimately agreed to do it.
He commenced on Monday morning, without giving himself time to make the score,
lo write the whole of the parts for the different instruments from a piano-forte copy,
and contrived to be prepared for a half band
rehearsal on Tuesday morning. During
the rehearsal, he quitted the house for rest
and refreshment for an hour, and immediately after proceeded with his work, which
he entirely completed, without an error, by
eight o'clock that evening. Coni's next
engagements were at Astley's and the Cobourg theatre till the year 1816, when he
was appointed chorus-master at the English
Opera-house. About 1817, he was engaged
by his uncle to manage his Pantheon at
Edinburgh. On his return, he arranged some
music for regimental bands, at Newcastleupon-Tyne ; and then took his passage from
Shields to London, onboard a Dutch trader,
which was wrecked. After many hardships, Corri and the rest of the crew were
taken up from the long boat, by a collier,
and he arrived in Gravesend, having lost
every thing he possessed, except the clothes
on his back and a few pounds in a pocketbook, which he had tied round his neck.

COR
Since this period, he has resided alternately
at Manchester and Liverpool, occasionally
employed at the theatres and giving instructions in fencing.
CORRI, (NATALE) brother of Dominico
Corri, was a singing-master of reputation at
Edinburgh, where, for many years, he gave
public concerts and other musical entertainments. N. Corri has published several
books of Scotch songs, also some Italian
chamber music.
CORRI, (Miss FRANCES) daughter of
Natale Corri, was born at Edinburgh in
1801. Her earliest instructor in singing was
her father, but she was brought early to
London and placed under the tuition of
Braham. She has subsequently made a
long tour in company with Madame Catalani, during which she must have heaid most
of the principal singers in Europe. At the
age of seventeen she was introduced to the
English public at the King's theatre, where
she undertook several arduous characters
as prima donna. The editor of the Musical Review, in speaking of Miss Corri's
singing, observes, that " no auditor would
listen for five minutes to her singing without pronouncing, this is the manner of
Catalani." Miss Coiri's intonation is perfect, and she promises in a few years to be
one of the greatest ornaments of the Italian
stage. She has been singing in various
parts of Germany, where, it is said, her
rising abilities have not been sufficiently
appreciated.
CORRI, (Miss ROSALIE) younger sister
of the preceding. She sang at the oratorios
in London in 1820 and 1821, has a good
voice, and much of the delightful execution
of her sister.
CORSIN, a-guitar-master and composer
for his instrument at Paris in 1785.
CORTECCIA, (FRANCESCO) an eminent
Italian organist a;.d composer, was chapelmaster, during thirty yesrs, to the grand
duke Cosmo II. He published at Venice,
in 1566, madrigals, motets and some sacred
music. He died in 1581. A copy of Corteccia's madrigals is preserved in the Christchurch collection, at Oxford.

cou
CORTIVIL, a French flutist and instrumental composer about the year 1720.
Some of his duos for the violin were published in London.
CORTOIS or COURTOIS, (JAN) a
composer of part-songs, published at Antwerp in 1545. Great art and labour have
been bestowed on his compositions to very
little purpose.
CORTONA, (ANTONIO) a Venetian
dramatic composer about the middle of the
last century.
COSIMO, (NICOLO) a Roman composer
and violinist. He was in England in 1702,
when he published twelve solos for the
violin, which have considerable merit for
his time. There is a mezzotinto print of
this musician, engraved by J. Smith from a
picture of sir Godfrey Kneller.
CONSTANTIUS FESTA. See FESTA.
CONSTANZO PORTA. See PORTA.
COSTELEY, (WILLIAM) of Scotch oiigin, was organist and valet ie chambre to
Charles IX. He wrote on music in 1570.
COSYN, an English musician, published,
in 1585, sixty psalms, in six parts, in plain
counterpoint.
COSYN,(BENJAMIN) a celebrated composer of "Lessons for the Harpsichord," and
probably an excellent performer on that
inshument, flourished in the first half of the
seventeenth century. There are many of
his lessons extant, somewhat in the same
style with those of Dr. Bull, and in no respect
inferior to them.
COUDRAY, (G. TRONSON DU) a French
composer of romances, some of which are
published in London by Chappell.
COULON, a French composer of songs
about the year 1800.
COUPEPJN, (FRANCOIS) organist and
chamber-musician to Louis XIV. and XV.,
was a fine performer on the harpsichord, and
composed for that instrument an allemande
entitled " Les Islet's heurenses," which may
be seen in the first volume of sir John
Hawkins's History, p. 48. Couperin died in
1733.
COUPERIN, (ARMAND Louis) son of
Nicholas Couperin, chamber-musician, to
N2
179

cou
the count of Toulouse, was organist to the
king, and to several churches in Paris. He
composed some instrumental and church
music, and was much celebrated for his
skill on the organ anu harpsichord. He
died in 1789. Dr. Burney heard him perform on the organ at Paris in 1770, and
considered him as a great player.
C O U P E R I N , (GEEVAIX FRANCOIS) son

C R A
prosecution of his studies. After a stay of
six years at Paris, Cousser visited Germany,
and introduced there the Italian method of
singing, to which the Germans had hitherto
been strangers. About the year 1700, he
visited Italy, making two journeys thither
in the course of five years. Upon his last
return to Germany, not receiving that encouragement which he thought due.to his
merit, he quitted that country and came to
England, and, settling in London, became
a private teacher of music. In the year
1710, he went to Ireland, and obtained an
employment in the cathedral church of
Dublin. Cousser composed several operas
and other vocal music. He died at Dublin
in the year 1727.

of the preceding, succeeded his father as

organist of several churches in Paris: he
also composed some instrumental and church
music.
COUPILLET, chapel-master at Versailles, patronised by the celebrated Bossuet
in 1683.
COURBEST, a French amateur comCOUTEAUX. See AETHTJR.
poser of sacred music at Paris in 1603.
COX, an organist and composer for his
COURBOIS, a French composer of cantatas at the beginning of the eighteenth instrument in London about the year 1780.
COYLE, an English composer of pianocentury.
COURCELLE, a French dramatic com- forte music. (See Preston's Cat. 1795.)
CRAFT, a composer of instrumental
poser about the year 1730.
music, published at Amsterdam in 1720.
COURROY. See CAURROY.
COURSELLO (father and son) pub- CRAIG, an English musician, published
lished three sonatas for the harpsichord at a collection of Scotch tunes for the harpsichord. (Preston's Cat. 1795.)
Paris in 1774.
CRAMER, (WILLTAM) born at ManCOURTEVILLE, (JOHN) the author of
several songs, printed in the Theatre of heim a"bout the year 1730, was an excellent
Music, in the latter half of the seventeenth violinist, celebrated for his fire, tone, and
certainty of touch. He is said, by the Gercentury.
COURTEVILLE, (RAPHAEL) brother man writers, to have u nited in his. playing
of the foregoing, was a gentleman ^of the the brilliancy of Lulli, with the expression
chapel royal in the reign of Charles II. He and energy of Benda; he was considered as
composed sonatas for two flutes, and various the first violinist of his time in Germany, and
songs, printed in the collections of his time. was employed at the chapel of the elector
palatine, at Manheim, from 1750 to 1770COURTIVIL. See CORTIVIL.
In the latter year he came to England, and
COURTOIS. See CORT O I S.
was nominated chamber-musician to the
COUSIN JACQUES. See BEFPROI.
COUSINEAU, a French harpist and king, and likewise appointed leader of the orcomposer for his instrument since the year chestra at the opera, and a few years afterwards, leader at the Ancient concerts. It
1780.
COUSSER, (JOHANN SIGISMUND) born was Cramer who, in 1787, led the orchestra
about the year 1657, was the son of an of eight hundred musicians, at the comeminent musician of Presburg, in Hungary. memoration of Handel. He died in 1805.
Being initiated by his father in the rudi- W. Cramer composed and published much
ments of music, and also in the practice of music for the violin,
composition, he travelled for improvement
CRAMER, (JOHN BAPTIST) son of the
into Fiance, and at Paris became a favourite preceding. Among the foreign musical arof Lulli, and was by him assisted in the tists of eminence to whom England can lay
180

CRA
claim, as the land of their adoption, there is
no name of greater celebrity than the subject of the present memoir, who, though born
in Germany, was brought over by his father
to this country at a very early age. With
a strong natural genius for music, it could
not be long before young Cramer's progress
in the art, gave to his friends the promise of
future excellence. Surrounded also as he
was by the most eminent musical circle then
resident in England, he had every opportunity of forming his taste on the best models.
Still, it is said that the violin, to the performance of which instrument the father
wished to direct his son's talent and taste,
was never sufficiently admired by young
Cramer, to draw forth the latent powers of
his genius, and it was not till he was discovered, when about six years old, to take
every opportunity of practising privately on
an old piano-forte, that his friends perceived
the true bias of his mind; shortly after
which, his father apprenticed him for three
years to a German professor of that instrument, by the name of Benser; his next
master being Schroeter, and his third,
though only for the short term of one year,
the celebrated Clementi. Cramer, on the
completion of his tuition, had arrived at the
age of thirteen, when, after another year's
assiduous practice from the works of the best
masters, his fame as a performer began to
spread through the metropolis, and he was
invited to play in public at several of the
first concerts, where he astonished the most
judicious audiences by his precocious brilliancy of touch and rapidity of execution.
At the same time he studied the theory of
music under C. F. Abel. The father and
son may be considered as having been at
this period two of the first instrumental performers in Europe; their assistance was
anxiously sought for in every orchestra of
importance throughout the kingdom ; and it
was not long after this time, that W. Cramer, who had for several years been chefd'orchestre at the opera, was appointed to
lead at one of the commemorations of Handel in Westminster abbey; a professional
honour of the very highest degree to which

CRA
a violinist could aspire, and to which no one
could have done greater justice. It should
be recollected that the vocaf and instrumental band on that occasion consisted of above
eight hundred performers ; and it is well
known that London could then boast of
many excellent violinists, all of whom
readily ceded their claims to Cramer sen.
We believe that the son was in that year on
the continent; at all events the character of
his instrument was such as to render his
professional assistance useless on the occasion. Whilst on this subject, we cannot but
lament that many brilliant pianists of the
present day seem altogether to have neglected, in their musical education, that divine and stupendous instrument the organ.
We have never heard this properly explained, nor can we conceive an adequate reason being adduced, for a pianist neglecting
separately to study the organ in the course
of his professional education. An impression prevails with many musicians, that a
good performer on the piano-forte can play,
what they term, sufficiently well on the organ, with little or hardly any previous practice : and this may be true so far as relates
to the music performed in Protestant parish
churches; but we will venture to say there
exists no pianist, however excellent as such,
who can, without having studied the organ
diligently and for a great length of time,
give adequate effect to the wonderful powers of its mechanism. The most usual fault
of piano-forte organists is to be lavish of
execution, and to forget that they are not
to consider themselves as principals, but as
auxiliaries to the human voice. The writer
has not unfrequently heard, at the fashionable chapels of the metropolis, these gentlemen amusing themselves in a simple psalm
by a display of ambidextral skill, and intricacy and volubility of sound, that has
even alarmed the more pious members of
their congregations. But to revert to the
subject of our memoir. He was about
seventeen years of age when he went to various parts of the continent, exeiting his
talents in several of the capital towns, in
such a manner as to attract the attention of
181

C R A
all amateurs of the piano-forte. His return
to England took place about the year 1791;
previously to which period, he had become
known as a composer by several operas of
sonatas, published at Paris. A few years
afterwards he again went abroad, and proceeded as far as Vienna and Italy. At
Vienna he renewed his friendship with
Haydn, who, when in England, had evinced
great partiality for him. On his again revisiting this country he married, and has
since been resident amongst us, with the
exception of occasional visits to Paris on
subjects connected with his profession. J. B.
Cramer's eminence as a teacher as well as
performer has long been established in the
metropolis, and his " Instructions" and
" Studies" for his instrument are considered as among the best in Europe : the former
work has gone through several editions; its
contents are as follows. Seventeen pages are
filled with elementary instructions, and numerous examples of fingering, given in such
convenient and well-arranged forms as
greatly to facilitate the progress of the student in every difficulty and change that the
hand may have to encounter in modern music. He then proceeds to a series of lessons arranged according to the major and
relative minor keys, all of which are more
or less fingered; and though several of them
are attended with considerable difficulties
to young students, still the combinations
are such as must soon be met with in the
compositions of able modem masters : these
lessons therefore form a sort of pans asinorum, without passing which with care, it
is premature, or, indeed, altogether needless,
for a student to attempt proceeding further
in the science. The " Studies" are works
displaying a great versatility of taste, and
will be found fully to answer the purposes
for which they were written. We have observed various passages in them, as indeed
in many of the other works of this master,
which remind us forcibly of the harmony of
Sebastian Bach ; this is, indeed, the less remarkable, as the works of that great master
and his family are said to have received the
strictest attention from Cramer, in the ear182

C R A
Her portion of hi? professional career. Well
indeed would it be for various professors of
the present day, had they laid the foundation of their musical attainments on so firm
a basis! The neglect of good models is
probably the source of all musical defects.
How many a musical genius, says Forkel,
has been cramped by the deficiencies of the
music-master, who, that he may maintain
his own credit, cries up and recommends
studies to his pupils, compositions within
the reach of his own limited talents, whilst
the sublime effusions of a Bach are decried
as obsolete and whimsical, lest, if produced,
it should be discovered that the master can
neither play nor even comprehend their beauties. Thus many a pupil is obliged to spend
his time, labour, and money in useless jingle, and in half a dozen years is, perhaps,
not a step further advanced in real musical
knowledge, than he was at the beginning.
With better instruction he would not have
wanted half the time, trouble, and money to
be put into a way in which he might have
safely and progressively advanced to perfection in his art. It is certain, continues
Forkel, that if music is to remain an art,
and not to be degraded into a mere idle
amusement, more use must be made of
classical works than has been done for some
time past. Bach, as the first classic in
music that ever lived, or perhaps ever will
live, can incontestably perform the most important services in this respect. A person
who has for some time studied his music
must (as is proved by the writings of J. B.
Cramer) readily distinguish mere jingle
from real harmony, and will show himself a
good and well-informed artist, in whatever
style he may subsequently adopt. But our
space will permit no more on this subject,
we will therefore conclude by a few remarks on the style of composition and performance of this eminent master. " If music be a language," says an eminent contemporary writer, " if it be, moreover, the
language of the passions, as authors have
described it, we must not, therefore, imagine that sounds convey only sentiment,
raise only refined emotions, or excite only

C R A
impassionate feelings. Music has a phraseology as varied, and perhaps even more diversified than words can assume ; and while
we perceive that the great body of compositions passes across the mind without producing any pleasurable ideas or conveying
to any other sense than our hearing any peculiar excitement, there are among the few,
men who seldom write a passage that is not
remarkable for some particular beauty. It
is therefore sufficiently perceptible, that natural aptitude and cultivation arrive together, at last, to a perfection, analogous in
the assimilation of its objects to that which
marks what is called fine taste in conversation and manners. Language defines the
thought precisely. Music, on the contrary,
addresses a whole class of perceptions. A
certain series of notes will excite our sensibility to a general bat undefined feeling of
grandeur, or pathos, or elegance,without, perhaps, producing one single perfect image
emotions merely; yet it is obvious that these
emotions attend as certainly on passages of
a given kind, as definite ideas are conveyed
by a particular set of words. It happens,
then, that there is the same choice in musical as in conversational phraseology, and
we apprehend that elevation and polish are
attained by the same means in the one case
as in the other, by a naturally delicate apprehension, by memory, by a power of assimilating what is great or elegant, by a
diligent study of the b^est models. At this
perfection J. B . Cramer seems to have arrived. Seldom, indeed, is it, that we meet
with a weak, insipid, or coarse passage in
his writings. If he employs those which
are common or familiar, he interweaves them
so judiciously with more graceful noteslie
varies his expression so contmually^dwells
for so short a time upon any single expedient of the art, opposes the members of his
musical sentences, and even whole sentences, with such judgment, throws in such
strong and vivid lights of fane;*, modulates
with such skill, and lays his foundation o
harmony in a manner so masterly, that they
who do and they who do not understand the
contrivance and elaboration of all this com-

CRA
plex, yet apparently natural order, feel
alike the 1 sweetness and effect, are alike
agitated by the varying sensations. With
the exception of Clementi, we know of no
composer who has so universally succeeded.
And yet, if we were desired to point out the
reason of the universal pleasure his compositions bestow, we should say, after all the
attributes we have already allowed to belong to this author, that the grand source of
delight has not yet been mentioned. This
grand delight is melody.This is the neverceasing charm." No words can possibly
give a more just idea than the above of the
causes of the pleasurable sensations derivable from melodious music ; also of the peculiarities of merit in the compositions of
J. B. Cramer. With respect to the talent
of this master as a pianist, we need only say
that, by the willing acquiescence of the capital, every professor yields to him the palm,
not indeed in velocity of finger, but in brilliancy of touch and genuine taste. The
following eulogium of his performance by a
contemporary writer is by no means overcharged. " As a performer on the pianoforte, Cramer is unrivalled, and we may
perhaps venture to assert, every professor
unreluctantly yields to him the palm. His
brilliancy of execution is astonishing; but
this quality, which is, in fact, purely mechanical, amounts to little or nothing in the
general estimate of such merits as his; taste,
expression, feeling, the power that he possesses of almost making the instrument
speak a language, aie the attributes by
which he is so eminently distinguished.
The mere velocity of manual motion, those
legerdemain tricks which we are now and
then condemned to witness, may entrap the
unwary ; the physical operation of sounds,
whose rapidity of succession is incalculable,
may be necessary to stimulate the indurated
tympanums of some few dull ears ; but those
who love to have their sympathies awakened by the ' eloquent music which this instrument may be made to discourse,' who
derive any pleasure from the most social
and innocent of the fine arts, and who
would gain the practical advantages of an
183

C R A
instructive lesson by listening to a delightful performance, such persons should seize
every opportunity that is afforded them of
hearing Cramer." We will conclude by a few
remarks on a passage in the preface to one of
his elementary works. He says that " experience proves that introducing popular airs,
arranged as lessons for the practice of learners, greatly promotes their application and
improvement; besides, when desired to play,
they have the satisfaction to observe that they
afford more entertainment to their hearers, by
pieces of this kind, than by playing long and
uninteresting compositions: therefore the
author has selected for his lessons many favourite airs, which he has arranged in a familiar style; and in order to preserve the necessary progressive gradation, has composed
the remainder of the lessons." We are
ourselves convinced that the foregoing idea
of Cramer is founded on enlightened experience ; as, without cavilling about terms,
we know at present several instances of unusually rapid advances in piano-forte playing, made by children who are studying on
the plan recommended above, and who
have thus gained that confidence in their
own playing which is absolutely requisite
to accustom a child to perform well before
strangers ; and which confidence they have
acquired by feeling and knowing that,whilst
they amuse themselves, they give pleasure
to their hearers. The following is a list of
Cramer's published works :
Op. 1. " Three Sonatas."2. " Three
Sonatas," (easy.) 3. " Three Sonatas,
with Accompaniments," (easy.)4." Three
Grand Sonatas," Paris.5. " Three Sonatas," (easy.) Paris.6. "Four Grand Sonatas," Paris.7. " Three Grand Sonatas,"
dedicated to Muzio Clementi.8. " Two
Sonatas."9. " Three Sonatas with Accompaniments?'10. " Concerto, with Orchestral Accompaniments." H . " Three
Sonatas."12. " Three Sonatas, with popular Airs." 13. " Three Sonatinas."
14. " Three Sonatas," (easy.)15. " Three
Sonatas," (easy.)16. "Concerto, with Orchestral Accompaniments."17. "Marches
and Waltzes."18. " Three Sonatas, with

184

C R A
Accompaniments."19. " Three Sonatas,"
(easy.)20. "Sonata," dedicated to Clementi.21. " Two Sonatas," (easy.)22.
" Three Sonatas," dedicated to J. Haydn,
Vienna.23. " Three Sonatas," (easy.)
24. "Duet for two Grand Piano-fortes."
25. " Three Grand Sonatas."26. " Concerto, with Orchestral Accompaniments."
27. " Two Grand Sonatas," London and
Paris. 28. " Quartet for Piano-forte,
Violin, Tenor, and Violoncello," London and
Vienna. 29. "Three Grand Sonatas,"
dedicated to J. L. Dussek, London, Paris,
and Vienna.30. "First Volume of Studio
peril, Piano-forte."31.
"Three Sonatas," (easy.)32. " Notturno," (easy.)
33. " Three Sonatas."-34. " GrandDuet
for two Performers on the Piano-forte."
35. " Three Sonatas, withpopular Airs."
36. " Grand Sonata," dedicated to J.
Woeff.37. " Concerto with Accompaniments." 38. "-Three Sonatas." 39.
" Three Sonatas, with popular Airs."40.
" Second Volume of Studio peril, Pianoforte."41. " Three Sonatas, with popular
Airs."42. " Grand Sonata," dedicated
to G. Onslow, Esq.43. " Three Sonatas,
with popular Airs."44. " Three Sonatas." 45. " Duet for Piano-forte and
Harp"46. " A Sonata." 47. " Three
Sonatas."48.
" Grand Concerto in C
minor," London and Paris.49. " Three
Sonatas."50. " Duet for two Performers
on the Piano-forte."51. " Concerto in E
flat, major," London, Paris, and Offenbach.52. " Duet for Piano-forte and
Harp."53. "Grand Sonata (ISUltima,)"
London and Paris.54. " Notturno."55.
" Dulce et Utile," London and Paris.56.
ct
Concerto in Esharp, major,'*57. " So~
nata, No.\. ' Les Suivantes,'"
London
and Leipsic.58. " Sonata, No. 2, ' Les
Suivantes,' " London and Leipsic. 59.
" Sonata, No. 3, ' Les Suivantes,' " London and Leipsic 60. " Grand Bravura,
with Variations," London, Paris, and Bonn.
61. " Grand Quintetto for Piano-forte,
Violin, Tenor, Violoncello, and Contra
Basso," London and Bonn.62- " Sonata
deRetour tiLondres," dedicated to JF.Eies,

C R A
London, Paris, and Leipsic.63. "Sonata," dedicated to J. N. Hummel, London,
Paris, and Leipsic.64. "Aria a I'Inglese,"
dedicated to T. Broadwood, Esq., London
and Leipsic. Not classed as operas:
" Sketch a la Haydn," dedicated to his
friend, D. Dragonetti; " Rondo," dedicated to his daughter; both composed for
the Harmonicon. " Round, from the Opera
of ' Cortcz,' arranged as a Fantasia."
" Capriccio, with Airs from
Mozart."
" Fantasia, with Variations on a Russian
Air."
" Che faro Senza, Air adapted
from Gluck." " Vedrai Carino, with Variations from Mozart."
"Ah ! Perdona,
with Variations from Mozart."
" Deh
Prendi, with Variations from Mozart."
" Impromptu on a Subject by Handel."
" Grand Sonata, with a Violin Obligato,"
London and Munich. " Periodical Sonatas,
Letters A, B, C, D."
" Twelve detached
Movements, consisting of Rondos, Variations, Adagio, and a Toccata," (published
in an oblong form) London and Vienna.
"Four Rondos, from Subjects of H. R.
Bishop's Operas." " Two Serenatas for
Piano-forte, Harp, Flute, and Horns."
"Twenty-five Divertimentos for the Pianoforte, including, 'Days of Yore,' 'La
Reunion,' ' Le Retour du Printemps,' ' La
Strenna,' 'Harvest Home,' 'Banks of
the Danube,' 'La Ricordanza,' 'Of noble
race was Shenkin,' * Hanoverian Air, with
Variations,' ' Rousseau's Dream, with Variations,' 'Crazy Jane, with Variations' "
CRAMER, (FRANCOIS) second son of
William Cramer, was born at Schwetzingen,
near Manheim, in 1772. He was early
instructed by an able master in the art of
playing the violin. At the age of seven,
he left his native country to join his father
and brother, who were settled in England.
On^his arrival in London, it was his father's
anxious wish, by giving him good masters,
to follow up what he had already so well
begun ; but the change of climate operating
on his naturally delicate constitution, it
was advised by the first medical man of
the day, (sir Richard Jebb) that he should
entirely discontinue the study of the violin,

C R A
which was strictly adhered to by his father,"
A lapse of seven years having made great
improvement in the health of the young
artist, at the age of fifteen it was thought
necessary that some plan should be adopted
for his future prospects in life. His brother John then recommended him to take
up the violin again; which advice he followed, and had the painful task of being
obliged to recommence, even by practising
the gamut and scales of different descriptions. Having, however, had an early impression of these difficulties, he soon found
the means of overcoming them, and in a
few months was able to take a part in
some easy duets, for two violins, and to accompany his brother in some familiar sonatas
for the piano-forte. Soon after this, he
found himself equal to attempt some of Corelli's music, and studied with much
avidity the solos of that great master; after
which, hs made himself well acquainted
with the solos of Geminiani and Tartini,
and the capriccios of Benda and old Stamitz.
In the improvement of a young artist, more,
however, is required than to make himself
acquainted with the secrets of his instrument : reading music is of the first import"
ance. At the age of seventeen, therefore,
his father placed him (gratuitously) in the
opera band, of which he, the father, was
the leader, that he might profit bythe various
styles and character of the music generally
heard in that theatre. In the course of a
few years he rose in the ranks of the orchestra, and was appointed principal second
violin under his father, not only at the
opera, but at all the principal concerts,
namely, the King's concert of ancient music,
the Ladies' concerts, and the great musical
festivals given in the country.
In the
autumn of the year 1799, he lost his father,
and in the ensuing season was appointed
leader of the Ancient concerts, by the express desire of his late majesty, and by the
unanimous consent of the noble directors.
He was likewise engaged to lead the Vocal
concerts, Philharmonic, &c. and had the
honour of leading, by express command, the
band on the occasion of the coronation of
185

CRE
his present majesty. During the last year,
Mr, Cramer led at all the great provincial
musical festivals.
CRAMMER (F.P.) published some sonatas for the piano-forte at Munich in 1800.
CRANFORD, (WILLIAM) one of the

CRE
of some concerted madrigals, published at
Venice in 1636.
CREMONINI, a female singer at the
opera, in London, from the yearl762 to 1765,
CREMONT, a German professor of the
clarionet, and composer for his instrument,
at Vienna.
CREQUILON, (THOMAS) a composer of
the Flemish school, was chapel-master to
the emperor Charles V. about the year 1536.

choir of St. Paul's church in London, in

1650.
He composed several rounds and
catches, to be found in Hilton's and Playford's collections ; and likewise the wellCRESCENTINI ( L E CHEVALIER GIKOknown catch, to which Purcell afterwards
adapted the words, " Lei's live good honest LAMO) was bom at Urbania, near Urbino',
in Italy. This celebrated soprano singer,
lives."
of the Bolognese school, performed at the
CRANTIUS. See CBANZ.
principal theatres and courts of Europe. In
CRANZ. SeeKRAnz.
CRECQUILLON, (THOMAS) an emi- 1804, he was at Vienna; where, at a renent Belgian composer and chapel-master presentation of "Romeo and Julift," in
to Charles V. His compositions are dated which he personated Romeo, after the beautiful air, " Ombraadorata," which he sings
between the years 1549 and 1576.
CREED, an English clergyman, who in the garden, two doves were made to
died in 1770. A paper of his was read to descend from the clouds, bearing him a
the royal society, in 1747, entitled "A crown of laurels, while, from every side,
Demonstration of the Possibility of making flowers and garlands were thrown on the
a Machine that shall write extempore stage. Having consented, in 1809, to perVoluntaries, or other Pieces of Music." form the same opera at the court theatre
This paper is printed in the Philosophical in Paris, he so delighted the emperor NaTransactions for 1747, No. 183, and in poleon, that, at the third representation of
Martin's Abridgement, vol. x. p. 266. See the piece, the emperor sent him the decoration
of the order of the Crown of Iron. CresHOHLFIELD.
CREICH, a composer of ariettes in Paris centini has composed much vocal music,
which has invariably met with success. His
about the year 1790.
CREIGHTON, (ROBEBT) D . D . was the singing exercises, a truly valuable work,
son of Dr. Robert Creighton, of Trinity col- are published by Boosey and Co., of Lonlege, Cambridge, who was afterwards bishop don. In the year 1806, Crescentim was
of Bath and Wells, and attended Charles in the service of the emperor Napoleon, as
II. during his exile. In his youth he had principal singer at his private Concerts.
been taught the rudiments of music, and
entering into orders, he seduously applied
himself to the study of church music; in
which he attained to such a degree of proficiency, as entitled him to a rank among the
ablest masters of his time. He died at
Wells, in the year 1736, having attained the
age of ninety-seven. Dr. Boyce has given
to the world an anthem for four voices,
" 1will arise and go to my father," composed by Dr. Creighton, which no one
can peruse without regretting that it is so
short.
CREMONESI, (AMBKOSIO) a composer
J86

CRESCINBENI,

(GIOVANNI MARIA)

an Italian priest, died at Rome in 1728.

He was author of the following works i
First, "Istoria della volgar Poesia," Roma,
1698. Second, " Commentariiintornoalla,
ma Istoria della volgar Poesia," Roma,
17021711. In these works the eleventh
chapter treats "De Drammi Musicali, e della
loro Origine e Stato ;" the twelfth chapter
"Delle Feste Musicali, e delle Cantate e
Serenate;" and the fifteenth chapter "Degli
Oratorj e delle Cantate Spirituali."
CRESPEL, (JOHN) a celebrated vocal
composer in the middle of the sixteenth

C R I

C R I

century. His name appeals in many of the himself more seriously to the study of com-*
best collections of motets and songs which position than he had done before, having
were published about that time.
been recommended to cultivate this portion
CRESSOTTI, (ADELAIDE) a female of his musical studies with attention and
Italian prima donna at the opera at Lisbon. assiduity ; and in this branch of the science^
CRETA, (JOACHIM FRIEDRICH) a per- he had the good fortune to be placed under
former on the horn. In the year 1729, he the direction of Fen'aroli, pupil of the great
was announced at a concert in London to Durante. After five years of close application
blow the first and second treble on two and deep study, and after having undergone
French horns, in the same manner as is usu- the fifth public examination,' he was named
maestrino of the same conservatory ; and>
ally done by two performers.
CREUZBURG, (JOHANN G.) a composer during the last two years of his residence
of some sonatas for the piano-forte, published in that capacity, the instruction of the solfeggio of the younger pupils qf the establishat Nuremburg in 1760.
CRINAZZI, a vocal performer at Vienna ment was wholly confided to his care.
During this period, he composed several
itt 1780.
pieces of sacred music; and it was by these
CRISPI (Abbe PIETRO) was bom in
essays he first submitted his abilities as a
Italy, about the year 1737. He published
composer to the criticism of the public.
several sonatas and concertos for the harpThose efforts experienced the most flattering
sichord, in the style of Alberti. His comencouragement; and, stimulated by the enpositions contain great elegance of melody, comiums bestowed upon him on those occawhich, though sometimes simple to excess, sions, as well as by taste and inclination, to
is not easily imitated ; specimens of them render himself a proficient in " ideal comare inserted in Dr. Crotch's selections. position," he took leave of his college, in
Ciispi died in 1797.
1812, to visit Rome, in order to place himCRISTELLI, (G.) a violinist and com- self under the instruction of the celebrated
poser for his instrument at Salzburg in Zingarelli, at that time master and composer
1757.
to the pontifical chapel. The following year
CRIVELLI (DOMENICO) was born at he returned to Naples, and then commenced
Brescia in 1794. At nine years of age, he, his profession at large, particularly devoting"
with his father, who is an eminent tenor his talents to the service of the " ecclesiastisinger, went to Naples, the latter being en- cal function;" and though these productions
gaged there in the service of the royal chapel were honoured by the general approbation
of Cacerta, as well as in that of the theatre of his former masters, yet, being fortunately
royal of San Carlo. On his arrival at favoured by the cordial friendship of the
Naples, Domenico Crivelli immediately chevalier PaesiellOj he never allowed any
commenced his studies in the art of singing, of his compositions to make their appearunder the tuition of the celebrated Millico, ance till he had first consulted the eminent
and, on completing his eleventh year, en- talents and opinion of his celebrated friend.
tered as a pupil of the conservatory of -St. Indeed, so sincere and affectionate was the
Onofrio. During the succeeding three years, attachment of the chevalier, that, a little
his services were employed as a soprano before his death, he undertook to direct the
voice in that establishment; and so suc- performance of a new Mass composed by his
cessful was he in his public performances, young friend and dedicated to a f6te of the
as to be deemed by the governors, at the patron saint of Caravaccio college at Largo
end of that period, a proper object of their Mercatello; thereby giving unequivocal proof
munificence, by dispensing for the future of the high regard and estimation in which
with the annual fees demanded from each he held the talents of Crivelli. The result,
collegian attached to the institution. On however, justified, the opinion thus enterthe change of his voice, Crivelli applied
187

CR I
tained, the performance being received with
marks of the strongest approbation by
professional artists as well as the public.
Encouraged by the success of his classical
effort in sacred music, the young composer
began to try his talents in theatrical composition, being now and then called upon to compose many "peggi sciolti" for the stage. In
1816, he completed his first theatrical piece,
an " opera seria," for the theatre royal of
San Carlo; but that theatre being unfortunately burnt at that time, put an end to the
prospect of its being soon exhibited there, a
circumstance which led to some flattering
offers from the theatre at Palermo. His
father, however, who at that time had left
Paris for London, under an engagement at
the King's^ theatre, prevailed upon him to
relinquish the proposition from Palermo,
advising him rather to choose England for
his professional career, where he found the
fine arts, and music in particular, so generally
cultivated and protected, as to furnish hopes
of greater advantage than in any town on
the continent. Embracing immediately his
father's suggestions, Crivelli quitted Naples
for England, passing through Paris on his
way. He remained in that capital about
six weeks, during which time an overture of
his composition was performed at a public
concert, given for the benefit of the poor;
a composition which he had the high gratification to hear not only applauded by the
Parisian public, but complimented by the
chevalier Paer in person. Crivelli soon
after quitted Paris for London, where he
arrived in 1817; and his reception there
proved so flattering to the hopes which had
been excited by his father, that he immediately commenced his career as " professor
of singing." In this avocation, he soon discovered the necessity of new modelling the
materials of elementary instruction ; and,
with this view of the defects of the prevailing system, composed and arranged for the
use of his numerous pupils, a progressive
series of " Scale Essercizi e Solfeggi,"
which will shortly be submitted, through the
press, to the public opinion. The only pieces
Crivelli has hitherto published in England,
188

CRO
are three canons and a canzonetta. Recently, he has composed a cantata for three
voices, with a grand accompaniment for a
full orchestra, in honour of his present majesty and the British nation, which has not
yet been published. The managers of the Italian opera in this country have often employed
his pen to change, correct, transpose, and
otherwise adapt to the peculiar tones of the
voice of eminent performers.musical pieces on
many different occasions, and some of his original pieces have been received on that stage
with general applause. He has several times
been invited to lead the piano at the great
orchestra of that theatre; but want of time,
which has always been thoroughly absorbed
by his numerous pupils in town, of the
highest rank, obliged him to decline offers
which were not less lucrative than honourable to his talents and proficiency as a performer on that instrument. Yet he does not
forget that the King's theatre must be the
arena of musical talent; and, impressed with
that sentiment, he is now preparing an
opera buffa, "LaFiera di Salerno,ossiah
Fmta Capriciosa;" the dramatic poetry
of which is by Signor Caravita, and which
may probably make its appearance in the
course of the season of 1824. On the formation of the royal academy of music
in London, which fixes a new epoch in the
annals of British music, Crivelli was appointed, by the unanimous vote of the committee, " maestro di canto" to the boys on
that establishment: and in acquitting himself
of this arduous task, he applies the rules
and methods of the conservatorio at Naples;
which have been confirmed, by long experience, as being the best, and founded on the
closest observation of practical efficacy.
CROCE, (GIOVANNI) vice chapel-master
of St. Mark's, at Venice, in 1605. He composed some church music; among which, his
Penitential Psalms were reprinted in London with English words. The madrigal,
No. 26, in " The Triumphs of Oriana," is
by this composer.. Peacham says, that " for
a full, lofty, and sprightly vein, Croce was
second to none."
CROENER, There were four brothers of

C RO
this name' belonging to the chapel of the
elector of Bavaria, since the year 1780.
They published together some violin trios,
at Amsterdam, in 1788.
CROES, ( H E N M JACQUES DE) an instru-

mental composer about the year 1760. His

works were published at Brussels and Paris.
1
CROFT, (WILLIAM) educated' in the
chapel royal under Dr. Blow, was born in
1677, at Nether Eatiugton, Warwickshire.
His first preferment, after quitting the chapel, on the loss of his treble voice, was to
the situation of organist of St. Anne's, Westminster, where an organ was newly erected.
In 1700, he was admitted a gentleman extra.ordinary of the chapel royal; and, in 1707,
upon the decease of Jeremiah Clarke, he was
appointed joint organist with his master Dr.
Blow ; upon whose demise, in 1708, he not
only obtained the whole place of organist,
but was appointed master of the children,
and composer of the chapel royal, as well
as to the place of organist of Westminster
abbey. All these appointments, at so early
a period of life, being then but thirty-one
years of age, occasioned no diminution of diligence in the performance of his duty, or of
zeal in the study and cultivation of his art;
and, indeed, he seems to have gone through
life in one even tenour of professional activity
and propriety of conduct. We hear of no
illiberal traits of envy, malevolence, or insolence. He neither headed nor abetted
fiddling factions ; but insensibly preserving
the dignity of his station, without oppressing or mortifying his inferiors by reminding
them of it, the universal respect he obtained
from his talents and eminence in the profession seems to have been blended with
personal affection. In the year 1711, he
resigned his place of organist of St. Anne's
church, in favour of John Isham; and,
in the following year, published, anonymously, under the title of " Divine Harmony," a similar book to that of Clifford,
mentioned above, containing the words only
of select anthems used in the chapel royal,
Westminster abbey, St. Paul's, &c, with a
preface, containing a short account of our
church music, and an encomium, on Tallis

CEO
and Bird, In 1715, he was honoured with
the degree of doctor of music, in the university of Oxford. His exercise for this degree,
which was performed in the theatre, July
13th, by the gentlemen of the chapel,
and other assistants from London, consisted
of two odes, one in English, and one in
Latin, written by Dr. Joseph Trapp. . The
music to both these odes was afterwards
neatly engraved on copper, and published
in score. During the. successful war; of
queen Anne, the frequent victories obtained
bythedukeof'Marlborough occasioned Dr.
Croft, as composer to her majesty, ,to be
frequently called upon to furnish hymns or
anthems of thanksgiving. Several of these,
and other occasional compositions for the
church, are printed in his works, and still
performed in our cathedrals. In 1724, Dr.
Croft published, by subscription, a splendid
edition of his choral music, in two vols.
folio, under the title of " Musica Sacra, or
select Anthems in Score, for two, three,
four, five, six, seven, and eight Voices; to
which is added the Burial Service, as it is
occasionally performed in Westminster Abbey." The neatness and accuracy with
which the work was published, being the
first of the kind that was stamped on pewter plates, and in score, rendered it more
acceptable and useful to the purchasers;
as, whatever choral compositions appeared
anterior to this publication, had been printed
with types, on single parts, and extremely
incorrect. Dr. Croft's music never reaches
the sublime, though he is sometimes grand,
and often pathetic. His allegros are always
more feeble than his slow movements. But
more melody is necessary, to support cheerfulness with decorum and dignity, than
Croft, or indeed the whole nation, could
furnish during the first twenty years of this
century. This pleasing composer and amiable man died in 1727, in the fiftieth year
of his age, of an illness occasioned by his
attendance on his duty at the coronation of
king George I I .
CROIX, (ANTON, LA) a French violinist,
born in 1765. He studied composition under
Lorenziti. He emigrated at the commence189

CRO
merit of the French revolution into Germany,
and since the year 1803 has kept a music
warehouse at Lubec. He has composed much
esteemed violin music, which has been published chiefly at Brunswick and Leipsic.
CROSDILL, a celebrated English violoncellist, born in London in 1755. He was
chamber-musician to the queen (Charlotte)
in 1782, and teacher of the violoncello to his
present majesty, who performs extremely
well on that instrument. About .the year
1794, Crosdill retired from the duties of his
profession, having married a woman of considerable fortune. He was principal violoncellist at the Ancient concerts, on their first
institution. He is still living, and is an honorary member of the royal academy of music.
CROTCH (Dr. WILLIAM) was born at
Norwich in 1775, and exhibited a most extraordinary instance of precocity of musical
genius; a very interesting account of which
was given by Dr. Burney in the Philoso^
phical Transactions, vol. lxix. Part I, for
the year 1779, to which, from its greatlength,
we must refer our readers; more especially
as the following comments, by the hon.
Daines Barrington, are nearly of equal interest, more concise, and less generally
known to the public. " I first," says Daines
Barrington," heard little Crotch on the 10th
of December, 1778, when he was nearly
three years and a half old, and find that I
made the following memorandum on returning home :Plays God save the King
and Minuet de la Cour almost throughout
with chords; reaches a sixth with his little
fingers; cries no, when I purposely introduced a wrong note; delights in chords and
running notes for the bass; plays for ten
minutes extemporary passages, which have
a tolerable connection with each other;
seldom looks at the harpsichord, and yet
generally hits the right intervals, though
often distant from each other. His organ
rather of a hard touch; many of his passages hazarded and singular, some of which
he executes by his knuckles, tumbling his
hands over the keys."
At the same time Daines Barrington

CRO
mother, of the first appearance of a musical
disposition in her child.
" His father is an ingenious carpenter of
Norwich, and had made an organ, on which
he was capable of playing two or three easy
tunes, and which had not been used for
some time. When little Crotch was two
years and three weeks old, he heard God
save the King played on this instrument,
after which he was excessively fractious,
whilst they were putting him to hed: his
mother then conceived that he wanted to
get at the organ, and, placing him so as to
command the keys, the boy immediately
struck them, although she did not then distinguish that he played any particular tune.
The next morning, however, there was no
doubt but that he successfully attempted
God save the King. After this the child's
musical fame spread quickly through the
city of Norwich.
" T h e accuracy of this child's earissuoh,
that he not only pronounces immediately
what note is struck, but in what key the
music is composed. I was witness of an
extraordinary instance of his being able to
name the note touched, at Dr. Burney's,
who has a piano-forte, with several keys, both
in the bass and treble, beyond the scale in
the common instruments of the same sort.
" Upon any of these, very high or very
low notes being struck, he distinguished
them as readily as the intermediate
notes of the instrument. Now it is well
known that the harpsichord tuners do not
so easily manage the extremes, as their ears
are not used to such tones, and more particularly the lowest notes.
" A still more convincing proof, perhaps,
of the same kind has been mentioned to
me by Master Wesley, who takes little
Crotch much under his protection. The
child has lately taught himself to play on
the violin, which he holds as a violoncello,
and touches only with two of his fingers.
Master Wesley has sometimes mistuned the
instrument, on purpose to excite his anger,
which he never fails to express; adding, at
the same time, whether it should be higher

received the following account from the or. lower. He likewise judges most accu19Q

CRO

CRO

rately of what are called extremes on the. heard any composition whatsoever, it being
violin; which seems to be still more asto- so seldom used at that time.
" I accordingly communicated what I had
nishing, as the child has scarcely heard any
other instrument than the organ, which is been witness of to Master Wesley, desiring
defective in the quarter tones. In other that he would write down a simple melody
words,- it seems to prove, that Crotch's ear of a few bars in the minor third; which he
is so very exquisite, as to distinguish quarter immediately complied with, and went with
tones; whilst the notes of the organ are me to little Crotch, in order to assist in the
only subdivided into halt tanes, all of which experiment.
are, to a certain degree, i m p e r i l ; and the
" I was in great hopes that the child would,
ability of the tuner is shown by distributing c,atch this little air, after Master Wesley had
this defect as equally as possible am^io-st repeated it five or six times; but in this I
them all. Surely, therefore, this great re- was disappointed, for little Crotch happened
finement may be pronounced to have been not to be in a humour for music, though wee
almost innate in the child; for though, per- Meavoured much to coax him to the organ,
haps, he might have heard a Norwich H ^ observed, however, that he would.
fiddler, yet it is highly improbable that such sometimes -glay from pique, when entreaties
performers should have stopped with this had no effect, X desired, Master Wesley to
give the treble only, -,nd told Crotch that he
great precision.
" Dr. Burney indeed mentions, that could not add the bass v> it: on this, the
Crotch was present at a concert in London urchin sat down by Master Wesley, accomwhere Pacchierotti sang ; and where, un- panying with the proper bass thusame tune,
doubtedly, there might be some able musi- transposed in the minor third thiough the
whole octave.
cians.
" When he had finished, Master Wesley
" I once happened to be present when he
was playing a well-known air called the had a curiosity to try him in transpos-ng"
Minuet de la Cour, in the greater third and through the octave in the major third, whic\
key of A, which he afterwards repeated in Crotch instantly did, and in a manner too
that of B. Observing this readiness in the peculiar not to be fully stated.
" The tune fixed upon, in trying this exchild to transpose, I desired him to try it in
C, which he not only complied with, but periment a second time, was, as before, the
proceeded regularly through the whole oc- Minuet de la Cour; but Crotch, conceiving
tave ; whilst he sometimes looked back with at once what Master Wesley wished to be a
great archness upon me, inquiring whether witness of, only played three or four bars of
I knew in what key he was playing; and the first part, and then instantly changed the
having answered him once or twice wrong key throughout the octave.
" The child both looks and is very intelon purpose, he triumphed much in setting
me right. I must acknowledge, also, that ligent in othei matters which do not relate
at last he really puzzled me, for he con- to music, and draws in a bold masterly way*
cluded in the key of F sharp, which is never with chalk on tht floor.
" One of his most favourite objects to reused by English composers, and which I
was not able to name on his word of com- present is a violin, which he forms instantmand, not having attended to the last note aneously with a few strikes. I need scarcely
mention the difficulty ot reversing the two
of his bass.
" I need scarcely say, that I left the room sides and S's, which must tn very obvious
after this in great astonishment; and it then to penmen as well as painterb The boy
occurred to me, that it might be right to likewise succeeds very well in b e hasty,
make an experiment, whether he would be outline of a ship."
From the foregoing extract it will clb r ly
equally ready to transpose in the minor
third, in which, probably, the child hadnever appear, that young Crotch was a iu*,t
191

CRO
extraordinary instance of precocity of musical
genius: he seems, indeed, " by the help of
nature alone, to have instantly, as it were,
understood those distinctions,' which are accessible to common ears and common talents
Only by a long course of study." His extraordinary natural powers were, however, in
the opinion of many, checked by the severity
of his subsequent musical studies ; his
talent being chiefly trained under some
celebrated masters of the old school of
English music at our universities, to the
minute perfection of strict counterpoint. At
the age of twenty-two he was appointed
professor of music in the university of Oxfo"f.
which conferred on him the degree of -factor
in music; since which period h ' has held
the highest rank in this country as a profound
theorist. At present, among several other
public situations, Vr. Crotch holds those of
lecturer on roasic to the royal institution
and principal of the new royal academy of
music. IS S published works are as follows:
Motet, tor five voices, " Methinks I hear
the fM celestial choir." " Overture and
Firale to Tito, Mozart, adapted on a new
Flan as a Duet for the Piano-forte," " Sinfonia, No. 2, Duet, composed by Dr. Crotch
and arranged as a Duet." " Sinfonia,
Haydn, No.l, of Salomon's Set, adapted as
a Duet." " Sinfonia, Haydn, No. 8, of
Salomon's Set, adapted as a Duet." " Sinfonia, Haydn, No. 10, of Salomons Set,
adapted as a Duet." " Overture, Zauberflote, Mozart, as a Duet." " Sinfonia in
C, Mozart, as a Duet, (Jupiter.)" " Nos. I,
2, 3, 4, 5, constituting the First Act of Don
Giovanni, for the Piano-forte and Flute."
" Nos. 1, 2, 3, 4, 5, constituting the First
Act of Don Giovanni, as a Duet for the
Piano-forte." " Corelli'' Concerto, No. 1."
" Preludes and Rudiments of Music for the
Piano-forte."
" Three Sonatas for the
Piano-forte." " ?en Anthems." " Ode to
fancy."
Gler for four voices, " Go tuneful
bird." Glep'or three voices, " To love thee,
Omy Erma"
Ode for five voices, " Mona
on Sn<J)don calls." " Tallis's Litany and
Ql^Psalm Tunes in Score." " No. 1, Origi.al Airs by John and William, Crotch."

192

CRO
" No. 2, Original Airs by John and Willmnf
Crotch." " No. 3, Original Airs by John
and William Crotch." " No. 1, Concerto
for the Organ, with Accompaniments."
" No. 2, Concerto for the Organ, with
Accompaniments."
" No. 3, Concerto for
the Organ, with Accompaniments." "Fugue'
on a Subject by MufM." Glee for four'
voices, "Nymph with thee." Canzonet,
" Clear sh^cs the sky." " Prelude and
Air, )!** Variations." Three volumes of
" Sr'cimens of the various hinds of Music
Glee for four- voices,
os all Nations."
" Yield thee to pleasure." " Sonata, Pianoforte." Glee for five voices, " Sweet sylvan
scenes." Glee for four voices, " Hail all
the dear delights." Glee for four voices,
with instrumental Accompaniments, " Hail
sympathy."
Air, " Milton Oysters," with
variations for the piano-forte. " Fantasia."
" No. 1, Concerto, Mozart, arranged."
" No. 2, Concerto, Mozart, arranged."
" No. 3, Concerto, Mozart, arranged."
The Overtures, Choruses, Marches, 8fc,
in Handel's Oratorios, Anthems, Operas, Sfc.
adapted for the Organ or Piano-forte:
"No.l,Esther."
"No.2,Deborah.""No.3,
Athalia."
" No. 4, Ads and Galatea."
" No. 5, Alexander's Feast." " No. 6,
Dry den's Ode." " No. 7, Israel in Egypt."
" No. 8, L'Allegro ed il Pensieroso."
" No. 9, Saul."
" No. 10, Messiah."
" No. 11, Sampson." " No. 12, Semele."
"No. 13, Belshazzar." "No. 14, Susanna."
"No.i5, Six Hautboy Concertos." "No. 16,
Hercules." "No. 17, Occasional Oratorio."
"Palestine," a sacred oratorio, the voice
parts in score, the instrumental parts
adapted. "Quartet in C, No. 1, Haydn,"
" Quartet in E, No. 2, Haydn." " Concerto
in D, Geminiani, adapted for the Pianoforte."
"Elements of Musical Composition and Thorough-Bass." " Sinfonia, No.
\,asa Duet for the Piano-forte." " Bomberg's Overture in D, adapted for the
Piano-forte."
" Thirty Rounds for the
Piano-forte." " Air with Variations, composed by Nehrlich." Duet, " The Hope of
Israel. " Una bella Serenata, 8fc, Mozart, arranged on a new Plan as a Duet."

CUD
CROUCH, (MRS.) a celebrated actress
and singer at Drury-lane theatre, was born
in 1763, and first appeared on the stage in
1780. She had a remarkably sweet voice
and a naive affecting style of singing; this,
added to extraordinary personal charms,
made her a great favourite of the public for
many years. She died at Brighton in
1805.
CROUCH, an English violoncellist. He
was engaged at the King's theatre in 1817.
He has composed some solos for his instrument, (dementi's Cat.)
CRUC1ATI, (MAUEIZIO) an Italian
composer of sacred music at Bologna, about
the year 1600. One of his works is entitled
" Sisara," an oratorio, published at Bologna
in 1667.
CRUGER, (JOHANN) chapel-master of
the church of St. Nicholas, at Berlin, was
born in 1602. He was the author of "Synopsis Musica," and several other musical
works, published in Germany between the
years 1622 and 1651. His collection of
Lutheran hymns, entitled " Praxis Pietatis," went through thirty editions, up to
the year 1701.
CRUSELL, (BEKHHAED) a German
performer on the clarionet and composer
for his instrument towards the close of
the last century. Among his more favourite works are, " Concertante for Clarionet, Horn, and Bassoon, with Accompaniment of Grand Orchestra," Op. 3.
" Symph. Concertante for Flute, Clarionet,
and Bass principal, with two Violins, Alto,
and Bass, two Hautboys, two Hprns,"
Op. 22.
CUDMORE (EJCHAKD) was born in the
year 1787, at Chichester, in Sussex. His
first master was James Forgett, a native and
organist of that city. Cudmore performed
a solo on the violin in public when only
nine years of age; at ten, he was taught
by Reinagle, now residing in Oxford; at
eleven, he played a concerto at Chichester
(composed by himself) in public, and was
then introduced to the celebrated Salomon,
by the Rev. Mr. Marwood, after which he
remained under Salomon's instructions about

CUM
two years with different intervals". When
twelve years of age, Cudmore led the band
at the theatre in Chichester; also played a
concerto for the celebrated comic actor
Suett, at his benefit: in the same year he
performed amongst the prirno violins at
the Italian opera, in London. Cudmore
next resided, during nine years, in Chichester ; in the course of which time he
played at Oxford two concertos on the
violin, when Morelli and Mrs. Mountain
were engaged. He removed subsequently
to London, became a pupil of Woelfl on the
piano-forte, played a concerto at Salomon's
concert on the piano-forte, also one at
Madame Catalani's concert. He likewise
performed in public a concerto of his own
composition on the piano-forte, and also
one of his own on the violin. He then became a member of the Philharmonic concerts. We cannot adduce a more genuine
instance of Cudmore's musical ability than
the following anecdote. On one occasion a
performance took place at Rowland Hill's
chapel in London, for which Salomon had
rehearsed with Dr. Crotch and Jacobs ; Salomon being, however, suddenly subpoenaed
on a trial, sent to Cudmore to become his
substitute at the chapel, when he performed
the music at sight, before two or three
thousand persons. As another instance of
Cudmore's skill in playing a. livre ouvert,
he is remembered to have performed at
sight, in a party given by Mr. C. Nicholson,
a difficult manuscript concerto which was
brought there by a professional man. Cudmore once executed three solos the same
evening, at a public concert at Manchester.
At Liverpool he performed a concerto on
the violin by Rode, one on the piano by
Kalkbrenner, and one by Cervetto on the
violoncello. Cudmore now leads the band/
at that distinguished establishment, the
Gentleman's concert, at Manchester, also
leads occasionally at Liverpool.
CULANT, ( L E MARQUIS DE) a French
amateur musician, wrote a tract, entitled
" Notweaux Principes de Musipie," Paris,
1785.
CUMMINS, (CHARLES) violinist, pianist,
o
193

CUM
and composer, was born at York in 1785.
His father was the Roscius of that theatrical
circuit for nearly forty-four years, and commenced his prosperous career under the
management of the eccentric Tate Wilkinson. He closed a valuable life in the actual
performance of his public duty, dying on
the stage at Leeds while representing the
part of Humont, in the tragedy of Jane
Shore, on the 20th of June, 1818.

CUR
Bath gallery of paintings, as a connoisseur
possessing no mean powers of pictorial discrimination. He is the author of a pamphlet in controversy with Mr. Logier, the
propagator of a new system of musical tuition ; which was, by virtue of Cummins's
dissertation upon its merits, utterly excluded from Bath and the west of England
generally. He has received (what must be
doubtless highly gratifying) notices of his
literary efforts in the cause of music, from
the most eminent individuals in the profession ; and was awarded a splendid token
of the collective opinion of a large majority of the unprecedented concourse of
talent at the grand musical festival, held in
the cathedral of York in the autumn of
1823.

Charles Cummins, in the course of a

liberal education, received lessons in the
theory of music from the late Dr. Miller of
Doncaster, and, preferring the science for
his profession, became successively leader
of the theatrical bands at Lancaster and
Exeter, till engaged at Bath, at the express
instance of his friend Mr. Loder, as director
of the choruses in that and the Bristol theCummins is a member and secretary of a
atre. He is now established at Bristol and literary and philosophical society in Bristol,
Clifton as a teacher of the piano-forte, sing- named The Inquirers, to which he delivers
ing, and thorough-bass. He is the composer occasional lectures on music ; being, we
of much local and incidental music, a small believe, the only instance of this description
part only of which has been published. The out of the metropolis. Superadded hereto,
deeply lamented princess Amelia was so Cummins enjoys the reputation of being, in
much pleased with one of Cummins's com- conversation, a wit, whose flashes escite
positions, (a canzonet, the words by the au- warmth in his hearers without scorching ov
thor of the comedy of the Honey Moon) implacably degrading their personal object;
which had been performed at the Wey- and he is a not less forcible than lively exmouth theatre on the evening previous to temporaneous orator, upon subjects that
her final departure for Windsor, that her have occasionally called for the exercise of
royal highness's page was delayed for a day so enviable a faculty in public meetings, as
in order to procure a copy of it.
well as in the progress of official duties, as
His attainments in languages, and facility a member of the fraternity of freemasons in
in literary composition, have rendered Cum- the province of Bristol. Cummins commins a powerful auxiliary to the orchestra, in menced the season of 1823-1824 as leader
the writing and arrangement of English words and musical conductor of the Bristol thefor several pieces of celebrity, for the use of atre royal, which is of late years a sepaSignor Rauzzini's concerts and the Bath rate management from that of Bath.
Philharmonic society, (of the latter of which
CUPIS, (J. B.) le jeune, a violinist at
he was a director) particularly the " Storm Paris, and pupil of Bertaud. ' He composed
Chorus" of Haydn, two of Mozart's motets, a concerto, well known in France by the
(Nos. 1 a.nd 2) sundry extracts from his name of "Le Saut de Ciipis." He flourished
"Requiem," and Cherubini's "Monody on the towards the middle of the last century.
Death of Haydn," besides the adaptation
CURCIO, (GUSEPPE) a Neapolitan
of many songs, from foreign operas, for the chapel-master and dramatic composer at
English stage.
the latter end of the last century. One of
He has been a frequent writer in publica- his best works is " Li Conviilsioni," opera
tions embracing musical criticism; and dis- buffa.
tinguished himself, during the existence of a
CURIONI, (SIGNOR) an Italian tenor
194

CUT

CUT

singer, with a sweet voice of moderate

compass, from the theatre San Carlos at
Naples, and the Italian theatre at Barcelona, was first engaged at the King's theatre, in London, in 1820. His expression
is pure, and his general performance indicates much mind. He is an honorary member of the royal academy of music.
CURIOT, a good tenor singer at the
French theatre in Amsterdam. He was a
pupil of the Paris conservatory.
CURTZ, (BERNARDONE) a buffo singer
at Vienna in 1751. For an anecdote respecting him, see the biography of HAYDN.
CUSOLI, an Italian singer engaged by
Madame Catalani, in 1817, for her opera
establishment in Paris.
CUTELL, (RICHARD) an English musician at the beginning of the fifteenth
century.
CUTLER,

(WILLIAM

HENRY)

MUS.

Bac. Oxon, was born in the year 1792, of

respectable parents, in the city of London.
Shortly after the birth of this their second
child, the father obtained a spinet at a sort
of lottery sweepstake, and after the business
of the day was over would frequently strum
to his two little boys on this instrument.
He had then, however, very little knowledge of music; but, possessing industry
and perseverance, overcame every difficulty
in the science, so as to enable him to superintend his second son through all his subsequent exertions in practice. A friend relates
that, one time when he entered the father's
parlour, he saw him with this little boy on
his lap, teaching him his notes; at another
time, the same friend has seen father and
son on the carpet playing with pieces of
card, on which the notes of music and their
names and lines, &c. appeared, corresponding with papers pasted on the keys of the
spinet. At that time the child could not
have been much above two years of age,
certainly not three years old. His father,
conceiving that the boy had a taste for
music, next engaged a master to teach him
the violin, when he improved so rapidly as
to play a concerto of Jarnowich before he was
five years old, He performed oa the little

-Amati violin, which was once Dr. Crotch's,

and which his father bought of the late Mr.
Betts. Still, however, the spinet appeared
to be the child's favourite, and J. H. Little
was for some time his instructor on that instrument, which was at length changed for
a piano-forte, G. E. Griffin being engaged
as the boy's master. About the year 1799,
the childhad lessons of singing and thoroughbass from Dr. Arnold, who expressed his
approbation of his talent by repeated gifts
of small silver two-penny and three-penny
pieces. Shortly after this, he played a
concerto ofViottion the piano-forte, at the
Haymarket theatre, for the Choral Fund concert, and received universal applause : he
has played concertos, &c. several times
since for the same fund.
He sang also at
the oratorios under Dr. Arnold.
In 1801, when Dr. Busby took his degree
of doctor of music, young Cutler went to
Cambridge to sing the principal airs in
that exercise; and under this gentleman he
would have been placed, but his father objected to his being other than a concert
singer, while the doctor wished him to be
brought out in theatrical performances. In
1803, he was placed in the choir of St.
Paul's. He sang also at Harrison's concerts, the concerts of ancient music, the
glee club, (generally) Wykhamists, &c. &c.
and private concerts. Previously to this,
he had also appeared before the public as
a composer, his first publication being a
march for the full band of the sixth regiment
of Loyal London volunteers, in the rifle
company of which regiment his father was
an officer.
Soon after this, he sang in the
solemn services, dirge, &c. of three of the
greatest men of the day, being summoned
to attend the funerals of lord Nelson and
Messrs. Pitt and Fox. After leaving the
choir of St. Paul's, he was placed under the
instruction of the late W. Russell, Mus.
Bac. Oxon, for the theory of music, and was,
in 1818, elected organist of St. Helen's,
Bishopsgate; he also taught in several private families. In the year 1812, he took
his bachelor's degree at Oxford, highly complimented by letter from the professor of
o2
195

CUT

CUV

that university. In 1818, when Logier came

to England from Dublin, W. H. Cutler, influenced by Kalkbrenner's advertisement,
applied to Logier and paid one hundred
guineas to learn his system. He then took
a house in Broad-street-buildings, and
opened an academy on the Logierian plan;
but, after between two and three years'
trial, finding it not advantageous to keep up
the requisite establishment, he relinquished
that house, though he still teaches the theory
of music according to Logier's system. In
1821, Cutler was engaged to sing at the
oratorios at Drury-lane, under the direction
of sir George Smart; but want of nerve
prevented his giving full power to his voice,
and determined him to relinquish altogether
singing in public. In 1823, a part of the
exercise for his bachelor's degree was performed at the oratorios under the direction
of Bochsa. He has lately resigned the
situation of organist of St. Helen's, and been
appointed organist of Quebec chapel, Portman-square, for which chapel he has written
a " Te Deum" and "Jubilate,'' and a "FourPartAnthem for ChristmasDay." We should
not omit mentioning that, among other advantages, in the course of Cutler's musical
education, he was fortunate enough occasionally to be favoured with the counsel of
Clementi, both on his compositions and performances on the piano-forte. The following is a list of the principal publications of
W. H. Cutler: 1. "Favourite March,"
dedicated to Lady Blizard.2. " The Power
of Music," song, dedicated to Miss Chambers.3. " TheRose'lud"song.4.
" The
Isle of Walcheren," rondo, dedicated to
Miss C. S. Raikes.5. " The Rose and the
Myrtle," song.6. "Les deux Amis," rondo,
dedicated to W. Russell, M. B. Oxon.
7. "Pray, Goody," rondo.8. "TheWedding
Day" song, dedicated to Lady Blizard.
9. " The White Cockade," rondo, dedicated
to Duchess d'AngouMme.10. " TheBarrier of Paris," rondo, dedicated to Marshal
Blucher.11. " 'The Deeds of Wellington,"
song, dedicated to Sir W. Blizard.12.
"LordSt. Orville," rondo, dedicated to Miss
Smith.13. " Colder Fair," rondo, dedi19G

cated to Miss Griffith.14. " Marta." son*.

0

15. "Ah!
vous dirai-je, ma maman,
with Variations," dedicated to Miss Mourgue.16. " New Rondo" dedicated to Miss
Dyer.17. "Fantasia and French Air, witk
Variations and Flute Accompaniment," dedicated with permission to Her Royal High*
ness the Duchess of Gloucester.18. " So*
phia, (waltz) with Flute Accompaniment"
composed for Her Royal Highness Princess
Sophia of Gloucester.19. " March,"^ composed for His Royal Highness the Duke of
Gloucester. 20. " Exercise for Bachelor's
Degree," dedicated to His Royal Highness
the Duke of Gloucester.21. "Duet, The
Sisters," dedicated to the MissesWroughton,
of Newington-house, Shillingford, Oxon.
22. " Old favourite Air, with Variations,"
dedicated to his pupil Miss Guthrie.23.
" Divertimento for Flute and Pianoforte,"
dedicated to Mrs. T. N. Williams.24. "Acit. and Air, taken from the Exercise,Of.
20, as sung by Mr. Cutler at the Oratorio,
Theatre Royal, Drury-lane."25. "Robin
Adair, harmonised for three Voices, with
Accompaniments for the Piano-forte and
Guitar."26. " Boccage que VAurme,
with Flute Accompaniment," dedicated to
his pupil Miss Thomas.27. " The Flowers
"faring',
Flute Accompaniment, No. 1,
Select Melodies, {to be continued) sung I)
Mrs. Bettchambers, at the Oratorio."-28.
" The young Crusader, Flute Accompaniment, No. 2, Select Melodies, {to be continued) sung by Mrs. Bettchambers, at the
Oratorio."29. " Thoughts of Home, sung
by Miss Stephens, Words by Lord Byron"
30. " A Man to my Mind! Words by J.
Cunningham, Esq. sung by Mrs. Fitzwilr
liam, of the Theatre Royal, Drury-lane"
31. "A Girl to my Mind! a Parody, 1<J
Charles Clementi, Esq. Son of the celebrated
Clementi."32. " The Panegyric, Song,
translated from the German."33. "Andiamio Aldiavolo .' Words by C. Clementi,
Esq.""Fancy's Wreath, No. 3 , " rondo;
" A Quartetto for two Violins, Viola, and
Violoncello," is announced as shortly to he
published by Cutler.
CUVELLIER, (J. G.} a French dramatic

D AL
composer, born in 1770. He composed
several operettas and songs.
CUZZONI.

See SANDOKI.

CYPRIANUS, a composer of madrigals

in the sixteenth century. He and Orlando
were the two first who hazarded what are
now called chromatic passages.
CZARTH, (GEORGE) born in Bohemia
in 1708, was an eminent violinist, attached
to the court of Berlin, and subsequently of
Manheim, where he died in 1774. He

DACIER (ANNE) died at Paris in 1721.

Among her numerous writings we may distinguish a dissertation on the flutes of the
ancients, inserted in her edition of " Terence."
DACOSTA, a clarionet pupil of Charles
Duvernoy. He lately belonged to the orchestra of the ThdCitre Feydeau, at Paris,
He has published some pleasing music for
his instrument.
DAGINCOURT, a composer for the
harpsichord at Paris. He died at Rouen in
1755.
DAHMEN, (J. A.) an excellent violinist
and composer for his instrument. He was
born in Holland, and lived many years in
England. He flourished in the latter end
of the last century.
DALAYRAC, (NICHOLAS) borninLanguedoc, of a noble family, came to Paris
young, and served in the gardes-du-corps.
He was so struck with the dramatic music
of Gretry, the representations of which he
scarcely ever failed to attend, that at length
he determined to study the science of music,
for which he had a strong natural taste, and
became the pupil of Langle\ After a few
years' study, Dalayrac made his dibut as a
composer at the Opera Comique, by a piece
entitled "U Eclipse totale," where the
germ of his admirable talent was immediately recognised by connoisseurs. It may

DA L
published six solos for the violin, and left
much manuscript music for the violin and
flute.
CZERNY, (GASPARD) born in Bohemia,
was an excellent performer on the English
horn. He resided in his youth at Prague,
and afterwards at Petersburg, and Priburg, in the Brisgau, at which latter place
he engaged himself, in 1786, in the service
of the princess of Baden. He has published
at Vienna some music for military bands.

be remarked of this composer, that he generally showed less originality than Monsigny, and less comic spirit than Gretry,
bat as much freedom and nature as either
of the foregoing.. He, however, peculiarly
excelled in grace and sweetness. The following are the titles of Dalayrac's most
successful operas : "Nina," 1786 ; "Adolphe
et Clara," 1799 ; "Maison a vendre," 1800 ;
"Picaros et Diego," 1803 ; "Une Heure de
Mariage," 1804 ; " Gnlistan," 1805 ; and
" Camille," 1791. Dalayrac died of a
neglected catarrhal complaint in the year
1809.
DALBERG, (JOHANNFKIEDRICHHUGO

FEEYHEHB Baron Von) a celebrated German amateur composer and pianist, born
about the year 1752. He published, in
1781, a pamphlet, entitled " Coup-d'CEil
d'un JMusicien sur la Musique des Espirits"
He also wrote a tract on the music of the
Hindoos, the principal materials for which
are extracted from the works of sir William
Jones. Von Dalberg's compositions consist both of vocal and instrumental pieces,
aud were published between the years 1790
and 1804. Some English songs adapted to
his music were published, in London, by
Corn, in 1796. A set of his sonatas for
the piano-forte were also published about
the same time,in London, by Broderip. We
have no account of his death.
197

DAM
D'ALBANESE.

See ALBANEZE.

DALE, a composer of piano -forte music

in London. (Birchall's Cat.)
DALEMBERT, (JEAN LE R O N E ) mem-

DAN
the reign of queen Elizabeth, and was a
man of considerable eminence in his profession.
DAMON, the Athenian, was the musicmaster of Pericles and Socrates. The philosopher calls him his friend, in a dialogue of
Plato, where Nicias, one of the interlocutors,
informs the company that Socrates had recommended, as a music-master to his son,
Damon, the disciple of Agathocles, who not
only excelled in his own profession, but
possessed every quality that could be wished
in a man to whom the care of youth was to
be confided.
Damon had chiefly cultivated that part
of music which concerns time or cadence.
For which he is highly commended by
Plato, who seems to have regarded rhythm
as the most essential part of music, and that
upon which the morals of a people, depended, more than upon melody, or, as
the ancients called it, harmony. He is also
mentioned by Aristides Quintilianus, as
having excelled in characterising his melodies, by a judicious choice of such sounds
and intervals as were best adapted to the
effects he intended to produce.

ber of the academies of sciences of Paris

and Berlin, and perpetual secretary to the
French academy, was born at Paris in 1717.
In 1722, Rameau published his treatise
on harmony, which at first produced little
effect, from its being too profound for common readers. In 1752, Dalembert undertook to render the system of Rameau more
familiar, and wrote a tract for that purpose,
by which means he only gave the appearance of order and clearness to a system
essentially erroneous, and which is, in great
part, rejected by the modern musical theorists of France. Dalembert also wrote some
tracts on music in the periodical publications of his time.
DALLOGLIO, (DOMENICO) a composer
and violinist, was born at Padua. In 1735,
he went with his younger brother to Petersburg, where he remained for twenty-nine
years in the service of that court. He died
suddenly, in 1764, being then on his return
to his native country. His compositions
were chiefly instrumental, and for the
Damon, according to Plutarch, was a proviolin. Some of them were published at found politician, and, under the mask of a
Vienna.
musician, he tried to conceal from the mulDALVIMARE. See ALVIMARE.
titude his talent. He was, however, inD'ALPY, (MLLE.) an eminent performer volved with his patron Pericles in the
on the piano-forte, was a pupil of Cramer.
political disputes of his time, and banished
DAMBRIUS, a French composer about as a favourer of tyranny. The period when
the year 1685.
he flourished may be gathered from his
DAMEN. See DAHMEN.
connections.
DAMIANI, (F.) an Italian composer
DANA, (GIUSEPPE) an Italian comand singer, who was in London about the poser at Naples. In 1791, he brought out
year 1800, where he published " Godsave there two ballets of his composition, viz.:
the King" in Italian, with variations ; also 1st. " La finta Pasza
per Amore"
" Four easy Songs for the Harp or Pi- 2d. " Finta campestre."
ano," and " Notturni, for two and three
DANBY, (JOHN) a celebrated English
Voices."
composer of glees in the latter part of the
DAMMAN, of his majesty's household last century. He died whilst a concert was
band, is an eminent performer on the performing for his benefit. The following
serpent.
catalogue comprises his principal works:
DAMON (WILLIAM) is chiefly known " La Guida alia Musica Vocale." " When
on account of the harmonies which he pub- Sappho tuned" glee, three voices : " When
lished to a collection of psalm tunes. He generous wine expands," three voices:
was organist of the chapel royal during "When floods retire to the sea" three
198

BAN

DAN

voices : " The fairest flowers the vale prefer," three voices : " Sweet Thrush," four
voices: " Shepherds, I have lost my love,"
three voices: " Go to my Anna's breast,"
four voices: " Fair Flora decks," three
voices : "Come, ye party jangling swains,"
four voices : and " Awake Molian lyre"
four voices. John Danby gained numerous
prize medals for his compositions, from the
glee club and other societies, and for a
series of years he shared with the celebrated Samuel Webbe the meed of public approbation in his peculiar school of
music.
DANCE (WILLIAM) was born in 1755.
He studied the piano-forte under Dr. Aylward, organist of St. George's chapel,
Windsor, and the violin, first under C.
F. Baumgarten, and subsequently under
the celebrated Giardini. Dance is certainly
one of the oldest professors in London, having performed in the orchestra of a theatre
in the year 1767. He belonged, for four
years, to Drury-lane theatre, in the time of
Garrick, and afterwards for a period of
eighteen years, (namely, from 1775 to 1793)
to the King's theatre. He led the band at
the Haymarket theatre for seven summers,
from 1784 to 1790 inclusive. He assisted
at all the performances for the commemoration of Handel, at Westminster abbey, and
led the band there, in the year 1790, for
three performances, during the indisposition
of the elder Mr. Cramer. Dance has
taught the piano-forte in London for fortyeight years. He was one of the founders
of the Philharmonic society, and is now one
of its directors and treasurer. He has published various piano-forte works of merit,
consisting of sonatas, fantasias, variations,
preludes, &c. His variations on God save
the King have been extremely admired, and
the sale has been such as to require four
sets of plates.
DANDRIEU

(JEAN

FRANCOIS)

was

born in the year 1684. He was a celebrated

composer for, and a masterly performer on,
the organ and harpsichord. Both in style
and execution he is said to have greatly resembled, the famous Couperin, Daudrieu

died at Paris, in 1740, leaving ofhis works,

three volumes of pieces for the harpsichord,
and one volume for the organ, with " Vn
Suite de Noels," or carols and songs celebrating the nativity of Christ, all of which
have been greatly esteemed.
DANN, a composer of some sonatas published at Heilbron in 1797.
DANNELEY

(JOHN

FELTHAM)

was

born at Oakingham, in Berkshire, in 1786.

His grandfather was a solicitor of great repute and considerable property at Windsor,
whose early death and unforeseen misfortunes plunged his family in difficulties; wherl
his son, G. Danneley, accepting a situation
obtained for him in the choir at Windsor,
devoted himself to music as a profession,
and by him, his second son, the subject of
this memoir, was initiated in musical science. At the age of fifteen, he was placed,
as a pupil for the piano-forte, under C.
Knyvett, and under Samuel Webbe for
thorough-bass. At seventeen, he left his
musical studies to reside entirely with a
wealthy maternal uncle, who promised and
intended to provide amply for him; but, indulging in procrastination, (which so often
frustrates the best intentions) was,- by rapid
illness, and consequent death, deprived of
the power of making a will. By this event
young Danneley was again cast upon the
world; when, resuming his professional pursuits with increased assiduity, he placed
himself under the tuition of that very emiment performer, the lateWoelfl, from whom
he learnt to comprehend and admire the
expression given to piano forte playing by
the varied and sensitive touch adopted by
the best German masters, and so well described in Forkel's life of Bach. He also
took lessons from another excellent master,
C. Neate, and then went to reside with his
mother at Odiham, in Hampshire.
At this period of his life he contracted
a great love for foreign music, from frequently joining in concerts with French
and Italian officers, placed as prisoners of
war in the vicinity of Odiham, and in their
society he acquired a knowledge of the
French and Italian languages.
199

DAN

D AQ

l a his twenty-sixth year, an eligible

circle of tuition was offered to his acceptance at Ipswich; and after a few years'
residence, he was elected organist of the
church of St. Mary of the Tower in that
town.
At the commencement of the peace Danneley went to Paris, where he attended the
meetings oiL'Ecole des Fils d'Apollon, and
studied assiduously under Antoine Reich a,
the first theorist of the day, author of some
admirable quintets, and of the " Cows
complet de Composition Musicale," a work
celebrated all over Europe. At this time
he also took lessons of Pradher, the Cramer
of Paris, and Mirecki, le jeune Polonois, of
whose splendid edition of Marcello's psalms,
Danneley was one of the original promoters.
He also enjoyed the advantage of
frequent conversations with the celebrated
Cherubini, and Mousigny, the author of an
original and elegant, though perhaps somewhat fanciful, theory of music. In superior Parisian society, as well as in professional circles, Danneley's astonishing
facility, as a sight player, was generally
admired.
In 1822, Danneley prepared to visit
Vienna and Munich; but these arrangements were changed for an attainment much
more the object of his wishes, namely, the
hand of an amiable and accomplished young
lady, to whom he had long; been attached.
The following are among the specimens
which Danneley has occasionally selected
for publication from his numerous manuscript compositions : " Queen of evert/ moving measure," " Col Arso d'un Ciglio,"
tl
Military
Divertimento,'
"Waves
of
Orivell," duel, " Rondo in C," "Violets,"
a song, and " Palinodia a Nice," a set of
twelve Italian duets, dedicated to his royal
highness the duke of Sussex.
Danneley is now engaged in preparing
for the press a portable encyclopaedia of
music, in one volume, consisting of all the
most useful information that can be compiled, abridged, and selected from the best
theoretical works of the continent; a task
for which he is well qualified, by his know200

ledge of the French, Italian, and German

languages.
DANGER, (CHRISTIAN) leader of the
band to the margrave of Baden at Carls,
ruhe. Some of his compositions for the
violin are published at Vienna.
DANVELS, an English performer on
the tenor, now living.
DANYEL, (JOHN) a bachelor of music,
at Christchurch, Oxford, in the year 1604.
He published " Songs for the Lute, Viol,
and Voice," London, 1606.
DANZI, (FRANZ) chapel-master to the
king of Bavaria at Munich, and an excellent
violoncellist. He was born at Manheim, of
Italian parents, in 1763. His father was an
excellent performer on the violoncello, and
taught him music at a very early age; he
also studied, subsequently, under the celebrated abb Vogler, at that time chapelmaster to the elector. In 1779, he produced his first opera, "Azakia," for the
theatre at Munich, to the cathedral of
which town he was appointed chapelmaster. Since that period he has published
several other operas, and a great variety of
instrumental music, much of which has
been printed at Paris. His quatuors for
two viols, tenor, and violoncello, Opera 44,
published at Leipsic, are particularly admired. Danzi was appointed, in 1807,
chapel-master to the king of Wurtemburg, at
Stuttgard, from whence he still continues to
publish instrumental music.
D'APEL.

See A P E L .

DAQUIN, (Lou. CLAUDE) organist to

the king of France, was born at Paris in
1694. He became celebrated as an organist at the early age of twelve years. When
Handel went to France, he was so astonished
onhearing the performance of Daquin, that,
although extremely pressed to play himself
before him, he could never be prevailed
upon to do so. Daquin is said to have preserved the brilliancy of his touch to the advanced age of seventy-eight. During his
last illness, which was only of eight days
continuance, he recollected that the fte of
St. Paul was approaching, and said, "Je
veux mefaire porter d. l'e"glise par quatre

DAU

D A V

homm.es, et nuntrir a mon orgue." He died

DAUPHIN, a composer of songs at
the 15th of June, 1772, and his funeral Paris in the beginning of the last cenwas attended by a prodigious concourse of tury.
amateur and professional musicians. The
DAUPRAT, professor of the horn at the
regular canons of St. Anthony, to whom he Paris conservatory.
had been organist for sixty-six years, sang
DAUSSOIGNE, professor of accompanihis funeral service. Daquin composed some ment at the Paris conservatory.
sacred and other music for his instrument.
DAUTRIVE, (RICHARD) a French vioDAQUONEUS, (JOANNES) a composer linist and composer for his instrument in
of madrigals, one set of which was pub- the year 1799.
lished at Venice in 1557, and another at
DAUVERGNE, (ANTOINE) born at
Antwerp in 1594.
Clermont in 1713, was superintendent of
DARBES, (JOHANN) a Danish violinist the king's music, and director of the opera.
of some merit, who is also known as the He composed many dramatic pieces, and
composer oi&"StabatMater:" he lived near some music for the violin. He died at Lyons
Copenhagen, in 1784, having been pen- in 1797.
sioned by the court.
DAUVILLIERS, (JACQ. M A E I N ) bom
DARCIS, (M.) a pupil of Gretry, com- at Chartres in 1754, was a composer of
posed the opera " La Fausse Peur," in light vocal music.
1774. " Le Bal masque" is also attributed
DAVEAUX. See AVAUX.
to him.
DAVELLA (GIOVANNI) published at
DARD, author of some instrumental Rome, in 1657, "Regola di Musica," a work
music, also of a work entitled " Principe* of no great merit, according to Dr. Burney.
de Musique," published at Paris about the
DAVID, (GIACOMO) a celebrated tenor
year 1796.
singer, born at Bergamo about the year
DAREIS, (J. B.) author of some ro- 1750. He sung at most of the large towns
mances published at Paris in 1800.
of Italy, also in London and Paris, till
DARONDEAU, (BONONI) born at Mu- about the year 1796, when he returned to
nich in 1740, was a professor of singing at Italy, and became chamber-musician to the
Paris, and composed seven collections, of grand duke of Parma.
romances, and the music of the opera " Le
DAVID, (L.) a harpist and singing-masSoldat par Amour."
ter at Geneva in the year 1800. He has
DARONDEAU, (HENRY) son of the published some romances with accompanipreceding, was born at Strasburg in 1779. ments for his instrument.
He was a pupil of Berton, and has com- DAVID, the younger, a very eminent
posed several collections of romances, and Italian tenor singer; his voice is of extrasome piano-forte music.
ordinary compass. He has been engaged
DASERUS or DASSER, (LUDOVICUS) for some time at Vienna, where he is enchapel-master to the duke of Wurtemburg thusiastically admired.
in the latter half of the sixteenth century.
DAVIES, (Miss CECILIA) known in
He composed much sacred music.
Italy by the name of L'Inglesina, first apDAUBE, (JOHANN FBIEDKICH) born in peared at the opera in London in 1773.
1730, was secretary to the imperial society She was considered as being second only to
of arts and sciences at Vienna. He wrote Billington among English female vocalists.
several books on music, and composed some She had performed for some time in Italy,
sonatas for the lute. He died at Vienna in before her appearance on the London
1797.
boards, and even the Italians confessed,
DAUBERVAL, a pupil of Noverre, and that her powers were excelled on the contia celebrated ballet-master. He was born nent by Gabrielli alone. After singing a
few years in England, she returned to the
at Versailles, and died in 1806.
301

DAV
continent with her sister, who was a celebrated player on the harmonica.
DAVJON (J.) published a collection of
romances at Paris, about the year 1801.
DAVY, (RICHARD) an old English composer of songs. He lived about the year
1500.
DAVY (JOHN) was born in the parish of
Upton- Helion, about eight miles from Exeter. When he was about three years of
age, he came into the room where his uncle,
who lived in the same parish, was playing
a psalm tune on the violoncello; but the
moment he heard the instrument he ran
away crying, and Was so much terrified that
it was thought he would have gone into
fits. For several weeks his uncle repeatedly
tried to reconcile him to the instrument;
and at last, after much enticement and coaxing, he effected it by taking the child's
fingers, and making him strike the strings.
The sound thus produced very much
startled him at first; but in a few days
he became so passionately fond of the
amusement, that he took every opportunity
of scraping a better acquaintance with the
monster which had before so much terrified
him. With a little attention, he was soon
able to produce such notes from the violoncello as greatly delighted him. About this
time there happened to be a company of
soldiers quartered at Crediton, a town about
a mile from Helion. His uncle frequently
took him there, and one day attending the
roll-call, he appeared much pleased with the
fifes. Not contented, however, with hearing, he borrowed one of them, and soon
made out several1 tunes, which he played
very decently.
At the age of four or five years, Tiis ear
was so correct, that he could play an easy
tune after once hearing it. Before he was
quite six years old, a neighbouring blacksmith, into whose house he used frequently
to run, lost between twenty and thirty
horse-shoes. Diligent search was made for
them many days, but to no purpose. Not
long afterwards the smith heard some musical sounds, which seemed to come from the
upper part of his house, and having listened
202

DAV
a sufficient time to be convinced that his
ear did not deceive him, he went up stairs,
where he discovered little Davy, with his
property, between the ceiling and the
thatched roof. The boy had selected eight
horse-shoes out of the whole number to
form an octave, had suspended each of
them by a single cord clear from the wall,
and, with a small iron rod, was amusing
himself by imitating the Crediton chimes,
which he did with great exactness.
This story being made public, and his
genius for music daily increasing, a neighbouring clergyman, of considerable rank in
the church, showed him a harpsichord. This
he soon became familiar with, and, by his
intuitive genius, was, in a short time, able
to play any easy lesson which was put before him. He applied himself likewise to
the violin, and found but few difficulties to
surmount in his progress on that instrument.
When eleven years old, he was introduced
to the Rev. Mr. Eastcott by this gentleman,
who was now become his patron. Mr.
Eastcott was so much struck with his performance on the piano-forte, and his general turn for music, that he earnestly recommended it to his friends td place him
with some musician of eminence, under
whom he might have free access to a good
instrument, and acquire a requisite knowledge of the rules of composition. They
applied to Mr. Jackson, the organist of
Exeter cathedral, and, when he was about
twelve years of age, he was articled as a
pupil and apprentice of this excellent man.
His progress in the study of composition,
and particularly in that of church music,
was extremely great.
He also became an
admirable performer, not only on the organ,
but on the violin and violoncello. The first
of his compositions that appear to have attained any high degree of celebrity, were
some vocal quartets, which were considered
by the best judges to afford the strongest
indication of musical genius and knowledge.
Davy resided at Exeter for some time
after the completion of his studies. One of
his earliest employments, upon his arrival in
London, appears to have been as a per-

DEB

DEB

former in the orchestra at Covent-garden;

at this time he also employed himself in
teaching, and soon had a considerable number of pupils. He composed some dramatic
pieces for the theatre at Sadler's Wells, and
wrote the music to Mr. Holman's opera of
" What a Blunder .'" which was performed
at the little theatre in the Haymarket in
the year 1800. In the following year he
was engaged with Moorehead in the music
of "Perouse," and with Mountain in that of
" The Brazen Mask," for Covent-garden.
He died in February, 1824.
DAY, ( M E . ) a teacher of music in Dublin, and composer of some music for the
piano-forte. (Goulding's Cat.)
DEAMICIS, (ANNA.)

See AMICIS.

DEBAIGNE (ABBE) was music-master

to Louis XI. Bonchet relates that the
prince once said, jocosely, that he should
like as well to hear a concert of pigs as of
musicians. The abbe, on this, collected a
number of pigs, of different ages, in a sort of
tent, before which he placed a machine,
with keys similar to a harpsichord: on
touching these keys, they moved some sharp
pointed instruments, which pricked the
animals, and caused them to make a prodigious noise, to the great entertainment of
his majesty, who lavished his favours on the
ingenious inventor of this novel species of
harmony.
D E BEGNIS (GUISEPPE) was born at
Lugo, a town in the pontifical states, in the
year 1795. He commenced his vocal studies, at little more than seven years of age,
under Padre Bongiovanni, and sang soprano
in the chapel at Lugo, from that time till
he was near fifteen, when his voice broke.
He always evinced much genius as a comic
actor, and was desirous, at the time his voice
failed, (which he feared would not return)
to follow that profession, for which purpose
he studied under the direction of Mandini,
a celebrated Italian actor. His father, however, refusing to consent to his becoming a
comedian, he took further lessons in singin;
from the composer Saraceni, brother to
Madame Morandi. In the carnival of the
year 1813, lie made his first debut as primo

buffo singer at Modena, in an opera called

Marco Antonio, the music by Pavesi, and
was received with such applause as at
once to decide the line of his future professional pursuits. From thence he went to
Forli and to Rimini, and terminated thfe first
year of his theatrical career again at Modena. In the following carnival he performed at Sienna, at the opening of a new
and superb theatre, called Teatro degli
Academici Rozzi.
He first appeared there
in the comic part of Pazzo, in the Agnese,
of Paer, and was received with enthusiasm
both as an actor and singer. He afterwards
played Selime, the Turk, in the Turco in
Italia, of Rossini. He next proceeded to
Ferrara, Badia, and Trieste, at which latter
town he appeared in the following operas:
Avertimento alle Mogli, of Caruso; La
Matilde, of Coccia; Teresa e Claudia, of
Farinelli; Don Papirio, of Guglielmi;
and Don Timonella di Piacensa, of
Celli. In the carnival of 1815, he was at
Cesena, where he particularly attracted the
town by his performance in the opera
Bcllo piace a tutti: he sang in it an aria
buffa, in the style of the old rondos, and in
which he imitated with his falsetto the celebrated singer Pacchierotti. The music of
the above opera is by Fioravanti. He next
appeared in the Due Prigionieri, of Pucitta, and finally in La Guerra aperta,
of Guglielmi. He passed the spring in
Mantua, and performed the part of Miista*
pha, in L'ltaliana in Algeri, of Rossini, and in La Guerra aperta.
At
Udine, during the summer, he performed in
L'ltaliana, and in L'Inganno
felice,
of Rossini. He passed the autumn at Rome;
where he played in Agnese, the part of
Francesco, in the Ginevra degli Almievi, the
Solitario, in the Lagrime d'una Vedova,
of Generali, Selime, in the Turco in Italia,
of Rossini, and in II quid pro qua, of Romani. In the carnival of 1816, he was at
Milan, where he had an illness of three
months' continuance, and was not able to
sing during the whole period of his engagement. On his recovery, he proceeded to
Parma, where his success was the most
203

DEB
brilliant of any he had experienced in the
course of his musical career, especially in the
part of Mustafa, in the Itaiiana, and in
the Marcotando, of Pajni.
He passed
the summer at Modena, and appeared in
Marc Antonio, and in La Capriciosa pendita, of Fioravanti. In the autumn he came
to Bologna, where he undertook the part of
Selime, the Turk, in the Turco in Italia;
his voice was at that time still more flexible,
and its compass greater than at present, and
he got through the part with considerable
success. A singular circumstance, and
highly honourable to his comic talent, now
took place at Bologna. Before the arrival
of De Begnis, Paer's opera of Agnese had
been twice attempted in that town, and completely failed in both instances. The manager, however, havingheard of De Begnis's
success in the character of Pazzo, both at
Home and Ferrara, wished again to try the
piece, and it was accordingly chosen for the
benefit of Mile. Ronzi. The whole town
were against the attempt, and the opera was
declared to be miserably ennuyant. The
trial however was made, and its success was,
in this instance, as complete as were its
former failures; the principal reason for
which change was generally attributed to
the talent of De Begnis, whose success was
such in Pazzo, that the piece was afterwards played many times, and is still considered there as one of their best stock
operas. De Begnis also played at Bologna,
with much success, the comic part of the
Ancien Militaire, who detests noise, in the
Opera II Matrimonio per Susurro, by Salieri. It was at this town that De Begnis
was married to Mile. Ronzi : he was also
nominated philharmonic academician to
the musical institute at Bologna. Soon
after their marriage, he was obliged to separate for some time from Madame De Begnis, who had previously to her marriage
made an engagement for Genoa, and De
Begnis for Rome; on his second visit to
which city he performed the feigned prince,
called Dandini, in the opera of La Cenerentola, a part expressly written for him by
Hossini. The newly married couple again
204

DEB
met at Florence in the spring1 of 1817, and
passed the summer at Vicenza and the
autumn at Verona, where De Begnis was
elected an honorary member of the musical
academy of the Anfioni. The success of
De Begnis and his wife were here such,
especially in Figaro and Rosina, in the Bariiere di Seviglia, of Rossini, that this celebrated composer invited them to perform at
the opening of the new theatre of PesarOr
which was under his direction. The opening
piece selected by Rossini was La Gazza
Ladra, in which they played the Podesta
and Ninette. This was succeeded by the
Barbiere di Seviglia. From thence they
proceeded to Lucca, where they passed the
autumn of 1818, and, in the carnival of
1819, made their de'buts at Paris. Here
their success was complete : their first appearance, was in the Fuorusciti, of Paer, iu
which they played Isabelle and Vberto,
They afterwards performed together in the
Barbiere, in the Molinara, of Paesiello, and
in the Pietra di Paragone, of Rossini. De
Begnis played also in the Pastorella nobile,
with several other operas that we have not
space to enumerate. After remaining three
seasons at Paris, they made their first appearance at the King's theatre in London, in
the opera of II Turco in Italia; since which
period De Begnis has been considered as
the most natural and purest buffo singer in
this country. He has performed at all the
principal concerts and public musical meetings in England, and has lately had the
direction of the operas at Bath, which
proved highly successful. He is engaged
at the opera for the season of 1824.
DE BEGNIS, (Madame RONZI) wife
of the preceding. Many particulars respecting this lady being included in the foregoing article, it is only requisite to mention
that, after her marriage at Bologna, Madame
De Begnis went to Genoa, and performed
at the great theatre there, Elizabetta Regina d'Angleterra, in Rossini's opera of
that name, and was received in it with the
greatest enthusiasm. She afterwards sang
in La Rosa bianca e la Rosa rossa, of
Mayer. On her return to Florence, she sang

DEE

DEL

at the Orotorios there in Lent. She after- "Cantiones Sacrte quinqueVocum, cum Basso
wards accompanied De Begnis to the dif- contimioad Organum, " printed at Antwerp
ferent towns mentioned in the preceding in 1597, and others entitled " Cantica Saarticle, at all of which she received high :ra," published at the same place about
honours as an artist, especially as a serious nineteen years afterwards.
singer ; her comic powers, which are known
DEFESCH (WILHELM) was, in the year
in this country to be very great, having been 1725, organist of the great church at Ant.
considered' on the continent as altogether werp. He published much instrumental
secondary to her performances as prima and vocal music, chiefly at Amsterdam ;
donna seria. Madame De Begnis is re- his oratorio named " Judith," was, however,
markable for her articulate execution ; her published in London, in the year 1730.
voice is extremely pleasing, and is allowed
DEGEN, (HENRY CHRISTOPHEP.) chato have improved greatly since her arrival pel-master to the prince of Schwartzburg
in this country. She is engaged, for the in 1757, composed much music for the
season of 1824, at the King's theatre.
violin and harpsichord, on both which inDEBLOIS
(CHARLES- G U I - X A V I E E , struments he excelled.
DEHEC, (NASSOVIUS) principal violinist
called also VANGRONNENRADE) was born at
Luneville in 1737. He was a pupil of at the church of Santa Maria, at Bergamo,
Giardini, and for twenty-eight years one of published " Six 1'rins for the Violin," at
the first violins at the Italian opera at Nuremburg, in 1760.
DELABORDE, (JEAN BENJAMIN) bom
Paris. He composed a comic opera, called
" Lcs Rubans," also some romances and at Paris in 1734, was of a wealthy family,
and received a polished education. Among
four symphonies'.
DECHAMPS (L.) published "Nouvelles other masters, he was instructed on the
Romances," Ops. 1 and 2, at Paris, in violin by the celebrated Dauvergne, and in
the theory of music and composition by
1800.
DECHE composed a comic opera, called Rameau. Destined by his friends for a
government financial situation, he became
" Adele," at Paris, in 1791.
DEDEKIND, (CONSTANTINCHRISTIAN) at first principal valet de chambre to Louis
chamber-musician to the elector of Saxony, XV., of whom he was a great favourite.
published a very large collection of songs, He soon after this cultivated his talent for
in four volumes, quarto, at Dresden, in music with greater ardonr and application,
and, in 1758, produced at the theatre of the
1657.
DEERING, (RICHARD) the descendant court the comic opera " Gilles Gargon
Peintre," which was very successful. At
of an ancient Kentish family, was educated
the death of Louis XV., in 1774, Delaborde
in Italy; and when his education was comquitted the court, and became one of the
pleted, he returned to England, with the
farmers-general of finance. In 1780, he
character of an excellent musician. He republished " Essai sur la Musique ancienne
sided in this country for some time, but,
et mnderne," four vols. in quarto, with
upon a very pressing invitation, went to
plates, a work of little authority. After
Brussels, and became organist to the mothis, he produced several other books on
nastery of English nuns there. From the music, expensively edited, but which are
marriage of Charles I. until the time when now considered of little or no value. Delathat monarch left England, he was organist borde was afterwards guillotined in the
to the queen. In 1610, he was admitted to revolution, for being a partisan of the
the degree of bachelor of music at Oxford, court.
and died in the communion of the church
DELAFOND, (JOHN FRANCIS) a singof Rome, about the year 1657.
He has left us, of his composition, ing-master and teacher of several musical
205

DEL
instruments, also of the Latin and French
languages. He published, in 1725, at London, an octavo volume, entitled " A new
System of Music, both theoretical and
practical, and yet not mathematical," a
work of little merit.
DELANGE, (E.F.) a composer at Liege,
published there, in 1768, his Opera 6th,
consisting of eight overtures.
DELAUNAY published at Paris, in
1799, " Seize petits Airs pour le Clavecin."
DELAVAL, (MADAME) a French harpist,
and composer of a cantata entitled " Les
Adieux de Vinfortune Louis XVI. & son
Peuple." She has also published much
harp music, and some French songs. (Birchall's Cat.)
DELCAMBRE, (THOMAS) a professor
of the bassoon at the Paris conservatory,
and composer for his instrument.
DELFANTE, (ANTONIO) a dramatic
composer at Borne. He produced, in 1791,
the opera buffa entitled " II Ripiego
deluso."
DELLAIN, author of a work entitled
" Nouveau Manuel Musical," Paris, 1781.
He composed the music of " La Fete da
Moulin" performed,in 1758, at the Italian
theatre.
DELLAMABJA, (DOMENICO) born at
Marseilles of an Italian family, devoted
himself to the study of music from a very
early age. At eighteen years old, he had
already composed a grand opera, which was
represented at Marseilles. He subsequently
went to Italy, where he studied, during
nearly ten years, under various masters, the
last of whom was Paesiello. Whilst he remained in Italy, he composed six comic
operas, three of which were performed with
much success, especially his " II Maestro
di Capella." Dellamaria returned to France
in 1796, and first produced the opeva, " Le
Prisonnier," which much increased his reputation. To this brilliant dihut succeeded
" L'Oncle Valet," " Le vieux Chateau,"
" L'Ope'ra comique, and some other works,
all given within the space of two years, and
206

DEM
attesting the fecundity and superiority of
his talent. Dellamaria died suddenly, in his
thirty-sixth year, at Paris, in 1800.
DELLEPLANQUE, a harpist at Paris,
composed and published much music for his
instrument, between the years 1775 and
1800.
DELLER, (FLORIAN) a dramatic composer at Ludwigsburg. He died in 1774.
DELVEB, (FEIEDRICH) a pianist a
Hamburgh, has published some romances
and piano-forte music since the year
1796.
DALVIMARE.

See ALVIMAES.

DEMACHI, (JOSEPH) a violinist of

the king of Sardinia's chapel at Alexandria,
about the year 1760. He published seven'teen operas of instrumental music at Paris
and Lyons.
DEMANTIUS, (CHRISTOPHEE) a celebrated composer, born at Keichenberg in
1567. His works are chiefly vocal, both
sacred and profane. Many of them were
published at Nuremburg, between the
years 1595 and 1620.
DEMAR, (SEBASTIAN) born in Franconia in 1766, was a pupil of Haydn. He
has published much instrumental music)
chiefly at Paris, between the years 1795
and 1808. He has for some years past been
leader of the town band at Orleans, and
several of his pupils for the piano and horn,
have become excellent performers.
DEMAR, (JOSEPH) brother to the preceding, resides at Wurtzbvtrg, and has com
posed a method and various music for the
violin.
DEMMLER, (JEAN MICHEL) a

Gel-

man organist, and composer of much vocal

and instrumental music. He died in 1785.
DEM1VICH, author of a collection of
romances, published at Paris in 1796.
DEMOIVER, a flutist and composer foi
his instrument. Some of his music was
published in London towards the end of
the last century.
DEMONTI, (H.) a professor of music
at Glasgow. Some of his sonatas for the
piano forte are published by Birchall.

BEP
DENCK, (CAUL)' a composer of some
instrumental music, published at Vienna
in 1799.
DENEUFVILLE (JEAN JACOP) was the

son of a French merchant. He studied

music, and afterwards became organist and
composer at Nuremburg, in Germany,
where he composed some sacred music, at
the beginning of the last century. He died
in 1712, in his twenty-eighth year.
DENMAN, ( M R . ) a celebrated English
bass singer towards the end of the last
century.
DENNERY, a French composer of
piano-forte music.
DENNINGER, (J. N.) chapel-master
at Ohringen, published some instrumental music at Manheim, about the year
1788.
DENNIS, (JOHN) author of an "Essay
on the Italian Opera," London, 1706.
Dennis died in 1737.
DENTICE, (LUIGI) a Neapolitan nobleman, and amateur of the fine arts. He
wrote a work entitled " Due Dialoghi
della Musica," Naples, 1552. These dialogues give some idea of a concert at Naples
at that period. One of the interlocutors
describes a performance, at which he had
been present, at the palace of Donna Giovanna d'Arragona. He says the performers
were most perfect musicians, and sung in a
wonderful manner. It appears that the
vocal performers were accompanied by a
band, and each sung to his own instrument.
" There are few musicians," says the author, " who sing to their instruments, that
have entirely satisfied me, as they have
almost all some defect of intonation, utterance, accompaniment, execution of divisions, or manner of diminishing or swelling
the voice occasionally ; in which particulars
both art and nature must conspire to render
a performer perfect."
DEON, a French composer of songs.
Several of his compositions are to be found
in a collection published at Paris, in 1710,
under the title of "Recueil a"Airs siritux et
a boire."

DES
the operetta " Die Liebe im Sommer," for
the Jews' theatre at Amsterdam.
DERAGINI, a composer of duos for the
flute. (Preston's Cat. 1797.)
DERIVIS, an eminent French singer at
the grand opera at Paris, was a pupil of
the conservatory.
DEROSIER, (NICOLAS) a guitarist and
composer of instrumental music, published
in Holland at the latter end of the seventeenth century.
DESAIDES or DEZEDE, an Italian
dramatic composer, born at Turin in 1745.
He resided chiefly at Paris, and composed'
a great number of operettas for the French
stage, between the years 1778 and 1796.
The piece most prized of his composition is,
Blaise et Babet." We have no account
of his death.
DESARGUS, (XAVIER) a professor of
the harp at Paris, and author of a method
for his instrument, published there in 1809.
His son is also an excellent performer on
the harp.
DESAUBRY, a French violinist and
composer for his instrument.
(Preston's
Cat. 1797.)
DESAUGIERS

( M A E C ANTOINE) was

born in Provence in 1742, and made his

debut as a composer, at the academy of
music in Paris, in 1774, by the opera of
" Erixere." After giving one or two operettas of inferior merit, he produced " Leg
deux Jumeaux de Bergame," apiece which
obtained the most complete success. The
two airs, " Daigne icouter Vamant fidele
et tendre," and, " Lafoi que vous' m'avez
promise" are still very popular in France.
Desaugiers lived on terms of intimacy with
Gluck and Sacchini, and composed a mass
on the occasion of the death of the latter,
which has been greatly admired.
DESBORDES, member of the conservatory at Paris, and author of the minor opera,
" La None de Lindenburg," performed at
Paris in 1798.
DESCARTES, (RENE) the celebrated
French philosopher, wrote, in 1618, at the
age of twenty-two, a work entitled " ComD E P U I S . ( L E B Q R E ) composed, in 1794, pendium Mwiccs," which was never pub-

207

DIB

D E S
lished during his lifetime, but was translated into various languages, and printed
after his decease.
DESENTIS, (J. P.) a composer of
piano-forte music at Paris, about the year
1787.
DESFORGUES, (Hus) a French composer of instrumental music at Paris in
1803.
DESHAYES, a Parisian composer of
dramatic and sacred music, also of some instrumental music, between the years 1780
and 1793.
DESMAISONS, author of some music
for the piano-forte, at Paris, in 1795.
DESMARETS, (HENRY) a French composer of dramatic and other vocal music.
He died at Luneville in 1741.
DESMASURES, a celebrated organist
at Rouen about the year 1780. He lost
three fingers of his left hand by the bursting of a gun, and afterwards used some
fingers of wood, made at Paris, and with
which he is said to have played nearly as
well as previous to his accident.
DESORMERY,

(LEOPOLD

BASTIEN)

born at Bayon in 1740, was a French dramatic composer for the court, of some eminence. He also composed some sacred
music.
DESORMERY, son of the preceding, is
an eminent pianist at Paris. He has also
composed some instrumental music.
DESPERAMONS, a French singer and
composer of romances at Paris. He was
bom at Toulouse in 1783. At eight years
of age, he commenced his studies in music,
and at fourteen came to Paris, where he
was admitted as a violin pupil of the conservatory, under Guenui. He subsequently
quitted his violin studies, and devoted himself to singing, first under Persuis, and
afterwards under Garat. At present, Desperamons is one of the professors of singing
at the conservatory.
DESPRES. See JOSQUIN.

DESPREUX, (L. FELIX) a composer

of piano-forte music, published by Imbault,
at Paris, about the commencement of the
present century.
208

DESTOUCHES,

(ANDRE

CARDINAL)

born at Paris in 1672, was superintendent

of the king's music, and inspector-general
of the opera, between the years 1713 and
1731. He made his dehut in composition, in
1697, by the opera of "Isse," which pleased
the king so much, that he gave him a
purse of two hundred louis, adding that,
" Destouches e'tait le seul qui ne hi eut
point fait regretter Lulli." He died in
1749.
DESZCZYNSKI, a Polish musician at
Wilna, and author of some Polonaises for
the piano-forte published at Leipsic.
DEV1ENNE, (FRANCOIS) a celebrated
French flutist, and professor of his instrument at the conservatory at Paris. He
wrote a method for the flute, published at
Paris in 1795, and composed several comic
dramatic pieces, among which are, " Les
Visitandines " " Les Comediens ambulamj'
and " Le Valet de deux Maitres." Many
overtures and symphonies for a full orchestra, also concertos, quartets, trios, duos,
and solos for wind instruments, were published by Devienne. At length the intensity
and variety of his professional studies
affected his mental faculties, and he died
insane at the Lunatic asylum, at Charenton, in 1803, at the early age of fortythree.
DEVRIENT, (SIGNOR) a bass singer at
Berlin. He performed, in 1823, at Dresden,
and is highly spoken of for the beauty and
freshness of his tone.
DEZEDE.

See DESAIDES.

D'HAUDIMONT, (L'ABBE) a pupil of

Rameau, and chapel-master at one of the
churches in Paris. He composed some
sacred music about the middle of the last
century.
D'HERBAIN, ( L E CHEVALIER) a cap-

tain in the French infantry, composed in

Italy the operas of " Eneas" and " Lavinia,"
also several others at Paris, about the middle
of the last century.
JDIABELLT, composer of much instrumental music at Vienna, chiefly for the
guitar.
DIBDIN
(CHARLES) was born ia

D I B
Southampton, where his father V?as a silversmith, about the year 1745. He was educated for the church on the foundation of
Winchester school; but music soon took such
complete possession of his rnind, that he
would attend, as a boy, to little else. At
twelve years of age he had a very sweet
voice, and sung' at the cathedral at Win Chester; also at a subscription concert in
that town, where he was patronised by the
principal inhabitants. Shortly after this, he
stood for the situation of organist, at a
village in Hampshire, but was rejected on
account of his youth. Dibdin's elder brother was captain of a West Indiaman, and
being in London about this time, pressingly
invited his younger brother to make a trial
of his talents in the metropolis. He accordingly came up to London, and was introduced to several of the most eminent musicsellers, for whom he composed some ballads;
the profits of which were, however, very
trifling, as the most he received, for the
copy-right of six songs, was three guineas.
The rest of his time he filled up in tuning
piano-fortes. This occupation being little
to his taste, he soon became acquainted
with the principal musical and theatrical
characters of the day, and in the summer of 1762, when only fifteen years of
age, appeared as a performer at the Richmond theatre. The following year he performed at Birmingham, and, in 1764, made
his debut on the London boards, in the
character of Ralph, in the Maid of the
Mill, and received a great share of the
public approbation. Still, however, he
was not in his element: he disliked the
profession of an actor, and his chief delight
was in composition. Accordingly, soon
after this time, he wrote the principal part
of the music for "Lionel and Clarissa;"
and a year or two afterwards, the entire
music of " The Padlock." The success of
these pieces fully established his fame as a
dramatic composer.
Among Dibdin's more celebrated works
for the stage may be enumerated, " The
Deserter," produced in 1772 ; " The Waterman," (words and music) in 1774; and
VOL. I,

DIG
" The Quaker," in 1775. In the intervals
of these performances, it must be confessed
that his prolific pen gave birth to a great
deal of trash. The whole number of his
theatrical compositions amounted to nearly
a hundred. After quarrelling with the proprietors of all the principal theatres, and
more especially with Garrick, having also
failed in more than one theatrical speculation as a manager, Dibdin at length resolved on attempting to entertain the public
by his single performance of his own songs,
accompanying them himself on the pianoforte. In this he was eminently successful
for some years, both in the metropolis and
in provincial towns ; and he might doubtless
have amassed a handsome fortune by this
singular exertion of his talent, had he not
been unusually improvident in his pecuniary
concerns. The number of new songs
which he wrote (both words and music)
for these entertainments,!is astonishing;
they amounted, it is said, to upwards of
1200; among which his sea songs are
certainly the most clever. " Poor Jack,"
" Tom Bowling," and various other ballads
of that class, will ever remain dear to the
ear of a British sailor. Dibdin died in
1814, in very obscure circumstances, havingsuffered, for some years previously to his decease, from an illness which rendered him
almost helpless.
DIBDIN, (Mrss) an excellent performer on the harp, was originally a
pupil of Challoner, and since of Bochsa.
She is an assistant professor of her instrument at the royal academy of music.
Miss Dibdin began her musical studies
under Challoner in 1808, and in 1815, she
performed Steibelt's grand duetto on the
harp with Haydon, at the oratorios at
Covent-garden, where she was advertised
as " a pupil of Mr. Challoner." She has
since performed in public with Bochsa,
and with the greatest Mat.
DICCHUT, composer of some instrumental music published at Mayence.
DICKONS, (Mas.) This lady, so justly
celebrated as a singer, was also an instance
of premature musical genius, having been,
p
209

B I C
at the age of six years, capable of performing Handel's overtures and fugues on the
piano-forte, with an astonishing degree of
taste and precision.
Mr. Poole (her father) took advantage
of this extraordinary talent, and placed her
under the tuition of the celebrated Rauzzini,
of Bath, thus infusing into her young mind
the true Italian taste. In due time she was
engaged at the Ancient and Vocal concerts,
and also at Covent-garden theatre, where she
made her dibut in the character of Ophelia,
in which she evinced the most delicate
feeling and pathos; she also performed, with
unrivalled success, the first range of operatic
characters, both in England, Scotland, and'
Ireland, and was received by the Irish with
enthusiasm.
The superior excellence of Mrs. Dickons
in sacred music is also well known. In
that style she sang with such a degree of
sublimity, that religion seemed to breathe
through every note. She was also engaged
at the Italian opera, and performed (among
other principal characters) the Countess, in
Mozart's / / Nozze di Figaro, with eminent
success, to Madame Catalani's Susanna.
At the conclusion of her engagement at
Drury-lane theatre in 1816, she was engaged as pritna donna at Madame Catalani's theatre at Paris. From thence she
went to Italy, where (at Venice in particular) she received the high and distinguished honour of being proclaimed, by
general vote, Socia Onoraria dell' Institute
Filarmonico.
She was engaged to sing at several places
with the celebrated Velluti; but the death
of a particular friend demanded her speedy
return to England, before she could fulfil
those engagements, and Mr. Harris availed
himself of that opportunity to bring her forward once more in his theatre, where she
had so early begun her theatrical career.
The result of her appearance in the Barber of
Seville, and the great improvement of her
style by her visit to the continent, is too well
known to need eulogium here.
She has now retired from public life,
esteemed and beloved by all who have the
210

DI G
pleasure of knowing her; and although id
full possession of her vocal powers, has
declined many tempting and lucrative offers
to return to the stage.
She has also lately had most flattering
and advantageous applications 10 sing in
Italy, where her fame is well known and
her talent duly appreciated.
DIDYMUS was an eminent musician of
Alexandria, and, according to Suidas, contemporary with the emperor Nero, by
whom he was much honoured and esteemed,
He wrote upon grammar and medicine, as
well as music : but his works are all lost,
and the whole that we know at present of
his harmonical doctrines is from Ptolemy,
who preserved and disputed them. However, this author confesses him to have been
well versed in the canon and harmonic
divisions; and, if we may judge from the
testimony evenof his antagonist, he must have
been not only an able theorist in music, but
a man of considerable erudition.
DIETER or DIETTER (CHBISTUS
LUDWIG) was born in 1757 in Wurtemburg,
He composed much instrumental music,
particularly for the bassoon, also some dramatic pieces, between the years 1781 and
1803.
DIETRICH, (F. A.) composer of some
piano-forte music, published at Leipsic
towards the end of the last century.
DIETTENHOFER. See DITTENHOPEH.

DIETZ, (JOSEPH) a German composer,

published, in 1768, at Nuremburg, some
music for the violin ; also, subsequently,
some instrumental trios at Amsterdam and
Paris. We imagine he is the same Pietz,
who has lately invented at Paris a new
instrument called the claviharp.
DIEUDE, (MADAME) of Paris, a composer of some beautiful romances and
cantatas, published in that town. She is of
Italian parentage. Madame Dieude' is also
an excellent pianist.
DIEZELIUS (VALENTIN) published a
large collection of Italian madrigals at
Nuremburg, in the year 1600.
DIGNUM (CHARLES) was born at
Rotherhithe, where his father was a respect-

DIT

D I G
able, but not affluent tradesman. Being of
the Roman Catholic church, he officiated,
when a boy, at the Sardinian ambassador's
chapel, and also sung in the choir. His
voice was at that time particularly admired
by the frequenters of the chapel, for its melody
and power; so much so, that S. Webb, a
gentleman well known to the musical world,
remarked his talents, and gave him instruction. Dignum, however, entertained no
idea of making music his pursuit: he wished rather to dedicate himself to the service
of religion, and importuned his father to
send him to the college at Douay to
complete his education, and fit him for
taking holy orders. This plan was, however,
relinquished, and young Dignum was placed
on trial under the care of a carver and
gilder named Egglesoe, who was at the
head of that branch in the house of Messrs.
Seddons. Though this situation was by no
means suited to his genius, he remained
nine months in it, and was on the point of
becoming a regular apprentice, when a quarrel between his father and Egglesoe dissolved
the connection. Thus it often happens that
the most trivial circumstance changes the
history of a man's life. Had Dignum pursued the occupation of Egglesoe, he might
have lived in obscurity, and died unknown
beyond the circle of his own family: chance,
however, operated in his favour, and whilst
he was dubious what occupation to follow,
he was introduced to the acquaintance of
the celebrated Mr. Linley. That great
master of vocal and instrumental music
readily perceived the talents of young Dignum, and gave him the most flattering hopes
that he would one day become an acquisition to the stage.
Thus encouraged, and conscious of his
own natural powers, Dignum articled himself to Linley for seven years. During the
two first years of this period, the master
bestowed the most indefatigable attentions
on his pupil, and would not permit him to
sing in public, till his judgment was sufficiently correct.
Dignum made his debut at Drury-lane
theatre in 1784, in the character of Young

Meadows, in the comic opera of Love in a

Village. His figure was indeed rather unfavourable for the part he represented, but
his voice was so clear and full toned, and
his manner of singing so judicious, that he
was received with the warmest applause.
He then appeared in Cymtm, and again experienced the most flattering approbation.
On the removal of Bannister, sen. to
the Royalty theatre, Dignum succeeded
to a cast of parts more suited to his person
and voice, which was a fine tenor; amongst
other characters, those of Hawthorn and of
Giles particularly suited him, and he was superior in them to every other actor since the
days of Beard, who was their original representative. Dignum has, for some years, retired from the stage in easy circumstances,
and still resides in London, greatly esteemed
by a numerous circle of acquaintance, for his
private worth and amiable disposition.
He has composed several pleasing ballads,
and also published, by subscription, a collection of popular vocal music.
DIRUTA (GIKOLAMO) was a Franciscan friar, and the author of a work in
dialogue, entitled " II Transilvano," printed
at Venice in the year 1625. The design
of this work is to teach the proper method
of playing on the organ and harpsichord.
D1TTENH0FER (JOSEPH) was born
at Vienna about the year 1743. He re-"
ceived his instruction on the harpsichord in
that city, from Steffani, and his knowledge
of counterpoint from Wagenseil, both of
whom were reputed to be the first and most
skilful organists in Vienna. After having
passed fifteen or sixteen years on his travels
through Germany and France, he at length,
fixed his residence in London, where he
taught the harpsichord and piano-forte, and
published a didactic work on composition,
also several fugues and voluntaries for the
organ. Dittenhofer possessed a perfect
knowledge of his instrument, and although
he had not that brilliant and rapid performance which is remarkable in some of the
present professors, yet his education was so
regular, that he was a complete master of
harmony and modulation. One of the most
J2

211

B I Z

D IZ

celebrated English pupils of Dittenhofer is

Monro, of Newcastle-upon-Tyne.
DITTEKS, (CARLO VON.) This admirable composer was by birth a German, and
born in the year 1730. He first made himself known as a performer on the violin in
the imperial chapel of Vienna, and afterwards resided at Frankfort. So highly was
he esteemed by the emperor of Germany,
that, as a reward for his merit and talents,
he was elevated, in the year 1770, to the
rank of nobility, by the title of Ditterdorf,
and at the same time nominated ranger of
the forests in the emperor's Siberian dominions. Shortly after this period, he was
appointed by the bishop of Breslau director
of his chapel, and from that time he appears
to have resided alternately in Siberia and at
Vienna. In 1792, says Dr. Burney, he
lived in a splendid manner, on his own
property, in Austria. The compositions of
Ditters have had great celebrity, and are
said to be extremely numerous, though few
of them have been printed. These are not
more than eight or ten in number, beyond
the fifteen symphonies composed from his
feelings on reading the Metamorphoses of
Ovid. The latter were attended with universal applause. In the year 1780, he
composed the oratorio of "Esther" which
was performed for the benefit of widows
and families of musicians. The work, however which obtained for him the greatest
admiration, was " Der Doctor mid der
Apotheker," which was performed in the
theatre at Vienna in 1786. Two years after
this, he composed and published three other
operas at Vienna.

torios, in the season of 182i, Bishop

(the conductor) employed no less than
twelve harps, with Dizi at their head,
whilst sir George Smart, at Drury-lane,
engaged thirteen, headed by Bochsa. Dizi
has invented an improvement in the mechanism of the harp, and calls his invention
" the perpendicular harp" The principle
is, that the tension of the strings act upon a
centre, parallel to the centre of the column,
as well as to that of the sonorous body.
He has arranged his mechanism between
plates of iron and brass, which are at'such
a distance as to allow the strings to vibrate
freely. These plates are held together by
the pins which serve to turn the string.
The strength of these metal plates is much
more than equal to the pressure upon them,
and they are therefore not liable to the
common disturbances and evils arising from
loss of shape.

DITTERSDORF,

(VON.)

See VON

DITTERS.

DIXON (WILLIAM) published some

books of psalms and hymns in London,
about the year 1790. (Preston's Cat.
1795.)
DIZI, (F.) a celebrated harpist, resident
in London. He has long been celebrated
for the superior beauty of the tone produced
by his touch, and he has composed and
arranged much very pleasing music for his
instrument. At the Covent-garden ora212

The column which assists in supporting

the mechanism, takes the pressure exactly
in the centre, and therefore has no tendency
to incline to either side. The strings are
stated to possess a freer power of vibration,
and consequently the tone is prolonged.
They are moreover so placed, that, when at
their utmost tension, they still preserve a
straight line, and make no angle.
Dizi has substituted a damper pedal for
the swell, by which means the sons itmffies
may be produced without the common action
of the hand. There are several simplifications in the mechanism, and the instrument,
being alike on both sides, is more uniform
in its appearance ; but the principal excellence we conceive to be, that the string is
not drawn out of its vertical perpendicular.
Dizi's compositions for the harp are distinguished for their elegance. Among his
principal publications we may enumerate,
" Twelve Exercises or Fantaisies composed
expressly for the Patent Harp, with double
Movement." (Chappell.) " A Second Series
of Twelve Fantaisies for Patent Harp."
(Harm. List.) " Six French Romances arranged, Book I." " Six French Romances
arranged, Book II." " Arrangement of
Cramer's Saxon Air" " Arrangement of

DON
Cramer's Rousseau's Dream,"
"Arrangement of Cramer's Anglo-Caledonian Air,"
" Variations on Le Hussard, Flute Accompaniment,,"|" Variations on Un'bacio tenero,"
" Variations on Gavotte in Achille," " Variations on Toujours, toujours," " Variations
on I have roamed through many," " Grand
Sonata."
DOBLER, a powerful bass singer at
Frankfort.
DOBLER, (MADAME) wife of the preceding, is a good singer at the theatre at
Frankfort.
DOCHE, (JOSEPH DENNIS) a French

composer of romances at the commencement of the present century. He has composed some admired church music.
DOCRING, (I. F. S.) a German professor of singing, and composer of songs,
resided at Gorlitz, in Upper Lusatia, at the
commencement of the present century.
DOISY, (LINTANT) a guitarist at Paris,
and composer for his instrument, at the close
of the last and commencement of the present century.
DOLES, (JOHANN FBIEDRICH) a singer

and chapel-master at Leipsic, was born in

the year 1715. He composed much vocal
music, principally for the church. He died
in 1797.
DOLES,

(Dr. JOHANN FEIEDRICH) son

to the preceding, was born in 1746, and

considered as one of the best German musical amateurs. He published some instrumental music at Leipsic, about the year
1733.
DOLPHIN, a French instrumental composer, published at Offenbach, in 1780, six
trios for the violin. He is also the author of
other instrumental music published at Paris.
DOMINICK, (M.) a professor of the
horn at the conservatory at Paris. He has
published a method, and some music for his
instrument; also several romances.
DONATI, (IGNAZIO) an Italian composer
and chapel-master at Milan. He published
some sacred music at Venice, between the
years 1619 and 1633.
DONATO, (BALDASSAIE) chapel-master
of St. Mark's church, at Venice. He com-

DON
posed many madrigals and canzonets (Canzone Villanesche) between the years 1555
and 1568.

See CAMDIO.

D O N I (ANTONIO FRANCESCO) published

at Venice, in 1544, a work entitled

" Dialoghe dclla Musica."
Dr. Burney
places this among the more rare musical
publications, never having seen but one
copy of it, which was in the possession of
P.Martini. Doni died (according to Walther) in 1574, in the fifty-fifth year of his
age.
DONI, (GIOVANNI BATTISTA) a native

of the city of Florence, was born in the year

1594. He was the descendant of a noble
family, and though not by profession a musician, has been justly celebrated for his
skill in this science. Early in life, he was
appointed professor of eloquence, and member of the Florentine academy, and that of
Delia Crusca. He was much favoured by
cardinal Barbarini, afterwards pope Urban
VIIL, and at his recommendation was appointed secretary to the college of cardinals.
Being a man of extensive learning, and
finding the attention required in this employment too great an interruption to his
studies, he quitted it, and retired to Florence, where he ended his clays, at the age
of about fifty.
From an account which he has given us
of himself and of his studies, it appears
that, in the early part of his life, he was
taught to play on the flageolet and the lute.
He says that he also attained some proficiency on the harpsichord; and that,
afterwards, notwithstanding the little time
he had to spare from his more serious avocations, he applied himself with uncommon
assiduity to the science of harmony.
In 1635, he published at Rome, a discourse entitled " Compendia del Trattato
de' Generi e de' Modi della Musica, con un
Discorso sopra da JPerfettione de' Concenti."
This book is of a miscellaneous nature, but
its avowed design is to_show, that the music
of the ancients was preferable to that of the
moderns. It contains a tract, entitled
" Discorso sopra la Perfettione dclla Me~
lodie," at the beginning of which the
213

DOR
author treats of the madrigal style of composition, and of the particulars which distinguish
the cantus figuratus from the cantus ecclesiasticus. The invention of the latter, he
says, followed naturally from the use of the
organ.
Five years afterwards, Doni published his
" Annotazioni sopra il Compendia de'
Generi, ede' Modi dellaMusica," and some
other tracts. In one of them, he describes an
instrument of his own invention, called,
after his patron, a Lyra Barbarino, resembling, in shape, the Spanish guitar, but
having three niches, each of which was double, like the theorbo or arch-lute. The use
of this instrument was to enable the performer to play either in the Dorian, the
Phrygian, or the hypo-Lydian modes of the
ancients. All these tracts contain curious
particulars relative to the music and musicians of the author's time. Doni published, in 1647, a treatise in three books,
" De PrcBstantia Musics: veteris."
DONZELLI,anItalian singer, at present
at Vienna. He is reported to have a beautiful voice, of such compass, that he never
uses the falsetto; his action is polished, his
recitative particularly impressive, his elocution generally good, and his whole performance full of life and expression.
DORATUS, (NICHOLAS) composer of
madrigals published at Venice in the middle
of the sixteenth century.
DOREMIEULX, (H. I. L.) a Parisian
composer and flutist, published at Paris, in
1802, "Etudespour
(aFlute."
D O R I , an English violinist, now living.
DORIA, author of "Lessons for the
Voice," published in London at the latter
end of the last century. (Preston's Cat.)
DORION is mentioned by Plutarch as a
flute-player who had made several changes
in the music of his time, and who was head
of a sect of performers, that militated
against another party of practical musicians, of which Antigenides was the chief:
a proof that these two masters were contemporaries and rivals. Dorion, though much
celebrated as a great musician and poet
by Athenasus, is better known to posterity

214

DOR
as a voluptuary. Both his music and poetry
are lost; however, many of his pleasantries
are preserved. Being at Milo, a city of
Egypt, and not able to procure a lodging,
he inquired of a priest, who was sacri.
ficing in a chapel, to what divinity it
was dedicated, who answered, " To Jupiter
and to Neptune." " How should I be able,"
says Dorion, " to get a lodging, where the
gods are forced to lie double1!" Supping
one night with Nicocreon, in the island of
Cyprus, and admiring a rich gold cup that
was placed on the sideboard, " The goldsmith will make you just such another,"
says the prince, " whenever you please."
" He will obey your orders much better than
mine, sir," says Dorion, "so let me have
that, and do you bespeak another." The
remark of Athensus upon this reply, is,
that Dorion acted against the proverb, which
says, that
To flute-players, nature gave brains there's no
doubt,
But alas ! 'tis in vain, for they soon blow then>
out.

Upon hearing the description of a tempest, in the Nautilus of Timotheus, Dorion

said, " He had seen a better in a boiling
chaldron."
Having lost a large shoe at a banquet,
which he wore on account of his foot being
violently swelled by the gout, " The only
harm I wish the thief," said he, " is, that
my shoe may fit him."
His wit and talents made amends for his
gluttony, and he was a welcome guest
wherever he went. Philip of Macedon, in
order to enliven his parties of pleasure, used
frequently to invite him with Aristonicus the
citharist.
DORNAUS, (PHILIP) a German professor of the horn, published some music for
his instrument at Offenbach in 1802.
DORNAUS, (L.) younger brother to the
preceding, also a professor of the horn, and
composer of music for his instrument.
DORNEL, (ANTOINE) organist of St.
Genevieve church, at Paris, died in 1755.
He published some vocal and instrumental
music.

DOW

B O Y

DOTHEL, a composer of music for the he was received in the most flattering manner by the duke of Brunswick, and the learnflute. (Preston's Cat.)
d prince Maurice, the landgrave of HesseDQTZAUER, (JUSTUS JOHANN FHIEDRICII) a composer and violinist at Dresden, Cassel. After a residence of some months
was born near Hilburghausen, in Saxony, in in Germany, he crossed the Alps into Italy,
1783. He was appointed chamber-musician and successively visited Venice, Padua,
to the king of Saxony in the year 1811, and Genoa, Ferrara, and Florence,
has published much instrumental music,
He published, in 1595, " The first Booke
chiefly at Leipsie. The quartets of Dotzauer of Songcs or Ayres of four Parts, with
are much admired.
Tabtature for the Lute; " and in the seDOUAY, author of some duos for the cond book, printed in 1600, he styles himself lutenist to the king of Denmark. A third
violin, published at Paris in 1795.
D O U R L E N . ( V I C T O E ) a pupil of Gossec, book of the same work was afterwards
obtained, in 1806, the grand prize for com- given to tlie public. Some time after this,
position decreed by the national institute. he printed his " Lachrimes, or Seaven
Pauans,
He subsequently went to Italy, and on his Teares,figuredlnseavenpassionate
return to Paris produced several operas, with divers other Pauans, Galiards, and
among which are "Philocles," "Linage," Almands, set forth for the Lute, Viols,
and "La Dupe de son Art," and more or Violins, in five Parts." The pauan or
lately, " Les Oies du Frere Philippe." pavan was a peculiar species of Spanish
Dourlen is at present one of the professors dance. This work seems to have attained
of harmony at the Paris conservatory. considerable celebrity. It is alluded to in a
Some of his songs are published by comedy of Thomas Middleton, entitled, No
Wit like a Woman's, in which the servant
Birchall. ,
DOWLAND, (JOHN) a celebrated per- tells his master bad news, and is thus
former on the lute, was born in the year answered, " No, thou plaiest Dowland's
1562, and, at the age of twenty-six, was Lachrimes to thy master." Dowland transadmitted to the degree of bachelor of music, lated and published, in 1609, the " Micraat Oxford. He seems to have been a great logus" of Ornithoparcus, containing the
favourite with the public. Anthony Wood substance of a course of lectures on music,
says of him, that " he was the rarest mu- delivered by that author, about the year
sician that the age did behold." And 1535, in the universities of Tubingen, HeiShakspeare has thus immortalized him in one delberg, and Mentz ; and in 1612, he published " A Pilgrim's Solace, wherein is conof his sonnets.
tained Musical Harmony of three, four,
" If music and sweet poetry agree,
and five Parts, to he sung and plaid with
As they needs must, (the sister and the brother) Lute and Viols"
In the preface to this
Then must the love be great 'twixt thee and me,
work he styles himself lutenist to lord WalBecause thou lov'st the one, and I the other.
den. One of Dowland's madrigals for four
Dowland to thee is dear, whose heavenly touch
Upon the lute, doth ravish human sense j
voices, " Go, crystal tears," is inserted in
Spenser to me, whose deep conceit is such,
Smith's Musica Antiqua;
and another,
As passing all conceit, needs no defence ;
" Awake, sweet love," which is f 11 of
Thou lov'st to hear the sweet melodious sound
That PlKEbus' lute (the queen of music) makes, elegance, taste, and feeling, in Dr. Crotch's
And I, in deep delight am chiefly drown'd
selections. He died in Denmark, as it is
When as himself to singing he betakes;
supposed, in the year 1615.
One God is good to both, as poets feign,
One knight loves both, and both in these remain!"

DOWLAND, (ROEERT) son to the pre-

ceding, published a work entitled "A MuIn the year 1584, Dowland travelled sical Banquet," London, 1610.
through the principal parts of Prance.
DO Y, composer of six trios for the violin,
Troia thence he passed into Germany, where published at Paris in 1797,

bit A

D RA

DOYLE, (WESLEY, Esq.) a very agree- '

able amateur singer, and composer of vocal
music. He has published several collections
ef canzonets, one air in which, " Waters of
EUe," is peculiarly beautiful.
D R A G H I , (BERNADINO) a composer of
canzonets (Canzone Vittanesche) published
at Venice in 1581.

DRAGONETTI, (DOMENICO) the celebrated performer on the double bass, was

born in Venice. His father, Pietro Uragonetti, was also a performer on that instrument, but by ear only; he excelled in accompanying a band at balls, and was likewise
a professor of a sort of guitar with steel
strings, an instrument which was at that
time commonly in use for the purpose of
teaching the chords in music. At nine years
of age, Domenico, feeling an irresistible
impulse towards music, applied himself to
study, unknown to his parents, on the guitar
of his father, and in a short time made incredible progress. So much so indeed, that
a certain Doretti, an excellent violinist and
composer of ball music, having requested
Peter to accompany him on the guitar in
some of his compositions, and the son, Domenico, perceiving that his father did not
perfectly well succeed, asked for the guitar
to accompany, himself, the composer. Peter,
unconscious of the ability of his son, refused
to satisfy him; Doretti, however, observing
the boy's assurance, persuaded the father to
cede the instrument to him. How great
was the surprise which Domenico occasioned to both parties, when, taking the
guitar in hand, he began to accompany the
notes of Doretti with chords so exact and so
masterly as to resemble much more those
of an expert professor than of a mere lad.
Domenico having at that time an acquaintance named Giacomo Sciarmadori, a shoemaker by trade, but who was a passable violinist and knew a little of music, begged this
man to be his instructor in the rudiments
of violin playing. He very willingly undertook the office, and with this frail assistance alone, aided by his natural genius and
perseverance, Domenico soon picked up,
unknown to his father, a knowledge of the
use and management of his double bass.
Soon after this, another musical performance
took place between his father and Doretti,
when Peter played the double bass. The
son then again proposed (as he had done
before with the guitar) himself to accompany Doretti with the double bass ; when,
on his request being granted, his extraordi.

D R A G H I (GIOVANNI BATTISTA)

was

an Italian by birth, and is supposed to have

been one of those musicians who came into
England with Mary d'Este, the princess of
Modena, and consort of king James I I . He
was a fine performer on the harpsichord, &c,
and published, in England, many lessons for
that instrument. He joined with Locke in
composing the music to ShadwelFs English
opera of " Pysche;" and, on his decease,
in 1677, succeeded him. in the place of
organist to the queen.
Although Draghi was an Italian, and many
of his compositions are entirely in the Italian
style, yet, during his long residence in
England, he seems, in a remarkable degree,
to have assimilated his music to that of the
old English masters. This is particularly
apparent in his anthem, " This is the day
that the Lord hath made," and in many of
the ballad airs and dance tunes composed
by him.
During the reigns of Charles I I . and
James, Draghi was the favourite court-musician, and he is supposed to have been the
musical preceptor to queen Anne. Towards
the latter end of his life, he composed the
music to a whimsical opera, written by
D'Urfey, entitled " The Wonders in the
Sun, or the Kingdom of Birds," performed
at the Queen's theatre in the Haymarket,
in 1706. Some of the music of this opera
is extremely good; but the piece proved
unsuccessful, surviving only six nights, and
scarcely paying half the expense which had
attended the getting of it up.
In the printed, collections of songs published towards the close of the seventeenth'
century, we meet with many that have the
name of Signor Baptist to them. This uniformly means Baptista Draghi, and not
Baptist Lulli, as some persons have supposed
216

D RA
nary advancement on the instrument was
so highly appreciated by Doretti, that he
earnestly begged the father to allow his son
to play in public with him at some of the
most brilliant musical parties of Venice.
He was at this time about twelve years of
age, and, on the father's consenting to his
public performance, his fame soon spread
through that city as a most extraordinary
instance of precocity of musical talent. He
was now placed under the tuition of Berini,
the best master for the double bass in Venice,
and received from him-eleven lessons, that
number being found sufficient, as Berini
could teach him nothing further. Young
Dragonetti, now abandoning himself entirely
to his genius, determined to carry the culture of his instrument to the highest possible point of perfection, and with this
object in view, associated himself with his
friend Mestrino, who being likewise endowed with extraordinary talents for the
violin, was engrossed by a similar desire
of fame. The two students commenced,
therefore, at the house of Dragonetti, the
most scientific and accurate exercises on
the violin and double bass, employing many
hours of the day in various practical experiments on music not adapted to their instruments. To these exercises of execution they
added the composition of " C'apricci" and
other short pieces, which pursuits lasted
for several years, whilst the two friends
were engaged, almost every evening, at the
most brilliant musical circles in Venice,
and, on their return from these assemblies,
would frequently amuse crowds in the
streets by serenading with the violin and
guitar. When Dragonetti was only thirteen
years of age, he held, with great applause,
the situation of first double bass at the Opera
Buffa, at Venice; and when in his fourteenth year, he obtained the same rank in
the orchestra of the Grand Opera Seria, at
the theatre of St. Benetto, where he remained always employed during his stay in
Italy. When about eighteen, being at
Treviso, he was invited by the distinguished
family of the Signori Tommasini to join in
their quartets, At this mansion he met a

D RA
nobleman named Morosini, procurator of St.'
Marco, who, astonished at the performance
of Dragonetti, complimented him by observing, that he was only sure of his
not being a performer at the chapel of St.
Marco, because they had no double bass
there equal to him. On his return to Venice,
the office of principal double bass at the
above chapel was offered to him and accepted. This was thought a peculiar honour,
since the post was certainly already well
filled by Berini, and it had been a previous
rule in the chapel that the first places
should be given by seniority. Dragonetti,
however, did not willingly accept of this
office, being hurt at the idea of supersedinghis old master Berini, whom he much loved
and respected; so much so, that he was
just on the point of refusing the proffered
honour when Berini appeared in his chamber, and, embracing him, entreated that he
would accept the situation, as he (Berini)
had been complimented with increased salary, and was perfectly contented to resign
in favour of so eminent a successor. About
a year after this time, Dragonetti was offered a very lucrative appointment in the
service of the emperor of Russia, on which
occasion he applied to the procurators of
St. Marco for permission to resign; so far,
however, were they from acceding to his
request, that they augmented his salary, and
relieved him from the embarrassment of
refusal, by taking that duty on themselves.
He was now invited to perform at the magnificent musical meetings which were given
in Venice on the occasion of the grand
festival for the new doge. He was likewise employed, with the pay of a concerto
performer, to take the solo and other violoncello parts in quartets with his double
bass. At one of these meetings, which was
most numerously attended, he was unexpectedly called upon for a concerto a solo on
his instrument, from which he tried to excuse himself, having with him no music of
that description. This apology was, however, not accepted, and he was at length
obliged to play a very difficult concerto,
written for the bassoon. After this time,
217

DRA
he set himself to work to compose concertos,
sonatas, and solos for the double bass, in
which he introduced passages to prove the
superiority of his power over the instrument, and many of which were attended
with difficulties which he alone was competent to overcome. Nor was the execution
of these compositions long delayed; for,
shortly after this time, the republic of
Venice received fourteen sovereign princes
within their city, when they elected Dragonetti one of the directors of their great
musical festivals on that occasion, at which
meetings he formed the delight of his distinguished audience by the performance of
his own music for the double bass. He was
sometimes called on to perform seven or
eight pieces on the same evening, and almost always those of his own composition.
One of his concertos so delighted the queen
of Naples, that he was commanded to repeat it in every evening's performance,
which were fourteen in number. He afterwards presented a copy of the concerto to the
queen, which was most graciously received,
Dragonetti next went to Vieenza, where he
played at the grand opera. It was at this
town that he was so fortunate as to get possession of the celebrated double bass, manufactured by Gasparo di Salo, master of
the famous Amati. This instrument had
formerly belonged to the convent of St.
Pietro. Delighted with so precious an acquisition, Dragonetti hastened to get the
instrument repaired with the utmost skill,
on the completion of which, he made a
trial of it in the hall of his residence at
Vieenza. How great was his surprise, when,
after a few sounds, he observed the servants
running from a distant kitchen in alarm,
many of the brass vessels on the shelves
having vibrated so powerfully to the tones
of the double bass, as to ring and shake as
if they were all ready to fall. On quitting
A^icenza, Dragonetti proceeded to Padua
to pay his accustomed friendly visit to the
inmates of the celebrated convent of St.
Giustina. He took his newly acquired instrument with him, and, in describing its
excellencies to Signor Turvini Bertoni, the
213

DRA
celebrated chapel-master and organist of the
convent, ventured to express an opinion that
the lower strings of it might be made ty
produce a more powerful effect than could
be derived from the bass of the magnificent
organ of the convent. Turvini treated this
proposition with ridicule, which so piqued
Dragonetti, that he resolved to have his
little revenge; and accordingly furnished
himself in private with some immensely
thick bass strings, which at night he attached
to his instrument. The weather was perfectly calm, and, when sleep reigned through
the whole convent, fee quietly carried his
double bass into one of the spacious corridors, and there produced, from the thick
strings, sounds so strange and characteristic,
as precisely to counterfeit the rising of a
horrid tempest. The imitation was so complete, that nothing was talked of the next
morning, in the convent, but the storm of
the preceding night. Great indeed was the
surprise of the fraternity, when they discovered, from the neighbours, the weather
had been unusually serene. On the following night, Dragonetti, having remained
unsuspected, was desirous again to conjure
up the spirits of the air; but, unluckily, he
so alarmed one of the monks, that rushing
precipitately from his cell he tumbled over
the double bass, and the necromancer was
thus discovered. After this anecdote, it
may be well supposed that the organist allowed the double bass to be more powerful
than his own instrument. Dragonetti had
now attained the age of twenty-four, and
his fame as a performer being decidedly
unrivalled in his own country, he was applied to by the celebrated singer Banti,
then in London, to make an engagement for
this metropolis. In this request she was
seconded by Bertoni, chapel-master of St.
Marco, and Pacchierotti the singer, both at
that time in England, and who, on their return to Italy, prevailed on Dragonetti to
accept the proposals made to him. He accordingly took leave of the directors of the
chapel of St. Marco, who kindly granted him
a year's leave of absence, with a continuation of his salary for that period.
His

D R O

DUG

reception and high professional character in cient in taste in adagio movements. He has
this country are too well known to render it composed much music for his instrument.
necessary tha we should here dwell on them.
DRUZECHY or DRUSCHETZKY,
It is sufficient to observe, that wherever the (GEORG.) a musician at Presburg in 1787.
best orchestral music is to be heard, up to the He composed some dramatic pieces, also
present time, the name of Dragonetti may some solos for the violin.
always be found. He is engaged for the preDUBOIS, a French violinist and comsent season of 1824 at the King's theatre.
poser of the opera "Z,a Paymnne svppos&,"
DRECHSLER, a German composer of performed at Paris in 1789.
instrumental music, now living at Vienna.
DUBOURG, (MATTHEW) a violinist,
DRESCH or DREESCH, (J.) composer and pupil of Geminiani, was born in 1703.
of some music for the violin, published at He led the violins for Handel when in
Amsterdam in 1793.
Dublin. One night, Dubourg having a solq
DRESE, (JOHANN SAMUEL) a relation part in a song, and a close to make ad
to the preceding and chapel-master to the libitum, he wandered about a great while,
duke of Weimar. He died in 1716. His and seemed a little bewildered and uncercompositions consist of harpsichord music, tain of his original k e y ; but at length
also some church and dramatic pieces.
coming to the shake, which was to termiDRESE, (ADAM) a good composer of nate this long close, Handel, to the great
church music in the seventeenth century. delight of the audience, and augmentation of
applause, cried out loud enough to be heard
He was chapel-master at Arnstadt.
DRESSLER, (JOHANN FRIEDRICH) a in the most remote parts of the theatre,
German instrumental composer towards the " You are welcopie home, Mr, Dubourg "
end of the last century. He published some
Itwasinl728that Dubourg was appointed
concertos and quartets .for wind instru- composer and master of his majesty's band
ments. He was the first person who intro- of music in Ireland. He resided there many
duced the trombone into English orchestras. years, and, in 1761, received a visit from his
D R E Y E R , (JOHANN CONRAD) a cele- master Geminiani, who died in his house,
brated singer and director of the music at at the great age of ninety-six. I t has been
Lunenburg, was born at Brunswick in erroneously stated that Dubourg was no
1672, and died in 1713.
composer: he was indeed no publisher ; but
DREYER,
(JOHANN MELCHIOR) a the odes which he set for Ireland, and incelebrated church composer. His composi- numerable solos and concertos composed by
tions bear date from the year 1790, Dreyer him for his own public performances, are
is organist at Elwangen, a town of Suabia. now in the possession of one of his pupils,
DROEB, composer of some music for and some of them are excellent. Dubourg
died in London in ] 767.
the organ, published at Paris.
DUBUISON, a celebrated French comDROLING, a composer of piano-forte
poser of songs in the reign of Louis XIV.
music at Paris.
DROUET, a celebrated flutist, was born He died in 1712.
DUCRAY DUMINIL, (M.) a French
in Holland about the year 1792, and came
to London in 1817, where his talents as a composer of songs and operettas at the
performer deservedly received the most latter end of the last century.
DUCREUX, a French composer for the
brilliant applause. He performed at most
of the principal concerts in London: he also flute at the latter end of the last century.
DUFAY. See FAY.
established a flute manufactory in Conduitstreet, where he resided only one year,
DUFRESNE, a French violinist at the
leaving England for the continent in 1819. Tliiatre Frangais in 1752. He published, iu
Drouet had an amazing facility in perform- 1780, six solos for the flute.
ing rapid passages, but it is said he was defiDUGAZON, (GUSTAVE) son of Madame

DUN
T)ugazon, the celebrated French actress,
was a pupil of Berton at the conservatory.
He has published some romances and pianoforte music.
DUGUET, (ABBE) a chapel-master of
Notre Dame at Paris, about the year 1780,
was an esteemed composer of church music.
DULON, (FRIEDRICH LXTDWIG) a cele-

brated German flutist and composer of instrumental music, published at Leipsic

since the commencement of the present century : he was appointed, in 1796, chambermusician to the emperor of Russia, from
which court he has now retired with a pension, and resides on his property at Stendal,
in Brandenburg.
DUMANOIR, a fine performer on the
violin, was, by letters patent, appointed king
of the violins, with power to license performers on that instrument in all the provinces in France.
DUMENIL, a principal countertenor
singer at the opera in Paris, towards the
end of the seventeenth century. He had
been a cook, and was utterly ignorant of
music, when he first appeared on the stage.
DUMINIL, a French composer of romances at Paris, at the latter end of the
last century.
DUMONCHAU (CHARLES) was born
at Strasburg in 1788. He is a professor of
music at Lyons, and has composed some
minor dramatic pieces; also much instrumental music, some of which has been published at Offenbach.
DUMONT, (HENRI) chapel-master to
Louis XIV., is celebrated by the French
writers as a masterly performer on the
organ. He was born in the diocese of
Liege in 1610, and was the first French
musician that introduced thorough-bass into
his compositions. There are extant some of
his motets, which are in great estimation;
as also five grand masses, called royal
masses, which are still performed in some of
the convents in Paris, and in many provincial churches of France. Dumont died at
Paris in the year 1684.
DUNCAN, ( M R . ) an eminent teacher of
music in Dublin,
820

DUN
DUNCOMBE, an English composer,
published a set of progressive lessons for the
harpsichord, in London, about the year 1770.
DUNI (Eoimus) was born in 1709, at
Matera, in the kingdom of Naples. He was
like all other great melodists, a musician
while yet a child; his taste for the art was
as intense as it was precocious. He was
always to be found at the village church,
and uniformly attentive to the chanting of
the priests and the sounds of the organ.
This decided taste for music induced his
parents to send him to the conservatory of
Naples, for they were not rich, and the
musical profession was then in such consideration, that they were anxious their son
should enter it. The young Duni, therefore, accompanied by his father, went to
Naples, and was received into the conservatory directed by Durante.
This great master showed much attachment to his pupils; he served as a model of
talent as well as an example of virtue to
them, and we have already remarked, he
was no less their father by his kindness
than their master by his learning and instruction. The docility of Duni pleased
him; he carefully cultivated his opening
talents for his art, gave him the best studies,
and when they were completed, concluded
an engagement for him at Rome, to which
city Duni repaired. He was there commissioned to compose the opera of " iVeronc," which had the greatest success.
Duni, after having been advantageously and
honourably appreciated in several of the
great Italian theatres, was next called to
Paris. He appeared for the first time in a
country, of which he knew neither the taste
nor the music; but he was formed to suc>
ceed, as much by the sweetness and modesty
of his character, as by his talents. He composed several comic operas for his debut,
conceiving that he ought especially to devote himself to that style in France; for ha
judged, not without reason, that the French
would be better pleased with Italian music
when applied to the comic, than to the
great opera. He succeeded, and although a
foreign composer, his career has been among

DUN

D U P

the most fortunate. We cannot give a to the court of Saxony, was bom at Dresden
better eulogy than the opinion of the au- in 1759. He composed much sacred music
thors of the Dictionnaire Historique des between the years 1788 and 1797.
Musiciens en the style of this composer.
DUNN, an excellent English violinist,
" Varied and natural music, delicious now living.
DUPHLY, a French composer for the
and flowing melody, these are the qualities
which always maintain for Duni an ho- harpsichord, was born at Rouen; his comnourable place among those who have positions bear date from the year 1750.
obliged the French to appreciate new pleaD U P I E R G E , (FELIX TIBUECE A U sures in their lyric theatres. When re- GUSTE) born near Paris in 1784, has pubproached with not being sufficiently power- lished some instrumental music in that city.
ful, he replied, ' / desire to be sung for a
DUPONT, (J. B.) a violinist at Paris,
length of time.' Nevertheless, he composed published, about the year 1773, "Principes
airs suited to the situation of the scene when de Musiyue," and "Principes [de Violon."
required. It may also be remarked, that it He has also published some concertos for
is astonishing for an Italian to have so well the violin.
understood and observed the prosody of the
DUPORT, (JEAN PIERRE) a pupil of the
French language."
celebrated Berthaud. He resided at Paris
We shall add to this judicious and ho- till the year 1772, when he went to Berlin,
nourable analysis of Duni's talent, that no where the king of Prussia named him vioone better understood the art of giving, by loncellist to the court, and, subsequently,
means of sound, the truest and most ani- director of the court music. He has pub
mated pictures of rural life, and the most lished much music for his instrument, both
delightful and varied scenes of village man- at Berlin and at Paris.
ners. He is the Teniers and Claude LorDUPORT, (LEWIS) younger brother to
rain of music : he has the colouring of the the preceding, and his pupil on the violonone, and the design of the other; and the spirit cello. He is considered to have excelled
of his subjects, the grace of his airs and his brother on that instrument. He peraccompaniments, sufficiently testify that formed at the concert spirituel at Paris in
nature had bestowed on him the gift of a 1780, and was again heard in public in
richly stored palette, from which he chose 1806, when, although nearly sixty years of
the most lively, as well as the most agree- age, he is said to have lost none of the ease,
able colours.
brilliancy, and energy which characterised
The first of Duni's operas was " Le his style of playing in the prime of life. He
Peintre amoureux," in which he has ex- then executed every possible violin paspressed the most striking and comic situa- sage on his violoncello. He has composed
tions. " Mazct" is one of the prettiest much music for his instrument, published
compositions of its kind, and not less true chiefly at Paris.
than original. "La Clochette" surpasses
DUPRAT, a French composer of pianothe former in ease and truth of local colour- forte music.
ing. " Les Moissonneurs" enriches the
DUPRE, composer of instrumental music
French comic opera, and ensures the repu- at Paris, died in 1784.
tation of its author. " Les Sabots," "Les
DUPUIS, (THOMAS SAUNDERS) M U S ,
Chasseurs," and " La Sabotiere" leave Doc, was born in this country in the year
nothing to be desired in point of musical 1733, but his parents were natives of
expression. The latter opera, after more France. His father held some situation at
than sixty years of existence, is still per- court under the late king, and this, probaformed in the French theatres. Duni died bly, is the reason why his son was placed
in 1775, in the sixty-sixth year of his age.
in the chapel royal. The first rudiments of
DUNKEL, (FRANZ) chamber-musician his musical education were received from
221

D UR
Mr. Gates. He afterwards became a pupil
of Travers, at that time organist of the
king's chapel, and for whom, in the earlypart of his life, he officiated as deputy.
On the death of Dr. Boyce in the year
1779, Dupuis was appointed organist and
composer to the chapel royal; and it is probable that the bishop of London never
exercised his taste and judgment more properly, than by nominating so worthy a man
to such a respectable situation.
As a composer, Dr. Dupuis is known
by several publications, and many of his
Writings are still in manuscript in the royal
chapel. The former consists principally of
two or three sets of "Sonatas for the Pianoforte," " Two grand Concertos," for that
instrument, " Organ Pieces," intended
principally for the use of young persons,
two sets of " Chants," performed at the
chapel royal, and several
"Anthems."
Two of the latter, " The Lord even the most
mighty God," and " / cried unto the Lord,"
are inserted in Page's Harmonia Sacra.
As a performer on the organ, Dr. Dupuis
was excelled by very few Englishmen of
his time. He died at his house in Parklane in 1796, and was succeeded as organist of the chapel royal by Dr. Arnold, and
as composer to his majesty by Attwood,
the organist of St. Paul's.
DUPUITS, an organist and composer of
harpsichord music at Paris about the year
1754.
DUPUY, a German violinist and composer for his instrument in the year 1790.
He resided for some years at Copenhagen,
which town he quitted in 1809. He has
composed some much esteemed duets for
two violins.
DURAND, (A. F.) a violinist and composer for his instrument, was born at Warsaw in 1770. His compositions are published at Leipsic, Bonn, and Dresden, and
bear date from the year 1796.
DURANOWSKY, (A.) a violinist and
pupil of Viotti. He has published, in Paris,
some duos for the violin.
DURANTE, (FRANCESCO) born at
Gmmo, a village near Naples, in 1693, was
322

D UR
educated in the conservatory of San Onofrio,
and received lessons of the celebrated Alessandro Scarlatti. He quitted the conservatory at an early age and went to Rome,
where he was attracted by the reputation of
B. Pasquini and Pittoni. He studied five
years under these masters, learning from
one the art of singing and counterpoint, and
from the other all the resources of counterpoint. He then returned to Naples and devoted himself to composition ; but he wrote
principally for the church, to which his
genius seems peculiarly to have directed
him. This style became exclusively his own,
and he did not hesitate, to improve on the
manner of Palestrina himself, which, notwithstanding the genius of that composer,
partook of the infancy of the art; he embellished it without loading it with ornament; he added to its noble and antique
simplicity that elevation which belongs to a
species of melody consecrated to the celebration of the Creator.
But Durante principally excelled in tuition. To his instruction and principles the
Neapolitan school owes its greatest masters
of the eighteenth century. He became a
professor of the conservatory of San Onofrio
about the year 1715; and was at the head
of that of Gli Poveri di G. C. when cardinal
Spinelli, archbishop of Naples, abolished
it. Durante died at Naples in 1755, aged
sixty-two. He was not only a great composer but a good citizen. He had several
wives, who all died before him. One of
them put his patience more to the proof
than Xanthippe did that of Socrates. She
sold, for the purpose of gaming, all her
husband's scores, which would have been
for ever lost both to the art and to himself,
if, aided by his wonderful memory, he had
not remembered and written them anew.
With respect to Durante's style of composition, his subjects are simple, and at the
first glance appear common-place, but they
are so well conceived, and conducted with
so much art and genius, as to produce pro
digious effects. He had the means of employing all the imaginable forms ; and thus
keeping alive the interest of the auditor

DUS
he increased the desire of hearing him,
which is the more remarkable, as his manner
was severe and serious, and he generally
sacrificed but little to grace.
The greatest singers and best masters
prefer the duets of Durante to those of any
other composer in his style. He formed
them upon the airs of the cantatas of his
master, Alessandro Scarlatti. They are more
in dialogue or duet than fugue, but contain
more beautiful and impassioned pieces of
melody, than ever the creative genius of old
Scarlatti invented; and these are marked
in so learned a way, that it appears refinement can go no further in this style of
composition.
DURIEU (M.) published at Paris, in
1793, " Nouvelle Mdthode de Musique Vocale" also a " Mithode de Violon,"
DURET, (MARCEL) a French violin
pupil of Rode, gained the violin prize at
the conservatory of music at Paris in 1803.
DURON, (SEBASTIAN) an eminent
Spanish composer of church music in the
sixteenth century.
DURUSET, an agreeable tenor singer at
Covent-garden theatre. He was considered
as the principal male vocalist on those
boards during the absence of Sinclair in
Italy.
DURWOLT, a composer of vocal music,
especially Swiss airs, arranged for several
voices. His music is published by Goulding.
DUSCHECK, (FRANZ) a professor of
the piano-forte, and composer for his instrument at Vienna, died in 1799. He was
the son of a daylabourer. Many of his
compositions for his instrument, which are
highly esteemed, are published at Vienna
and Leipsic.
DUSSEK, (JOHN) organist at Czaslau,
in Bohemia, was born there in the year
1740. His father, grandfather, and great
grandfather were all celebrated organists.
His brother (Francis Joseph) was also an
able musician and composer.

DUS

of music of his father, and at ten years of

age was sent by some noble friends of his
family to one of the first colleges of the
university of Prague, where he remained
seven years. Besides the study of ancient
and modern literature, he cultivated the
science and practice of music, profiting
mnch by the instructions of a Benedictine
monk in counterpoint. Having attained the
age of nineteen, he left his native country
for Brussels, where a nobleman of the
stadtholder's court presented1 him to the
princess of Orange. After this honour, the
young artist made his dibut in public, as
pianist, at the Hague, and was patronised
there by the stadtholder and all his family.
On quitting Holland, he resolved to travel
in the north of Europe, and from thence to
visit Paris and London. At Hamburgh he
had the good fortune to receive professional
advice from the celebrated Emmanuel Bach.
He then proceeded towards St. Petersburg,
but being introduced on his journey to
prince Charles Radziwill, he was induced,
by an advantageous offer from that nobleman, to remain with him in Lithuania for
two years. At the expiration of which time,
instead of proceeding northwards, he returned to Berlin, and in the year 1786
arrived at Paris. There he remained only
till the breaking out of the French revolution, when he came to London, and, by the
year 1790, was well established here as a
teacher of the piano. In 1796, he opened a
music warehouse in the Haymarket in conjunction with N. Corri, and they were
appointed music-sellers to their majesties
and the royal family. This establishment,
however, did not succeed, and Dussek revisited the continent in the year 1799, with
the intention of again seeing his father : we
know not, however, if he reached Bohemia;
but, in the following year, we find him
residing at Hamburgh, where he occasionally, but very rarely, performed in public.
After remaining there during upwards of two
years, he proceeded again, we believe, to
Paris, and, in the latter part of his life, was
DUSSEK, (JOHN LOUIS) son of John
attached to the household of the prince of
Dussek, was born at Czaslau, in Bohemia,
Benevento, He died about the year 1810,
in the year 1762. He learnt the elements
223

DUS

DUS

The following is a list of Dussek's principal

works:
Piano-forte and harp music : Op 1.
" Three Sonatas, with
Accompaniment,
Violin and Violoncello."2. " Three Sonatas, with Accompaniment,
Violin and
Violoncello."3. " Three Sonatas, with
Accompaniment, Violin and Violoncello"
4. " Three Sonatas, with Accompaniment,
Violin and Violoncello."5. " Grand Sonata."6. " Petits Pieces."8. " Three
Sonatas."9. " Three Sonatas, Violin
Accompaniment."10. " Three Sonatas,
Violin Accompaniment."11.
" Duo a
deux Clavidns"12.
" Three Sonatas,
Violin," dedicated to Mrs, Cosway.13.
" Three Sonatas, Violin."14. " Three Sonatas, with Air Hicsse."15. " Ploughhoy."-16. " Three Sonatas, Violin Obligato." 17. " Three Sonatas." 18.
" Three Concertos."19. "Six Sonatinas."
20. " Three Sonatinas."21. " The Rosary"22. " Concerto," dedicated to Miss
Collins.24. " Sonata,"25." A Concerto,
with favourite
Airs." 26. " Duet,
Harps."27." A Concerto,'' dedicated to
Mrs. Hyde.28. "Six Sonatas," (easy.)
29. " A Concerto."30. " A Concerto."
31. " Three Sonatas, with Airs, Violin, or
Flute and Violoncello."32. " Grand Duo d
quatre Mains."33. " Overture for two
Performers on one Piano-forte"'34," Two
Sonatas for Harp, Accompaniment Violin
and Violoncello."35. " Three Sonatas,
with Airs, Violin, or Flute and Violon."

natas, progressive, d quatre Mains."-68,

" Notturno Concerto, progressive, Pianoforte, Violin, and Cornet."71. " Airs with
Variations."72. " Two Sonatas, for Violin and Violoncello," (easy.)
DUSSEK MORALT, (Mus.) wife of
the preceding, is a daughter of Dominico
Corri, and was born at Edinburgh in 1775.
Her extraordinary musical genius showed
itself at the early age of four years, when
she played in public on the piano-forte. In
1788, the family left Scotland, and came to
settle in England, when Miss Corri sang at
the king's, and all the nobility's and public
concerts in London, being then only fourteen years old. Her principal singingmaster was her father, but she sang a great
deal with Marchesi, Viganoni, and Ciroador,
at that time. In 1792, she married J. L.
Dussek, and soon after was celebrated not
only as a singer but also as a player on the
harp and piano-forte, performing with her
husband at all the oratorios, and at Salomon's concerts. She then sang at Cambridge, Oxford, Liverpool, Manchester,
Dublin, and Edinburgh with universal
applause, and afterwards performed one
season at the Opera-house; but finding it
attended with so much fatigue and cabal,
quitted the stage, and became a teacher and
composer of music, especially for the harp.
In 1812, Mrs. Dussek married her second
husband, John Alvis Moralt. Since which
time she has resided at Paddington, having
established there an academy for music
with great success.

36. " Duet for Harp and Piano-forte."

37. " Sonata, arranged by Cravier."- 38.
" Sonata."39. " Three
Sonatas."^.
" A Military Concerto."43. " Sonata,
arranged by Cramer."44. " Farewell."
4 5 . " Sonata, for Clementi and Go's Pianoforte, with extra keys, up to F, and also
arranged for the Piano-forte up to C."
46. " Three Sonatas."47. " Sonata."
48. " Duet to the Sisters."49. " A Concerto," dedicated to Mr. and Mrs. Vidal.
50. " Duet, arranged by Cramer."51.
" Three Sonatas," (easy.)53. "A Quartet."61. "Elegy on the Death of Prince
Ferdinand of Prussia"67. " Three So224

DUSSEK, (OLIVIA) daughter of the

two preceding, was born in London in
1801. Inheriting the talents of her parents,
she excels on the piano-forte and harp.
Her vocal powers have not yet been brought
into public exercise, on account of the delicacy of her constitution ; but her taste, both
in singing and playing, is well known to all
who have heard her. She received her
musical education from Madame Dussek,
and played on the piano-forte at the Argyle
rooms, when only eight years old, having
then only learnt music one year. She now
resides with her mother, following the same

E A G

E A G

profession, only now and then performing

in public, a private life being more congenial to her wishes. She has composed
some very pleasing ballads, and a duet,
" Rule Britannia," for the harp and pianoforte.
DUTARTRE, a French composer of
songs at the beginning of the last century.
DUTILLIEU, (IRENE TOMMEONI.) See
ToMMEONI.

DUTILLIEU (PIERRE) was born at

Lyons in 1765, and became, in 1791, composer to the royal opera at Vienna, where
he produced several comic operas and
ballets, between the years 1791 and 1796.
He also published, at Vienna, some violin
music.
DUVAL, (GEORGE VINCENT, Esq.) an

amateur composer of some pleasing vocal

music. (Power's Cat.)

DUVAL, (MLI-E.) a singer at the opera

at Paris, in great repute about the year
1720. She composed the music of the
ballet, " Les Gdnies," and afterwards published a " Mithode de Chant."
DUVERNOY, (FREDERIC) a celebrated
French performer on the horn, and professor
of his instrument at the Paris conservatory.
He has also published a method, and much
music, for his instrument, which bear date
from 1793 to 1804.
DUVERNOY, (CHARLES) brother to
the preceding, is a distinguished performer
on the clarionet, and professor of his instrument at the conservatory. He has published much instrumental music since the
year 1795.
DYNE, ( M R . ) a celebrated English
countertenor singer. He sang at the Ancient concerts, on their first establishment,
in the year 1776.

E
EAGER (JOHN) was born in the year when the duke was so delighted with his
1782, in the city of Norwich, where his power, young as he then was, over that
father, who was in one of the regiments of instrument, that he persuaded his father to
guards, had settled, after having retired allow of the boy's accompanying him to
from public service,and, following the natural Kent, assuring him of his patronage. Arrived
bias of his own inclinations, had obtained at Knole, where a great part of his time
some degree of reputation as a manufacturer necessarily hung idly and heavily on his
of musical instruments, particularly in hands, he first conceived a desire to cultivate
organ building. By him the son was iniated his mind by the study of literature, and
in the first rudiments of music, and was repair the defects of his previous education;
thereby enabled, at a very early age, to con- which, till then, had, in fact, been almost
tribute essentially to his support. Eager is entirely neglected. A free and unrestrained
a rare example of persevering industry, access to his patron's valuable library, fully
combined with very considerable talent. furnished him with the means; nor were h$3
A brief outline of his life may therefore be endeavours, both in musical and general
a useful stimulus to those who have no- knowledge, at all disproportionate ; and he
thing to depend on, but what arises from seemed to be about to enter life with the fairest
their own industry and application. When prospects of future success, when, unfortunhe was about twelve years old, the (then) ately, his indulgent master was seized with
duke of Dorset happened to visit Yarmouth, a severe mental affliction, which terminated
for the benefit of sea-bathing. His grace his career, without having made a provision
was exceedingly fond of music, and himself for his young protege. This was the more
a tolerable performer on the violin. By unfortunate, since, from a natural vivacity
accident, Eager was introduced to him, and boldness of disposition, he had unconVOL. I .

225

 AG
Sciousty created a number of enemies m
the family; who, tongue-tied and subservient while Eager was the favourite of their
master, now found sufficient opportunities
to poison the ear of the duchess against
him: upon which, finding himself coldly
looked upon by the whole household, he
determined to quit the family with the earliest opportunity, a resolution which he
soon was enabled to put in practice. Her
grace having one day rather abruptly observed to him, that his presence there was no
longer necessary, he took his departure the
next morning before breakfast, with his wardrobe under his arm, to seek his fortune, and
with such slender finances, as to be obliged
to borrow a few shillings of one of the footmen, to pay his coach-fare to London. He
then returned to Yarmouth, and again endeavoured to procure support by his instrument. At the early age of eighteen he
married a lady of that town, younger than
himself, who brought him some considerable
property; which, in the hands of persons
so young and inexperienced, of course was
soon exhausted, and, before the age of
twenty-one, he found himself father of two
children, with every prospect of becoming
entirely pennyless. He then saw the necessity of applying himself strictly to his
profession ; and, finding his labours inadequate to cover his expenses, he determined
to unite dancing with his musical business.
This, from various causes, and from infringing
on various interests, raised him a host of
enemies, who triedi every means to thwart
his projects. The complete reverse was,
however, the consequence: many individuals,
who before had neglected him, seeing the
undue means his opponents resorted to, to
crush him, became his warmest and roost
enthusiastic supporters; till, at length, he
was able to bid defiance to their opposition,
and smile at the impotence of their malice.
About the time that he began to be comfortably settled, with the enjoyment of at
least a sufficient income, Logier's new system of instruction in music was very generally made a subject of consideration ; and
Eager determined, like many more, to give
226

EAR
it a fair and impartial investigation, and If
it could stand this auto dafS immediately
to adopt it. The result was, in his opinion,
eminently favourable to the new system; and,
in spite of all the fears and arguments of his
friends, and the clamour of his opponents,
he became Logier's pupil, and his most
zealous coadjutor. The opposition he encountered on this occasion would have
overwhelmed almost any other man: he
was attacked, ridiculed, and abused by thg
county newspapers and various pamphlets,
which were written purposely to annoy hinj;
but he steadily supported the cause he had
undertaken, and replied to the abuse and
invectives levelled against him, by publicly
challenging his accusers to an examination
of pupils instructed by himself and Logier,
as to their knowledge of theory and fundamental principles of harmony : the result of
which may be found in a pamphlet published by him on the occasion. Logier, indeed,
has been often heard to declare, that Eager
was not only the boldest and most enthusiastic champion and advocate of his system,
but also had a more perfect knowledge of
it, than almost any other individual, As a
composer, Eager is not known to the musical
world; his occupations have ever been too
numerous to allow him to attend to original
composition. There is, however, a " Cm*
certo for the Piano-forte," which he has
published, dedicated to her grace the
duchess of Dorset, and a " Collection of
Songs," composed by him, dedicated to
lady Beddingfield, which have been much
admired; and are sufficient to show, that
had opportunity or necessity rendered that
branch of the science necessary, his talents
would have enabled him, if not to rank as
a first-rate composer, to have followed their
steps at no very humble distance. He has
for many years been the corporation organist
at Yarmouth, and there is scarcely an
instrument he does not play, or has nof
taught professionally.
EAKSDEN, (JOHN) an English musician at the commencement of the seven'
teenth century, who, together with George
Mason, wrote the music of a small opera,

te c c

EBE
which was subsequently published under
the following title, " The Ayres that were
sung and played at Brougham Castle in
Westmoreland, in the King's Entertainment,
given by the Right Honourable the Earle
of Cumberland, and his right nolle Sonne,
the Lord Clifford," London, 1618.
EASTCOTT, (RICHARD) author of a
work entitled " Sketches of the Origin,
Progress, and Effects of Music, with an
Account of the ancient Bards and Minstrels," London, 1793.
EASTWICK.

See ESTWIOK.

EBDON, an English composer of sacred

music and glees, also of some sonatas,
previously to the year 1797. (Preston's
Cat.)
EBELL, (HEINRICH CARL) court secretary at Breslau in 1810, has composed an
opera for the theatre of that town, entitled
" Anacreon in Ionia'' He has also published some other vocal music.
EBER.

See EBERS.

EBERX, (ANTOINE) a celebrated pianist

and composer, born at Vienna in 1765.
His talent for music showed itself at a very
early age, and, like Mozart and many other
great musicians, he performed in public on
his instrument in early childhood. He commenced composition at about the age of sixteen and soon after went to Petersburg,
where he was patronised by the court. In
1801, he returned to Vienna, since which
time he has published much vocal and instrumental music there. Eberl died at Vienna
in 1807, in. the forty-secoud year of his age.
EBERLE, (JOHANN JOSEPH) a compo-

ser of songs and light piano-forte music,

died at Prague in 1742.
EBERLIN, (DANIEL) a celebrated amateur violinist, and composer for his instrument. Some of his music was published at
Nuremburg in 1675.
EBERS, (CARL FRIEDRICH) chamber-

musician to the duke of Meeklenburg-Stre-litz, was born at Cassel in 1772'. He was

educated for another profession, but his
taste for music was so predominant, that he
engaged himself in early life as chef-d'orehestre to a strolling company of players.

He subsequently settled at New Strelltij

where he was engaged as musician to the
court, and, since the year 1796, has composed many dramatic pieces for the theatre
of that town; also much instrumental
music.
EBERWEIN, (MAXIMILIAN) a German
violinist and composer, born at Rudolstat
in 1780. After visiting Italy, and some of
the principal towns of Germany, he returned
to his native place, since which time he has
composed some dramatic pieces and other
music, published at Leipsic.
EBHARDT,

(GOTTHILF

FRIEDRICH)

organist at Greitz, a town of Upper Saxony,

was born in 1771. He has composed much
sacred and other music for the organ.
EBNER. Two Hungarian boys of this
name, one ten and the other eleven years of
age, played Mayseder's difficult variations
for the violin, at a concert at Berlin, in
1823.
ECCLES (JOHN) was the son of Solomon
Eccles, a professor of the violin, and the
author of sundry grounds with divisions
thereon, published in the second part of the
Division Violin, printed at London, in 1693.
John Eccles was instructed by his father in
music, and became a composer for the
theatre, of act tunes, dance tunes, and such
incidental songs as frequently occur in the
modern comedies, a collection whereof are
published, and dedicated to queen Anne.
He composed the music to a tragedy, entitled " Rinaldo and Armida," written by
Dennis, and performed in 1699, in which is
a song for a single voice, " The jolly
breeze," which, for the florid divisions in it,
was by many greatly admired. Eccles
likewise set to music an " Ode for St. Cecilia's Day" written by Congreve, and
performed on the anniversary _ festival of
that saint in 1701. He also composed music
for Congreve's masque, entitled " The
Judgment of Paris." This he did for one
of the prizes mentioned in the preceding
article, and obtained the second, which was
of fifty guineas value. His music to " The
Judgment of Paris " is published.
About the year 1698, upon the decease
Q2
227

E D E

E I C

breaking out of the French revolution, he

had, however, been induced to settle in
Paris. During the time of Robespierre,
though usually considered an innoxious and
well-disposed man, he became involved in
the dreadful calamities of that ill-fated
country, and suffered under the guillotine
at Strasburg. Edelmann, as a teacher of
the harpsichord, and a composer for that
instrument, has considerable celebrity; in
particular,he is said to have played his own
pieces with great neatness and spirit. His
style, however, has been considered as a bad
ECK, (JOHANN FEIEDRICH) a musician, imitation of Schobert, and is, on the whole,
born at Munich. He is a celebrated violin- flimsy and rattling, containing neither depth
ist, and composer for his instrument. In nor science.
1802, he resided at Nancy.
EDER (CHARLES GASPAED) was born
ECKART or ECKAKD (JOHANN GOT- in Bavaria, in 1751. He is a celebrated
I R I E D ) was a native of Germany, but he violoncellist, and has composed much instruresided upwards of fifty years in Paris. His mental music, which has been published in
compositions are principally for the harpsi- various towns of Germany.
chord; and, although they afford great
EDER, ( P H I L I P P ) a pianist at Vienna,
proofs of skill and a thorough knowledge of and composer for his instrument, since the
the instrument, are but little known in this year 1803.
country. The writer of an account of this
ELDING, (JOHANN) a celebrated permusician, in Dr. Rees'sEncyclopaedia, states, former on the clarionet, and composer for his
that in his compositions there is an elegance instrument. He was born near Eisenach.iu
of style, built upon such sound principles of Upper Saxony, in 1754, and died in 1786.
harmony and modulation, as few have surEDWARDS, (RICHAED) an English
passed ; and that, in particular, his varia- composer and poet, born in Somersetshire
tions to the minuet d'Exaudit, or, as we in 1523. He was musician to Henry VIII.
call it, Marshal Saxe's minuet, are in the and Elizabeth, and died in 1561.
highest degree ingenious, elegant, and fanEGLI, (JOHANN FRIEDEICH) a Swiss
ciful. Eckart died, between the years 1790 musician, was born, in 1742, in the canton
and 1795, at Paris.
of Zurich, at the town of which name he
ECKERSBERG, (JOH. WILT.) organist has since resided, and published a great
at Dresden in 1783. He has published variety of church and other vocal music.
some collections of songs there.
EHRENBERG, a German composer of
ECKHARD, (C. F.) an amateur pianist sacred and other vocal music, published at
and composer for his instrument, residing in Berlin in 1790.
Suabia. Since the year 1798, several of his
EHRENFRIED, a flutist at Mentz, and
works have been published at Offenbach.
composer for his instrument, between the
EDEL, (GEORGE) an instrumental com- years 1794 and 1798.
poser at Vienna. His works are dated from
EHRNSTEIN, (JOHANN JACOB) an inthe year 1798.
strumental composer in Germany, at the
EDELMANN
(JOHANN FRIEDEICH) beginning of the last century.
was a native of Strasburg, and born in the
EIBLER. See EYELEP..
year 1749. He resided for several years as
EICHBAUM, a celebrated German vioa teacher of music, but principally of the linist. He has lately distinguished himself
harpsichord, at Brussels. Previously to the much at Berlin, as a concerto player.
228

of Dr. Staggins, Eccles was appointed master of the queen's band ; but in the latter
part of his life, he was known to the musical
world only by the New Year and Birthday
Odes, which it was part of his duty to compose. At the present time, Eccles is chiefly
remembered from being the author of the
duets, " Fill, fill all your glasses," and
" Wine does wonders"
ECCLES, (HENRY) younger brother to
the preceding, was a violinist in the chapel
of the king of France, and published some
music for his instrument at Paris in 1720. ;

ELF
EICHHOLZ,

(FRIEDMCH

ELI
WILHELM)

chamber-musician to the king of Prussia,

was born in 1720. He composed some dramatic and other music. He died in 1800.
EICHHOEN, (J.) a violinist and composer at Bruchsal, in Germany, since the
year 1801.
EICHINGER, a pianist at Vienna, and
composer for his instrument, since the year
1791.
EICHLER, a German musician, published at Paris some quatuors for his instrument in 1783 and 1790.
EICHNER (ERNEST) was a German organist of considerable eminence. His writings
consist chiefly of sonatas and concertos for
the piano-forte, and quartets. With respect
to the former, he introduced a style somewhat betwixt that of Schobert and the music of the present day ; with less fire, indeed,
than Schobert, but with more taste and expression. The instrument on which he himself chiefly excelled was the bassoon. About
the year 1776, he came to England; but
owing to the infirm state of his health during the time he was in this country, he
seldom played in public. Eichner died at
Berlin, in the year 1778.
EIDENBENZ, a vocal and instrumental
composer at Stuttgard. His compositions
bear'date from the year 1790 to 1798. He
died at Stuttgard in 1799, in the thirtyseventh year of his age.
ELER, a professor of several wind instruments at Paris, and instrumental composer. His works are dated from the year
1796 to 1801. He has composed several
operas.
ELEY, a good English violoncellist, now
living, has published a " Tutor for the Bassoon." (Goulding's Cat.)
ELFORD, (RICHARD) an English singer,
was educated in the choir of Lincoln, but
his voice settling into a countertenor, he
was invited to Durham cathedral, where,
however, he did not long remain, being advised to go up to London, to try his fortune
on the stage. In 1706, his name appears
in Downes the prompter's list of performers,
in D'Urfey's opera of " The Wonders of the

Sun, or the Kingdom of Birds." But his

person and action being clumsy and awkward, he quitted the theatre, and was admitted as gentleman of the chapel royal,
as well as to the places of lay-vicar of St.
Paul's and Westminster abbey. He had
likewise an addition of a hundred pounds a
year made to his salary in the chapel, on
account of the uncommon excellency of his
ice.
ELISI, (PHILIP) an Italian singer, who
performed at the opera, in London, in the
years 1760 and 1761. Elisi, though a great
singer, was still more eminent as an actor.
ELIZABETH (QUEEN) was, as well as
the rest of Henry VIII.'s children, and,
indeed, all the princes of Europe at that
time, instructed in music early in life,
Camden, in enumerating the studies- of his
royal mistress, says, " She understood well
the Latin, French, and Italian tongues, and
was indifferently well seen .n the Greek.
Neither did she neglect musicke, so far
forthe as might become a princesse, being
able to sing, and play on the lute prettily
and sweetly." There is reason to conclude
that she continued to divert herself with
music many years after she came to the
throne. Sir James Melvil gives an account
of a curious conversation which he had with
this princess, to whom he was sent on an
embassy by Mary queen of Scots, in 1564 :
" After her majesty had asked him how his
queen dressed 1 What was the colour of
her hair 1 Whether that, or hers, was best ?
Which of the two was fairest? And which
of them was highest in stature 1 Then she
asked, what kind of exercises she used?
' I answered/ says Melvil, ' that when I
received my despatch, the queen was lately
come from the Highland hunting; that when
her more serious affairs permitted, she was
taken up with reading of histories; that
sometimes she recreated herself with playon the lute and virginals.' She asked, if
she played well 1 I said, reasonably well
for a queen. The same day, after dinner,
my Lord of Hunsdon drew me up to a quiet
gallery, that I might hear some music, and
(but he said that he durst not avow it) wh e
229

ELI
I might hear the queen play on the virginals.
After I !had hearkened awhile, I took up
the tapestry that hung before the door of
th,e chamber, and seeing the queen's back was
toward the door, I entered within the chamber, and stood a pretty space, hearing her
play excellently well. But she left off immediately, so soon as she turned about and
saw me. She appeared to be surprised to
see me, and came forward, seeming to
strike me with her hand, alleging, that she
used not to play before men, but when she
was solitary, to shun melancholy. She
asked how I came there ? I answered, as I
was walking with my Lord Hunsdon, as we
passed by the chamber door, I heard such a
melody as ravished me, whereby I was
drawn in ere I knew how; excusing my
fault of homeliness, as being brought up in
the court of France, where such freedom was
allowed; declaring myself willing to endure
what kind of punishment her majesty should
be pleased to inflict upon me for so great an
offence.
" Then she sat down low upon a cushion,
and I upon my knees by her; but with her
own hand, she gave me a cushion to lay
under my knee; which at first I refused,
but she compelled me to take it. She inquired whether my queen or she played the
best. In that I found myself obliged to
give her the praise."
If her majesty was ever able to execute
any of the lessons that are preserved in a
MS. known by the name of " Queen Elizabeth's Virginal Book," she must have been
a very great player; as some of those pieces,
which were composed by Tallis, Bird, Giles,
Farnaby, Dr. Bull, and others, are so difficult, that it would hardly be possible to find
a master in Europe who would undertake
to play one of them at the end of a month's
practice.
Besides the lute and virginals, it has been
imagined that Elizabeth was a performer on
the violin, and on an instrument something
like a lute, but strung with wire,and called the
poliphant. A violin of a singular construction, with the arms of England, and the
crest of Dudley, Earl of Leicester, this
230

ELL
queen's favourite, engraved upon it, was purchased at the sale of the duke of Dorset's
effects many years since. From the date of its
mate, 1578, and from the arms and crest
engraved upon it, it has been conjectured that
queen Elizabeth was its original possessor,
It is very curiously carved; but the several
parts are so thick, and loaded with ornaments, that it has not more tone than a mute,
or violin with a sordine; and the neck,
which is too thick for the grasp of the hand,
has a hole cut in it for the thumb of theplayef,
by which the hand is so confined, as to be
rendered incapable of shifting, so that nothing can be performed on this instrument
but what lies within the reach of the hand
in its first position.
ELLEVIOU, a French singer af the Thiatre Feydeau in the year 1819. His singing
was remarkable for grace and elegancy
united to expression and dramatic truth.
ELLIS, (SAMUEL) organist and professor
of the flute, was a native of Halifax,
Yorkshire, and born in the year 1776. He
received his first lessons on the piano-forte
from Stopford, the organist of that place;
afterwards was sent to Liverpool, and was
placed under the late Nicholson for instruo
tion on the flute. When he had been there
a few months, (at the age of twelve) he
played a concertante duet with his master,
at the Music Hall. On leaving Liverpool
he went to London, and was placed under
the direction of Joah Bates, Esq., a particular friend, by whose recommendation he was
introduced to Dr. Cooke, the organist of
Westminster abbey, from whom he received instructions in composition and the
organ. He further had lessons from J. G.
GraefF, who was particularly anxious he
should remain in London, and be introduced to the Hanover-square concerts, but
this was contrary to his inclination at the
time. He has since been repeatedly solicited to reside in Manchester and other
large towns, but has hitherto preferred comfortable obscurity. He was appointed organist of Rotherham, Yorkshire, at the age
of eighteen, where he has since remained.
In composition, he has published no*

E N G
thing worth stating : except "A circular
System of Scales, major and minor, with
Preludes for Beginners," published by
Messrs. Goulding and Co.; and " A Morning and Evening Hymn, dedicated to Viscount Galway," published by Preston,
Strand. His principal works for the flute,
&c. are still in manuscript.
ELOUIS, (J.) a celebrated French harpist, and composer for his instrument, at the
latter end of the last century. Many of his
works are published at Paris. (See Birchall's Cat.)

E R I
ENNO, (SEBASTIEN) an Italian composer of vocal music, published at Vienna
in 1655.
ENSLIN, chapel-master at Wetzlar, published some vocal and instrumental music
at Frankfort, in the years 1782 and 1787.
ENT (Dr. GEORGE) wrote apaperinthe
Philosophical Transactions, vol. xii. under
the title " An Eisay tending to make a probable conjecture of temper, by the modulations of the voice in ordinary discourse.'*
EPINE,

(FRANCESOA MARGARITA DE

L'J an Italian singer in London, at the

ELSPERGER, (JOHANN CHRISTOPH commencement of the last century. On
ZACH ARIAS) born at Ratisbon, composed her arrival in England, in 1707, a singular
much sacred and instrumental music. He plan was resorted to. Urbani, a soprano,
a female singer called the Baroness, and
died in 1790.
ELSNER, (J.) chapel-master at Warsaw Margarita de 1'Epine performed the parts in
in 1802, is the composer of two operas and Italian, while the rest of the opera was in
two melodrames, the words of which are in English. This confusion of tongues, upon
the Polish language. He has also com- which Addison exercised his pleasantry in
posed some instrumental music, published the Spectator, was tolerated with great goodnature by the public.
at Vienna, Leipsic. and Offenbach.
EPPINGER, (E.) a composer of some
EMDIN, (JOHN, Esq.) an amateur cominstrumental music, published at Leipsic in
poser of vocal music, published by Power.
EMMERT, (ADAM JOSEPH) an amateur 1802.
EPPINGER, (HEINRICH) a violinist,
composer, was born at Wurtzburg, in 1765.
He has composed a great variety of vocal resident at Vienna. He has published much
and instrumental music, between the years music for his instrument, at Paris and Vienna, since the year 1796.
1797 and 1806.
ERBA, (GEORGE) a violinist, born at
EMMERT, (JOSEPH) father to the preceding, was rector of the Latin school at Rome. He published some instrumental
Wurtzburg. He composed some sacred music at Amsterdam, in 1736.
ERBACH or ERBACHER, (CHRISmusic of much merit. His death took place
TIAN) organist at Augsburg about the
at Wurtzburg, in 1809.
ENDERLE (WILHELMGOTTFRIED) was year 1600. He composed some sacred
born at Bayreuth in 1722. He was one of music.
ERCOLANI, (GUISEPPE) a dramatic
the best violinists of his time, and composed
much music for his instrument. He died at composer at Naples. He composed the
music of the ballet " II Ben ed il Male"
Darmstadt in 1793.
END RES, (S. J.) an instrumental com- about the year 1790.
ERCULEO, (D. MARZIO) a composer
poser, published some music for the pianoof church music, published at Modena in
forte at Spire, in Germany, in 1791.
ENGEL, (CARLIMMANUEL) an organist the latter part of the seventeenth century.
EREMITA, (GIULIO) an organist at
at Leipsic, published some piano-forte and
organ music at that town, from the year Ferrara in the sixteenth century, composed
three books of madrigals, which were sub1790. He died in 1795.
ENGELBERTH, composer of zpolonoi/te sequently reprinted at Antwerp.
and other instrumental music, published at
ERICH, (DANIEL) an organist at GusLeipsic,
trow, in Germany, was a pupil of Bux231

ESS

E S-S

tehude, and published much music for the In 1812, he gained his doctor's degree;
the subject of which was an entire oratorio
harpsichord about the year 1730.
ERLEBACH
(PHILIPP
HEINRICH) in verse, written expressly for the purpose,
was born at Essen in 1657. He published by his friend R. A. Davenport, in his
much instrumental music for the organ and usual and happy style of elegance and
The following are some of
piano-forte, which bears date from the year sublimity.
the popular productions of this com1692. He died in 1714.
ERNST, (FRANZ ANTON) a celebrated poser : " The Seaside Sonnet" dedicated
German violinist and musical mechanic. to the Duchess of Devonshire, from Op. 1.
" The Juvenile Song," dedicated to the
He died at Gother in 1805.
ERTEL1US, (SEBASTIANUS) a Benedic- Honourable Miss Caroline Douglas, Op. 1.
tine monk, and composer of some sacred " The Moonlight Sonnet, from. Mrs. Anne
music, published at Munich at the beginning Radeliffe's Romance of the Forest," composed for and sung at the New Musical
of the seventeenth century.
Fund's annual concert. " The Maternal
ESCH. See VON ESCH.
ESCHENBURG, (JOHANN JOACHIM) Address, from Mrs. Robinson's Poems,, a
professor of the belles lettres at the college Duet, in which is a Canon for two Sopraof St. Charles, at Brunswick, was born at nos." " Mine be a Cot, from the Pleasures
Hamburgh in 1743. He has rendered great of Memory, by Rogers." " Happiness, by
service to music in Germany, by his trans- Mr. Pratt." " The Gift, by Mrs. Robinlations from foreign languages, especially son." " Lines on a Ring, by J. P. Cur" 2'o all you ladies now on land,
from the English and Italian, of various ran."
works on the theory and practice of a Glee for three Voices, Words by Pratt,
written expressly for Dr. Essex." " A
music.
ESCHSTRXJTH, (HANS ADOLPH BARON Canadian Boat Song, for three Voices,"
VON) counsellor of the regency at Cassel, dedicated to Sir Edward Owen. "A Set of
and member of the principal literary so- Six Duets for two German Flutes," pubcieties of Europe, was born in 1756. He lished by Millhouse. " A Set of Slow and
published, between the years 1784 and Quick Marches for the Piano-forte, with
1790, several works on music, also some the full Scores addedfor a Military Band."
vocal compositions. He died at Cassel in " A Piano-forte Duet" Op. 11, dedicated
1792, in the thirty-seventh year of his to Lady H . Montague and the Honourable
Miss C. Douglas. " A Duet for the Pianoage.
for two GerESCOVEDO, (BARTHOLOMEO) a cele- forte, with Accompaniments
U
man
Flutes."
A
Military
Rondo Duet,
brated Spanish composer. He was living in
for the Piano-forte, with Accompaniments
Italy about the year 1580.
for a Harp or Piano-forte"
dedicated to
ESSER, (MICHAEL R I T T E B VON) a
German dramatic and instrumental com- Lady Kerrison and daughters. " A Military,Rondo Duet for the Piano-forte, with
poser towards the close of the last century.
ESSEX ( D R . ) is a native of Coventry, Accompaniments for a Harp or Piano" The Britannia, a Rondo for
in Warwickshire. At thirteen years of age forte."
he amused himself with the flute and violin, Piano-forte, with Violin Accompaniment
characteristic of the English
Style"
and made a rapid proficiency, though 11
The
Hibernia,
a
Rondo,
characteristic
destitute of any professional aid, which
induced his father to let him study the of the Irish Style, for Piano-forte and
science and practice of music as a pro- Violin." " The Caledonian, a Rondo, in
fession. In 1806, he obtained a bachelor's imitation of the Scottish Style, for Piano"The Guaracha, a
degree in music at Oxford. His exercise forte and Violin."
was an anthem taken from the fifty-seventh Rondo, in imitation of the Spanish
Style, for Piano-forte and Flute."
Psalm.
232

E ST
" An Introduction end Fugue for the
Organ."
ESSINGER, director of the music at
Luben, published, in 1797, several minor
operas.
EST or ESTE, (MICHAEL) bachelor of
music, and master of the choristers of the
cathedral church of Litchfield, was the
author of several collections of madrigals
and other vocal compositions. His publications are much more numerous than
those of any composer of his time'. One of
these is entitled " The Sixth Set of Bookes,
wherein areAnthem.es for Verses, and Chorus
of five and six Parts, apt for Violls and
Voices." It is probable that this person
was the son of that Thomas Est, who first
published the psalms in parts, and other
works, assuming on some of them the name
of Snodham. One of Michael Est's threepart songs, " How merrily we live," has
been revived, and honoured with the
public favour; and there are several others
among his works which are equally deserving of notice.
EST or ESTE, (THOMAS) father to the
preceding, edited " The whole Book of
Psalms, with their wonted Tunes, as they
are sung in Churches, composed into foure
Parts, by nine sondry Authors, so laboured
in this Work, that the unskilful, by small
Practice, may attaint to sing that part
which is fittest for his Voyce," London,
1594.
ESTEVE, (PIERKE) member of the
royal society of Montpellier, wrote some
theoretical works on music in the middle of
the last century.
ESTOCART, a composer of church music, published at Lyons towards the close of
the sixteenth century.
ESTREE, (JEAN D') professor of the
hautboy to the king of France in the
middle of the sixteenth century, and
editor of a work entitled " Quatre
Livres de Danseries, contenant le Chant
det Branles communes, gais, de Champagne, de Bourgogne, de Poitou, d'Ecosse,
de Malthe, des Saborts, de- la Guerre, et
autres; Gaillardes, Ballets, Voltes, Basses

E UC
Danses, Hauberrois, Alhmandes."
Paris,
1564.
ESTWICK or EASTWICK, (SAMSON)
one of the choristers at St. Paul's at the
time of the Restoration, and subsequently
a minor canon. He died in 1739.
EUCHERO,

(PASTORE

ARCADE)

an

Italian singing-master, published at Venice,

in 1746, " Riflessioni sopra alia maggior
facilitd. che trovasi nelV apprendere il canto
con Vuso di un Solfeggio di dodici monosillabi atteso ilfreauenteuso degV accidenti."
EUCLID.
This great geometrician
flourished in the time of Ptolemy Lagus,
that is, about 277 years before Christ. His
" Elements" were first published at Basil, in
Switzerland, 1533, by Simon Grynaeus, from
two manuscripts, the one found at Venice.and
the other at Paris. His " Introduction to
Harmonics," which in some manuscript was
attributed to Cleonidas,.is in the Vatican copy
given to Pappus. Meibomius, however, ac counts for this, by supposing those copies to
have been only two different manuscript editions of Euclid's work, which had been revised, corrected, and restored from the corruptions incident to frequent transcription by
Cleonidas and Pappus, whose names were,
on that account, prefixed. It first appeared
in print, with a Latin version, in 1498, at
Venice, under the title of " Cleonidw Harmonicum Introductorium:" who Cleonidas
was, neither the editor, George Valla, nor
any one else, pretends to know. It was
John Pena, a mathematician in the service
of the king of France, who first published
this work at Paris, under the name of
Euclid, in 1557. After this, it went through
several editions with his other works.
His " Section of the Canon" follows his
Introduction; it went through the same
hands and the same editions, and is mentioned by Porphyry, in his Commentary on
Ptolemy, as the work of Euclid. This tract
chiefly contains short and clear definitions
of the several parts of Greek music, in
which it is easy to see that mere melody
was concerned ; as he begins by telling us
that the science of harmonics considers the
nature and use of melody, and consists
233

E UL
of seven parts, sounds, intervals, genera,
systems, keys, mutations, and melopoeia.
Of all the writings upon ancient music
that are come down to us, this seems to be
the most correct and compressed ; the rest
are generally loose and diffased, the authors
either twisting and distorting every thing to
a favourite system, or filling their books
with metaphysical jargon, with Pythagoric
dreams and Platonic fancies, wholly
foreign to music. But Euclid, in this little
treatise, is like himself, close and clear, yet
so mathematically short and dry, that he
bestows not a syllable more upon the subject than is absolutely necessary.
According to Dr. Wallis, Euclid was the
first who demonstrated that an octave is
somewhat less than six whole tones ; and
this he does in the fourteenth theorem of
his "Section of the Canon." In the fifteenth
theorem, he demonstrates that a fourth
is less than two tones and a half, and a fifth
less than three and a half; but though this
proves the necessity of a temperament upon
fixed instruments, where one sound answers
several purposes, yet he gives no rules for
one, which seems to furnish a proof that
such instruments were at least not generally
known or used by the ancients.
What Aristoxenus called a half tone,
Euclid demonstrated to be a smaller interval,
in the proportion of 256 to 243. This he
denominated a limma, or remnant, because
giving to the fourth, the extremes of which
were called soni stabiles, and were regarded
as fixed and unalterable, the exact proportion of 4 to 3, and taking from it two major
tones x U, the limma was all that remained
to complete the diatessaron. This division
of the diatonic genus being thus, for the first
time, established upon mathematical demonstration, continued in favour, says Dr.
Wallis, for many ages.
EULE, director of music at Hamburgh,
is considered an excellent pianist and able
composer for his instrument.
EULE, junior, son of the preceding,
is a good pianist and composer for his
instrument since the year 1799. He has
also written some minor dramatic pieces,
234

E Y M
EUMOLPUS, according to the Oxford
marbles, was the son of Museeus, and at
once priest, poet, and musician, three characters that were constantly united in th6
same person, during the first ages of the
world. He was the publisher of his father's
verses; and, like him, having travelled into
Egypt for the acquisition of knowledge, he
afterwards became so eminent at Athens,
as hierophant in the Eleusinian mysteries,
that, as Diodorus Siculus informs us, the
priests and singers at Athens were afterwards called Enmolpides, from Eumolpus,
whom they regarded as the founder of their
order.
EVANS, (CHARLES) an organist in
London. He was a candidate with Callcott
for the situation of organist to Covent-gar*
den church. He has published some vocal
and instrumental music.
EVEQUE. See L'EVEQUE.
EVERS. See EBERS.

EXIMENO, (ANTONIO) a Spanish Jesuit,

resided at Rome about the year 1780. He
published, in 1774, a large volume in quarto
entitled " Dell' origins e delle regole delta
musica, colla storia del suo progresso, de-1
cadenza e rinuovazione." The Italians sSy
of this book, l( Bizzano romanzo di musica
con cui vol distruggere senza poter poi
rifabbricare." See Elogii Italiani, vol. viii.
In 1775, Eximeno published at Rome,
" Dubbio sopra il saggio di contrapuittd
del Padre Martini."
It was an answer to
Padre Martini, who, in his " Saggio contrap.," had criticised Eximeno. A detailed
analysis of this work is to be found in
Efemeridi di Roma, 1775, vol. iv.
EYBLER, (JOSEPH) an organist and
pianist at Vienna : he has published much
vocal and instrumental music, bearing date
between the years 1795 and 1805. Eybler
is vice chapel-master to the court.
EYMAR, (A. M. B') prefect of the de*
partment of Ldman, in France, was a celebrated patron of the arts. In the year 6
of the French republic, he inserted in the
"Ddcadephilosophique et UtUraire" some
anecdotes of Viotti, with whom he had beefc
in habits of intimacy.

FAR

FAG

F
FABER, (BENEDICT) a celebrated German composer of sacred music at the beginning of the seventeenth century.
FABRE ( A N D R E ) was born at Riez in
1765. He published at Paris, about the
year 1800, some piano-forte music, also several admired romances, especially the one
called " Baimonde."
FABRE D'OLIVET (M.) was born in
1768 in Languedoc. He is well known as
the author of " Lettres a Sophie sur I'Histoire." He was likewise a good musician,
and published many romances, and some
instrumental music.
FABRICI, (Don PIETRO) a Florentine
monk, published at Rome,in 1678, "Regale
di Canto firmo"
FABRICIUS, (ALEINUS) a church composer at Hamburgh at the end of the sixteenth
century.
FABRICIUS, (WERNER) an organist
at Leipsie, published, towards the middle
of the seventeenth century, much vocal
music, also some pieces for the organ. He
died in 1679.
FABRIZI, (VINCENZO) a Neapolitan
dramatic composer since the year 1785.
FACCINI, (Giov. BATTISTA) composer
of church music, published at Venice in the
middle of the seventeenth century.
FACCIOLA, (FABRIT.) a composer of
sacred music, published at Venice towards
the end of the sixteenth century.
FACCO, (GIACOMO) an instrumental
composer, published twelve concertos at
Amsterdam in the year 1720.
FACINI, an instrumental composer
at Vienna at the close of the last century.
FACIUS, (T. H.) an instrumental composer and violoncellist, published some music for his instrument at Vienna in 1799.
FADINI, (ANDREA) an instrumental
composer, published twelve sonatas at Amsterdam in 1710.
FAGO, (NICOLO) a celebrated Italian
composer, about the year 1700. He was a
pupil of Alessandro Scarlatti, and studied in

the conservatory Dei Poveri di Gesu Cristo,

which he afterwards directed, as well as
that of La Pieta. Fago's compositions were
both for the church and theatre. " Eustachio"
is the most celebrated of his operas.
FAIGNIENT, ( N O E ) a composer of
madrigals and other vocal music, published at
Antwerp between the years 1568 and 1595.
FALCO published, about the year 1776,
in London, his Op. 2, consisting of six solos
for the violin. He also published some solfeggiin 1780.
FALCONIUS, (PLACIDUS) a Benedictine
monk, composed some church music, published at Venice between the years 1575
and 1588.
FALGARA, a theatrical composer, in the
service of the king of Bavaria, at Munich,
about the year 1790.
FALKNER, a German musician, resident in England, about the year 1760, and
author of a work entitled " Instructions for
plat/ing the Harpsichord, Thorough-Bass
fully explained, and exact Rules for tuning the Harpsichord," London.
FALTIS (J.) published at Vienna, in
1800, some music for the harpsichord.
FANELLI,

(COLA VINC.)

an Italian

composer in the sixteenth century.

FANTINI, composer of some sonatas for
the piano-forte, published by Clementi in
London previous to the year 1800.
FARINA, (CARLO) of Mantua, published, in 1628, " Pavans and Sonatas for
the Violin," and was a celebrated performer
on that instrument, in the service of the
elector of Saxony.
FARINELLI, called CARLO BBOSCHI.

This renowned singer, whose voice and

abilities surpassed the limits of all anterior
vocal excellence, was born at Naples in
1705. He was instructed in the rudiments
of music by his father, and in singing by
PorpoTa. In 1722, at the age of seventeen,
he went from Naples to Rome, with his
master, then engaged to compose for the
Alberti theatre, where Faiinelli contended

235

FAR

FAR

is now time for you to please. You are too

lavish of the gifts with which nature has
endowed you : if you wish to reach the heart,
you must take a more plain and simple road."
These judicious remarks effected an entire
change in his manner of singing : from this
time he united pathos to spirit, simplicity
with the sublime, and by these means delighted, as well as astonished, every hearer.
In the year 1734, he came to England,
where the effects which his surprising talents
had upon the audience were ecstasy! rapture!
enchantment! In the famous air, " Son
qual Nave," which was composed for him
by his brother, the first note he sung was
taken with such delicacy, swelled by minute
degrees to such an amazing volume, and
afterwards diminished in the same manner
to a mere point, that it was applauded for
full five minutes. After this, he set off with
such brilliancy and rapidity of execution,
that it was difficult for the violins of those
days to keep pace with him. In short, in comparison with other singers, he was as superior
From this period of his life may be dated as th e famous horseChilders to all other racers.
that superiority which he ever maintained
But it was not in speed only that he exover all his contemporaries. In the early part celled, for he united the perfections of every
of his life, he was distinguished bythe name celebrated singer. His voice was equally
of " II Ragazzo," (the boy) as Homer was eminent for strength, sweetness, and comcalled " the Poet," and our Swift" the Dean." pass ; and his style equally excellent in
From Rome, Farinelli went to Bologna, the expression of tenderness, grace, and
where he had the advantage of hearing rapidity. In a word, he possessed such
Bernacchi, a scholar of the famous Pistocchi, powers, as were, never before or since
of that city, who was then the most scientific united in any one singer, powers that
singer in Italy. Thence he went to Venice, were irresistible, and which subdued
and from Venice to Vienna; in both which every hearer, the learned and the ignorant,
cities his powers were considered as mi- the friend and the foe.
raculous. Farinelli himself told Dr.Burney,
With these talents, he went to Spain, in the
that, at Vienna, where he received great ho- year 1737, intending to return to England
nours from the emperor Charles VI., (and ad- having entered into articles with the nobilityj
monition from that prince was of more service who had, at that time, the management of
to him than all the precepts of his masters, or the opera, to perform during the ensuing
the examples of his competitors) his imperial season. In his way thither, he sung to the
majesty condescended one day to tell him, king of France, at Paris ; where, according
with great mildness and affability, that in to Riccoboni, he enchanted even the French
his singing he neither moved nor stood still themselves, who universally abhorred Italike any other mortal; all was supernatural. lian music.
" Those gigantic strides," said he, " those
The very first day he performed before
never-ending notes and passages, (ce$ notes the queen of Spain, it was determined he
quinejinissentjamais) only surprise, and it should be taken into the service of the court,
with a famous performer on the trumpet.
Every night, during the run of an opera,
this struggle was repeated, which, at first,
seemed amicable and sportive, until the audience began to interest themselves in the
contest. After severally swelling out a
note, in which each manifested the power of
his lungs, and tried to rival the other in
brilliancy and force, they had both a swell
and a shake together, by thirds, which was
continued so long, while the audience
eagerly waited the event, that both seemed
to be exhausted; and, in fact, the trumpeter,
wholly spent, gave it up, supposing, .however, his antagonist .as much tired as himself, and that it would be a drawn battle;
when Farinelli, with a smile on his countenance, showing he had only been sporting
with him all this time, broke out, all at
once, in the same breath, with fresh vigour,
and not only swelled and shook upon the
note, but ran the most rapid and difficult divisions, and was at last silenced only by the
acclamations of the enraptured audience.

236

FAR
to which he was ever after wholly appropriated not being once permitted to sing in
public. A pension was then settled upon
him for life, amounting to upwards of
two thousand pounds sterling.
He told Dr. Burney, that, for the first ten
years of his residence at the court of Spain
during the reign of Philip V., he sung to
that monarch, every night, the same four
airs, two of which were " Pattido il sole,"
and " Per questo dolce Amphsso," both
composed by Hasse. He was honoured
also by his first royal master, Philip V., with
the order of St. Jago, and by his successor,
Ferdinand VI., under whom also he continued in favour, with that of Calatrava, in
1750. His duty now became less constant
and fatiguing, as he persuaded this prince
to patronise operas ; which were a great relief to Farinelli, who was appointed sole director of these performances, and engaged
the best Italian singers and composers, as
also Metastasio as poet.
The goodness of Farinelli's heart, and the
natural sweetness of his disposition, were
not exceeded even by the unrivalled excellence of his vocal powers, as some of the
following anecdotes will testify.
It has been often related, and generally
believed, that Philip V., king of Spain,
being seized with a total dejection of spirits,
absolutely refused to be shaved, and was
in other respects, incapable of transacting
the affairs of the state. The queen, who
had in vain tried every common expedient
that was likely to contribute to his recovery,
determined that an experiment should be
made of the effects of music upon the king,
her husband, who was extremely sensible of
its charms. Upon the arrival of Farinelli
of whose extraordinary performance an account had been transmitted to Madrid, her
majesty contrived that there should be a conCert in the room adjoining the king's apartment, in which this singer executed one o
his most captivating songs. Philip at first
appeared surprised, then affected, and, ai
the conclusion of the second air, commanded
the attendance of Farinelli. On his entering
the royal apartment, the enraptured monarch

FAR
overwhelmed him with compliments and
caresses, demanding how he could sufficiently reward such talents, and declaring
that he could refuse him nothing. Farinelli, previously instructed, only entreated
that his majesty would permit his attendants
to shave and dress him, and that he would
endeavour to appear in council as usual.
From this moment the king's disease submitted to medicine, and the singer had the
whole honour of the cure. By singing to
his majesty every evening, his favour increased to such a degree, that he was regarded as a p.ime minister; but what wag
still more extraordinary, and most highly
indicative of a superior mind, Farinelli,
never forgetting that he was only a musician, behaved to the Spanish nobles attendant
upon the court, with such unaffected humility
and propriety, that instead of envying his
good fortune, they honoured him with their
esteem and confidence.
The true nobility of this extraordinary
person's soul appears still more forcibly in
the following rare instance of magnanimity.
Going one day to the king's closet, to which
he had at all times access, he heard an officer
of the guard curse him, and say to another,
" Honours can be heaped on such scoundrels
as these, while a poor soldier, like myself,
after thirty years' service, is unnoticed."
Farinelli, without seeming to hear this reproach, complained to the king that he had
neglected an old servant, and actually procured a regiment for the person who had
spoken so harshly of him in the antechamber ; and on quitting his majesty, he gave the
comroissicn to the officer, telling him he had
heard him complain of having served thirty
years, but added, "You did wrong to accuse
the king of neglecting to reward your services." The following story, of a more
ludicrous cast, was frequently told and
believed at Madrid, during the first year of
Farinelli's residence in Spain. This singer,
having ordered a superb suit of clothes for a
gala at court, when the tailor brought them
home, he asked for his bill. " I have made
no bill, sir," said the tailor, " nor ever shall
make one. Instead of money, I have a
237

FAR
favour to beg. I know that what I want is
inestimable, and only fit for monarchs; but
since I have the honour to work for a person
of whom every one speaks with rapture, all
the payment I shall ever require, will be a
song." F arinelli tried in vain to persuade
the tailor to take his money. At length,
after a long debate, giving way to the
earnest entreaties of the humble tradesman,
and perhaps more highly gratified by the
singularity of the adventure, than by all the
applause which he had hitherto received, he
took him into his music room, and sung to
him some of his most brilliant airs, delighted
with the astonishment of his ravished
hearer; and the more he seemed surprised
and affected, the more Farinelli exerted
himself in every species of excellence.
When he had concluded, the tailor, overcome with ecstasy, thanked him in the most
rapturous and grateful manner, and prepared
to retire. " No," said Farinelli, " I am a
little proud, and it is perhaps from that circumstance, that I have acquired some little
degree of superiority over other singers. I
have given way to your weakness ; it is but
fair that, in your turn, you should give way
to mine." Then taking out his purse, he insisted on his receiving a sum, amounting to
nearly double the worth of the suit of clothes.
Farinelli, during two reigns, resided upwards of twenty years at the Spanish court,
with a continual increase of royal favour,
and the esteem of the principal nobility of
the kingdom.
During his greatest favour at the court of
Madrid, he is said to have been no more
elated, than with the acclamations which
his extraordinary talents commanded whenever he sung in public. In the year
1759, Farinelli returned to Italy. After
visiting Naples, the place of his nativity,
he settled at Bologna, in 1761; in the environs of which city, he built himself a
Splendid mansion, which in Italy is called
a pnlazzo. Here he resided for the remainder of his life, in the true enjoyment of
affluent leisure. He was remarkably civil
and attentive to the English nobility and
gentry who visited him in his retreat, and
238

FAR
appeared to remember the protection and
favour of individuals, more than the neglect
of the public, during the last year of his
residence in London. When the marquis of
Caermarthen honoured him with a visit at
Bologna, upon being told that he was the
son of his patron and friend, the duke of
Leeds, he threw his arms round his neck, and
shed tears of joy in embracing him. This
extraordinary musician, and blameless man,
died in 1782, in the eightieth year of his age.
FARINELLI, uncle to the preceding,
was composer, violinist, and concert-master
at Hanover, about the year 1684. He was
ennobled by the king of Denmark, and was,
by king George I., appointed his resident
at Venice.
FARMER, (JOHN) an English musician,
and author of the following works: 1.
" Divers and sundri Waies of two Parts in
one, to the number of fortie uppon one
playn Song ; sometimes placing the Grounde
aboue and two Parts benethe, and otherwise
the Grounde benethe and two Parts aboue.
Or again, otherwise the Grounde sometimes
in the Middelst betweene both. Likewise
other Conceites which areplainlie set downe
for the Profite of those which would attaine
unto Knowledge;" by J. Farmer, London,
1591. 2. " The first Sett of English Madrigals to four Voices," London, 1599.
FARMER, (THOMAS) originally one of
the waits, in London, was nevertheless admitted to the degree of bachelor in music,
of the university of Cambridge, in 1684.
He composed many songs, printed in the
collections of his time, and particularly in

The Theatre of Music, and The Treaury of Music, and was the author of two
very fine collections of airs, the one entitled
"A Consort of Music in four Parts, containing thirty-three Lessons, beginning with
an Overture;" and another, "A second Consort of Music in four Parts, containing
eleven Lessons, beginning with a Ground;"
both printed in oblong quarto, the one in
1685, the other in 1690. In the Orpheus
Britannicus is an elegy on his death, written by Tate and set by Purcell, by which it
appears that he died young.

FAS

FEB

FARNABY (GILES) was of Ohrlstehurch, Oxford, and, iu 1592, admitted

bachelor of music. There are extant of his
composition, " Canzonets for four Voices,
with a Song for eight Parts," London,
1598.
He also assisted Ravenscroft in
putting parts to some of the psalm tunes
published at the beginning of the next century. There are about twenty lessons in
queen Elizabeth's Virginal book, by Giles
Farnaby, nearly as difficult as those of Bird
and Bull.

to it as highly worthy of importation, especially his Ops. 3 and 8. His Op. 1 con
sists of " Three Church Cantatas," anthems.
2. "A Miserere."-3. "A Muss," of great
merit.4. "Psalms."5. "A Kyrie."
6 and 7. " Two Cantatas."%. Some very
ingenious "Canons."9. "A Lesson for the
Piano-forte."10, 11, and 12. " Psalms,"
FATIUS, (ALSELMUS) a Sicilian composer of madrigals between the years 1589
and 1628.

F A R R A N T , (RICHARD) afineoldcomposer of church music, was a gentleman of

the chapel royal in the year 1564, and afterwards master of the children of St. George's
chapel, at Windsor. He was also clerk,
and one of the organists. On his appointment to the latter office, however, he resigned his place in the chapel, but being
called to it again, he held it till 1580. He
js supposed to have died in the year 1585.
His compositions are in a remarkably devout and solemn style : many of them are
printed in Barnard's collection of church
music, and a few in Dr. Boyce's cathedral
music. The full anthem, " Lord, for thy tender mercy's sake," is at this day in frequent
use ; and Dr. Crotch, who has inserted it in
his work, has justly observed, that " it is
remarkable for its serene effect, and for
being as beautiful as the nature of plain
counterpoint will admit."
FARRENC, a flutist and composer for
his instrument. He was a pupil of Berbiguier. He has published three " Grand
Duets Concertante," which are highly
esteemed. (Boosey's Cat.)

a composer of instrumental music, published at Berlin in 1790.

FATKEN, (JOHANN AUGUSTUS LTJDOLF)

F A T T O R I N I , ( G A B R I E L E ) a composer of

church music, published at Venice in 1608.

FATTSCHECK, a composer of romances,
published at Hamburgh in 1799.
FAU, a French instrumental composer,
published some music at Amsterdam in!715.
FAUNER, (ADELBEBT) an instrumental
composer at Vienna, published some music
there for the violin about the year 1760.
' F A U N E R (FRIEDRICH) published some
duos for the violin about the year 1780.
FAUSTINA.

See HASSE.

FAUVEL, l'aine', a member of the opera

orchestra, at Paris, and composer of instrumental music published between the years
1798 and 1800.
FAVERIUS or FAVORIUS, (Jo ANNES)
a composer of canzonets and other vocal
music, at the end of the sixteenth and beginning of the seventeenth century.
FAVI, (ANDREA) an Italian composer
at Forli, in Italy. He is the author of the
opera buffa called " II creduto pazzo"
performed at Florence in 1791.
FAVRE, a French composer of instruFASCH (JOHANN FHIEDBICH) was born
in Germany in 1688, and died in 1759. mental music at the beginning of the
He composed some good church and instru- eighteenth century.
FAY, (GUILLAUM DU) a French composer
mental music.
FASCH, (CAHLFKIEDRICH CHRISTIAN) in the first half of the fifteenth century.
FAY, a singer at the Theatre Feydeau,
son of the preceding, was chamber-musician
to the king of Prussia, and pianist at Berlin. at Paris, and composer of dramatic music,
He died in 1800. Fasch composed much between the years 1790 and 1800.
FA YRFAX or FAIRFAX, (Dr.RoBERT)
highly esteemed church music, and also
some piano-forte music. We have heard an English musician about the year 1500.
FEBURE, (ANTON.) See LEFEBURE.
none of his sacred compositions in this
FEBURE, (JEAN *E) chapel-master at
country, but call the attention of amateurs

239

FEO

PEL
Mentz, and composer of church music between the years 1595 and 1609.
FECHNER, (J.W.) a composer of songs,
published at Leipsic in 1795.
FEDE, a composer of some sonatas published at Amsterdam in-1715.
F E D E L E , (DANIELE TEOFILO) an

Ita-

lian dramatic composer, the date of whose

works is not exactly known.
FEDERICI, (D. FRANCESco)a priest and
composer of church music, lived in 1676.
FEDERICI, (VINCENZO) a native of Pesaro, was member of the conservatory at
Milan, and a dramatic composer of merit.
He came to England in 1790, and several
of his serious operas were performed about
that time in London, where he also published some sonatas for the piano-forte.
Two of the songs from his opera, " / Giochi
d'Agrigento," and two from "Teodotinda,"
have been printed by Birchall. The aria
" Grazie ti rendo" of Federici, is one of his
most admired vocal compositions, and is
frequently sung at private concerts.
FEHRE, (J. A.) junior, a pianist in Germany, and composer of music for his instrument, published at Riga and other towns in
Germany between the years 1792 and 1797.
FELDMAYER, (GEORGE) an instrumental composer at Offenbach, in Germany,
in 1800.
FELDMAYER, (JOHANN) an organist
and composer at Berchtolsgaden, in the
duchy of Salzburg. He published some
sacred music at the beginning of the seventeenth century.
FELICI, an Italian dramatic composer
about the year 1768 ; he also composed
some quatuors for the violin.
FELIS, (ETIENNE) of Bari, in Naples,
and a composer of madrigals, &c. published
at Venice in the latter part of the sixteenth
century.
FELTON, (Rev. WILLIAM) prebendary of Hereford, was celebrated, in his
time, for a neat and rapid execution on the
organ and the harpsichord. He published
three sets of concertos for these instruments,
in imitation of those of Handel, and two or
three sets of lessons, which have been in
240

considerable request. They are not, however,

now to be met with, except occasionally
among collections of second-hand music.
FEMY, (HENRI) a French violoncellist
and composer for his instrument since the
year 1810. He obtained the violoncello
prize at the Paris conservatory in 1808.
FENAROLI (FIDELE)' was born at Naples in 1734, and educated at one of the
conservatories there. He was for some
years principal of the conservatory of La
Pieta in that town. Fenaroli published
a small work, entitled "Regoleper gli Principianti da Cembalo," which is succeeded
by a collection of " Partimenti," forming
an excellent series of lessons in fundamental
bass. Choron, the celebrated French composer, has republished this work in Paris,
with additions; and a young composer,
named Imbimbo, has also published a supplement to this work.
FENZI. There were two brothers of this
name, good violoncellists, towards the close
of the last century. One of them has published
some instrumental music at Naples and Paris.
FEO, (FRANCESCO) born about the year
1699, was a pupil of Gizzi. This composer,
equally celebrated by his labours for the
church and theatre, and for his ability in
teaching his art, founded a school for singing at Naples, to which that city and the
whole of Italy owed a great number of
singers, as famous for the beauty of their
voices, as for their talent and skill in the
use of them. This school spread the reputation of its founder throughout Europe.
Feo commenced his labours by composing
for the church : he displayed talents worthy
of the style, and his works were distinguished
for their grandeur and strength, science
and energy. Satisfied with the approbation
bestowed by his fellow-citizens on his superb
masses, and among others on a justly celebrated " Kyrie," he next devoted himself
to the theatre, and composed several operas,
among which his " siriana" and " Arsnce"
are preeminent. From the latter Gluck
has borrowed his overture to " Iphigenia."
After having thus shone equally in compo
sitions for the church and theatre, he at

FER
length devoted himself entirely to instruction, and it was he who completed the musical education of Jomelli. We may now
add, that the talents and labours of Feo
have procured him a high station among
the classical composers of the most brilliant
school of Italy. Besides his operas, there
remain some of his masses, psalms, and
other pieces for the church, which complete
the nomenclature and the merit of his
works.
FERABOSCO, (ALPHONSO) senior, an
Italian composer of madrigals and motets,
about the year 1544. Peacham says of
Ferabosco's madrigals, " They cannot be
better'd for sweetness of ayre and depth of
judgment." Some of them were published
in London, in 1597, by Younge.
FERABOSCO, (ALPHONSO) junior, son
to the preceding, was born at Greenwich,
in England. He composed some songs at
the beginning of the seventeenth century.
(See Dr. Burney's Hist. vol. iii.)
FERANDIERE, (D. FEEN) a Spanish
guitarist, and author of an excellent method
for his instrument, published at Madrid in
1799.
FERANDINI, (GIOVANNI) director of
the music, and counsellor to the elector of
Bavaria, at Munich, in 1786. About the
year 1760, he made himself known by several compositions for the viol and guitar.
In 1756, he composed for the court of Parma, the opera called " II Festino," the
words by the celebrated Goldoni. Ferandini
died at Munich, in 1793, at an advanced
age.
FERANDINI, (ANTONIO) a Neapolitan composer, left the conservatory at an
early age, and after having travelled
throughout Italy, where he was remarkable
for more than one learned and agreeable
composition, repaired to Germany, to make
himself acquainted with its masters, productions, and theatres. He acquired many
friends, and nature had bestowed on him
very estimable qualities. His travels finished,
he settled at Prague. This city, as well as
the whole of Bohemia, is particularly favourable to music, in consequence of the
VOL. I .

FER
number of inhabitants by whom it is cultivated, and of masters who teach it. Tt
appears that the works of Ferandini were
admired, but the justice rendered to his
merit did not save him from misfortune. He
had especially adopted the ecclesiastical
style, and in this he particularly excelled. He
composed, amongst other pieces, a " Stabat
Mater," which was long sung in Prague,
and generally admired. Its style is at once
simple, natural, and elevated, and resembles
that of Pergolese. Its merit causes a regret
that the other productions of this master
are unknown. Notwithstanding his abilities,
he fell into indigence, and, it appears, less
from misconduct than from generosity. He
was seized with an incurable disorder, and
was reduced to seek an asylum in one of
the hospitals in Prague, where he died, in
1779, after having suffered for a considerable period.
FERANDINI, a native of Milan, and
composer of some quartets and other instrumental music, about the year 1799.
FERDINAND III., emperor of Germany between the years 1637 and 1650.
All historians agree in representing this
prince as an excellent connoisseur and composer of music. Wolfgang Ebner, courtorganist at Vienna, published, in 1646, an
ariette, with thirty-six variations, the composition of this prince.
FERDINAND, of Prussia, (Prince
FEIEDRICH CHEISTIAN L U P W I G ) was born

in 1792, and was an excellent pianist. He

was killed in an engagement with the French
army in the year 1806. Nine operas of pianoforte music, the composition of this prince,
have been published at Leipsic and Paris.
FERDINANDI, an Italian by birth,
and a good performer on the piano-forte,
published some music for his instrument at
Prague, about the year 1796.
FERGUS, of Glasgow, a composer of
piano-forte, organ, and vocal music, in
London, previous to the year 1799.
FERGUSON.

See T E P P E E .

FERIGO published some violin trios, in

London, before the year 1797.
FERLENDIS, (GIUSEPPE) a celebrated

B
241

PER

F ER
performer on the hautboy, was born at Venice. He came to London in 1793, at the
same time with Dragonetti, and afterwards,
we believe, settled at Lisbon. Ferlendis
composed much music for his instrument.
FERLENDIS, (ALEXANDER) younger
son to the preceding, was born at Venice,
in 1783. He was a pupil of his father on
the hautboy and English horn. His playing
has been greatly admired at Paris, and
several other of the European capitals.
FEROCE, a Florentine composer. Dr.
Burney speaks highly of a mass by Feroee,
which he heard at Florence in 1770.
F E E R A D I N t , (GIOVANNI) a flutist
and composer for his instrument. Some of
his works were published at Amsterdam,
in 1799.
FERRARI, (DOMENICO) of Cremona,
was a violin pupil of Tartini. He died on
his passage to England, in the year 1780.
He composed some instrumental music,
which has been published at Paris.
FERRARI, (BENEDETTO) a native of
Reggio, was both a poet and a musician.
He resided principally at Venice, where,
about the year 1638, he established an
opera, which he himself superintended,
and for which he was both poet, composer,
and singer. His best known operas are
those of " Armiila" composed in 1630, and
" / / Pastor reggio," in 1640. But in these
there are no airs, the dialogue feeing only
carried on in recitative. Ferrari was himself so excellent a performer on the lute,
that he has not unfrequently been styled,
Ferrari della Tiorba.
F E R R A R I (GIACOMO GOTIFREDO)

is

the son of Francesco Ferrari, a respectable

merchant and silk-manufacturer at Roveredo, in the Italian Tyrol. G. G. Ferrari,
after the usual course of study in the public
school at Roveredo, was sent by his father
to Verona, to finish his education under the
Abbate Pandolfi. There he began sol fa,
and to learn thorough-bass, first underAbbate
Cubri, and subsequently under Marcola,
and at the same time to play on the harpsichord, under Borsaro ; these being esteemed
the first masters at Verona, at that time.
242

Ferrari showed immediately>a great natural

genius for music, and, in the course of two
years, sang, accompanied, and played at
sight. He then returned to Roveredo, and
was taken into his father's counting-house.
But music was already so much his delight,
that he determined in his own mind to become a composer, and to learn the theory
of every instrument for that purpose. He
persuaded his father to let him learn to play
on the flute; assigning as a reason, that being
on the change of his voice, and therefore
unable to sing, the study of the flute would
prevent him forgetting his singing. His
father, who could refuse him nothing, agreed
to his request, and, in a few months afterwards, he played with fluency on that instrument. After this, his family conceiving
that he became too much attached to music,
he was sent to Mariaberg, near Chur, in
the German Tyrol, with the intention of
being instructed in the German language.
But the good man, his father, did not imagine that the institution of the convent and
college of Mariaberg was, that the thirtytwo monks belonging to it should be all
musicians, and could not enter into it without having proved that they could sing or
play upon some instrument at sight: that
every day, and sometimes two or three times
a day, sacred music was performed in the
church of the convent : and that the scholars belonging to the college had the right
to receive instruction in any branch of
music they liked, by paying only ninety
Tyrolean florins (eight pounds sterling) a
year, including board in a luxurious style,
a bedroom to each, washing and instructions, and no extra charge. Here Ferrari
perceived that he was in a situation
agreeable, to his wishes. By constantly
hearing both sacred and profane music performed, and by copying a great deal of it,
he became a solid musician at an early
period of life. He pursued his other studies
at school just for the sake of not being
punished, but music was his fort. He
learned also to play on the violin, hautboy,
and double bass, in a slight manner, of
course, but well enough to be able to take

TER
his first part with other instruments. The
celebrated fuguist, Pater Marianus Steelier, who was the schoolmaster, gave him
also a great many lessons on the pianoforte and in thorough-bass. After spending
two years at Mariaberg, Ferrari returned
again to his father's counting-house, where
he attended for three years, but more
from obedience than inclination. His
father then died, and being ill-treated
by his partners, he determined, without
further delay, to try his fortune as a composer.
Prince Wenceslas Lichtenstein, who
was then on his way to Rome, took young
Ferrari with him. From thence he repaired
to Naples, with the intention of taking
lessons in counterpoint from Paisiello; but
that great dramatic composer having no
time to spare, recommended him to Latilla,
an able contrapuntist, under whom he
studied for two years and a half. At the
same time, however, Paisiello gave him
advice, and, as a friend, instructed him
almost daily in theatrical composition. At
that period, M. Campan, mattre-d'hfitel to
the late queen of France, offered to take
him on a tour through Italy, and from
thence to Paris, which proposition was
accepted. M. Campan introduced him to
his wife,premiere femme de chambre to the
queen, and Madame Campan introduced
him to her majesty, whom he had the
honour to accompany on the piano for several hours. Her majesty approved his manner of accompanying, and also admired
some Italian notturni of his composition
which he sang to her. Some time afterwards, the queen sent Madame Campan
to inform Ferrari, that it was her intention
to appoint him her singing-master, should
the public affairs take a good turn, but the
revolution came rapidly on, and every
thing was overthrown.
When the Theatre Feydeau was built in
Paris for the Italian opera, Ferrari was
aprjoiuted conductor, when he composed
several pieces of music, which were received with great applause. In the year
1791, having witnessed the horrors of the

PER
French revolution, he emigrated to Brussels
and Spa, where he gave concerts. He also
composed there, and performed a concerto
and several sonatas, which were favourably
received.
He was, however, never a very great
player, but his feelings, taste, and compositions made him appear greater in that
respect than he really was.
In the same year, he set the opera
" Les EvenemeHs imprdvus," for the Thdatre
Montansier, which was very much admired, although it had been composed
before by Gretry. The favourite duet of
" Serviteur a Monsieur la Fleur," was
rapturously encored; this was the first
time any piece of music had been encored
on the French stage; also after the
opera was over, Ferrari was called for, to
present himself, when lie was greeted
with the applause of the whole audience.
During the four years he remained in
Paris, he composed and published several
Italian notturni, duets, modern canons
for three voices, some sets of romances, the
favourite of which are, " Theonie, pour
aimer j'ai recu la vie," "A Vombre d'une
myrtke fleurie," " Quand F amour naquit
a Cythere," &c. several sets of sonatas for
the piano-forte, and for the piano-forte and
violin, or flute, &c. &c.
Ferrari was next engaged as a composer
to the Theatre Montansier, with three hundred louis d'or a year ; but, fearing that the
public affairs would become worse and
worse, he emigrated to Brussels, and in the
year 1792 to London, highly recommended
to some of the first noblemen's and gentlemen's families, as well as to several foreign
ambassadors, by whom he was constantly
well received and employed for musical
tuition, particularly in singing.
His first composition in London, was
performed at Salomon's concerts, and
was a recitative and rondo, " Se mi tormenti amore," sung with great success by
Simoni. In the course of thirty-one years'
residence in London, he composed a great
many pieces for public concerts, and for
the Opera-house, some of which are,
a 2
243

PER

F E R

sica Teorica praticce" dedicated to Lady

C. Stuart Worsley.
We do not know why Ferrari has
left London for Edinburgh; but we are
happy to hear that he is well received
there, that his compositions and singing
have been admired in many private concerts, and that his instructions are eagerly
sought after in the first families and schools
of that metropolis.
FERRARI, (Madame VICTOIUE) wife
of the preceding, and daughter of Monsieur
Henri, a celebrated dancing-master, was
born in 1785. From the age of seven
years, she studied music under Kreusser,
and acquired such proficiency on the piano,
that at nine years old she was introduced
to Haydn, and performed before him.
Between eleven and twelve she played in
public at Raimondi's concerts, before his
present majesty, who expressed his approbation of her talent.
FERRARI,
(CARLO) a celebrated
violoncellist and composer for his instrument. Dr. Burney heard him at Parma in
1770, and speaks highly of his talents.
He published six solos for the violoncello at
Paris.
FERRARI, (DOMINICO) brother to the
preceding, was a violin pupil of Tartini,
and published at London and Paris some
violin music, which is much esteemed.
FERRAZI, (GIOF.BATTISTA) an Italian
Ferrari's last compositions are without composer of the seventeenth century, pubdoubt the best; for, without changing either lished a book of ariettes, at Venice, in
his school or style, he has followed the 1652.
modern taste with effect. As a part of his
FERRERO, (GIUSEPPE) an Italian
latter compositions, we shall mention dramatic composer between the years 1783
" L'Addio," dedicated to Miss Ellis and and 1791.
Miss Canning; " Six Italian Canzonets,"
FERRETTI, (GIOVANNI) a Venetian
dedicated to Lady E. Lewison Gower; composer of canzonets in the years 1574
" Three Italian Canzonets," dedicated to and 1576.
Mrs. Trevor Plowden ; " A Greek NotFERRI, (BALDASSAEO) of Perouse, is
turno," dedicated to the Countess Cowper ; the singer whose voice J. J. Rousseau
" A Treatise on Singing," and a " First eulogizes at the article Voix of his dicVol. of Sol fa," dedicated to T. Broad- tionary.
wood, Esq.; a " Second Vol. of Sol fa,"
FERRO, (MARCO ANTONIO) a composer
dedicated to Miss Naldi; " Six Italian of instrumental music at Venice in
Canons," dedicated to the King; and his 1649.
last work, just published, " Studio di MuFERRONATI, (LODOVJCO) an instru244
" Io son capricdosetto," " Sospiro e mi
vergogno," " Belle Enee abhandonate,"
" Quando verra la sopra," " Qu' Zimira
che adorai," " Per pieta ben mio perdana,"
" Le belle -niie speranze," " Solo amor,"
" Tornate alprato," " V'e come nobile,"
" Vedete Vedete,"
" Senti dirb cost,"
" Scena di Petrarca," " Sento nel core,"
" Un bacio tenero." He also composed
four Italian operas, two of which became
favourites, " Li did Sviszeri," and " L'Eroina di Raab." Two ballets, " Borea
e Zeffiro," and "La Dama di Spirito;"
a great deal of music di camera, such as
sets of Italian and English canzonets,
duets canone for three voices, sets of sonatas for the piano-forte, sometimes with an
accompaniment for the violin, violoncello,
and flute, &c. A great many duets and
divertimentos for the harp and piano-forte,
the first of which (Op. 13) has been deemed
quite a model for a duet for those instruments. In the year 1804, he married Miss
Henry, a celebrated pianist, by whom he
had a son and a daughter. In the year
1809, he was afflicted with a complaint in
his eyes, and was blind for nearly three
years. At this period he used to dictate
his compositions to his friends; but at length
he recovered well enough to be able to
write for himself, with the help of a magnifying glass, and to resume his instructions.

FES
mental composer at Venice about the year
1715.
FERTEGA, a composer of piano-forte
music, published at Vienna in 1800.
FESCA, a composer of instrumental,
dramatic, and church music, at present
resident at Vienna.

PIE

ass and selling brickdust. He was in rags,

and on inquiry was found to be the son of
an unfortunate musician. Struck with grief
and mortification that the object before him
should be the child of a brother professor,
Festing determined to attempt something
for the child's support, with the assistance
of Dr. Morrice Green. These worthy men
FESCH. See DEFESCH.
FESTA, (CONSTANTIUS.) The composi- soon after established a fund towards the
tions of this master are generally considered support of decayed musicians and their fato be excellent. One of his motets is to be milies.
FESTONI, an Italian composer of infound in the fourth book ,of Motetti delta
Corona, printed so early as the year 1519. strumental music, published at London subIn the third book of Arkadelt's madrigals, sequently to the year 1780.
published at Venice in 1541, there are
FET1S, (FRANCOIS JOSEPH) a French
seven of Festa's compositions. ' ' In these," pianist, was born at Mons in 1784. He
says Dr. Burney, " more rhythm, grace, entered the Paris conservatory in 1801, as a
and facility appear than in any production pupil of Rey in harmony. In 1804, he
of his contemporaries that I have seen. went to Vienna, and studied composition
Indeed, he seems to have been the most under Albrechtsberger. Since his return
able contrapuntist of Italy during this early to France, he has composed much excellent
period; and if Palestrina and Constantius music, chiefly instrumental.
Porta be excepted, of any period anterior to
FEVIER, a Parisian organist, and comthe time of Carissimi. I could not resist poser for his instrument in 1755.
the pleasure of scoring his whole first book
FEVIJNT or FEUM, (ANTOINE) a native
of three-part madrigals, from the second of Orleans, is mentioned by Glareanus with
edition, printed at Venice in 1559, for I was great encomiums, as a successful emulator
astonished as well as delighted to find the of Jusquin de Prez, and a youth whose
composition so much more clear, regular, modesty and diffidence were equal to his
phrased, and unembarrassed, than I ex- genius. There are three of his masses, in
pected."
the collection of masses and motets deFESTA, (LUIGI) a celebrated Italian posited in the British Museum, all of which
violinist and composer for his instrument, are said to be excellent, but particularly the
one entitled " Sanctce Trinitatis."
resided at Naples about the year 1805.
FEYER, a violinist and composer for
FESTING, (MICHAEL CHRISTIAN) a
German violinist and composer for his his instrument since the year 1791. Some
instrument, resident in London in the first of his works have been published at Paris,
half of the last century. He was a pupil of others at Berlin.
Geminiani. His solos for the violin are well
FIALA, (JOSEPH) professor on the hautcomposed, but little known, having been boy at Salzburg, has published some inorigiually sold only by private subscription. strumental music at Augsburg and other
To Festing appertains the principal merit in German towns since the year 1780.
establishing the fund for the support of
FIBICK, (ANTON) a performer on the
decayed musicians and their families. This trumpet at Prague. He composed some
society took its rise in the year 1738, from masses previous to the year 1796.
the following occurrence: Festing, then
FIDANZA, a Florentine instrumental
resident in London, being one day seated composer about the year 1780.
at the window of the Orange coffee-house,
FIELD, (JOHN) a native of Bath, and
at the corner of the Haymarket, observed celebrated piano-forte pupil of Clementi.
a very intelligent-looking boy driving an He accompanied his master in the year
245

FIE

FIL

18Q2 to Paris, where he delighted every

one who heard him, playing some of the
great fugues of Sebastian Bach with such
precision and inimitable taste, as to call
forth from his Parisian audience the most
enthusiastic applause. From Paris he proceeded to Vienna, where Clementi intended
to place him under the instruction of
Albrechtsberger, and to this Field seemed
at first to assent with pleasure ; but when
the time arrived for Clementi to leave him,
and set out for Russia, poor Field expressed
so much regret at parting from his master,
and so strong a desire to accompany him,
that Clementi took him on to Petersburg,
in which city he left him with proper introductions. The following summer Clementi
revisited Petersburg, and found Field in
the full enjoyment of the highest reputation,
which he has ever since maintained in that
capital, where he still continues to reside.
Field has published many concertos of considerable merit, and much other music
for the piano-forte. Among his works are
the following:

Numlers," (ad lib.) " Rondo Ecossoise,"

(ad lib.) " Rondo,from his first Concerto,"
(ad lib.) " Rondo, from his second Concerto," (ad lib) " Rondo, from his third
Concerto," (ad lib) " Rondo, from his
fourth Concerto," (ad lib)
" Rondo,
from
his fifth Concerto,"
(ad lib.)
" Sonata," (ad lib.) " Russian Air," (ad
lib.)
" Three Romances,"
(ad lib.)
" Air du ban Roi Henry IV., with Variations." " Exercise in all the major and
minor Keys," (LeipsicJ " Three Nocturnos."
" Fourth Nocturno in Ay
" Fifth Nocturno in B.flat." "Sixth Nocr
turno in F." " Seventh Nocturno in C."
" Eighth Nocturne in G." " Rondo, No. 1."
" Rondo, No. 2." " Rondo, No. 3."
" Rondo, No. 4." " Sonata in B," dedicated to Mademoiselle
Neklindeff.
" Grand Waltz, in A."
" Favourite
Polonaise, in form of a Rondo, in E flat."
" Favourite Rondo in A," dedicated to the
Countess d'Orloff. " Two Airs, en Rondeau." " No. 1. Sonata in A," dedicated to
Mr. Clementi. " Rondo in G." " Three
Sonatas," (Op. 1.) "Three Romanzas'.'
" First Sonata," (Op. ].)
" 4ir Russe,
Variations." "Go to the Devil and shah
yourself."
" Two Airs."
" Rondo,"
(Coll. No. 50.)
" Duet on a Russian
Air."

Piano-forte : " First Concerto in Eflat."

" Second Concerto in A flat." " Third
Concerto in E flat." " Fourth Concerto
in Eflat."
" Fifth Concerto, or L'lucendie par I'Orage, in, C." " First Divertiseinent, with Accompaniment
of two
Violins, Flute, and Bass,"
(Bonn.)
"Another Edition of first Divertisement,
with Accompaniment of two Violins,
Flute, and Bass," (Leipsic.) " Second
Divertisement, with Accompaniment of
two Violins, Flute, and Bass," (Moscow,)
" Quintet for Piano, two Violins, Flute,
and Violoncello"
" Hondo, with Accompaniment of two Violins, Tenor, and
Bass."
" Grand Walts,"
(London.)
" Variations to a Russian Air," (Leipsic.)
" Fantasie and Variation to the Air
Ma Zelube," (Bonn.) "Fantasie to an
Andante by Martini," (Op. 3.) " Fantasie upon Guarda mi un poco dal copo al
piede." " New Fantasie, upon the Polonoise, Ah, quel dommage," (Leipsic.)
" Three Sonatas,"
(Op. 1.) (Leipsic.)
" Another edition of three Sonatas in three

246

FIENUS, (JOANNES) a composer of

madrigals, published in the Netherlands,
between the years 1559 and 1580. H?
died at Dordrecht in 1585.
FIER, a German guitarist and composev
for his instrument. He resides at Vienna.
FIES or FIESCUS, (GIULIO) a madrigal composer about the middle of the
sixteenth century. He was born at Ferrara,
and his works were all published at
Venice.
FIFIN, (JAMES) an English musician.
He published, in 180], " The Musical
Calendar, or Vocal Year, for one, two, or
three Voices, with introductory Symphonies
expressive of the four Seasons," London)
1801.
FILIBEBJ, (OKAzro) a composer of
sacreij music in the seventeenth century.

PIO
FILIPPI, (GASPARO) a composer of
vocal music in the seventeenth century.
FILTPPUCCI, (AGOSTINO) a composer
of sacred music at Bologna in 1665.
FILLENBAUM, an instrumental composer at Vienna in 1799.
FILS, a French violinist, and author of a
method for his instrument, published at
Paris in 1800.
FINAZZI, (FILIPPO) a singer and composer, born at Bergamo in 1710. After
performing at the Italian opera at Breslau,
and remaining for some years in the service
of the duke of Modena, he purchased a
country-house near Hamburgh, where he
married and remained till his death, which
took place in the year 1776. Much of
Finazzi's music was published at Hamburgh.
FINCH, (EDWARD) a deacon of York
in the year 1700. In Dr. Tudway's collection of services and anthems are a " Te
Deum" and a " Jubilate" of Finch's composition.
FINCK, (HERMANN) author of a work
published at Wurtemburg in 1556, under
the title " Practica Musica, exempla variorum signorum, proportionum et canonum,
judicium de tonis ac qwiedam de arte suaviter
et artificiose cantandi." This is a very
rare book, and contains much valuable
matter respecting the earlyhistory of music.
FINETTI, (GIACOMO) a Franciscan
monk and composer, born at Ancona. He
published much sacred music at Venice
in the early part of the seventeenth
century.
FINGER, (GOTTFRIED) a German musician, and chapel-master to king James
II. of England in 1685. He published an
opera in London in 1691, called " The
Judgment of Paris," and afterwards, on the
continent, various other dramatic music,
and some instrumental pieces.
FINK, (GOTTFRIED W I L H E L M ) born in

1783, in Thuringia. He has composed

many songs published at Leipsic, where he
now resides.
FIOCHI (VINCEUZO) was born at Rome
in 1767. He studied at Naples under

F IO
Fenaroli, at the conservatory of La Pieta,
after which he composed in Italy sixteen
operas, some of which were successful in
the performance. He was next appointed
organist to St. Peter's at Rome, from
whence he went to Paris about the year
1802, when he produced the opera " Le
Valet de deux Maitres." Since this time
he has been engaged in tuition in Paris,
and has also published, conjointly with
horon, " Les Principes d' Accompagnement."
FIOCCO,

(JOSEPH

HECTOR)

junior,

chapel-master to the French church at

Antwerp, published some motets and harpsichord music in 1730.
FIORAVANTI,

(VALENTINO)

a dra-

matic composer, born at Rome. He set

many comic operas for the Italian theatres,
between the years 1787 and 1810. Some
of his music is published at Birchall's,
namely, two songs from the opera of
" Camilla" one from " / due Baroni,"
and two from " II furbo contra il furbo."
Fioravanti is probably still residing at
Milan. In 1807, he was at Paris, and
brought out the opera, " / virtuosi ambu'anti," which had much success.
FIORAVENTA, (PIETA RO) a Roman
dramatic composer about the year 1787.
FIORE, a composer of motets, published
at Leyden in 1532.
FIORE, (ANGELO M A R I A ) an instru-

mental composer and violoncellist at Turin

in the year 1700.
-FIORE,

(STEFANO

ANDREA) chapel-

master to the king of Sardinia. He was a

good vocal and instrumental composer in
the early part of the last century.
FIORILLI, (AGOSTINO) a dramatic
composer of Palermo between the years
1783 and 1791.
FIORILLO (IGNAZIO) was born at
Naples in 1715. The name of his master is
unknown, but the method transmitted to
the pupil bespeaks that of Durante or
Mancini. After having composed several
operas in Italy, which were favourably
received by the public, Fiorillo was called
to Germany in consequence of the reputa247

FI S

FIR
tion he had acquired. He was appointed
chapel-master at Brunswick in 1754, where
he composed the music to Nicolini's ballets,
who then disputed precedence in this kind
of spectacle with the first ballet-masters in
Europe.
From this time the talents of
Fiorillo were specially sought in this style
of composition. He was subsequently engaged to direct the chapel at Cassel, where
he was equally successful. In 1780, he
obtained a pension from the elector, and in
the bosom of retirement and repose he
ended his days, in one of the villages near
the town of Wetzler, in the year 1787.
Piorillo is the author of many works which
have cemented the union of Italian melody
with German harmony. " Demofoonte,"
"Andromeda," and "Nikti" are regarded
as his best operas.
FIORILLO, (FEDERICO)

son of the

preceding, was a good violinist. He was

born at Brunswick in 1753, remained in
Poland some time, and was appointed
chef-d'orchestre to the theatre at Riga in
1783. From thence he went to Italy, and
afterwards to France, where he published
much violin music about the year 1785.
From Paris Fiorillo proceeded to London,
where his performance and compositions
were much admired, especially his trios,
which were thought little inferior to those
of Boccherini. The instrumental compositions of F. Fiorillo are very numerous,
and bear date from the year 1780 to 1800.
He also published " Etude de Violon,
formanttrente-six Caprices," a work of high
authority in the art of violin playing. We
have no account of his decease.
FIORINI, (IPPOLITO) chapel-master to
the duke Alphonso II. of Ferrara, composed
much sacred music about the year
1570.
FIORINI, (Giov. ANDREA) a Milanese,
pupil of the celebrated Leo, flourished about
the year 1750. He was chapel-master to
the cathedral of Milan, also to that of
Como. His compositions for the church
were much admired.
FIRNHABER, a pianist at Petersburg,
and native of Hildesheinij published, since
248

the year 1779, some piano-forte music at

Berlin.
FISCHER (JOHANN

NICHOLAS)

was

born in 1707 at Behlen, in the bailiwic of

Kosnigsec, in the county of Schwartzburg.
He was a violinist of some repute, and
served the duke Augustus William of
Brunswick in that capacity for nine months.
Amongst others of his compositions are the
following for the violin: " Six Symphonies
for two Violins, two Flutes, Viul, and Bass,"
" Six Concertos for the Violin," and" Two
Books of Solos for the Violin."
FISCHER, composer to one of the
theatres at Hanover, published some dramatic music in that town about the year
1795.
FISCHER, (A. J.) son of LudwigFischer,
is a celebrated buffo bass singer at Berlin.
He was born about the year 1782. He
resides at Cassel, and has composed some
piano-forte music, published at Offenbach
and Leipsic.
FISCHER, (CHRISTIAN FEIEDRICH) a

celebrated singer at Kiel about the year

1740.
FISCHER, (CHRISTOPH HEINRICH) a

musician at Brunswick, composed some

piano-forte music, of a popular description,
about the year 1792.
FISCHER, (FERDINAND) court-musician
at Brunswick, has published there much
instrumental music. In the year 1800, he
received a magnificent present from the
emperor Paul of Russia, for a military
cantata, composed on the occasion of the
emperor's birthday.
FISCHER, (GEORG

WILHELM)

com-

poser of piano-forte music in Germany, between the years 1784 and 1799.
FISCHER, (J.) composer of songs, published at Bonn in 1798.
FISCHER (JOIIANN) was born in
Suabia. He went very early to Paris, and
became copyist to the celebrated Lulli.
On leaving France, he engaged himself as
violinist at several of the principal towns in
Germany, and at length settled at Schwedt,
a town of Brandenburg, where he died at an
advanced age, towards the middle of the

F I S

PIS

last century. His compositions consist of

both vocal and instrumental music, published chiefly at Augsburg, Hamburgh, and
Berlin, and bearing date from the years
1681 to 1708.
FISCHER, (JOHANN ABRAHAM.)
FISHER.
FISCHER, (JOHANN

CASPER

See

FERDI-

NAND) chapel-master to, the margrave of

Baden, and pianist. He published much
vocal and instrumental music at Augsburg,
between the years 1696 and 1738.
FISCHER, (JOHANN CHRISTIAN) a ce-

lebrated performer on the hautboy, and

composer for his instrument and for the flute,
was a native of Friburg, in the Brisgau.
He resided for some years in London. In
the spring of the year 1800, while performing a solo part in his concerto at the queen's
house, after having executed his first movement 1 in a style equal to his best performance during any part of his life, in the
course of his adagio, he was suddenly seized
with an apoplectic fit, and fell down.
Prince William of Gloucester, observing the
accident, supported him out of the apartment, whence he was conveyed to his residence in Greek-street, Soho, where he expired in about an hour afterwards. The
king was very much affected, and had the
first medical assistance called to his aid. In
his last moments, Fischer desired that all his
manuscript music might be presented to his
majesty George the Third.
FISCHER, (JOHANN GEOKO) author of

a Latin work on vocal music, published at

Gottingen in 1680.
FISCHER,

(JOHANN

GOTTFRIED)

singer at Freyberg, since the year 1800.

He composed some vocal and instrumental
music, published at Leipsic and Dresden,
between the years 1785 and 1795.
FISCHER, (LUDWIO) a celebrated
singer at the Italian opera at Berlin, was
born at Mentz in 1745. His singing was
much admired both in Italy and Germany.
FISCHER, (Madame BARBARA) wife
to the preceding, was also a celebrated
singer in Germany at the latter end of the
last century.

FISCHER, (J. P . A.) a Dutch author of

some didactic works on music, published at
Utrecht in the year 1728.
FISH (W.) was born at Norwich in the
year 1775, and spent the early part of his
life as a practical musician in the theatre,
whilst holding which situation he composed
several bagatelles for the stage, which were
introduced and applauded, but were never
published. On leaving the theatre and determining, on his marriage, to reside in Norwich, he found it necessary to turn his attention more particularly to the piano-forte;
a study that he was the more stimulated to,
by his natural inclination for composition,
and which at that time he had an opportunity of cultivating under Hugh Bond, formerly organist of Exeter cathedral. Since
this period, Fish has exercised his profession
in various ways. On the death of his
former preceptor, the justly celebrated Michael Sharp, it fell to his lot to be appointed
to the situation he vacated as principal hautboy at the public concerts at Norwich, then
under the direction of the Rev. E. Glover.
On this instrument he continued to perform
several years, occasionally playing concertos.
The last five years he has been leading the
principal professional concerts at Norwich,
and the annual oratorios at the cathedral,
for the benefit of the Norfolk and Norwich
hospital, also himself giving series of concerts at intervals. The following is a list
of his principal works : Song, " To pity's
voice." Song, " Maid of the Vale." Song,
" How sweet were the days that are gone"
(words and music.) Song, " Shipwrecked
Sailor," (words and music.) Song, " When
in the tented field," (words andmusic.) Duet,
" The Lark," (words and music.) Glee,
" O thou that rollest above." Song, " Invocation to Sleep." Song, " Maria's Adieu."
Song, " Maid of Marlwall." Song, " Go,
balmy zephyr."
Song, " The Evening
Star." Song, " Joy to my love," (words by
Mrs. Opie.) " Grand Sonata, Piano-forte,"
Op. 1, dedicated to Miss Head. " Grand
Sonata, Piano-forte," Op. 2, dedicated to
Miss Lovelace. " Concerto, Hautboy,"
performed at the provincial meetings and
249

F IS
professional concerts. " Polonoise Rondo,
Piano-fortt" " Tekeli, as a Rondo, Pianoforte." " Life let us cherish, Harp," dedicated to Miss L. Woodbouse, " Nel cor
piu, Harp," dedicated to Miss Stracey.
" Winters of the Alps, Rondo, Piano-forte."
" Fantasia, Harp," dedicated to Miss
Beevor. " Introduction and Walts, Pianoforte," dedicated toMissLukin. " Montpellier Rondo," dedicated to Mrs. Opie,
(words by
(Manuscript) " A Cantata"
Mrs. Opie.)
" Grand Duet, Harp and
Piano forte," dedicated to Miss Jerningham
and Miss F. Jerningham. " Fantasie and
Rondo," dedicated to Lady Maria Belders.
FISHER,

(JOHN ABRAHAM) doctor of

music, was born in London in 1744. The

following are some of his compositions : 1.
" Monster of the Wood," opera, published
by Clementi.'2. " Sylphs," opera, published by the same. 3. " Canzonets,"
published by Broderip.4. " Nine Concertos for the Piano-forte," published by
Clementi and Broderip.5. " Four Concertos for the Hautboy," published by Clementi. 6. " Divertisements for two
Flutes," published by Clementi.7. "Violin
Solo," published by Clementi.8. " Violin
Trios," Ops. 1 and 2, published by Preston.
PISIN (JAMES) was born in Colchester,
and received the first acquirements of his
musical education under the tuition of the
well-known Frederick Charles Reinhold,
whose abilities and talents were highly appreciated by the most eminent professors of
his time.
After quitting Colchester, in the year
1776, he was so fortunate as to be placed
under the auspices of the late Dr. Burney,
from whom he experienced infinite advantages, as well from his friendship, as his
transcendent knowledge of music.
For many years Fisin was patronised by
the late sir Edward Walpole, from whose
exalted protection and benevolent attention he derived great benefit. In the
year 1801, in consequence of the ill state
of his health, Fisin fixed his abode at
Chester, in which city he resumed his professional pursuits, teaching and composing
250

F LE
music; there he remained three years, in
the enjoyment of much respect in a circle of
distinguished characters. At present he
resides in his native town, Colchester.
The following are among the published
works of Fisin: " One Set of Canzonets,"
dedicated to Miss Crew. " One Set of Canzonets," dedicated to Lady Vernon.
" Three Sets of Canzonets," dedicated to
Mrs. Wright. " Twelve Ballads," dedicated to Mrs. Norman. " Six Vocal Duets,"
dedicated to Lady Hume. " Three Glees
for four Voices," dedicated to Sir George .
Smart. " The Seasons, or Vocal Year,"
dedicated to the Princess Mary. " Judgment of Paris," dedicated to the Countess of Bridgewater. " Sacred Songs."
" Three Sonatas," dedicated to Mrs. Burney. " Three Sonatinas," dedicated to
Miss Graham ; besides a variety of. single
pieces.
FLACCIA, (MATTH^EO) a composer of
madrigals, published at Venice in 1568.
FLACKTON (WILLIAM) published some
solos for the violoncello, also some trios for
the violin, and piano-forte music, in London, about the year 1770.
FLAMMINI, (FLAMMINIO) a Roman
nobleman, published at Rome, in 1610,
" Villanelle, a une, duo, e tre Voci, con
Stromento e Chitarra Spagnola."
FLANDRUS, (D. ARNOLDUS) composer of madrigals, some of which were published at Dillengen, at the commencement
of the seventeenth century.
FLASCHNER, (GOTTHELF BENJAMIN)

a composer of songs, published at Zittau and

Leipsic, between the years 1789 and 1796.
FLATH, (P.) a flutist at Paris, has
published much music for his instrument,
since the year 1790.
FLAVINI, (SIGNOEA) a prima donna
at the Italian opera in Lisbon, in the year
1822.
FLECHE, (J. A. MARSEILLE DE LA)

gentleman of the chamber to the king of

Westphalia, at Cassel,in 1812, was born at
Marseilles in 1779. He is a celebrated
singer and amateur vocal composer. Pre
viously to the year 1811, he had composed

F L E

FOD

" Le Troubadour," opera, in two acts;

" L'Amour Paterno," a cantata; and a
great variety of romances.
FLECK, author of "The Art of Playing
the Harpsichord," published in the latter
part of the last century, by Clementi.
FLEISCHER,

(FRIEDHICH

GOTTLEE)

chamber-musician to the duke of Brunswick, and organist of that town, was born
at Gotha in 1722. He was considered, in
1790, as one of the first German pianists of
the school of Bach. He published much vocal
and instrumental music at Brunswick, where
he died in 1806, in his eighty-fifth year.
FLEISCHMANN, (FRIEDRICH) chapelmaster and private secretary to the duke of
Saxe-Meiningen, died, at an early age, in
1788. He published much music for the
piano-forte, in different towns of Germany.
Fleischmann was a man of letters, and of
considerable taste in the arts.

FLIESZ, (BEUNHAED) a composer of

piano-forte music, was born at Berlin, of
Jewish parents, in 1770. He has published
some piano-forte music at Berlin and Zerbst
since the year 1796, also some canzonets,
and an opera, called/' The Ridotto at Venice," which has been*successful at the Berlin theatre.
FLITTNER, (JOHANN) a clergyman at
Grimmen, in Pomerania, died in 1678. He
wrote a work on music.
FLOQUET (ETIENNE JOSEPH) was born

at Aix, in Provence, in 1750. After being

engaged in the choir of one of the churches
at Paris, from a very early age, and having
even attempted the composition of church
music, he went to Naples and studied under
Sala and P. Martini. Whilst at Naples, he
composed a " Te Demm" for a double orchestra, which the Italians much admired.
On his return to Paris, he devoted himself to
FLEISCHMANN, (JOHANN GEORC) the composition of dramatic music, and
violoncellist and chamber-musician to the brought out several operas, which were only
king of Prussia, has been celebrated in moderately successful. He died in 1785.
Germany since the year 1790, bothforhis
FLOR, (CHRISTIAN) a celebrated orperformance on his instrument and his com- ganist and composer at Lunenburg, in the
positions, none of which, however, have middle of the seventeenth century.
been published.
FLORIANI, (CHRISTOFFORO) a church
FLEISCHMANN, (JOHANN GOTTLIEB) composer in the last century.
FLORIO, (G.) a flutist, well known in
an organist at Leipsic, and composer for his
London as the protege" of Madame Mara,
instrument, since the year 1798.
FLEISCHMANN, (JOHANN NICOLAUS) was son of Pietro Grassi Florio, flutist in
organist at Gottingen, published some vocal the chapel at Dresden. Some of his music
and piano-forte music at that town, between has been published by Clementi and Broderip.
the years 1785 and 1794.
FLORSCHUTZ, (EUCHAR) a composer
FLETCHER, a good performer on the
of vocal and instrumental music, published
double bass, now living in London.
FLETCHER, (W.) a good performer on at Leipsic between the years 1792 and
1802. His duets for the piano-forte are
the tenor, now living.
FLETCHER, (Miss) a pleasing orches- much admired.
FOCKERODT, (JOHANN ARNOLD) a
-tra singer. She performed at the Birmingcomposer, born at Muhlhausen. His works,
ham musical festivities in 1820.
FLEURY, (C.) an instrumental com- which are chiefly for the church, are dated
poser at Paris, in the years 1802 and 1803. from the years 1692 and 1718.
FODOR, (ANTOINE) a French pianist,
FLEURY
(FRANCOIS NICHOLAS EE)
published a didactic poem on music, at and composer for his instrument. He left
Paris, in 1678. He also composed some France during the revolution, and settled
sacred music, and a method for the theorbo. for some time at Amsterdam, where, and at
FLEURY, a composer of music for wind Berlin, many of his works have been published, between the years 1795 and 1802.
instruments, is now resident at Paris.

251

FOG

PON

FODOR, (JEAN) elder brother to the and father of music and true ecclesiastical
preceding, was also a good violinist, and harmony.
FOGGIA, (RADESCA E I ) chapel-master
composer for his instrument. His works
are voluminous, and have been published and composer of some masses and motets,
at Paris and in Germany. He remained published at Venice in 1620.
FOGLIANO, (LODOVICO) author of a
some time at Petersburg, during the French
Latin work on the theory of music, published
revolution.
FODOR, (Madame MAINVILLE) an at Venice in 1529.
FOIGNET, (M., le pfere) composer of
accomplished Italian singer who performed
in this country in the seasons of 1817 and operas for the minor theatres of Paris, be1818.
She subsequently performed in tween the years 1787 and 1800.
FOIGNET, (le fils) a Parisian comParis, and from thence went to Italy, where
she has been received with much enthu- poser of operettas for the minor theatres,
siasm. She was at Vienna in 1823, in since the year 1800.
FOITA, (JOSEPH) master of the high
which capital her popularity was also very
great. Madame Fodor made her dtbut school at Prague, known as a violinist there
at Vienna in the character of Desdemona, since the year 1796.
in Rossini's Otetto, Donzelli performing
FOLIANO. See FOGLIANO.
Otello, Ambrogi, Elmira, and David, RodFONSECA, (CHKISTOVAN DE) a Porturigo. Educated in a fine school, Madame guese monk and composer of church music,
Fodor has obtained such flexibility of voice, died in 1728.
that every passage in her singing is exeFONTAINE, an eminent French violinist,
cuted with indescribable lightness and ten- now living in Paris. He has published
derness. It has been said of her at Vienna, some music for his instrument. A fantasia
that her ability consists in making art and a military air, composed and performed
appear like artlessness.
by him lately, at the new Philharmonic
FOERSONIS, a pianist, resident at society in Paris, received great approbation.
It is in a great measure to his activity,
Copenhagen.
FOERSTER, (CHRisTOPn)a celebrated perseverance, and love of his art, that the
instrumental and church composer in above society is indebted for its existence.
FONTAINES, (R. DES) a French poet
Germany at the commencement of the last
and composer of songs, at the end of the
century. His works are very voluminous.
FOERSTER, (EMANUEL ALOYSIUS) seventeenth and beginning of the last cenchapel-master at Vienna, where he has com tury.
posed much vocal, piano-forte, and church
FONTANA, (BENIGNUS) a composer
music, since the year 1790. He has also of sacred music at Goslar, in Lower Saxony,
written a treatise on thorough-bass.
in the first half of the sixteenth century.
FOERTSCH, (JOHANN P H I L I P / ) a
FONTANA, (FABRITIO) an Italian comdramatic poet and composer at Lubec, poser and organist, was born at Turin in
towards the end of the seventeenth cen- 1650, and published some music for his
tury.
instrument at Rome in 1677.
FOGGIA, (FRANCESCO) of Rome, a
FONTANA, (GIOVANNI BATTISTA) a
pupil of Paolo Agostino, from 1645 to 1681. composer of instrumental music in 1660.
In his youth, he was several years in the
FONTANA, (GIOVANNI STEPHANO) a
service of the court of Bavaria, and of the composer of sacred music in Italy, in the
archduke Leopold, afterwards emperor ; first half of the seventeenth century.
but returning to Rome, he was appointed
FONTEI, (NICOLO) a composer of
maestro di capella to the church of St. John church music, published at Venice in the
Lateran, and other great churches in that first half of the seventeenth century.
city. Antonio Liberati calls him the prop
FONTENELLE, a French dramatic
252

FOR

F O Y

composer. His principal work, the opera of

" Hecuba," was brought out in 1799, but
most of the music is said to have been borrowed from Gluck and Sacchini. He has
also composed some admired violin music.

9. " General Literature of Music, or Instructions for knowing the Books on Music
which have been published in Europe, from
the earliest Ages to the present Time; drawn
up in the Form of a Dictionary, and accompanied by Notes and Critical Discussions."Besides his merits as an author on
the science of music, Forkel was an excellent
pianist of the school of Bach, of whom he
has published a life, with a critical view of
his compositions. Forkel lias also composed
much vocal and instrumental music.
FORNAS, (PHILIPPE) a French musician, published " L'Art du Plain-chant,"
in 1672.
FORQUERAY, (J. B.) a French violinist and composer for his instrument,
towards the middle of the last century.

FORCHEIM, (JOHANN

WILHELM)

Saxon composer about the year 1670. He

was organist and vice chapel-master to the
elector of Saxony.
FORD, (THOMAS) one of the musicians
in the suite of prince Henry, the son of
king James I., was the author of some
canons and rounds, printed in Hilton's collection, and also of a work entitled " Musicke of sundre Kinds, set forth in two
Books, S(c." This work was published in
folio, in the year 1607. Thomas Ford composed the beautiful madrigal, " Since first I
FORSTER. See FOERSTER.
saw your face."
FORSTER, (GEORG) chapel-master at
FORDE, (Miss) a pleasing singer and
Dresden, and composer of church music,
actress at Drury-lane theatre.
FORESTER, (CONTE LE) an amateur died in 1537.
FORSTMEYER, (A. E.) chamber-muviolinist and composer at Brunswick. He
sician at Carlsruhe, published some instruwas a pupil of Viotti.
FORKEL, (JOHANN NICOL.) a doctor mental music at Manheim about the year
of philosophy, and director of the music at 1780.
FORTIA D E PILLES, (ALPHONSE)
the university of Gottingen, was born in
1749. His knowledge of musical literature governor of Marseilles, was born in that
is universally allowed to be very extensive, city in 1758. He studied composition under
and his theoretical works on that science, Ligory, a Neapolitan pupil of Durante.
are considered as the highest authority Fortia composed four operas, which were
among modern musicians. The following performed at Manci. He also published
list embraces his principal works : 1 . " Uber much instrumental music.
FORTUNATO, (GIOVANNI FRANCESCO)
die Theorie der Musik," (the Theory of
Music) Gottingen, 1774, in 4to.2. " Mu- a dramatic composer at Placenza, between
sicalis Kritische Bibliothek," Gotha, 1778, the years 1783 and 1791.
FORZELINI, an Italian dramatic com3 vols. 8vo.3. " On the better Arrangement of Public Concerts," Gottingen, 1779, poser about the year 1750.
FOSCONI, (TOMASO) a Carmelite monk
in 4t 0 .4. " A Definition of certain Musical Ideas," Gottingen, 1780, in 4to. and composer of Rauenna, published some
5. " Almanack of Music, for 1782, 3, 4, motets at Venice in 1642.
FOUGAS, a professor of the bassoon, and
and 9."6. " AUgemeine Geschichle der
Musik"
(General History of Music) composer for his instrument at Paris.
FOURNIER, a French dramatic comLeipsic, 1781, 2 vols. 4to. This is Forkel's
most celebrated work ; it contains the his- poser, brought out the opera, " Les deux
tory of ancient as well as modern music. Aveugles de Bagdad," at Paris, in 1782.
FOY was many years a professor of
7. " History of the Italian Opera, translated from the Italian, with Notes)" Leipsic, music at Dorchester, Dorset, and his many
1789, 2 vols. 8vo.8. " Numerous Critiques virtues deserve to be handed down to postein the Literary Journal of Gottingen," rity. He was of a truly religious, and con253

FOY

F RA

Sequently of a very friendly disposition.

His hospitality was so great, that it became
almost proverbial. He was a great friend
to the poor, and, indeed, if he could render
service to any one, it always afforded him
the greatest pleasure. Foy was a fine performer on the violin. He died suddenly in
London, while on a visit, in 1820.

him; and though he was not at this time

eighteen years of age, he, by his teaching,
managed to support the family in a very
respectable manner. He used to lead the
concerts which were given at Dorchester,
In the year 1823, he gave a musical festival
in that town, when two new overtures of
his own composition, for a full orchestra,
were performed, and the reception they met
with must have been truly gratifying to his
feelings. Having had several very advantageous offers made him to reside in
London, we understand he intends settling
in the metropolis. The following is a list
of his compositions, none of which have, as
yet, been published, but may be expected
to appear shortly : ' ' Three Concertos for
the Harp," " Three Overtures for a full
Orchestra," " Thirteen single Songs, some
of which have Orchestral Accompaniments,"
" Three Vocal Duets" " Four single Glees,
for three and four Voices." " One Quartetlo
and Chorus," " Two Sacred Pieces,"
" Four Fantasias for the Harp," " One
Fantasiafor the Piano-forte," " Two Duets
for Harp and Piano-forte," and " One
Quartetto for Harp, Flute, Clarionet, and
Bassoon."

FOY,

(JAMES)

son of the preceding.

From the early proofs which he manifested

of a talent for music, his father determined
to bring him up to that profession, and
commenced teaching him the piano-forte.
In the year 1814, when the late lamented
princess Charlotte was on a visit to Abbotsbury castle, in Dorsetshire, the seat of the
countess dowager of Ilchester, her ladyship introduced Foy to play the piano-forte
to the princess. Her royal highness was
delighted with his performance. His father,
in some of the pieces, accompanied him on
the violin. The princess was extremely
affable to both father and son, and thought,
from the boy's performance on the pianoforte, he had studied under the first masters
in London ; but was astonished to find that
the father had been his only instructor. Foy
was from this time a great favourite with
the princess ; she frequently observed how
much she was delighted with his performance and interesting manners. He shortly
after sent her royal highness apiece of his
composition, the first he ever wrote : she
was highly pleased with it, and desired the
countess dowager of Ilchester to write to
his father to that effect; and there is no
doubt, if that beloved princess had lived to
have reached the throne, she would have
rendered Foy great service. He continued
to practise the piano-forte and to compose,
and some time afterwards he commenced
learning the harp ; and through the kindness
of his uncle, William Maddick, Esq. of
London, who took great interest in his welfare, he was enabled, in his occasional visits
to the metropolis, to study the harp, pianoforte, and the rules of composition, under
the most celebrated masters. When his
father died, the maintenance of his mother,
three brothers, and a sister, devolved on
354

FRAENZL, (IGNAZ) chef-d'orchestre at

the Manheim theatre in 1790, was a good
violinist. H s has published some music for
his instrument.
FRAENZL,

(FERDINAND)

son to the

preceding, is more celebrated as a violinist

than his father. He was residing some time
at Naples, and published there some music
for his instrument. Since his return to
Germany, many of his compositions have
been printed at Berlin and Offenbach.
They consist of both vocal and instrumental music. In 1803, F. Fraenzl went
to Petersburg, where, we believe, he still
resides.
FRAGMENGO,

(PHILIPPO)

a com-

poser of madrigals, published at Venice in

1584.
FRAMERY,

(NICOLAS

ETIENNE)

French writer on music. He wrote the

article Musiuue, in the Encyclopedic Me1thodiaue. He also published, in 1802,

P RA

FEE

* Discours qui a remporU le Prix de Lit- and several operas. He died at Paris in
tirature et Beaux Arts de Vlnstitut Na- 1787, aged eighty-nine.
tional de France,"
Framery also wrote
the music, as well as the words, of " La
Sorciere par hazard," an opera, performed
at Paris in 1783.
FRANC, (GUILLAUME) one of the fifty
musicians who composed the tunes to the
French version of psalms by Marot. These
tunes were first printed at Strasburg, in
the year 1545, and were afterwards, with
several others, set in parts by Bourgeois and
Gondimel.
FRANCESCHI,

(D. FRANCESCO)

an

Italian writer on music, and editor of an

edition of the worts of Metastasio, with
copious notes on the subject of music, published at Lucca in 1789. This work is
considered by the Italians as a chef-d'osuvre
in musical literature.
FRANCESCHINI, (ANTONIO) a Nea-

FRANCCEUR, (Louis) first violin at

the opera at Paris, died in 1745. He was
generally called I'konnete homme.
FRANCCEUR, (Louis JOSEPH) eldest
son of Louis Francceur, was born at Paris
in 1738. He was educated by his uncle,
Francois Francceur, who placed him at the
opera, as a violinist, in 1752. In 1767, he
was appointed chef-d'orchestre at the opera.
In 1772, Francceur published a work entitled " Diapason de tons Ics Instrumens cL
vent." He also composed some operas.
FRANCUS, (JOANNES) a composer of
sacred music published at Augsburg in
1600.
FRANSECHINI published some music
at Berlin in 1790. He was probably a
violinist, resident in Holland.
FRANSZ, (R. W.) a composer of songs
published at Dresden in 1810.

politan dramatic composer between the

FRANZ, (JOHANN CHRISTIAN) a singer
years 1783 and 1791.
FRANCHI, (PIETRO) an Italian instru- and vocal composer at Berlin, was born in
mental composer, published some sonatas at 1762. He published twelve songs in 1795,
Amsterdam towards the close of i.he last and is also the author and composer of the
operetta " Edelmuth and Liebe," produced
century.
at Berlin in 1805.
FRANCHINUS. See GAFFUHIUS.
FRANZONI, (AMANTE) a composer of
FRANCIA, (GHEGORIO) a composer.
FRANCISCHELLO, a very celebrated madrigals, published at Venice at the beItalian violoncellist at the commencement ginning of the seventeenth century.
FRASI, (GIULIA) an Italian singer at
of the last century.
FRANCISCI, a composer of some guitar the opera in London in 1743.
FPvEDDI, (AMADEO) chapel-master at
music, published by Clementi, in London:
Padua, published four operas of sacred mupreviously to the year 1800.
FRANCK, (JOHANNWOLFGANG) a com- sic at Venice, between the years 1617 and
poser of dramatic and instrumental music 1642.
FREISLEBEN, a German musician at
chiefly published at Hamburgh between ths
Paris, published there some duos for the
years 1679 and 1686.
FRANCK, (MELCHIOR) a celebrated flute about the year 1784.
FREISLICH,
(JOHANN
BALTHASAE
German church and secular vocal composer.
His works, which are very numerous, and CHRISTIAN) chef-d'orchestre at Dantzic in
chiefly written in the Latin language, wer< 1731. He composed much chamber and
published at different towns of Germany church music, very little of which has been
between the years 1600 and 1636. He died published.
FRENEUSE, (J. L.) a writer in defence
in 1639 at Cobourg.
of the French school of music against the
FRANCCBim, (FRANCOIS) chambe;
musician to the king of France, was born a1 Italian, at the commencement of the last
Paris in 1698, He was a good violinistj century.
FRERE, (ALEXANDRE) member of the
and composed some instrumental
255

F R E

F R E
academy of music at Paris, in the early
part of the last century. He published, at
Amsterdam, " Transpositions de Musique,
reduites au nature!, par le Secours de la
Modulation. Avecune Pratique des Transpositions irre'gulierement e'crites, et la Maniere a"en surmonter les Difficulte's."
FRERON

(ELIAS CATHAEINA)

was a

Jesuit, born at Quimper in 1719. He published at Paris, in 1753, "Deux Lettres sur
la Musique Francaise, en riponse a celle de
J. J. Rousseau."
FRESCHI,

(GIOVANNI DOMENICO)

monk, born at Vicenza. He was chapelmaster, and a much admired church and
dramatic composer at Venice. His publications bear date from the year 1660 to
1685.
In 1680, the opera of " Berenice,"
set by this composer, was published at Padua
in a most splendid manner. There were
choruses of one hundred virgins, one hundred soldiers, one hundred horsemen in
iron armour, forty cornets of horse, six
trumpeters on horseback, six drummers, six
ensigns, six sackbuts, six great flutes, six
minstrels playing on Turkish instruments,
six others on octave flutes, six pages, three
jerjeants, six cymbalists, twelve huntsmen,
twelve grooms, six coachmen for the triumph, six others for the procession, two
lions led by two Turks, two elephants by
two others, Berenice's triumphal car drawn
by four horses, six other cars with spoils
and prisoners drawn by twelve horses, and
six coaches for the procession. Among the
scenes and representations, in the first act
was a vast plain with two triumphal arches,
another with pavilions and tents, a square
prepared for the entrance of the triumph,
and a forest for the chase.
Act second, the royal apartments of
Berenice's temple of vengeance, a spacious
court, with a view of the prison, and a
covered-way for the coaches to move in procession.Act third, the royal dressingroom completely furnished, stables with
one hundred live horses, a portico adorned
with tapestry, and a delicious palace in
perspective. In addition to all these attendants and decorations, at the end of the first
256

act there were representations of every kind

of chase, as of the wild boar, the stag, deer,
and bears; and at the end.of the third act,
an enormous globe descends from the sky,
which, opening, divides itself into other
globes, suspended in the air, upon one of
which is the figure of Time, on the second
that of Fame, on others Honour, Nobility,
Virtue, and Glory.
FRESCOBALDI, (GIROLAMO) a native
of Ferrara, was born in the year 1601, and at
about the age of twenty-three was appointed
organist of the church of St. Peter's at
Rome.
Frescobaldi is not less celebrated for his
compositions for the organ than for his
great powers of execution on that instrument. He was the first of the Italians who
composed for the organ in fugue; and in
this species of composition, originally invented by the Germans, he was without a
rival. He may be truly considered the
father of that styl e of organ-playing called
by the Italians toccatas, and by the English
voluntaries.
In the year 1628, Bartolomo Grassi,
organist of St. Maria in Acquirio, at Rome,
published a work of Frescobaldi, entitled
"InPartitura il Primo Libra delle Canzoni,
a une, tre, e c/uatro Voci, per sonare conongni Sorte di Stromenti." From the title,
it seems that these were originally vocal
compositions, but that Grassi, for the improvement of those who were employed in
the study of composition, had rejected the
words and published the music in score. In
this form they met with so favourable a
reception from the public as to be twice
reprinted.
Another work of Frescobaldi was printed
at Rome, in 1607, entitled " II Secondo
Libra di Toccata Canzone, et altre Partite,
a" Intarolatura di Cimbalo et Organo."
FREUBEL, (J.L.P.L.) an instrumental
composer, some of whose works were published at Berlin between the years 1797 and
1802. Freubel was chef-d'orchestre at the
Amsterdam theatre in 1804.
FREUND, ( P H I L I P P ) an instrumental
composer at Vienna since the year 1798.

P R I
FREUNDTHALER,

(CAJLTAN) com-

poser of church and instrumental music at

Vienna, previously to the year 1799.
PREY, a celebrated violinist of Manheim.
FREYSTAEDTLEll, ( F R . JAC.) a composer for the piano-forte at Vienna between
the years 1791 and 1801.
FREYTAG, (F. M.) composer of some
songs published at Leipsic in 1790.
FRIBERTH, (CARLE) chapel-master
of the Jesuits' church at Vienna. He
composed some church music. Friberth
was a friend of Haydn, and furnished many
of the particulars published in his life.
- FRICHOT, inventor of the bass horn.
In the year 1800 was published, in London,
a work entitled " A complete Scale and
Gamut of the Bass Horn, a new Instrument, invented Sy Mr. Frichot, and manufactured by G. Astor.
FRICK, ( P H I L I P JOSEPH) formerly or-

ganist at the court of the margrave of Baden,

performed curiously well on the harmonica ; he was also a good pianist. He died
at London in 1798. Frick published in
England, 1. "Treatise on Thorongh-bass,"
London, 1786.2. " On Modulation and
Accompaniment." This work was afterwards translated into French. He also pub
lished some piano-forte music.
FRIDERICI or FRIEDRICH, ( D A NIEL) a singer and composer of vocal
music, at Rostock, between the years 1614
and 1624.
FRIDZERI.

See FRITZEEI.

FRIEDBERG, a German composer, attached to prince Antony Esterhazy, at the

time that Haydn resided with him.
FRIEDEL, (S. L.) a violoncellist of the
royal chapel at Berlin, and instrumental
composer, about the year 1798.
FRIEDL.

See FHIEDEI..

FRIEDRICX, (IGK.) a Benedictine

monk, was an excellent violinist and violoncellist, also a composer for his instrument.
He died at Prague in 1788.
,FRILING, a composer of some pianoforte music. He resides at Hamburgh.
FRISCHMUTH, (JOIIANN CHRISTIAN)
VOL.1.

P II 0
a violinist a' Berlin, and composer for his
instrument! He also brought out some dramatic pieces. He died in 1790.
FRITZ, (GASPER) an excellent violinist
and composer for his instrument, was living
at Geneva in 1770.
FRITZ, (BArtTiiriLn) a musical instrument maker. He was the author of a work
entitled " Anweisung, fyc." i. e, " Guide to
Temperament," published' at Leipsic in
1757.
FROBE, (L. G.) a musician at Leipsic,
published there, in 1798, an air, with variations for violoncello and tenor.
FROBERGER, (JOHN JACOB) a pupil

of Frescobaldi, and organist to the emperor

Ferdinand Hi'., flourished about the year
1650. He was an excellent performer on
the organ and harpsichord, and his compositions for those instruments have been
highly applauded. He is said to have been
partial to imitations in music of different
occurrences in life, to which he had the
power of giving great expression.
FROEHLTCH, (JOSEPH) a professor of
music at Wurtzburg, was born there in
1780. He has written some works on the
theory of music, also several compositions for the church, and much instrumental
music.
FROMENT, a French composer of operettas, at Paris, between the years 1787 and
1800.
FROST (EDWARD) was born at Hadleigh, in Suffolk, in 1781, in which place he
resided till the age of thirteen, when the
following circumstance occurred, that excited his great uneasiness. Having been,,
during two years, one of the singing-boys
at the parish church, (an acquirement he
was very proud of) his voice on a sudden
gave way and he became incapable of
singing his part, which so affected his spirits
that he secretly resolved to quit his native
place. An opportunity soon occurred enabling him toputhis resolve into execution :
a recruiting party arrived in the neighbourhood, and he engaged, unknown to his
parents, as a fifer, having previously learnt
to play a few tunes on that instrument. His
s
257

FRO

VC
common chord, the chord of the seventh
&c. and their inversions, with their regular
progressions in harmony.
This pursuit,
however, opened a new field for him: he
therefore rearranged all his former pieces on
a new plan, with which he was much better
pleased, as were also his friends. He was
now naturally elated with his success, and
could he, at this period, have had the assistance of a good theorist, his exertions would
probably have been successful, as he felt
sufficient stimulus to urge him on. Instead
of which he had every thing to gain by slow
experience, a circumstance that, of course,
retarded his progress; for he found, that, to be
able to arrange music effectively for a band,
it required aknowledge of the various instruments to be introduced, and this he was not
able to obtain till he was appointed master,
which situation he enjoyed about twelve
years; when, by experience, he found that
even the worst performer in a band may be
set off to the best advantage. After enjoying this situation till the close of the
war, and the subsequent disembodying of
the regiment, he had to provide for his
family by his professional exertions as a
teacher, which occupation he still continues.
His success proves that it is not always necessary for an instructor to be a first-rate
performer ; but that diligent perseverance
in the pupil, and regular attendance of the
master, are the chief essentials to perfection
on any instrument. His efforts in composition, while in the army, were chiefly confined to military pieces, with, occasionally, a
simple song or a glee ; these, with his duties
in the band, occupied all his time. He has
since, however, published some symphonies
and piano-forte music, and intended to
adapt new melodies to Brady and Tate's
version of the psalms, but never had time
to complete more than half of them.

friends soon applied to the duk of York for

his discharge, who readily assented to their
wishes ; but as he had a taste for a new
life, and was moreover attached to any
thing musical, he was reluctant to leave
his new employment : they therefore relin
quished their wishes for the present, thinking that the boy would soon be solicitous
for his liberation ; in which, however, they
were mistaken, for, on his learning to play
a little on the clarionet, he was sufficiently
amused, and found himself agreeably surprised at being selected as one in forming a
band in the regiment, about four years after
entering it. He now began to feel the
effects of harmony, (not having heard a military band before) and dirc-ctly set about
composing marches and other military
pieces, in which he succeeded tolerably well
as to the melodies, but the arrangements in
parts were certainly curious; for, having
heard musicians talk of discords without explaining their relations to harmony, he imagined that no two intervals, disagreeing in
themselves, could be tolerated together;
his chief care, therefore, was to avoid all
discords, consequently his productions were
monotonous enough. A circumstance, however, soon occurred which a little undeceived him in this respect; for having accidentally added the flat seventh to the common chord on the dominant at the close of
one piece, and the resolution being, by good
luck, regular, he was particularly struck
with the effect it produced on his ear, and
proceeded immediately to examine the parts,
which he found not to correspond with his
system. He therefore altered them; but as
the common chord did not satisfy his ear so
well, he was induced to let the former remain, thinking that no one would find out
the mistake, (supposed) it being, as he
thought, such an agreeable one. Not long
after this, a friend lent him an old publicaFRUH, (G. GOTTLIEB) organist at Muhltion on the principles of music ; he knew
not the author, as the titlepage, with a few hausen, and instrumental composer, about
of the first leaves, was lost. This, however, the year 1783.
FUCHS, a violinist in the imperial chapel
he found, required much dry study, and
having no one to press him to persevere, he at Vienna, in 1796. He was reckoned an
merely informed himself of the use of the excellent concerto player.
FUCHS, (GEORGFBIEDRICH) a German
258

GAB

GAB

instrumental composer at Paris, was born

about the year 1770. He has published
much instrumental music since the year
1790.
Most of his compositions are for
wind instruments.
FUCHS or FUX, (PETER) a violinist in
the imperial chapel at Venice, and composer
for his instrument, since the year 1790.
FUEGER, (GOTTLIEB CHRISTIAN) born

at Heilbronn in 1749, published at Zurich,

in 1783, a work entitled " Characteristiche
klavier stiicke."
FUERSTENAU, a celebrated flutist at
Oldenburg in 1801, was born at Munster in
1770. He has published much instrumental
music, chiefly at Offenbach, since the year
1802. At present, he is first flute of the
Saxon chapel royal, and is a much admired
performer.
FUETSCH, (JOACHIM JOSEPH) chamber-

musician and violoncellist at Salzburg, was

born therein 1766. He has composed much
music for his instrument, none of which, we
believe, is published.
FUNCK, first violoncello to the king of
Denmark. He performed concertos on his
instrument at Vienna, in 1823, with very
great applause.
FURCHE1M,

(JOHANN W U H E L M )

composer of the seventeenth century, published some instrumental music at Dresden

in the years 1674 and 1687.
FUX, (ERNST) an organist, probably resident at Vienna, where he published some
violin music previously to the year 1799.
FUX (JOHANN JOSEPH) was a native of

Styria, a province of Germany, in the circle

of Austria, and chapel-master to the emperor
of Germany, Charles VI. In 1701, he
published, at Nuremburg, a work entitled
"ConccntusMasico Inslrumentalis, in septem
Partitas divisus." He also composed several operas, among others one called
" Eliza," on the occasion of the birth of the
empress Elizabeth Christiana: this was
printed at Amsterdam. Fux, however, is
better known to the world by his " Gradus
ad Parnassian, sive, Manuductio ad Compo~
sitionem Musicce regularem, Methodo novel
ac certa nondum ante tam exacto ordine
in lucem edita" printed at Vienna in the
year 1725, and dedicated to the emperor
Charles VI., who defrayed the whole expense of the publication. This work, which
has been translated into Italian, is, up to
the present moment, the guide of all the
masters and schools of Italy. Fux died
about the year 1750.

G
GAA or GAH, (G. M.) a good violinist
and pianist at Heidelberg in 1803. He
published at Manheim, in 1798, "Six
Ausgesuchte. Lieder."
GABLER, (CHRISTOPHER AUGUST) a

vocal and instrumental composer at Revel,

has published much music at Leipsic, be
tween the years 1788 and 1802.
GABLER, (MATTHIAS) born at Spalt, in
Franconia, in 1726, published at Ingolstadt,
in 1776, a treatise, in 4to., on the tone of
instruments. He died at Wembdingen in
1805.
GABRIELI, (ANDREA) a celebrated
organist of St. Mark's church at Venice,
flourished in the second half of the sixteenth

century. He published many madrigals,

and church music, at Venice, between the
years 1572 and 1590.
GABRIELI, (DOMENICO) a dramatic
composer at Venice in the latter part of the
seventeenth century.
GABRIELI, (FRANCESA) of Ferrara,
was a pupil of Saechini in 1770, at the conservatory of the Ospedalctto, at Venice. In
1786, she sang at the opera in London, and
was second only to Madame Mara.
GABRIELI, (GIOVANNI) a celebrated
composer and organist of St. Mark's church
at Venice, died in 1612. He published
much sacred and other vocal music at
Venice.

s2

259

GAB

GAB
GABRIELI, (CATIIAKINA) one of

the

most celebrated singers of the eighteenth

century, was born at Rome in 1730. She
was a pupil of Porpora and Metastasio, and
was famed for her astonishing capricci. Of
this extraordinary woman, Brydone thus
speaks, in his TOUT through Sicily and
Malta, vol. ii. p. 319 : "The first woman is
Gabrieli, who is certainly the greatest
singer in the world, and those that sing on
the same theatre with her must be capital,
otherwise they never can be attended to.
This indeed has been the fate of all the performers, except Pacherotti, and he too gave
himself up for lost on hearing her performance. It happened to be an air of execution, exactly adapted to her voice, in which she
exerted herself in so astonishing a manner,
that, before it was half done, poor Pacherotti burst out a crying, and ran in behind
the scenes, lamenting that he had dared to
appear on the same stage with so wonderful
a singer, where his small talents must not
only be lost, but where he must ever be accused of presumption, which he hoped was
foreign to his character. It was with some
difficulty they could prevail on him to appear again ; but from an applause well
merited, both from his talents and his modesty, he soon began to pluck up a little
courage ; and in the" singing of a tender air,
addressed to Gabrieli in the character of a
lover, even she herself, as well as the audience, is said to have been moved. T! e performance of Gabrieli is so generally known
and admired, that it is needless to say any
thing to. you on that subject. Her wonderful
execution and volubility of voice have long
been the admiration of Ttaly, and has even
obliged them to invent a new term to express it, and would she exert herself as
much to please as to astonish, she might almost perform the wonders that have been
ascribed to Orpheus and Timotheus ; but it
happens, luckily perhaps for the repose of
mankind, that her caprice is, if possible, even
greater than her talents, and has made her
still more contemptible than these have
made her celebrated. By this means, her
character has often proved a sufficient anti260

dote, both to the charms of her voice and

those of her person, which are indeed almost
equally powerful ; but if these had been
united to the qualities of a modest and an
amiable mind, she must have made dreadful
havoc in the world. However, with all her
faults, she is certainly the most dangerous
siren of modern times, and has made more
conquests, I suppose, than any one woman
breathing. It is but justice 'to add, that,
contrary to the generality of her profession,
she is by no means selfish or mercenary,
but on the contrary has given many singular
proofs of generosity or disinterestedness.
She is very rich, from the bounty, as is supposed, of the last emperor, who was fond of
having her at Vienna ; but she was at last
banished that city, as she has likewise been
most of those in Italy, from the broils and
squabbles that her intriguing spirit, perhaps
still more than her beauty, had excited.
There are a great many anecdotes concerning her, that would not make an unentertaining volume, and, I am told, are, or will
soon be published. Although she is considerably upwards of thirty, on the stage she
scarcely appears to be eighteen ; and this art
of appearing young, is none of the most contemptible she possesses. When she is in goodhumour, and really chooses to exert herself,
there is nothing in music I have ever heard
to be compared to her performance ; for she
sings to the heart as well as to the fancy,
when she pleases, and she then commands
every passion with unbounded sway. But
she is seldom capable of exercising these
wonderful powers ; and her caprice and her
talents exerting themselves by turns, have
given her, all her life, the singular fate of
becoming alternately an object of admiration and contempt. Her powers in acting
and reciting are scarcely inferior to those of
her singing : sometimes a few words in the
recitative, with a simple accompaniment
only, produces an effect, that I have never
been sensible of from any other performer,
and inclines me to believe what Rousseau
advances on this branch of music, which
with us is so much despised. She owes
much of her merit to the instruction she

GAB
received from Metastasio, particularly in
acting and reciting ; and he allows that she
does more justice to his operas than any
other actress that ever attempted them. Her
caprice is so fixed and stubborn, that neither
interest, nor flattery, nor threats, nor punishments, have the least power over it; and it
appears, that treating her with respect or
contempt have an equal tendency to increase it. It is seldom that she condescends
to exert these wonderful talents ; but most
particularly if she imagines that such an
exertion is expected. And instead of singing her airs as other actresses do, for the
most part she only hums them over, a mezzo,
voce; and no art whatever is capable of
making her sing when she does not choose it.
The most successful expedient has ever been
found, to prevail on her favourite lover, for
she always has one, to place himself in the
centre of the pit or the front box; and if
they are on good terms, which is seldom the
case, she will address her tender airs to him,
and exert herself to the utmost. Her present inamorata promised to give us this
specimen of his power over her. He took his
seat accordingly; but Gabrieli, probably
suspecting the connivance, would take no
notice of him: so that even this expedient does
not always succeed. The viceroy, who is
fond of music, has tried every method with
her to no purpose. Some time ago he gave
a great dinner to the principal nobility of
Palermo, and sent an invitation to Gabrieli
to be of the party. Every other person arrived at the hour of invitation. The viceroy
ordered dinner to be put back, and sent to
let her know that the company waited her.
The messenger found her reading in bed.
She said she was sorry for having made the
company wait, and begged he would make
her apology, but that really she had entirely
forgot her engagement. The viceroy would
have forgiven this piece of insolence, but,
when the company came to the opera, Gabrieli repeated her part with the most perfect negligence and indifference, and sung
all her airs in what they call sotto voce,
that is, so low, that they can scarcely be
heard, The viceroy was offended; but as

GAB
he is a good tempered man, he was loth to
make use of authority; but at last, by a
perseverance in this insolent stubbornness,
she obliged him to threaten her with punishment in case she any longer refused to sing.
On this she grew more obstinate than ever,
declaring that force and authority should
never succeed with her ; that he might make
her cry, but that he never could make her
sing. The viceroy then sent her to prison,
where she remained twelve days: during
which time she gave magnificent entertainments every day, paid the debts of all the
poor prisoners, and distributed large sums
in charity. The viceroy was obliged to give
up struggling with her, and she "was at last
set at liberty amidst the acclamations of the
poor. Luckily for us, she is at present in
good-humour, and sometimes exerts herself
to the utmost of her power. She says she
has several times been on terms with the
managers of our opera, but thinks she shall
never be able to pluck up resolution enough
to go to England. What do you think is
her reason? It is by no means a bad one.
She says she cannot command her caprice,
but for the most part that it commands her;
and that there she could have no opportunity of indulging it. For, says she, were I
to take it into my head not to sing, I am
told the people there would certainly mob
me, and perhaps break my bones; now I
like to sleep in a sound skin, although it
should even be in a prison. She alleges, too,
that it is not always caprice that prevents
her from singing, but that it often depends
upon physical causes. And this, indeed, I
can readily believe: for that wonderful flexibility of voice, that runs with such rapidity
and neatness through the most minute divisions, and produces almost instantaneously
so great a variety of modulation, must surely
depend on the very nicest tones of the
fibres. And if these are in the smallest degree relaxed, or their elasticity diminished,
how is it possible that their contractions
and expansions can so readily obey the will,
as to produce these effects 1 The opening
of the glottis which forms the voice is extremely small, and in every variety of tone,
261

GAB
its diameter must suffer a sensible change;
for the same diameter must ever produce
the same tone. So wonderfully minute are
its contractions and dilatations, that Dr.
Keil, I think, computes that, in some voices,
its opening, not more than the tenth of an
inch, is divided into upwards of 1200 parts,
the different sound of every one of which is
perceptible to an exact ear. Now, what a
nice tension of fibres must this require ! I
should imagine even the most minute change
in the air must cause a sensible difference,
and that in our foggy climate the fibres
would be in danger of losing this wonderful
sensibility, or, at least, that they would very
often be put out of tune. It is not the same
case with an ordinary voice, where the variety of divisions run through, and the volubility with which they are executed, bear no
proportion to those of a Gabrieli."
Gabrieli, nevertheless, came to England
in the season of 1775-1776, and Dr.
Burney, amongst other more minute particulars, speaks of her as follows : " Caterina
Gabrieli was called early in life La Cuochetina, being the daughter of a cardinal's cook
at Rome. She had, however, no indications
of low birth in her countenance or deportment, which had all the grace and dignity
of a Roman matron. Her reputation was
so great before her arrival in England, for
singing and caprice, that the public, expecting perhaps too much of both, was unwilling
to allow her due praise in her performance,
and too liberal in ascribing every thing she
said and did to pride and insolence. It
having been reported that she often feigned
sickness, and sung ill when she was able to
sing well, few were willing to allow she
could be sick, or that she ever sung her best
while she was here. Her voice, though of
an exquisite quality, was not very powerful.
As an actress, though of low stature, there
were such grace and dignity in her gestures
and deportment, as caught every unprejudiced eye; indeed, she filled the stage and
occupied the attention of the spectators so
much, that they could look at nothing else
while she was in view. Her freaks and
es, which had fixed her reputa262

GAB
tion, seem to have been very much subdued
before her arrival in England. In conversation, she seemed the most intelligent and
best bred virtuosa with whom I had ever
conversed; not only on the subject of music,
but on every subject concerning which a
well-educated female, who had seen the
world, might reasonably be expected to have
obtained information. She had been three
years in Russia previous to her arrival in
England, during which time no peculiarities of individual characters, national manners, or court etiquette, had escaped her observation. In youth, her beauty and caprice had occasioned a universal delirium
among her young countrymen, and there
were still remains of both sufficiently powerful, while she was in England, to render
credible their former influence."
GABR1ELSKY (W.) has the reputation
of being one of the best flutists in Europe;
he is also reported as a good composer. He
resides at Vienna. Among his works are:
Concertos : Op. 36. "Adagio and Rondo,
with Orchestra."48. " First Concerto in
D."49. "Adagio and Polonoise, in D,
with Orchestra."50. "Second Concerto
in G." Trios : Op. 45. " Grand Trio for
Flute, Violin, and Tenor," dedicated to Mr.
Walcher. Trios for three Flutes : Op. 10.
"Three Grand Trios," dedicated to S.
Eber.32. "Grand Trio Concertante,"
dedicated to the King of Wurtemburg.^
33. " Grand Trio Concertante, in G."
34. " Grand Trio Concertante, in F."
41. " Grand Trio Concertante, in B fiat."
55. " Three Trios."56. " Three Trios."
58. " Three Trios Concertante."
Duets
for two Flutes: Op. 22. " Three Grand
Duets Concertante," dedicated to Mr.
Ohkel."35. " Three Grand Duets Concertante," dedicated to Mr. Greville.
40. " Three Grand Duets Concertante."
52. " Six easy and brilliant Duets," dedi'

cated to C. Tultzer, Nos. 1 and 2.-57. "Six

Duets."59. " Six Duets."' Solos, Variations, &c.: Op. 2. " Variations to the Air,
' Liebes Mo-dchen hb'r mir zu.' "3. " Variations to a Theme from
'Aline,'"4.
" Variations to the Air, 'Gieb mir d\eBlu-

G A F

G A I

men,'" fyc5. " Theme, with Variations."

6. "Seven Variations to a known Theme."
15. " Divertissernens."16. " Seven Variations."17. "Six Variations to a Tyrolese Dance."21. "Variations to ' Der
tretie Tod.'" by Korner.22. " Variations
to ' Le Troubadour.'"26. " Variations to
' Herr Bruder nimm das Glasschen.' "27.
" Variations to a Tyrolese Waltz."28.
"Variations to a favourite
Waltz."29.
" Variations to a favourite Waltz in the
Opera 'Joconde.'"30. "Variations to a
Gavotte, with Fantasie and Polonaise."
34. " Variations to a Vienna Waltz."37.
" Variations to a Theme of Mozart's."-39.
" Variations to a favourite drinking Song "
and 51. "Six Themes, varied."

have contained the substance of the lectures

which he had read at Cremona, Lodi, and
other places. It however contains little
more than what may be found in the writngsof Boethius, and other preceding harmonists. His treatise, " De Harmonia Musicorum Instrumentorum," printed at Milan
in 1518, contains the doctrines of such of
the Greek musical writers as had come to
the hands of the author. The writings of
Gafor, in the course of a very few years,
became so famous, that they were spread
almost all over Europe; and the precepts
contained in them were inculcated in most
of the schools, universities, and other public
seminaries of Italy, France, Germany, and
England.
The benefit arising from his
labours were manifested, not only by an
immense number of treatises on music that
appeared in the world in the succeeding
age, but also by the musical compositions of
the sixteenth century, formed after the precepts of Gafor, which became the model of
musical perfection.

GAENSBACHER,

(JOHANN)

a com-

poser at Prague, and pupil of the abbe

Vogler, has published much vocal and instrumental music, since the year 1803.
GAFOR or GAFFURXUS (FKANCHINUS) was a native of Lodi, a town in the
Milanese, and born about the year 1451. His
youth was spent in a close application to learning, but particularly to the study of music.
He was elected professor of music at Verona ;
and he afterwards resided successively at
Genoa, Naples, Monticello, Bergamo, and
Milan. In the latter place, he was appointed conductor of the choir of the cathedral, and received many distinguishing
marks of honour. He was living in 1520,
so that he must have been at least seventy
years of age when he died. His first work,
" Theoreticum Opus Armonica Disciplines,"
was printed at Naples in the year 1480,
and was little more than an abridgement of
Boethius, with some additions from Guido.
In 1496, he published at Milan his " Practica Musica utriusque Cantiis;" which
treats chiefly of the elements of music, and
the practice of singing, according to the
method of Guido. This is written in so
clear and perspicuous a manner, as to show
plainly that Gafor was perfectly master of
his subject. Another work by this writer
was entitled " Angelicum ac divinum Opus
Musica;." It was printed at Milan in 1508,
and, from its style and manner, seems to

GAGLIANO,(GIOVANNI BATTISTA DA)

a composer of madrigals and motets, in the

first half of the seventeenth century. He
was a native of Florence.
GAGLIANO, (MARCO DA) a celebrated
Florentine composer of the seventeenth century. He was one of the earliest dramatic
composers of Italy.
GAGLIARDI, (DIONISIO) an Italian
dramatic composer, lately at Naples.
GAGNI, (ANGELO) a Florentine dramatic composer between the years 1783 and
1791.
GAIL, (Madame SOPHIE) born at Melun, published several sets of admired romances at Paris in the early part of the
present century. She has also composed
the music of " L e s deux Jaloux" and one
or two other dramatic pieces of great merit.
Madame Gail died in the year 1819.
GAILLARD ( J O H N ERNEST) was

the

son of a perukemaker, and a native of Zell.

He was born about the year 1687, and was
instructed in composition first by Marichal,
and afterwards by Farinelli, the director of
the concerts at Hanover; likewise by Stef263

G AI
fani, who also resided at that place. After
finishing his studies he was taken into the
service of George, prince of Denmark, who
appointed him a member of his chamber
music. On the marriage of that prince,
Gaillard came to England, where he seems
to have studied our language with considerable diligence and success, and, on the
death of Battista Draghi, he obtained the
place, then become a sinecure, of chapelmaster to the queen dowager Catherine, the
relict of king Charles IT., at Somersethouse. He composed a " Te Deum," a
"Jubilate," and " Three Anthems" which
were performed at St. Paul's and the royal
chapel, on thanksgivings for victories obtained in the course of the war ; and he was
generally esteemed an elegant composer.
His merits and interests afforded some reason, at one time, to suppose that he would obtain the direction of the musical performances in this kingdom ; but not being able to
stand in competition either with Handel or
Buononcini, he wisely declined it. He however set to music " Calypso and Telemachus," performed at the Haymarket theatre
in 1712. This, notwithstanding the excellence both of its poetry and music, was
condemned by the friends of the Italian
opera, and it was therefore represented
under unfavourable circumstances; but
some years afterwards it was revived, and
with better success, at the theatre in Lincoln's-inn-fields.
Gaillard published, at
different times, " Six Cantatas,"
"Three
Cantatas," "Six Solos for the Flute, with
a Thorough-bass," and " Sir Solos for the
Violoncello or Bassoon; in 1728, the
" Morning Hymn of Adam and Eve," taken
from the fifth book of Paradise Lost, the
latter of which has lately been republished;
and in 1742, a translation of Tosi's "Opinioni
de' Cantori antichi emoderni" under the title
of "Observations on theflorid Songs or Sentiments of the ancient and modern Singers."
He also published some operas. His principal employment for several years was
composing for the stage. He set to music
an opera in one act, performed at the theatre
in Lincoln's-inn-fields in 1717, called " Pan
264

GAL
and Syrinx; and by virtue of his engagements with Mr. Rich, he was doomed to
the taste of composing the music to all such
entertainments as that gentleman thought
proper to give him ; which consisted of a
strange mixture of opera and pantomime.
These, as far as can now be collected, were
"Jupiter and Europa," " The Necromancer,
or HarlequinFaustus," "JlieLives of Pluto
and Proserpine," and "Apollo and Daphne,
or the Burgomaster tricked " One of his
last works of this kind, was the music to an
entertainment called " The Royal Chase, or
Merlin's Cave," in which is that famous
song, " With early horn," by singing which
for some hundred nights, Mr. Beard first
recommended himself to the notice of the
public. He composed also the music to the
tragedy " CEdipus," which had before been
set by Purcell. This was never printed,
but is preserved in the library of the academy of ancient music. Many of his songs
are inserted in the Musical Miscellany; and,
about 1740, he published a collection of
twelve songs, which he had composed at
different times. About the year 1745, he
had a concert for his benefit at Lincoln's-innfields theatre, in which were performed the
choruses to the duke of Buckingham's two
tragedies of Brutus and Julius Ca-sar, set
to music by himself, and a curious instrumental piece for twenty-four bassoons and
four double basses. Mr. Gaillard died in
the beginning of the year 1749, leaving behind him a small but curious collection of
music, containing, besides other things, a
great numj>er of scores of valuable compositions in his own writing, and an Italian
opera of his composition, not quite completed, entitled " Oreste e Pilade overa la
Forza dell Amicizia."
This collection,
together with his musical instruments, was
sold by auction a few months after his death.
GALLEAZZI, (ANTONIO) a violinist
and dramatic composer at Venice, about
the year 1730.
GALLEAZZI or GALEAZZI, (FRANCESCO) a musician of Turin, published at
Rome, in 1791, a much esteemed work,

entitled " Elementi Teoretieo-Pratici di

GAL

GAL

Musica, con un saggio sopra I'Arte di suo- 1754, a treatise entitled "La TMoric des
nare il Violitio" 2 vols. 8vo.
Sons applicable a la Musique, oh Von demonGALENO, (GIOVANNI BATTISTA) a tre, dansune exactePrecision,
hsRapports
composer of madrigals, published at Ant- et tous le.i Intervalles diatoniques et chromawerp in 1594.
tiques de la Gamme."
GALILEI, (VINCENZO) father to the
GALLINI, an Italian pianist and comcelebrated astronomer Galileo, was a Flo- poser for his instrument. Some of his music
rentine nobleman, and excellent musician. has been published by Clementi.
He published, in 1581, "Dialogo delta
GALLIOTTI, (S.) an instrumental comMusica Anticha, e dclla Moderna in sua poser. Some of his works were published
differsa, contra G. Zarlino." In this dia- at Amsterdam in 1762, and some at Berlin
logue is a precious fragment of the ancient in 1790.
Greek music. Galilei also published, " / /
GALLO, (IGNAZIO or ANTONIO) born
Fronimo, Dialogo sopra VArte del bene inta- at Naples in 1689, was a pupil of Alessanvolate, ed reltamente suonare la Afusica, dro Scarlatti. On the completion of his
negli Stromenti artificiali, si di corde come studies he displayed great talents for tuition,
difiato, edinparticolare nelLiuto," Venice, and became master of the conservatory of
1568.
La Picia, and on its suppression, of that of
GALIMBERTI, (FERDINAND) a distin- Loretti. Gallo devoted himself wholly to
guished violinist and instrumental composer, instruction, and superintended several conat Milan, about the year 1740.
servatories. His pupils occupied his whole
GALLA, (SIGNOIIA) a performer of con- attention, and his labours in this branch
siderable celebrity on the stage of the King's were too incessant to allow him time for
theatre in the Haymarket, and the last of composition. If he has left a great name,
Handel's scholars. That celebrated musician without leaving any great work, it must be
composed several of his most favourite airs attributed to his principles of instruction,
expressly for her, both in his operas and which were so excellent as powerfully to
oratorios, in which she sang with great contribute to the rapid progress of the art.
applause, and appeared so lately as the In fact, the school of Naples was daily
year 1797, in Ashley's oratorios at Covent- strengthened by the zeal of sueh'men as
garden theatre. After quitting the stage, Gallo, and by the researches of those who
she resided as a companion with the unfor- devoted themselves exclusively to the protunate Miss Ray, and was in company duction of theoretical works. When an art
with her at Covent-garden theatre, on the expands, and is purified by the acquisition
evening she was shot by the Rev. Mr. of great compositions, the homage of public
Hackman, April 7, 1779. She died poor, gratitude is not only due to those who have
in 1804.
produced them, but in a great degree to
GALLAT, a celebrated French composer those who inculcate precepts and principles
at the beginning of the eighteenth century. upon which they are founded, or which
GALLENBERG, (GRAF VON) an ama- they establish. Such was Gallo, and his
teur composer of piano-forte music, published labours have not been less valuable to his
school than the works of the best composers.
at Leipsic in 1802.
GALLO, (DOMENICO) of Venice, was a
GALLERANO orGALERANO,(LEANDSO) chapel-master at Padua, published violinist and church composer. He comsome sacred music at Venice in the year posed likewise some instrumental music,
about the year 1760.
1629.
GALUPPI (BALDESSAIIO) was born in
GALLI, (FILIPPO) an Italian tenor singer,
the little island of Burano, near Venice,
lately engaged at Venice.
and was the most captivating composer of
GALLIARD. See GAILLARD.
GALLIMARD published at Paris, in the Venetian school. His father taught
265

GAR

GAR

school, with an astonishing compass and

variety of voice. He first sang in public at
Paris, in the year 1795, after which time
he visited different towns of Germany, and
also Madrid; and, in the year 1802, was
engaged in the service of the emperor of
Russia, from whence he returned to France
with a pension. Garat has composed several collections of romances, also an excellent
" Mithode de Chant." He died in 1823 at
Paris, in the sixty-third year of his age.
GARAUDE, (ADOLPHE) born at Nanci
in 1779, where his father was,a counsellor
to the parliament, found himself obliged, in
the course of the French revolution, to take
advantage of the musical art, which had
only been considered as an ornamental part
of his education. After having studied for
some time under several Italian masters,
he devoted himself to the teaching of
singing and composition.
Garaude has
published several collections of romances, of
GAMBERINI, (ANTONIO) an Italian which he has also written the words. He
dramatic composer between the years 1783 has likewise composed much instrumental
music, and written a " Methode de Chant,''
and 1791.
GAMBLE, (JOHN) an English violinist which is very highly esteemed in Paris.
GARBRECHT, a mechanic at Konigsand composer, in the service of Charles I I .
He published " Ayres and Dialogues," berg, has, with the assistance of the deacon
Wasiansky, manufactured a bow-harpsiLondon, 1657.
GAMBOLD (JOHANN) published some chord of superior quality. He is said by
sonatas for the harpsichord at Leipsic, in Gerber, in his Lexicon, to be unwearied in
his application to the improvement of this
1787.
GANDINI, an Italian composer, now instrument. See HOHLFELD.
GARCIA, (MANUEL.) This celebrated
living. He lately brought out, at Turin, the
opera of " / / Ruggero," which was unsuc- tenor singer was born at Seville, in Spain,
in the year 1782. He received his first
cessful.
GARAT, (JOSEPH DOMENICO FABRY) musical instruction from the age of seven,
born at Bourdeaux in 1775, was the son of at the Collegiate of his native town, and
a celebrated advocate to the parliament of subsequently studied under Ripa. He has
that town, and brother of Pierre Garat, the sung with the greatest applause at the
celebrated professor of singing. J. Garat principal Italian theatres of Madrid, Paris,
has published eight collections of romances, Rome, Naples, Turin, and London. Garcia
which are much admired. He is an excel- has composed much music for the church
and theatre. Amongst his principal dramalent singer.
GARAT, ( P I E B E E ) late professor of tic works are, "Quienporfiamuchoalcanza,"
singing at the conservatory of Paris. He (Op. com.) ; " El Reler deMadera," (Op.
received his first instructions of Lamberti, com.) ; "El Poeta calculista," (Op. com.) ;
and subsequently studied under Francis " La Florinda," (Op. com.) ; " Le Califfa
Beck at Bourdeaux. P . Garat was esteemed de Bagdad," (Op. com.) ; " La Donzella
an excellent tenor singer of the French di Raab," (Op. ser.); " Le Prince d'Occa266

him the first rudiments of music, and after-^

wards he had Lotti for his master. His
two first operas were produced in 172?,
and he succeeded equally ia every species
of vocal music. For the church St. Mark
at Venice, of which he was long the chapeljnaster, and for the conservatory of the
Incurabili, where he also presided several
years, he composed many masses, oratorios,
and motets. The number of operas, serious
and comic, which he composed for the principal theatres of Italy before his departure
for Petersburg in 1766, exceeded seventy;
one of them, that of " Siroe," has been
published in this country. This ingenious
and fertile composer died at Venice' in
1785, at the age of eighty-four; and he
seems, d uring his long life, to have constantly
kept pace with all the improvements and
refinements of the times, and to have been
as modern in his dramatic music, to the
last year of his life, as ever.

GAR
tion," (Op.com.); " II Fazzohtto," ( O p . '
com.); " La Mart du Tasse," (Op. ser.);
"Florestan, ou le Conseil de Di.v," (Op.
ser.) The above operas have all been
performed. The following have not yet
appeared: " Gulistan," (Op. com.);" Zemire
andAzer," (Op. com.) ; " L'lnconnu," (Op.
com.); "LeJoseph," (Op.ser.);"Z,egrand
Lama," (Op. ser.); " Les deux Contrats,"
(Op. com.); &c. His other compositions
consist of " JEndimione," (a cantata forthree
voices) and several masses, one of which was
greatly admired in 1822, when performed
at the Bavarian chapel in London. Garcia
was engaged as principal male singer at
the King's theatre, in the season of 1824.
His voice has extensive compass, considerable power, and extreme flexibility; and his
acting, both in tragedy and comedy, is in
the highest degree impressive and energetic.
GARDI, (FRANCESCO) an Italian dramatic composer, between the years 1785 and
1794.
GARDNER, (CHARLES) professor of
music at Gresham college, London, in 1752.
GARNERIUS, a learned musical theorist, lived at the close of the fifteenth
century. He was fixed on by Ferdinand,
king of Naples, to form an academy of
music, conjointly with Gaffurius.
GARNIER, professor of the hautboy to
Louis XVI. He published some music for
his instrument, at Paris, in 1788.
GARNIER, le jeune, a professor of
the flute, and performer in the opera
orchestra at Paris, in 1799. He has pub
lished some music for his instrument.
GARNIER, musician to the king of
Poland, published a method for the pianoforte in 1766.
GARNIER, a violinist at Paris, published some instrumental music since the
year 1792.
GARTH, (JOHN) of Durham, an English
composer of instrumental music about the
year 1769.
GARULLI, (BERNARDINO) an Italian
composer of vocal music, published at Venice in 1562 and }565,

GAS
GASPAR, a composer, whose works are
much praised by Franchinus. He lived in
the latter half of the fifteenth and beginning
of the sixteenth century. Dr. Burney discovered a mass by this composer among the
collection of music in the British Museum;
it is dated 1508.
GASPAR (MICHAEL) printed in London,
in 1783, a work entitled " De Arte Medcndi apud priscos, Musices ope atque
Corminum, &fc."
GASPARD, a french composer of instrumental music, about the year 1777.
GASPARINI, (FRANCESCO) born at
Lucca about the year 1650, was one of the
most celebrated vocal composers of the last
century. He excelled equally in chamber
and theatrical music. His cantatas are
esteemed among the finest of the kind that
have ever been published, and his operas,
of which he composed a great number, are
scarcely exceeded by those of Scarlatti. He
joined with Albinoni in the composition of
the opera of "Engelberta," and was living at
Rome in the year 1723. His printed works
are " Cantate da Camera a Face sola," published at Lucca in 1697; and a treatise
entitled " VArmonico prattico al Cimbola,
regale per ben suonare il Basso," published
at Venice in 1708.
GASPARNI, (QUIRINO) a composer
of church music, and also some instrumental
pieces, previously to the year 1797. He
was chapel-master to the king of Sardinia
at Turin, about the year 1770.
GASSE, (FERDINAND) a Neapolitan,
was pupil of Gossec at the Paris conservar
tory, and gained the prize for composition
in 1805. He afterwards went to Rome,
where he has composed some sacred and
dramatic music.
GASSMAN, (FLOREAN LEOPOLD)

cha.-

pel-master to the emperor of Germany, and

supervisor of the Imperial library of music
at Vienna, was born in Bohemia in 1729.
He composed some church music, likewise
some operas and instrumental pieces. His
quartets, when compared with those of
Haydn, are stiff and ice-cold compositions.
Gassman was pne of the masters of Salieri,
367

G AU
who succeeded to his appointments of
chapel-master, &c. at Vienna.
GASTOLDI.

See CASTOLBI.

GATAYES, (G.) a harpist at Paris; he

has published a method for the guitar, and
much harp music, since the year 1800; also
some romances, among the most pleasing of
which is " Le pauvre Aveugle."
GATES, (BERNARD) teacher of the
choristers at the chapel royal in London,
about the year 1710. Handel's oratorio of
Esther was performed in the house of Gates,
and met with considerable applause, inducing, as it is said, its composer to persevere in that style of music. Gates died in
1773, in the eighty-seventh year of his
age.
GATTI (J. THEOBALDE, called THEO-

BALDO) was born at Florence. It is said of

him, th'at being charmed with the music of
Lulli, which had reached him even in his
native country, he went to Paris to compliment that celebrated musician, and in all
his compositions studied to emulate him; and
at length discovered himself to be a meritorious pupil of that great man, by two
operas, which he had eaused to be represented in the royal academy of Paris. He
died at Paris, in the year 1727, at an advanced age, having, for fifty years, been a
performer on the bass-viol in the orchestra
of the opera.
GATTI (ABBE) was born at Mantua,
and reckoned one of the most agreeable composers of Italy, about the -year 1790. His
opera, " Olimpiade," was performed at Placenza, in 1784, and his " Demofoonte" at
Mantua, in 1788.
GATTUS, (SIMON) a Venetian composer
of church music about the year ] 579.
GAUBERT, (D.) professor of singing at
Paris, has published " Nouveau Recueil de
six Romances avec Accompagnement de
Piano," Paris, 1802; also " Cinquieme
Eglogue de Virgile, et yuatre Romances,"
Paris, 1803.
GAUDE, a young German composer of
instrumental music, published at Offenbach,
Bonn, and Hamburgh.
GAUDIO, (ANTONIO DEL) a dramatic
268

G AV
composer at Rome in the latter half of the
seventeenth century.
GAUTHEEOT, (Madame LOUISE) a
celebrated female violinist, was considered,
in 1790, among the most celebrated players
on that instrument. She died in 1808.
GAUTHIER, (DENIS, surnamed theElder) an admired French lutist. The principal
pieces of the elder Gauthier are those entitled " VImmortelle," " La Nonpareille,"
and "Le Tombeau de Mezangeau."
There
was also another Denis Gauthier, who composed some much admired lessons for the
lute, of which the most esteemed are those
entitled " VHomicide," " Le Canon," and
" Le Tombeau de Lenclos."
GAUTKIER, ( P I E R R E ) a musician of
Provence, was director of an opera company,
which exhibited, by turns, at Marseilles,
Montpellier, and Lyons. He embarked at
the Port, de Cette, and perished in the vessel,
at the age of fifty-five, in 1697. There is
extant of his composition a collection of duos
and trios, which is much esteemed.
GAUZARGUES, (CHARLES) chapelmaster to Louis XV. He is the author of
" Traite de VHarmonie a la portee de tout
le Monde," published at Paris in 1798.
GAVAUDAN, (MADAME)
a very
pleasing comic actress and singer at the Theatre Feydeau at Paris. She retired from
the stage about the year 1820.
GAVEAUX, (PIERRE) composer to the
Opera Feydeau at Paris, was born at Bezieres in 1764. He became chorister in the
cathedral of that town at seven years of age,
and in less than two years was able to read
every description of music, and in all cliffs,
at sight. He subsequently went to Bourdeaux, and was attached to one of the
churches as tenor singer: here he received
lessons in composition from Francis Beck,
and composed several motets, which met
with the approbation of his master. Gaveaux
then engaged in the theatrical career, first
at Bourdeaux, and afterwards at Montpellier; at length, in 1789, he made his
debut at the Theatre des Tuileries, (then
named Theatre de Monsieur) taking the
principal tenor parts, and becoming the

GAW
chief support of that theatre till the time of |
the union of the Feijdeau and Opera Comique in 1800. The following is a list of the
principal operas composed by Gaveaux :
Op. 1. " L'Amour filial, ou Jamie de
JBois," in 1792.2. La Chaumih-e Indienne, on le Paria," 1791. 3. " La Famille Indigente."4. Les deux Hermites,"
1792.5. " La Par tie rjnarre'e."6. "Delmon et Nadine."'7. " Le petit Matelot."
8. "Le Truitf, mil," 1796.9. "La Gasconade."10. "Les Noms supjioses."11.
"Les deux Jockies."12. " Sophie et Mencars."13. " Leonorc, ou VAmour Conjugal."\4."LaLocataire,"
1799.15. "Le
Diable Couleur de Rose."16. " Le Trompeur trompe."17. "Lise et Colin."18.
" Owinska."19. " Celiane."20. " Tout
par hasard."
Besides these dramatic
pieces, most of which were successful, Gaveaux has composed some romances and
instrumental music. His lively air, "La
Pipe de Tabae," has been popular throughout Europe.
GAVINIE3, (PIEHRE) a celebrated
French violinist, was born at Bourdeaux in
1726. At fourteen years of age, he made
his debut as a performer at the concert
spirituel at Paris, when Viotti, having
heard his playing, designated him as Le Tartini de la France. Gavinies published three
operas of sonatas, and several concertos.
A year before his death, which took place
in 1799, he published a collection of violin
music, entitled " Les vingt-quatre Matinees;
most of the pieces in it are extremely difficult. The only dramatic work of Gavinies
is, " Le Prelendu," zxiintermede, performed
with success, at the Italian theatre at Paris,
in 1760. In 1794, he was appointed professor of the violin at the Paris conservatory.
GAWLER, an organist in London, and
author of1. ''Harmonia Sacra; a Collection of Psalm Times, with Interludes, with
a Thorough-bass, forming a most complete
Work of Sacred Music;" London, published by Clementi.2. " Dr. Watts's Divine Psalms."3." Lessons for the Harpsichord,"4. " Eleven single Voluntaries for

G E B
the Organ."5. " Twenty-four Interludes
or short Voluntaries for the Organ."
GAYE, chamber-musician to Louis XV.
An anecdote is related of him, that having
spoken disrespectfully of the bishop of
Rheims, he feared being deprived of his
situation at court; falling, therefore, at the
feet of the king, he acknowledged his
fault, and requested pardon. A few days
afterwards, as he was singing mass in the
king's presence, the archbishop of Rheims
took occasion to remark to his majesty, with
a view of procuring the dismissal of the musician, " C'est dommage, Sire, le pauvre
Gaye perd sa voix." " Vousvous trompez,"
dit leRoi, " il chante bien, mais ilparle mal."
GAYER, (JOHANN JOSEPH G.) chamber-

musician to the landgrave of Hesse-Darmstadt, was born in 1748. He composed an

oratorio entitled " Der Engel mensch und
Fiend," six masses, and some motets; also
a variety of instrumental music.
GAZZANIGA, (GIUSEPPE) of Venice,
was chapel-master at Verona, and a pupil
of Sacchini. He resided for a long time at
Vienna, and composed many Italian operas
between the years 1783 and 1792.
GEARY, an English composer of canzonets and piano-forte music, published
since the beginning of the present century.
(Goulding's Cat.)
GEBAUER. There were four brothers
of this name, resident at Paris; each of
them composed instrumental music between
the years 1790 and 1800, chiefly for wind
instruments. Many of their quartets, which
they played together in public, were much
admired. One of the brothers published
" Sixty Methodical Lessons, as Duels, for
two Flutes, for the Use of Beginners," a
work which is much esteemed in Germany.
GEBEL, (GEORG) the elder, organist at
Breslau, was born there in 1685. He published much music for the harpsichord,
and many compositions for the church. He
died about the year 1750.
GEBEL, (GEonc) the younger, son of
the preceding, and born at Breslau in 1709,
waschapel-masterto the prince of Schwartzburg Rudolstadt. His works are very
269

GEM

GEM

Lucca, was born about the year 1666. He

received his first instructions on the violin
of Carlo Ambrogio Lonati, of Milan, commonly called II Gobbo, a celebrated performer on that instrument, who set the
opera of "Ariberto and Flavio," for Venice,
GEBHARD, (JOHANN GOTTFRIED) a in 1684. After this, Geminiani studied
musician at Barby, in Saxony ; he published counterpoint at Rome, under Alessandro
some collections of piano-forte music at Scarlatti; he also, in that town, became a
Leipsic, between the years 1784 and 1788. pupil of Corelli on the violin. Having
GEERE, a composer of church music finished his studies, Geminiani went to
Naples, where, from the reputation of his
about the year 1770.
GEHOT, (JOHN) a violinist and com- performance at Rome, he was at once
poser in London in 1784, published in that placed at the head of the orchestra; but,
year "A Treatise on the Theory and Prac- according to the elder Barbella, he was soon
tice of Music;" also " The Art of Bowing discovered to be so wild and unsteady a
the Violin," and "The complete Instructor timist, that instead of regulating and confor every Instrument."
He is likewise the ducting the band, he threw it into confusion;
author of some instrumental music, published as none of the performers were able to
follow him in his tempo rubato, and other
at Berlin and Paris.
GEHRICK, author of some instrumental unexpected accelerations and relaxations
After this discovery, the
music for the piano-forte, published at of measure.
younger Barbella assured Dr. Burney that
Vienna in 1796.
his father, who well remembered Geminiani's
G E H P J N G , (JOHANN W I L H E L M ) chaarrival at Naples, said he was never trusted
pel-master at Rudolstadt after the death of
with a better part than the tenor, during his
Gebel, was a celebrated performer on the
residence in that city.
bassoon, and composer for his instrument.
He died in 1787.
He arrived in England in the year 1714.
GELINECK, (G.) a performer on the In 1716, he published, in London, his first
double bass, at the Grand Opera at Paris, work, dedicated to baron Kilmansegge, conand composer of a collection of waltzes, &c. sisting of twelve solos for the violin, which,
for the harp, published about the year 1798. though few could play, yet all the professors
GELINECK
(HERRMANN
ANTON, allowed them to be still more masterly than
called CERVETTI) was born in Bohemia in those of Corelli. In 1726, he formed Co1709. He was a celebrated violinist, and relli's first six solos into concertos, and soon
spent much of his life in France and Italy. after, the last six. He likewise selected six
He died at Milan in 1779.
of his sonatas for the same purpose; and
GELINEK, (ABBE P.) a good pia- imitating his style in composing additional
nist, and admired composer for his instru- parts to them, manifested how much he rement, was born in Bohemia in 1760. spected the originals. It was not till the
About the year 1795, he resided in the year 1732 that Geminiani published his
house of a nobleman at Vienna, in which first six concertos, which he called his
town he has published much piano-forte " Opera Seeonda," and dedicated to the
music, especially airs with variations, up to duchess of Marlborough. Soon after this,
his " Opera Terza," or second set of conthe present time.
GELLI, (PHILIPPO) of Rome, an Italian certos, appeared; which established his
composer, now living. He lately brought character, and placed him at the head of all
out, in that city, the opera of " II Corsaro," the masters then living, in this species of
composition.
which failed.
Voluminous, consisting chiefly of compositions
for the church, and five operas. He died in
1753.
GEBHARD, (PAUL) author of six
quatuors for the violin, published at Lyons
about the year 1780.

GEMINIANI, (FRANCESCO) a native of

270

His second set of solos, commonly called

GEM
his French solos, either from their style, or
their having been composed and engraved
in France, was published in 1739. These
were admired more than played; as, about
this time, it became more than ever the
fashion for public solo players to perform
only their own compositions, and others
were unable to execute them. His third
set of concertos, which appeared about the
year 1741, was so laboured, difficult, and
fantastical, as never to be played in either
public place or private concert.
His long promised work, with the title of
" Guida Armo/iiea," published in 1742,
appeared too late; for though there are many
combinations, modulations, and cadences,
tliat would open the mind and enrich the memory of a young student in harmony, he promised too much, and his authority in the kingdom was diminished by new music and new
performers, as well as by his own frequent
change of sentiment: setting up, at one
time, as a mode of perfection, what he
would despise and condemn at another.
His " Treatise on good Taste, and Rules
for playing in good Taste," did not appear till about 1747 ; but that was too soon
for the present times. Indeed, a treatise on
good taste in dress, during the reign of
queen Elizabeth, would now be as useful to
a tailor or milliner, as the rules of taste in
music, forty years ago, to a modern musician.
In 1748, he published his "Art of playing
on the Violin," which was a very useful work
in its day; the shifts and examples of different
difficulties and uses of the bow, being infinitely superior to those in any other book
of the kind, or, indeed, oral instruction
which the nation could boast, till the arrival
of Giardini.
His composition called the " Enchanted
Forest," in which he endeavoured, by mere
sound, to represent to the imagination of an
audience all the events in the episode of the
thirteenth book of Tasso's Jerusalem, was
published about 1756. But music has never
the power, without vocal articulation, to
narrate or instruct; it can excite, paint,
and soothe our passions, but is utterly

GEM
incapable 'of reasoning or conversing to any
reasonable purpose.
Besides these practical and theoretical
works, he published two books of " Harpsichord Pieces," that are rendered impracticable by crowded harmony and multiplied
notes ; and two books upon the "Art of
Accompaniment," which are only intelligible to those who no longer want such
assistance, and, if practised, would be intolerable to singers and solo players, who
wish to be heard through the tinkling of a
harpsichord.
Geminiani was seldom heard in public
during his long residence in England. His
compositions, scholars, and the presents he
received from the great, whenever he could
be prevailed upon to play at their houses,
were his chief support. In 1731, he advertised a weekly concert of music, to be
carried on at Hickford's room by subscription, and at which he played the first
violin himself. In 1741, he had a benefit
concert at the little theatre in the Haymarket, by command of some of the royal
family; and in 1749, a concerto spiritnale,
during Lent, at Drury-lane theatre, in
which he led the band, and played a concerto from the fifth solo of his fourth opera,
and the tenth solo of the same set. The
unsteady manner in which he led, seemed
to confirm the Neapolitan account of his
being a bad mental arithmetician or calculator of time. After this, he went to Paris,
where he continued till 1755, when he returned to England, and published a new
edition of his two first sets of concertos.
In 1761, he went to Ireland, to visit his
scholar Dubourg, master of the king's band
in that kingdom, who always treated him
with great respect and affection. It is supposed that his death was accelerated there
the next year, by the loss of, an elaborate treatise on music, which he had been
many years compiling, and which, by the
treachery of a female servant, was conveyed
out of his room, and could never be recovered. Surviving this loss but a short
time, he died at Dublin, in 1762, at the
great age of ninety-six.
271

G ER

GER

studied composition at Leipsic under SebasBARON DE) privy-counsellor to the duke of tian Bach. His works consist chiefly of
Wurtemburg about the year 1784. He was preludes .and fugues for the organ and piano.
GERBER, sou of the preceding, was
a musical amateur of superior taste and acquirements, and composed six symphonies, born in 1746, and succeeded his father as
and much piano-forte music, which has organist at the court of Sondershausen. He
been greatly admired.
is well known as the author of the " Neues
GENARD, a composer of instrumental Historisch-Biographisches Lexicon der Tonkiinstkr," Leipsic, 1812, 4 vols. 8vo. This
music at Paris, in 1820.
GENERAL!, an Italian composer of the is by far the most valuable work on musical
comic opera " La Contessa di colle erboso," biography which has been published on the
performed at Munich in 1823 ; also of "La continent, and is especially rich in its acTesta maravigliosa." A curious trio on one counts of the composers of the German school.
GERBERT, ( M A E T I N ) prince-abbot of
note, by this composer, is published in the
the convent of Benedictines, and of the
Vocal Anthology.
GENST, a composer of music for thq congregration of St. Blaise, in the Black
Forest, was bom in 1720, at a small town
flute, published at Paris.
GENTILI, (GEORGIO) a violinist and in Austria. He united to extensive learning
composer of instrumental music at Venice, the most elevated mind, and simple and
amiable character. Having frequently in his
at the commencement of the last century.
GEORGE, (SEBASTIAN) a pianist and youth had opportunities of hearing excellent
composer for his instrument at Moscow, was music in the chapel of the duke of Wurtemborn at Mentz : his publications bear date burg, at Ludwigsburg, and even of occasionally singing himself, he imbibed that affection
from the year 1796.
GEORGE, (J. P.) son of the preceding, for music to which we are indebted for his
is also a pianist and composer for his instru- learned and toilsome researches on the hisment at Moscow: his compositions are dated tory of that art. With a view to render
these researches more profound and useful,
from the year 1797.
GEORGES, ( L E CHEVALIER DE SAINT) he undertook to travel for three years in
born at Guadaloupe, died at Paris in France, Germany, and Italy; and was
a state of indigence in 1801. He was enabled, through his authority in the church,
equally remarkable for his skill in gymnas- to discover the most secret treasures of mutic exercises, and for his talent as a violinist. sical literature, by obtaining admittance
He led the band at the concert of amateurs into the libraries of the convents, and thus
at Paris in 1770. St. Georges composed collecting from the fountainhead the matesome violin music, and also an operetta, rials for his history of church music. At
Bologna he became intimate with P .
called " La Chasse."
GEORGIO, (ABBE) an amateur com- Martini. They agreed to communicate to
poser of instrumental music at Vienna, each other their different knowledge; and
that P . Martini should write the history of
towards the close of the last century.
GERARD (HENIU P H I L I P P E ) was born music in general, while Gerbert confined
at Liege in 1760. At the formation of the himself exclusively to that of the church.
Paris conservatory, he was appointed pro- The number of seventeen thousand authors,
fessor of singing. Mons. Gerard has pub- that Martini had collected, certainly aslished but few works, though much of bis tonished Gerheit, but he says that he
music in manuscript is known and admired acquainted him with a still greater number
existing in the German libraries. In 17G2,
by amateurs.
he announced his intention of writing a hisGERBER, (HEINHICII NICHOLAS) organist to the Prince of Schwartzburg, at tory of church music, by a printed prosSondershausen, was born in 1702. He pectus, and soliciting any information that
GEMMINGEN,(EBEBHARDFBIEDIIICH

272

6 E S
Could be given on the subject. This pro- certos on the violin, between the acts, at the
spectus is to be found in the critical letters Italian theatre. She afterwards engaged at
of Marpurg. He finished this work in six the same theatre as singer, and proved heryears, though, in the interval, (the 23d of self equally powerful as in instrumental
July, 1768) the abbey and valuable library music. In 1801, she went to Madrid; and
belonging to it became a prey to the flames, also, a few years since, performed on the
occasioning the loss of a great part of his violin at some public concerts in London.
materials, and likewise of his time, which
GERL or GOERL, (FRANZ) a composer
he was obliged to employ in giving direc- of dramatic and other music, who has resided
tions for the construction of a new edifice. at Vienna and atBrunn. His compositions
This work is in two volumes, and contains bear date since the year 1794.
many prints; it is entitled, " De Cantu et
GERLIN, (J. P.) a French composer,
Musica Sacra, a prima ecclesice estate usque about the year 1780. Among the French
adpreesens tempus. Auctore Martina Ger- airs which appeared at Amsterdam at that
bertOj Monasterii et Congregationis St. JBla- time were many of his composition.
sii de Silva. Nigrct Abbate, Sacrique Romnni
GERN, (G.) a German bass singer at
Imperil Principe.
Typis
San-Blasianis, Berlin, since the year 1801. He has a
1774. Gerbert divided his history of church younger brother, who is also a bass singer at
music into three parts : the first finishes at the Manheim.
pontificate of St. Gregory ; the second goes
GERSTENBERG, (JOHANN WILHELSJ
as far as the fifteenth century; and the VON) consul to the king of Denmark, rethird to his own time. But the work which siding at Lubec, was born at Tondern in 1737.
has given the prince-abbot Gerbert the He was a most able and enlightened amateur
greatest title to gratitude from artists and musician. He wrote two dissertations, the
literati, is one of far more importance, pub- first on Italian lyric poetry, the second on
lished in 1784, under the title of " Scrip- the manner of figuring chords.
tores Ecclesiastici de Musica Sacra potissiGERSTENBERG, (J. D.) a German
mum. Ex variis Italiee, Gallite et Ger- composer of vocal and instrumental music,
manic codicibus Manuscriptis collecti et resident at Petersburg since the year 1795.
mate primum public^ luce donati; h MarGERVAIS,
(CHARLES HUBERT)
a
tina Gerberto Monasterii et Congregat. S. French composer of dramatic and other
Bias, in Silva Nigru Abbate, S. A. R. I. P. vocal music. He died at Paris in 1744.
Typis San-Blasianis, 1784. This is a colGERVAIS, (P. N.) senior, was born at
lection of all the ancient authors who have Manheim. He was one of the best violin
written on music, since the third century to pupils of Fraenzl. He died at Lisbon in
the invention of printing, and whose works 1795. Some of his music for the violin is
had remained in manuscript. The learned published at Paris.
amateur has by this work rendered an imGERVAIS, (ANDREAS) a younger brother
mortal service to the science of music. Un- of the preceding, also a pupil of Fraenzl,
fortunately, it is now very difficult to procure was, in 1799, violinist at the Manheim
a copy of this book. M. Forkel has given theatre.
an extensive analysis of it in his Histoire
GERVASONI, (CARLO) chapel-master
tie la Musiqae. The abbot Gerbert kept at Borgo-Taro, published, in 1800, two voup a constant correspondence with the cele- lumes octavo, entitled " La Scuola della
brated Gluck. He died in his seventy-third Musica."
year, in 1793.
GESTEWITZ (FRtEDHicHCHRTSTOPH)
GERBINI, (Mile. LUGTA) an amateur
performer on the violin, and pupil of the
celebrated Viotti. In 1799, she went to
Lisbon, where she performed some conVOL.

i.

was born in Germany in 1753, and studied

music under Hillier. In 1790, he was director of the music at the Italian theatre at
Dresden. He composed sume sacred music,
T
273

GEY

G IA

also several dramatic pieces and piano-forte

music. He died at Dresden in 1805.
GESUALDO, (CARLO) prince of Venosa,
(a principality of the kingdom of Naples)
flourished about the latter end of the sixteenth century. He was the nephew of
cardinal Alphonso Gesualdo, archbishop of
Naples, and received his instructions in
music from Pomponio Nenna. The writers
of all countries give to this prince the character of being an extremely learned, ingenious, and artificial composer of madrigals.
He is generally supposed to have imitated
and improved that plaintive kind of air
which distinguishes the Scots melodies,
and which has been brought to considerable
perfection in the preceding century. Dr.
Burney, however, says, that, in a very attentive perusal of the whole six books of the
prince of Venosa's madrigals, he was utterly
unable to discover the least similitude to, or
imitation of, the Caledonian airs; and, instead of giving to his compositions the unlimited praise that has been so liberally
bestowed by others, he says, that " so far
from Scots melodies, they seem to contain
no melodies at all; nor, when scored, can
we discover the least regularity of design,
phraseology, rhythm, or indeed any-thing
remarkable, except unprincipled modulation, and the perpetual embarrassments and
inexperience of an amateur in the arrangement and filling up of the parts," Notwithstanding this opinion of Dr. Burney, which,
indeed, few persons would venture to question, it is well known, that Geminiani has
often declared, that " he laid the foundation
of his studies on the works of the prince de
Venosa." The first five books of his madrigals were published in parts, in 1585, by
Simon Molinaro, a musician and chapelmaster of Genoa. In the year 1593, the
madrigals of the prince of Venosa (six books)
were published together by the same person. The pieces contained in this edition
were upwards of a hundred in number. Two
other collections were afterwards printed,
but it is probable that the edition of 1G13
contains the whole of his works.

teur musician, resident at Leipsic since the

year 1799. He composed much piano-forte
and vocal music of merit. He died in the
prime of life, in the year 1808.
GEZEK, (WENZEL) an organist at
Prague, of some celebrity as a church composer. He was born in 1733.

GEYER, (JOHANN JEGIDIUS) an

274

ama-

GHERARDESCA, (FILIPPO) bom at

Pistoia, was a pupil of Martini. He published, subsequently to the year 1767, some
operas, which were performed at different
Italian theatres. In 1770, he composed for
Pisa. Some time afterwards, he published
at Florence, six sonatas for the piano-forte,
with a violin accompaniment. - Among his
best compositions, is a " Requiem," composed
after the death of Louis I. king of Etruria.
It is considered a masterpiece of its kind.
Gherardesca died at Pisa, in 1808, aged
seventy.
GHERARD.INI, (FILIPPO) a pianist in
the opera band at Paris in 1783.
GHION, an excellent violinist in the
service of the king of Sardinia.
GHIRARDUZZ1, a celebrated Italian
violinist in the early part of the last century.
GIACOBBI, (GIROLAMO) born at Bologna. He wrote some church and dramatic
music. In 1610, he composed the music of
the opera of "Andromeda."
Giacobbi is
one of the earliest musical classics of the
Bolognese school.
GIACOMELLI, (GEMINIANO) of Par-

ma, first appeared at Venice as an opera

composer, in the year 1724. He was a
pupil of Capelli, and had a lively imagination, that furnished him with agreeable
flights, which, from their novelty, afforded
much pleasure, and contributed not a little
to propagate and establish the taste of
subsequent ages.
GIACOMETTI, (AEBATE) a celebrated
church composer at Verona, in the year
1770.
GIACOMO published at Augsburg, in
1751, three solos for the violin.
GIAI, (GIOVANNI ANTONIO) an Italian

composer, composed for the theatre at

Vienna, an opera entitled " Mitridate,"

G I A

G I A

which was afterwards performed at Venice

in 1730.
GIANELLA, (LUIOI) a celebrated flutist
at Paris, has published some duets, trios,
and concertos for his instrument, since the
year 1803.
GIANNOTI, a performer on the double
bass, at the grand opera at Paris, in the year
1739. He wrote a treatise on composition,
published in the year 1759, entitled " Le
Guide da Compositeur."
GIARDINI, (FEUCE) a native of Piedmont, when a boy, was a chorister in the
Duomo at Milan, uuder Paladini, of whom
he learned singing, the harpsichord, and
composition ; but having previously manifested a disposition and partiality for the
violin, his father recalled him to Turin, in
order to receive instructions on that instrument of the famous Somis. But though
his preference to the violin, upon which
he soon became the greatest performer in
Europe, seems a lucky circumstance, yet
he had talents which would have made him
a superior harpsichord player, had he continued to practise that instrument. But he
told Dr. Burney that he was perfectly
cured of that vanity at Paris, by the performance of Madame de St. Maur, a scholar
of Rameau, who played in such a manner,
. as not only made him ashamed of his own
performance, but determined him never to
touch the instrument again in serious practice. He went to Borne early in life, and
afterwards to Naples, where,having obtained
a place among ripienos in the opera orchestra, he used to flourish and change passages
much more frequently than he ought to
have done. " However," says Giardini,
" I acquired great reputation among the
ignorant for my impertinence; yet, one
night during the opera, Jomelli, who
had composed it, came into the orchestra,
and seating himself close by me, I determined to give the maestro di capella a
touch of my taste and execution; and in
the symphony of the next song, which was
in a pathetic style, I gave loose to my
fingers and fancy, for which I was rewarded
ty the composer with a violent slap in the

face; which," adds Giardini, " was the best

lesson I ever received from a great master
in my life." Jomelli, after this, was, however, very kind, in a different way, to this
young and wonderful musician. Giardini
came to England in 1750. His first public
performance in London, was at a benefit
concert for old Cuzzoni, who sang in it with
a thin cracked voice, which almost frightened out of the litle theatre in the Haymarket, the sons of those who had, perhaps,
heard her, at the great theatre of the same
street, with ecstasy. But when Giardini
played a solo and concerto, though there
was very little company, the applause was
so long, loud, and furious, as nothing but
that bestowed on Garrick had ever equalled.
Dr. Burney had met him the night before,
at a private concert, with Guadagni and
Frasi, at the house of Franks, Esq. who
was himself one of the best dilettanti performers on the violin at that time, and
says, " We were all equally surprised and
delighted with the various powers of Giardini, at so early a period of his life ; when,
besides solos of his own composition, of the
most brilliant kind, he played several of
Tartini's in manuscript at sight, and at
five or six feet distance from the notes, as
well as if he had never practised any thing
else. His tone, bow, execution, graceful
carriage of himself and instrument; playing
some of my own music, and making it
better than I intended, or had imagined it
in the warm moments of conception; and,
lastly, playing variations extempore, during
half an hour, upon a new but extraordinary
kind of birthday minuet, which accidentally
lay on the harpsichord; all this threw into
the utmost astonishment the whole company,
who had never been accustomed to hear
better performers than Festing, Brown, and
Collet." Such was the esteem which
Giardini acquired in London, from his
talents, that, in 1754, he was placed at the
head of the opera orchestra. Two years
afterwards, he joined Mingotti in the
management of the opera ; but although
they acquired much fame, their management was not attended with much success.
T2
275

G I fc
During this period, Giardini composed several of the dramas which were performed.
After the year 1763, Giardini retired from
his situation with considerable loss, and
entered upon the occupation of teaching in
families of rank and fortune, at the same
time continuing unrivalled 'as a leader, a
solo player, and a composer for his favourite
instrument. He resided in England till the
year 1784, when he went to Naples, under
the patronage of Sir William Hamilton.
Here he contined five years, and then returned to this country, but his reception was
not what it had formerly been. His health
was greatly impaired, and, sinking fast under
a confirmed dropsy, all his former excellence was lost. Instead of leading in all
the most difficult pieces, he now played in
public only the tenor in quartets, which he
had recently composed. He attempted, but
without success, a burletta opera, at the
little theatre in the Haymarket, and at
length, in 1793, was induced to go to
Petersburg, and afterwards to Moscow,
with his burletta performers. But he experienced only the most cruel disappointment in each of these cities. The general
capricious character and splenetic disposition of Giardini, were his bane through life.
He spoke well of few, and quarrelled with
many of his most valuable friends. Nothing
but his very superior musical talents could
have upheld him during the time he was in
favour with the public. Careless of his'own
interest, and inattentive to all those means
which would have promoted his success in
the world, he at length sunk under misfortunes of his own creating, and died at
Moscow, weighed down, by penury and
distress.
GIBBONS, (EDWARD) elder brother of
Orlando Gibbons, was a bachelor of music
at the university of Cambridge, and was
incorporated at Oxford in 1.592. He was
organist of the cathedral church of Bristol,
and was also priest, vicar, sub-chanter, and
master of the choristers there. In 1604, he
was appointed a gentleman of the chapel
royal. It is said that, in the rebellion, he
furnished the king with the sum of a thou276

sand pounds, for which act of loyalty he

was afterwards very severely treated by
those in power, who deprived him of a considerable estate ; and, though at that time
more than eighty years of age, he and three
grandchildren which he maintained were
actually turned out of their home. He was
musical preceptor to Matthew Locke : and
Anthony Wood says, that several of his
compositions were deposited in the music
school at Oxford.
GIBBONS, (ORLANDO) one of the most
celebrated English musicians of his time,
was a native of the town of Cambridge, and
born- in the year 1583. At the age of
twenty-one, he was appointed organist of
the chapel royal, and in 1622, (along with
Dr. Heyther) obtained the degree of doctor
of music, in the university of Oxford. Three
years after this, being ordered to go to Canterbury for the purpose of attending the marriage solemnity between king Charles I. and
Henrietta of France, (for which he had
composed the music) he was seized with
the small-pox, and died there at the age of
forty-five. He was buried in the cathedral
church of that city. In 1612, he published
" Madrigals in four parts, for Voices and
Viols;" but the most excellent of his works
are his compositions for the church, namely,
his services and anthems, of which there are
many extant in the cathedral books. His
anthem of " Hosanna," is one of the most
perfect models for composition in the church
style now to be found. He composed the
tunes to the " Hymns and Songs of the
Church, translated by George Wilthers;"
and some of his lessons for the virginal are
preserved in the collection entitled Partkenia. The compositions of Orlando
Gibbons are for the most part truly excellent ; and the study of them cannot be
too strongly recommended. The characteristics of his music are fine harmony,
unaffected simplicity, and an almost unexampled grandeur. For choice of subjects,
for skill in the management of them, and
for flow of melody in all the parts, this great
master was inferior to none of his contemporaries, and infinitely superior to most of

GIB
them. Specimens of his anthems are to be
found in nearly all the miscellaneous collections of ancient sacred music that are
extant. His five-part madrigal, " The Silver
Swan," which is a remarkably fine specimen
of this species of music, is inserted in Dr.
Crotch's publication, and also with a pianoforte accompaniment, in the Vocal Anthology. There is likewise a preludium
for the organ, and other organ pieces of
his composition, in Smith's Musica Antigua.
GIBBONS, (ELLIS) brother to the celebrated Orlando Gibbons, flourished about
the year 1600. Two of his compositions
are to be found among the collection of
madrigals for five and six voices, edited by
Morley, in London, in 1601, under the title
of The Triumphs of Oriana.
GIBBONS, (CHRISTOPHER) the son of

the celebrated Orlando Gibbons, was, from

his childhood, educated to the profession of
music under his uncle, Ellis Gibbons, organist of Bristol. He had been a chorister
in the chapel of Charles II., organist in
private to his majesty, and organist of
Westminster abbey. The king had so great
a partiality for this musician, that he was
induced to give him a personal recommendation to the university of Oxford, requesting
that he might be admitted to the degree of
doctor in music. This he was in consequence
honoured with, in 1664. He died in the
year 1676. C. Gibbons was more celebrated for his skill in playing the organ,
than for his compositions. There are, however, many of his anthems extant, though
we know of none that have been less printed.
Those most celebrated are, " God be merciful unto its," " Help me, O Lord," " Lord,
I am not high-minded," and " Teach me,
0 Lord." It is said that he assisted in the
work entitled " Cantica Sacra," containing English and Latin hymns and anthems,
published in 1674.
GIBEL, (OTTO) director of music, singer
and composer at Minden. He was born at
Borg, in the island of Femern, and died in
1682.
G1BELLI; (LORENZO) an Italian com-

GIL
poser of church music, now resident at
Bologna.
GIBELLO, (LAURENTINO) chapel-master at the church of St. Bartholomew at
Bologna, about the year 1770. He was a
pupil of P. Martini. Dr. Burney disputes
his compositions having any other merit
than that of harmony.
GIBERT, a French musician, composed
many operas for the Italian theatre at Paris,
and has published a work entitled " Solfees ou Lecons de Musique." He died at
Paris in 1787.
GILDON, an English professor of the
piano, and composer of piano-forte and
vocal music, in the present century. (Goulding's Cat.
GILES (NATHANIEL) was born either
in or near the city of Worcester, and was
admitted, in 1585, to the degree of bachelor
in music, and about forty years afterwards,
to that of doctor, in the university of Oxford. He was one of the organists of St.
George's chapel at Windsor, and master of
the boys there. In 1597, he was appointed
master of the children, and afterwards, in
the reign of King Charles I., organist of the
chapel royal. He died in 1633, at the age of
seventy-five. His compositions are chiefly
services and anthems, many of which are
understood to possess considerable merit.
GILLES, (JEAN) ofTarascan, in Provence,
was director of the music, or chapel-master
in the church of St. Stephen, in Toulouse.
He was a singer in the choir of the cathedral
of Aix, and a fellow-pupil with the celebrated Campra. There are many fine motets by Gilles; several of them have been
performed in the concert spirituel at Paris
with great applause, particularly his " Diligam te."
But his capital work is a
" Messedes Marts," of which the following
history is recounted by Laborde. " Two
counsellors of the parliament of Toulouse
died nearly at the same time, each of them
leaving a son. The two youths were united
in the closest friendship, and they agreed to
join in celebrating a grand funeral service
for their parents. They, consequently, engaged GiUes to compose a Requiem, allowing
277

GlO

GIN
him six months to complete the work.
"When the mass was finished, Gilles collected all the musicians in the town to assist
at the rehearsal, inviting the most celebrated
masters of the neighbourhood, and among
others Campra and the abbe1 Madin.
The composition was found to be admirable;
however, the two young counsellors had
changed their opinions, and would not have
it performed. Irritated by this circumstance, Gilles said to one of them, " Eh
Men ! elle ne sera exe"cutde pour personne,j'en
veux avoir IV.trenne !" " Very well, then,
its first performance shall be for myself." In
fact, he died a very short time after, when
this mass was sung for him. It was subsequently used in 1764, at the funeral service
in honour of Rameau,at the Oratoire church
in Paris.

length observed towards the reformer of the

French opera.
GINIi

(GIOVANNI ANTONIO)

chapel-

master to the king of Sardinia, at Turin,

about the year 1728. He composed the
music of the operas of " Mitridate" and
" Tamerlano," also much other vocal
music.
GIORDANI (GIUSEPPE) was a native
of Italy. He came to England early in life,
and resided so many years in London, that
he was at length almost as well acquainted
with the English language, and English
style of music,-as any individual of his time.
In the year 1779, he entered into a speculation with Leoni the singer, by taking the
theatre in Chapel-street, Dublin, for the
performance of operas, in which the whole
of the musical department was to be under
his management. This connection continued about four years, Giordani composing
the music, and Leoni superintending the
singing. They had considerable encouragement, but owing, as it is supposed, to several
improvident engagements which they made,
they at length became bankrupts, and the
concern was, of course, transferred to other
hands. Giordani from this time continued
to reside at Dublin, as a teacher of music,
where he had several pupils of distinction.
He married there the daughter of Mr.
Wilkinson. He not only wrote, but has
published much music of his Italian operas,
which were in general well received. Those
that are now in print are, " Artaserse,"
" Antigono," and "II Baccio." Of his
English operas, the first that was published appears to have been, " Perseverance, or the Third Time the lest," performed in Dublin in the year 1789. His
sonatas and other pieces for the piano-forte,
as well as his single songs, both Italian and
English, had a great sale. Besides the
above, Giordani composed an oratorio entitled "Isaac."

GIMMA, (HYACINTO) a learned Italian

priest. He published a work at Naples in
1724, entitled " Idea delta Storia dell' Italia
Literata," in 4to., in which is a dissertation
on the rise and progress of Italian music.
GINGUENE, (P. L.) a French author
and warm partisan of Piccini in the disputes
between the Piccinists and Gluckists. He
published a pamphlet entitled " Entretien
sur VEtat actuel de VOpira de Paris."
This book caused a violent critique from Monsieur Suard, which appeared in the Mercure
of that time. He subsequently carried on a
paper war with MM. Suard and l'abb
Arnaud, under the name of Me'lophile.
Ginguene has occupied himself much in the
study of Italian literature, and the history
of music. He wrote, conjointly with Framery, the article Musique in UEncyclope'die Mithodique.
Much of Giuguen^'s
" Histoire de la Musique" is translated
from Dr. Burney, whom, by the by, he
might as well have quoted throughout the
whole article of Cantate, which is one of the
most interesting in the volume. In 1801,
this writer published a very interesting memoir of the life and writings of Nicolas
GIORDANI, (GIACOM A) an Italian com'
Piccini, where he appears to have acknow poser of some sacred music towards the end of
ledged the errors of his youth. The par- the last century. He also published much
tisans of Gluck, and even those of Piccini, piano-forte music in France.
were pleased with the moderation he at
GIOIIGI, a celebrated violinist and pupil
278

G I R

G IU

of Tartini, residing at Vienna in the year

1772.
GIORGI, ( F I L I P P O ) a good Italian tenor
singer towards the close of the last century.
He first sung at the opera at Rome, and
subsequently at that of Petersburg.
GIORGIS, (N.) a violin pupil of Viotti,
published, at Paris, some concertos and airs
with variations for his instrument. He was
violinist at the chapel of the king of Westphalia about the year 1810.

GIRBINI, (MADAME) a celebrated female violinist and pupil of Pugnani. She

published at Lisbon in 1799.
GIROLAMO DI NAVARRA, a Spaniard and very great musician, flourished in
Italy about the year 1550.

GIORNOVICHT.

See JAP.NOWICH.

GIOVANELLI DA. VELLETRI ( R u c GIERO) was a chapel-master and successor

to Palestrina in the church of St. Peter at
Rome. He was also a singer in the pontifical chapel. There is extant a collection
of madrigals by Giovanelli, that were printed
at Venice.
He composed many masses,
some of which have been much celebrated.
He also published a work on music in 1581.
GIOVANNI DETTO DEL VIOLONE,
(CARLO CESARINI) an Italian violinist and

GIROUST

(FRANCOIS)

was bom at

Paris in 1730. At seven yeais old he was

chorister at the church of Notre Dame,
where he learnt composition under Goulet,
music-master of that church. In 1775, the
king named him master of the chapel royal,
and afterwards superintendent of his music.
Giroust composed several oratorios, any one
of which would have rendered a composer
celebrated. In that of " Le Passage de la
Mer-Jinuge" he surpassed himself. He
also composed for the opera ; but through
cabal and envy his works did not appear
there. It is affirmed by connoisseurs who
have heard the overture of his " Tele'phc,"
that it is at leasl equal to that of
" Ijihigenic."
Giroust died at Versailles
in 1799.
GITTER (J.) published at Manheim
and Mentz, in 1784, three quatuors for the
flute, violin, viol, and violoncello, and three
duets for the violin.
GIULIANI, an Italian composer of
vocal and instrumental music, published at
Vienna towards the close of the last and
commencement of the present century.
GIULINI, (ANDREAS) chapel-master
at Augsburg. He was a profound theorist
in music ; he taught singing for the church,
also composed much sacred and other
music. He died in 1771.

dramatic composer early in the last century.

GIOVANNINI, an Italian composer
and celebrated violinist, resident at Berlin
in 1740. Pie was in England for some
time, and composed some dramatic and
other music. He died in 1782.
GIRANECK, member of the chapel of
the elector of Saxony, at Dresden. He
died in 1760, and left some music of his
composition for the violin, harpsichord, and
fiute.
GIRAUD, member of the French academy of music, composed, in conjunction
with Berton, the opera of " Deucalion et
Pyrrha," which was performed in 1755.
GIULINI, (CONTE GIORCIO) a celeIn 1762, he composed alone, " VOpera de brated poet and composer at Milan in 1714.
Sacie'te." His motets also met with much He died in 1780.
success in France.
GIULINI, (SIGNOTIA) an Italian singer
GIRAULT, (A.) a French violinist and at the opera at Vienna. She made her
composer for his instrument. Some of his debut in 1791.
music has been published at Paris in the
GIULLOU,an eminent French professor
present century.
of the flute at Paris.
GIRBERT, (CHKISTOFH HEINRICH) di-

GIUSTI, (MARIA,called LA ROMANINA)

rector of the music at the theatre of the

margrave of Anspach, Bayreuth, in 1785,
was a celebrated pianist and composer for
his instrument. Girbert was born in 1751,

a celebrated Italian singer. She performed

at various towns of Germany, also in
France, at the beginning of the last
century.
279

G L A
GIUSTINI, (LUDOVICO) of Pistoia, an
instrumental composer towards the middle
of the last century. Some of his works
were published at Amsterdam in 1736.
GIZZI (DOMINICO) was born at Aprino,
in the kingdom of Naples, in 1680, and
died at that capital in 1745. He was a
celebrated singer, and in 1720 founded a
school of singing, in which he formed the
famous Conti, surnamed Gizziello, in
honour of his master. The reputation of
Gizzi as a citizen is purely traditional,
as none of his works are now existing.

GL

and gives on each of them a choice of musical

pieces, for two, three, four, and frequently
more parts, selected from the chef-tFosuvres
of the best masters of his time. In this
Work are to be found documents respecting
many of the best composers. Choron hag
republished much from this writer, in his
great work on music.
GLASER,

(JOSEPH

MICH.)

born at

Erlangen in 1725, was a violinist in the

chapel royal at Anspach. In 1775, he
returned to Erlangen as town-musician,
where he resided till his decease. Sortie
symphonies of his composition were pubGIZZIELLO. See CONTI.
GLAESER, (CARLLUDWICTRANGOTT) lished at Amsterdam.
GLEDHILL, a good English violinist in
born at Weissenfeld in 1747, was director
of music at the seminary there, and com- the band of the King's theatre.
GLEICHMANN (JOHANN ANDREAS)
posed much church and instrumental music.
was born in Germany in 1775. In 1794,
He died in 1797.
GLANZ, (GEORG) chamber-musician, he was made director of music to the court
He has composed
violinist, and composer to the duke of Wur- at Hildburghausen.
much vocal and instrumental music.
temburg, about the year 1760.
GLEISZNER, (FRANZ) musician to the
GLAREANUS,
(HENRY
LORIS or
LORIT, called) because he was of Glaris, in court at Munich, has composed an oratorio
Switzerland, was born in 1488. He first of considerable merit called " Lazarus,"
taught music at Cologne, and afterwards also much other vocal and instrumental
at Bale, Paris, and lastly at Friburg, music since the year 1795.
GLOEGGL, (FRANZ XAVER) chapelwhere he died in 1563. His music-master
was J. Cochlaeus, and his preceptor in master at Lintz in 1799, and founder of a
literature the celebrated Erasmus, with music school there.
whom he was united in the strictest friendGLOESCH, (CARL WILHELM) born at
ship. Erasmus, in his letters, represents Berlin in 1732, was the only son of Peter
Glareanus as a man of profound and Gloesch, a celebrated performer on the hautuniversal learning, joining to the knowledge boy. Carl Gloesch was, in 1765, chamberof philosophy, theology, and mathematics, musician and music-master to the royal
that of poetry, geography, and history. family of Prussia. He died at Berlin in
The emperor Maximilian 1. gave him a 1809.
crown of laurel and a ring, as a mark of his
GLOSSOP,
(MRS.) formerly Miss
esteem for his person and poetry. It is Fearon, an excellent English singer. She
known that the Swiss, assembled at Zurich, went to Italy a few years since for imrecompensed magnificently the " Panigy- provement in her art, and was lately
rique de VAlliance des Cantons," which engaged at the theatre of San Carlos, at
Glareanus put into verse. In 1547, his Naples, to supply the place of Madame
" Dodecachordon," in one vol. appeared at Fodor, and at a salary, it is reported, of
Bale. This work, which has now become thirty thousand francs (one thousand
scarce, is of great importance, inasmuch as two hundred and fifty pounds) per anit shows the state of practical music about num.
the year 1500, that is to say, at the epoch of
GLUCK," (CHRISTOPHER.) This celethe Flemish school. The author establishes brated musician was born in 1714, accordthe twelve tones of the ecclesiastical chant ing to an authenticated certificate of his
280

GLU
baptism, at Weidenwangen in the Upper
Palatinate, where his Father was head forester to prince Lobkowitz. Early in his
childhood, his family removed into Bohemia,
where the father died, leaving his son still
under age, and without either education or
fortune. Nature, however, had in a great
measure compensated young Gluck for these
deficiencies, by gifting him with musical
talents of the first order. This natural taste
for music is common in Bohemia, where the
rural population, as well as the inhabitants
of towns, may be heard singing in parts
and playing on various instruments in the
fields or streets, and in groups, consisting
of men, women, and children.
Young
Gluck, with very little instruction, soon became so remarkable for his skill on various
instruments, that he determined on journeying from town to town to procure a livelihood as an itinerant musician. At length he
wandered as far as Vienna, where his talent
met with sufficient encouragement to enable
him to obtain some little instruction, both
in general education and in the principles
of his favourite science. In 1736, he went
in the suit of a nobleman to Italy ; and at
Milan, after taking lessons of the celebrated
Martini, he was put upon prince Melzi's
establishment as musical composer. Having
given many proofs of his genius, he was at
length selected to compose a grand opera
for the theatre in that city. This work was
entitled " Artaxerxes," and was produced
at Milan in 1741. In this composition,
Gluck depended entirely on his own genius, without asking the advice of any one,
and by so doing, he avoided the usual routine of other composers. In fact, expression
seemed to be his principal study, whilst he
disregarded the dictates of usage and fashion.
At the first rehearsal, which was attended
by a considerable number of amateurs, one
aria was wanting on account of some required alteration in the words; when Gluck
perceiving that his music was much criticised, took advantage of the deficiency of
the above air, and brought it out entirely
after the Italian model; merely to please
the ear, and without paying the least atten-

GLU
tion to the words, or to the relation of the
music to the general character of the drama.
This little ruse operated wonders at the
second grand rehearsal, when it was whispered about by the dilettanti that this song
was not the composition of Gluck, but of
their favourite San Martini. Still Gluck
took no notice of the above remark, and the
first public representation of the opera took
place, when the audience were almost unanimous in their approbation of the entire
music, with the single exception of the air
a I'Jtalienne, which they condemned as dull
and inappropriate, the general outcry being,
that it destroyed the unity and character of
the whole opera. It was then that Gluck
took signal vengeance on his hypercritics at
the rehearsals, by himself avowing the air
in question to be San Martini's composition.
This opera so established his fame, that he
immediately received orders to compose for
several of the principaf theatres in Italy.
He in consequence produced
"Demetrio"
and " Ipermnestra" for Venice, " Artamene," for Cremona, and " Alessandro
nell' Indie" for Turin : also composed successively for Milan, " Demofoonte," in
1742, "Siface," in 1743, and "Phaedra,"
in 1744. Almost all these works were successful, and placed him in the highest rank
of his profession. In 1745, he was invited
to this country, where he composed an
opera enlitled " La Caduta de Giganti,"
and a pasticchio called " Piramo e Tisbe ."
he also reproduced his " Artamene."
His
" Caduta de Giganti" was performed at
the King's theatre before the duke of Cumberland, in compliment to whom the whole
was written and composed. The music had
considerable merit, and the opera was tolerably well received, though it had only five
representations. His " Artamene," which
was produced in the same season, (1746)
was also successful, and Monticelli was
every night encored in the beautiful air
" Rasserena il mesto ciglin." " Pyramo e
Tisbe" was a selection of the most beautiful
airs from all his other works; but from their
inapplicability as thus collected to the scenic
representation, tke pasticchio, as a whole,
281

G L U
disappointed the public ; and soon after its
representation, the composer quitted England, being much astonished to find that
those airs which had been most effective
in the operas for which they were originally
composed, were without effect, when reproduced with other words and action.
Gluck next proceeded to Copenhagen, and
from thence to Germany, where he composed several theatrical and other works,
and zealously applied himself to repair the
defects of his education, both by the study
of languages, and by associating himself
with individuals distinguished in the literary
world. One result of these pursuits was,
his acquirement of bolder and more comprehensive ideas than had ever previously been
conceived as to the effects producible by
the union of poetry and music. He soon
felt that those beautiful melodies, on the
powers of which the Italians chiefly relied for
the success of their'vocal compositions, were
in themselves only capable of pleasing
the ear and could never reach the heart.
When spoken to, concerning the pathos of
certain celebrated Italian airs, he was known
to reply, "They are charming, but,'' adopting
an energetic Italian expression, " they do
not draw blood." It was from about this time
that Gluck totally abandoned the Italian
school of composition, seeming to think with
the abbe Arnaud, that their opera is a concert to which the drama is a mere cloak.
He now, as the Giulio Romano of music,
commenced turning his mind to a new dramatic system, where every thing should be in
strict keeping, the music never varying from
the style demanded by the passing scene :
where, in fact, the interest should result
fiom the perfect ensemble of all the parts
of the drama and music. He determined
further, that it was hopeless to bestow that
energy and those charms on music, of which
it is susceptible, if it be not intimately allied
with animated and simply expressive poetry,
such, in fact, as truly depicts natural and
determinate sentiments; that vocal music
may be made to become a language expressive of all the affections of the human heart;
but that, in order to bring it to this degree
282

G L U
of power, the melody must follow with precision the rhythm and the accent of the
words, and the instrumental accompaniments must assist by their own expression,
either in strengthening the voice part, or
affording a contrast to it, as the scenic situation may require. In the year 1754, the
high reputation of Gluck caused him to be
invited to return to Italy, when he brought
out at Rome his " Clemcnza di Tito" and
" Antigonus."
He then gave an opera
named " Clelia," for the opening of a new
theatre ; and proceeded to Parma, where he
composed " Baucis e 'Philemon," and
" Aristeo" all of which were successful;
in his own opinion, more so than they deserved, because they were written too much
in the Italian taste, and against the convictions of his own mind on the subject of
dramatic music. He next returned to Vienna, and between the years 1760 and 1764
produced his operas of " Helen and Paris,"
and " Alveste:" he also brought out his
" Orpheo," concerning the composition of
which it is now necessary to state some
particulars. Gluck having become convinced that thepoeiryof Metastasio, though
fraught with various beauties, was not capable of eliciting the greatest possible effect
of which dramatic music is capable, communicated this opinion to M. Calzabigi, an
ingenious Italian poet, whom he met at Vienna ; particularly stating his conviction,
that it would be proper to introduce choruses with action, nothing tending 'more
to produce powerful theatrical effect than
the sentiments of an impassioned multitude.
Calzabigi had himself reflected on the imperfections of the Italian opera, and as he
took the same view of the subject as Gluck,
he was delighted to find so great a musician
ready to join with him in attempting, a revolution in this department of literature and
the fine arts. He accordingly wrote the
poem of " Orpheus," which Gluck set to music, and it was first performed at Vienna in
1764. It excited more astonishment than
pleasure on its first representation; the
public ear having been accustomed to the
routine of recitative, and to the mannerism

G L U
of the usual Italian airs. Still, however,
its great musical beauties surprised the connoisseurs, whilst its simple and affecting
situations and expression excited hitherto
unknown emotions in the sensitive mind.
These feelings so prevailed, that at the fifth
performance of the opera all objectors were
silenced, the piece was generally applauded, and its success became more confirmed by a very considerable number of
successive representations. In 1765, Gluck
was again invited to Parma on occasion of
the marriage of the Infanta. He then proposed to give " Orpheus," but that performance was not agreeable to the court; the
opinion of the citizens of Vienna having no
weight with the Italian amateurs, who
could not imagine the possibility of writing
better poems than those of Metastasio, or
finer music than that of Jomelli, Sacchini,
or Piccini. Millico, the principal singer
at Parma, being requested to appear in the
part of Orpheus, said at first, that such a
request was made -only to destroy his reputation. Gluck, however, overcame all obstacles, and insisted on risking the performance, esteeming the Italians to be more attached to their sensations than their opinions ; in which judgment it would seem he
did not err, for the opera met with perfect
success on the first representation, and had
twenty-eight successive performances, the
'" Armida" of Traetta, who was engaged
at the same time with Gluck, not being
allowed to be brought forward. " Orpheus"
was afterwards performed with success in
almost every theatre of Europe. Amongst
others it was, in 1773, brought out at the
court theatre at Naples, when, on a duet in
the third act by another composer being substituted for the original, the audience called
loudly for the restitution of Gluck's music.
This opera obtained the honour of being the
first ever printed in Italy, those composed
antecedently having been only copied for
sale. Gluck. now visited the principal
cities of Italy, and amongst others Naples,
where he was engaged to compose two operas
in one of these he wrote for Caffarelli the
celebrated air, " Se mai senti spirarti sul

GLU
volto," with which the Neapolitan professors
found much fault, chiefly on account of a
long pause in the vocal part, during which
the instrumental accompaniments continued
the movement. They even laid the score
of the air before Durante, to hear his opinion
of it. " I will not pretend to decide," said
that great master, " how far this is strictly
agreeable to rule, but one thing I can assure you, that we should, any of us, be very
proud to have imagined and composed a
similar passage." The brilliant success of
" Orpheus" induced Gluck and Calzabigito
unite their efforts in treating upon the same
plan a still more tragic subject; they accordingly composed " Alceste," which was
first performed at Vienna in 1768. Never
did any opera obtain such great applause
or draw so many tears; no other drama
was sven allowed at the court theatre for
the two succeeding years, every performance
during that time being " Alceste'' In 1769
it was printed, with the following dedication prefixed to it, written by Gluck.
" When I determined," says he, " to compose music for this poem, I proposed to
myself to shun various abuses in composition, that the vanity of singers, or excessive
complacency of composers, had introduced,
and which had rendered the Italian opera
a most fatiguing and ridiculous, instead of a
splendid and beautiful spectacle. I endeavoured to reduce music to its legitimate
purpose, which is that of seconding poetry,
in order to strengthen the expression of the
sentiments, and the interest of the fable,
without interrupting the action, or weakening it by superfluous embellishments. It
struck me, that music ought to aid poetry,
as vivacity of colouring, and a happy agreement of light and shade, strengthen the effect
of a correct and well-designed picture, by
animating the figures without altering the
outline. I have, therefore, never in this
opera interrupted a singer in the warmth of
a dialogue, in order to introduce a tedious
ritornello, nor have I stopped him in the
midst of a discourse, to display his agility of
voice in a long cadence. I have never
deemed it requisite to hurry over the second
283

GLU
part of an air when it consisted of the most
impassioned and important portion of the
subject, in order to repeat the words of the
first part four times over; or to finish where
the sense does not conclude, in order to give
the singer an opportunity of showing that
he can vary a passage in several ways, and
disguise it in his own peculiar manner. In
short, I have attempted to reform those
abuses against which good sense and good
taste have so long declaimed in vain. I
have considered, that the overture ought to
prepare the audience for the character of the
coming action and its subject; that the instrumental accompaniments should be used
only in proportion to the degree of interest
and passion of the drama; and also, that it
is principally requisite to avoid too marked
a disparity in the dialogue between air and
recitative, in order not to break the sense of
a period, or interrupt in a wrong place the
energy of the action. Lastly, Ihave thought
that I should use every effort in aiming at
simplicity, and have accordingly avoided
making any show of difficulties at the expense of clearness. I have set no value on
novelty, unless u naturally sprung from the
expression of the .subject. In fine, there is
no rule of composition that I have not willingly sacrificed for the sake of effect. Such
are my principles, and fortunately the poem
strongly seconded my project. The celebrated author of ( Alcesie having conceived a
peculiar plan for the lyric drama, had substituted for flowery descriptions, for useless
comparisons, for cold and sententious morality, strong passions, interesting situations,
the language of the heart, and a constantly
varying scene. Success has justified my
ideas, and the unanimous approbation of the
public, in so enlightened a city, has proved
to me, that simplicity and truth are the first
principles of the beautiful in the productions
of the fine arts, &c." Theseopmions abound
with sense and good taste, and are well deserving the serious attention of dramatic
composers.
Gluck now turned his mind to another
field for his exertions. Notwithstanding his
renown in Italy and Germany, he felt him284

GLU
self capable of still further advances in the
career that he had entered on : he considered that a tragedy in music, where the
principal performers were castrati, must always want theatrical illusion; and that he
could not fulfil the idea he had formed of
dramatic perfection, unless, in addition to
good poetry, and a magnificent theatre, he
could command actors capable of uniting the
art of singing with correct, noble, and
pathetic action. These ideas he communir
cated to the Bailli du Roulet, who belonged
to the French embassy of Vienna in 1772,
stating, that all the dramatic advantages he
so much desired were, as he understood,
united on the French stage. This was sufficient for the Frenchman, who adopted
Gluck's opinions with warmth, and in concert with him chose the Iphigenia of Racine,
as the subject best adapted to unite strong
tragic interest with great musical and scenic
effect. The " Iphigenia in Aulide' was accordingly completed, and performed at Vienna in the autumn of 1772. The Bailli dn
Roulet then wrote to the director of the academy of music atParis, strongly recommending the piece for the French stage. The offer
was accepted, and Gluck accordingly, when
in his sixtieth year, departed for Paris,
where he was immediately patronised by
the queen, (Marie Antoinette) who had
been his pupil at Vienna, and without
whose powerful assistance, he soon found
it would have been impossible to have
obtained the performance of his new
composition. All the musicians and amateurs of Paris formed an almost insuperable cabal against him, having taken up the
prejudiced notion, that it was a disgrace to
the poetry of their immortal Racine to be
coupled with the music of a foreign composer; and above all, that it was an insult
to the taste of their metropolis, to admit
such a heterogeneous production on the
boards of one of their principal theatres.
Under such circumstances, the
composer solicited the interference of the
queen; upon whose positive mandate the
piece was performed for the first time on
the 19th of April, 1776, when it excited

GLU
the liveliest sensation, aiid the abbe1 Arnaud wrote several eloquent pages in favour of the opera, ably interpreting the general enthusiasm which it had excited. " It
should be remembered," say the editors of
the French Encyclopedia, " in what state the
academy of music was before the arrival
of Gluck; the coldness of the performers,
the immovability of the chorus, the want of
skill of the orchesta ; let the zeal and ability be called to mind that now animate all
parties, and what moral activity and physical effort must have been required to effect
such a change, then will it be acknowledged
that Gluck was precisely the individual to
bring about so fortunate a revolution." The
success of " Iphigenia" was the last blow
aimed at the ancient French grand opera.
But if Gluck triumphed without difficulty
over Lully and Rameau, he soon found
in Piccini a more formidable competitor.
This musician, whose reputation was well
known to the Parisians, arrived in their
capital in December, 1776, not announcing himself by any of the means employed
by Gluck. He had previously composed
no less than three hundred operas; but
still modestly determined to make himself
master of the French language, and
especially of their declamation and poetry,
before he competed for their favour as a
dramatic composer. The assistance he received in this respect from the celebrated
Marmontel will be found in our article
" PICCINI." He had only just commenced
his opera of Roland, when Gluck, with his
partisans, formidably opposed him, and a
(so called) " musical war" commenced,
which for a very considerable time divided
the theatrical circles of Paris. The aggression was evidently on the part of Gluck
To the "Iphigenia in Aulis" of Gluck succeeded a French translation of his "Orpheo,'
and of "Aiceste," in 1776 ; of "Armida," in
1777; of "Iphigenia in Tauris," and of
"Echo and Narcissus," in 1779. "Alceste'
was established with more difficulty than
either his "Iphigenia in Aulis," or his "Orpheus," on which account his panegyrists
redoubled their enthusiasrh. The musical
revolution in Paris was now far advanced

GLU
Some few French operas were still performed,
but it was nearly impossible to hear them.
To complete the triumph of Gluck, it only remained for him to compose new music to some
poems already set by Rameau or Lully, in
order that the same verses appearing with different music the question of superiority might
be no longer left in doubt. With this view
Gluck determined to set the poem of "Armida;" during the time of his being employed
on which work Piccini came to Paris, as
before related. "Armida" was performed,
with moderate success, in March, 1777. It
was the same with this opera as with "Alceste," the public accustomed themselves to
it by degrees. With respect to " Iphigenia
in Taurir, and " Echo and Narcisse," the
former redoubled the enthusiasm of Gluck's
admirers, and the latter (though condemned)
could not cool it. The public were not at
first favourable to "Iphigenia in Tauris;"
but by keeping the work on the stage, being
careful in the performances, adding superb
ballets, and causing its praises to be heard
every where, numerous audiences were attracted. The two last-named operas were
the latest comple'te productions of their
great composer. He resided several years
after at Vienna, where he peaceably enjoyed
in quietude his reputation and fortune. He
had projected, and even begun, the opera of
the "Danaides," but being attacked by apoplexy, he was unable to continue it, and afterwards gave the poem to Salieri, who subsequently produced it with success. Gluck died
of a second apoplectic attack in 1787, leaving
a fortune of nearly six hundred thousand
francs, (about twenty-five thousand pounds.)
J. J.Rousseau's admiration for the genius of
Gluck, as soon as he became acquainted with
his works, is well known. All Paris observed him frequenting the theatre at
every representation of Gluck's " Orpheus," although for some time previously he had absented himself from such
entertainments. To one person he said on
this subject, that Gluck had come to
France to give the lie to a proposition
which he had formerly defended, namely,
that good music could never be set to
French words, At another time he ob285

GL U

G L U
served, that all the world blamed Gluck's
want of melody, for himself, he thought it
issued from all his pores. Gluck was one day
playing on his piano the part in " Iphigenia in Tauris," where Orestes, left alone in
prison, after having experienced his accustomed agitation, throws himself on a bench,
saying, " Le calme rentre dans mon coeur."
Some one present thought they observed a
contradiction in the bass, which prolonged
the preceding agitation, after Orestes had
declared that his heart was calm : they mentioned this to Gluck, adding, " but Orestes
is calm, he says so."" He lies," exclaimed
Gluck, " he mistakes animal exhaustion for
calmness of heart; the fury is always here:
(striking his breast) has he not killed his
mother V
On the day appointed for the first representation of his " Iphigenia in A alls"
at Paris, Gluck was informed that the
principal singer had been taken suddenly
ill, but that another would perfoim
his part for that evening. Gluck, suspecting cabal, immediately replied, " No ;
the performance must be postponed." That
was declared impossible, the piece having
been already advertised and announced to
the royal family, under which circumstances
there was no precedent of a postponement.
" I will sooner," replied Gluck, " throw
the piece into the fire, than submit to its being murdered in the way proposed." All
remonstrance was in vain, and the circumstance was obliged to be reported to the
royal family, who kindly allowed the performances of the night to be altered.
GLUCK, (JOIIANN) born at Plauen,
published at Leipsic, in 1660, a sort of
oratorio, entitled " Sept Paroles de J^sus
Christ sur la Croix."
It was the same
idea which Haydn has since done more
complete justice to.
GLUME, a flutist at Berlin in 1786.
GNECCO, (N.) an Italian dramatic
composer. A piece by him, entitled " La
Prova di tin Opera Seria," was performed
with success at the opera buffa at Paris, in
1806.
GOBERT, a French musician, member
of the conservatory at Paris, has published
286

some instrumental music there since the

year 1799.
GOCCINI, (GIACOMO) an Italian dramatic composer, set, in 1713, the music of
the opera " Amor fra gV incanti."
GODSCHALK, (EUGENE) an excellent
harpist, violinist, and composer for the
latter instrument, resided in 1772. at
Brussels.
GOEPFERT,

(JOHANN

GOTTLIEB)

singer and director of music at the collegiate chapel of Weesenstein, near Dresden,
was an excellent composer. He died in
1766.
G O E P F E R T , (CARL GOTTLIEB) .son of

the preceding, was one of the most esteemed

violinists in Germany. He was born at
Weesenstein about the year 1733. He was
chorister at the school of the St. Croix, and
at the chapel at Dresden. At the moment of
quitting his paternal home, for the purpose
of proceeding to the university of Leipsic,
his father is said to have given him a violin
with these words : " Voiltl, mon fils, un instrument : tu connais ma position, et tu
sais que je ne puis guere te donner davantage. Si tu es heureux, tu pourras te passer
ais^ment de mon faible secours, et si tu es
malheureux, tout ce que je peux te donner
ne saurait t'aider." Goepfert, soon after
this, experienced the vicissitudes of fortune
till the year 1764, when, on occasion of the
coronation of the emperor Joseph II., he
went to Frankfort, where he met with
the celebrated Dittersdorf, and took him
for his model in music. In a short time the
fame of Goepfert as a violinist spread
throughout Germany, and he afterwards
held various lucrative musical situations at
(he German courts, admired for his talent,
and beloved for his private character, by
all his countrymen. He died in 1798. Very
little of his music has been published.
GOEPFERT, (CARL ANDREAS) ehapel-

master to the duke of Saxe-Meiningen, was

born in Franconia, in 1768. He is a celebrated performer on the clarionet, and has
composed much valuable music for his
instrument.
GOETZE, (NICOLAS) pianist and violinist at Rudolstadt, in, the service of the

G OM
prince of Waldeck, resided, about the year
1740, at Augsburg, where he published
some harpsichord music.
GOETZEL, (FKANCOIS JOSEPH) flutist

at the chapel of the elector of Saxony at

Dresden, in 1756, was celebrated for his
talent and compositions for his instrument.
He was in London for some time.
GOETZLOFF, a composer of some
French and German songs, in three parts,
published in Paris.
GOLDBERG,
chamber-musician to
count Bruhl, at Dresden, about the year
1757, was a pupil of Sebastian Bach, in
composition and harpsichord playing. He
died very young. Few, if any, of his compositions have been published : those which
are known in manuscript are of extreme
difficulty.
GOLDE, (JOHANN GOTTFRIED) cham-

ber-musician and court-organist at Gotha,

published some vocal music there in 1768.
Golde died in 1788.
GOLDWIN (JOHN) was a pupil of Dr.
William Child, and on the 12th day of
April, 1697, succeeded him as organist of
the free chapel of St. George at Windsor.
In the year 1703, he was appointed master
of the choristers there, in both which stations he continued till the day of his death,
in 1719. Of the many anthems of his
composition, Dr. Boyce has selected one for
four voices, " / have set God always before
me," which, as regards the 'modulation,
answers precisely to the character which
the doctor has given of the music of Goldwin, namely, that it is singular and agreeable.
GOMBERT, (NICHOLAS) a native of
the Netherlands, was chapel-master to
the emperor Charles V. He was a
pupil of Josquin, and was well skilled in
the science of harmony ; so much so, indeed, that he is distinguished by Finch as
having surpassed his master, and as having
advanced the art of fugue. Gombert furnished a very considerable portion of nearly
all the books of songs and motets that were
printed in Antwerp and Louvain during the
middle of the sixteenth century, besides a set
of masses, published at Venice in the year

GOO
1541, and two sets of motets in 1550 and
1554, all in four parts.
GONETTI, (VICTOR) composer of some
piano-forte music, published in London
about the year 1790.
GOODALL, (Miss) a celebrated English orchestra singer. She has successfully
cultivated the Italian school, and is nearly
at the head of her profession. This young
lady is remarkable for a sweet and elegant
style, for the purity of her public manner,
and her goodness in private life. In the
branch of the profession which she has
adopted, she is generally considered second
only to Mrs. Salmon, amongst English vocalists.
GOODBAN (THOMAS) was born of
musical parents, who were both natives
of, and residents in Canterbury. His mother (whose maiden name was Saffery) was
a singer above mediocrity, and his father a
violin player, and one of the lay-clerks of
the cathedral. They kept a tavern called
the Prince of Orange, where his father,
with the assistance of his musical friends,
established a weekly musical society, during
the six winter months, called the Canterbury Catch Club, the performances at
which were conducted by his .brother-inlaw T. N. Saffery, and afterwards by his
son Osmond Saffery. This society has been
kept up annually ever since that period,
and, being supported by the principal inhabitants of the city, enjoys at the present
time a very high degree of popularity, being, although a convivial meeting, in every
respect conducted upon the same principle
as a regular weekly concert of vocal and
instrumental music.
T. Goodban was placed in the choir of
the cathedral at the age of seven years,
under the late Samuel Porter the organist,
but, showing no particular disposition to the
study of music, did not begin to practice
the violin until fourteen years of age, when
a change occurring in his father's circumstances, his mother's death soon following,
he was placed in a situation as clerk in the
office of a very respectable solicitor in Canterbury. There, although labouring under
287

GOO

a o s

the disadvantage of daily employment at

the desk, Goodban made such progress on
the violin, that upon the death of his father
he succeeded to his teaching, though only
then eighteen years of age. Being left
with two younger brothers to his own resources, Goodban next began seriously to
apply himself to the study and practice of
the piano-forte, and the science of music
generally. In 1809, he was appointed one
of the lay-clerks in the cathedral, and
soon afterwards took to the profession as a
teacher of the violin, piano-forte, andsinging,
as his only means of support. In 1810,
(the society being then in a declining state)
O. Saffery gave up the leading and direction of the orchestra at the catch club,
when, at the solicitation of the members of
the society, Goodban undertook the duties
of that honourable situation, and to this circumstance ptincipally attributes the success
of his subsequent professional career. From
this time the society gradually recovered
its popularity, and in 1819 Goodban had
the distinguished honour of being presented
with a silver bowl and salver, of the value
of fifty guineas, bearing the following inscription : " Canterbury Catch Club, established 1779. In testimony of the eminent
services rendered gratuitously to the club
for several years of the above period, by
the constant attention and exertion of his
musical talent, this bowl and salver were,
the 1st day of June, 1819, presented to Mr.
Thomas Goodban by the members, as a
mark of their esteem and gratitude. Charles
Delmar, president." Goodban's principal
publications are as follows: " A complete
Guide to the Violin," published in 1810.
" A Guide to the Piano," a new edition
of which is just published. " Anew Game
of Musical Characters, adapted for the Improvement of Beginners and Amusement of
Performers in general!' published in 1818
" The Rudiments of Music, with progressive
Exercises to be written upon Slates, being a
new System of Musical Insti action, and
adapted as well for teaching in Ctasses as
for private Tuition," published in 1820.
" A Glee to Apollo and Bacchus, for four
288

Voices," dedicated to the President and

Members of the Catch Club, Canterbury.
GOODGEOOM, (JOHN) an English
composer and singer at the chapel royal,
London, about the year 1750. Some of his
sacred music has been published.
GOODSON, (RICHAUD) bachelor of
music and organist at Christchurch, Oxford, was elected professor of music there
in 1682. He died in 1717.
GORDON, (JOHN) a professor of music
at Gresham college. He died in 1739.
GOSS (JOHN JEREMIAH) was a native

of Salisbury, and became a chorister-boy

of that cathedral. His superior abilities
procured him the situation of a gentleman
of the chapel royal, and vicar-choral of St.
Paul's and Westminster abbey. He was
much admired as a singer, his voice being,
not as is frequently the case, a falsetto, but
a genuine countertenor of beautiful quality : his taste in part-singing was both
chaste and elegant, J. J. Goss possessed
many most amiable qualities in private
life, which will long be remembered by his
professional and other friends. He died in
1817, aged forty-seven, and was buried in
St. Paul's cathedral.
GOSS, (JOHN) son of the preceding,
was born in 1800, at Fareham, in Hants.
At nine years of age he was entered as one
of the children of the chapel royal at St.
James's, under John Stafford Smith. On
leaving that establishment at the breaking of his voice, he became a pupil of Attwood, under whose excellent tuition he
completed his musical education. John
Goss was a member of the Concentores
society, also an associate of the Philharmonic. He has published a canone for
six voices, " / will always give thanks,"
dedicated to his master, Attwood, also
some songs. His other compositions consist of unpublished glees, one of which,
" Kitty Fell," was performed last season
at the British concerts.
GOSSEC, (FRANCIS JOSEPH) member

of the institute and of the legion of honour, was one of the three inspectors of
instruction, and professors of composition,

G OS
at the conservatory of music, in Paris. He
was born in 1733 at Vergnies, in Hainaut.
When seven years of age he was sent to
Antwerp, and remained for eight years in
that city as a singing-boy in the cathedral.
Gossec was nearly self-instructed in music,
chiefly by means of a profound study of
the scores of the great masters. It appears
that he was never able to visit Italy, but in
1751 went to Paris, where he afterwards
fixed his residence. Soon after this he was
attached to the suite of the prince de
Condi;, as leader of his band, and composed
several operas for it. In 1770, he founded
the concert of amateurs, where the chevalier de St. George was first violin, and
which had the greatest success during ten
seasons. In 1773, Gossec took the management of the spiritual concert, and in 1784
was appointed a principal professor in the
royal school of singing and declamation,
founded at the Menus plaisirs by M. le
Baron Breteuil. At the commencement of
the French revolution, he accepted the situation of director of the band to the national
guard; and many symphonies, hymns, &c.
for wind instruments were at that time
composed by him, and performed by this
band on different pubiic occasions. In the
year 1795, a law was passed by the national
convention, definitively fixing the organization of a conservatory of music, when
Gossec was chosen, conjointly with Messrs.
Mehul and Cherubini, inspector of the
establishment and professor of .composition ;
Catel, his principal pupil, being at the
same time named professor of harmony
The pupils of Gossec have, for the mosl
part, obtained the great prizes at this institution. Gossec was living in 1811, and
at the age of seventy-eight composed
" Te Deum." "We do not know the date
of his decease. The following anecdote is
related respecting the celebrated " O salu
taris" of this master. In the year 1780
Messrs. Lais, Cheron, and Rousseau, three
Trench singer3, were in the habit of fre
quently accompanying Gossec to dine with
M. de la Salle, secretary of the opera, at
Chenevieres, a village near Paris. Thi
VOL. I .

GOU
:urat6 of the parish, who was well known
;o the-m, one morning requested the three
ingers to perform in his church the same
day, on the occasion of some festival:
' With all my heart," said Lais, " if Gossec
ll write something for us to sing." Gossec
mmediately asked for music-paper, and,
whilst the parties were at breakfast, wrote
his " O salutaris," which, two hours afterwards, was sung in the church. This composition has been lately printed in England,
n a very elegant musical work, entitled
Vocal Anthology.
GOTI, (ANTONIO) a celebrated Italian
inger, was engagedat the opera at Stuttgard,
when under the direction of Jomelli, in the
year 1663. He was still living in Italy in
1774.
GOTTSCHED, (JOHANN

CHRISTIAN)

first professor of philosophy, senior at the

university of Leipsic, and colleague of the
grand college of the princes. He has published several treatises on music, comprising,
1. " Jde'es sur V Origine et VAntiquity de la
Musique, et sur les Qualite's de tOde." 2.
Idies sur les Cantates."
3. ',' Idies sur
I'Ope'ra." Gottsched died in 1765.
GOTTWALT, (J.) a German composer
for the piano-forte, in the year 1800.
(Breitkopfs Cat.)
GOUDIMEL, (CLAUDE) a musician of
Franche-Compte, who seems to have lost
his life at Lyons, on the day of the massacre
of Paris, for setting the psalms of Marot,
is ranked among the most eminent composers of music to Calvinistical psalms and
spiritual songs. Goudimel has been much
celebrated by the Calvinists in France for
this music, which was never used in the
church of Geneva, and by the Catholics in
Italy, for instructing Palestrina in the art of
composition, though it is doubtful whether
this great harmonist and Goudimel had ever
the least acquaintance or intercourse together. He set the " Chansons Spirituelles" of
the celebrated Marc-Ant, de Muret, in four
parts, which were printed at Paris in 1555.
We may suppose Goudimel, at this time, to
have been a Catholic, as the learned Muret
is never ranked among heretics by French
289
D

GOU
biographers. Ten years after, when he set
the psalms of Clement Marot, this version
was still regarded with less horror b^y the
Catholics than in later times; for the music
which Goudimel had set to it was printed
at Paris by Adrian le Roy and Robert
Ballard, with a privilege, in 1565. It was
reprinted in Holland in 1607, for the use of
the Calvinists, but seems to have been too
difficult: for we are told by the editor of the
psalms of Claude le Jeune, which were
printed at Leyden in 1633, and dedicated
to the states-general, that, in publishing the
psalms in parts, he had preferred the music
of Claude le Jeune to that of Goudimel;
for as the counterpoint was simply note for
note, the most ignorant in music, if possessed of a voice, and acquainted with the
psalm tune, might join in the performance
of any one of them ; which is impracticable
in the compositions of Goudimel, many of
whose psalms being composed in fugue, can
only be performed by persons well stilled
in music.
GOUGELET, a musician at Paris, published there, in 1768, two collections of
ariettes from French operas, with accompaniment for the guitar. He afterwards produced his " Me'thode, ou Abregi des Regies
tit'Accompagnement de Cavecin," and "Recueil d'Airs, avec Accompagnement d'un
nouveau genre."
GOULE, a French composer of romances,
among which the- most popular is " La
Suissesse au Bord du Lac"
GOULET, chapel-master at the church
of Notre Dame, at Paris, in 1755. He is
celebrated for his church compositions.
GOUPILLIER. or GOUPILLET, chapel-master at the church of Meaux, in
France, and subsequently at the chapel of
Versailles, in the year 1683. Several of
the motets of Goupillier were composed by
Desmarets.
Louis XIV. having been
apprized of this fact by Goupillier himself,
said to him, " Avez-vous du mains pat/d
Desmarets ?" Goupillier replied, " Oui."
The indignant monarch commanded Desmarets never again to appear in his presence. Such was the sensation created by
290

GOW
this affair, that Goupillier was obliged to
retire. The king, however, granted him
his pension of retreat, and likewise conferred
on him a good canonry to console him in
his disgrace. He did not long enjoy these benefits, as he died a very few years afterwards,
GOW, ( N E I L . ) The following interesting account of this extraordinary musical
character was written by the reverend principal Baird, of the college at Edinburgh.
" Neil Gow was born in Strathband,
Perthshire, of humble but honest parents, in
the year 1727. His taste for music was
early decided. At the age of nine he began
to play, and was, it is said, self-taught, till
about his thirteenth year, when he received
some instruction of John Cameron, an attendant of sir George Stewart of Grandtully. The following anecdote of a competition, which happened a few years after this,
deserves to be related, not only as a proof
of natural genius assuming its station at
an early period, but on account of the circumstance with which it concludes, and
which was perhaps the first acknowledgment of that peculiar professional ability to
which he afterwards owed his fame. A
trial of skill having Jjeen proposed, amongst
a few of the best performers in the country,
young Neil for some time declined the contest, believing himself to be no match for
such masters in the art. At last, however,
he was prevailed on to enter the lists, and
one of the minstrels, who was blind, being
made the umpire, the prize was adjudged
to Neil Gow, by a sentence, in the justice
of which the other competitors cheerfully
acquiesced. On this occasion, in giving
his decision, the judge said, that he could
distinguish the stroke of Neil's how among
a hundred players. Having now obtained
the summit of his profession at home, the
distinguished patronage, first of the Athole
family, and afterwards of the duchess "of
Gordon, soon introduced him to the notice
and admiration of the fashionable world.
From this period Gow's excellence was
doubtless unrivalled in his department of
Scotch national music; and formed, in
truth, an ara in the progress of its improve-

G OW
ment which has since been completed by
his sons. The livelier airs which belong to
the class of what are called the Strathspey
and reel, and which have long been peculiar to the northern part of the island,
assumed, in his hand, a style of spirit, fire,
and beauty, which had never been heard
before. It is curious and interesting to inquire, on the principles of art, in what consisted the peculiar character of a performance which had thus charmed and enlivened
the scenes of gaiety and innocent pleasure,
with equal effect, in every rank and age of
life. There is perhaps no species whatever
of music executed on the violin, in which
the characteristic expression depends more
on the power of the boiv, particularly what
is called the upward or returning stroke,
than the highland reel. Here accordingly
was Gow's fort. His bow-hand, as a suitable instrument of his genius, was uncommonly powerful; and where the note produced by the up bow was often feeble and
indistinct in other hands, it was struck, in
his playing, with a strength and certainty,
which never failed to surprise and delight
the skilful hearer. As an example, may be
mentioned his manner of striking the tenor
C, in Atkole House. To this extraordinary power of the bow, in the hand of great
original genius, must be ascribed the singular felicity of expression which he gave to
all his music, and the native highland gout
of certain tunes, such as Tullock Gorum, in
which his taste and style of bowing could
never be exactly reached by any other performer. We may add tde effect of the sudden shout, with which he frequently accompanied his playing in the quick tunes, and
which seemed instantly to electrify the
dancers, inspiring them with new life and
energy, and rousing the spirits of the most
inanimate. Thus it has been well observed,
' The violin, in his Viands, sounded like the
harp of Ossian, or the lyTe of Orpheus, and
gave reality to the poetic fictions which
describe the astonishing effects of their performance.'

GOW

which contain not only his sets of the older

tunes, but various occasional airs of his own
composition, for instance, his 'Lamentation
for Ahucairrtey,' and ' Loch Erock side,
are striking specimens of feeling and power
of embellishment. These Were set and prepared for publication by his sbn Nathaniel,
whose respectable character and propriety
of conduct have long secured him the esteem
and favour of the public ; and whose knowledge of composition, and variety of talent
in the art, joined with the greatest refinement of taste, elegance of expression, and
power Of execution, render him (beyond all
dispute) the most accomplished and successful performer of Scottish music in general, ever produced by this country. In private life, Neil Gow was distinguished by a
sound and vigorous understanding, by a
singularly acute penetration into the character of those, both in the higher and lower
spheres of society, with whom he had intercourse, and by the conciliating and appropriate accommodation of his remarks and
replies, to the peculiarities of their station
and temper. In these he often showed a
high degree of forcible humour, strong sense,
and knowledge of the world, and proved
himself to have at once a mind naturally
sagacious, and a very attentive and discriminating habit of observation. But his
most honourable praise is to be drawn from
a view of his character, which was not so
obvious to the public. His moral and religious principles were originally correct,
rational, and heart-felt, and they were never
corrupted. His duty in the domestic relations of life, he uniformly fulfilled with exemplary fidelity, generosity, and kindness.
In short, by the general integrity, prudence,
and propriety of his conduct, he deserved,
and he lived and died possessing, as large a
portion of respect from his equals, and of
good-will from his superiors, as has ever
fallen to any man of his rank. Though he
had raised himself to independent and affluent circumstances in his old age, he continued free from every appearance of vanity
or ostentation. He retained to the last, the
" The different publications which have same plain and unassuming simplicity in his
appeared under the name of Neil Gow, and
u2
291

G O W

GRU

carriage, his dress, and his manners, which to in the foregoing sketch, we need here only
he had observed in his early and more ob- subjoin the following list of the works publishscure years. His figure was vigorous and ed by him : " The Beauties of Neil Gow, in
manly, and the expression of his counte- three Parts" " Fourth, Fifth, and Sixth Colnance spirited and intelligent. His whole lections to follow the above." These six books
appearance, indeed, exhibited so charac- contain the chief compositions of the Gows.
teristic a model of what national partiality " The complete Repository, in four Parts."
conceives a Scottish highlander to be, that The above are mostly all old, original, slow,
his portrait has been repeatedly copied. and dancing tunes. " The Vocal Melodies
Four admirable likenesses of him were of Scotland, in two Parts." This work conpainted a few years ago for the duke of tains slow airs only, without the words.
Athole, lord Gray, hon. William Maule, " The curious Collection of Scotland arM.P. and for the County-hall, Perth, by ranged by Nathaniel Gow."
sir Henry Baeburn; and he has been inGOW, (JOHN) son of Nathaniel Gow,
troduced into the view of a highland wed- also an excellent performer on the violin,
ding, by the late ingenious Mr. Allan, to resident in London. (See his father's biowhom he was requested to sit for the pur- graphy above.)
pose. In this picture, too, Mr. Allan has
GRAAF, (C. FP.IEDRICH) a musician,
preserved an admirable likeness of Do- born at Rudolstadt, in Germany, composed
nald Gow, the brother of Neil, his steady much vocal and instrumental music towards
and constant violoncello, and without whose the close of the present century. Most of
able and powerful accompaniment Neil his compositions are published at Berlin;
could scarcely, in his latter days at least, some few at the Hague, where, from the
be prevailed on to play a note. Such was year 1762, he was chapel-master to the
the person to whose memory this brief bio- prince of Orange.
graphical tribute has been thought due. It
GRAAF,
(FRIEDRICH
HERMANN)
is paid unsolicited, by one who had full and younger brother of the preceding, was bom
frequent opportunity to judge of his charac- at Rudolstadt, about the year 1730. He
ter. He had often listened to Neil Gow, was an excellent flutist and composer for
while delighting the gay by his music, he his instrument, and was for some time in
had seen him often in the midst of his London. He died at Augsburg in 1795.
family, and he had conversed with him,
GRABUT, a French musician, was
when, in sickness, he was anticipating the chapel-master to Charles II., king of Engnear approach of death. He died at Inver, land, and director of the music at one of
near Dunkeld, in 1807. Besides his son the London theatres. The first dramatic
Nathaniel mentioned below, he left an- piece produced at London under the name
other, (John) who has long resided in Lon- of opera, was of his composition, entitled
don, and is also distinguished and admired, " Ariadne, or the Marriage of Bacchus."
as inheriting much of his father's musical It was performed for the first time in 1674.
taste and power of execution. Two other His second complete opera, with recitatives,
sons,' of equally eminent musical talents, was"Albion andAlbanius,'' performed in
William and Andrew, died before their 1685.
father, a few years ago; but not till after
G R J ^ E F E , ( J O H A N N FRIEDEICH) counselthey had completely established their repulor of the chamber and of the posts of the duke
tation as true descendants of old Neil. On
of Brunswick, was born in the year 1711,
the whole, a family of such celebrity in
at Brunswick. He was an enlightened and
national music, as that of the Gows, Scotzealous amateur of music. He wrote onsingland is not likely soon to witness again."
ing, and composed many songs, which have
GOW, (NATHANIEL) son of the preced- been much admired. He published six coling. His ability as a performer being alluded lections of airs, the first of which appeared
292

G R A
in 1736, likewise "Les Psaumes deCramer," his composition in his Flora, and speaks
with an accompaniment for two violins, in highly of his taste in music.
1760, and a French ariette in parts, also
GRAF, (C. FHJEDRICH.)
See G R A A F .
He died at
much other vocal music.
GRAF, (F. HERMAN.)
See G R A A F .
Brunswick, in 1787, aged seventy-six.
GRAHAM, (G. F., Esq.) an amateur
GRAEFF,
(JOHN
GEORCE) a dis- composer of some pleasing ballads, pubtinguished performer on the violin and lished by Chappell.
GRAHL, ( A.NDR. T.) a German musician,
flute, was born, about the year 1762, at
Mentz, (where his father held a considera- born about the year 1745, published some
ble post under the government) and origin- vocal and instrumental music at Leipsic.
ally intended for the church, but having a
GRANDFOND (EUGENE) was born at
strong predilection for music, was placed Compi^gne in 1786. He studied the violin
under the tuition of the celebrated Charles at the conservatory under Kreutzer, and
Frederic Abel, and subsequently under composition under Berton. He composed
Haydn. He quitted his native city at an many collections of romances, some of
early age, and successively visited Basle, which have been published, two concertos
Berne, and Lausanne, meeting with en- for the violin, and the music of a comic
.couragement equal to his most sanguine opera, in two acts, performed at the ThicLtre
expectations, during a period of five years' Feydeau.
residence in Switzerland. At Lausanne he
GRANDI, (ALESSANDRO) a celebrated
was intimate with the celebrated Monsieur Italian church composer, was a Sicilian by
Bonnet de la Rve, and Duverdin, the friend birth. He was chapel-master at Bergamo.
of Gibbon the historian. Leaving Switzer- His compositions bear date from the year
land, Graeff made a year's stay in Paris, 1619 to 1640.
where his performances were received with
GRANDVAL, a French musician. He
the most marked applause. Among the published a work at Paris, in the year
number of his more intimate friends, there 1732, entitled " Essai sur le ban Gout en
was the abbe" Vogler.
Musique." He likewise composed some
Graeff came to London in 1784, and, cantatas.
GRANIER (FRANCOIS) published at
kindly assisted by dementi, met with
considerable success as a teacher and com- Paris, in 1754, six solos for the violoncello,
poser, and is now retired from the profes- Op. 1.
sion in affluent circumstances. Graeff is a
GRASSET, (M.) chef-d'orchestre at
denizen of this country. He has published the Italian opera at Paris, during Madame
much instrumental music. (See dementi's Catalani's management. Some of his conCat.)
certos for the violin have been published.
GR^ESER, (J. C.) a musician at Dres- He is looked upon as the best pupil of
den. He published at Leipsic, in the years Bertheaume. Grasset is at present one of
1786 and 1787, three series of sonatas for the professors of the violin at the Paris
the harpsichord, of great taste. He died conservatory.
about the year 1790.
GRASSINI, (Signora GIUSEPPA) an
GRAESZ, a pianist and composer for the Italian female singer of great celebrity,
chapel royal at Munich in 1803, was a pupil between the years 1795 and 1810. Her
of Haydn and Bertoni. He published an voice was a contr'alto of uncommon sweetoratorio called " The Death of Jesus," also ness, and which she managed with a judgMuch other sacred, and some dramatic music. ment still more rare. She was engaged as
G R J E V E N , a German amateur composer prima donna at Venice, in the year 1797.
of music, excellent pianist, and composer After the battle of Marengo, Buonaparte,
for his instrument. He died young, in 1770. then chief consul of France, invited her
Professor Cramer has inserted a sonata of from Milan to Paris, where she sang at the
293

GRA

GRA

great national f6te, on the 22d of July,

1800.
In 1801, she quitted Paris for
Berlin, and the following year proceeded
to London, where she was engaged as the
successor of Banti, at a salary, it is said, of
three thousand pounds for the season. Her
acting was considered, by the English, as
unrivalled on the Italian stage, and her
voice esteemed as the finest example ever
heard of the low soprano. Grassini was
performing, in 1823, at Florence.

pleasing in melody, artful in the disposition

of the parts, excellent in harmony, and yet
easy of execution. His sacred music consists of a " Te Demn," masses, and spiritual cantatas or oratorios, almost innur,
merable ; among which is a very celebrated
one, entitled "Der TodJesu." Graun's " Te
Deum" was many years ago, performed at
the concert of ancient music, and it has con-:
tinued a stock piece ever since. Part of
his oratorio, " The Death of Jesus," and
GRAUN, (JOHANN GOTTLIEB) elder some other compositions of Graun's, are in
brother of the celebrated chapel-master of Latrobe's selections, who has also published
that name, was born at Wahrenbruck, in an edition of his " Te Deum" at Birchall's.
Saxony, towards the close of the seventeenth Specimens of his works are also to he
century. He was singer at the cathedral found in Dr. Crotch's Specimens. Graun,
of that town, and a good composer. There who was as much revered in Prussia as
Handel was in England, died at Berlin,
are extant of his writings, several overtures,
universally lamented, in the year 1759.
symphonies, concertos, a " Salve Regina,"
GRAUN, (JOHANN GOTTLIEB) brother
and some masses.
GRAUN, (CARL HEINRICH) chapel- of the preceding, was an excellent permaster to Frederick the Great, at Berlin, former on the violin, and a respectable
was bom at Wahrenbruck, in Saxony, in composer of the old school. He was conthe year 1701, and educated in the school of cert-master to the king of Prussia, and
the holy cross at Dresden. He was first en- there are extant of his writings, several
gaged by the king, when prince of Prussia, in overtures, symphonies, concertos, a " Salve
the year 1735, as a singer and composer, Regina" and some masses.
GRAUPNER, (CHRISTOFH) chapeland was afterwards sent for his improvement
into Italy. There he remained about two master to the court of Hesse-Darmstadt,
years, during which time the king con- and a celebrated composer of harpsichord
structed one of the most complete and music, was born about the year 1683. He
most magnificent theatres in Europe, to also composed several operas for the theatre
which Graun was the composer during the at Hamburgh, between the years 1707 and
remainder of his life. At the onset of his 1710. He died in 1760.
GRAVERAND (N.) was horn at Caen
musical career, Graun devoted his talents
chiefly to the service of the church. He, in 1770. At the age of nine years, he
however, afterwards composed a great num- received instruction on the violin from
ber of operas, a few of which are in the Quern, a pupil of Capron, and afterwards
German, but by far the greater part in the perfected himself under Baillot. Graverand
Italian language. Of the latter, he com- was during several years a violinist, and then
posed as many as seventeen, between the
years 1742 and 1756. These continued to
be performed almost exclusively during the
life of the late king of Prussia. He wrote
also the overture and recitatives to the pastoral opera of " Galatea," of which the
king himself set part of the songs. His
other compositions consist of several sets
of harpsichord concertos, for the princess
Amelia of Prussia. These are graceful and
294

chef-d'orchestre of the theatre at Caen.

He has published much music for his instrument.
GRAVIUS (JOHANN G.) was born of a
noble family, at Salzbach, in 1648. In
1672, he went to Leyden for instruction in
the law, and there studied also instrumental
and vocal music, in both of which he
attained to a high degree of perfection. In
1677, he went to Bremen, as singer and

G R E
under-master to the Gymnasian academy
of that town. He remained there thirty
years, until he obtained the same situation
at Berlin, where he died in 1729, aged
eighty. Gravius played on most instruments, and composed with facility. King
Frederick offered him the situation of chapelmaster, which he refused. The following
are among his works: " Description de la
Trompette marine," Breme, 1681. " Chnusons Spirituelles a deux dessus, avec B. C."
BrSme, 1683, in octavo. " Lecons de Chant,
en Dialogue." Breme, 1702, in octavo.
" Rudimenta Musicce praticte."
BreTne,
1685, in octavo.
GRAY, an English composer of vocal
and instrumental music, since the year
1786.
GRAZIANI, (SIGNOR) an excellent Italian violoncellist. He published at Berlin, in
1780, six solos for the violoncello, Op. 1 ;
and afterwards at Paris, six solos for the
violoncello, Op. 2. He died in 1787.
GRAZIANI, (BONIFACIO) of Marino,
near Rome, and chapel-master to the
Jesuits' church in that city, published,
between the years 1652 and 1672, much
church and other music.
GRAZIOLI, (G.B.) an Italian composer
of piano-forte music, published at Paris at
the close of the last century.
GRAZIOLI, (FILIPPO) an Italian dramatic composer, now living. He lately
brought out at Venice an opera, called
" Pellegrino bianco," which failed.
GREATOREX (THOMAS) is a native
of Derbyshire, and, we believe, was born
in the same parish as the late Mr. Harrison,
with whom he was in habits of the strictest
friendship and regard, from very early life,
till the hour of Harrison's early death. He
came to London in the year 1772, and
became a pupil of Dr. Cooke, organist
and master of the boys of Westminster
abbey, under whose excellent tuition the
following eminent professors (as well as
many others) were educated, namely, sir
William Parsons, Crosdill, Knyvett, Bartleman, M. Rock, Spofforth, &c. &c. In
the years 1774, 1775 and, 1776, Greato-

G R E
rex attended the oratorios which the late
lord Sandwich gave, during Christmas,
at Hinchingbrook, and there he derived
the greatest advantage, not only from
hearing Handel's music executed with
a precision and effect till then unknown,
but also from the acquaintance and friendship of Mr. Bates, who conducted those
performances. The science of Mr. Bates
is well known, and his exertions to bring
forward the commemoration of Handel at
Westminster abbey, - will form a lasting
monument of his devotion to the works of
that pride of English musicians. Perhaps
no man can be said to have promoted the
cause of music so essentially as this gentleman, certainly no amateur. His skill as
a conductor, nurtured and confirmed by
the longest and most universal experience,
was consummated in the performances at
the abbey. The opportunity Greatorex
thus enjoyed of an intimate understanding
of Mr. Bates's theory and practice, could
not fail to be beneficial to the highest possible degree, in turning the taste, and
directing the inquiries and intelligence of
the young musician. Greatorex has given
the strongest proofs that the friendship of
Mr. Bates was not extended to him in vain.
At the establishment of the Ancient concert,
in 1776, Greatorex assisted'in the ehoruses,
and continued a performer there, till he was
advised to try a northern air for the reestablishment of his health, and he accepted
the situation of organist of the cathedral
of Carlisle, in 1780. Here, though the
emoluments were small, the writer of this
sketch has heard him say, he passed some
of the happiest days of his life. He spent
two evenings of each week in a select
society, in which were included Dr. Percy,
late bishop of Dromore, (then dean of Carlisle) Dr. Charles Law, late bishop of
Elphin, and archdeacon Paley.
The
continual admission of Greatorex to bear
a part in the conversations of such men,
is a powerful testimony of his rank in intellect. In 1784, Greatorex resigned his
situation at Carlisle, and went to Italy,
where he studied vocal music* and received

295

GRE
instructions in singing from signor Santa*elli> (the most celebrated singing-master of
Ms time) at Rome, for the space of two
years. He also made a considerable stay
at Naples, Florence, and Venice; and
visited, on his return, Bologna, Pisa, Leghorn, Padua, Verona, Vicenza, Mantua,
Parma, Milan, and Genoa, entering Switzerland by Mount St. Gothard, and passing
down the Rhone to Cologne; from whence
he returned to England, through the Netherlands andHolland, at the end of the year 1788.
He now established himself in London, and
very soon had his time fully occupied as a
teacher of singing. In the year 1793, on
the resignation of Mr. Bates, as conductor
of the Ancient concert, the noble directors
did Greatorex the honour, without any
application on his part, to appoint him to
that distinguished situation, which he has
now held for twenty-seven years. In
1801,
Greatorex, in conjunction with
Harrison, W. Knyvett, and Bartleman,
revived the Vocal concert, and he has very
lately succeeded to the situation of his
respected master, Dr. Cooke, as organist
and master of the boys at Westminster
abbey, which is, perhaps, amongst the most
grateful compliments he could receive.
Greatorex's pursuits are not altogether confined to music : heisno mean mathematician,
much attached to astronomy, and possesses
several valuable and superior telescopes: he
is also a fellow of the Royal and Linnsan societies. The publications of Greatorex are,
a compilation of " Psalm Tunes," harmonized by himself, and dedicated, by permission, to the king. His labours have been
chiefly confined to the arranging many
musical compositions for the concert of
Ancient music, and the Vocal concerts, by
adding complete orchestral, vocal, and instrumental parts, to what, perhaps, was
only a duet or air. Of this sort are, " Singunto God," Dr. Croft; " This is the day"
Dr. Croft; " We. will rejoice," Dr. Croft ;
" Great is Jehovah," Marcello; " Hark,
my Daridcar," Purcell; and a great number of harmonized glees. He also put wind
instruments to the musette in Handel's
296

GRE
sixth grand concerto, arranged the minuet
to Gluck's overture in " Iphigiinie," and
adapted the favourite movement in Handel's
lessons for a full band.
GREBER, (GIACOMO) a German musician, who came to London, in 1703, with
Margarita de l'Epine, afterwards Mrs.
Pepusch. In 1705, Gieber produced at
the New Haymarket theatre, an Italian
pastoral of his composition, called " The
Loves of Ergasto."
This was the first attempt at dramatic music in the Operahouse.
GRECO, (GAETANO) born at Naples
in the early part of the eighteenth century,
was director of the conservatory of / Poveri
di Gesu Christo. It is not known whether
he devoted himself exclusively to tuition, as
none of his compositions have lived ; but his
reputation, as a learned professor, has survived him, and if he has not been immortalized by his works, he has by his pupils.
He was Pergolesi's first master, and is said
to have bestowed particular care on his
illustrious disciple, and to have foreseen his
talents and genius.
GREEN (JOHN) is a native of Preston,
in Lancashire, where his father still holds
the office of treasurer to the corporation,
and other respectable appointments. J.
Green showed a talent for music early in
life, and soon took a part in the amateur
concerts of his native town. Becoming
acquainted with the celebrated Yaniewitz,
who at that time had just embarked in the
music trade in Liverpool, Green was prevailed on by him to enter into partnership,
and open another warehouse in Preston,
which he did with much success; subsequently closing it only for the purpose of
superintending the concern at Liverpool,
on account of Yaniewitz having entered
into some engagement in London. Green
resided at Liverpool during six years, when
he accepted proposals from Messrs. Clementi and Co., to travel for them in the
musical line ; in the course of which duties
he became acquainted, in Ireland, with
Logier, the author of the new system of
musical tuition. From this time, Green

GRE
continued Logier's most intimate friend,
giving him assistance in forwarding his
new plans of instruction, wherever he could
be useful, and soon had the satisfaction to
induce several professors from Edinburgh,
Liverpool, &c. to go over to Dublin for the
purpose of making themselves acquainted
with Logier's improvements. When S.
Webbe proposed to introduce the new system in London, Green, having retired from
dementi's on account of being unable to
arrange a partnership, entered into an
agreement with Logier, for the patent of
the chiroplast, and the copy-right of all the
works then published, or afterwards to be
published, appertaining to his system. He
also arranged and managed the affairs of
Logier's first academy in Bedford-place,
until the whole was in regular train, when
his own academy was opened in Soho-square,
where he still continues to teach according
to Logier's principles. At the same place
he has also established a depot for various
ingenious inventions, viz.: the metronomes,
or musical time-beaters, of Maelzel, to
whom he has been appointed agent; secondly, for various descriptions of improved musical slates and metallic tablets ; thirdly, for
double pencils, (slate and black-lead) also
corresponding obliterators, half of sponge
and half india-rubber. As an author,
Green's principal work is a translation, with
copious additions, of Massimino's method
of teaching singing in classes. He has
further composed some ingenious vocal and
instrumental music for learners, also several
songs and glees.
GREENE (Dr. MAURICE) was the son

GRE
was appointed his successor, by the dean
and chapter of St. Paul's; upon which
event, he quitted both the places he had
previously obtained. On the death of Dr.
Crofts, in 1726, he was appointed organist
and composer to the chapel royal, and on
the death of Eccles, in 1735, master of his
majesty's band. In 1730, he obtained the
degree of doctor in music, at Cambridge,
and was appointed public music professor
in the same university, in the room of Dr.
Tudway. Greene was an intelligent man,
a constant attendant at the opera, and an
acute observer of the improvements in composition and performance, which Handel,
and the Italian singers employed in his musical dramas, had introduced into this country. His melody, therefore, is more elegant,
and his harmony more pure, than that of
his predecessors, though less nervous and
original. Greene had the misfortune to
live in the age and neighbourhood of a
musical giant, with whom he was utterly
unable to contend, but by cabal and alliance
with his enemies. Handel was but too
prone to treat inferior artists with contempt;
what provocation he had received from
Greene, after their first acquaintance, when
our countryman had a due sense of his
great powers, I know not, (says Dr. Burney) but for many years of his life, Handel
never spoke of him without some injurious
epithet. Greene's figure was below the
common size, and he had the misfortune to
be very much deformed; yet his address
and exterior manners were those of a man
of the world, mild, attentive, and wellbred.
History has nothing to do with the infirmities of artists ; who, being men, in spite
of uncommon gifts and inspirations, are
subject to human frailties, which enthusiasm, praise, and the love of fame, more
frequently augment than diminish. We
shall not omit to notice, that Greene, in
conjunction with Testing, has the credit
of being the first institutor of the charitable fund for the support of decayed musi-

of the Rev. Thomas Greene, sergeant at

law. He was brought up in the choir of
St. Paul's, and when his voice broke was
bound apprentice to Brind, the organist of
that cathedral. He was early noticed as
an elegant organ player and composer for
the church, and obtained the place of organist of St. Dunstan in the west, before he was
twenty years of age. In 1717, on the death
cians. See TESTING.
of Daniel Purcell, he was likewise elected
organist of St. Andrew's, Holborn ; but the
Greene, during the last years of his life,
next year his master, Briud, dying, Greene began to collect the services and anthems of
297

6RE
our old cjiurch composers, from the single
parts used in the several cathedrals of the
kingdom, in order to correct and publish
them in score; a plan which he did not live
to accomplish, but, bequeathing his papers
to Dr. Boyce, it was afterwards executed in
a very splendid and ample manner. Greene
died in 1755, and was succeeded, as composer to the chapel royal, and master of his
majesty's band, by his worthy pupil Dr.
William Boyce.
GREENE, (Miss) a pleasing singer at
the oratarios, and at the public concerts, in
London.
GREETING, (THOMAS) an English musician, and author of a work entitled
" The pleasant Companion, or Lessons and
Instructions for the Flageolet," printed for
John Playford, in 1675.
GREGORY, (ST., called GREGORY THE
GREAT) a Roman pontiff, was born at Rome,
ef an illustrious family, about the year 550.
His rank and talents recommended him to
the notice of the emperor Justin, who appointed him prefect of that city. Being of
a religious turn of mind, and finding that
the duties of his office attached him too much
to the world, he retired to a monastery; but
he was soon summoned from his retirement,
by pope Pelagius II., who appointed him
one of his deacons, and sent him to Constantinople in the capacity of nuncio. Upon
his return to Rome, he was employed by
Pelagius as his secretary, but at length obtained leave to retire to his convent. Here
he hoped to devote his days to study and
contemplation, but a plague, that raged with
violence in the capital, drew him from his
seclusion. He came forth from his retreat,
and instituted litanies, which were sung in
procession about the streets of the city.
On its arrival at the great church, it is said
that the contagion ceased. Of this distemper Pelagius died, and Gregory was unanimously chosen to fill this high dignity.
Though of1 an infirm and weakly constitution, he possessed a vigorous mind, and discharged the duties of his station with equanimity and firmness. One of the greatest
events which, by his prudence and judi->

398

GRE
cious management, he effected, during his
pontificate, was the conversion of our own
nation to Christianity.
But what particularly entitles Gregory
to notice in this work, is his having effected
a reformation in the music of the church.
About 230 years before the period in which
Gregory lived, St. Ambrose, who was then
bishop of Milan, became one of the patrons
of church music, and instituted, in his
church at Milan, a peculiar method of singing, which received the name of Cantus
Ambrosiamts, or Ambrosian chant. St. Au,.
gustine, the disciple of St. Ambrose, speaks
of the great delight he received in hearing
the psalms and hymns sung there : " As the
voices," says he, " flowed into my ears,
truth was instilled into my heart, and the
affections of piety overflowed in tears of
joy. The church of Milan," he continues,
" had not long before begun to practise this
method. It was here first ordered, that
hymns and psalms should be sung after the
manner of eastern nations, that the people
might not languish and pine away with
a tedious sorrow; and from that period it
has been retained at Milan, and imitated
by almost all the other congregations of
the world." Tradition says, that it was
upon occasion of St. Ambrose receiving St.
Augustine into the church, on his conversion, that the bishop of Milan composed
the celebrated " Te Deum," which has
since exercised the talents of the most celebrated composers.
The chant thus established by St. Ambrose
continued in use, with few alterations, till
the time of Gregory the Great, whose object in reforming it seems to have been twofold; he enlarged the former plan, by
introducing four new modes or tones into
the " Canto fermo," and banished from
the church the " Canto figurato," as being
too light, and destitute of that gravity and
simplicity suited to the solemn offices of the
church. John Diaconus, the author of
Gregory's life, informs us, that he established
a singing school at Rome, and that it subsisted three hundred years after his death,
which happened in 604. He assures us,

GRE

GRE

that the original " Antipkonarium," or

volume of anthems of this pope, was still
existing, as well as the whip with which
he used to threaten the restive scholars, and
also the bed on which his infirmities obliged
him to recline, when, in the latter part of
his life, his zeal still led him to visit his favourite school, and hear the scholars practise. This pontiff is likewise said, by ecclesiastical writers, to have been the first who
separated the chanters from the regular
clergy; for it was his observation, that
singers were more admired for their fine
voices, than for their precepts or their piety.
At present, this kind of "singing is become venerable from its antiquity, and
from the use to which it is appropriated;
for though the more rich and varied strains
of a Haydn and a Mozart have been adopted
in the general service of the Roman Catholic church, yet, on particular occasions, the
Gregorian chant is exclusively used, and
heard in all its ancient glory, especially
during the penitential season of Lent, and
in the holy week. It is true, that its simplicity, and its total dissimilitude to secular
music, precludes all levity in the composition, and all licentiousness in the execution,
and that to ears long habituated to artificial
and refined music, its simple tones may
have little charm; yet the amateur will
delight to trace in these inartificial movements, some of the melodies of the olden
time, and, perhaps, it may not be too much
to add, of the days of Athenian glory.
GREGORY, (WILLIAM) a gentleman of
the chapel royal in the reign of Charles II.,
was a composer of several anthems. The
best are, " Out of the deep have I called,"
and "0 Lord, thou hast cast us out."
GREINER, (JOHANN M.) a good violinist, was born at Constance in 1724. He
filled the office of chapel-master to several
German courts, up to the year 1784.
G R E I N E R (JOHANN THEODORE)

pub-

lished in 1774, at Amsterdam, two works,

comprising symphonies, each containing six
different pieces and six duets.
GRENET, a French dramatic composer,
produced, in!737, the opera," Le Trioniphe

de I'Harmonie," and in 1759, " Apolfan,

Berger d'sidmete."
GRENET^ (CLAUDE DE) born at
Chateaudun, in Beauce, in 1771, was an
officer in the French ay- He was q,
piano-forte pupil of Kuhn, and composed
several concertos and sonatas for his instrument, likewise some romances, pub
lished at Paris.
GRENIER, a musician at Paris, published there, about the year 1786, some
airs for the violin and violoncello.
GRENIER, (GABRIEL) a pianist and
composer for his instrument at Paris, since
the year 1792. He has also published some
romances.
GRENSER or GRENZER, (JOHANN
FRIEDRICH) professor of the hautboy to the
king of Sweden, about the year 1783, was
born at Dresden. In 1779, he published
at Berlin six trios for the flute, and other
instrumental music.
GRESLER, (SALOMON) organist at
Triptio, in Misnia, published at Leipsic, in
1781, six sonatas for the harpsichord, and in
1787, other music for his instrument.
GRESNICK, (ANTON) born at Liege in
1753, went at an early age to Italy, where
he studied under the celebrated Sala, member of the conservatory at Naples. He
afterwards visited London, where he composed the music for the opera of " Demetrius," and obtained the situation of chamber-musician to the prince of Wales. He
published much dramatic music at Paris,
amongst which was the four-act opera of
" La Forit de Brama," a work that he
himself thought would establish his reputation, but which is said to have caused his
death, from his great disappointment at its
being only received at the theatre, a correc?
tion. He died soon after, at the early age
of forty-seven.
GRESZLER, (FKIEDRICH S.) a German
singer and organist, has published some
piano-forte and harp music at Dresden since
the year 1793.
GRETRY, (ANDRE.)
The father of
Gretry was a teacher of music at Liege,
where Andre Gretry was born, in the year
299

GRE
1741. At an early age, he became sensible to the charms of music, and to this
sensibility, when he was only four years
old, he was near falling a sacrifice. It
is related of him, that being left alone in
a room where some water was boiling in an
iron pot over a wood fire, the sound caught
his ear, and for some time he amused himself by dancing to it. The curiosity of the
child, however, was at length excited to
uncover the vessel, and in so doing, he
overset it. The water fell upon, and
dreadfully scalded him from head to foot.
From the great care and attention that were
paid to him by his parents, he at length recovered in every respect from this accident,
except having a weakness of sight, which
continued ever afterwards.
When he was six years old, his father
placed him in the choir of the collegiate
church of St. Denis, and, unfortunately, but
necessarily, under the tuition of a master
who was brutal and inhuman to all his pupils. Young Grttry had his full share of
ill-treatment, yet such was his attachment
to this man that he could never prevail upon
himself to disclose it to his father; fearing
that, by his influence, the chapter might be
induced to take some steps that would be
injurious to him. What little the youth acquired, during this time, " was not," as he
said, " so much from the lessons, as in spite
of the lessons of his master." An accident,
however, which for some time put a stop to
his studies, deserves here to be related. It
was usual, at Liege, to tell children, that
God would grant them whatever they ask
of him at their first communion. Young
Gr&ry had long purposed to pray on this
occasion, " that he might immediately die
if he were not destined to be an honest man,
and a man of eminence in his profession."
On that very day, having gone to the top of
the tower to see the men strike the wooden
bells, which are always used during the
Passion week, a beam of considerable weight
fell on his head, and laid him senseless on
the floor, A person who was present ran
for the extreme unction, but, on his return,
found the youth upon his legs. On being
300

GRE
shown the heavy log that had fallen upon
him, " Well, well," he exclaimed, " since I
am not killed, I am now sure that I shall be
an honest man and a good musician." He
did not, at first, appear to have sustained
any serious injury, but his mouth was full of
blood, 'and the next day a depression of the
cranium was discovered; on which, however, no operation was ever attempted.
From this time, but whether owing to the
accident or not is not known, his disposition was considerably altered. His former
gaiety gave way, in a great measure, to
melancholy, and never after visited him,
except at intervals. On his return to the
choir, he acquitted himself by no means to
the satisfaction of his father, who, for a time,
withdrew him for the purpose of his receiving
further instruction. He wasnowplaced under
the care of a master as mild as the other
had heen severe. When his father replaced
him in the choir, his improvement both in
singing and playing was found to have been
very great. The first time he sang in the
choir, the orchestra, delighted with his
voice, and fearing to lose the sound of it,
was reduced to the pianissimo ; the children
of the choir drew back from respect; almost
all the canons left their seats, and were
deaf to the bell that announced the elevation of the host. All the chapters, all the
city, all the actors of the Italian theatre,
applauded him, and the savage master himself took him by the hand, and told him
that he would become a musician of great
eminence. Some little time afterwards, his
voice began to break. It would then have
been prudent to have forbidden his singing,
but this not being done, a spitting of blood
came on, to which, on any exertion, he was
afterwards subject. Not long subsequently
to this, he was placed under the care of
Moreau; but such was the exuberance of
his genius, that he had previously attempted
several of the most complicated kinds of
music. He has himself stated, that one of
the first things he did was to carry his
master a mass, which he had just completed. " Stay, stay," said Moreau, " you proceed too fast;" at the same time returning

G R E
to the young composer his score without looking at it, he wrote down on a slip
of paper five or six semibreves. " Write,"
says he, " a treble to this bass, and show it
me to-morrow, but attempt no more masses."
Grtry withdrew, a little humbled, saying
to himself, " My father was right in thinking my late master too indulgent." He
carried Moreau the bass the next day, ornamented with three or four trebles. " You
still proceed too fast," he exclaimed ; " I
only asked for note against note to this
bass." Gretry could not restrain his musical impetuosity. "Sir," said he, " I had a
thousand musical ideas in my head, and
was eager to make use of them." " Dominus vobiscum, in contrary motion," said his
master, " that is the way the parts should
move." Gretry then quitted him, saying to
himself, " I have learned nothing by these
two lessons, but let us go on gently." Yet
he could not help scribbling. He next composed six symphonies, which were successfully executed in the city. Mr. Hasler, the
canon, begged him to let him carry them to
the concert, encouraged him greatly, advised him to go to Rome in order to pursue
his studies, and offered him his purse. His
master in composition thought this little success would be mischeivous to Gretry, and
prevent him from pursuing that regular
course of study, so necessary to his becoming a sound contrapuntist. He never even
mentioned his symphonies. Gretry walked
to Rome, in the early part of 1759, being
then only eighteen years of age. Here, in
order that his genius might be as much unfettered as possible, he studied under several masters, and almost every day visited
the churches, in order to hear the music of
Casali andLustrini; but particularly that of
the former, with which he was greatly delighted. The ardour with which he pursued his studies was so great, that it suffered him to pay but little attention to his
health, which, consequently, became so
much impaired, that he was obliged, for a
time, to leave Rome, and retire into the
country. One day, on Mount Melini, he
met a hermit, who gave him an invitation

GR E
to his retreat, which he accepted, and became
his inmate and companion for three months.
He then returned to Rome, and, young as
he was, distinguished himself by the compositionof an intermezzo, entitled "Le Vende
Miatrice."
His success was so decisive,
that he was very near suffering fatally from
the jealousy of a rival in his profession.
Admired and courted in the capital of
Italy, Gretry here continued his labours and
his studies with assiduity and perseverance,
till M. Mellon, a gentleman in the suite
of the French ambassador, incited in him a
desire to visit Paris. In his way to this
city, in 1767, he stopped at Geneva, and
composed there his first Fiench opera of
" Isabelle et Gertrude," which was so
successful, that he was called for after the
performance.
It was some time before Gretry could
obtain in Paris a piece to compose ; and he
was first introduced to public notice there
in 1728, by writing the music to Marmontel's opera of " Le Huron."
This was
received with the most flattering applause.
The opera of " Lucile " followed, which
was even more successful than the former.
His fame was now established in France,
and he produced nearly thirty comic operas
for the great Opera-house in Paris. Of
these, " Zemire et Azor" and " Richard
Caeur dt Lion," have been translated, and
successfully brought on the English stage.
The taste of the Parisians tended greatly
to corrupt that of Gretry, but he has done
much towards improving theirs. They have
met about half-way, and perhaps the genius
of the French language, the style of singing,
and the national prejudices, even if he had
determined to continue inflexible, could not
have admitted of a nearer approximation
than we find in his music. Sacchini has
been known to say of Gretry, that he remembered him at Naples, where he regarded him as a young man of great genius,
who wrote as much in the style of that
school as even any of the Italian masters ;
but when he heard his comic operas at
Paris, many years afterwards, he did not
find that he was much improved by com301

G U I
posing to French words, and for French
singers. Gretry, during the anarchy which
reigned a few years ago in France,
became tainted with revolutionary principles ; and he even went so far as to publish a work on the subject of religion, entitled " De la ve'ritS ce que nous fumes, ce
que nous sommes, ce que nous devons Stre,"
which shows him also to have been deeply
tinctured wiih infidelity. He died at Montmorency in 1813.
GRETRY, (Mile. LUCILE) second
daughter of the preceding, composed the
music of the Italian comedy of "Le Manage
d'Antonio," in 1786. She afterwards produced the opera of " Louise et I'oinette,"
performed in 1787.
GRETSCH, violoncellist at the chapel of
the prince of Tour-Taxis, at Ratisbon. He
composed much music for his instrument,
which is considered excellent in its kind.
He died in 1784.
GREVILLE, (Rev. R.) an English
amateur composer of glees and other vocal
music. His glee, " Now the bright morning star," is a highly celebrated composition in that style. His compositions appeared about the year 1787.

GUI
GRIESBACH, (JOHN

I-IENBY)

eldest

son of J. H. C. Griesbach, was born at New

Windsor, in 1798. At the age of eight, his
father placed him under his Uncle, G. L. J.
Griesbach, to be instructed in the theory Of
music and the piano-forte. He performed
before their majesties for the first time, in
1810, being then twelve years old, and in the
following year was appointed pianist to her
majesty, and had the honour of playing a
solo piece for the piano-forte every night,
at her majesty's private concerts. This honour he enjoyed till the demise of her majesty ; when, wishing to have the advantage
of instruction from Mr. Kalkbrenner, which
he had previously obtained at' different
periods, for about a month each time, he
came to London, and resided with him,
where he had also the great advantage of
improving by constantly hearing the extraordinary performance of that great master.
The following is a list of J . H. Griesbach's
works, published up to the 30th of October,
1823 : "A Quartet for Piano-forte, Violin,
Viola, and Violoncello," dedicated to Mr.
Kalkbrenner ; " Two Fantasias for the
Piano-forte ;" " Romance for the Pianoforte ;" and some duets. These works are
highly spoken of by the editor of the QuarGRIESBACH (GEORG LUDOLPH J A terly Musical Review.
COB) was the son of Johann Heinrich Griesbach. He was leader of his late majesty's
GRIESBACHER, a professor of the claband. When he first came to England, he rionet, and composer of instrumental music
was placed by their majesties under the in Germany, towards the close of the last
senior Cramer for the violin, and Abel for century.
the study of composition.
GRIFFE, composer of some piano-forte
GRIESBACH,
(JUSTUS
HEINBICH music in London, in the latter part of the
CHRISTIAN) younger brother to the pre- last century.
ceding, was born at Hanover. He came to
GRIFFIN, an English professor of music
England in the year 1780, at the desire of and composer. He was one of the original
his late majesty, George HI., and was en- members of the Philharmonic society. Some
gaged, after some instructions by Crosdill, of the instrumental compositions of this
as first violoncello in the queen's band, gentleman are of a very superior order,
which situation he held until the death of especially "A Quartetfor two Violins,Tenor,
their majesties.
and Violoncello" which was performed at
GRIESBACH, (FBIEDBICII) brother to the British concerts, and highly appreciated
Georg and Heinrich Griesbach, is a cele- there.
brated performer on the hautboy, who also
GRILL, (FP.ANZ) a German combelonged to the queen's band. He was poser of instrumental music, published
for three years a pupil of Fischer, and is at Offenbach and Vienna, between the
now unrivalled ,pn his instrument.
years 1790 and 1795, in which year he died.
302

GRO

G It O

GRILLO, (NICOLO) an Italian composer

of vocal music about the year 1750. His
cantatas were much admired.
GRIMALDI.

See NICOLINI.

GRIMAREST, (J. L.) a French musician, published, about the year 1707, a work

entitled " Traite du Ricitatif." He is

believed to have died about the year 1713.
GRIMM, (HEINHICH) singer at Magdeburg, and subsequently at Brunswick, flourished in the sixteenth century. He wrote
many musical works, alsomuch sacred music.
GRIMSHAU, an English composer of
songs and piano-forte music, published since
the beginning of the present century.
GROENEMANN, (ALBERT) born at
Cologne, was organist and composer at the
great church of the Hague about the year
1756. In 1739, he resided at Leyden,
where he was esteemed a good violinist. He
published at that time much music for the
violin and flute. About the year 1760, he
became insane, and died some years afterwards in confinement.
GROENEMANN, (JOHANNFP.IEDRICH)

brother to the preceding, resided, about the

year 1761, at Amsterdam, and published
there and at London some compositions for
the flute, &c.
GROS (A.J.) published at Paris, in 1783,
his fifth work, containing airs for the harpsichord and harp.
GROSE, an organist at Copenhagen,
published some pleasing vocal and instrumental music between the years 1780 and
1792.
GROSHEIM,

(GEOP.G

CEISTOPH)

German musician, born at Hesse-Cassel in

1764. He has composed much vocal and
instrumental music, some of which is for the
organ, between the years 1790 and 1800.
He resides at Cassel, where he has a music
warehouse.
GROSSE, (GOTTFRIED) organist at Klosterbergen, near Magdeburg, has published
" Six Sonatas for the Harpsichord," Leipsic, 1783.
GROSSE, (SAMUEL D E I T R I C H ) a cele-

brated German violinist and composer for

his instrument. His playing was much

admired at Paris in 1780. He died in 1789,

at the early age of thirty-two. His compositions are published by Imbault in PAris.
GROSSE, senior, an excellent violinist,
in the service of the prince royal of Prussia
in 1779, and at the chapel royal of Berlin
in 1790. He was a pupil of Lulli, and published some music for his instrument.
GROSSE, (H.) eldest son of the preceding, was a violoncello pupil of Duport,.
and is professor of his instrument at the
chapel royal, Berlin. He has published
some instrumental music. His younger
brother is second hautboy at the same
theatre.
GROSSE

(WILLIAM

LEOPOLD)

was

born in Dessau, the capital of Anhalt, in

Upper Saxony. His father is an officer of
the forests belonging to the dukedom of
Anhalt Dessau, and intended his son William for the same business, which his activity of mind and body particularly adapted
him for. Having, as a child, a great
predilection for music, his father allowed
him to learn the piano-forte and French
horn, to which he was much induced, by
the facility of procuring excellent teachers
from among the many eminent professors
then in the service of the reigning duke. At
the age of fifteen W. Grosse left school, and
assisted his father till about the age of
nineteen, when he was employed by the
duke as surveyor of his estates, in which
occupation he continued to be chiefly employed during six years, and then requested
his discharge, with the intention of establishing himself in a music warehouse.
Scarcely had he succeeded in his wishes for
the short space of fourteen days, during
which he had opened a music shop at the
university of Halle, when the battle of Jena
took place, and the French army, with Napoleon at their head, being victorious, entered Halle, and ordered all the professors
and students to leave the town within
twenty-four hours. Grosse, as a teacher,
was included in this order, and his prospects
in business were in consequence completely
blasted. From Halle he proceeded to Berlin, where he lost his little remaining pro303

GRO
perty in an unsuccessful speculation in the
horse trade, between Berlin, Wittenberg,
and Leipsic. He was now reduced to the
necessity of entering one of the German
regiments which the French were then
raising, and in less than six months was
promoted to a lieutenancy, on account of
his good conduct. His regiment was then
ordered to Flushing, where he narrowly
escaped death, and being taken prisoner,
was brought over to England. Soon after
this, having no wish to rejoin the French
eagle, he applied to serve in the German
legion under the duke of Cambridge, but
was unsuccessful in his application. He
then betook himself again to music, and,
after many severe struggles and privations,
was enabled to form a connection in this
country, which has gradually led to extensive business as a teacher, and to his permanent settlement in London, where he has
published much music for the piano-forte,
also many songs. The following are among
his principal compositions for the piano:
" Zephyr's Waltz, Sfc." " Henrietta's
Bower." " La Rosa Maria, Air, with Variations?' " A grand March, with Introduction and Rondo." " Fancy's Overture."
" Gentil Housard, with Variations for the
Piano, Flute, or Harp; Flute Accompaniment ad libitum." " Haydn's celebrated
Andante, with Variations." " Lisette, a
German Air, with Variations" " Suabian
Air, with Variations"
" In my cottage
near a wood, a favourite Air and additional Variations." " JDessauer's March, as
a Rondo." "YoungMay-Moon, as a Rondo."
" Hessian March, pas redouble, and the
Duchess of Kent and Cambridge's favourite
Waltzes." " Beauties of Mozart, Nos. 1,
2, and 3." " Hasting's Waltzes, including
Miss Macdonald's
celebrated
Waltz."
" Prince Leopold's Waltzes, and the original Cohourg Marches." " The same
Marches for two Performers," " Medley
Rondo of pleasing German Airs."
"Elizabeth, a favourite Waltz." " Petites Agriables, for two Performers on one Pianoforte."
" H. R. H. the Duke of Gloucester's March and Waltz."
" The Stop,
304

GRU
Duke Nicholas's Waltzes, and Spanish Cas" Quatre Saisons, four
tanet Dance."
Waltzes." " Amelia's Bowers." "Achilles,
" Short and easy
a set of Quadrilles."
Preludes for the Piano-forte." " Les Jardins de Kensington."
" Little Beauties,
Nos. 1 and 2, collected Airs, containing the
favourite Waltz amongst Roses, each New
Dances, Nos. 1 and 2." Songs : " Love,
Wine, or Fame." " Thine eyes, sweet
maid." " Rosy Anne."
" Fairy Song."
" To Eliza."
" The Smile, with an additional Verse." " Sympathy's Tear, Vocal
Duet." " That roguish boy of Venus fair."
" The Invitation."
" On the brow of yonder valley, Romance."
GROSSI, (ANDREA) a violinist and
composer for his instrument, in the service
of the duke of Mantua, in 1725, published
sonatas for two, three, four, and five instruments.
GROSSMAN, (FREDERIC A) a celebrated
German singer at Cassel, since the year
1785.
GROSSMANN, a composer of " Three
Quartetti and two Clarinetti, Viola e B."
(Traeg's Cat. 1799.)
GROTTI, (ANTONIO) a dramatic composer at Vicenza in the year 1800. His
compositions for the theatre and chamber
are much approved in Italy.
GRUA, (CAROLO) chapel-master to the
elector palatine, at Manheim, in 1756.
GRUA, (FRANZ PAUL VON) counsellor

to the elector of Bavaria, and chapelmaster at Munich in 1786, at the time

when that chapel was in the zenith of its
glory.
GRUBER, (GEORG W I L H E L M ) born at

Nuremburg in 1729. At seven years of

age he was chorister at the chapel of that
town. At eighteen he sang with much applause at Frankfort, Leipsic, and Dresden.
In 1750, on his return to Nurcmburg, he was
elected member of the chapel there, and
made chapel-master in 1765.. Gruber composed much sacred and other music. He
died at Nuremburg, in 1796.
G R U B E R , (JOHANN SIGMUND) son of

the preceding, and doctor of laws at Nurem-

G tr A

G V A
burg, published there, in 1783, a German
work in octavo, entitled " Literature of
Music, or Means of knowing the best Musical Works." In 1785, he also published
" Beytroege zur Litteratur der Mustek." It
is an alphabetical catalogue of authors.
Likewise, among other choice works, " Biograpkien einiger Tonkunsler, ein Beylroeg
zur Musikalischen gelehrten geschichte
francf. und." Leipsic, 1786.
GRUBER, (JAKN) a celebrated musician at Nurernburg, was born at Simitz, in
Carinthia, in 1693.
GRUENBERGER, (TIIEODOK) a monk,
now living at a convent in Suabia, has
composed much sacred music, and many
pieces for the organ, since the year 1792.
GRUND, (CHRISTIAN) harpist at the
court of Wurtzburg, was born at Prague in
1722. He was considered one of the
greatest masters'on his instrument.
G R U N D , a German composer of instrumental music, chiefly for the piano-forte, in
the present century.
GRUND, a violin pupil of Spohr, was in
England in 1823. He executed a concerto
of his master with considerable spirit. He
stayed but a short time in this country.
GRUNDIG, (JOHANK Z.) tenor singer
at the chapel royal, and afterwards at the
school of St. Croix, at Dresden, in 1713. He
died at Dresden in 1720. He was Graun's
first master in vocal music.
GRUNER,

(NATHANIEL

GOTTFRIED

singer and director of music at the Gymnasium at Gera, in Saxony, was considered
among the best German composers towards
the close of the last century. He composed much sacred and instrumental music,
published at Lyons and Leipsic. Gruner
lost all his property by a fire which happened at Gera, and nearly consumed the
whole town, in 1781. On that occasion, he
published six sonatas at Leipsic, by subscription, and soon got nearly 1400 subscribers.
He died in 1795.
GUACCINI, an Italian soprano singer
about the year 1710.
GUADAGNI, (GAETANO) of Vicenza,
came first into this country in 1748, at an
VOL,

1,

early period of his life, as serious man in a

burletta troop of singers. His voice was
then a full and well-toned countertenor;
but he was a wild and careless singer. He
attracted, however, the notice of Handel,
who assigned him the parts in his oratorios
of Samson and the Messiah, which had been
originally composed for Mrs. Gibber.
During his first residence of about four or
five years in England, he was more noticed
in singing English than Italian. He quitted
London about the year 1753. In 1754, he
was at Lisbon, as second serious man under
Gizziello; and, in 1755, very narrowly
escaped destruction during the earthquake.
After this dreadful calamity, Gizziello,
seized with a fit of devotion, retired into a
monastery, where he spent the remainder of
his life. Having a friendship for Guadagni,
and being pleased with his voice and quickness of parts, he persuaded the young singer
to accompany him in his retreat, where, for
a considerable time, he took great pains in
directing his studies: and it is from this
period, that Guadagni's reputation as a
refined and judiciqus singer may be dated.
His ideas of acting were imbibed much
earlier from Garrick, who, when he performed in an English opera called The
Fairies, took no less pleasure in forming him
as an actor, than Gizziello did afterwards in
polishing his style of singing. After quitting Portugal, he acquired great reputation
as first man in all the principal theatres in
Italy ; and, the year before his return to
England, excited great admiration by his
talents, as well as disturbance by his caprice,
at Vienna. The highest expectations of his
abilities were raised by report previous to his
arrival here; and, indeed, as an actor, he had
no equal on any stage in Europe. His figure
was uncommonly elegant and noble; his
countenance replete with beauty, intelligence, and dignity; and his attitudes and
gestures so graceful, that they would have
been excellent studies for a painter or statuary. But though his manner of singing
was perfectly delicate, polished, and refined,
his voice seemed at first to disappoint every
hearer. Those who remembered it when he
x
305

G UA
was before in England, found it comparatively thin and feeble. For he had now
changed it to a soprano, and extended its
compass from six or seven notes to fourteen
or fifteen; and let a fluid of six feet in
depth be spread over more than double its
usual surface, it will, of necessity, be shallower, though of great extent. The music
he sung was the most simple imaginable; a
few notes with frequent pauses, and opportunities of being liberated from the coinposer and the band, were all he wanted.
And in these seemingly extemporaneous
effusions he proved the inherent power of
melody totally divorced from harmony, and
unassisted even by unisonous accompaniment. Those who were surprised at such
great effects, from causes apparently so inconsiderable, in analyzing the pleasure he
communicated to the audience, discovered
that it chiefly arose from his artful manner
of diminishing the tones of his voice, like
the dying notes of the vEolian harp. Other
singers captivated by a swell or mezze di
voce, but Guadagni, after beginning a note
or passage with all the force he could safely
exert, fined it off to a thread, and gave it
the entire effect of extreme distance. And
though neither his voice nor execution contributed much to charm or excite astonishment, lie had a strong party in England of
enthusiastic admirers and adherents, of
whom, by personal quarrels and native
caprice, he contrived to diminish the number
very considerably before his departure. He
had strong resentments and high notions of
his own importance and profession, which
disgusted many of his warmest friends, and
augmented the malice of his enemies.
The serious operas in which he performed,
during the season of 1769 and 1770, were
Olimpiade, a pasticcio, chiefly by Piccini; Ezio, by Guglielmi; and Orfeo, by
Gluck. In this last admirable drama, his
attitudes, action, and impassioned and exquisite manner of singing the simple and
ballad-like air, " Che faro," acquired him
very great and just applause; but, in the
zenith of public favour, by his private difference with the honourable Mr. Hobart, at
306

G UA
that time patentee of the Opera-house, concerning a supposed affront put upon his
sister in favour of Zamparini, together with,
his detprmined spirit in supporting the dignity and propriety of his dramatic character,
by not bowing when applauded, or destroying all theatrical allusion by returning to
repeat an air when encored at the termination of an interesting scene, he so greatly
offended individuals, and the opera audience
in general, that at length he never appeared
without being hissed.
His enemies, knowing him to be pat?
sion's slave, frequently began an encore,
with which they knew he would not comply, on purpose to enrage the audience,
Guadagni was allowed to be the first billiard player in Europe; but his antagonists,
discovering his irritability, used, when playing for large sums, to dispute as unfair
something that was clearly otherwise, by
which he was so agitated, as not to be a
match for a child. He quitted England for
the last time in the summer of 1771.
GUADAGNI, (SIGNORA) wife of the
preceding, was a celebrated Italian singer,
and performed at the opera in London,
between the years 1759 and 1770.
GUAJETTA,
(Giov.) a celebrated
Venetian female singer, about the year
1750. She was the wife of the tenor singer
Babbi.
GUALANDI, (MAKGAKETTA, called
CIAMPOLI) a celebrated Venetian singer in
the service of the landgrave of HesseDarmstadt, about the year 1710.
GUAMI, (GIUSEPPE) organist at Lucca,
published, about 1586, many motets, and
was a celebrated performer on the violin.
GUARDASONI, (DOMENICO) an Ita-

lian dramatic composer. He was manager

of the Italian opera at Prague and Leipsic.
He died in 1806 at Prague.
GUARDUCCI, (TOMMASO) of Montefiascone, one of the greatest singers of Italy,
was a pupil of Bernachi. He flourished
about the year 1750. Guarducci sang at
the opera in London, during several seasons,
commencing with that of 1767. The tide
of prejudice ran high against him on hi*

6UE

GUE

first arrival in London, but he had the good

sense to discover, before it was too late, that
a singer cannot captivate the English bytricks or instrumental execution ; and many
years afterwards, he told Dr. Burney, that
the gravity of our taste had been of infinite
service to him..
GUARNERICS, (ANDREA) of Cremona,
a celebrated maker of violins. Most of his
instruments are defined thus, " Andreas
Guarnerius, fecit Cremona sub titulo Sanct<s Teresa, 1680.
GUEBAUER, a celebrated performer on
the bassoon. He belongs to the orchestra
of the grand opera in Paris.
GUENEE, (Louis) born at Cadiz in
1781, is one of the principal violins at the
grand opera at Paris. He was a pupil of
, Rode. Guene has published two works,
containing " Duets for the Violin" also
" Two Trios," " A Volume of Quartets,"
" A Concerto!' &c.
GUENIN, (A.) formerly first violin at
the grand opera at Paris, and afterwards in
the service of the king of Spain, was born
at Landrecias, about the year 1745. He
was a pupil of Gavini^, and has published
much music for his instrument.
GUENIN", (H. N.) son of the preceding,
is known by the overture and airs of the
ballet of " TiUmaque," arranged for the
piano. He is a good pianist.
GUENIN, (MADEMOSIELLE) of Amiens,
composed, at the age of sixteen, the music
of the opera of " Daphnis et Amatthie,"
which was generally admired.
GUENTHER,

(CARL

FHIEDRICH)

professor of the hautboy, was musician to

a Saxon regiment, in 1788, since which
time he has published some military music,
at Dresden and Leipsic.
GUERILLOT, (H.) member of the conservatory at Paris, and of the grand opera
band, some years since. He was a good
violinist, and composed some concertos for
tie violin, some of which were published at
Lyons in 1782.
GUERINI, (FRANC.) of Naples, chamber-violinist in the service of the prince of
Orange, between the years 1740 and 1760.

He composed some instrumental music.

Guerini resided for some years in London.
GUERRE,

(ELIZABETH

CLAUDE J A C -

QUETTE DE LA) a female musician, the

daughter of Marin de la Guerre, organist of
the chapel of St. Gervais, in Paris, was
born in that city in 1669, and instructed in
the practice of the harpsichord, and the art
of composition, by her father. An opera
of her composition, entitled " Cephale et
Procris," was represented in the royal
academy of Paris, in 1694, and is still extant in print. She died in the year 1729.
GUERRENO, (VIANA) of Seville, a
celebrated Spanish musician in the sixteenth century. He passed the greatest part
of his life in Italy, and composed some
excellent church music.
GUEST (RALPH) was born in the year
1742, at Basely, in Shropshire. At six years
of age he began to discover a powerful propensity to music, which he was able to
indulge and improve, by joining a very
respectable church choir in his native parish.
At fourteen years of age, he pursued with
increasing ardour his musical studies, and
soon became leader of the choir above-mentioned. At twenty-one he left the country,
and through the introduction of a friend
obtained a situation in business in London.
Here he had determined to relinquish his
pursuit, and apply solely to his business;
but on attending Portland chapel one
Sunday, by accident, his resolution gave
way, in consequence of again hearing the
music in which he had taken so much
delight in his native parish. From this
moment he formed a part of this excellent
choir, at that time so justly celebrated in
the metropolis. He now lost no opportunity
of hearing the best public musical performances in London, and after afiveyears'
residence in town, an advantageous offer
presenting itself, he became an assistant to
the late Henry Bullen, of Bury St. Edmunds,
in which place, in the course of a few years,
he set up business for himself. Here, under
the friendly instructions of Frost, the then
organist of St. James's parish, he not only
became a performer on the organ, but also
x2
307

0 UE
greatly improved his musical taste and
acquirements. About the year 1705, the
choir of St. Mary's church was intrusted to
Guest, and when an organ was subsequently erected, he became organist. What
had been in early life merely an amusement, afterwards became his sole employment ; he relinquished other business, and
devoted himself entirely to the organ, and
the instruction of private pupils in music.
In the midst even of constant employment,
he found time to publish " The Psalms of
David," arranged for every day in the
month, many of the last old tunes being
Tetained, and more than sixty new ones
introduced. To this work was prefixed a
short introduction to singing and thoroughbass. Soon afterwards, he published a sort
of supplement to his former work, entitled
" Hymns and Psalms," the music to which
he adapted and composed. In addition to
his compositions in sacred music, he has
published many songs.
GUEST, (GEORGE) son of the preceding,
"was born in 1771. He was very early
instructed in the rudiments of music by his
father, and manifested a great precocity of
musical talent and capability. When no
more than two years old, he began to practise the diatonic scale; at three he could
sing "God save the King;" at five he sung in
public at St. James's church, Bury, Handel's
song, "' He shallfeed his flock," accompanied
by a full band; at seven he took the first
treble at the opening of the organ at Stowmarket. Here he attracted the notice of
the late Mr. Taylor, organist of Chelmsford, by whom he was immediately recommended to Dr. Nares, who, after having
heard him sing some of Handel's music,
appointed him to a situation among the boys
in the king's chapel. In this excellent
school, he made great proficiency in musical
knowledge, and so distinguished himself by
his skill in singing, that by Dr. Ayrton,
who succeeded Dr. Nares, in conjunction
with Messrs. Stanley and Linley, he was
brought to sing two songs in an oratorio,
performed before his late majesty. Upon
this occasion, the king, who is well known
308

GUE
to have been an excellent judge of music*
expressed great approbation, and gave
commands to Stanley that Master Guest
should always sing two songs in the succeeding oratorios. At the commemoration of Handel in 1784, young Guest having obtained
the situation of principal treble singer in the
king's chapel, Bartleman enjoying the same
honour at Westminster abbey, they each
acquitted themselves with great credit in
the prominent parts which were assigned
them. The circumstances of these contemporaries in after life were widely different;
Bartleman, remaining in town, acquired a
degree of popularity, which Guest, retiring
into the seclusion of the country, could
not possibly attain. In 1787, having been
solicited to accept the organ at Eye, Suffolk, he left the king's chapel, to undertake
the duties of that situation. He remained
at Eye only two years, being, in 1789, appointed to the organ recently erected by
Green, at Wisbeck, in the county of Cambridge. For this office there were at first no
fewer than nineteen candidates, but when it
was understood that Guest was one, and
that they were to undergo an examination
by Dr. Randall, in St. Mary's church,
Cambridge, they all withdrew their claims,
except three. Guest having performed
several difficult pieces of music, and having
extemporized upon a given subject of a few
bars in a masterly manner, he was recommended to the capital burgesses of Wisbeck
by Dr. Randall, and by them accepted.
Guest has ever since resided at Wisbeck,
where he is celebrated as a teacher of the
piano-forte, and as an extemporary performer upon the organ. In this last respect,
he has long excited admiration by the
correctness and elegance with which he
pours forth the impulses of the moment.
To a thorough knowledge of his art, and a
complete mechanical command of his instrument, is superadded the further excellence of a chaste, yet brilliant original conception of musical ideas, which he never
fails to develope with precision and effect.
Guest is the author of a variety of musical publications, which have been well

G UG

GUI

received, particularly his " Fugues and

Voluntaries for the Organ" " An Anthem
for Christmas Day, inscribed to Dr. Clarke,"
" A Set of Hymns for the Service of the
Church," and " Six Grand Piecesfor a full
Military Band." He is also the author of
several admired glees, duets, and songs.
GUGEL, (H.) a celebrated performer on
the horn, and composer for his instrument.
He was lately at St. Petersburg, and went
from thence to Paris. His knowledge of his
instrument is said to be perfect, and his
powers upon it beyond all expectation.
GUGL, (MATTHOTS) organist at the
cathedral of Salzburg, published there, in
1719, " Fundament a Partititrie in compendia Data." A third edition of this work
was published at Augsburg in 1777.
GUGLIELMI, (PIETRO)

son of Joa-

chim Guglielmi, master of the chapel of

the duke of Modena, was born at Massa di
Carrara, in 1729. He studied music under
his father till he was eighteen, when he
was sent to the conservatory of Loretto, at
Naples. The celebrated Durante then
directed this school, from whence Piccini,
Sacchini, Cimarosa, Maio, Trajetta, Paisiello, &c. have issued. Guglielmi did
not announce any great disposition for
music, but Durante subjected him to the
dry studies of counterpoint and composition.
He left the conservatory at the age of
twenty-eight, and composed, nearly directly,
for the principal theatres of Italy, comic
and serious operas, in both of which he
succeeded equally well. He was sent for
to Vienna, to Madrid, to London, and
returned to Naples, being then in his
fiftieth year. I t was at this epoch, that his
faculties acquired their greatest activity,
and that his genius shed its greatest lustre.
He found the theatre at Naples occupied by
the great talents of Paisiello and Cimarosa,
who there disputed the palm. He revenged
himself nobly on the latter, of whom he
had cause to complain. He opposed a work
to each work of his adversary, and constantly conquered him. Pope Pius VI.
offered Guglielmi, in 1793, the situation of
master of the chapel of St. Peter. This retreat

gave him, being then sixty-five, an opportunity of distinguishing himself in church

music. Guglielmi's works are reckoned to be
more than two hundred. The best are the
operas of "Le due Gemelli," "La Pastorella Nobile;" and among his oratorios,
" La Matte d'Oloferne," and " Deborah."
Zingarelli looked upon this last as the
chef-d'osuvre of Guglielmi. Musicians discover in this composer, simple and elegant
melodies, a clear and supported harmony,
and whole pieces full of fancy and originality.
Hediedin 1804, in his seventy-seventh year.
GUGLIELMI, (PIETHO CARLO) a Nea-

politan musician, and eldest son of the

preceding, was in London during several
years, and much esteemed here as a dramatic
composer. Among many successful comic
operas, his " I due Gemelli" is considered
his best work. He has also composed an
oratorio, called " L a Distruzzione de Gemsalemme" which was performed at the
theatre del Fondo., at Naples, at the beginning of the present century.
GUGLIELMI, (GIACOMO) younger brother to the preceding. He resided at Paris
for some years, and was engaged at the
opera buffa in 1810. G. Guglielmi was
born at Massa di Carrara, in 1782. His
first debut was at the theatre of Argentina at Rome; he then went to Parma,
afterwards to Naples, Florence, Bologna,
Venice, Amsterdam, and lastly to Paris.
GUICCIARDINI, (LUDOVICO) an his-

torian, born at Florence in 1523. He

resided at Antwerp, where he published
some historical works, in which is to be
found the biography of thirty of the principal Flemish musicians. He died in 1589.
GUICHARD, (NICOLAS) a French professor of the guitar. He published a collection of airs, among which are " Bouquet de
Romarin," " Le Coin du Feu," " Ilest passe'
ban temps," &c. Guichard died in 1807.
GUICHARD, (Louis JOSEPH) born at
Versailles in 1752, was appointed chambermusician to the king of France in 1776.
In 1784, he became professor at the royal
school of singing, and in 1792, singingmaster at the academy of music. ' Guichard
309

H AA

H AA

GUTHMANN, (FRIEDRICH) second viois now professor of declamatory singing at the

conservatory, and has composed some ro- linist at the Italian theatre, at Paris, published there, in 1786, six duets for the'violin.
mances.
He has since published a method for the
GUIDO. See ABCTINUS.
GUIGNON, (JEAN P I E R R E ) bom at guitar, and other works, in Germany.
GUTTER1DGE (WILLIAM) was originTurin in 1702. He was a celebrated violinist, and gave lessons to the dauphin, (father ally intended for the musical profession, and
of Louis XVI.) and to B'ladame Adelaide of received hia first instruction at Tenterden,
Prance. Guignon held for thirty years an in Kent. Having some friends in Brussels,
absurd appointment, named " Roi des Vio- he went there for the benefit of tuition, and
lons, et Maitre des Minestriers," which he after remaining some time was engaged to
afterwards gave up, and at his request the lead the band, at the theatre in the park.
office was suppressed. He gave gratuitous On his return to England, he undertook the
lessons to many young violinists, who re- same situation in the theatre at Birmingham,
quested them of him. Guignon's composi- then under the management of R. W. Ellistions consist of some sonatas, duets, trios, ton. From thence he was engaged by T.
and concertos for his instrument. Guignon Dibdin, to instruct the chorus at the Surrey
theatre, and subsequently to lead the band
died at Versailles in 1774.
GUILLEMAIN, (GABRIEL) born at at the theatre in Brighton, where he became
Paris in 1705, was celebrated as a violinist. a pupil of Keisewetter. Soon after this,
He composed some sonatas for the violin and he was engaged to lead his majesty's quaharpsichord. Guillemain lost his senses drille band, was also appointed organist at
late in life, and in 1770 destroyed himself, the Independent chapel in Brighton, and
inflicting on his person no less than fourteen officiated in the absence of Mr. Attwood, at
his majesty's private chapel. His composiwounds.
tions have never been published, with the
GUILLON, a French musician, published
exception of two pleasing songs.
about the year 1780, at Lyons, some quarGUTTMAN, (C. A.) a composer of some
tets for the violin, also some instrumentalpiano-forte music, published by Goulding.
music at Paris.
GUY D'AREZZO. See GUIEO.
GUILLOU, first flutist at the grand opera
GUYMENER, a good violinist, resident
at Paris.
GUMPENHUBER, an amateur per- in England.
former at the Pantalon, was engaged for
GYROWETZ (ADALBERT) was born in
three years at Petersburg, in 1755, as Bohemia in 3 765. He received his musical
chamber-musician, where his capriccios and education at Vienna, and soon became an
concertos were much admired. He quitted excellent pianist and violinist. In 1785, he
that country in 1757.
went to Naples, from (hence came to England,
GUNTHER, organist at Neustadt, was and returned in 1793 to Vienna, where he
named, in 1789, to the church of St. Croix, at present resides, enjoying, since 1804, the
place of imperial chapel-master. Gyrowetz
at Dresden.
GUNTHER, (FRIEDRICH) a bass singer has composed very numerous instrumental
at the theatres of Weimar and Gotha, be- works, also some romances and other vocal
pieces.
tween the years 1770 and 1780.

H
HAAKE or HAACK (CARL) was born
at Potsdam in 1757, and was appointed,
310

about the year 1790, first violin and chapelmaster to the royal chapel in Berlin. The

H AB

HiiN

following are arriofig his compositions: in the year 1746, and in 1747 six litanies',
" Six Sets of Violin Honcertot," published at in folio. He has composed also many symBerlin between the years 1791 and 1797. phonies and sonatas.
" Three grand Sonatas for the Piano-forte,"
HABERMEHL, (G.) a German comBerlin, 3793,
poser, has published twelve variations for
HAAKE or HAACK, (FRIEDERICH) piano-forte, at Darmstadt, (1796) and twelve
the younger brother of the ^preceding, is an others for piano-forte, at Brunswick,(1797.)
organist at Stettin. He has published " ConHACKER, (BENEDICT) a German comcertopour le Clav." Op.l; "Three Trios pour poser, born in Bavaria in 1769. The followle Clav." Op. 5 ; "Three Trios pour le Clav." ing are among his principal works, up to the
Op. 6. F. Haake is a celebrated pianist, and year 1800: " Liebe undTreue, an Emma"
was a pupil in counterpoint of Fasch.
a song, (Munich, 1797.) "Six Songs,"
HAASS, (IGNAZ) a celebrated organist (1798.) "SixSongs,"Q199.)
"Jefruher,
and composer at Koniggratz, in Germany. je lieber," song.
" Four-Part
Songs."
He published at Vienna, in 1797, " Varia- " List gegen List," an operetta. He was
zoni sopra VAndante in A dur del Sig. a friend and pupil of Michael Haydn.
Mozart."
HACKMEISTER, ( K A R L CHRISTOPH)
HAASS, ( P A T . ILDEFONIS) a librarian organist at the church of the spirit at Hamand monk in Germany, was born at Offen- burgh, published, in 1753, a work entitled
bach in 1735. He was an excellent theorist, " Klavier ubung, bestehend in 50 ausercomposer, and violinist. He died in 1791. lesenen variationen ilber eine menuet zum
Haass's publications are chiefly for the nutzen der information componirt, fyc."
church.
first volume ; in which he discovers not only
HABENECK, (F. A.) There are three good taste, but a thorough knowledge of
brothers of this name, all of them violinists. counterpoint.
F. A. Habeneck is the eldest, and was HADRAVA or HADRAWA was a
adjunct and one of the best violin pupils of Hungarian by birth. He was a good amaBaillot, at the conservatory at Paris. He teur violinist, and published in 1782, at
was afterwards adjunct with Kreutzer for Berlin, six sonatas for the harpsichord.
solo playing, at the imperial academy of
HAEFNER, chapel-master, in 1797, to
music. He has published, at Paris, three the king of Sweden at Stockholm, was born
fantasies for the violin, which are much in Germany. He studied Gluck's style of
esteemed. Joseph and Corentin Habeneck dramatic composition, and when quite a
(his brothers) were likewise pupils of the young mart, in 1789, brought out an opera
conservatory, and of Baillofs class, and at Stockholm, called " Electra," which was
both performed, with great success, con- very successful.
certos on the violin, at the concerts given
HAEMMERLEIN (FRANZ JOSEPH) was
by that institution.
born at Augsburg. He was an excellent
HABERMALZ, (H. B. R.) a German pianist, and resided, after the year 1771, at
harpist, published, about the year 1782, Munich.
HAEMPELN, superintendent of the
"Newe Sammlung filr die Harfe mil einer
Viol, (Leipsic) " Blilhe liebes Veilchen," music of the dukes of Furstenberg, was
for the harp, (Dresden) also other pieces considered, about the year 1795, as one of
the best violinists and composers for his
for the same instrument.
H A B E R M A N N , (FRANZ JOHANN) di- instrument iu Germany.
HJENDEL.
See HANDEL.
rector of music at Prague, in Bohemia, was
HiElNi DLER, chapel-master to the bishop
born in that city in 1712. He was particularly esteemed as a contrapuntist about the of Wurtzburg, was born at Nuremburg,
middle of the last century. Twelve masses towards the close of the seventeenth cenof his composition were published at Prague, tury. He was a pupil of Pachelbel, Soon

3n

HAE
after the year 1712, he was named organist ]
of the court of Wurtzburg. He died in
1742.
HAENEL or HANDL (JACOB, called
also GALLUS) was one of the greatest German contrapuntists, about the year 1550.
His works consist chiefly of motets and
church music. He died at Prague iu 1591.
H A N S E L , (J. D.)

See HENSEL.

HAENSEL, (PETER) chapel-master to a

nobleman at Vienna, in 1793, was a pupil
of Haydn. He has published " Neuf Quatuors a deux Violons, Tenor, et Violoncello,"
Ops. 1, 2, 3, (Offenbach, 1798.) " Trois
Themes varies pour le Violon, avec Ace.
de Viola" Op. 4. "Air, avec Variations
pour la Harpe," Op. 4, (Offenbach, 1799.)
" Six Quatuors a deux Violons, Tenor, et
Violoncello," Ops. 5, 6, (Offenbach, 1799.)
" Six Quatuors a deux Violons, Tenor, et
Violoncello," Op. 7, (Offenbach, 1800.)
" Trois Quatuors a deux Violons, Tenor, et
Violoncello," Op. 8, (Offenbach, 1801.)
" Trois Quatuors a deux Violons, Tenor, et
Violoncello;' Op. 9, (Offenbach, 1802.)
H J E K L E M M E , (A. G.) an Italian com-

poser of the seventeenth centurj', published,

in 1664, " / sacri Salmi di David, messi
in rime volgati da Giov. Dintati," (Lucca.)
HAESER, (JOHANN GEORGE) born in

Germany in 1729, was, till the year 1808,

chapel-master of the university church at
Leipsic. He died much lamented in the
year 1809, leaving five children, all of
whom are respectable musical characters in
Germany.
HAESLER, (JOHANN WILHELM) direc-

tor of music, and organist at Erfurt,-was

born in that town in 1749. He was an
excellent performer, and likewise a good
tenor singer. Haesler came to England in
1791, and performed on the piano before
their majesties, and also in several churches.
He afterwards proceeded to St. Petersburg
and Moscow, where he, probably, is still
living. His works are numerous for the
organ and piano.
HAEUSLER, (ERNST) a violoncellist and
composer, born at Stuttgard in 1760, resided,
in 1801, at Augsburg. He published much
313

HAG
vocal and other music between the years
1792 and 1800. His " 12 Canzonette Ital.
Ace. p. il Piano-forte e Chiterra," published
at Vienna, in 1800, are said to be extremely
beautiful.
HAFENEDER (JOSEPH) published at
Manheim, in 1785, his first work, consisting
of three symphonies.
HAGEN, (AVANDER) a musician, resident at Paris, has published, since the year
1795, thirteen collections of clarionet duos,
also " Trente-cinq Precludes et Points
d'Orgue dans tous Us Tons usite's," (Paris,
1803.) Hagen was born at Hamburgh,
and was for some time organist at Rotterdam.
HAGUE (Dr. CHARLES) was born in
the year 1769, at Tadcaster, in Yorkshire.
From early youth he manifested great fondness for music. A violin was placed in his
hand, and his brother, who was many years
older than himself, became his preceptor.
In 1779, he left his native place for Cambridge, where his brother had begun to
reside. From the last-mentioned period, he
had the advantage of excellent instruction,
both in the practice and the theory of his
future profession. He became the pupil
of Manini, an eminent performer,on the
violin; and studied the rudiments of thorough-bass, and the principles of composition,
under the elder Hellendaal, a man of
undoubted attainments in musical science.
Under these favourable circumstances,
Charles Hague rapidly acquired celebrity,
by his exquisite performance on the violin,
which to the close of life continued to be his
favourite instrument. As he became known,
he acquired friends. Indeed it would have
been surprising if a youth of his interesting
appearance and admirable talents, living in
Cambridge, had not secured many friends
in the university. Among those who were
the most anxious for his success in life, and
the most zealous to promote it, there would
be great injustice in omitting to mention the
late Rev. Dr. Jowett, at that time regius
professor of civil law, a gentleman who,
while eminent for his acquirements as a
scholar, possessed a refilled taste in music,

HAG

HAG

and an accurate knowledge of its princi- deeply regretted by his family and his
ples.
friends.
About the year 1785, Manini died; and
by the advice, as it is believed, o~f his university friends, young Hague then resided
for a time in London, and became the
pupil of Salomon. Already an excellent
performer, he could avail himself to the
uttermost of the instructions of that great
master; and from Salomon, without doubt,
he acquired no small portion of that skill
and power which enabled him to give such
delightful effect to the compositions of
Haydn. During this period, he had the
good fortune to be assisted in the study of
vocal harmony by Dr. Cooke, of glee writers
in modern times second to few in point of
elegance, and, perhaps, the most learned.
On his return to Cambridge, the subject
of this memoir had the satisfaction of numbering among his pupils many members
of the university, eminent both for rank
and talent.
In 1794, he was admitted to the degree
of bachelor of music in the university of
Cambridge.
In 1799, the professorship of music became vacant, in consequence of the death
of Dr. Randall; when, encouraged by his
numerous friends among the members of
the senate, he became a candidate for the
appointment, and was successful. Soon
after his election to the professorship, he
proceeded to the degree of doctor of music.
Dr. Hague, from that time, considered
himself as completely settled in Cambridge,
where he continued to reside to the day
which discovered what small reliance can
be placed on a constitution even of great
apparent strength. During the spring of
1821, he frequently complained of being
unwell, but no danger was apprehended
Towards the end of May, he was making
arrangements for some concerts on a grand
scale, which were to be performed at the
approaching commencement, when he became alarmingly ill. He remained two
or three weeks in a state which gradually
destroyed all hopes of his recovery, and
on the 18th of June, 1821, he expired,

Dr. Hague was well acquainted with the

principles of playing on keyed instruments,
although not a performer himself. Besides
the violin, he was a complete master of the
tenor and the violoncello.
On public occasions, on which his services were more particularly called forth,
he was accustomed to lead the musical
performances with a precision and a certainty which showed that he was clearly
entitled to the situation in which he was
placed.
In quartets, his style of playing was
the most delightful that can be imagined.
If, however, we were required to state one
department in which he more particularly
excelled, we should mention his violin accompaniment to the piano-forte. In theft,
we are almost inclined to think he was unrivalled, so prompt was the intelligence
with which he seized the meaning of the
composer, so fascinating the eloquence with
which he developed his ideas.
Dr. Hague was well acquainted with the
theory of music. Whoever would understand the principles of composition will
find it an advantage to consult many writers for the purpose of illustration; but
it is indispensable that he study one standard author thoroughly. We may observe
that students in music are not the only
students to whom this hint may be useful.
In the last age, Rameau was generally
held to be the great master-theoristthe
hierophant of the mysteries. Dr. Hague
had studied in the school of Rameau. He
had read many modern writersbut Rameau he had studied. The writer of this
memoir is of opinion, that the late professor
was partial to Rameau's system ; and the
present writer, if he may venture upon a
determination, not ex-cathedra, is also disposed to maintain, that notwithstanding the
discoveries of recent times, whoever has
acquired all the information which Rameau
and his commentators will afford, has but
little to learn in the theory of musical
composition, On subjects of this kind Dr,

313

H A G
Hague was always glad to converse, and
often has " the witching time o' night"
found the professor and his biographer with
music paper before them, and black-lead
pencils in their hands, discussing concords
and discords in all their forms, and estimating
"Their bearings and their ties,
Their nice connections and dependencies."

The late professor had no exclusive admiration, either of ancient or of modern

music ; he knew the peculiar value of each.
He was anxious to preserve a sensible distinction between the secular and the ecclesiastical style. To record his opinions of
the great composers of different ages, is
beyond the scope of this memoir. It may,
however, be observed, that he was very
copious and animated in his praise of Tartini, whose works he had studied with assiduity. His master, Hellendaal, had been a
pupil of Tartini; and from Hellendaal he
had derived several of Tartini's precepts of
composition, which he used to repeat with
great pleasure.
Of the productions of his contemporaries,
Dr. Hague was always disposed to speak
with kindness and liberality. He spoke
with rapture of the music of " Palestine,"
and in his copy of the words of that oratorio he had made remarks on each movement, in a style which manifested the justness of his taste and the acuteness of his
critical powers.
The mention of Dr. Crotch has brought
to mind a circumstance which will probably
be thought not uninteresting, and which
might otherwise have been forgotten. For
a short period during the early years of that
extraordinary genius, he was the pupil of
Charles Hague, who was also at that time
very young, being but six years older than
his pupil. In a journal of Dr. Hague's yet
remaining, the circumstance is stated, with
admiration of the rapid progress which his
pupil had made; and with a declaration,
that to have had such a pupil would always
appear to him the greatest honour of his
life. In due time, Crotch became professor
of music at Oxford. It is pleasing to con314

HAG
sider that the tutor and the pupil invariably
regarded each other with paternal affection,
Numerous must have been the good qualities of that man of whom it may be said
as it may with truth be said of Dr,
Haguethat many were the friends who
were attached to him when living, and who
lament him now he is no more.
It now remains to notice briefly the musical productions of Dr. Hague. Of the
single songs which he published, few are
known to the present writer. They sire
said to possess considerable merit. In 1805,
" A Collection of Songs" was published by
the Rev. Mr. Plumptre, then fellow of
Clare-hall, Cambridge. To this work, Dr.
Hague rendered his assistance in adapting
the music, and in a few instances as a
composer. The volume was compiled for the
most praiseworthy purposes. It contains
many pleasing and popular melodies, which
are as much as may be freed from difficulty.
All that was intended to be done was ably
performed.
The titlepage of a musical publication
seldom affords a date; hence it is not easy
to say in what year Dr. Hague introduced
to the public (by permission of the composer, Mr. Wheeler, of Cambridge) " Six
Glees for three and four Voices." These are
productions of great sweetness and elegance. If any persons should be induced
to become acquainted with them on this
recommendation, he can hardly fail, we
think, to be delighted with such compositions as " Happy the man" " Welcome,
dear Stella," " My Phillida, adieu, love!"
Some of our readers will not perhaps despise the information, that the words of the
last-mentioned glee may be found in Percy's
Reliques, vol. ii. p. 292, 5th edition.
Dr. Hague's principal publications are
the following: 1. "An Anthem composed
for the Degree of Bachelor of Music, and
performed June 29th, 1794." The subject is the 137th Psalm, " By the waters
of Babylon, Sfc." ' In this production the
author shows that he had completely overcome the mechanical difficulties of composition. The parts proceed without em-

HAG
barrassment, and the harmony is pure.
Over the whole there is thrown a character
of simplicity and of learning. The opening
trio, " By the waters of Babylon" is tender and pathetic. The subject of the chorus,
" dsfor our harps," was employed by the
author, on another occasion, with much
greater effect. " For they that led us away
captive," and " How shall we sing the
Lord's song in a strange land," are deeply
affecting. In listening to the entire composition, we appear to be surveying scenes
of desolation and of melancholy grandeur.
2. " Glees." Without pretending to have
examined these productions very minutely,
we think them worthy of a pupil of Dr.
Cooke. They consist of real parts. Our
knowledge of them is confined to a mere
perusal; we have never heard the effect of
any of them. All that we can say of them
is, that they promise much pleasure to those
who have an opportunity to hear them.
3. " Twelve Symphonies by Haydn, arranged as Quintets." What is here attempted is accomplished in a very masterly
manner.4. " The Ode as performed in
the Senate-house at Cambridge, at the Installation of his Royal Highness the Duke
of Gloucester, Chancellor of the University." The ode itself is from the pen of
William Smyth, Esq., professor of modern
history. In our opinion, we have here the
most elegant and the most sublime of Dr.
Hague's productions. In our opinionfor
others, we believe, would select differently
from the same workit would not be easy
to find any thing more beautiful than the
following air, or more sublime than the
chorus which succeeds it. " The master
of the British shell," it will be recollected,
is the poet Gray.
AIR.
O thou last master of the British shell !
Pleased in the calm of academic bowers
To win the spoils of meditative hours,
And from thy studious cell
See thy loved arts, and virtue's lovely train,
Wide round the world securely reign 3
Alas I how is that world defiled,
How changed each scene that peaceful smiled,
Sincein thiscrowded dome, thyskill divine
Did laurel wreaths round Granta's spectre twine!

II A I
CHORUS.
What countless forms, with frantic mien,
Have flitted o*er yon darken'd scene !
They comethey ragethey disappear,
The storm is woethe pause is fear !

HAGUE, (HARRIOT) eldest daughter of

the preceding, died in 1816, at the early
age of twenty-three. Her performance on
the piano-forte indicated a power of executing all that the most capricious fancy of
the composer could imagine ; but it was a
power which was always under the dominion of taste and of feeling. She could
give effect to the finest inventions of Mozart, and triumph, even when listened to by
Samuel Wesley, over the most intricate
combinations of Sebastian Bach. In 1814,
she published, by subscription, " Six Songs,
with an Accompaniment for the Pianoforte" which are said to be eminently
beautiful compositions.
HAHN, (GEORGE J. J.) a senator and
director of music at Munnerstadt, in Franconia, has published, since the year 1748,
many theoretical and practical works,
chiefly in the German language. His
" Officium Vespertinum turn rurale turn
civile," consisting of six masses and psalms
for a full orchestra, was published at Augsburg iu 1759, and the second edition of his
" Generalbasschuler" in the same town in
1768.
HAIBEL, an actor and good tenor singer
in Vienna, subsequently to the year 1794.
He composed an operetta, called " Her
Tyroler Wastel" which was very successful, and published in different ways in.
several of the large towns of Germany.
HAIGH, (T.) an English pianist and
composer.
He was a pupil of Joseph
Haydn, and has not only arranged for the
piano many of his master's most celebrated
works, but has made himself known by
several very excellent original compositions.
Among his works may be mentioned a
" Single Violin Concerto,"
(Preston.)
" Three Duets, with favourite Airs for
Piano-forte," Op. 5, (Preston.)
" Three
easy Duets," Op. 7.
"Divertimento"
" Twenty-eight Sonatinas, with Preludes

315

H AI
end two easy Duets."
" Twenty-eight
Sonatinas, second Set." " Six Sonatas,"
Op. 4. "Three Sonatas," Op. 6. "Six
Sonatas," Op. 8, dedicated to Dr. Haydn.
" Three Sonatas," Op. 9. " Two Sonatas,"
Op. 12. "Sonatas," Op. 16.
"Sonatas,"
Op. 19. "Eight Divertimentos," Op. 42.
" Divertimento, with Blue Bells," " Crown
Prince of Sweden's March"
" Sonata,
with Care the Canker." " Sonata, with
Fal,lal,la."
"Sonata, with Louis XVI.'s
March." " Thema, with Variations," dedicated to Miss Thornton. " Air from
' Zauberflote' of Mozart, with Variations."
(All published by Preston.)
" Three Sonatas," Op. 30. " Two Sonatas," Op. 31. " Twelve Petits Pieces.
Second Edition," Op. 32. " Three Sonatas," Op. 39. " Prelude, Minuet, and
Dance Cossacque."
" Second Divertimento for Flute or Violin" Op. 40.
" Thema, with Variations, Letter A." " Sonata, Letter B."
" Prelude and Dance,
Letter C." "Sonata
Capriccio,LetterD."
" Theme, No. 1, Flute Accompaniment."
" Theme, No. 2, Flute Accompaniment."
"Air Militaire." "Fantasia," dedicated
to Clementi. "Trio, 'When war's alarms,'
for Flute and Violin."
" Siege of St. Sebastian, for Flute and two Harps." "La
Joyeuse Rencontre."
" Introduction and
Polacca, founded on Slingsby's ' Allemande'"
"Divertimento,
No.\, with
' When you tettme,' and' Military Waltz.'"
"Divertimento, No. 2, with ' Where Helen
lies.' " " Divertimento, No. 3, with 'Auld
Mob Morris,' and ' Gypsy Rondo." " Introduction and Polonoise, to Miss Buchhy"
" Arrangement of Haydn's
Symphonies,
Nos. 1, 2, and 3, (Letters A, B, and C) in
which are introduced the admired Canzonettas, ' Far from this throbbing bosom,'
' My mother bids me,' and ' Now the dancing sunbeams play,' for Piano-forte and
u
Flute.
Parody on Overture to Lodoiska,for Flute''
(dementi's Cat.)

HAL
HAINDEL or HEINDL was, in 1793,
court-musician and chef-d'orchestre at the
theatre at Passau.
HAINGLAISE, (J. B.)a musician, published at Petersburg, in 1798, "Six Romances avec Ace. de Guitare."
HAKART, (CAROLO) a viol-da-gambist and composer, who died about the year
1730.
HAKE, (HANTZ) a violinist at Stade, in
the middle of the seventeenth century. He
published some music for his instrument.
HAKENBERGER, (ANDREAS) chapelmaster at Dantzic in the beginning of the
seventeenth century. He was one of the
most eminent composers of his time. His
works, which are chiefly sacred, bear date
from the year 1612' to 1645.
HALL, (HENRY) the son of captain
Henry Hall, of New Windsor, was bom
about the year 1G55, and educated in the
royal chapel,where he had for his first master,
Dr. Blow. His first promotion was to the
place of organist of Exeter. After that he
became organist of Hereford, and a vicarchoral in thet church. He died in 1707.
He had a son named after himself, who was
also organist of Hereford, and died in the
year 1713. The similar situation of these
two persons, and the short distance of time
between their death, rendered it difficult to
distinguish one from the other, and this difficulty is increased by the additional circumstance that each had a taste for poetry.
The elder was a sound musician, and composed many anthems, well known to it Dse
who are conversant in church music ; and
most of the musical compositions with the
name Henry Hall, are to be ascribed to
him; for it has not been ascertained that the
younger was the author of any ; and indeed
it seems that his character of a musician is
lost in that of a poet.
HALL, (WILLIAM) a violinist in the
chapel royal of king William II., died in
the year 1700. There are some printed airs

HAILLOT, a violoncellist at Paris, in of his composition. See SIR JOHN H A W the latter part of the last century. He pub- KINS.
lished, in 1780, " Six Duos de Violoncello,
HALTER, (WILHELM FERDINAND) ortires de VOpera comiatte," Op, 1.
ganist of the reformed church at Konigs316

HAM
berg, iu Prussia, published some excellent
music for the piano-forte. He died in 1806.
Several sets of his sonatas are published at
Leipsic and Augsburg.
HAMBOYS, (JOHN) one of the oldest
doctors of music in our country. He flourished about the year 1470, and left the following works, 1st, " Summum Artis Mu.
sices," in manuscript; and 2d, " Cantiones
artificiales diversi generis." He was an excellent musician, for the age in which he
lived.

HAN

f the church of St. Peter's, at Fribttrg, and

afterwards of that of St. John at ZittauHe is chiefly celebrated for his assiduity in
the improvement of the church music in
Saxony, and some of the other German provinces. He died in 1675, at the age of
sixty-four. His compositions were chiefly
motets for four, five, and six voices.
HAMMOND, (HENRY) an English
doctor of divinity, born in 1603, was one of
the preachers to the court of Charles I .
To his " Paraphrase and Annotations upon
H A M E E T O N ( W I L L I A M H E N R Y ) was the Books of the Psalms," he has added a
born in Nottingham, in the year 1795. At cunous dissertation on the use of music in
an early age he became a chorister of divine sen ice. He died in 1660.
Christchurch cathedral, Dublin, where he
HAMPEL, (ANTON JOSEPH) a celereceived his musical education. In 1812, brated performer on the horn, in the chapel
he visited London, with the intention of royal at Dresden, in 1748. He was the
studying vocal music, and for that purpose master of Punto.
became the pupil of Thomas Vaughan. He
HAN (GERARDO) published at Amsterreturned to Dublin in 1814, and then com- dam, in 1730, " Sonate a tre," Op. 1.
menced business professionally, as teacher
HANDEL, (GEORGE FREDERICK) the
of vocal music, the organ, and piano-forte.
son of an eminent surgeon and physician at
In 1815, on the resignation of John Halle, in the duchy of Magdeburg, and
Elliott, Hamerton was appointed master of circle of Lower Saxony, was born on the
the musical academy, in which he had been 24th February, 1684.
In his early youth, he discovered such a
himself educated, and in which several of
his pupils have now distinguished them- passion for music, as could not be subdued
selves, particularly Master Ormsby, who so by the commands of his father, who inmuch attracted the attention of his majesty tended him for the profession of the law.
on his late visit to Dublin, as also Master
He had made a considerable progress in
Hill, now a chorister. In 1822, Hamer- this art by stealth, before he was allowed
ton officiated gratuitously as organist and a master; but at seven years old, his father,
preceptor to the Molyneux asylum for finding it impossible tofixhis attention to
blind females;. and has lately been ap- any thing but music, for which he seemed
pointed one of the gentlemen of his majes- to have been endowed by nature with very
ty's chapel royal in Dublin.
uncommon propensities and faculties, placed
His compositions, which are all vocal, con- him under Zachau, organist of the cathedral
sist of a few songs, duets, and harmonized of Halle, a man of considerable abilities in
airs, some anthems and chants written for his profession.
Christchurch cathedral, and an elementary
By the time he was nine years old, our
work, of which the title is " Vocal Instruc- young musician was not only able to officitions, combined with the Theory and Prac- ate on the organ for his master, but began
tice of Piano-forte Accompaniment."
to study composition; and, at this early
HAMMEL, (STEFFAN) an organist of a period of his life, is said td have composed
convent at Wurtzburg, published some a service, or, as it is called in Germany,
good sacred music between the years 1786 spiritual cantata, every week, for voices
and instruments, during three successive
and 1807.
HAMMERSCHMIDT, (ANDREW) a years. The late Mr. Weideman was in
Bohemian, born in 1611, was organist first possession of a set of sonatas in three parts,
317

HAN
which Handel composed when he was onlyten years old. In the year 1698, at the age
of fourteen, he was carried to Berlin, where
operas were then in a very flourishing state,
at the court of the elector of Brandenburg,
afterwards king of Prussia, who at that time
retained in his service not only many Italian
singers of eminence, but likewise Buononcini
and Attilio to compose.
Handel distinguished himself so much in
this city as a wonderful performer for his
age, that his electoral highness offered to
send him into Italy at his own expense, for
the completion of his musical studies. His
father, however, perhaps from a mistaken
spirit of independence, declined this honour,
and the young musician returned to
Halle.
The death of his father happening soon
after he left Berlin, Handel, unable to
support the expense of a journey to Italy,
whither he was ambitious of going, removed
to Hamburgh, in order to procure a subsistence by his musical talents, this city being,
next to Berlin, then the most renowned for
its operas.
John Matheson, an able musician, and
voluminous writer on the subject of music,
who resided at Hamburgh during the whole
time that Handel remained in that city, informs us that he arrived at Hamburgh in
the summer of 1703, endowed with genius
and a good disposition.
" Here," says Matheson, " almost his first
acquaintance was myself, as I met him at
the organ of St. Mary Magdalen's church,
on the 30th of July, whence I conducted
him to my father's house, where he was
treated with all possible kindness and hospitality, and I afterwards not only attended
him to organs, choirs, operas, and concerts,
but recommended him to several scholars.
At first he only played a ripieno violin in
the opera orchestra, and behaved as if he
could not count five, being naturally inclined to dry humour.
"At this time he composed extremely long
airs, and cantatas without end, of which
though the harmony was excellent, yet
true taste was wanting, which, however, he
318

H A N
soon acquired by his attendance at the
opera."
As these young musicians lived much
together, they frequently had amicable contests and trials of skill with each other, in
which, it appearing that they excelled on
different instruments, Handel on the organ,
and Matheson on the harpsichord, they mutually agreed not to invade each other's
province, and faithfully observed this compact for five or six years*
" Handel," says Matheson, " pretended
ignorance in a manner peculiar to himself,
by which he made the gravest people
laugh, without laughing himself. But his
superior abilities were soon discovered,
when, upon occasion of the harpsichord
player at the opera being absent, he was
persuaded to take his place, for he then
showed himself to be a great master, to the
astonishment of every one except myself,
who had frequently heard him before upon
keyed instruments."
Soon after this, an opera called " Cleopatra," composed by Matheson, was performed on the Hamburgh stage, in which he
acted the part of Anthony himself, and
Handel played the harpsichord ; but Matheson being accustomed, upon the death of
Anthony, which happens early in the piece,
to preside at the harpsichord as composer,
Handel refused to indulge his vanity by relinquishing his post; which occasioned so
violent a quarrel between them, that, as they
were going out of the house, Matheson gave
him a slap on the face, upon which they
both immediately drew their swords, and a
duel ensued in the market-place, before the
door of the Opera-house : luckily, the sword
of Matheson broke against a metal button
upon Handel's coat, which put an end to
the combat, and they were soon after reconciled.
This rencounter happened on the 5th of
Decembei',1704, and, as a proof of a speedy
reconciliation, Matheson tells us, that, on
the 30th of the same month, he accompained the young composer to the rehearsal
of his first opera, "Almira," at the theatre,
and performed the principal character in i t ;

HAN
and that afterwards they became greater
friends than ever.
On the 25th of February, 1705, Handel
produced a second opera, called "Nero,"
which, as well as " Almira," met with a
very favourable reception. After the run of
these two dramas, Matheson, who performed the principal character in both,
quitted the stage, on being appointed secretary to the British resident at Hamburgh; an
office in which he continued till his death,
at the distance of near sixty years from his
first appointment. From 1705 to 1708,
when Handel set two other operas, " Florindo," and " Dafne," he did not compose
any thing for the stage; but had many
scholars, and composed harpsichord pieces,
single songs, and cantatas innumerable.
Handel having acquired at Hamburgh a
sum sufficient to enable him to visit Italy,
set out for that seat of the Muses, a journey
after which every man of genius so ardently
pants. He staid some time at Florence,
where he composed the opera of " Rodrigo."
Thence he went to Venice, where, in 1709,
he produced his "Agrippina," which is said,
by his biographer, to have been received
with acclamation, and to have run thirty
nights. Here he met with Domenico Scarlatti, Gasparini, and Lotti.
He then visited Rome, where he had an
opportunity of hearing compositions and performers of the first class. Here the elder
Scarlatti and Gasparini had brought vocal
music, and Corelli instrumental, to great
perfection. At cardinal Ottoboni's, by
whom Handel was greatly caressed and
patronised, he had frequently the advantage of hearing the natural and elegant
Corelli perform his own works. Here our
young composer produced a serenata, " II
Trionfo del Tempo." After this he proceeded to Naples, where he set "Ads e
Galatea," in Italian, but totally different
from the English drama, written by Gay,
which he set in 1721 for the duke of Chandos. When he returned to Germany, on
quitting Italy in the beginning of 1710, he
proceeded immediately to Hanover, where
he found a munificent patron in the elector,

HAN
who afterwards, on the death of queen
Anne, ascended the English throne by the
name of George I. This prince had already
retained in his service, as maestro di civpella, the elegant and learned composer
Steffani, whom Handel had before met at
Venice, and who now resigned his office in
his favour. This venerable musician served
as a model to Handel for chamber duets, and
facilitated his introduction to the smiles of
his patron, the elector, who settled on him
a pension of 1500 crowns, upon condition
that he would return to his court, when he
had completed his travels.
Handel, according to this proposition,
went to Dusseldorf, where he had a flattering reception from the elector palatine, who
likewise wished to retain him in his service.
But, besides the engagement into which
he had already entered, he was impatient
to visit England; having received invitations from several of the nobility, whom he
had seen in Italy and at Hanover. It was
at the latter end of the year 1710,
that Handel first arrived in London. His
reception was as flattering to himself as
honourable to the nation, and decided him
to remain in this country, where fortune
and renown awaited him, instead of returning to more limited engagements at
Hanover.
On the arrival, however, of George I. in
England, Handel, conscious of his deficiency
in respect and gratitude to a prince who
had honoured him with such flattering
marks of approbation and bounty, durst not
approach the court, till, by the ingenuity
and friendly interposition of baron Kilmausegge, he was restored to favour in the following manner.
The king, soon after his arrival, having
been prevailed on to form a party on the
water, the design was communicated to
Handel, who was advised to compose some
pieces expressly on the occasion; the performance of which he secretly conducted in
a boat, which accompanied the royal barge.
Upon hearing these compositions, which
have been since so well known, and so justly
319

HAN
celebrated under the title of watef music,
his majesty, equally surprised and pleased
by their excellence, eagerly inquired who
was the author of them. When the baron
acquainted the king that they were the
productions of a faithful servant of his majesty, who, conscious of the cause of displeasure which he had given to so gracious
a protector, durst not presume to approach
his royal presence, till he had assurances
that, by every possible demonstration of
duty and gratitude in future, he might hope
to obtain a pardon.
This intercession
having been graciously accepted, Handel
was restored to favour, and honoured with
the most flattering marks of royal approbation. And as a ratification of the delinquent's peace, thus easily obtained, his majesty was pleased to double a pension of
two hundred pounds a year, previously
settled on him by queen Anne ; and not
many years after, when he was employed to
teach the princesses, another pension of two
hundred pounds was added to the former
grants, by queen Caroline.
From the year 1715 to 1720, we do not
find that any opera was set by Handel.
During the first three years of this period,
he chiefly resided with the Earl of Burlington, a nobleman whose taste and judgment
in the fine arts were as exquisite as his patronage to their votaries was liberal. And
the other two years, Handel was employed
at Cannons, as maestro di capella to the
duke of Chandos ; who, among other
splendid and princely features of magnificence, established a chapel, in which the
cathedral service was daily performed by a
choir of voices and instruments, superior, at
that time, perhaps, in number and excellence, to that of any sovereign prince of
Europe. Here Handel produced, besides his
anthems, the chief part of his hautbois
concertos, sonatas, lessons, and organ
fugues; which are all so masterly, spirited,
and exquisite in their several kinds, that if
he had never composed an opera, oratorio,
7'e JDeum, or any other species of vocal music, his name would have been had in reverence by true musicians as long as the
320

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characters in which they are written continue to be legible.
The most splendid ra in the opera annals
of this country, when the King's theatre
was under the direction of the royal academy of music, and Handel the acting manager and composer, was likewise the precise
moment when this great musician had arrived at the stage of existence, which Dante
calls "II mezzo del camtnir dinostra vita,"
when the human frame and faculties have
attained their utmost strength and vigour.
He was endowed with extraordinary natural powers, by that time highly improved
by cultivation; with a hand which no difficulties could embarrass; a genius for composition original and inexhaustible ; at the
head of a profession, which facilitates access
to the great, and with extraordinary abilities
ensures their patronage; high in the favour
of the sovereign, nobles, and public of a
rich and powerful nation, at a period of its
greatest happiness and tranquillity; when it
was not only blessed with leisure and zeal
to cultivate the arts of peace, but with power
and inclination liberally to reward those
whose successful efforts had carried them
beyond the regions of mediocrity.
Such were Handel's circumstances, when
he first entered into the service of the royal
academy of music. In his treatment even
of first-rate singers, Handel was somewhat
despotic, as the two following anecdoteswill evince.
The very simple and well-known air,
" Verdi prati," in "Alcina" which was constantly encored, was at first sent back to
Handel by Carestini, as too trifling for him
to sing; upon which, he went in a great
rage to his lodgings, and, with a tone in
which few composers except Handel ever
ventured to accost a first-rate singer, exclaimed, in his usual curious dialect, and
with his accustomed impetuosity, "You
tog! don't I know better as yourseluf vaat
is pest for you to sing? If you vill not sing
all de song vaat I give you, I vill not pay
you ein stiver."
On a similar occasion, upon Cuzzoni insolently refusing to sing his admirable air,

HAN
" Falsa imagine," in " Otho," he told her
that he always knew she was a very devil,
but that he should now let her know, in her
turn, that he was Beelzebub, the prince of
devils. And then taking her up by the
waist, swore, if she did not immediately
obey his orders, he would throw her out of
the window.
During the first years of Handel's retreat
from the opera stage, the profits arising from
his oratorios were insufficient to indemnify
his losses; and it would remain a perpetual
stigma on the taste of the British nation,
that his "Messiah," that truly noble and
sublime work, was not only ill attended,
but ill received on its first performance in
1741, were not its miscarriage to be wholly
ascribed to the resentment of the many
great personages whom he had offended in
refusing to compose for Senesino, by whom
he considered himself affronted, or even for
the opera, unless that singer was dismissed.
This inflexibility being construed into insolence, was the cause of that powerful opposition, at once oppressive, mortifying, and
ruinous to its victim.
Finding it impossible to stem the torrent
of persecution, Handel visited Ireland, in
order to try whether, in that kingdom, his
oratorios would be out of the reach of prejudice and enmity.
Pope, on this occasion, personifying the
Italian opera, put into her mouth the following well-known lines, which she addresses
to the goddess of dulness :
" Strong in new arms, In ! giant Handel stands,
Like bold Brianus with his hundred hands;
To stir, to louse, to shake the soul, he comes,
And Jove's own thunders follow Mars's drums.
Arrest him, empress ! or you sleep no more :
She heard ; and drove him to tli' Hibernian
shore."

" When Handel went through Chester

this year," (1741) says Dr. Burney, " I was
at the public school in that city, and very
well remember seeing him smoke a pipe
over a dish of coffee, at the Exchange
coffee-house; for, being extremely curious
to see so extraordinary a man, I watched
him narrowly as long as he remained

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at Chester; which, on account of the
wind being unfavourable for his embarking
at Parkgate, was several days. During this
time, he applied to Mr. Baker the organist,
my first music-master, to know whether
there were any choir-men in the cathedral
who could sing at sight, as he wished to
prove some books that had been hastily
transcribed, by trying the choruses, which
he intended to perform in Ireland. Mr.
Baker mentioned some of the most likely
singers then in Chester, and among the rest,
a printer of the name of Janson, who had a
good bass voice, and was one of the best
musicians in the choir. At this time Harry
Allcock, a good player, was the first violin
at Chester, which was then a very musical
place ; for, besides public performances,
Mr. Prebendary Prescott had a weekly
concert, at which he was able to muster
eighteen or twenty performers, gentlemen
and professors. A time was fixed for this
private rehearsal at the Golden Falcon,
where Handel was quartered; but, alas!
on trial of the chorus in t h e ' Messiah,' ' And
with his stripes we are healed' poor Janson, after repeated attempts, failed so
egregiously, that Handel, after swearing in
four or five different languages, cried out in
broken English,- ' You shcauntrel! tit not
you dell me dat you could sing at soite V
' Yes, sir,' said the printer, ' and so I can,
but not at first sight.' "
Handel, on his arrival in Dublin, with
equal judgment and humanity, began by
performing the " Messiah," for the benefit of
the city prison. This act of generosity
and benevolence met with universal approbation, as well as his music. Handel was
assisted by Dubourg, as leader, and Mrs.
Cibber, who sang "He was despised and
neglected of men," in a manner truly touching to an Englishman. Her voice was a
mere thread, and her knowledge of music
inconsiderable; yet in this song, (which was
originally composed for herj by a natural
pathos, and perfect conception of the words,
she often penetrated the heart, when others,
with talents infinitely superior, could only
reach the ear.
Y
321

HAN
Handel remained eight or nine months in
Ireland, where he extended his fame, and
began to repair his fortune. On his return
to London in the beginning of 1742, as he
had relinquished all thoughts of opposing
the managers of the opera, former enmities
began to subside: and when he recommenced his oratorios the Lent following, he
found a general disposition in the public to
countenance and support him.
" Samson" was the first oratorio he performed this year, which was not only much
applauded by crowded houses in the capital,
but was soon disseminated in single songs
throughout the kingdom; and, indeed, has
ever been in greater favour than any one of
his works, with the exception of the "Messiah" which this season, for the honour of
the public at large, and to the disgrace
of cabal and faction, was received with
universal admiration and applause ; and,
from that time to the present hour, this great
Work has been heard in all parts of the
kingdom with increasing reverence and
delight.
It has fed the hungry, clothed the naked,
fostered the orphan, and enriched succeeding managers of oratorios, more than any
single musical production in this or any
other country.
This sacred oratorio, as it was originally
called, on account of the words being wholly
composed of genuine texts of Scripture, appearing to stand in such high estimation with
the public, Handel, actuated by motives of
the purest benevolence and humanity,
formed the laudable resolution of performing
it annually for the benefit of the Foundling
hospital; which resolution was constantly
put in practice to the end of his life, under
his own direction, and long after his death
under that of Mr. Smith and Mr Stanley.
In consequence of these performances, the
benefactions to the charity, from the year
1749 to 1759, by eleven performances,
under Handel's own direction, amounted
to 6,935/.: from 1760 to 1768, by eight
performances, under the conduct of Mr.
J. C. Smith, 1,332*.: from 1769 to 1777,
by nine performances, under the direction
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of Mr. Stanley, 2,032: being in all,
10,299?.
The organ in the chapel of this hospital
was likewise a present from Handel, and he
bequeathed, as a legacy to this charity, a
fair copy of the original score of the " Messiah."
From the time of his return from Ireland,
with little opposition, and a few thin houses,
in consequence of great assemblies of the
nobility and gentry, manifestly and cruelly
collected together on his nights of performance, with hostile intentions, by some
implacable remains of his most powerful
adversaries, he continued his oratorios till
within a week of his death.
But though the " Messiah" increased in
reputation every year, and the crowds that
flocked to the theatre were more considerable every time it was performed, yet to
some of his other oratorios, the houses were
so thin, as not even to defray his expenses ;
which, as he always employed a very
numerous band, and paid his performers
liberally, so deranged his affairs, that, in
the year 1745, after two performances of
" Hercules," January 5th and 10th, before
the Lent season, he stopped payment. He,
however, resumed the performance of his
oratorios of " Samson," " Saul," " Joseph,"
" Belshazsar"
and the " Messiah," in
March. " But," says Dr. Burney, " I perfectly well remember, that none were well
attended, except 'Samson,' and the 'Messiah.' "
Dr. Burney likewise informs us, that he
has frequently heard Handel, as pleasantly
as philosophically, console his friends, when,
previous to the curtain being drawn up,
they have lamented that the house was so
empty, by saying, " Never mind, de moosic
vil sound ,de petter."
In 1749, "Theodora" was so very unfortunately abandoned, that he was glad if
any professors, who did not perform, would
accept of tickets or orders for admission.
Two gentlemen of that description having
applied to Handel, after the disgrace of
" Theodora," for an order to hear the
" Messiah," he cried out, " Oh, your sar-

HAN
vant, mien herrein! your are tamnable
tainty! you would no co to ' Theodora.-'
der vas room enough to dance there, when
that was perform."
His majesty king George I I . was a
steady patron of Handel during these calamitous times, and constantly attended his
oratorios, when they were abandoned by his
court.
Handel, late in life, like the greatest of
poets, Homer and Milton, was afflicted with
blindness, which, however it might dispirit
or embarrass him at other times, had no
effect on his nerves or intellects in public ;
as he continued to play concertos and voluntaries between the parts of his oratorios
to the last, with the same vigour of thought
and touch for which he was ever so justly
renowned. To see him, however, led to
the organ, after this calamity, at upwards
of seventy years of age, and then conducted
towards the audience to make his accustomed obeisance, was a sight so truly afflicting
and deplorable, to persons of sensibility, as
greatly diminished their pleasure on hearing
him perform.
During the oratorio season, he practised
almost incessantly ; and, indeed, that must
have been the case, or his memory uncommonly retentive, for, after his blindness, he
played several of his old organ concertos,
which must have been previously impressed
on his recollection.
Latterly, however, he rather chose to
trust to his own inventive powers, than those
of reminiscence : for giving the band only
the skeleton or ritornels of each movement,
he played all the solo parts extempore,
while the other instruments left him ad
libitum, waiting for the signal of a shake,
before they played such fragments of symphony as they found in their books.
Handel not only continued to perform in
public, after he was afflicted with blindness,
but to compose in private. The duet and
chorus in " Judas Maccab&us," " Sion now
his head shall raise," were dedicated to
Mr. Smith by Handel, after the total privation of sight.
This composition so late in life, and

HAN
under such depressing circumstances, confirms an opinion of Dr. Johnson, " That it
seldom happens to men of powerful intellects
and original genius, to be robbed of mental
vigour by age; it is only the feeble-minded,
and fool-born part of the creation, who fall
into that species of imbecility, which gives
occasion to say that they are superannuated;
for these, when they retire late in life from
the world on which they have lived, by
retailing the sense of others, are instantly
reduced to indigence of mind." Dryden,
Newton, Dr. Johnson himself, and our great
musician, are admirable illustrations of this
doctrine. Indeed, Handel not only exhibited great intellectual ability in the composition of this duet and chorus, but manifested his power of invention, in extemporaneous flights of fancy, to be as rich and
rapid a week before his decease, as they
had been for many years. Subsequent to
his privation of sight, he was always much
disturbed and agitated, whenever the affecting air in " Samson," " Total Eclipse,"
was performed. The last oratorio at which
he attended and performed, was on the 6th
of April, and he expired on Friday the 13th,
1759.
Dr. Warren, who attended him in his
last sickness, said, that he was perfectly sensible of his approaching dissolution; and,
having been always impressed with a profound reverence for the doctrines and duties
of the Christian religion, that he had most
seriously and devoutly wished, for several
days before his death, that he might breathe
his last, as actually happened, on Good
Friday, in hopes, he said, of meeting his
good God, his sweet Lord and Saviour, on
the day of his resurrection, meaning the
third day, or Easter Sunday following.
The loss of sight was an awful warning,
which wrought a great change in his temper and general behaviour. Throughout
life he was a man of blameless morals, and
manifested a deep and rational sense of religion. In conversation he would frequently
declare the pleasure he felt in setting the
Scriptures to music, and how much contemplation of the many sublime passages in
Y 2
323

HAN
the Psalms had contributed to his edification ; and now that he found himself near
his end, these sentiments were improved
into solid and rational piety, attended with
a calm and even temper of mind. For the
last two or three years of his life, he constantly attended divine service in his own
parish church of St. George, Hanoversquare, where his looks and gesticulations
indicated the utmost fervour of unaffected
devotion. He was buried in Westminster
abbey, the dean, Dr. Pearce, bishop of Rochester, assisted by the choir, performing
the funeral solemnity. Over the place of
his interment is a monument, designed and
executed by Roubilliac, representing him in
full length, in an erect posture, with a
music paper in his hand, inscribed, " /
know that my Redeemer liveth," with the
notes to which these words are so admirably
set in his " Messiah."
Those who are but little acquainted with
Handel are unable to characterise him
otherwise than by his excellencies in his
art, and certain foibles in his nature, which
he was never studious to conceal. Accordingly we are told that he had an enormous
appetite, that he preferred Burgundy to
Port, and that when provoked he would
break out into profane expressions.
These are facts that cannot be denied;
but there are also particulars which mark
his character but little known, and which
possibly may be remembered elsewhere,
when those that serve only to show that he
was subject to human imperfections are
forgotten. In his religion he was of the
Lutheran persuasion, in which he was not
such a bigot as to decline a general conformity with that of the country which he had
chosen for his residence, at the same time
that he entertained very serious notions in
regard to its importance. These he would
frequently express in his remarks on the
constitution of the English government;
and he considered as one of the greatest
felicities of his life that he was settled in a
country where no one suffers molestation on
account of his religious principles.
His attainments in literature cannot be
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HAN
supposed to have been very great. The
prodigious number of his compositions will
account for a much greater portion of his
time than any man could well be supposed
able to spare from sleep and the necessary
refreshment of nature ; and yet he was well
acquainted with the Latin and Italian languages ; the latter of which was so familiar
to him that few natives understood it better.
Of the English also he had such a degree
of knowledge as to be susceptible of the
beauties of our best poets ; and this he has
sufficiently evinced by the admirable manner in which the sound is almost constantly
an echo to the sense of those passages
which he has selected and set to music.
The style of his discourse was very singular : he pronounced English as the Germans do, but his phraseology was exotic,
and partook of the idiom of the different
countries in which he had resided, a circumstance which rendered his conversation exceedingly entertaining.
His habits of life were regular and uniform. For some years subsequent to his
arrival in England, his time was divided
between study and practice, that is to say,
in composing for the opera, and in conducting concerts at the duke of Rutland's, the
Earl of Burlington's, and at the houses of
others of the nobility who were patrons of
music. There were also very frequently
concerts for the royal family at the queen's
library, in the Green park, in which the princess royal, the duke of Rutland, lord Cowper,
and other persons of distinction performed.
Of these Handel had the direction, and as
these connections dissolved he gradually
retreated into a slate of retirement, showing
no solicitude to form new ones. His residence was on the south side of Brook-street,
near Hanover-square, in a house afterwards
in the occupation of sir James Wright, four
doors from Bond-street, and two from the
passage to the Stable-yard.
His permanent income was six hundred
pounds a year, arising from pensions, that is
to say, one of two hundred pounds, granted
by queen Anne, and two others of two hundred pounds each, granted, as already

HAN
related, by George I. and queen Caroline.
The rest was precarious : for some time it
depended upon his engagements with the
directors of the academy, and afterwards
upon the profits arising from the musical
performances which he undertook on his
own account.
We have seen that, in his ruinous contest with the nobility, he sold out ten thousand pounds, the whole of his former
savings, without being able even then
entirely to extricate himself from his difficulties. However, he had at all times the
prudence to regulate his expenses by his
income. Equally untainted by avarice or
profusion, when some years afterwards he
again found himself in a state of affluence,
he reassumed his former course of living.
His social affections were not very strong,
and to this it may be imputed that he spent
his whole life in a state of celibacy: that
he had no female attachment of a less
honourable description may be ascribed to
a better motive; and we may truly say
that Handel, endowed with many virtues,
was addicted to no vice or even foible that
was in the remotest degree injurious to
society.
A temper and conduct like this was, in
every view of it, favourable to his pursuits;
no impertinent visits, no idle engagements,
or rather expedients to kill time, were ever
suffered to interrupt the course of his
studies.
He had a favourite Rucker harpsichord,
the keys of which, by incessant practice j
were hollowed like the bowl of a spoon.
He wrote very fast, but with a degree of
impatience proportioned to the eagerness
that possesses men of taste to see their
conceptions reduced into form.
Like many others of his profession, he
was passionately fond of paintings; and,
till his sight failed him, viewing collections
of pictures upon sale was one of the few
recreations in which he indulged himself.
Handel in his person was large, and
rather corpulent, ungraceful in his gait,
which was ever sauntering, and had somewhat of that rocking motion which distin-

HAN
guishes those whose legs are bowed. His
features were finely marked, and the general
cast of his countenance placid, bespeaking
dignity attempered with benevolence, and
every quality of the heart which has a tendency to beget confidence and ensure
esteem.
Though he was impetuous, rough, and
peremptory in his manners and conversation, yet was he totally devoid of ill-nature
or malevolence ; indeed, there was an original humour and pleasantry in his most
lively sallies of anger and impatience, which,
united with his broken English, rendered
him rather the cause of merriment than uneasiness. His natural propensity to wit and
humour, and happy manner of relating common occurrences in an uncommon way,
enabled him to throw persons and things
into very ridiculous attitudes. Had he been
as great a master of the English language
as Swift, his bons mots would have been as
frequent and of a similar cast.
At the coronation of his late majesty in
1727, Handel had words sent to him by the
bishops for the anthems, at which he murmured and took offence, as he thought it
implied his supposed ignorance of the Holy
Scriptures. " I have read my Bible very
well," said he, " and shall choose for myself." And his own selection of the words,
" My heart is inditing' of a good matter"
&c. was very judicious, and inspired him
with some of the finest thoughts that are to
be found throughout his works. This anthem
was sung at the coronation, while the peers
were doing homage.
Dr. Burney informs us that, besides
seeing Handel at his own house in Brookstreet and at Carlton-house, where he bad rehearsals of his oratorios, by meeting him at
Mrs. Cibber's and at Frasi's, who was then
Burney's scholar, he acquired considerable
knowledge of his private character and turn
for humour. Handel was very fond of Mrs.
Cibber, whose vcice and manners had
softened his severity, and atoned for her
want of musical knowledge. At her house,
on Sunday evenings, he used to meet Quin,
who, like Handel, in spite of native rough325

HAN
ness, was almost as fond of music as of good
cheer.
Mrs. Cibber, the first time these giants
met, prevailed on Handel to sit down to the
harpsichord, when he played the overture
of " Siroe," and particularly delighted the
company by the wonderful neatness
with which he played the jig at the
end of it. Quin, after Handel was gone,
being asked by Mrs. Cibber whether he did
not think Mr. Handel had a charming
hand 1 " A hand, madam, you mistake, it
is a foot." " Poll! poh ! said she, has he
not a fine finger1." " Toes, by G,
madam!"
In fact, his hand was so fat, that the
knuckles, which usually appear convex,
were like those of a child, dinted or dimpled in, so as to be rendered concave; ho>vever, his touch was so smooth, that his
fingers seemed to grow to the keys. They
were so curved and compact when he
played, that no motion, and" scarcely the
fingers themselves, could be discovered.
" I remember," says Dr. Burney, " at
Prasi's, in the year 1748, he brought in his
pocket the duet from ' Judas Maccabceus,'
' From these dread scenes,' in which she
had not sung, when that oratorio was first
performed in 1746. When he sat down to
the harpsichord, to give her and me the
time of it, while he sung her part, I hummed, at sight, the second over his shoulder,
in which he encouraged me, by desiring that
I would sing out; but, unfortunately, something went wrong, and Handel, with his
usual impetuosity, grew violent, a circumstance very terrific to a young musician.
At length, however, recovering from my
fright, I ventured to say, that I fancied there
was a mistake in the writing, which, upon examination, Handel discovered to be the case ;
and then, instantly, with the greatest goodhumour and humility said, ' I pec your
bartonI am a very odd tog : Maishter
Schmitt is to plame.' "
Handel wore an enormous white wig,
and when things went well at the oratorio,
it had a certain nod or vibration, which
manifested his pleasure and satisfaction.
326

HAN
Without this signal, nice observers were
certain that he was out of humour.
At the close of an air, the voice with
which he used to cry out, " Chorus!!" was
extremely formidable indeed; and, at the
rehearsal of his oratorios at Carlton-house,
if the prince and princess of Wales were
not exact in entering the music room, he
used to be very violent; yet such was the
reverence with which his royal highness
treated him, that, admitting Handel to have
had cause of complaint, he has been heard
to say, " Indeed, it is cruel to keep these
poor people," meaning the performers, " so
long from their scholars and other concerns."
But if the maids of honour, or any other
female attendants, talked during the performance, it is to be feared our modern
Timotheus not only swore, but called names;
yet, at such times, the princess of Wales,
with her accustomed mildness and benignity, used to say, " Hush! hush! Handel
is in a passion !" Though totally free from
the sordid vices of meanness and avarice,
and possessed of their opposite virtues, charity and generosity, in spite of temporary
adversity, and frequent maladies of body,
which sometimes extended to intellect, Handel died possessed of twenty thousand
pounds, which, with the exception of one
thousand to the fund for decayed musicians,
he chiefly bequeathed to his relations on the
continent.
In regard to his performance on the
organ, the powers of speech are so limited,
that it is almost a vain attempt to describe
it, otherwise than by its effects. A fine and
delicate touch, a volant finger, and a ready
execution of the most difficult passages, are
the praise of inferior artists; they were
scarcely noticed in Handel, whose excellencies were of a far superior description.
His amazing command of the instrument,
the fulness of his harmony, the grandeur
and dignity of his style, the copiousness of
his imagination, and the fertility of his invention, were qualities which absorbed every
subordinate attainment.
When he gave a concerto, his usual method was to introduce it with a voluntary

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movement an the diapasons, which stole on
the ear in a slow and solemn progression ;
the harmony close wrought, and as full as
could possibly be expressed, the passages
concatenated with stupendous art, the whole
at the same time being perfectly intelligible,
and carrying the appearance of great simplicity. This kind of prelude was succeeded
by the concerto itself, which he executed
with a degree of spirit and firmness that no
one ever pretended to equal.
Such, in general, was the manner of his
performance; but who shall describe its
effects on his enraptured auditory ! Silence,
the truest applause, succeeded the instant
that he addressed himself to the instrument;
silence so profound, that it checked respiration, and seemed to control the functions of
nature, while the magic of his touch kept
the attention of his hearers awake only to
those enchanting sounds to which it gave
utterance.
Wonderful as it may seem, this command
over the human passions is the acknowledged attribute of music; and by effects
like these the poets have ever described it,
always supposing in the hearers a mind susceptible of its charms. But how are we
to account for the influence of that harmony, of which we are now speaking, on
those who, as far as regards music, may
be said to have no passions, no affections,
on which it could operate? In all theatrical representations, apart only of the audience are judges of the merit of what they
see and hear, the rest are always drawn
together by motives, in which neither taste
nor judgment have any share; and, with
respect to music, it is notorious, that the
greater number of mankind are destitute,
though not of hearing, yet of that sense
which, superadded to the hearing, renders
us susceptible of the fascination of musical
sounds; and in times when music was less
fashionable than it is now, many of both
sexes were ingenuous enough to confess, that
they wanted that sense, by saying, " I have
no ear for music." Persons such as these,
who, had they been left to themselves,
would ha,ve interrupted the hearing of

HAN
others by their talking, were, by the performance of Handel, not only charmed into
silence, but were generally the loudest in
their acclamations.
This, though it could not be regarded as
genuine applause, was a much stronger
proof of the power of harmony, than the
like effect on an audience composed only
of judges and rational admirers of his art.
There seems to be no necessary connection between those faculties which constitute a composer of music, and the powers of instrumental performance; on the
contrary, the union of them iu the same
person, in the superlative degree, appears
scarcely practicable; nevertheless, in the
person of Handel, all the perfections of
the musical art were concentrated.
He had never been a master of the violin,
and had discontinued the practice of it
from the time he took to the harpsichord at
Hamburgh ; yet, whenever he had a mind
to try the effect of any of his compositions
for that instrument, his manner of touching
it was such as the ablest masters would
have been glad to imitate. But what is
still more extraordinary, without a voice, he
was a most excellent singer of such music as
required more of the pathos of melody than
a quick and voluble expression.
At a concert at the house of lady Rich,
he was once prevailed upon to sing a slow
song, which he did in such a manner, that
Farinelli, who was present, could hardly be
persuaded to sing after him.
To enter upon a critical inquiry into the
several merits of the various works of this
great master, would far exceed the limits
and abilities of the compiler of this work.
Of some of his productions, a transient view
has already been taken. Among those of
the first and highest class, no competent
judge will hesitate to rank his first " Tc
Deum" and " Jubilate" his " Coronation
and other Anthems" the "Dettingen Te
Deum," and the truly sublime choruses in
his oratorios.
To point out the various excellencies
in the choruses of Handel would be an
endless task, In general, it may be
327

HAN
observed that they are fugues, in which the
grandest subjects are introduced, and conducted with such art, as only himself
possessed. Some are in the solemn style of
the church, as that of the conclusion of the
first part of "Saul;" others have the natural
and easy elegance of madrigals; others are
in the highest degree expressive of exultation, such as that in " Israel in Egypt,"
" I will sing unto the Lord," and those in
the "Messiah," "For unto us a child is born,"
and " Hallelujah, for the Lord God omnipotent reigneth."
Lastly, there are others
in a style peculiar to himself, and calculated
to exeite terror, such as " He gave them
hailstones for rain," " But the waters
^overwhelmed their enemies" and " Thy
right hand, O Lord, hath dashed in pieces
the enemy," in " Israel in Egypt."
And
though, perhaps, it may be said that Handel,
agreeably to the practice of his countrymen, has too much affected imitation, particularly in the latter of the abovementioned unrivalled productions, by passages broken in the time to express the
hopping of frogs, and others calculated to
yesemble the buzzing of flies ; and that in
"Joshua?' he has endeavoured, by the harmony of one long-extended note, to impress
lupontSie imagination of hishearers the idea of
the great luminary of the universe arrested
in his course, or, in other words, to make
them hear the sun stand still, it may be
justly said that they abound with innumerable examples of the true sublime and
beautiful in music, and that they far surpass in majesty and dignity the productions
of every other deceased or living author.
The lessons of Handel for the harpsichord
were composed for the practice of the
princess Anne, and consist of suits of airs,
intermixed with fugues, the latter, perhaps,
more proper for the organ, and because they
require a masterly hand, but little practised.
The character of an author is but the
necessary result of his works, and the permanent fame of Handel must ultimately
rest on the merits of his oratorios, and other
sacred productions.
JVfany of the excellencies, which, as a
328

HAN
musician, recommended him to the patronage of the public during a residence of fifty
years in this country, he might perhaps
possess in common with a few of the most
eminent of his contemporaries; but till
they were instructed by Handel, none were
aware of that dignity and grandeur of
sentiment which music is capable of conveying, or that there is a sublime in music,
as well as in poetry and painting. This is a
discovery which we owe to the genius and
inventive faculty of this great man; and
there is little reason to doubt that the
many examples of sublimity with which his
works abound, will continue to engage the
admiration of judicious hearers, as long as
the love of harmony shall exist.
We shall conclude the foregoing account
of this great musician by an extract from a
very able criticism in the Quarterly Musical
Review, where the author, in an essay on
the formation of an English school of
music, introduces the following observations
on the works of Handel.
" Though not strictly speaking an English
composer, Handel has always been the first
and most continual object of English admiration. But his popularity is fast ebbing
away, and the higher classes are almost
universally devoted to Italian music.
Handel was a composer of great majesty
and strength, even his elegance' partakes
of sublimity. His style is the great, and is
simple in the degree which contributes
most to this end. From a singer he requires
more legitimate and genuine expression
than any other master. Tn the hands of a
common performer, Handel's best pieces
are heavy and fatiguing, but when we hear
them from on<j who is alive to his subject,
and whose expression is at all equal to the
task, they awaken the noblest and best
feelings of humanity. They produce in us
a reverential awe for the power which they
celebrate, while they elevate the soul into
adoration and thanksgiving. But, alas!
these sensations are now hardly ever felt,
that dignified simplicity of manner, and
that pure elocution that ' spoke so sweetly
and. so well,' the finest accordance of senti-

HAN
ttent and of sound, are almost gone. Let
us endeavour to ascertain the causes. It is
admitted universally, that one of the
strongest impulses to pleasure is novelty.
To this feeling, perhaps, may be traced the
mental preparation which is now leading,
or has led, to an entire change of musical
opinion in this country. The managers of
public music used not to be sufficiently
attentive to variety in selection : not content with confining the bill of fare to Handel, they kept to particular songs, and I
think I am warranted in saying, that while
certain portions of his works have been performed night after night, much of very
glorious composition is almost unknown.
Satiety palled the appetite. Education has
advanced hand in hand with the fine arts :
.the modern languages are now every where
taught and understood. In every family of
tolerable breeding, Italian is thought indispensable ; there is no longer that bar to
Italian musicthe ignorance of the language. Not to understand Italian, and
not to sing Italian music, are now something allied to the disgrace of a defective
education. Pride is therefore become a
powerful advocate for the foreigner. The
power of escaping the nice observation of
English critics upon pronunciation, which
the Italian language affords to professional
singers, must not be overlooked ; there is no
judgment for them to dread in this respect,
since, even at the opera, the performers are
often known to use a provincial dialect
without censure, and almost without discovery. It also happens that the expression
of Italian singing is not required by the
English themselves to be so precise and
absolute as the expression of their own
words. It may be very easily imagined
that the vocal expression of a passage may
be agreeable in a language with which we
are not thoroughly conversant, although we
do not perceive that is not the genuine and
exact expression, which we should not fail
to do were it in our own tongue. Hence
Italian singing does not ask for an English
audience the same nice finish which in
English singing we cannot dispense with.

HAN
We are apt too to consider what we do not
entirely comprehend to be idiomatic and
peculiar. And we are certainly much
more easily satisfied with Italian than with
English expression. Though these causes
may appear somewhat subtle and remote,
they have, I am persuaded, a very powerful
operation. I shall now proceed to others
which arise more immediately from the
nature of the compositions of our English
favourite and of Italian music.
" A certain portion of terror frequently
mixes itself with the emotions of the sublime. In music this is frequently effected
by association. When we hear and feel
' / know that my Redeemer livetk,' l The
trumpet shall sound,' or any song of a like
cast, the ideas of death, resurrection, and
judgment fill all the mind. We cannot
dwell without strong emotion upon such
subjects ; the sensation produced is too
sublime and too awful, and when it is
passed away, we are not solicitous to recall
it, but at certain and solemn occasions.
Such are the genuine effects of Handel.
I have already remarked that even his
lighter compositions partake of grandeur.
In his ' Acts and Galatea,' in despite of
music so exquisitely beautiful, descriptive,
original, and impassioned, the mind is
strained beyond its common pitch, and we
are not affected by the tenderness of the
lovers, in the same manner, or in the same
degree, as we are by the amatory compositions of the Italian masters. In the story
itself, love is mingled with apprehension,
and pathos with ideas of the bulk, the
ferocity, the strength, the hideous figure,
and the rage of Polypheme.
These
serve to give the mind a contrary determination, and prevent it from sinking into
that delicious languor which it is the sovereign art of the Italian school to produce.
The genius of the Italian language, of
its poetry and its music, is principally
calculated to excite the gentler passions.
The frequent recurrence of soft syllables,
the sweetness of the passages, and the
lubricity with which a true Italian singer
glides through melody, melts us at one?
329

HAN
into a dream of pity or of love. Thus then
we see that the passions which most
agreeably bias and affect the mind are all
on the side of Italy. If it should be urged
that only one master is adduced against the
whole Italian school, I reply that I have
selected the man to whom the English are
most devoted, and, in truth, the only one,
nationally speaking, who is extensively
known to the British public. The works of
early English composers, Purcell, Croft,
Blow, Greene, Boyce, and Arne, though
high in the estimation of sound taste, are
now seldom heard. Their style, with an
exception, perhaps, in favour of the last
master, is considered obsolete. It certainly
lacks the improvement of modern art and
modern fcaste, while the reasons produced
against Handel bear still more strongly
upon these really English writers. It
appears to me that so far as appertains to
composition, the Germans have already
effected for themselves what I propose to
the English. They have blended and incorporated with the happiest success the
sweetness, the tenderness, and the variety
of Italian melody, with a strong and natural
character of German music. Haydn apd
Mozart rank in the very highest order of
genius, and so truly do their notions of expression accord with our own, that we may
assert, no composers have treated the
expression of most peculiar subjects with
such eminent propriety. It is of little importance, I think, whether they wrote to the
words, or whether the words were written
to the music in particular works. No
Englishman could desire or conceive a
more exquisite consent between sound and
sense, than is to be found in the writings of
both these composers. The Creation of
Haydn contains most singular imitations;
and although not comparable for grandeur,
simplicity, and solemnity, and, indeed, not
comparable at all with the 'Messiah' of
Handel, which is addressed to a totally
different class of thoughts and perceptions,
it is nevertheless full of beauty, tenderness,
and grace. I do not mean to draw a
parallel between these great works of great
330

HAN
men, but rafter to contrast thenij because
they are really of a totally opposite nature,
and because they ought never to be considered together as objects of comparison.
Their beauties, are as distinct and different
as the poetry of the Paradise Z>t>.st, and of
the Seasons, to which, in point of style,
they bear perhaps spme analogy. The
Creation of Haydn, then, if it seldom rises
into magnificence, is full of elegance and
invention, nor can I point out a single
weak or uninteresting melody. Joy, gratitude, benevolence, and love are expressed
with as much purity and as much ecstasy by
Haydn in the Creation, as are the sublime emotions, which inspire all the hopes
and the terrors of religion, all the blessing,
and honour, and glory, and power we assign
to the great Creator and Preserver of mankind, in the ' Messiah' by Handel."
The following is a chronological list of
Handel's works:
Operas: " Almira," an opera, performed
at Hamburgh, 1705. " Nero," an opera,
performed at Hamburgh, 1705. " Florindo,"
Dafne, 1708. " Rinaldo," London, 1711.
" Teseo," Pastor Fido, 1712. " Amadige,"
1715. " Rhadamisto," 1720. " Muzio
Scevola," 1721. " Ottone," 1722. " Giulio
Cesare," " Floridante," " Flavio," 1723.
" 1'amerlano," 1724. " Rodelinda," 1725.
" Alessandro, Scipione," 1726. " Ricardo
Primo," 1727. " Rodrigo," performed at
Florence, 1709. " Agrippina,"
Venice,
1709. " Ammeto," London, 1727. " Tolomeo, Siroe," 1728. " Lotario," 1729.
" Partenope,"
1730. " Poro," 1731.
" Orlando, Sosarme," 1732. " Arianna,
Ezio," 1733. " Ariodante," 1734. " Alcina," 1735, " Arminio," " Atalanta"
" Giustino," 1736. " Berenice," " Faramondo," " Alessandre Severo," " Pas~
tictio,"YlZT.
" S m e , " 1738. " Imeneg/'
" Parnasso in Feste," " Deidamea," 1740.
Miscellaneous works: " Anthems,"
8
vols, " Cantatas," 4 vols. " Te Deums
and Jubilate," 3 vols. " Opera Songs,"
2 vols. " Laudate.''
" Collections qf
Songs and Chm-mses." " Motetti e Duetti."
"II Trionfq del Tempo," Rome, 17Q0.

HAN

H A It

< Acije t Galatea,"

Napoli,
1709.
as chamber-musician and violoncellist at
" Oratorio Italitmo." " Cantate." " Con. 3erlin. He is pupil of the celebrated Duport.
certi." " C'oncerti Grossi." " Transcript
HARANC, (M.) first violin of the royal
of six Sonatas for two Hautboys and a :hapel and chamber-musician at Paris, was
Jiass," 1694. ''Sonatas for two Violins lorn in that city in 1783. When only six
and a Bass," two sets. " Harpsichord rears of age, he executed the most difficult
Lessons," two books, 1720. " Fugues for ionatas of Tartini. He travelled in foreign
the Organ"
" Organ Concertos," three :ountries from 1758 to 1761, when he resets. And " Cantatas, composed at Ham- ;urned to France, and was received in the
burgh and Home, between 1703 and 1710." chapel royal. The dauphin, father of
Oratorios: " Esther," composed 1720. Louis X y i . , chose Haranc, in 1763, for his
" Esther" publicly performed in London, iolin-master, and took lessons till his death
1732. " Deborah," " Athalia," Oxford, n 1765. Haranc composed much instrur
1733. " Ads and Galatea," (at Cannons, mental music, which has however remained
1721) 1735. " Ode, St. Cecilia's Day," in manuscript. He died in 1805.
1736. " Israel in Egypt," 1738. " VAllegro ed U Pensieroso," 1739. " Saul,"
1740.
" Messiah," 1741. " Samson,"
1742. " Semele," " Belshazzar," " Susanna," 1743. " Hercules," 1744. " Choice
of Hercules," and "Occasional Oratorio,"
1745. " Joseph," and " Judas Maccabmus," 1746. "Alexander Salus," and
" Joshua," 1747. " Solomon," 1749.
" Theodora," 1750. " Jephtha," and
" Time and Truth," 1751.
HANBSCHKE, (ANTON) a composer of
some vocal music, published at Vienna in
1801.
HANF, (JOHANN N.) organist at Schleswick, died in the year 1706. He published
some vocal and instrumental music.
HANFF, (J. C.) a pianist, probably
resident in Russia, published at St. Peters
burg, in 1802, " A Grand Sonata for the
Piano-forte, with Accompaniment Obligatt
for the Violin."
HANISCH, (FRANZ) a celebrated per
former on the hautboy, and composer for hii
instrument. He resides in Bohemia. There i
another of the same name, who is celebratei
at Vienna as a performer on the trombone
HANKE, ( K A R L ) singer and director of
the music at Flensburg, in Germany, has
composed much vocal music for the churc'
and theatre; also much instrumental musii
His works bear date between the year;
1780 and 1800. Hanke was for some timf
chef-d'orvhestre at the theatre at Hamburgh
HANSMANN, born at Potsdam in 1764

HARBORDT, (GOTTFRIEDE) a German

composer, has published some music for the
piano-forte and flute atBrunswick, since the
year 1796.
HARD, (J. D.) chapel-master to the
duke of Wurtemburg, was born at Frankfort
on the Maine in 1696. He was a celebrated
performer on the viol da gamba,
HARDER, (AUGUSTUS) a musician, resident at Leipsic. Since the year 1802, he
has published a considerable quantity of
vocal music, with accompaniments either
for the piano or guitar. He has also published some sonatas and polonoises for the
piano-forte, and progressive pieces; also
variations for the guitar. The whole of his
music is published by Breitkopf and Co.
at Leipsic.
HARDOUIN. Several songs by a composer of this name, are in the Recueil d'Airs
se'rieux et a boire, Paris, 1710.
HARDOUIN, (L.) probably a son of
the preceding, resided at Rheims in 1788,
and published there " Douze Messes en Musiaue a quatre Parties."
HARDY, an English violoncellist, published, about the year 1800, " A Violoncello
Preceptor" with scales for singing in the
various keys.
HARINGTON, ( D R . ) a physician, at
Bath, was a celebrated amateur musician
and vocal composer, in the .latter part of the
last century. He was a lineal descendant
of sir John Harington, the godson of queen
Elizabeth, and translator of " Orlando Fw
331

H AR
rioso." A volume of glees, sung at the Bath
Harmonic society, and published in the year
1797, contains the principal part of the following compositions by this master; the remainder are to be found in a volume of glees published by the doctor, in conjunction with Edmund Broderip, organist of Wells cathedral,
and the Rev. Win. Leeves, of Wrington, Somersetshire, composer of the still prevailing melody of Auld Robin Gray:" Now
we're met like jovial fellows" glee, three
voices. " How happy, how joyous are we,"
glee, five voices. " I gave her cakes, and I
gave her ale'' canon, three in one. " Ianthe the lovely," ballad, harmonized. " Success to our innocent social delight" glee,
three voices. " The Bath Toast," glee,
three voices. " The Alderman's Thumb,"
glee, three voices. " O synge unto my
roundelaies," glee, three voices, words
from Rowley's poems. " 0 thou, whose notes
could oft remove," glee, three voices.
" The rose's life is one short day," glee,
three voices. " How happy, how joyous,"
glee, five voices. " O, that I had wings
like a dove," rota, three voices. " Give me
the sweet delights," catch, three voices.
" Sweet doth blush the rosy morning,"
duet. " How sweet in the woodlands,"
duet. " Life's short moments still are wasting," glee, three voices. " How great is
the pleasure," catch, three voices. " At
the close of the day," glee, three voices.
" See o'er the brow the moon doth peep,"
fairy glee, three voices. " Come, follow,
follow me," fairy glee, four voices. The
last of the doctor's publications that we
are acquainted with appeared in March,
1800, with a dedication to the king. It is
a sacred dirge for Passion week, " Eloi.'
Eloi! or the Death of Christ," and was sung
by Madame Mara, Meld, and Welch.
HAROLD, the elder, an organist at
Vienna, celebrated for his compositions in
fugue about the year 1796.
HARPER, a celebrated performer on the
trumpet, was born in Worcester in 1786.
At about ten years of age, he quitted his
native city for London, where he studied
music under Eley, and soon entered the
332

H AR
East India volunteer band, his instruments
being the horn and trumpet. In this situation he remained nearly eighteen years,
performing also at some of the minor
theeftres during the first seven years of his
military service, after which he was engaged as first trumpet at Drury-lane
theatre and the English opera. At present
he is first trumpet at the King's theatre,
Ancient and Philharmonic concerts, and has
been engaged within the last sixteen years
at most of the other principal concerts and
music meetings both in town and country.
HARRER, (GOTTLOB) a director of
the music at Leipsic, about the year 1745.
He studied counterpoint in Italy. Frederick the Great, during his stay in the above
town, much admired Harrer's performance
on the piano, and commanded his daily
attendance at his chamber concerts.
HARRIES, (HEINRICH) a clergyman in
the duchy of Schleswick, wrote some works
on music, and some vocal compositions, in
the latter part of the last century.
HARRINGTON, a celebrated performer
on the hautboy, was born in Sicily. He was
a pupil of Letrun. He performed at Salomon's concerts in London, in the years
1793 and 1794.
HARRINGTON, (JOHN) an old English
composer in the reign of Henry "VITI. He
studied counterpoint under Tallis. See SIR
JOHN HAWKINS.

HARRIS, (JOSEPH) many years organist

of St. Martin's church, Birmingham. His
abilities as a composer were well known;
the works of Handel were his chief model.
He died at Liverpool in the year 1814.
HARRIS

(JOSEPH

MACDONALD)

was

placed at an early age as a chorister in

Westminster abbey, under the late Mr.
Guise, where he remained till the breaking
of his voice, when he received from the
dean and chapter a marked testimony of
their approbation of his conduct. On leaving
the choir he became the. pupil of the late
Robert Cooke, then organist of Westminter
abbey, but is principally indebted for his
professional acquirements to the works of
Purcell, Corelli, S. Bach, Handel, Haydn,

H AR
and Mozart, all of which he has carefully
studied. Harris has subsequently been
employed as a conductor of concerts, public
and private; also as a piano-forte and
singing master and composer.
In the following list will be found the
principal part of his compositions already
published or in a course of publication:
Vocal trios: " Ye sleeping echoes wake
again." " The, heart that bends at beauty's
throne." " The May Bird." " Daylight
when the storm is o'er." " Virtue chains
the conquer'd soul." " Zephyr, whither
art thou straying?"
Duets: " Adieu,
loved youth." " O, dinna weep"
" The
rainbow's lovely in the eastern cloud."
" Come, all ye youths." Songs : " Come,
if thou prize a love like mine." " The
Indian Hunters' Song." "Must it be?"
" We part, for ever part, to night." " Visetto ainabile." " The Evening Song."
" The Child of Tantalus."
" The Cid's
rising." " 'The charmed Bark."
" One
Set of _ harmonised Airs."
Piano-forte :
" The Oddity, a Rondo." " Introduction
to an original Theme, and Variations."
" Variations on a Scotch Air." " Variations on a Welsh Air." " Fantasia for the
Piano-forte." " LaSuissesse, us a Rondo."
" Introductory Exercises for the Pianoforte."
HARRISON. This celebrated English
singer was trained from his earliest years
among the choristers of the chapel royal of
England. In this school and its adjuncts,
the king's concerts, and those meetings
which are supported by the gentlemen of
the chapel, he continued till his death. His
voice was a legitimate tenor, of no extensive
compass, (about two octaves, from A to A)
of very limited power, but of a tone enchantingly rich and sweet.
Harrison's conception was chaste, and it
is probable that he owed the peculiar superiority he enjoyed over all others in this
respect, and the infinitely minute finish of
what he did, to the limited power of voice
we have already spoken of. But this
natural disqualification for the bolder
flights of imagination ought not to impeach

H AK
the character of his judgment. In all that
he voluntarily attempted it was scarcely
possible to conceive any thing more pure.
We say in what he voluntarily attempted,
because it is a necessary reservation against
the general cast of songs which provincial
meetings, where oratorios are done entire,
entail upon the profession. Harrison's choice
we should estimate by the songs which he
adopted in concerts of selection. They
were commonly Dr. Pepusch's cantata of
" Alexis," Handel's " Lord, remember
David," and " Pleasure my former ways
resigning," Dr. Boyce's " Softly rise," Zingarelli's " Omhra adorata," Webbe's " A
rose from her bosom had strayed," and, in
later days, Attwood's " Soldier's dream,"
and Horseley's " Gentle lyre." In fine, in
the true aria cantabile, Harrison was
the most finished singer of his age or
country, or perhaps of Europe. He died in
1812, at the age of fifty-two.
HART, (PHILIP) supposed to be the son
of James Hart, one of king William's band,
and whose name frequently occurs in the
Treasury of Music, and other collections of
that time, was organist of the church of St.
Andrew Undershaft, and also of St. Michael's, Cornhill. There are extant of his
composition a collection of fugues for the
organ, and the morning hymn from the fifth
book of the Paradise Lost, which latter
work he published in March, 1728 1729.
He died about the year 1750, at a very
advanced age.
HART (JOSEPH) was born in London in
1794, and entered St. Paul's cathedral, as
one of the choristers, at the age of seven
years and a half, under the instruction of
J. B. Sale, senior. At the age of eleven, he
acted as deputy for Mr. Attwood, the organist, on several occasions. "Whilst in the
cathedral choir, Hart received private instructions on the organ from S. Wesley and
M. Cook, organist of Bloomsbury ; he also
had lessons on the piano-forte from J. B.
Cramer. He remained in the choir nearly
nine years, and at sixteen years of age was
elected organist of Walthamstow church,
Essex, which situation he left to become
333

H AR
organist of Tottenham, Middlesex: this last
appointment he still holds. It should be
mentioned that Hart was elected organist of
Tottenham, after a public competition and
trial of skill of nine candidates. After Hart
left St. Paul's cathedral, he went also as
domestic organist to the late Earl of Uxbridge, where he remained three years, and
it was at his lordship's decease that he
entered the profession as a teacher, composer, &c. At the termination of the war
in 1815, quadrille dancing became the
fashion, when Hart attended private parties
as a piano-forte performer, and wrote several
popular sets of quadrilles; for instance, a
set from " II Don Giovanni," " The original Lancers," " Hussars, fourth Set," dedicated, by permission, to his majesty, before
whom he has had the honour of performing
at Brighton on many occasions. " Fifth Set
from IlTurco in Italia," " Sixth Set from
La Gazza Ladra," "Seventh Set from
Pietri VErmita," " Eighth Set from the
most popular English Melodies," " Ninth
Set from La Donna del Lago," " Tenth
Set from the Opera ofFreyschutze," " First,
second, third, and fourth Sets of Scotch
Quadrilles," and " A Set of Quadrilles from
the Irish Melodies," (Mayhew's Cat.)
Hart shortly intends publishing " An easy
Mode of teaching Thorough-bass and
Composition," a work especially intended for
schools and young professors. He was also
during three years chorus-master and pianoforte player at the English opera, during
which time he composed several musical
farces : " Amateurs and Actors," " Bull's
Head," " Walk for a Wager" and the popular dramatic opera of " The Vampire"
HARTMANN, (C.) a German composer, for some time in the Russian service,
and subsequently resident at Paris, where
he was a member of the royal academy of
music, and much celebrated as a flutist.
Among his works are " Six Airs, Francais
et Russe, Variations pour la Flute, avec
Accompagnements d'un V. ou Violoncello."
" Recueil de Preludes dans toutes Sortes de
Modulations pour la Flute."
" Recueil
d'Airs nouveaux."
" Recueil de Points

334

HAS
d'Orgue dans tons Zes Tons majeun et mineurs." " Trots Duos pour deux Flutes,"
Op. 7. The whole of the above were published at Paris.
HARTMANN, (C. H.) an organist at
Limbeck, in Germany, has published, since
the year 1781, several sets of sonatas for
the piano, and some dramatic music.
HARTMANN, (H. A. F.) chef-d'orchestre at the French theatre in Petersburg-.
His son was director of the music at Moscow in 1801, on the occasion of the coronation of the emperor of Russia.
HARTMANN, (JOHANN) a musician at
Ploen, died in Copenhagen in 1791. He
composed much vocal music to Danish
words; also some music for the piano.
HARTUNG, a violinist of Brunswick,
and composer for his instrument, since the
year 1790.
HARTUNG, (CARL AUGUST) organist

of the reformed church at Brunswick. He

has published some vocal music since the
year 1783.
HARTUNG (H. A.) has published some
music for the piano-forte at Breitkopf's, in
Leipsic, since the year 1792.
HASCHKA, (LOEENZ LEOPOLD) an ex-

Jesuit, was born at Vienna in 1749. He

was a poet, and published also a trio for the
piano-forte.
HASENBALG, ( F E . ) a harpist at Brunswick, has published there some music for
his instrument, and for the piano-forte, since
the year 1797.
HASLER, (HANNS LEO VON) son of

Isaac Hasler, a musician at Nuremburg,

and born in 1560, was court-musician to
the emperor of Germany. In 1584, he went
to Venice, where he studied counterpoint
under the celebrated Andrea Gabrieli. In
1601, he proceeded to Vienna, where the
emperor Rudolph I I . not only took him in
his service as musician, but granted him a
patent of nobility. He died in 1612. His
works were very numerous, but chiefly
vocal and for the church. He had two
brothers, who were also very eminent as
organists.
HASSE, (GIOVANNI ADELFO) called in

HAS
Italy II Sassoni) chapel-master to the king '
of Poland, (elector of Saxony) was born at
Bergedorf, near Hamburgh, in the year
1699. He learnt the first elements of music at Hamburgh, where he went to school.
His extraordinary talents for the science
were first observed by Johann Ulric Kcenig,
a celebrated poet and musicaj amateur, who
recommended him, in 1718, as tenor singer
at the opera in Hamburgh, to which theatre
the renowned Keiser was then composer,
and whose compositions served as a model
to Hasse. He made extraordinary progress
in the succeeding four years, at the expiration of which, his protector Koenig obtained
for him the situation of singer to the court
and theatre at Brunswick. His studies had,
however, been by no means confined to
singing, as he had become an excellent
pianist, and in the year after his arrival at
Brunswick, composed an opera called "Antigono," which was well received in that
town. Still, up to this period, Hasse had
abandoned himself too much to his genius
without studying any of the profound rules
of counterpoint, and he now began to feel
the inconveniences of this negligence, and
resolved to travel into Italy for the purpose
of studying composition in one of its most
celebrated schools. In 1724, he arrived at
Naples, where he placed himself for a short
time under the tuition of Porpora. Amongst
the great musicians who were then in that
city, Alessandro Scarlatti was the most conspicuously eminent, and Hasse ardently desired to profit by his instructions, but dared
not make the proposition to him, fearing
that his pecuniary means would not permit
his affording a proper remuneration. His
good genius, however, carried him through
this difficulty ; for meeting Scarlatti in society, he so gained on the venerable composer's affections by his talents, modesty,
and respectful manner towards him, that he
in a short time called Hasse his son, and
offered to give him lessons gratuitously. It
may well be supposed that Hasse accepted
this offer with no common delight. In the
year 1725, he received an order from a
rich banker to compose a serenata: this was

HAS
the first opportunity, of. maklig Known his
talents in composition, whicn had offered
itself in Italy. His serenata was for two
voices, and sung by Farinelli and Fosi before
a brilliant audience with unanimous applause. This first success was extremely
favourable to him, and he was soon after
desired to compose an opera for the theatre
royal. His piece was " Sesostrate," and so
perfectly established his reputation, that he
was afterwards called in Naples II Caro
Sassoni. After this epoch, all the great
theatres of Italy disputed the honour of possessing him as maestro at the head of their
orchestras. In 1727, he went to Venice,
where he was nominated chapel-master to
one of the conservatories. His success in this
city was still increased through the interest
of the celebrated Faustina, who afterwards
became his wife. Amongst the compositions which he produced in consequence of
his situation as chapel-master, a. Miserere,
for two soprano voices and two altos, with
an accompaniment for two violins, violoncello, and double bass, was so peculiarly
admired, that the great Padre Martini
called it divine music. In 1730, he made
himself further known at Venice by the
composition of two operas, " Dalila" and
Artaserse," the words of the latter fyeing
written for him by Metastasio. His reputation had, by this time, extended to Germany, and he was offered the situations of
chapel-master and opera composer to the
king of Poland and elector of Saxony, with
a salary of 12,000 dollars per annum for
himself and Faustina, to whom he was now
married. They accepted these terms, and
arrived at Dresden, where Hasse shortly
afterwards composed the opera of " Cleofide, o Alessandro nelle Indie." This piece
was played for several successive weeks,
and the most celebrated singers of Italy
performed in it. We find Hasse, soon after
this, again journeying to different towns in
Italy, and he thus seems to have divided
his time between Italy and Germany. It
was at this period that the spirit of party
which reigned in the opera establishment of
London had reached its acme. The noble
335

H AS

HAS
directors .nofbeing able to appease the differences between Handel and the singers,
at length separated from that composer and
opened a second Italian theatre in Lincoln'sinn-fields, of which Porpora had the management, who engaged the renowned Farinelli,
Senesino, and Cuzoni as principal singers.
The compositions of Porpora could in no
way, however, compete with those of Handel, and Hasse was accordingly invited to
England, and arrived here in 1733, when
his opera of "Artaserse" was performed for
the ddbut of the matchless Farinelli, and
became such a favourite with the town that
it was played forty times during Farinelli's
stay in England. Nothing, however, could
induce Hasse to remain in this country, probably from the virulence of the musical
cabals at that time, and he returned to Dresden, where at length, in the year 1740, he
settled. In the campaign of 1745, Frederick the Great entered Dresden on the 18th
of December, after the battle of Kesseldorf,
when, being desirous of witnessing the
talents of Hasse, he commanded one of his
grand operas. "Armenia" was chosen,
which so enchanted the king, that he sent
Hasse a present of 1000 dollars and a diamond ring. In 1755, Hasse lost his fine
voice so completely, as hardly to be heard
in speaking. In 1760, at the bombardment
of Dresden by the Prussians,-all the property in furniture, &c. of Hasse, and among
the rest his manuscript music, was destroyed
by fire. This loss the more deeply aflected
him, as he was on the point of publishing a
complete collection of his works, the expenses of which the king had promised to
defray. In 1763, the court of Dresden experienced such reverses, that many persons
attached to it were dismissed from their
employments, among whom Hasse and his
wife were obliged to retire on a small pension. Soon after this he went to Vienna,
and in the following three years composed
six operas for that capital. In 1769, he
brought out "Piramoe Tishe," an interlude,
remarkable for a character of music distinct
from all his other compositions. His last
opera was " Ruggiero" performed at Milan
336

inl771, on the marriage of the archduke Ferdinand. After this he retired to Venice, and
in 1780composed a "Te Deum," which was
sung in the presence of the pope. This was
his last composition, and he died at Venice
in 1783, in his eighty fourth year. He had
composed only a few years before his death,
a "Requiem," which he meantto be performed
at his funeral service. This work proves
that he had retained his full powers for
composition to a very advanced age. Dr.
Burney considered Hasse to be the most
learned, natural, and elegant, and at the
same time the most voluminous, composer of
his age. An equal judge of music and
poetry, he showed as much j udgment and
genius in the expression of his words, as in
the sweetness and melody of his accompaniments : he considered the voice as the essential object of dramatic music, and paid every
attention to make it conspicuous in his
operas, and not hidden by loud and chromatic instrumental accompaniments. He
had also his detractors. The learned Homilius reproaches his works with want of harmony ; and, in point of fact, he was in this
respect much below Bach, Handel, and
Graun; occasionally, however, there are
morceaux in his works most powerfully harmonious. It should be remembered that his
taste was formed under Porpora, Scarlatti,
Leo, Vinci, and Pergolese, at a period when
the simple and natural were considered sufficient to charm the ear and please the public taste. To this ancient partiality for
simplicity he always remained faithful.
Hasse composed so much that it is said he
often could not recognise his own music
when played. He set all the operas of
Metastasio in two, three, or four different
ways. Hasse was agreeable in person, and
of excellent disposition and principles. The
following is a list of some of his compositions : " Sesostrate," Op. Naples, 1726.

" Attato."

" Re di Bitinia," Naples,

1728. "Dalila," Venice, 1730. " Demetrio," Venice, 1732.

" Olimpia in
Ebuda,"
1740.
" Antigono,"
" Leucippo," " Dido," " Semiramides," all
operas. Church music, oratorios : " Ser-

HAS
pentes in Descrto," " La Virtu a pit delta
Croce," " La Deposisione detta Croce,"
"La Caduta di Gerico," " Magdalena," "II
Cantico deifanciulli," " La Conversione di
S. Agostino," " II Guiseppe riconosciuto "
and " Pellegrini al Sepulchro di nostro
Salvatore," all published at Leipsic inl784.
" St. Elena all' Calvario," twice composed.
"A Te Deum," Venice, 1780. " Te
Deum," at Dresden.
" Litania of the
Virgin," Venice, 1727. " Litania for two
Sopr., Alto, and Organ." " Litania for two
Sopr., with Instrumental Accompaniments."
These litanies, which are all considered very
beautiful, are to be met with at BreitkopPs,
in Leipsic.
HASSE, (FAUSTINA BORDONI) wife of

the preceding-, was a pupil of Michael Angelo Gasparini, of Lucca. She may be said
to have invented a new mode of singing, by
lunning divisions, with a neatness and velocity which astonished all who heard her.
She had the art of sustaining a note longer,
in the opinion of the public, than any other
singer, by taking her breath imperceptibly.
Her beats and thrills were strong and rapid ;
her intonation perfect; and her professional
perfections were enhanced by a beautiful
face, a symmetric figure, though of small
stature, together with a countenance and
gesture on the stage, which indicated an
entire intelligence and possession of the
several parts which she represented. She
first appeared as a theatrical singer at
Venice, in 1716, in the opera of Ario dante.
In 1719, she appeared on the same stage
with Cuzzoni and Bernachi, in an opera composed by her master Gasparini. Here she is
called Virtuosa di Camera of the elector
palatine. In 1722, she sang in Leo's opera
of Bajazet, at Naples; and in 1725, at
Vienna, where, according to Apostolo Zeno,
she received great honours, as well as presents. At the palace of prince Lichtenstein,
after singing to a great assembly, she was
presented with a purse containing a hundred pieces of gold, and nearly as much
more at the French ambassador's.
She remained in England but two seasons,
and then returned to Venice, where, in 1732,
VOL. I .

H AU
she was married to Hasse, and soon after
went with her husband to Dresden, in the
service of which court she continued till the
year 1756. During the war they retreated
to Vienna, and remained there till the year
1775, then retiring to Venice, the place of
Faustina's nativity, they ended their days in
that city. Faustina died in 1783, at the great
age of ninety, and her husband soon after.
HASSE, (NICOLAUS) organist'and composer at Rostock in 1650, published " Delicice Musics," and other collections of
instrumental music.
HATTASCH, ( H E I N R I C H CHRISTOPHE)

an actor and composer of some German

operettas, between the years 1780 and
17S5. Some of the music in them has been
published at Hamburgh.
HATTASCH, (DISMA) a violinist in
the royal chapel of Saxe-Gotha, born in
1725, entered, in 1751, the service of the
duke of Gotha. Two symphonies and six.
violin solos of his composition are known.
He died in 1777.
HATZJ?ELD,(CouNTESsoF)acelebrated
amateur musician. She performed, about
the year 1793, at a private theatre in
Vienna, several principal characters in
Italian operas, and was considered equal to
almost any professional singer of her time.
HAUDIMONT, (ABBE D') a pupil of
Rameau, was worthy of his master in the
expression of his compositions, and perhaps
surpassed him in taste. He wrote much
for the church.
HAUFF, ( W I L H . GOTTL.) a singer in a

regiment of Saxe-Gotha, in the service of

Holland. He published at Paris, in 1774,
six symphonies, and afterwards, in 1776
and 1777, six sextuors for wind instruments,
thiee trios for the harpsichord, and six
quatuors for violins.
HAUG (VIRGILIUS) published a work
called " Erotemata Musicte Practices ad
captum puerilem formata," Breslau, 1541.
HAUPT published at Paris, in 1796, in
conjunction with Punto, " Methode pour
apprendre les Ele'mens des premiers et
deuxiemes Cors," Paris, 1796.
HAUSCHKA, (VINCENZ) a celebrated
z
337

H AW
violoncellist at Vienna, was born in Bohemia in 1761. Among other works, he has
published "Six Sonatespour Violoncello avec
Accompagnement de Bass, Op. 1, Premiire
et Iieuxiemv Partie," Vienna, 1803, and
"DeutscheGesange fur 3 Stimmen," Vienna.
HAUSEN, (JOHANN) harpist to the duke
of Weimar, died in 1733.
HAUSEN, (WILHELM) an ex-Jesuit,
published some sacred songs at Dillingen
in 1763 and 1764.
HAUSER, (URIEL) a Franciscan monk,
was born in 1702. He wrote " Jnstructio
Fundamentaiis Cantus Choralis ad iisum
Reform. Prov. Tirl." 1765.
HAUSIUS, (CARL GOTTLOB) an amateur

musician at Leipsic, was born in 1755. He

published several collections of songs at
Leipsic, between the years 1784 and 1794.
HAUSMANN, a musician at Paris, published, about the year 1792, several pieces
from operas, as airs, overtures, &c. arranged
for the piano-forte.
HAUSMANN, (VALANTIN) son of Va-

lantin Hausmann, a musician at Nuremburg, at the time of the Reformation. The

father wrote some music for the reformed
churches, as did the son, with the addition
of much other vocal music, consisting chiefly
of madrigals, between the years 1590 and
1610. The two grandsons and great grandson of the elder Hausmann were also
organists and musicians, and all named
Valantin, consequently music under that
name is to be found in Germany, bearing
date as early as 1510 and as late as 1750,
which is about the period of the decease of
the last of that name.
HAWES (WILLIAM) was born in London
in 1785, and became a chorister in the
chapel royal, under Dr. Edmund Ayrton, in
1793, wheie he remained till 1801. In
1802, he first engaged publicly in his profession, by becoming a performer on the
violin in the band of Covent-garden theatre,
and about the same time commenced business
as singing-master; he also attended the Ancient, Vocal, and most other concerts. In
1803, he was appointed deputy vicar-choral
of Westminster abbey, and continued in that
338

HAW
office till fully appointed. In July, 1805, he
obtained the appointment of gentleman in ordinary of his majesty's chapels royal. In 1806,
he became an honorary member of the noblemen's catch club. In 1807, he was elected
a member of the royal society of musicians ;
and in 1808, honorary member of the Somerset-house Lodge, and of the societies
called the Madrigal and Concentores. He
was one of the original associates of the
Philharmonic, which commenced in 1813,
and a member of the professional concert,
which followed shortly after; but on account
of the party spirit, which then prevailed so
widely in the profession, quitted the former
society, on the breaking up of the latter.
In 1814, he was appointed almoner, master
of the boys, and lay-vicar of St. Paul's
cathedral, and in 1817, master of the children of his majesty's chapel royal, and
lutenist to his majesty; in the same year he
was also fully appointed vicar-choral of
Westminster abbey, but resigned the latter
situation in 1820, considering himself treated with undue severity, in being refused
privileges which others had before, and
have since, enjoyed. He was the first promoter of the royal Harmonic Institution,
under the design of giving composers the
means of publishing their own works, and
consequently reaping the whole advantage
which should arise from their sale. For
this purpose the old Argyle rooms were rebuilt, and the present magnificent establishment opened. The following are among
the more favourite original works and
arrangements of this composer :
Songs : " Barbara Allan," " Charlie is
my darling," " Comin' through the rye"
" Father William," " Friendship," " He's
dear, dear to me," " John Anderson my jo"
" I think on thee," " Logie o' Buchan,"
" Lang syne," " My harp alone" "My
Ellen, alas ! is no more," " O this love,"
" O that I could recall the day," " O saw
ye my father," " O Bothwell hank," " O
for ane-an'-twenty, Tarn," " O Kemnure's
gone awa''," " Sleep, baby mine," " The
land o' the leal," "Thegreen spot that blooms
o'er the desert of life," " TaK your auld

HAW
thai about ye," " The Beacon," " To the
Moon," " T/iei'e grows a honny brier,"
" Wert thou like me" " We're a noddin at
our house at kame," " He's far, far frae
me." Glees : "Allen a dale," three voices ;
" Bring me flowers, bring me wine," four
voices; "Boy, who the rosy bowl doth
pass," four voices; "Fairy glee, (We fairy
fulks)" four voices; " Gallant and gaily,"
three voices; "Henry cull'd the floweret's
bloom," four voices; " John Anderson my
jo," three voices; " Lovely Phillis," four
voices; " O saw ye my father," four
voices ; " O Bothwell bank," three voices;
" Sweet modest floweret," four voices;
"Since then I'm doomed," four voices;
"The Shepherd's Daughter Sally," four
voices. He has also republished Morley's
collection of madrigals, entitled The Triumphs of Oriana.
HAWKINS (Sir JOHN) was the son of

an eminent surveyor and builder, and born

in 1719. After having passed through the
usual course of school education, he was
placed under the care of Mr. Hoppus, for
the purpose of being brought up to his
father's business. This, however, having
been found contrary to the general bent of
his inclination, he was afterwards articled
as a clerk with an attorney. In this situation, by abridging himself of rest at night,
and rising every morning at four o'clock, he
not only found an opportunity for reading
all the most eminent law writers, but also
the works of the most celebrated authors
both in verse and prose.
About the year 1741, a club having been
instituted by Mr. Immyns, an attorney of
his acquaintance, the amanuensis of Dr,
Pepusch, and some other musical men,
called the Madrigal society, to meet every
Wednesday evening, Mr. Hawkins became
a member of it, and continued so for many
years. He became also a member of the
academy of ancient music.
In the year following, Mr. Stanley and
he published, at their joint expense, six
cantatas for a voice and instruments, the
words of which were furnished by him, and
the music by Mr. Stanley. These succeed-

H AW
ing beyond their most sanguine expectations,
second set" was published a few months
afterwards, which succeeded equally well.
As these compositions were performed at
many of the public places, the author acquired considerable reputation as a poet;
and being a modest and well-informed young
man, of unexceptionable morals, they obtained for him an extensive acquaintance.
Among these was Peter Storer, Esq. of Highgate, whose daughter he afterwards married.
In the winter of 1749, Dr. (then Mr.)
Johnson instituted a club at the King's
Head, in Ivy-lane, near St. Paul's, and Mr.
Hawkins was invited to become one of the
first members.
On the death of his wife's brother in
1759, having received a large addition to
his fortune, he retired from business, and
bought a house at Twickenham; and two
years afterwards, his name having been
inserted in the commission of the peace
for the county of middlesex, he became a
most active and useful magistrate.
Mr. Hawkins's love of music induced him
to form a collection of the works of the best
composers, and among other acquisitions,
he had the good fortune to become possessed
of several most scarce and valuable theoretical treatises on the science, which had
formerly been collected by Dr. Pepusch.
With the knowledge which he acquired
from these books, he was requested by several eminent musical men to set about the
preparation of materials for a work, then
much wanted, the " History of the Science
and Practice of Music''
After sixteen years' labour, he, in 1776,
published, in five quarto volumes,his history,
which he dedicated to the king.
Few
works have been attacked with more acrimony and virulence than this. Its merit,
however, as containing much original and
curious information, which, but for its
author, must have for ever perished, has
been amply attested by the approbation of
some of the first judges of science and
literature.
The university of Oxford, in
consequence of its publication, offered to him
an honorary degree of doctor of laws, as indi*
z2
33d

HAY
cative of their opinion of the value of his book
This honour he thought proper to decline.
From a long and very intimate acquaint
ance with Dr. Johnson, and, as it is generally
believed, in consequence of a conversation
that passed between them on the subject, sir
John Hawkins, at his death, undertook to
write a life of the doctor, which he afterwards published.
Scarcely three months after the commencement of this undertaking, he sustained a
most severe loss in the destruction of his library by fire. This lamented catastrophe, for
a short time, put a stop to the progress of his
undertaking. Yet, as soon as he could collect his thoughts, he recommenced his office
of biographer to Johnson, and editor of his
works, which he completed, and published
in 1787, in eleven volumes octavo.
With this production he terminated his
literary labours: and having, for several
years, been accustomed to pass all his leisure
time in theological and devotional studies,
he now still more closely attended to them,
in order to prepare himself for that event,
which, in the common course of nature, he
knew could not be at a great distance.
On the 14th of May, 1789, he was seized
with a paralytic affection, under the effects
of which he lingered until the 21st of
the same month, when he expired. He
was interred in the cloisters of Westminster
abbey, in the north walk, near the eastern
door into the church, under a stone, containing, by bis express injunctions, only the
initials of his name, the date of his death,
and his age.
HAYDEN (GEORGE) was organist of
the church of St. Mary Magdalen, Bermondsey. He composed and published,
about the year 1723, three cantatas. There
is also extant of Hayden's compositions a
pretty song in two parts, "As I saw fair
Clora walk alone," which is well known
to the proficients in vocal harmony.
HAYDN (FRANCIS JOSEPH) was born

in March, 1732, at Rohrau, a small town

about fifteen leagues from Vienna. His
father was a wheelwright, and his mother,
before she married, was cook at the chateau
340

HAY
of count Harrach, a nobleman residing in
the neighbourhood.
Haydn's father, besides his trade of
wheelwright, was the parish sexton. He had
a fine tenor voice, and liked music in general, but was particularly fond of the organ.
During one of those excursions, which are
often undertaken by German artisans, being
at Frankfort on the Maine, he learnt to
accompany himself a little on the harp;
and ou holydays, after the service of the
church, he always amused himself with this
instrument, while his wife sang. Joseph's
birth did not in the least change the peaceable habits of this family. The little concert was renewed every week, and the child,
placing himself before his parents, with two
pieces of wood in his hands, one for a violin,
and the other for a bow, accompanied his
mother's voice. Haydn, full of years, and
covered with glory, has frequently called to
mind the simple airs she sung, so deeply
were these little melodies impressed on his
musical soul! A schoolmaster of Haimburg, of the name of Frank, and cousin to
the wheelwright, came one Sunday to Rohrau, and was present during the performance
of one of these family trios; when he noticed that the child, then not six years old,
beat time with the utmost correctness and
precision. Frank understood music, and
begged his relations to allow him to take
little Joseph back to Haimburg with him,
and attend to his education. They accepted
the proposition with delight, in the hopes of
jetting Joseph more easily into holy orders,
.f he should be made to understand music.
He set off, therefore, for Haimburg, and
:ad been only a few weeks at his cousin's
house, when he found there two tambourines. By patience and repeated trials,
le at length actually produced by means
if this instrument, which has but two tones,
a kind of tune, which drew the attention of
all those who visited at the school.
Haydn had by nature a sonorous and
pleasing voice. Frank, who, to repeat
Haydn's own words, treated his young
cousin with more blows than bonbons, soon
madejthe little tambourinist play not only

HAY
the violin and other instruments, but likewise taught him to understand Latin, and
to sing at the parish church, in a style that
ere long made him known throughout the
canton.
Chance now brought to Frank's house,
Reiiter, chapel-master of St. Stephen's cathedral at Vienna, who was searching
round the country for additional voices for
his choir; the schoolmaster immediately
introduced his little relation to him, when
Reiiter gave him a canon to sing at first
sight.
The precision, distinctness of tone, and
fire with which it was performed by the
child, astonished Reiiter; but, above all,
he was enchanted with the beauty of the
boy's voice. He remarked, however, that
he did not shake, and on asking him, smilingly, the reason, the child replied with
quickness, " How should I know how to
shake, when my cousin himself does not V
" Come to me," said Reiiter to him, " and
I will teach you." He took him on his
knees, showed him how to make two sounds
succeed each other quickly, by holding his
breath and agitating the top of the pallet.
The child succeeded immediately. Reiiter,
delighted with the success of his little pupil,
took a plate of fine cherries, and emptied
them into the boy's pocket. The joy of the
latter may be conceived. Haydn often
mentioned this little incident, and added,
laughing, that whenever he made a shake,
he fancied he still saw these fine cherries.
It may easily be concluded that Reiiter
determined on not returning alone to Vienna,
and the little shaker, then about eight years
old, accompanied him thither. Haydn has
said, that, dating from this time, a single day
never passed at ReiUer's without his having
practised sixteen, and sometimes eighteen
hours. This is especially remarkable, because, whilst at St. Stephen's, he was almost
entirely his own master, the children of the
choir being only obliged to practise two
hours a day. When Haydn attained the
age of composition, the habit of study was
thus already acquired : indeed, a musical
composer has this great advantage over other

HAY
artists, that his productions are no sooner
conceived, than they are finished.
With less precocity of genius than Mozart,
who, when only thirteen years old, wrote a
much admired opera, Haydn, at the same
age, tried to compose a mass, which was,
not without some reason, ridiculed by Reiiter, to the .great astonishment at first of the
young musician ; his good sense, however,
even at that early age, soon convinced him
of the justice of its condemnation. He now
began to perceive that a knowledge of
counterpoint and of the rules of harmony
was requisite; but how was he to learn
them ? Reiiter did not instruct the children
of the choir in composition, and never gave
more than two lessons in it to Haydn.
Mozart had an excellent master in his father,
who was a good violin player. But poor
Joseph was less fortunate, being only a
discarded chorister at Vienna, who must
pay for any lessons he received, and who
had not ahalfpenny to apply to that purpose;
for his father, although he had two trades,
was so poor, that Joseph having once had
his clothes stolen, and having informed his
father of the circumstance, the poor man
with difficulty sent him six florins towards
refitting his wardrobe. Of course no master
in Vienna would give lessons gratis, to a
little unpatronised chorister ; his situation
was therefore truly embarrassing. He persevered, however, and in the first place, like
Jean Jacques Rousseau, he purchased, at
a second-hand shop, some old books on the
theory of music, among others the treatise
by Fux, which he began to study with a
degree of assiduity, not to be checked even
by the tremendous abstruseness of Fux's
rules. Alone, and without a master, he
laboured on, and made a number of little
discoveries which were subsequently useful
to him. Poor, freezing with cold in his
garret, without fire, and overcome with
sleep, he studied on, by the side of his old
broken harpsichord, and thought himself
happy. Thus days and nights flew ranidly
by, and he has frequently been heard to
say, that he never in after-life experienced
so much felicity. Haydn's predominant
341

HAY
passion was rather the love of music than
the love of fame ; and yet his aspirations
after fame had not a tinge of ambition in
them. He sought more to please himself in
composing music, than to acquire celebrity.
It was not of Porpora that Haydn learnt
recitative, as has been represented ; his recitatives, so inferior to those of the inventor
of this kind of music, prove this ; but he
acquired through Porpora the true Italian
style of singing, and the art of accompanying on the piano-forte, which, to do well,
is more difficult than is commonly imagined.
He was so fortunate as to obtain these lessons in the following way. A noble Venetian, named Corner, was then at Vienna, as
ambassador from that republic. He had a
mistress, who was excessively fond of music,
and had retained old Porpora in the hotel
of the embassy. Haydn contrived, solely
from his love for music, to get introduced
into the family. He was liked, and used
to accompany Porpora and the above lady
to the baths of Manensdorff, which was
then a fashionable place. Our young friend,
who was indifferent to everybody but the
old Neapolitan, employed all methods to
get into favour with him, and to obtain his
patronage. He rose very early every morning, beat his coat, brushed his shoes, and
arranged in the nicest order the old man's
wig. Porpora was ill-tempered beyond
conception, and poor Haydn seldom obtained
more for his trouble than the polite epithet
of " fool," as soon as he entered his room
of a morning. But, at length, the bear
finding he was served gratis, and having
discovered some of the good qualities of
his volunteer servant, would occasionally
relax in his severity and give Haydn some
good advice. Haydn succeeded more particularly in obtaining this, whenever he accompanied the beauteous Wilhelmine in
singing any of Porpora's own airs, which
were filled with difficult basses. Joseph at
length acquired the Italian taste in singing.
The ambassador, surprised at the improvement of the poor young man, settled on
him, on his return to the city, a monthly
pension of six sequins, (about three pounds

342

HAY
sterling) and admitted him to the table of
his secretaries. Haydn was now independent ; he bought a black coat, and thus attired, went, as soon as it was light, to take
the part of principal violin at the church of
the Fathers of Mercy ; from thence he proceeded to the chapel of count Haugwitz,
where he played the organ ; and afterwards
sang the tenor at St. Stephen's. He then
returned home, having been fully employed
all day, and passed a great part of the
night at his piano. His taste and knowledge
in composition were thus formed upon the
rules and examples which he could collect
from the different musicians with whom he
associated. Availing himself of every opportunity of hearing good music, and following
no one master in particular, he began to
form his own opinion of what was beautiful in music, but without any idea, at that
time, of introducing a style of his own.
At the age of nineteen, his voice broke,
and he was obliged to leave his situation
in the class of soprani at St. Stephen's, or
rather, he was expelled from it. One day,
in a lively frolic, he took it into his head to
cut off the tail of one of his companions'
gowns, a crime which was judged unpardonable. He had sung eleven years at St.
Stephen's, and the day he left it, his only
fortune was his rising talent, a poor resource
indeed, till it becomes known. He had,
however, one admirer. Forced to seek a
lodging, by chance he met with a wigmaker, named Keller, who had often noticed
and been delighted with the beauty of his
voice at the cathedral, and now offered him
an asylum. This Haydn most gladly accepted, and Keller received him as a son,
insisted upon his participation of their frugal
repast, and intrusted to his wife the care
of the young man's wardrobe.
Haydn finding himself thus established in
the house of the wig-maker, and exempt
from all pecuniary cares, pursued his studies
without interruption, and made rapid progress. His residence here had, however, a
fatal influence on his after-life. The Germans have a mania for marriage; and indeed, among a geatle, affectionate, and re-

HAY
tiring people, domestic happiness is necessarily a principal object. Keller had two
daughters; his wife and himself soon began
to think of uniting the young musician to
one of them, and even ventured to name
the subject to Haydn ; who, completely
engrossed in his studies, had no thoughts to
bestow on love, but made no objection to
the proposal. He afterwards kept his word
with that scrupulous honour which was his
greatest characteristic, and this union proved
far from happy. He now began to think of
procuring money by some of his compositions,
and his first productions were some little
sonatas for the piano, which he sold at a
moderate price to the few scholars whom
he had been able to meet with ; also some
minuets, allemandes, and waltzes for the
Ridotto. He then wrote, for his amusement, a serenade for three voices, which,
with two of his friends, he used to perform
on fine nights in the streets of Vienna.
A celebrated buffoon named Curtz, commonly called Bernardone, was then director
of the theatre of Carinthia, and afforded
much entertainment to the public by his
jokes. Crowds were attracted to the theatre by his originality, and by his good buffa
operas. He had, besides, a pretty wife; an
inducement, doubtless, to our nocturnal adventurers, to perform their serenade under
the harlequin's windows. Curtz was so
struck with the originality of this music,
that he came into the street to inquire who
was the composer. " I," answered Haydn,
confidently. " How ! you ; at your age V
" Every one must have a beginning."
" Well'. this is singular enough ; come in
with me." Haydn followed the harlequin,
was introduced to the pretty wife, and took
his leave with the poem of an opera, entitled " The Devil on Two Sticks," to
which he was to compose the music. It
was finished in a few days, was received
with applause, and Haydn received twentyfour sequins (twelve pounds) for it. But a
nobleman, who had no beauty to boast, discovering that he was alluded to under the
name of " The Devil on Two Sticks," had
the piece prohibited.

HAY
In the composition of this opera, Haydn
often said, that it cost him more trouble to
find out a way to represent the movement
of the waves in a tempest, than it afterwards
did to write a difficult fugue. Curtz, who
had much mind and taste, was very difficult
to please about this tempest, and neither he
nor Haydn had ever seen either the sea or
a storm. How then could they' describe
either one or the other t Could the happy
art be discovered of describing things unknown, many great politicians would speak
better of virtue. Curtz, in the greatest
agitation, walked to and fro, and round and
round the composer, who was seated at his
piano. " Imagine," said he to him, " a high
mountain and then a valley, then another
mountain and then another valley; these
mountains and valleys following each other
rapidly, alps and abysses alternately succeeding." This fine description had no
effect. In vain did Curtz add to it thunder
and lightning : " Come," he incessautly
repeated, " now Haydn, describe all these
horrors distinctly in music, but especially
the mountains and valleys." Haydn ran
his fingers rapidly over the keys, then across
the semitones, was prodigal of sevenths,
and modulated in an instant from sharp to
flat; still Bernardone was not satisfied. At
last, the young musician, completely out of
patience, extended his hands to the two
extremities of the instrument, and drawing
them quickly together over the whole keys,
exclaimed, " The devil take the tempest !"
" That's it ! that's i t ! " cried Bernardone,
throwing himself on his neck, and almost
smothering him with his embraces. Haydn
added, that, passing some years afterwards
the straits of Calais in bad weather, he
could not help laughing the whole time, at
the remembrance of the tempest in " The
Devil on Two Sticks."
When Haydn composed this opera he was
in his nineteenth year. Mozart, that prodigy of music, wrote his first opera at thirteen, in competition with Hasse, who said,
after hearing the rehearsal, " This child will
eclipse us all." Haydn's success was not,
however, so great; his talent was not for
34$

HAY
dramatic music; and though he has composed operas which would do credit to any
master, he never attained to a " Clemenza
di Tito," or a " Don Juan." About a year
after the production of the " Devil on Two
Sticks," Haydn entered on his proper career,
presenting himself in the lists as composer
of six trios. The singularity of the style,
and the novelty of this description of music,
gave these pieces an immediate celebrity;
but the grave Germanmusicians warmly attacked the dangerous innovations in them,
and especially the members of the musical
academy, a sort of club of amateurs who
were patronised by the emperor Charles
VI., himself one of the most ardent dilettanti of his capital. We may here take the
opportunity of stating that, before Haydn,
no one had an idea of an orchestra composed
of eighteen sorts of instruments. He is also
the inventor of the prestissimo, the sole idea
of which made the old square-toes ofjVienna
tremble. Indeed, in music, as in every
thing else, we have little idea of what the
world was even a hundred years back. The
allegro, for instance, was then only an
andantino. Other improvements of Haydn
were, the obliging the wind instruments to
execute pianissimo, also the extension of the
scale into the heights of altissirno. It was
at about the age of twenty that he produced
his first quartet in B flat, which all the musical amateurs soon learnt by heart. About
this time he quitted the house of his friend
Keller, for what cause is not known; but it
is certain that his talents, though they had
already spread his fame, had not yet raised
him from indigence. He was now offered
board and lodging by a Mr. Martinez, on
condition of giving lessons on the piano and
in singing to his two daughters. It is a
singular circumstance, that two apartments
in the same house then contained the first
poet of the age, and the greatest symphonist
in the world, as Metastasio likewise lodged
at the residence of Mr. Martinez. The
poet, however, being in the employ of the
emperor Charles VI., lived comfortable at
least, whilst poor Haydn remained in bed
most of the days of winter for want of fuel.
344

HAY
The delicate and profound sensibility of
Metaslasio had produced in him a jnst taste
in all the fine arts. He was enthusiastically
fond of music, and had a considerable knowledge of it. The merits of the young German were therefore not lost on him; but,
on the contrary, he cultivated his friendship, a circumstance highly advantageous to
Haydn. The latter dined with the poet
every day, and derived from his conversation some general rules relative to the fine
arts, at the same time that he learnt
Italian.
For six long years Haydn endured this
conflict against penury, which has been the
usual concomitant, in the early part of their
career, of most young artists who have attained to celebrity. If at that time he had
been patronised by some man of distinction,
and sent into Italy for two years, with a
pension of a hundred louis, nothing would
perhaps have been wanting to the perfection
of his talent; but he had not, like Metastasio, his Gravina. At length an opportunity presented itself of improving his circumstances, and he quitted the house of
Martinez, entering into the employment of
count Mortzin in 1758. This nobleman
gave evening musical parties, and had a
private orchestra in his pay. By chance the
old prince Esterhazy, a passionate ama*
teur of music, was present at one of these
concerts, which very properly commenced
with Haydn's symphony in A J time. The
delight of the prince at this piece was unbounded ; and he immediately begged count
Mortzin to allow him to receive Haydn into
his own orchestra, of which he proposed
making him sub-director. Mortzin consented. The author had been prevented
that day by indisposition from attending the
concert; and as the will of princes, if not
instantly complied with, is liable to change,
or to be forgotten, many months elapsed before Haydn, who, of course, was extremely
anxious to enter into the service of the first
nobleman in Europe, heard any thing more
on the subject.
A means of recalling the young artist to
the mind of the prince was eagerly sought

HAY
by Friedberg, a composer attached to his
highness; and he conceived the idea of
making him compose a symphony, to be
performed at Eisenstiidt, the residence of
prince Antony, on his birthday. The composition was completed, and was worthy of
its author. On the day of the ceremony,
the prince, surrounded by his suite, and
seated on his throne, was present, as usual,
at the concert. Haydn's symphony began,
but scarcely was the first allegro half over,
than the prince, interrupting the performers,
asked whose was that fine composition?
" Haydn's," replied Friedberg ; and poor
Haydn, trembling from head to foot, was
made to advance. The prince, on seeing
him, exclaimed, " What! is that the music
of this little Moor?" (It must be owned
Haydn's complexion justified the appellation.) " Well, Moor, henceforth I retain
you in my service. What is your name ?"
" Joseph Haydn." " Why, I remember
that name; I had already engaged you;
why have I not seen you before ?" Haydn,
awed by the majesty which surrounded the
prince, made no answer. " Go," added
the prince, " and dress yourself as my chapel-master; I command you never to appear
again in my presence as you are now. You
are too little, and have a pitiful looking face.
Get a new coat, a curled wig, a collar, and
red-heeled shoes; but above all, theymust
be high, that your stature may agree with
your mind. You understand; go, and every
thing requisite shall be given you."
Haydn kissed the hand of the prince, and
went and placed himself in a corner of the
orchestra, rather unhappy at being obliged
to give up wearing his own hair, and to
disguise his youthful figure. The day following, he appeared at the prince's levee in
the grave dress which had been appointed
to him. He was nominated second professor
of music, but always retained among his
new companions the name of the Moor.
In consequence of the death of prince
Antony, which took place a year afterwards,
the title descended to prince Nicolas, a yet
more enthusiastic amateur, if possible, of
music than the former. Haydn was now

HAY
obliged to compose a great number of
pieces for the baryton, a very complex instrument, not now in use. It was, however, the favourite of his prince, who
performed on it himself, and every day desired to have a new piece for it on his desk.
Most of Haydn's compositions for the baryton were accidentally burnt; those that remain are useless. Haydn said, that the obligation he was under to compose so much
for this instrument, improved him considerably.
An event occurred about this period which
for some time disturbed the tranquillity of
Haydn's life. As soon as he had obtained
the means of subsistence, he did not forget
to fulfil his promise to his old friend Keller,
of marrying his daughter Anne ; but he soon
found that she was a prude, who had, in
addition to her tiresome parade of virtue, a
mania for priests and monks. The house of
our poor composer was thus constantly beset by them, and he was himself incessantly
annoyed and interrupted in his studies by
their clamorous conversation. Added to
all this, he was under the necessity, as the
only means of living at all on good terms
with his wife, of composing, gratis, masses
and motets for the convents of these good
fathers ; but such an employment, imposed
on him by her troublesome importunities,
could not but be extremely disagreeable to
a man whose productions were from the impulse of his own mind, and poor Haydn at
length sought consolation in the society of
a beautiful singer, named Mademoiselle
Boselli,in the service of the prince. It may
be imagined this did not increase his domestic happiness, and at length he separated
from his wife, whom, however, he always,
in pecuniary concerns, treated with perfect
honour.
Attached to the service of a patron, immensely rich and passionately fond of music,
Haydn now enjoyed, in the .family of prince
Esterhazy, that happy union of circumstances, where every thing concurred to give
opportunity for the display of his genius.
From this period his life was uniform, and
devoted to study. He rose early in the
345

HAY
morning, dressed with extreme neatness, and
seated himself at a little table by the side of
his piano, where the dinner usually still
found him. In the evening, he went to the
rehearsals, or to the opera, which took place
four times a week at the palace of the prince.
Occasionally, he devoted a morning to
hunting; but in general his spare time was
spent either with his friends, or with Mademoiselle Boselli. Such, without variation,
was the tenour of his life for above thirty
years, and may account for the amazing
number of his works, consisting of three
classes, instrumental, church music, and
operas. In symphony, he is the greatest of
the great; in sacred music, he discovered a
new path, capable, certainly, of criticism,
but which ranks him among the first masters.
In the third style, namely, theatrical music,
he was estimable only, chiefly because he
was but an imitator.
Haydn produced in the space of fifty
years, five hundred and twenty-seven instrumental compositions, without ever copying
himself, unless intentionally. Leonardo da
Vinci always carried about with him a little
book, in which he sketched the singular
faces he met with. In the same way, Haydn
also carefully noted down in a pocket-book
the ideas and passages which occurred to
him.
When he was in a happy and cheerful
mood, he would hasten to his little table, and
write subjects for airs and minuets; if he
found himself in a tender or melancholy
mood, he would write themes for andantes
and adagios: thus afterwards, when composing, if he wanted any particular sort of
passage, he had recourse to his magazine.
Haydn, however, never undertook a
symphony unless he felt himself quite disposed for it. He had a diamond ring, which
had been given him by Frederick II., and
he often confessed, that if he had forgotten
to put this ring on before he sat down to
his piano, he could not summon a single
idea. The paper on which he composed,
he would have of the finest and best description ; and such was the neatness and care
with which he wrote, that the regularity
346

HAY
and distinctness of his characters could
scarcely be equalled by the best copyist;
indeed, his notes had such small heads and
slender tails, that he himself, not without
justice, called them his flies' legs.
All these preparations made, Haydn commenced his work, by noting down his principal idea or theme, and choosing his key.
He had a perfect knowledge of the greater
or less effect produced by the succession of
certain chords ; and he sometimes would
picture to himself a little history, which
might convey musical sentiments and colours
to his mind.
It has been remarked, that no man ever
understood the various effects of colours,
their relations, and the contrasts that they
may form, so well as Titian. So Haydn
had the most perfect acquaintance with all
the instruments of which his orchestra
was composed. No sooner did his imagination furnish him with a passage, a chord,
or a simple idea, than immediately he saw
by what instrument it ought to be executed
to produce the most agreeable and most
sonorous effect. Had he any doubts on this
subject when composing a symphony, the
situation which he occupied while at Eisenstadt, afforded him the easiest means of
clearing them. He assembled the musicians,
and had a rehearsal: he made them execute
in two or three different ways the passage he
had in his head, selected which he preferred,
then sent away the musicians, and continued his work. We often meet with
singular modulations in Haydn's compositions ; but he felt that what is extravagant
draws the attention too much from the
beautiful. He never attempted any extraordinary change without having first prepared the ear by degrees for it by the preceding chords ; and thus, when it occurs,
it does not shock the ear by the suddenness
of the transition. He said that he had bor^
rowed the idea of many of his modulations
from the works of Bach, and that Bach
himself brought them from Rome. Haydn
confessed the obligations he was under to
Emmanuel Bach, who, previous to Mozart's
birth, was esteemed the first pianist in the

HAY
world; but he assures us that he owes
nothing to the Milanese, San Martini, whom
he considered as very confused. Haydn,
in listening to sounds, had early found, to
use his own expressions, " what was good,
what was better, what was bad." If the
question was put to him, why he had written such and such a chord, or why he had
assigned such a passage to one instrument 1
he never made any other than the following
simple reply: " I did it, because it went
best so."
Haydn had some particular and singular
rules for composition, which he never would
divulge to any one. It is well known that
the ancient Greek sculptors had certain invariable rules of beauty, called canons.
These rules are lost, and their existence is
buried in profound obscurity. Haydn, it
seems, had discovered something of the same
nature in music. The composer Weigl
begged him one day to instruct him in these
rules, and could obtain nothing more from
Haydn than this reply, " Try and find them
out."
He had another very original habit:
when he did not intend to express by music
any particular passion, or any particular
images, all subjects were alike to him.
" The whole art consists," said he, " in
the manner of treating and pursuing a
theme." Frequently, when a friend entered as he was about to commence a piece,
he would say, smiling, " Give me a subject." Give a subject to Haydn! who
would have presumed to do so"! "Come,
come," said he, " give me any subject that
first strikes you, let it be what it may;"
when the person perhaps felt himself obliged
to obey. Many of his finest quartets prove
this ; as they commence by the most insignificant idea, but by degrees this same idea
assumes a character, which strengthens, increases, and developes itself, till the dwarf
rises into a giant before our astonished
senses.
Haydn, when asked to which of his works
he gave the preference, replied, " The Seven
Words." The following is an explanation
of the title. A service called the Entierro

HAY
(funeral of the Redeemer) was celebrated at Madrid about fifty years ago.
The serious and religious feelingj of the
Spaniards invested this ceremony with
amazing pomp and magnificence.
The
seven words uttered by Jesus on the cross
were successively explained by the bishop
from the pulpit, the intervening time between
each exposition being filled up by music
worthy of the sublimity of the subject.
This sacred performance was circulated, by
order of the directors, throughout Europe;
and a considerable reward was offered to
any composer who would write seven grand
symphonies, expressive of the sentiments
which the seven words of the Saviour were
calculated to inspire. Haydn alone made
the attempt, and produced those symphonies
which are very generally considered to be
the finest of his compositions. Fully to enter into their spirit, however, they must be
heard with the feelings of a Christian.
Michael Haydn, the brother of our composer,
afterwards added words and an air to this
sublime instrumental music, and, without
altering it in any respect, rendered it an accompaniment. Some of Haydn's symphonies were composed for holydays; and
even in the sorrow which they express, the
characteristic vivacity of Haydn is discernable; and in some parts there are movements of anger, which ave probably meant
to designate the feelings of the Jews and
Hebrews crucifying their Saviour.
With rather a severe cast of countenance,
and a laconic method of expressing himself
in conversation, which are usually indications of an ill-tempered man, Haydn was
gay, humorous, and agreeable. This vivacity, however, it is true, was easily repressed
by the presence of strangers, or people of
superior rank.
His genius naturally led him to employ
his instruments to produce laughter, and
often, at his rehearsals, he gave little pieces
of this kind to his brother musicians. But
we possess few of these compositions.
Of all Haydn's comic pieces, the only
one extant is that well-known symphony,
in which all his instruments cease success347

HAY
ively, one after the other, so that, at the
conclusion, the violin is left to perform
alone.
There are three anecdotes connected with
this piece, which being all attested by eyewitnesses, it is difficult to say which is
correct. Some say that Haydn, perceiving
that the innovations he had made in music
were offensive to the prince's musicians,
determined to play them a trick. He had
his symphony performed, without a previous
rehearsal, before the prince, who had been
made acquainted with the intention of the
thing. The confusion of the performers,
who all thought they had made some mistake, and especially that of the first violin,
when at the close of the piece he found he
was playing alone, afforded much entertainment to the court of Eisenstadt. It
is asserted, by others, that the prince, intending to dismiss all his band, with the exception of Haydn, this ingenious method of
describing the general departure, and the
melancholy that would follow in consequence, occurred to him; as soon as each
musician had finished his part, he left the
room. The third may be dispensed with.
At another time Haydn contrived the following singular method to amuse the prince
and his company. There was a fair held
in a small town of Hungary, not far from
Eisenstadt, thither Haydn went, and bought
a basket full of children's whistles, little
fiddles, cuckoos, wooden trumpets, and
other such instruments. He then took the
trouble of studying their compass and character, and composed a most amusing symphony with these instruments alone, of
which some even performed solos: the
cuckoo is the bass of this piece. Haydn
being in England many years after this,
observed that the English, who liked his
compositions much when the movement was
allegro, generally went to sleep when it
was andante or adagio, whatever their
beauties might be. He, in consequence
wrote an andante, full of sweetness and
flowing melody, the sound of all the instruments in which gradually diminish;
when, from the moment they all arrive at
343

HAY
pianissimo, they strike up again together,
and, aided by the beating of the kettledrum,
make the drowsy audience instantly attend.
Haydn worked incessantly, but with difficulty, which in him could not possibly
arise from any deficiency of ideas; but his
taste was not easily satisfied. A symphony
cost him a month's labour, a mass almost
double that time. His rough copies are
filled with different passages, and for one
symphony, sufficient ideas are noted down
for three or four. Haydn himself has said
that his greatest happiness was study.
Solitary and sedate as Newton, and
wearing the ring given him by the great
Fredeiick, Haydn would seat himself at
his piano, when, in a few moments, his
imagination soared among the angelic
choirs. Nothing disturbed him at Eisenstadt ; he lived solely for his art, exempt
from any earthly cares, and this uniform and
peaceable life, devoted to the occupation
most pleasing to himself, continued till the
death of tlie prince Nicolas, his patron, in
1789.
At one time he was requested by
the principal manageis of the theatres
of Naples, Milan, Lisbon, Venice, London,
&c. to compose operas for them. But the
love of peaceful retirement, his attachment
to his prince, and to his own methodical
habits, retained him in Hungary, and were
even more powerful than his wish to pass
the mountains. It is probable, had not
Mademoiselle Boselli died, he would never
have quitted Eisenstadt; but he then began
to feel a void in his life. He had sent a
refusal to the directors of the concert spintuel at Paris, but since his favourite no
longer existed, he accepted the proposals of
Salomon, who was then giving concerts in
London, and who thought that a man of
such genius as Haydn being on the spot,
and composing expressly [for his concerts,
would certainly make them fashionable.
He gave twenty concerts a year, and offered
Haydn one hundred sequins (fifty pounds)
for each one ; and accordingly he set out
for London in 1790, when in the fifty-ninth
year of his age. He remained there rather

H A Y

H A Y
more than a year, and the music he composed for these concerts met with universal
approbation. His amiable manners, in addition to his genius, rendered his success
amongst us highly flattering to his feelings.
In 1794, Haydn again visited London,
when he was engaged by Gallini, manager
of the King's theatre, Haymarket, to compose an opera, which should be got up in
the most splendid manner. The subject
was the descent of Orplieus into hell. Haydn
began the work; but some difficulties having arisen as to the opening of the theatre,
the composer, who secretly regretted his
peaceful home, could not wait till the permission to do so was obtained, and quitted
London, with eleven pieces of his " Orpheus,"
which, it is said, are the best of his theatrical compositions : he then returned to
Austria, and never afterwards left it.
George III., who was fond of no music

but Handel's, still highly appreciated that

of Haydn, and the German professor met
with the most flattering reception from him
and the queen. Haydn had further the
honorary degree of doctor of music conferred on him by the university of Oxford ;
an honour which Handel himself had never
obtained, and which had been bestowed on
only four persons since the year 1400.
Being expected, according to custom on
this occasion, to give a specimen of musical
science to the university, Haydn sent a
composition, which, whether read from top
to bottom, bottom to top, or from the middle
of the page, or on either side of it, formed
an air, and a correct accompaniment. The
following is a copy of this singular piece of
music, which, to be read double, the paper
on which it is written must be held against
the light.

Canon Cancrizans a 3 Foce.

Thy

Voice O

3UTA -

- i(j

Thy

Voice O

Hax - mo fit

Xu

ny

Haydn.

is

Di - vine

on* -.

"

Har - iu - on -

mo - ny
.rejj

is

Di - vine

Haydn left London, delighted with Han- more grateful to a man of Haydn's disposidel's music, and in passing through Ger- tion, than any pecuniary advantages would
many, on his return, gave several concerts, have been. He was admitted at all times
which increased his little fortune rather to the prince's table, and was always premore than usual. He received little in mo- sented by his highness with a court dress,
ney from the family of prince Esterhazy ; when he gave a uniform to his orchestra.
but the respect he ever met with from the Haydn brought no more with him from
members of that noble house, was infinitely London than fifteen thousand florins;
349

HAY
(one thousand four hundred pounds) but
some years subsequently he obtained the
additional sum of one thousand pounds from
the sale of the scores of the " Creation '
and the "Four Seasons," with which he
bought a small house and garden in the
faubourg of Gumpendorff, near Schonbrunn. Here he received a very flattering
letter from the French institute, nominating
him one of their members. As Haydn perused this letter he melted into tears, and
never afterwards alluded to it without expressing a feeling of gratitude ; in fact, the
letter was expressed in that dignified. and
elegant style of compliment, peculiar to the
Trench nation. Haydn, who had early
discovered the barrenness of ancient sacred
music, the profane luxuriousness of the
modern Italian masses, and the monotonous
and insipid style of the .German hymns,
felt that, to compose sacred music as it really
should be, he must work on a system altogether different: he borrowed, therefore,
few ideas from dramatic music; but preserved by the solidity of the harmony some
resemblance to the fine and solemn airs of
the ancient school, sustaining, by the richness
of his orchestra, melodies, solemn, tender,
and at the same time dignified and brilliant;
he even permitted, in his sacred airs, occasional graces and ornaments which happily
relieve, from time to time, the genera) loftiness and magnificence of his sacred style.
His only precursor in this style of sacred
music was San Martini. Long before the
composition of Ihe " Creation," Haydn had
composed, in 1774, one of his first oratorios,
entitled " Tobie," a work of moderate
merit, in which but two or three movements
announce the great master. We have before said that, when in England, he was
much struck with the music of Handel; and
it was from this musician that he learnt the
art of the sublime. One day he was present at the performance of Handel's Messiah,
and on hearing one of the most sublime
choruses in this piece much admired, remarked, in the most pensive tone, " He is
indeed the father of us all,"
It was in 1795 that Haydn, then sixty350

HAY
three years of age, undertook his great
work of the " Creation;" he laboured at it
two whole years. When any one hastened
him in the work, he replied with tranquillity, " I am long about it, for I wish it
to last long."
At the commencement of the year 1798,
the oratorio was finished, and the following
Easter was performed, for the first time, in
the room of the Schwartzenburg palace, at
the expense of the Dilettanti society, who
had purchased it of the author. The enthusiasm, delight, and applause expressed
at this first performance, can scarcely be
depicted ; every thing united to render it
more imposing. The choicest society of men
of letters and amateurs of music filled the
saloon, which was in every way perfectly
adapted for music; Haydn himself led the
orchestra. The most profound silence, and
an almost universal feeling of devotion and
respect, reigned throughout the assembly as
the first chords resounded from the instruments. Expectation was not deceived. A
rapid succession of hitherto unknown beauties unfolded themselves to the ear, overcame every hearer, and all agreed they had
felt, for two successive hours, a delight
scarcely possible to analyze, produced by
excited desires, ever renewed and ever satisfied.
The " Creation" met with rapid success:
at that time every German paper was filled
with eulogiums on this great effort of genius,
and the astonishing effect it had produced
in Vienna, and the score which appeared
a few weeks subsequently, satisfied all
amateurs of music as to the correctness of
this statement. The wonderful sale of this
score, augmented by some hundred louis
the limited income of the author. The
librarian had set both German and English
words to the oratorio ; which were afterwards translated into the Swedish, French,
Spanish, Bohemian, and Italian languages.
The French version is pompously flat, as
may be judged by its coming from the conservatory of the Hue Berg&re; but still the
translator was totally innocent of the slight
effect the " Creation" produced the first

HAY

II A Y

time it was executed at Paris ; the fact is

all minds were engaged on another subject,
for a few minutes before it began at the
opera, the infernal machine of the third
Nivose burst in the Rue Saint Nacaise.
Two years after his composition of the
" Creation," Haydn, animated by success
and encouraged by his friend Van Swieten,
composed a new oratorio, entitled " The
Four Seasons." The descriptive Baron had
drawn the text for this work from our
Thomson. The music contains less sentiment than the " Creation," but the subject
admitted of sallies of gaiety, joy at the
harvest, and profane love : " The Four
Seasons" would be the finest production,
in that style, in the world, if the " Creation" did not exist. The music is more
scientific and less sublime than that of the
" Creation;" but it nevertheless surpasses
its elder sister in one point, namely, its
quartets. The best critique on this work
is that of Haydn himself, when he was
told of the flattering approbation it had met
with in the palace of Schwartzenburg.
" I feel much delight at the manner in
which my music has been received," said
he, " but I should not wish to hear any
compliments on the occasion. I am persuaded all must feel, as I feel myself, that
it is not a " Creation," for the following
reason. In the " Creation," the characters
are angels, in this they are peasants." It
was an admirable distinction.

Hin

ist alle

meine

About this time it was determined that the

" Creation*1 should be performed, with the
Italian words of Carpini, and a hundred and
sixty musicians met for this purpose, at the
palace of princeLobkowitz. They were greatly
assisted by the beautiful voices of Madame
Frischer, of Berlin, Messrs. Weitmuller
and Radichi. More than fifteen hundred
people were present. The poor old man insisted, notwithstanding his weakness, upon

Haydn's musical career finished with

" The Four Seasons." Old age, and the
labour which this work had cost him, exhausted his strength. " I have done/' he
said, some time after he had completed this
oratorio; " my head is no longer what it
has been. Formerly, ideas came to me unsought; now I am obliged to seek them,
and I am not equal to this."
He composed, however, a few more quartets, but he never could finish that numbered 84, although he worked at it, almost
uninterruptedly, three years. Latterly, he
amused himself with putting accompaniments to some of the ancient Scotch melo
dies, for which a London niusic-seller gave
him two guineas per song: he arranged nearly
three hundred in this way; but, in 1805, he
discontinued this employment likewise, by
order of his physician.
From this time he never left his villa at
Gumpendorff. When he wished to remind
his friends that he was still living, he sent
them a visiting card, with some of his own
composition on it. The words on the cards
were :
" Hin ist alle meine kraft, Alt und schwach
bin ich."
" My strength fails me. I am old and feeble."

The music to these words stops in the

middle of the period, and without arriving
at the cadence, well expresses the languid
state of the author's health.

kraft.

Alt raid schwach bin ich.

once more seeing that public assembled for
whom he had laboured so much. He was
conveyed in his arm-chair into the magnificent saloon, where every heart was affected.
The princess Esterhazy, and Madame de
Kurtzbeck, jthe friend of Haydn, met him.
The flourishes of the orchestra, and still
more the agitation of the spectators, announced his arrival. He was placed in the
middle of three rows of jseats, occupied by
351

HAY
his friends and the principal persons at Vienna. Before the music began, Salieri, the
director of the orchestra, came to receive
Haydn's orders. They embraced ; Salieri
then hastened to his place, and, amidst the
general emotion of the assembly, the orchestra commenced. The effect produced
by this sacred music, added to the sight of
its great composer on the point of quitting
this world, may be conceived. Surrounded
by the nobility of Vienna and by his friends,
by artists, and by lovely women, whose
eyes were all fixed on him, listening to the
praises of God, which he himself had imagined, Haydn bid a glorious adieu to the
world and to life.
So much glory and love frequently
caused him to weep, and he found himself
much exhausted at the conclusion of the
first act. His chair was then brought in,
and as he was about to leave the concertroom, ordering those who carried him to
stop, he first bowed to the public, and then
turning to the orchestra, with real German feeling, he raised his hands to heaven, and with tears in his eyes, blessed the
former companions of his labours.
Before Haydn had entered his seventyeighth year, he was become extremely infirm. It was the last of his life. The moment he went to the piano-forte, the vertigo
returned, and his hands quitted the keys to
have recourse to his rosary, which was his
last consolation. War broke out between
France and Austria ; this intelligence troubled Haydn, and exhausted the remains of
his strength. He every moment inquired
what news there was, went to his piano,
and with a feeble voice sang, " God save
the Emperor."

HAY
two servants, with terror depicted in their
countenances, ran to him; the old man, by
an effort, rose from his arm-chair, and with a
dignified air, cried, " Why such alarm!
know that, where Haydn is, no evil can
happen." But this exertion was beyond his
strength ; a convulsive shivering prevented
him from adding more, and he was immediately conveyed to his bed. On the 26th of
May, he was almost completely exhausted ;
notwithstanding, he had-his piano moved
towards him, and sung three times, with as
loud a voice as he could, " God save the
Emperor."
They were his last words. At his piano
he became insensible, and expired on the
morning of the 31st, at the age of seventyeight years and two months.
Madame
Kurtzbeck had sent to him, during the occupation of Vienna, to beg that he would
suffer himself to be removed into the city ;
but he could not be persuaded to quit his
beloved retreat. Mozart's Requiem was
performed a few weeks afterwards in honour
of him, at the Scotch church. The same
homage was rendered to his memory at
Breslau, and at the conservatory at Paris,
and a hymn of Cherubini's composition was
sung. The music is worthy of the great
man it celebrated.
Haydn was very religious; it may even
be said that through his firm faith in the
truths of religion, his talent was increased.
The commencement of all his scores are inscribed with some of the following mottoes :
"In Nomine Domini," or "SoliDeo gloria;"
and at the end of them all, " Laus Deo."
If, when he was composing, he felt his
imagination cool, or that some insurmountable difficulty prevented his proceeding, he
rose from his piano, took his rosary, and began to repeat it. He said this method never
failed. " When I was working at the ' Creation? " said he, " I felt myself so penetrated
with religion, that before I sat down to my
piano, I prayed confidently to God to give
me the talent requisite to praise him worthily."

The French armies advanced rapidly,

and on the night of the 10th of May,
having reached Schonbrunn, about half a.
league distant from Haydn's little villa,
they fired, the next morning, fifteen hundred
cannon-shot, only a hundred yards from
his house, upon Vienna, that town so
much beloved by him. He pictured it to
himself destroyed by fire and sword. Four
Haydn's heir was a farrier, to whom he
bombs then fell close to his house, when his left thirty-eight thousand florins in cash,
352

HAY
deducting twelve thousand florins which
were bequeathed by him to his two faithfulservants. His manuscripts, sold by auction,
were bought by the prince Esterhazy.
HAYDN, ( M I C H A E L ) brother of Joseph
Haydn, was formerly director of music at
Salzburg. Tn 1801, at his brother's solicitation, he was appointed to an advantageous situation in the chapel of prince
Esterhazy, where he met with that regard
which his great abilities deserved. Many
of his compositions are for the church,
and are said to be of the most excellent kind.
A few specimens are inserted in Mr. Latrobe's admirable selection
of sacred music: these consist of verses
taken from a mass, written for the use of
country churches, and they serve to show
how wide a difference there is between the
taste and ability of English and German
parish singers. According to the testimony
of his brother, Michael Haydn was in no way
inferior to himself as a musical genius,
though he has not been equally distinguished and successful.
HAYDON, an English composer of
vocal music, in the early part of the last
century. The most remembered of his
works is the duet "As I saw fair Clara."
HAYDON, (THOMAS) son of a respectable attorney, formerly of some eminence
in the city of London, was born in 1787.
He began the practice of the piano-forte
about the age of seven years, under the
tuition of Edward Frith, a London organist ; but as it was intended he should follow
his father's profession, music received, at
that time, but a moderate share of his attention ; and the practice of it was, from accidental circumstances, discontinued when
he was about twelve years old, and until
he was sixteen or seventeen; at which
time he spontaneously and vigorously renewed his studies with Frith, for whom he
occasionally officiated as organist.
Finding a growing dislike to the quirks
and quiddities of the law, he at length began to think seriously of music as a profession, and to that end continued his
studies with Charles Neate, from whom he
VOL. I.

HAY
received much valuable instruction iu the
art of piano-forte playing. In 1810-1811,
he performed several times in public,
and became soon after a member of the
royal society of musicians.
Feeling the imperfections of the pianoforte, and observing that those professors
most eminent for time and manner were
often performers on some concert instrument, Haydon, at an early part of his professional career, attended also to the practice of the violin and tenor, in the hope of
appreciating and enjoying the inestimable
quartets of Haydn, Mozart, Beethoven,
& c ; and the establishment of the Philharmonic society, of which he is an associate,
furnished him, as well as others, with an
opportunity of studying the effects which
so powerful an orchestra was capable of
producing, and of witnessing the manual
skill and excellent talent of his own countrymen,when put in competition with some of
the most eminent professors of the continent.
Haydon, for a short time, devoted his attention to vocal music, and had the advantage of some excellent instruction from
Thomas Welch, whose knowledge of dramatic effect, and of the connection between
sound and sense, tended much to exalt his
ideas of the powers of his art. To Dr.
Crotch, we understand, he is also indebted,
in a great degree, for his knowledge of
musical science.
On the establishment of the royal
academy of music last year, Haydon was
chosen one of the professors of that institution. The compositions as yet published
by him are bagatelles, which appear to
have been written more for the amusement
of a leisure hour, than with the design of
distinguishing the author as a composer.
Whether he may subsequently do any thing
of more consequence remains to be seen;
his name is certainly a fortunate one for a
musician, and brings no unpleasant associations to the mind.
HAYES (Dr. WILLIAM) was, early in
life, organist of St. Mary's church, Shrewsbury, which situation he retained, until a
vacancy occurring in the place of organist
2 A
353

HAY
of Christchurch, Oxford, he was sufficiently
fortunate to succeed to it, and consequently
left Shrewsbury for his new appointment.
Here he was admitted to the degree of
doctor of music, and afterwards appointed
professor of music in the university, as well
as organist of several of the colleges.
Few of his compositions are at present
known. Whilst at Shrewsbury, he composed and printed a set of " English Ballads." There are extant, in manuscript,
several of his ecclesiastical compositions,
which were written for the different colleges, and a few of his catches, glees, and
canons have been printed. He also assisted
in the publication of Dr. Boyce's cathedral
music.
Dr. Hayes was considered a studious and
active professor, as well as an excellent performer on the organ. He had the sole conduct and management of the concerts and
music meetings in Oxford until the time of
his death, about the year ] 779.
HAYES, (Dr. PHILIP) son of the preceding, was born about the year 1739, and
received his musical education principally
from his father.
Early in life, he was
admitted one of the gentlemen of the chapel
royal; in consequence of wfiich appointment
he resided almost wholly in London, until
his father's death, to whose situation in the
university he succeeded.
Respecting his compositions, which consist chiefly of anthems and services, little is
known ; they are, however, said, in many
respects, to have great excellence. For
several of the concluding years of his life,
Dr. P. Hayes is supposed to have been by
much the most corpulent man in England.
He is even said to have equalled in weight
the celebrated Mr. Bright, the miller of
Maiden, in Essex. The writer of the article
respecting him in Dr. Rees's 'Cyclopcedia,
is by no means liberal in his remarks. He
says, that, "with a very limited genius for
composition, and unlimited vanity, envy,
and spleen, he was always on the fret, and
by his situation had a power, which he
never spared, to render all other musicians
uncomfortable. No one entered the univer

354

HAY
sity occasionally, or from curiosity, who did
not alarm him. His extreme corpulency
will be longer remembered than his abilities,
of which he has left no example, that we
can recollect, worthy to be recorded."
In the month of March, 1797, Dr.
P. Hayes came to London, for the purpose
of presiding at the ensuing festival for the
Musical Fund. He had dressed himself in
the morning of the 19th of March, in order
to attend the chapel royal, but was suddenly taken ill, and expired shortly afterwards. His body was interred in St. Paul's
cathedral, the gentlemen of the chapel, and
the choirs of St. Paul's and Westminster,
singing Dr. Green's funeral anthem,
" Lord, let me know my end." Several of
the most eminent musical men attended as
mourners.
HAYM (NICOLO FRANCESCO) was born

at Rome, of German parents, and early in

life settled in London, as professor of
music, where he was engaged, at the beginning of the last century, with Clayton and
Dienpart, in an attempt to establish an
Italian opera.
The merits of Haym, as a musician,
entitled him to better encouragement than
he seems to have met with. He published
two operas of sonatas, for two violins and
a bass, which show him to have been an
able master. He was a man of learning,
and is to be regarded in other respects than
as a mere musician. Being well skilled in
medals, he published a work entitled " II
Tesoro de.lle Medaglie Antiche," in two
volumes quarto, Italian and English.
He also wrote " Le Merope," and " La
Deniadice," two tragedies, and published a
fine edition of the " Gierusalemme Liberata," of Tasso, in two volumes quarto,
with cuts; he was also the compiler of a
book, very useful to the lovers of Italian
literature, entitled " Notizia de' Libri rari
Italiani."
He further published, about the year
1730, proposals for printing by subscription
a history of music, in two volumes quarto,
which he had written in Italian, and was
to have been translated into English ; but it

H EA

II E A

is to be presumed he met with small encouragement, the work having never been
published.
HAYN, (F. G.) a pianist, published
some music for his instrument at Dresden
and Brunswick, in the years 1797 and
1798.
HEATHER

(WILLIAM EDWARD)

was

born in 1784. His parents were respectable, and carried on business in the upholstery line at Rutland-house, Charter-housesquare, for more than twenty-five years.
Manifesting at a very early age an excessive fondness for the creation of musical
sounds, young Heather first tried his skill in
generating a scale, by suspending irons,
called holdfasts, used by cabinet-makers
and joiners, proportioning them according
to their acuteness or gravity, and then
striking them with a wooden mallet so as
to produce, what he then termed, music.
Saws, chisels, mortises, scrapers, and other
tools, were put in requisition for the same
purpose of yielding sound, during the absence of his father's journeymen at meals,
and to their inexpressible torment and loss
of time and tools.
At about four years of age, he succeeded
in prevailing upon his father to look out at
some broker's shop for an old spinet, and
after much discussion as to the merits of
the different instruments examined, the father considering the workmanship of the
case of primary importance, while the son
looked for a very contrary quality, one was
approved and purchased for a few shillings.
After hammering this away until it had lost
all vitality, it was bartered for an old virginal, which then appeared to Heather the
ne plus ultra of all musical instruments.
To pass over a variety of other childish
efforts, he now approached the time when
he may be said to have entered upon his
eventful life. As his father's family had
much increased, and his parents had not
the means, with their limited capital, of
supplying their son with efficient instruction
in the musical profession, which he was
bent on following; and as it appeared
pretty evident that some of the children

must ^eventually seek good or evil in the

wide world, it was recommended by a worthy friend, a clergyman now deceased, that
the subject of this memoir should be the
first started from the paternal roof. From
the boy's rambling and romantic propensities, the proposition was at first met with
reluctance by his parents, but in the end
the son's good star prevailed, and the before-mentioned friend undertook to procure
his admission on the establishment of St.
Paul's cathedral as a chorister. The present Dr. Chard, of Winchester, leaving the
school, young Heather was elected to the
vacancy, and placed under the late Mr.
Hudson, then almoner and master of the
boys. He here completed his time of five
years, and received the usual gratuity from
the dean and chapter; but as the choir was
not then over strong in soprano voices, and
Heather's voice being then in its best state,
he was retained in the cathedral, and turned
over with the other boys to the care and
tuition of the late Mr. Bellamy, who succeeded Hudson as master. The children
in those days were wholly provided for in
the house, and had masters to superintend
the other branches of their education.
While in the cathedral, he was occasionally
borrowed to assist in the services of other
dioceses, so that from incessant employment
therein for many years, may be traced his
constant predilection for cathedral duty,
although the fashion of the day has, in a
degree, obliged him to relinquish it for more
profitable employment. Having benefited
by the instructions of Bellamy, and becoming restless (as he himself expresses)
" to cast my bread upon the waters in the
hope of its returning unto me after many
days," he became urgent for his release,
which at last was granted. He then engaged as anthem singer to various chapels of
ease at the west end of the town, and united
himself with choirs (both Protestant and
Catholic) wheresoever established. During
the week he got engagements in harmonic
societies and private glee parties, filling up
occasional vacancies by provincial employment. With all his practical experience,
2 A2
355

H fi A
however, he found, as he increased in years,
that his theoretical information was too
limited; he therefore followed his studies
closely, and haunted the sides of the musicians he chiefly esteemed ; whilst, under
the plea of turning over for them, he
watched their management of their instruments, and humbly sought half a dozen
hints for his improvement, when they had
finished their performance. His voice still
remaining undiminished in strength, he accepted a permanent engagement under the
celebrated Kev. S. Parry, to sing at his
chapel, near Bedford-square, on Sunday
mornings. This employment brought him in
contact with the, then, organist, Costellow,
to whom he became so much attached, that
in the end he prevailed on his father to
place him under articles to that gentleman
for five years. Costellow had just then
succeeded the late Stephen Storace at the
piano-forte in the orchestra of old Drury,
and his practice being very great, Heather
occasionally supplied his place in the orchestra at rehearsals, and sometimes on the
evening of performance. In the year 1798,
he commenced a new career by making his
first appearance on theatrical boards, in the
character of Edward, in The Smugglers.
While his voice lasted, he continued to represent the characters previously so ably
filled by the, then, master, Welsh, who had
retired; this occupation, combined with
provincial and minor engagements, terminated his theatrical career. His articles
having expired with Costellow, he parted
from his master with regret, whose peaceable and paternal roof he left, to throw
himself once more upon a turbulent and
sorrowful world. He then entered gay life,
became what is termed jolly and convivial,
and as his voice had settled into a pleasing countertenor, found a knife and fork
ready for him at most tables he chose to
approach. This employment of his time
leading to endless engagements in town
and country, he found his health giving
way, and his opportunities of study totally
broken in upon ; he consequently formed a
resolution to break the charm, and with a

356

ME A
small fiddle in his pocket, and but little
money, commenced his travels on foot.
Poetry, history, and biography constituting
his delight, Goldsmith came in for his share
of admiration; and, with a light heart and
empty purse, he determined upon seeking
adventures. To be brief, he returned from
the contemplation of lovely nature, and
man in his half wild state, to the metropolis, and commenced teaching, to the great
improvement of his finances. He then became organist to the parish of Walthamstow, after a severe contest, on the erection
of an organ in that church, and took up
his abode in a secluded part of Epping
forest. Here he read with more avidity,
and improved his musical erudition with
more effect, than he had done for several
preceding years. He ultimately succeeded
in establishing a very lucrative practice,
furnished a house in the village of Walthamstow, and received several pupils intended for the profession. But, alas! the
melancholy and restlessness which had at
times before afflicted him were now renewed; he therefore speedily determined
upon once again striking his colours, and
after apologizing to the neighbourhood
through whose kind exertions he had been
seated, after a most unprecedented and arduous contest, in his actual situation, he
made a final retreat from Walthamstow,
tendering-his resignation as organist. He
now returned to the grand focus, London,
and engaged in several periodical publications. Here, once more, he succeeded in
establishing himself comfortably, and increasing his practice. The old leaven of
vagabondizing, however, returned, and he
must fain leave all present happiness and
prospective advantage to see once more a
change of country and scenery. In due time
he again returned to London, and undertook
the management of the musical proceedings
of the Caledonian institution, then in its
infancy, for the support of Scotch soldiers
and sailors and their families. About the
same period, he agreed to produce a musical
piece at Covent-garden theatre, called
" The Nondescript," which, however, was

H EA
not successful. He next engaged to supply
the late duke of Kent with manuscript
symphonies for his excellent band ; also in
writing for the music trade, and preparing
young authors' works for the press, at the
same time increasing a very considerable
professional and private practice. Engagements and wealth now once more flowed in
apace, with the usual consequencesdesire
of change. He now pictured to himself the
services he might render mankind by becoming a disciple of Esculapius ; the thought
had no sooner existed, than the change was
determined upon. He sold all his goods,
and exchanged music for the dissecting
room. These studies were pursued for
some time very industriously, but his ruling
passiou again returning for music and a
wandering life, he deserted the table of the
demonstrator, and renewed his visits to
former patrons at their residences in the
country, remaining for a time at different
gentlemen's homes. Conceiving his health
to be on the decline about this period, he
next decided on trying the sea air and
bathing for a month or two in the west of
England. He therefore proceeded to Sidmouth with the intention of remaining only
a few weeks; but as the residence of a very
short period brought him into contact with
the surrounding neighbourhood, music became the order of the day, and in the
course of a few months he mustered an
orchestra, vocal and instrumental, (purely
amateur with the exception of himself) of
all the beauty and fashion of that part of
Devonshire. Monthly dinners took place
among the gentlemen, at which Heather
states he has heard four and five part glees
executed with a precision that would have
been creditable to some of his brother professors. The kindness and liberality he
experienced here from all parties, became in
the end the cause of extending his stay
from three or four weeks to three years.
Solicitations constantly arriving for his return to the metropolis, to which place he
had only once gone, from Devonshire, for a
few years, to getmarried! lie once more
shifted his quarters, and quitted the seclu-

HEB
sion and peace of " Devon's myrtle vales"
for the huge leviathan London, where he
still remains.
The following list comprises the acknowledged works of Heather: Vocal : " The
Persian Maid," a ballad. " Hygeia," canzonet. " Roheby," canzonet. " Allen a
dale," song. " I was a wild and wayward
Soy," harp song. "Cypress Wreath," harp
song. " A weary lot is thine, fair maid,"
song. " Brignal Banks," song and glee.
" Cavaliers Song." " Song to the Moon."
"Matilda's Song," harp. "Songs
in
the Musical Piece of The Nondescript."
" Duets in the Musical Piece of The Nondescript." " Glees and Choruses in the Musical
Piece of The Nondescript."
" Lord of
the Isles." "Wake, maid of Lora," song.
"Merrily,merrily,"duet.
"Roscoe'sRoses,"
song. " Know ye. the land," glee for five
voices, composed for the Sidmouth Philharmonic. "VocalStudies."
"First Volume of
Hebrew Melodies," for one, two, and three
voices. c Bul-bul, or this Rose so calm"
song.
" Ossianic Extracts."
" Gaelic
Gleanings." Instrumental: " Serenade,''
piano-forte, harp, and flute. " Overture to
the Musical Piece of Le Nondescript."
"Medley Overture." " Lochaber,"rondo,
piano-forte. " Soulagement de PEtude,"
No. 1, rondo, piano-forte.
"Soulagement
de I'Etude," No. 2, rondo, piano-forte.
" Vittoria March," military band and
piano-forte. " Capriccio," harp. "National
Airs," harp, piano-forte, and flute. " Russian Waltz," No. 1, piano-forte. " Ah,
perdonna," piano-forte, duet arrangement.
" Copenhagen Waltz," piano-forte.
"Allied Waltz," piano-forte. " Don Juan
Airs," eighth book, piano-forte and flute.
"Juvenile Studies," 1, 2, 3, 4, piano-forte.
" Cossack Rondo," piano-forte and flute.
" Trois Waltzes," piano-forte. " Overture Proserpina,"
duet arrangement.
"Zitti, Zitti, Piano, Piano," duet arrangement. " Treatise on the present State of
Piano-forte Study."
HEBENSTREIT, (PANTALEON) the in-

ventor of the famous Pantaleon, and at the.

same time one of the most skilful violinists
357

H EI

H E L

EMANUEL) a lecturer and singer in the

town of Dortmund, published at Nuremburg, about the year 1748, " Six Mourqui,
pour le Clav."
HEINEKE, (R.) a professor of music at
Berlin, published some variations, &c. for
the piano, in the year 1802.
HEINEKEN, (NICHOLAS) composer of
" Eight Psalm Tunes in Score, with an Accompanime7itfor the Organ or Piano-forte,"
A critic in the Harmonicon observes of this
publication : " Mr. Heineken's eight psalms
do him infinite credit, as a harmonist. We
have not often met with sacred music of
this description, the inspection of which
has afforded us so much pleasure as this
modest, meritorious work. The sweetness
of the melodies, the skilful arrangement of
the parts, and the unexampled moderation
of the price (three shillings) ought to recommend them, not only to all congregations
that promote devotional singing, but to
HECK, a writer of a treatise on thorough- every private family that wishes to cultibass, published at Preston's previously to vate serious music."
PIEINLEIN, (PAUL) director of the
the year 1797.
HECKEL, (J. J.) composer of some music and organist at Nuremburg, died in
music for the piano-forte, published at Paris 1686. He resided for some time in Italy,
and was celebrated for his performance on
in 1802.
HEEREN, (ABNOLD H. L.) professor of the harpsichord and several wind instruphilosophy at Gottingen, was born in 1760. ments. His compositions were also in high
He wrote "Dissert, de Chori Greecorum estimation.
tragici natura et intlole, ratione argument!
HEINROTH (J. C. G.) published some
habita," Gottingen, 1784.
music for the harp and piano-forte at DresHEIBERGER, (JOSEPH) a German den, between the yeaTs 1788 and 1795.
composer, resided at Rome in 1777, and
HEINSIUS, (ERNEST) an organist at
wrote there the opera "II Colonello," Arnheim, published at Amsterdam, about
which was considered the best piece of the the year 1760, six concertos for the violin,
year in which it was produced.
and six four-part symphonies.
HEINDL or HAINDL, director of the
HELBERT, a German musician, and
concerts at Inspruck, about the year 1782, violinist at Paris, published, in 1780, twelve
composed there the music of an opera trios for the violin, six duos for the flute,
called " The Merchant of Smyrna."
and an ariette.
H E I N E C H E N , ( J O I I A N N DAVID) chapelHELD, a violinist in the chapel royal at
master to the king of Poland and elector of Munich, was considered, in the year 1794,
Saxony, was born in 1683. He wrote one of the best pupils of the celebrated
much music for the church, theatre, and Eck.
chamber, also several didactic works on
HELD, (JOH. THEO.) a doctor of laws
music. His compositions bear date from at Prague, is an excellent amateur singer,
the year 1709 to 1728.
guitarist, and composer of vocal music. His
HEINECKE or HEINICKE, (JOHANN first work was published in 1796. It is.

of his time, followed, in 1697, the profession

of a dancing-master, at Leipsic, and had
attained, even at that period, such proficiency on his instrument, that count Logi
cried out on hearing him, " Comment ,'j'ai
4te en Italic, et je n'ai pas entendu de
pareil."
In 1705, Hebenstreit went to
Paris, and played there before Louis XIV.
This prince not only loaded him with his
favours, but even deigned to give his new
instrument the Christian name of its inventor.
The year after his return from Paris, he
entered the service of the duke of Eisenach, as chapel and ballet master to the
court, where he played double concertos of
his own composition with Telemami. In
1708, he went to Dresden, as chambermusician to the king of Poland, and there
received a salary of a thousand crowns.
The exact time of his death is not known,
bathe is supposed to have lived beyond the
year 1730.

358

HEL
called " Rosehen, von Pfeffel, in Musik,"
Prague. Another of his publications is
" 6 Lieder mit Klavicr," Leipsic, 1803.
PIELDERUS, (BARTIIOLOM-EUS) a church
composer in the seventeenth century, was
born at Gotha. His compositions bear date
from 1615 to 1621.
HELE, (C. DE LA) chapel-master at the
cathedral of Dornick, in Flanders, lived in
the latter half of the sixteenth century, and
published some masses and other sacred
music at Antwerp.
HELFER, (CHARLES D') a conrposer of
a " I\Sesse des Marts a qiiccire Vui.v" the
exact date of which is not known.
HELIA, (CAMILLO D I ) a contrapuntist
of the fifteenth century. Several of his
compositions were published by De Antiquis at Venice, in 1585, in which work
may be found, also, some pieces by Vittorio
di Helia.
HELLENDAAL, a German musician,
resident in Englaud about the year 1780.
He was the master of the late Dr. Hague
in thorough-bass and composition, and was
a man of undoubted attainments in musical
science. He published some violin music
in England. (Preston's Cat.)
HELLER lived, probably, about the year
1797, as an instrumental performer at Paris,
where, in the above year, Pleyel published
two of his quatuors for wind instruments.
HELLER, (JONATHAN) a doctor in theology, published, in the first half of the last
century, several works on music; among
others, " De saltationibus religiosis," Leipsic, 1737.
HELLMUTH, (FREDERICK) musician to
the elector of Mentz, was born in 1744.
He evinced great talents for music from
his earliest infancy, and had a fine tenor
voice. Three sonatas for the harpsichord,
with accompaniments for violin and violoncello, of his composition, were published at
Offenbach in 1774.
HELLMUTH, (CARL) younger brother
of the preceding, is a musician at Mentz,
and husband to Josepha Hellmuth, a celebrated singer in Germany.
HELMBOLD, (LUDWIO) bominThu-

HEM
riugia in 1532. Stark, his successor, printed
at Erfurt, in 1615, some fine canticles of
Helmbold.
HELWIG, (JOHANN F.) a composer of
canticles for the Lutheran church, died in
Germany in 1729.
HEMBERGER, (F.) a German pianist
and good composer, resident in France.
He published at Lyons and Paris several
operas of instrumental and vocal music,
between the years 1787 and 1790.
HEMMERLEIN, (J. C.) director of the
concerts at Fulda, was considered, in the
year 1800, an excellent violoncellist. He
was a pupil of Schlick for that instrument,
and of Uhlmann for composition. He published a concerto for the violoncello (his
Op. 1) in 1801.
HEMMERLEIN, (J.) a German composer, has published, chiefly at Offe'nbach
and Paris, twenty operas of instrumental
music, between the years 1783 and 1795.
HEMMERLIN, (J. N.) chamber-musician to the prince of Banburg, published
there, in 1748, a collection of six masses,
entitled " Chorus Musarum." The third of
the collection is of his own composition.
HEMMIS, (J. C.) chapel-master and
organist at Osnabruck, published at Cassel,
in 1781, a book of Catholic hymns, in
octavo, and in 1792 and 1800, some music
for the piauo-forte.
HEMPEL,

(GEORGE

CHRISTOPHER)

chamber-musician and violinist to the duke

of Saxe-Gotha, is known by his publications, since the year 1764, of different concertos and symphonies, and by twelve solos
for the violin. He died at Gotha in 1801,
in the eighty-sixth year of his age.
HEMPEL (CHARLES W I L L I A M )

was

born at Chelsea, in the year 1777. He

showed very early indications for musical
talent, and was placed under the tuition of
his relation, the celebrated A. F. C. Kollmann. With such advantages he could not
fail making rapid progress, and at the age
of eight, he performed during the service at
the king's German chapel, in St. James's.
Some years after this, he was placed at a
boarding-school in Surrey, where those
359

HEM
htrnrs which others devoted to "sport and
idleness, were by him dedicated to music
and drawing. In the years 1793-1794,
he went on the continent, principally to
Leipsic and Dresden, where he had the most
enviable opportunities of cultivating the chief
pleasure of his life, music. On his return
to London, he became acquainted with some
of the most eminent professors, and lost no
opportunity of the improvement which such
acquisitions afforded him. He had at this
time the honour of being introduced to the
immortal Haydn. Various circumstances,
some years after this period, induced him
to have recourse to music as a profession;
(which hitherto had not been the case) and
a prospect of succeeding to the organ at
Truro being held out to him, he was induced,
in 1803, to quit the metropolis. In May,
1804, he was elected organist of St. Mary's,
Truro, which post he has filled to the present day. Sacred music now became his
chief delight, and he has spared no pains in
producing a choir, the performance of which
is rarely to be equalled out of a cathedral.
It was long ere he turned bis thoughts to
composition, but after having- composed a
few psalms, which were much admired, he
was induced to proceed farther. The principal work he has published, is a volume of
" Church Services, Anthems, and Psalms,"
dedicated to the bishop of Lincoln. This
has been received with the most flattering
applause, and is now gone to a second
edition. He has also published an " Introduction to the Piano-forte," and has ready
for the press, a second edition of " Twenty
Sacred Melodies" dedicated to the Earl of
Falmouth. His next work, now also ready
for the press, (and which is honoured by
the patronage of the king) will probably
eclipse his other publications. It may, perhaps, be proper to add, that Hempel has
acquired the whole of his knowledge of
counterpoint from the works of Kollmann,
which alone he has studied. He has twice
received publicly the thanks of the bishop
of Lincoln, (then bishop of Exeter) for his
zeal in the services of the church, and has
been honoured by the most flattering com360

H E N
pliments from various quarters' on his publications. Hempel has also published a
poem, and painted many landscapes in

on.
HENFLING, (CONRAD) of Anspach,
a celebrated mathematician, published, in
1708, an epistle to the president of the
academy of sciences, at Berlin, in which he
very learnedly treats on the theory of music.
This paper is republished in the "Miscellan.
Berolin." T. 1. P. 3. pp. 265 to 294, of the
year 1710, under the title of "Specimen dc
novo suo Systemat Musico,"
HENKEL, (MICHAEL) conductor of the
music and organist at the Dome church in
Fulda, was born there in 1780. He was a
pupil of Vierling, and has composed and
arranged much music for the organ. He
has also published some pieces for the guitar
and flute.
HENNEBERG,

(JOHANN

BAPTISTE)

organist of one of the churches of Vienna,

has composed several dramatic pieces for
one of the theatres of that city, and has
also published " Notturni a quatre Voci e
Piano-forte," and some military music.
These compositions bear date from the year
1793 to 1802.
HENNET, (FKEYHEBB VON) a noble
amateur of music, resident at Prague in
1796. The musical meetings in his house
were very celebrated, where he not only
took the first violin himself, but composed
much of the music which was performed,
namely, symphonies, quartets, &c.
HENNIG, -(C. F.) chapel-master at
Sorau, published at Berlin, in 1775, a trio
for the harpsichord, and in 1781 at Leipsic,
a " Quod libet," for young musicians, in
two volumes. The latter work is a collection of different pieces for the voice and
piano-forte. In 1782, he brought out another collection of songs. Besides these vocal
compositions, twelve symphonies, six violin
quatuors, and six divertimentos for twelve
instruments, have been published by him at
various periods.
HENNIG, (J. C.) a flutist and composer
for his instrument. His works have been
published at Offenbach, Berlin, and Paris,

H E R
and from Op. 1 to 19, bear date from the
year 1796 to 1800.
HENRY, (B.) a violinist at Paris, has
published, since the year 1780, " Concerto
pour Violon, a neuf, No. 1." "Etudes
pour le Violon, en deux Parties." " Gammes et Caprices en double corde." "Themes
varies dans Us vingt-deux Tons les plus
?(site's." These themes are adopted by K.r?utzer, of the conservatory, for the practice of
his pupils. " Air var. pour Violon," and
" Recueil d'Airs pour Fl."

H E R

his former place until the time of his death,

in 1660.
He was deeply read in the theory of
music, and in composition he had few
equals. Like most of the Germans, he was
a sound and judicious organist. In the year
1643, he published, in the German language,
a work entitled "Musica Poetica;" and
ten years afterwards, a translation into the
same language of the " Arte Prattica e
Poetica" of Giovanni Chiodino. He was
also the author of a tract entitled "Musica
HENSEL, (JOHANN DANIEL) bom in Moderna Prattica, overo Maniere del buon
Germany in 1752. He wrote the words Canto," printed at Frankfort in 1658, in
and music of an oratorio, called " Jesus," which he strongly recommends the Italian
in 1798. He has also published some manner of singing. His other works are,
dramatic and other music, and a didactic "A small Tract on Thorough-bass" and
" A Discourse on Counterpoint."
work on the piano-forte.
HENSTRIDGE, (DANIEL) organist of
Of his musical compositions there are
the cathedral at Canterbury, about the year only extant, " JHeletemata sacra Davidis,"
1710, composed many anthems. The words and " Suspiria S. Gregorii ad Christum,"
of some of them are in the collection enti- for three voices. These were printed in the
tled Divine Harmony, published by Dr. year 1619, at the same time with another
Croft, in 1712.
of his compositions for six voices.
HERDER, (JOHANN GoTTFHIED VON)
H E P P , (SIXTUS) an organist at Strasburg, was born in 1732. He was a pupil first preacher at the court of Weimar, since
of Jomelli. Two sonatas of his for the the year 1776. He died about 1804. He
harpsichord were published at the above published many works relating to music.
town, and much more of his music is known Amongothers, one "On the Spirit of Hebrew
Poetry" the second volume of which conin manuscript.
HERBERTH, (ROBERT) born in Fran- tains dissertations on the music of the
conia in 1770. He has published some psalms, and on the union of music and
cantatas and piano-forte music. Several dancing.
HERING, ( C A M . GOTTLIEB) organist
of his masses (manuscript) have been much
of a town near Leipsic, published eleven
admired.
HERBIG, a good violoncellist in the operas of piano-forte and vocal music, between the years 1789 and 1812. Among
royal chapel at Berlin, and pupil of Mara.
HERBING, (A.B.V.) assistant organist them are several didactic works of merit.
to the cathedral at Magdeburg, died in the They are all published at Leipsic.
HERMANN, (J. D.) a German musiprime of life in 1767. He published much
vocal music of a comic cast, which was cian and celebrated pianist and composer
for his instrument, resided from the year
very popular in Germany.
HERBST (JOHN ANDREAS) was born 1786 at Paris, where he has published many
at Nuremburg, in the year 1588. At the works, up to the year 1802. He has long
age of forty he was appointed chapel-master since retired from the musical profession.
HERMES, (HERRMANN DANIEL) a
at Frankfort on the Maine. He continued
in that station about thirteen years, when clergyman of Breslau, born in 1731, comhe was called to the same office at Nurem- posed some vocal music in a printed collecburg. In 1650, at the solicitation of his tion of music at Breslau, in 1790.
HERRMANNUS, (CONTHACTITS) a Be*
friends, he returned to Frankfort, and kept
361

HER
nedictine monk, born in 1013. He received
the name of Contractus from being paralytic
in his lower extremities from infancy. He
was equally celebrated as historian and
composer, of which Walther in his lexicon,
and the abb Gerbert in his collection of
composers, have given sufficient proof; the
latter having collected together the rare
works of Herrmannus, and inserted them in
the second volume of his collection, under
the title " Opuscula Musica." In the same
place he has given specimens of the method
of notation at that period. Herrmannus
died in 1054.
HERSCHEL, (JACOB) brother of the
celebrated astronomer, was born about the
year 1734, He was master of the king's
band at Hanover, and an excellent composer of music for instruments, somewhat in
the style of Abel, and other musicians of his
day. One set of his "Sonatas for Two
Violins and a Bass," have been reprinted
in this country. He died in 1792.
HERSCHEL,

(Dr.

FREDERICK W I L -

LIAM) younger brother of the preceding, was

born at Hanover in 1738, where his father was
a musician, and by whom he was educated,
both in the theory and practice of music.
In the course of his theoretical studies, he
turned his mind to the higher branches of
the mathematics, still, however, considering
music as his profession. In the year 1757,
he procured the situation of organist in
Yorkshire, which he held till 1766, when
he accepted a place of the same nature at
Bath. It was here that he renewed with
ardour his astronomical studies, and, with
the aid of a telescope of an immense size, at
length discovered the planet which is still
known by his name. After this discovery,
his majesty George III. desired Herschel
to bring his telescope for his inspection to
Greenwich, and subsequently to the neighbourhood of Windsor, where the king allowed
Herschel a pension, on the condition of his
giving up music as a profession, and devoting
himself entirely to astronomy. We have
never heard of any compositions by Dr.
Herschel, but understand there are some in
manuscript.
362

HER
HERSTELL, (CONBAD) court-organist
at Cassel, was born in 1770. He is considered in Germany as an excellent pianist
and organist, and has published some works
for his instrument.
HERTEL, (JOHANN CHRISTIAN) direc-

tor of the concerts of the duke of Mecklenburg-Strelitz, and performer on the viol
da gamba, was born in Suabia in 1699.
He was very celebrated in Germany, as a
composer of instrumental music. He died
in 1754.
HERTEL, (JOKANN W I L I I E L M ) son of

the preceding, was born in 1727. He was also

director of the concerts of the duke ofMecklenburg-Strelitz, and subsequently of the
duke ofMecklenburg-Schwerin. In his youth
he was considered one of the best violinists
of the school of Benda; but the weakness
of his eyes having obliged him to give up that
instrument, he attached himself to the pianoforte, on which, in a short period, he arrived
at the highest degree of perfection. His
practical works are : 1. " Two Sets of
Songs," 1757-1760.2. " Two Romances,"
1762.3. " Six Sonatas for the Harpsichord."4. "A Concerto for the Harpsichord, with Accompaniments" Nuremburg,
1767.5. " Six Symphonies," 1767.6.
" Six Symphonies"
He also composed
many vocal pieces for the court, among
which two Passions are very highly
spoken of, the first of which appeared in
1762, and the latter in 1783. Others of
his sacred pieces are : "Jesus in Banden,"
1782. " Jesus vor Gericht" 11'82. "Jesus
in Purpur," 1783. " Die Gabe des heil:
Geistes," 1787. " Der Ruf zur Busse,"
1787. " Die Himmelfahrt Christi," 1787,
and " Die Geburt Jesu-Christi," 1787. He
further published some critical observations on the Italian and French operas. He
died in 1789.
HERZ, (HENRY) a fine pianist, and excellent composer for his instrument, born in
Germany. His " Brilliant Variations for
the Piano-forte, on the Air Ma Fanchette
est charmante," have been published in
London by Boosey. Herz is now at
Paris, where his execution astonishes

HE S
every body. He is expected shortly in England.
HESLETINE, (JAMES) a pupil of the
celebrated Dr. Blow, was, during nearly half
a century, organist of the cathedral of Durham, and was considered one of the finest
extemporary performers and church composers of his day. He composed many
beautiful anthems for the use of the choir ;
but on some misunderstanding taking place
between him and the dean and chapter, he
destroyed the whole of them. He married
a daughter of sir George Wheler, who died
shortly after, leaving no family. Hesletine
must have had very few relatives, as it was
many years after his death before an heir
could be found to the property he left, which
was considerable.

HE Y
Darmstadt.' He died in 1767. Besides his
compositions for the church, he left much
music for the viol da gamba.
HESSE, (JOHANN GEOEG CHRISTIAN)

a celebrated performer on the bassoon, was

born in Germany in 1760. He was for
some time in England.
HESSE, (JOHANN HEINIUCH) authpr of

" Kurze Anwcisung zum General Basse,"

published in Germany in 1776. He was
previously known as the author of some
sacred songs.
HEUD1ER, (ANTOINE FRANCOIS) bom

at Paris in 1782, published some violin

music, and composed the music of several
melodrames.
HEUGEL, (JOHANN) author of several
pieces published in Salblinger's, " Concentus
HESSE, (ERNEST CHRISTIAN) counsel- 4, 5, 6, et 8 voces," Augsburg, 1545.
lor of war to the landgrave of Hesse-Darm- He was chapel-master to the marquis and
stadt, was born in 1676. He was a cele- landgrave of Hesse-Cassel.
HEUSCHKEL,
(JOHANN PETER) a
brated performer on the viol da gamba. In
1698, he went to Paris to perfect himself on chamber-musician to the duke of Hildburghis favourite instrument. There he remained hausen, was born in 1773. He is a celethree years, and took lessons at the same time brated performer both on the hautboy and
from the two celebrated masters, Marais and on the organ, and has published some instruForqueray. These two professors being mental music.
bitter enemies, Hesse was obliged to change
HEWITT (D. C.) is by birth a Scotshis name and call himself Sachs to one of man, and came to London about the year
them, whilst to the other he was known by 1819.
He has written a work entitled
his right name. Both the masters were so "New Principles and Theory of Musical
satisfied with the extraordinary progress and Harmony," which is highly spoken of by
talents of their pupil, that they boasted of musical critics.
him throughout Paris, and finished by
HEYDEN, (J. B. VON) a German comchallenging each other to a public trial of poser of vocal music, published at Berlin
their pupil's skill, which was decided on, and and Hamburgh, since the year 1797.
a concert fixed for that purpose. Their asHEYNE, (FREDERICK) chamber-musitonishment may easily be conceived, when cian to the duke of Mecklenburg-Schwerin,
they both recognised their pupil in Hesse, and second husband to Madame Benda, the
on the appointed day. That the public might celebrated German singer. He has pubnot, however, be disappointed, Hesse per- lished " Trois Duos pour deux Flutes,"
formed at the concert, in the style of each Op. 1, Berlin, 1792, and a collection of
of his masters, and was considered to do songs, with piano-forte accompaniment, in
equal honour to them both. In 1705, he 1800.
undertook a journey to Holland, England,
HEYSE, (A. G.) a harpist and composer
and Italy. On his return he visited Vienna, at Halle, has published several works for
and performed before the emperor, who his instrument, and for the flute, since tha
presented him with a chain of gold. About year 1792.
the year 1713, he accepted the situation of
HEYTHER, (WILLIAM.) This gentlecourt chapel-master to the prince of Hesse- man was made a doctor of music on the
363

H E Y
following occasion. William Camden, the
justly celebrated antiquary, having, a few
years previously to his decease, determined
to found a history lecture in the above
university, his friend Mr. Heyther was
commissioned to wait on the vice-chancellor
with the deed of endowment. Heyther
having been very assiduous in the
study of music, expressed a desire to be
honoured with a musical degree; and accordingly that of doctor was conferred upon
him in 1622, at the same time with his
friend Orlando Gibbons. It is supposed
that he then examined into the nature of
musical instruction at Oxford, and found,
that although there was a professorship of
music founded by king Alfred, yet the
stipend was not sufficient to induce any
skilful man to become a candidate for the
office; and the reading of an old lecture
over and over again, had long been considered a matter of form. He therefore proposed, in a convocation held in 1626, to
found a new and more useful lecture; and
having gained the permission of the university, gave to them by deed, dated the 26th of
February, 1627-8, an annual rent charge
of sixteen pounds, sixteen shillings, and
eightpence, to found the above lectureship.
Of this, thirteen pounds, six shillings, and
eightpence were to constitute the wages of the
music-master, and theremaining three pounds
were to be given to the reader of a lecture on
the theory of music, once every term, and
of an English lecture on music at the time
of keeping the acts. Dr. Heyther's endowment was increased by the addition of the
ancient stipend, and was afterwards further
augmented by Nathaniel lord Crew, bishop
of Durham.

H IL
not appear to have been very extensive.
Wood informs us that the musical exercise
performed as the act for his degree was
composed by Orlando Gibbons. He died
in 1627.
HEYWOOD, an English musician and
poet, born in London. It is said that queen
Mary was so fond of his performance, that
she wished to hear him on her death-bed.
After the decease of that princess, he was
obliged to quit England on account of his
religion, and terminated his life at Mecklin,
in 1577.
HIEN, (L. C.) chamber-musician to the
duchess of Wurtemburg, in 1771.
HILARY, (ST.) bishop of Poitiers in the
fourth century, and born in the same town,
was the great adversary of the Arians, who
drove him from his native place, and obliged
him to seek refuge in Phrygia. After
some time, he was recalled, and died at
Poitiers in the year 367. He composed, in
355, the first hymns in Latin verse, which St.
Ignatius ordered to be sung in the churches.
HILDEBRAND,

(WILHELM; a

mu-

sician in Germany, published, about the

year 1811, at Leipsic, " 9 Lieder,
mil Begl. d. Guitar," and " 4 Weinlider
mit kleinen Choren init Begl. d. Guitarre."
HILL, (FREDERICK) of the city of York,
a professor of distinguished eminence, was
born at Louth, in Lincolnshire, where his
father filled the office of organist with
respectability for many years. At an early
age he was invited to the new organ at
Loughborough, in Leicestershire. Afterwards he returned to London, and, at the
solicitation of some of the leading musical
characters in York, ultimately settled in
that city. As a performer on the pianoforte and violin, he has exhibited considerable ability, and as a teacher probably still
more, having been employed in the family
of the archbishop and the surrounding
nobility for many years. The following
list of his works bear evident marks of taste
and genius: " Grand March."
"Caledonian Melody," dedicated to Miss Simpson.

Dr. Heyther, for some time previously

to his taking his degree, was a member of
the choir of Westminster, and a gentleman
of the chapel royal. Camden and he were
on so intimate a footing, as to reside together in the same house. He was appointed
executor in Camden's will, and upon his
death, came in for a considerable life estate
" Divertimento, Lady of the Lake,"
in his property.
Dr. Heyther's knowledge of music does dedicated to Miss Bell. " Three Military
364

HIL

H IL
Pieces for d full Band." " Three Military
Pieces for a full Band," dedicated to the
honourable Mrs. Meynell. " Canzonet,"
dedicated to Kalkbrenner. " Six Airs."

" Six single Songs.

HILL, (THOMAS) brother of the preceding, is organist at Pontefract. He is a
professor of eminence on the organ, pianoforte, flute, and violoncello.
HILL, (JOSEPH) younger brother of the
preceding, is organist of Stockton. He is
a performer of great ability upon the organ,
piano-forte, and harp. His principal compositions are, " Prelude and Fugue, Organ
or Piano-forte." Song, "Blow, blow, thou
vernal gale." Glee, three voices, " When
Aurora's soft blushes." "The Dawn, or the
Shepherd's Call." "An Introduction, Air,
and Hondo," dedicated to Miss Stapylton.
" Two Numbers of Progressive /wessons for
the Piano-forte."
"An
Introduction,
March, and Finale," dedicated to Miss
Thompson, Also several productions for
the harp, now preparing for the press.
HILLER,

(JOHANN

AD-AM)

chapel-

music, and published a dissertation oil

music, or the imitation of nature by musical
sounds. In 1766, he commenced editing a
periodical work, entitled " Wbchenthche
Nachrichten und anmerkungen die Musik
hetrefftnd." This was the first periodical
musical work in Germany. In 1762, he
established a concert at Leipsic, which is
cited by Gerber as a model for that species
of entertainment. In 1771, he opened a
singing-school for young ladies, and, four
years afterwards, founded a sacred amateur
concert, in which his pupils sang. In
1786, he joined the duke of Courland at
Berlin, and had the honour of executing in
the cathedral of that city, the "Messiah" of
Handel, with an orchestra of three hundred
musicians. Besides his periodical work, he
wrote " Instructions for Singing correctly,
with Examples"
also, " Instructions for
ornamental Singing, with Examples." He
translated a French work on music ; wrote
also the biography of celebrated modern
musicians; an account of his performance
of the " Messiah " at Berlin; and three
small dissertations respecting the same
oratorio, on the occasion of its performance
at Leipsic. He composed his cantatas for
the church in 1753, 1759, and 1761; a new
melody to the hundredth psalm, in 1785 ;
the " Stabat Mater" of Pergolese, with the
parody of Klopstock, in 1774, the same full
choir as in 1786; a collection of motets for
the use of the schools, in six volumes, from
1776 to 1787; the " Te Deum" of Handel for the peace of Utrecht, with the Latin
text, in 1780; the " Stabat Mater" of
Haydn, with the German translation of
Hiller, for the harpsichord, in 1782; " The
Pilgrims in Golgotha," an oratorio of
Hasse, translated into German, and pub*
lished for the harpsichord in 1784; and,
lastly, the " Tod Jesu," an oratorio by
Graun, arranged for the harpsichord, in
1786. He composed also some operas and
chamber music. He died in 1804.

master of the duke of Courland, and conductor of the music at the church of St.
Thomas, at Leipsic, was bora in 1728. In
his childhood he learnt to play on the violin,
flute, hautboy, and trumpet. He next took
lessons on the harpsichord of the celebrated
Homilius, then organist of Notre Dame
church at Dresden, where Hiller had been
sent to school. Singing, however, was his
principal occupation in music; and what
most contributed to form his talents in this
respect were fourteen operas by Hasse,
which he had the opportunity of hearing
during nine years that he remained at
Dresden, and of which he studied the
scores with assiduity. An idea may be
formed of his zeal in this pursuit, from the
circumstance of his having in three months
copied the scores of seven operas by the
above master. In 1758, he went to the
university of Leipsic to study jurisprudence.
There he still continued, however, to cultiHILLER, (FREDERICK) son of the prevate music, and composed six symphonies, ceding, was born at Leipsic in 1768, and
besides some sacred cantatas. He next easily, as may be imagined, obtained a mubegan to occupy himself with the theory of* sical education from his eminent father!
365

HIM

HIM
Early in life, he appeared on the theatrical
boards as a tragedian, and made his dibut
in the character of Romeo. He soon, however, quitted the stage, and was appointed,
in 1796, chef-d'orchestre to the national
theatre at Altona. He has published much
vocal and instrumental music, and some
light dramatic pieces.
HILLMER,

(GOTTLOB

FRIEDRICH)

counsellor to the duke of Wurtemburg, was

born in 1756. He published at Frankfort,
in 1781, a collection of odes and songs, and
another volume of the same at Breslau, in
1785.
HILTON, (JOHN) bachelor of music of
the university of Cambridge, was organist
to the church of St. Margaret, Westminster,
and also clerk of that parish. He died
during the time of the Usurpation, and was
buried in the cloisters of Westminster
abbey.
He was the author of a madrigal in five
parts, printed in the Triumphs of Oriana.
In 1627, he published a set of fa-las for
three voices, which are remarkable for the
excellence of their melodies ; and, in 1652,
a valuable collection of catches, rounds, and
canons, for three and four voices, under the
title of " Catch, that catch can," containing some of the best compositions of this
kind any where to be found. jWany of them
were written by himself, and others by the
most eminent of his contemporaries. In the
books of some of the cathedrals, there are
preserved a morning and evening service of
his composition which were never printed.
HIMMEL, (FREDERICK HENRY) chapel-

master to the king of Prussia, was born in

) 765, at Treuenbrietzen, a small town in
the district of Brandenburg; which same
place also gave birth to the venerable Nichelmann, who was not only a great pianoforte player, but also a profound composer.
Himmel was intended for the church, and
went to the university at Halle, to study
theology. After remaining there two years,
chance afforded him an opportunity of surprising the king of Prussia (Frederick William II.) by his skill on the piano-forte,
which prepossessed the king so much, in his
366

favour, that his majesty settled on him au

annual stipend, to assist him in cultivating
the talent which he evinced for composition.
In pursuit of this object, Himmel went to
Dresden, where he selected for his master
in counterpoint, the celebrated Naumann,
under whose careful and able tuition he
advanced rapidly in the science of composition; so much so, that after two or three
years he returned, in 1792, to Berlin, and
presented to the king a part of the fruit
of his studies at Dresden, namely, the
oratorio of " Isaaco," the words by Metastasio. This composition was, by his majesty's orders, immediately performed at his
private chapel, by the principal musicians
of the court, and met with such applause,
that the king appointed Himmel his chamber
composer, and presented him also with
about five hundred pounds: his majesty
further gave him permission to visit Italy
for two years, supplying him with an ample
stipend to defray all his expenses. Before
he left Berlin for Italy, his cantata," La
Danza," was performed with much dclat;
this was also one of his Dresden compositions. It is probably at Venice, that Himmel first resided in Italy, as we find, in the
year 1794, his pastoral, " II priino Navigators," composed for the theatre of that city.
At Naples, the king requested him to undertake the music for a serious opera, to be
called " II Semiramide" and to have it
ready for his majesty's birthday, on the
12th of January, 1795. Whilst occupied
with this work, the place of chapel-master
becoming vacant through the dismissal of
Reich ardt, the king appointed Himmel to
the office before his return from Italy. On
his arrival in Prussia, at the end of the same
year, a great fire broke out in Potsdam,
when he very honourably performed his
professional duties, by giving a series of
concerts of sacred music for the benefit of
the unfortunate sufferers. In the year 1797,
some splendid f&tes were given by the king
in honour of the princess's marriage with
the hereditary prince of Hesse-Cassel.
This afforded Himmel an opportunity of
showing the fertility of his talents in the

HIM

HIM

highest perfection. His " Semiramide" was

got up in the most magnificent style at the
great Opera-house; besides which, he composed, for the occasion of the wedding, two
cantatas, entitled "The Hessian Sons," and
" The Prussian Daughters;" also a grand
cantata, called " Confidence in God." Many
of his airs, duets, choruses, fugues, hymns,
&c. were also performed on that occasion
in concerts. A biographer, who was present
at the performance of " Semiramide," says,
" That the music contains such stores of rich
thoughts and inventive genius, that an Italian might easily carve out ten works from
Himmel's one, and still be interesting."
Himmel himself presided at the piano-forte.
Some critics have remarked, that many of
the vocal compositions of Himmel, especially
his early ones, are overburdened with instrumental accompaniments. This seems
to have arisen from his superabundance of
ideas, which age corrected. Woe to that
juvenile talent which has no shoots that
will bear pruning! Very shortly after the
above-named festival, Himmel's cheerful
music was changed into notes of woe, by
the death of his munificent patron, Frederick William I I . On this occasion he composed a "Requiem," which was performedin
the Dome church, at the king's funeral, in
1797, by an orchestra of one hundred and
fifty performers. For the coronation of
Frederick William III. in 1798, Himmel
composed a "Te Deum." He then requested
leave of the king to take a journey to Stockholm and Petersburg. After having performed before the Russian court, the emperor gave him a ring set with brilliants ; his
majesty also commanded him to compose a
new opera for the following winter. In consequence of which order, and with the permission of the king of Prussia, he remained
during that winter in Petersburg, and produced the opera of "Alessandro;" the first
representation of which was for his benefit,
and brought him the large sum of six thousand rubles, besides many valuable presents.
About the year 1801, Himmel visited England for a short time, but we have not been

stay in this country, or any subsequent

account of him till the period of his death,
which took place in Germany several years
since. The following list contains his
principal published works: " Vingt Variations pour le Clavdcin." (Epeier, 1790.)
" JDer Leyetmann."
(Herbst, 1796.)
" Blumenstraus, meinen Gonnern und Freiinden gewidmet ley meincm Ahschiede aus
Berlin im J. 1797." (Hummel.) " Der
Bergmann." (Herbst, 1796.) " Deutsche
Lieder am lilavier, ein JVeujahrs-Geschenk." (Herbst, 1798.) " Mtisique ChampStre executee a Pyrmont le 14 Juillet,
1797, a Voccasion d'une Fete donnie a S.
M. le Roi de Prusse, Fr. Guil. II., par la
Socidti desEaux a Pyrmont." (Hamburgh,
1798.) " Chanson de Rousseau, avec Accompagnement d'une Flute, Guitare, Pianoforte, et Violoncello." (1797.) " Chanson
Francaise 'Da?i$ le JardindeCythere,' pour
le Piano-forte." (1797.) " Matrosenlied
aus Roberts Eiland." " Deutsches lied zur
Geburtsfeyer R. Friedrich Wilhelm III"
(1798.) " Wiegenlied der Konigin von
Preussen, bey Gelegenheit Dero gluctlichen
Entbindung am 24 Juli, 1798." " Douse
Variations sur I'Air, Marlborough s'en va
f en guerre." (Berlin, 1798.) " Frauer cantate zur Begriibnissfeyer Fr. Wilh. II. von
Herhlots. In Mus. gesetzt und Hrn. Kappelhn. Naumann zvgesignet." (Hamburgh,
1799.) " 6 Deutsche Lieder, mit Begleitung einer Flute, eines Violoncello, und des
Piano-forte'' (Leipsic.,) " Six Romances
de Florian, avec Piano-forte ou Harpe."
" Six Romances Francaises CEuvres de
Florian, avec Accompagnement du Pianoforte, Cah. 2." (Leipsic.) " Sonate pour le
Piano-forte, avec la Flute"
(Leipsic.)
" Six Variations sur le Theme du Ballet
de Semir amis, pour le Piano-forte'' (Leipsic.) " Bitteum Frieden von Staudlin."
(Berlin, 1800.) " Grande Sonate, pour
deux Piano-fortes." (Leipsic, b. Kuhnel,
1801,) " Grande Sestetto, pour le Pianoforte, avec Accompagnement de deux A.
deux Cors, et Violoncello." (Leipsic, b.
Kuhnel, 1802.) " Quaticor pour le Pianoable to cgllect any materials respecting his forte, avec Flute, Fiolon, et Violoncello."

367

H IN

HIM
(Berlin, 1803.) "Fanchon; das Leyermad*
chen," an operetta often printed. " Trois
Sonates pour le Piano~forte, avec Violon et
Violoncello, dediie a S. M. la Reine de
Prusse, Nos. 1,2,3." (Leipsic, b. Kuhnel.)
" Trois Sonates, pour le Piano-forte, avec
Violon et Violoncello," Op. 16. (Leipsic, b.
Kuhnel,) " 12 Deutsche Lieder, mit Klavierbegl: Kurland's Sohnen, and Tochtern
gewidmet." (Leipsic, b. Kuhnel.) " Gesange aus Tiedge's Urania."
All the following works are published by
Kuhnel, at Leipsic: " Air des Matelots,
varie pour le Piano-forte et Violoncello, ou
Violon." " Musica Vocale Let. E. Terzetto
p. 2 sopr. e Tenore coll' Armonica."
" Ecossaise pour deux Piano-fortes, ou a
quatrc m." " Fanchon, arr. en Quatuors,
pour deux Violons, A. B. Livre 1, 2."
" Polonaise favorite, pour le Piano-forte''
" Marche Militaire, pour le Piano-forte,
Nos. 1, 2, 3." " 6 Gedichte aus dem Kullenion, mit P. F. oder Guit." " 6 Lieder v.
Gothe, m. P. F. oder Guit." " Die tensichtbareWelt v. Elisa v. d. Recte, m. P. F."
" Ouvert. de VOp.DieSylphen, agr. Orck.
0.22." " Klopstock' s Auferstehungsgesang
fur 2 sopr. auch Tenor tend Bass, (ad lib.)
m. P. F. 23 Op." " Gesellschaftslied.
Es kann schon, mit P. F. oder Guit." " 3
Gedichte von Friederike Brun, mit P. F."
" Zum Jahreschluss, ein Lied, m. P. F."
" Concert, p. P. F. Oe. 25 fin D.)" " Souvenir de Pyrmont, Musique de Gluck, avec
P. F." " Romance, Assise uu bord, avec
P. F. ou Guit."
" 12 Alte Deutsche
Lieder des Knaben Wunderhorn, in. P. F.
oder Guit'' "Freude, Friede, Hqffnung, m.
P. F." " Glaubc, Liebe, Haffnung, v.
Hufeland, mit P. F. Op. 29." " 6 Grosse
Walzerfur Liebhaber des P. F." " 6 Gedichte von Tiedge, Mahlmann, in. P. F.
oder Guit." " Grosse im Ungluck von
Mahlmann, m. P. F. oder Guit." " Bewusstseyn tend 5 Gedichte v. Tiedge, m.P. F."
" Lied von Fr. Schlegel, m. P. F." " Vater
Vnser, von Mahlmann!'
" Marches, p. 2
Clar. 2 Fag. Sfc" " 3 Lieder, der Abend
auf d. Wasser u. s. w. mit P. F." " Ossian
tend die untergehemk Sonne, nach Herders
368

Uehefsessung und mit Engt. Text, mit P. F.

und V." " Trost in Thrdnen, v. Gothe, fur
Sopr. und Tenor, m. P. F." " Die Slumen
und der Schmetterling, 10 Lieder v. Muchler, mit 10 nach der Natur illuminirten
Kupfern, in. P. F. und Vc." " Die Unschuld, Gedicht v. Muchler, m. P. F."
" Romances aus Gb'the's Faust, f. e.
mannl. Stimme, m. P. F." " Wiegenlied,
dreystimmig zu singen, m. P. F."
HINDLE, an English countertenor
singer and vocal composer towards the close
of the last century. He performed in the
years 1791-2 at the Vocal concerts, and was
chiefly eminent as a singer of part-songs.
He published several sets of canzonets and
other vocal music in a pleasing taste. His
glee, " Queen of the silver bow," is much
admired.
HINDMARSH, an English violinist, was
considered an excellent performer on the
tenor. He vas a pupil of Salomon, and performed at his concerts. He died in 1796.
HINGSTON, (JOHN) a pupil of Orlando
Gibbons, was organist to Oliver Cromwell,
who, notwithstanding the rage of the puritans in general against it, was himself a
great admirer of music. Hingston had been
retained in the service of the king, but,
being tempted by the offer of 100?. a year,
he went over to the party of the protector,
and instructed his daughter in music.
HINNER, chamber-musician to the
queen of Prance, was a celebrated harpist.
He was in London in 1781, and very much
admired for his performance of adagios. He
published much music for his instrument at
Paris, and four sonatas (his Op. 7) in
London. He also wrote the music of an
opera called " Lafausse De'licatesse."
HINRICHS,

(JOHANN

CHRISTIAN)

professor of statistics at St. Petersburg,

was born at Hamburgh. He published in
the former city a work on the origin, progress, and actual state of the music of the
chase in Russia. Suard states, that this
work is extremely curious. The author was
a friend of Maresch, who invented the style
of music for the hunting horns, which
has been since brought to such perfection in

H I T
Russia, as tb produce effects, of which no
other music can give an idea,
HINZE, (AUGUST HIMBEET) doctor of

medicine in Schleswick, composed some

operettas about the year 1797.
H I R E , (PHILIPPE DE LA) a mathematician and professor of artichecture at Paris,
died in 1718. In a work written by him
entitled " Mimoircs de Mathimatiques et
de Physique, Ifc." Paris, 1694, is to be
found the following essay, " Explicatio diversorum illorum sonorum, quos chorda super instrumentum musicum buccinte sonitum cemulans tensa edit, laudata expositione P. de Chales, et suppletis particularibus
nonnuttis adquce dictuspater non attendit."
Hire also wrote in the Mimoires de VAcadetnie des Sciences, for the year 1716, a dissertation entitled " Experiences sur le Son."
HIRSCH, (LEOPOLD) an excellent violinist in the chapel of prince Esterhazy,
when under the direction of the celebrated
Haydn. The following of his works are
published at Vienna. " Trois Duos pour
deux Violons," Op. 2, 1801, and " Trois
Duos pour deux Violons," Op. 3, 1803.
HITZELBERGER, (SABINA) born in
1755, was a celebrated German singer. She
sang with great applause, in the year 1776, at
the concerts spirituels and dcs amateurs, at
Paris, and was afterwards engaged as chamber-musician to the royal family. Shortly
after this, she returned to Germany, and sang
at Mentz, Frankfort, and other cities in her
native country, retiring from the musical
profession about the year 1795, and devoting her attention to the musical education
of two of her daughters.
HITZELBERGER, (JOHANNA) third
daughter of the preceding, was, in the year
1807, a singer in the service of the king of
Bavaria at Munich. Her younger sister,
Regina, also held the same situation, and
was likewise a principal singer at the theatre. Napoleon was so delighted with her
performance, that he wished to engage her
for his chamber music in Paris.
HITZENAUER (CIIRISTOPH) published
in 1585, in Germany, " Ratio componendi
Symphonias, Concentusve Musicos,"
VOL, I.

HOE
HOBETN,

(JOIIANN FREDERICK)

or-

ganist at Wolfenbuttel, died there in 1782.

He published " Elysium," a German drama
for the harpsichord, in 1781, Wolfenbuttel;
"A Collection of Songs," ^Cassel, 1778;
and " S i x Sonatas for the Harpsichord"
Cassel, 1780.
HOBRECHT, (JACOB) a Fleming, was
the preceptor in music to Erasmus, and has
the credit of having been an excellent musician. He is said to have had so great a
celerity of invention, that he composed in
one night a whole mass, to the admiration
and astonishment of all who knew him.
Glareanus asserts, that the compositions of
Hobrecht are grand and majestic.
HOCHBRUCKER, an inhabitant of
Donawert in 1700, was an excellent
performer on his father's newly-invented
pedal harp. He played before the imperial
court at Vienna in 1729.
HOCHBRUCKER, probably a descendant of the above-mentioned family, was a
celebrated harpist at Paris, in the latter part
of the last century. He published much
music for his instrument.
HOCHREITER, (Jos. BALTHASAR) or-

ganist at Lambach, in Austria, published

" Vesperce Dominicales et Festivce" for four
voices, Augsburg, 1706, and " Vespera:
de B. V. Maria" for four voices, two
tenors, and bass, Augsburg, 1710.
HODERMANN, (G. C.) a pianist and
excellent instrumental composer, resided at
Amsterdam, where he published fourteen
operas for various instruments, between the
years 1789 and 1795.
HOECKE, (C.) a celebrated violoncellist, probably still resident in Russia, published a concerto for his instrument, with
accompaniment for a full orchestra, at Moscow, in 1799.
HOECKH (CHARLES) was born at
Ebersdorf, near Vienna, in 1707. His father began to teach him the violin at a very
early age, and sent him at fifteen to Pruck,
to learn his art thoroughly. At the termination of his apprenticeship, he entered the
band of a regiment as a hautboy player.
He remained two years in Hungary, and
2 B
369

H O F
two more in Transylvania. The time of his
service being expired, he returned to Vienna,
and there meeting with Francis Benda, who
was just going into Poland, he accompanied
him through Breslau to Warsaw, where the
Staroste Sukascheffsky received them both
into his service. In 1732, Hoeckh went to
Zerbst, as concert-master. He died in 1772,
with the renown of having been one of the
greatest violinists of his time.
HOEFFELMAYER,

(MAHIA JOSEPH

HOH
ganist at Breslau, was born in the year
1700. He 'published much sacred music,
which was held in high estimation.
HOFFMANN, (JOSEPH) composer of a
" Notturno a deux Violons et Bass," published at Vienna before the year 1799, also
of a " Grand Trio pour le Violon, Tenor, et
Violoncello, No. 1," Vienna, 1803.
HOFFMANN, (LEOPOLD) a celebrated
composer at Vienna, died there in 1782,
and was succeeded in several public situations by Albrechtsberger. He composed
much sacred and instrumental music.

ANTON) born at Rastadt, was considered a

good violoncellist and performer on the
kettle-drums. He was for some time in
HOFFMANN, ( P H I L I P CARL) musician
this country, and afterwards at Hamburgh, to the court at Mentz, and afterwards
and finally, we believe, settled in Paris. He chapel-master at Offenbach, was born in
is the younger brother of Thaddeus.
the former town in 1769. He published
HOEFFELMAYER (THADDEUS) was much piano-forte music at Mentz and Offenviolinist to the elector of Mentz.
bach, between the years 1795 and 1805.
HOFFER, (MADAME) a celebrated
HOFFMEISTER, (FRANZ ANTON) chafemale singer at Vienna, was the sister-in- pel-master at Vienna, and very celebrated
law of the renowned Mozart, who composed, as a composer, was the proprietor of a muamong other music for her, two airs, sung by sic warehouse in that city. He commenced
the Queen of Night, in the Zauberftb'te.
publishing, in the year 1785, a monthly colHOFFMANN, (HBINRICH ANTON) in lection of instrumental music, which conthe year 1810, violinist at Frankfort, was tains several of the compositions of Haydn,
born atMentz in 1770. He studied compo- Mozart, and other celebrated masters, as
sition under the celebrated Kreutzer. The well as of his own. He died in 1812. (For a
following are among his published works: list of his principal works, see the Supple" Six Englische and Deutsche T'dnze," ment to this Dictionary.)
Op. 1, Mentz. " Concerto pour deux VioHOFHAIMER, (JOHN) organist to the
lons princip.," Op. 2, Offenbach, 1795. emperor Maximilian I., in the 15th century,
" Trois Violin quarttetten," Op. 3, Offen- is stated, by the musical historians of Gerbach, 1795. " Six Duos Concert, pour many, to have been a very skilful performer.
deux Violons,'' Op. 4, Mentz and Paris.
HOHLFELD, a mechanic of Berlin, is
" Gesllnge heym Klavier," Offenbach, 1799. worthy of mention in this work as the pro" Six Deutsche Lieder mit guitarre ii. jector of two curious musical inventions.
Klavier," 1802.
The first is a machine which writes down
HOFFMANN, (H. R.) a singer at the the notes as the performer plays them on
German theatre in Hamburgh, in 1797, pub- the harpsichord. It is true that the Rev.
lished there, about the same year, several Mr. Creed, an Englishman, had written a
paper on the same subject in the Philosopieces of vocal music.
HOFFMANN (GEOUG) composed some phical Transactions for the year 1747, and
instrumental music at Vienna previously to that Ungel, a German, had, in 1751, also
written on the possibility of constructing
the year 1799. (Traeg's Cat.)
HOFFMANN, (IGNAZ) composer of a such a machine, still Hohlfeld has the credit of being the first who put the idea in
sonata at Vienna. (Traeg's Cat. 1799.)
HOFFMANN, (J.) a composer of some execution. The celebrated Euler having
music for the mandoline. (Traeg's Cat.1799.) accurately explained to him the proposed
HOFFMANN, (JOIIAKN GEOBC) or- mechanical problem, he succeeded quickly
370

H OH
in manufacturing the machine, and soon
presented it to the academy at Berlin. It
consisted in two cylinders, applied to the
piano-forte in such a manner, that the one
received the music paper, which was given
out again by the other, the notes played
during the time having been marked in
small dots on the paper in such a way that
they could subsequently be written in regular notes. This process, however, being
still attended with difficulties, the academy
gave its simple approbation of the ingenuity
of the machine, and awarded a small sum to
the constructor, who, a few years afterwards,
took it to a country-house near Berlin,
where it was consumed by fire.
The
second invention of Hohlfeld was an instrument in the form of a piano-forte, presented
to the king of Prussia in 1754. It is mounted
with catgut strings, under which is a horsehair bow, put in motion by a small wheel,
small hooks being attached to the keys of the
instrument to draw the strings towards this
bow. This last invention has been lately very
much improved upon, as may be seen from
one of the Gazette di Milano of the year
1823, where is announced a new instrument called the violicembalo, professedly
invented by abbate Gregorio Trentin, of
Venice. It is described as a piano-forte,
and played by a bow. It has been rewarded by the gold prize-medal, and is
patronised by various amateurs and musicians, at the head of whom is Perotti,
chapel-master of Santo Marco. The exterior form of the violicemhalo of the abbate
Trentin is the same as that of a piano-forte
of six octaves. The strings are of catgut
of various dimensions, of which the lowest
are covered with metal wire, and each
string is appropriated to a single tone. At
the extremity of each key is a horizontal
lever, by means of which the string is raised
upwards to meet the action of the bow.
This bow consists of a piece of woollen
stuff, inwrought with silk threads instead of
hairs, which is drawn backwards and forwards by means of two cylinders affixed
to the sides, and set in motion by means of
a fly-wheel, worked by the right foot.

H OL
What appears new in this instrument is
as follows : 1. That in the down pressure of
the key, the string is compressed between a
little piece of thick leather, and retained in
the same manner as the violin string between the fingerboard and the finger of the
performer. 2. That in the pressure upwards of the strings, by means of a quill
affixed to the lever, the greater extension of
the string, which without this would take
place, is avoided, as well as the impurity of
the after sound.
That the formation of this instrument
may have been attended with great difficulties, of which an account is given in the
description of it, and that in overcoming
them, much perseverance was necessary,
cannot be doubted; particularly as the arrangement itself, as described by the inventor, appears sufficiently complicated.
The editor of the Harmonicon considers
the violicembalo to be only a revival of the
Celestina stop, invented and performed on,
thirty or forty years ago, by the late Mr.
Adam Walker, the well-known lecturer on
experimental philosophy.
HOLCOMBE (HENRY) was a singer in
the opera, at its first introduction into this
country. He did not, however, continue
long upon the stage, but left it, and obtained
a livelihood by teaching the harpsichord.
" Happy hours all hours excelling," is a
song of his composition, in the Musical
Miscellany. A few years before his death
he published a collection of twelve songs,
yet in print, set to music by himself; among
which is that of " Arno's vale," written by
Charles, Earl of Middlesex. Holcombe died
about the year 1750.
HOLDEN, (JOHN) an English musician,
and author of "An Essay towards a rational
System of Music!' Glasgow, 1770.
HOLDER, (WILLIAM) doctor of divinity.
Besides his eminence as a divine, and deep
knowledge in music, he distinguished himself as a philosopher, mathematician, and
philologer. He composed some anthems,
of which three or four are preserved in Dr.
Tudway's collection, in the British Museum.
From the regularity and unembarrassed
2 B2
371

H O L

H O L

this time, he became assistant to the late1

Mr. Reinhold, and played the organ at St.
George the Martyr, Queen-sqnare, London.
He was then appointed organist of St.
Mary's church, Bungay, in Suffolk, where
he remained seventeen or eighteen years.
From that time, he removed into Essex,
near Chelmsford, were he now resides. In
the year 1792, he took his bachelor's degree
HOLDER, (JOSEPH W I I X I A M ) bachelor in music at Oxford, under the late Dr.
of music at Oxford, was born in the year Philip Hayes; he was admitted an ho1765, in the parish of St. John's, Clerken- norary member of the royal academy of
well, London, of respectable parents, and music, and was one of the examiners of the
is, by his father's side, a real descendant of pupils for admission to that establishment;
cardinal Wolsey. Having shown an early he was also unanimously elected an hodisposition for music, he was, at the age of norary associate of the Concentores society.
seven years, and through the interest of a par- These distinguished honours were particuticular friend, (Mr.GeorgeCourtup) admitted larly flattering, as they were conferred withas one of the singing-boys at the chapel out his knowledge. Holder's works are
royal, St. James's, under the iate and much numerous, both vocal and for the pianorespected Dr. James Nares, with whom he forte; amongst them are, "A Collection of
remained seven years ; his conduct and assi- Glees and Canons, for three, four, and six
duity, during that time, rendering him a great Voices," dedicated to John Lemon, Esq.
favourite with his master, who did every " O dear, what can the matter be, with Vathing in his power to promote his pupil's riations ; " this little work has long been a
profound knowledge in music. Indeed, favourite. "A second Collection of Glees
the pains that were taken by that worthy and Songs," dedicated to Sir Patrick Blake,
man to instil the principles of the science Bart. "A third Collection of Glees," dewere very evident; for, on leaving the cha- dicated to Charles Barnwell, Esq. "A
pel royal, Dr. Nares would not, on any ac- Grand Duet," Op. 18, dedicated to the
count, permit Holder to study under any Misses Wynne. "A Collection of Preludes,"
other master, so great was his conviction of Op. 26 ; this work has been through two
his pupil's knowledge of the theory of editions. "A Military Divertimento," Op.
music. During the last two years he was 27, dedicated to General Cowell. "Sonata,"
in the chapel royal he was of considerable Op. 2 9 ; this work is a favourite, and dediuse to his master, both in the care of the cated to Mrs. Woods. " Trio for three
j unior boys, and in assisting him in playing Performers' on one Piano-forte," Op. 3 ] ,
the organ at the chapel royal. It was at dedicated to the Misses Thorold. "Sonata,"
this period that he experienced much kind- Op. 34, dedicated to Mrs. Sutton. " Sona~
ness from a gentleman, (the late major ta," Op. 38, dedicated to Mrs. Beauchamp.
John Lemon, of the royal horse guards) who " Borehamian Divertimento," Op. 39, dewas well known as an amateur : this gen- dicated to Miss Smith. "Ariette, with Vaman was extremely desirous of having riations," Op. 40, dedicated to Miss FitzHolder as a musical companion, but Dr. simmons. " Le Retour de Ghent," Op. 53,
jSTares strongly opposed it, and it was dedicated to Miss Jerningham. " Sonata,"
ultimately given up. On leaving the cha- Op. 56, dedicated to Mrs. Tower. " Trio
p d royal, he remained with his father be- for three Performers on one Piano-forte,"
tween two and three years, studying and Op. 60, composed expressly for the Misses
practising regularly twelve hours a day, Urquhart. "God save the King, as a Grand
which his fathercompelledhimtodo, During Duet for two Performers on one Piano-

arrangement of the several parts in these

specimens of his composition, it is easy to
discover that he had not studied and
practised counterpoint in the superficial
manner of an idle dilettanti, but with the
application of a diligent professor.
He published also " A Treatise on the
natural Grounds of Harmony. Dr. Holder
died in 1696, aged eighty-two.

372

H O L

H O L

forte," dedicated to Miss Tufnell. " Caller

Herring; arranged as a Rondo," dedicated
to the Misses Tower. " Thro' the wood
laddie, arranged as a Rondo." "Ally broker, arranged as a Rondo." "Light as
thistle down, arranged as a Rondo." "Step
as soft as zephyrs dying, arranged as a
Rondo." " We're a' noddin, arranged as a
Rondo." " The Campbells are comm, arranged as a Rondo." " Comi/i thro' the
Rye, arranged as a Rondo." " My native
highland home, arranged as a Rondo."
" The Request, arranged as a Rondo."
" Over the water to Charlie, arranged as a
Rondo." " Rose d'Amour, arranged as a
Rondo." "Air Martial, arranged as a
Rondo."
" Peggy Brown, arranged as a
Rondo."
" The land o' the leal, arranged
as a Rondo." " The Spinning-wheel, arranged as a Rondo." Holder has arranged
very many of Handel's celebrated choruses
as duets, and the same choruses to single
pieces; likewise a mass for three voices,
composed expressly for the community at
New Hall. Besides the above works, he
has composed several canons, glees, Te
Deums, and many anthems.
HOLLAIND, a professor of the harpsichord at Paris, published there some light
music for his instrument previously to the
year 1781.
HOLLAND,

(JOHAXX

DAVID)

con-

ductor of the music at the cathedral of

Hamburgh, was born in 1746. He composed, about the year 1780, the music of an
oratorio called " The Resurrection of Jesus
Christ:" he also published some instrumental music and songs. The last of his
works is dated in 17S0.
HOLLBUCH,

(JOHANN

SEBASTIAN)

author of a good didactic work, entitled

" Tonsystem, ahgefatzt in einem Gesprhche
zweyer Freunde," Mentz, 1792. He
also composed some instrumental music,
published at Manheim and Amsterdam.
HOLLMEYER, a musician at Vienna,
published some instrumental music there in
the year 1798.
HOLMES, a celebrated English performer on the bassoon. He performed at

Salomon's concerts in 1793, and for

years afterwards at all the principal con*
certs and music meetings in this country.
HOLMES, (JOHN) an organist of Salisbury cathedral, at the beginning of the
seventeenth century.
Some of his partsongs are to be found in a work called
The Triumphs of Oriana, published in
London in 1601.
HOLZBAUER, (IONAZ) chapel-master
to the elector palatine, was born at Vienna
in 1718. He first studied counterpoint
under the celebrated Fux, and afterwards
made two journeys to Italy ; in the second
of which he resided nearly two years at
Milan. On his second return to Vienna, in
1745, he was nominated chef-d'orchestre at the court theatre. He had, at the
same time, the opportunity afforded him of
applying his great talents to the composition
of a great number of works for the church,
as well as theatre. In 1751, he was invited by the duke of Wurtemburg to Stuttgard, and appointed his first chapel-master. In 1753, he was charged with the composition of the music for the pastoral opera,
" II Figlio delle selve," which was to be
performed at the opening of a new theatre.
This composition had such success, that the
elector gave him, the same year, the places
of chapel-master and composer at Manheim. There he commenced his career by
setting several Italian operas. In 1756,
he undertook a third voyage to Italy, principally with a view of becoming acquainted
with the music performed at the pontifical
chapel in Rome. He soon again returned to
Germany. In 1757, he was charged with
the composition of a new opera for the
theatre royal at Turin, where he in consequence went, and gave his " Niteti," which
was very successful. The following year
he brought out at Milan "Alessandro nell'
Indie," which was enthusiastically received,
and was performed for thirty successive
nights. In 1776, he composed his opera of
" Gunther von Schivarzhurg," for the theatre
at Mauheim,which met with the greatest success : it was the only German opera he wrote.
He died in 1783. Others of his works, not
373

H O M
named above, are "Isaaco," and "La Betulia
Liber ata," two oratorios, with many masses,
motets, &c. for the church; also the three
operas, " La Clemenza di Tito," " Le Nozze
d'Ariana e di Bacco," and " Tancredi." He
further wrote very numerous instrumental
pieces, amounting, according to Gerber, to
no less a number than two hundred and five.
HOLZBOGEN,(CLEMENsFEANz)chamber-musician to the duke of Bavaria, was a
celebrated violinist at Munich. Dr. Burney,
who heard his performance, states, that he
had more animation in his playing than
could be expected from a pupil of the Tartini school, which was generally distinguished rather by the delicacy and finish of
its style, than by vivacity of execution.
Holzbogen composed well for his instrument,
though he published only one concerto. He
died in the year 1785.
HOLZER, one of the best performers on
the harpsichord in Germany, towards the
close of the last century, published at
Leipsic, in 1779, a collection of songs, which
are much admired.
HOLZER (JOHANN) is believed by Gerber to be an organist at Vienna, and is probably the same composer as the last mentioned. He has published in the above
town " Trois Sonates pour Piano-forte,
Violon, et Violoncello," 1800. " Trois Sonates pour Piano-forte, Violon, et Violoncello" 1801. " Trois Airs varies pour
Piano-forte, avec Violoncello Obligato, Nos.
1, 2, 3 , " 1802. " Trois Sonates pour Pianoforte, avec Violon et Violoncello, Op, 7, Nos.
1 , 2 , 3 , " 1803.
HOMATI, (TOMASO) an Italian composer, probably of the sixteenth or seventeenth
century, published a collection of masses
and psalms for eight voices.
HOME (GEORGE) was a doctor of divinity at Canterbury, and published, in 1784,
a work entitled " The Antiquity, Use, and
Excellence of Church Music. (Rivington.)
H O M I L I U S , ( G O D E F R O I AuoDSTus)cha-

pel-master of the three principal churches,

and singer at the school of the Holy Cross, at
Dresden, was born at Rosenthal, on the
frontiers of Bohemia, in 1714, He was
374

HO O
one of the greatest organists of the last century, and also highly celebrated for his sacred compositions. Among his numerous
excellent works for the church, there have
only been printed his cantata on the passion
of our Saviour, in 1775 ; the rejoicing of the
shepherds on the birth of Jesus, in 1777 ;
and some motets, in the collection published
in six volumes by chapel-master Hiller.
HOMMERT, a musician in the private
band of his late majesty George I I I . , published, among other works, " Three Concertos for the Piano-forte," dedicated to
the duke of York, Op. 1, London, 1790,

and " Six Sonatas for the Piano-forte,"

dedicated to the queen, Op. 2, London,] 790.
HONICKE,

(JOHANN FRIEDRICH)

musician, and chef-d'orchestre for twentyfive years of the theatre at Hamburgh,

composed, in 1784, the music of an opera,
entitled " Le Mariage par Amour" and
some other vocal pieces. He also published a
musical journal, consisting- of a collection
from the German and French operas, arranged for the piano-forte.
He died in
1809.
H 0 N 0 R I 0 , (RONUALDO) a monk, and
composer of masses, psalms, litanies, &c.
about the year 1642.
HONSLEY, composer of a German
operetta, called " Ritter Willibald," published in 1794.
HOOF, (W. G.) composer of " Trois
Quartets pour deux Violons, Tenor, et Violoncello," Op. 1, announced in Traeg's
Catalogue for 1799.
HOOGH,

( D I R K VANDER)

a Dutch

musician, and author of a didactic work

entitled " lie Gronden van het Vocaal
Muzyh."
Amsterdam, 1769.
HOOK (JAMES) was born at Norwich,
in the year 1746, and was instructed in
the first principles of music by Garland,
an organist in that city. His early attachment to the art, by which he has rendered
himself so popular in this country, was not
more remarkable than has been the immense
number of his musical productions. These,
which amount to more than a hundred and
forty complete works, consist chiefly of

H OR
musical entertainments for the theatres,
concertos, sonatas, and duets for the pianoforte, an excellent instruction book for that
instrument entitled " Guida di Musica,"
an oratorio entitled " The Ascension,"
written in 1776, and more than two thousand songs.
Shortly after Hook's first arrival in London, he appears to have been engaged as
organist to Mary-le-bone gardens, and he
was subsequently invited to accept of a
similar situation at Vauxhall, which he
held between forty and fifty years, and with
what repute, all the visitors of those gardens are well acquainted. He was also,
for several years, organist of St. John's
church, Horsleydown. The principal of
his operatic pieces are, " Cupid's Revenge,"
Arcadian pastoral, 1772. " Lady of the
Manor," comic opera, 1778. " Too civil
by half;' farce, 1783. "Double Disguise,"
musical entertainment, 1784. " Fair Peruvian" comic opera, 1786. " Jack of
Newbury," opera, 1795. " Wilmore Castle" comicopera, 1800. " Soldier's Return"
comic opera, 1805. "Catch him who can,"
musical farce, 1806. " Tekeli," melodrama,
1807. " Music Mad," dramatic sketch,
1807. " Siege of St. Quintin," drama,
1808.
Hook died several years since,
and left two sons, the Rev. Dr. Hook, prebendary of Winchester, and Theodore
Edward Hook, author of several popular
dramas, and a gentleman otherwise well
known to the public.
HOOPER, (EDMUND) organist of Westminster abbey, and gentleman of the
chapel royal, (where he also acted as
organist) was one of the composers of the
psalms, in four parts, published in 1594,
and some of the anthems in Barnard's collection. He died in 1621.
HORMANN, (J.) a musician at Vienna,
published there some music for the pianoforte in the year 1800.
H O R N , (CHARLES FREDERICK) a native

of Germany, came to London in the year

1782, where he was kindly received by his
late excellency the Saxon ambassador,
Count Briihl, and recommended by him to

H O R
the late marquis of Stafford, to instruct in
music the ladies Leveson Gower. He then
dedicated his first work, " Six Sonatas for
the Piano-forte," to lady Charlotte, (the
present duchess of Beaufort.) In the year
1789, he had the distinguished honour of
being recommended by lady Caroline
Waldegrave, and his friend Mr. Clementi,
to her late majesty queen Charlotte, to
instruct the princesses in music, which he
did till the year 1811; he was also commanded to attend twice a week on her majesty, from 1789 to 1793.
Horn has been very eminent as a teacher
of the piano-forte and thorough-bass, and
has composed for his instrument various
sonatas, and also " Twelve Themes, with
Variations, with an Accompaniment for
Flute or Violin."
HORN,

(CHARLES EDWARD) son

of

the preceding, was born in the year 1786,

in the parish of St. Martin's, London. He
was educated for the musical profession by
his father, but, at the age of twenty-two,
finding his voice much improved, he resolved to take singing lessons of the celebrated Rauzzini, then residing at Bath,
and to whom he accordingly went for that
purpose; but, unfortunately, owing to
Rauzzini's ill health, of which he soon after
died, Horn had not more than five or six
lessons. They, however, were of essential service to him, and he still purposed cultivating
concert singing, but soon found it neither met
his wishes, nor answered his expectations in
a pecuniary point of view; upon which he
at length resolved to appear before the
public as a theatrical vocalist, on the opening of the English Opera-house, and to make
his dihwt in the opera of " Up all Night"
Mr. Arnold (the proprietor) knowing Horn's
talent for composition, presented him at
the same time with a melodrama, opera,
&c. &c, which latter was not so successful
as his hopes had anticipated; soon after,
however, he produced toother piece, called
" The Bee-hive," which amply repaid him
for past disappointments by the flattering
reception it met with. At the close of that
season he quitted the stage, and did not

375

H OR
return to it till 1814. He then appeared at
the English Opera-house as the Seraskier,
in the Siege of Belgrade, in which part he
was eminently successful, having greatly
improved his voice by long practice, and the
assistance of T. Welch. From that time
to the present, he has been ranked among
the principal singers of the metropolis.
Besides the before-mentioned works, Horn
has composed the whole or the greatest part
of the music in the following operas : " Persian Hunters." " The Magic Bride."
" Tricks upon Travellers." , " Boarding
House"
" Godolphin, the Lion of the
North." " Rich and Poor." " The Statue." " Charles the Bold." " The Woodman's Hut." " Dirce."
" Annette."
" Devil's Bridge," with Mr. Braham.
" Elections." " Nourjahad." " M. P.,"
arranged for Sir. T. Moore. " Lalla
JRoohe," brought out in Dublin, " The
Wizard," and " Philandering." He has
also published many songs and canzonets.

H O R
since which time he has continued his professional career, patronised by a numerous
connection. Henry Horn's publications
for the harp are, " Rudiments for the Single and Double Movement Harp." " Swiss
Melodies, Nos. 1, 2, and 3 . " " Ouverture
d'Albert et d'Adelaide."
" The Storm,
Rondo." " La Chasse, Rondo." " Le
Prince Troubadour." " La Surprise de
Diane."
" Koseluk's Ballad." " Ah!
perdonna." " Bavarian Air." " Copenhagen Waltz." " Je t'aime tant." " Polonoise." " Nouvelle Tyrolienne."
" Four
select Airs, with Variations," and " Fifteen Airs and Preludes."
HORN, (FRANZ) a doctor of philosophy at Brunswick, has written several
musical papers, in the Leips. Mus. Zeit.,
since the year 1801.
HORN, (JOHANN CASPER) a doctor of

laws, and scientific musical amateur, in the

latter part of the seventeenth century. He
wrote a work in four parts, called " ParerHORN, (HENRY) an eminent performer gon Musicum" consisting chiefly of music,
on the harp, was born at Paris in the year in the popular style of his time, also several
1789, of German parents. He received other works, which bear date from the year
the rudiments of his education in that me- 1664 to 1681.
tropolis, and came to England at ten years
HORNCASTLE, an English tenor singer,
of age, when he was placed under the eminent as a performer in glees. He is
tuition of Jean Baptiste Mayer, with whom said to possess a philosophical, as well as a
he remained seven years. In the year scientific, understanding of his profession.
1805, he made his first appearance at the
HORSLEY ( W I L L I A M ) was born in Lonoratorios, and continued his public perform- don,in 1774. In his youth, he was remarkably
ances till the year 1808, after which period unhealthy, and, owing to this circumstance,
he received further instructions from Jean to family misfortunes, and to other causes,
Elouis, (a harpist of the first celebrity) his general education was neglected, and
during the space of four years. With Elouis, he arrived at the age of sixteen before it
he also made a professional journey through was finally resolved that he should pursue
Scotland and Ireland with great success.
music for a profession. At that period, he
Horn returned to London in 1812, and was articled for five years to Theodore
was immediately engaged for the Bath con- Smith, who was esteemed to be a good
certs, where he had the honour of first in- piano-forte player, and who claimed to be
troducing to the public, Erard's double the first who introduced duets for that inmovement harp, the mechanism of which strument into this country. Smith's theowas the admiration of all the artists and retical knowledge was very limited. He
amateurs. On his return to the metropolis, was, besides, passionate and indolent to an
he had an opportunity of introducing this extreme degree, and entirely neglected the
beautiful instrument before a London au- instruction of his pupil, who was, at all
dience at the King's theatre, and was times, most happy to escape from his
received with the most flattering applause; violence.
376

H O R
However, while with Smith, the subject
of our present article made several valuable
acquaintances, who had a vast influence on
his future pursuits. In particular, he became very intimate with the three brothers,
Jacob, Joseph, and Isaac Pring, and from
them he first imbibed that love for vocal
music which he has ever since cherished.
Joseph Pring having obtained the situation of organist in the cathedral at Bangor,
removefl. thither, and his brother Isaac soon
afterwards went toOxford.where he died, after
having been organist at the new college for
some time. Horsley's great intimacy, therefore, was chiefly confined to Jacob Pring, from
whose kindness and friendship he derived
advantages, which he has never failed to
acknowledge. In 1799, he had the misfortune to lose his estimable friend; but,
previously, he had procured an introduction
to Dr. Callcott; and the example of those
two excellent musicians, and his constant
intercourse with them, had determined him
more particularly to the practice of glee
writing. At this time his ardour for composition was very great, and every moment
which he could spare from his occupation as
a teacher was devoted to it.
Besides glees, he wrote services in five,
six, seven, and eight parts, " Two Anthems," in twelve real parts, and a " Sanctus," for four choirs. He also employed
himself much in the construction of canons,
and found considerable improvement in the
exercise of that difficult species of writing.
In 1798, he suggested to his friends, Dr.
Callcott and Pring, a plan for the formation
of a society, the object of which should be
the cultivation of English vocal music.
The members met for the first time in that
year, and, on the suggestion of Mr. Webbe,
took the name of C'oncentores Sodales,
under which title it has continued to the
present day.
The establishment of this society was of
great advantage to Horsley. It introduced
him to an acquaintance with several eminent
professors; and, as each member was to preside in turn, and furnish music for the day,
it gave a new stimulus to his exertions.

HOR
About the same period, he was introduced
by Dr. Callcott to the, committee of the
Asylum for female orphans.and was accepted
by them as assistant organist of the institution. On this occasion, he resigned his
situation of organist of Ely chapel, Holborn,
which he had held for some years. He
now began to employ himself in vocal compositions with instrumental accompaniments, and set, among other things, " Smollett's Ode to Mirth," " The Cantate Domino," and an anthem to words beginning, " When Israel came out of Egypt,"
with which he took his bachelor's degree in
1800, at Oxford.
His time was now much occupied by his
pupils; nevertheless, when the Vocal concerts were revived, in 1801, he applied himself with fresh diligence to composition,
and furnished the managers of those concerts with many new works. This he was
particularly induced to do, not only from
his love to the art, but from his great intimacy with Harrison and Bartleman; and
till the death of the former, he was the
most copious and the most successful among
the native contributors to their undertaking.
In 1802, Dr. Callcott resigned his situation at the Asylum, and Horsley, having
been recommended by the committee to
the guardians at large, was chosen to succeed the doctor, without any opposition.
He continued to perform the whole duty
at the Asylum till 1812; when Belgrave
chapel, in Halkin-slreet, Grosvenor-place,
being finished, he accepted the office of
organist in it, and an assistant being allowed to him at the Asylum, he has ever
since held both situations.
For many years, a very large portion of
his time has been occupied in giving instruction ; but the remainder he devotes,
with unabated assiduity, to the study of his
art, and to the practice of composition.
His published works bear but a small proportion to those which he has in manuscript.
These consist of the services, odes, and
anthems already mentioned ; " Three Symphonies for a full Orchestra," which were
several times performed at the Vocal con377

HOR

H O W

certs; several trios for violin and violoncello ; and a great collection of single pieces,
consisting of glees, canons, songs, duets, &c.
His published works are : "Three Collections
of Glees, Canons, and Madrigals, for three,
four, five, and six Voices:" "Six Glees for
two Trebles and a Bass:" "A Collection of
forty Canons, of various Species." This
work the author has inscribed to his friend
Clementi, in language which shows his
respect and admiration for that great master.
He was likewise a great contributor to the
" Vocul Harmony," published some years
since by Clementi and Co.
That splendid work contains fifteen or
sixteen glees, which were purposely composed for it by him. To these publications
may be added single glees, songs, &c, most
of which will be found in the following list.
Horsley has occasionally employed himself
in writing for the piano-forte, chiefly, however, with a view to the improvement of the
younger class of students. His works for
that instrument consist of "A Set of easy
Lessons, containing familiar Airs." " Six
Sonatinas for the Use of his Pupils,
with the leading fingering
carefully
marked." " Three Waltzes for two Performers."
" Three Sonatas, composed for
the Hon. Miss Ponsonby." " Sonatas, Nos.
1 and 2." These are intended as part of a
series, to be published from time to time.
He has also printed " An Explanation of
the Major and Minor Scales," accompanied
with exercises calculated to improve the
hand. Of this work, we believe, he is now
preparing a second edition.
HORSTIG,

(CARL GOTTLOB)

Ger-

man Lutheran clergyman at Bucheburg, is

celebrated as a scientific amateur of sacred
music, and has written many works on that
subject since the year 1792. (See Leipz.
Mus. Zeit. from 1798 to 1802.)
HORZIZKY, private secretary to prince
Henry of Prussia, at Rheinsberg, from the
year 1780 to 1795. He composed fourteen
French operas and other vocal music, all of
which have remained in manuscript, except
some of his airs which were published by
J . A, Niclas, in a collection entitled "Choix
378

A'Airs de plusieurs Operas, arranges pour

le Clav." 1790.
HOSPINIAN, (RUDOLPH) a Swiss theologian, died at Zurich in 1626. He wrote a
work entitled " De'templis, i. e. de origine,
progressu, usu, et abusu templorum rerumque omnium ad tenipla pertinentiumy
HOSSA, (FRANZ) a violinist and excellent performer on the tenor, probably at
present resident at Vienna.
HOSTE, (L.) a composer of madrigals,
published at Milan in 1554.
HOSTIE, a clarionetist in the band of
the duke of Montmorency in Paris, in 1788,
published six duos and a concerto for his
instrument, with accompaniments.
HOTTETERRE, called the Roman, from
being born in that city, v/as chamber-musician to the king of France at Paris, in 1710,
and considered the best flutist of his time,
and a good composer for his instrument.
Among his works are "Principes de la Flute
traversiere, de la Flute a bee, et du Hautbois." This book was published at Paris
about the year 1707, and republished at
Amsterdam in 1708-1710, and in the
Dutch language in 1728. 2. "L'Art de
prSluder," Paris, 1722.
HOWARD, (SAMUEL) doctor of music,
was educated in the chapel royal, London,
and was not more esteemed for his musical
talents than beloved for his private virtues,
being ever ready to relieve distress, to anticipate the demands of friendship, and to
prevent the necessities of his acquaintance.
He was organist of the churches of St. Clement Danes and St. Bride. His ballads
were long the delight of natural and inexperienced lovers of music, and had at least
the merit of neatness and facility to recommend them. He preferred so much the style
of music of his own country to that of any
other, that nothing could persuade him out
of a belief that it had not, up to his time,
been excelled.
He died in 1782, and was succeeded in
his situations of organist of St. Clement's
by Thomas Smart, and of St. Bride's by
Thomas Potter, the son of the flute-maker of
that name.

H O W
HOWELL (THOMAS) was bom at Bristol in ] 783.
His father was a celebrated
performer on the flute, and was the first
person who opened a regular establishment
for the sale of instruments and music at
Bristol. At the age of fourteen, young
Howell was apprenticed to his father, and
being naturally fond of music, practised it,
for its own sake, when his other various occupations would permit. He had some
masters, such as they were ; but in reality
received more solid information on the
science from a few casual interviews with
Dr. Busby, than from all the regular lessons
he took from others. Early in life he was
employed as a teacher, and remarking,
what he considered the desultory manner in
which the various books of instruction were
written, and being also desirous of rendering himself useful in his profession, he frequently took occasion to write down definitions and examples calculated to elucidate
and remove difficulties as they arose in the
mind of his pupils. In many cases he had
the mortification to be questioned by the
parents of his scholars, who, unfortunately
for the teacher, were, in these instances,
ignorant of the science of music.
"Is
there nothing printed, Mi. Howell, that
would supply the information you are taking so much pains to write ? if so, would
it not be better to let my daughter have it,
as writing down occupies a considerable
portion of the time allotted for your lesson V
His feelings were not a little wounded on
such occasions, till at length he determined
on publishing what he considered an improved mode of instruction. He first applied
the work to his eldest daughter's instruction, whose comprehensive mind indicated
itself at so early a period of life, that he was
induced to commence teaching her the rudiments of music at the age of four years
which he so conducted as to cause it to bi
amusing to her rather than an irksome task
One of the plans he invented for this purpose, was the " Musical Game," since published, for teaching the degrees in the trebl
and bass clefs, and this he found to answer
his most sanguine expectations. As the

HOY
child's astonishing abilities expanded, and
:alled for new matter for study, he continued
writing and composing for her, which caused
.is work to proceed with regularity, and
was a strong excitement for him to persevere in his undertaking. His instructions
were repaid by a most extraordinary progress : at the age of eight years, the child
could play almost any thing that was put
before her. When she was between four;een and fifteen, she was at a party, where
being requested to play, and not having"
provided any music for the occasion, a concerto was presented to her with which she
was totally unacquainted; there being several
amateurs present, the accompaninents were
played, and the piano part executed by the
child to the astonishment of the auditors.
Her extemporary performances also exhibited
a richness of fancy combined with a refined
taste and judgment that seemed far beyond
the powers of one so young. In addition to
her musical abilities, her mind was highly
cultivated and her manners unobtrusive;
she was fond of philosophical pursuits, and
possessed of the highest sense of honour and
integrity. In the course of one fatal week's
illness, from typhus fever, the unhappy
father was bereaved of this inestimable
treasure. She was born in 1807, and died
in 1822.
Howell is at present engaged in writing
" Instructions for the Violin," which he intends conducting on similar principles to
those of his " Practical Instructions for the
Piano-Forte;" that work having been highly
praised by the musical reviewers, for its
clearness of definition and closeness of precept and example. He has further composed
and published several very pleasing rondos
for the piano-forte. (Goulding's Cat.)
HOYLAN (JOHN) is the son of a respectable manufacturer of cutlery in the town of
Sheffield, in Yorkshire. He was born in
1783, and early in life evincing a taste for
music, he was placed under the tuition of
William Mather, the organist there, whom
he succeeded, in 1808, as organist of St.
James's church; which situation he held
till 1819, when he was induced, from

379

HUD

H U G

pressing solicitations, to remove to Louth, in an excellent theoretical and practical muLincolnshire, a teacher of music being much sician, and also a poet. In a published
wanted in the schools of that neighbourhood. volume of his poems, is a prefatory essay
A short time after his settling there, the on the advantages of the opera above traorganist's situation became1 vacant by the gedy and comedy.
HUDSON, (ROBEKT) bachelor of music,
death of Hill, when, after a competition
with three other candidates, it was decided and born in 1732, was during many years
in Hoylan's favour, and he was accordingly senior member of his majesty's chapel
chosen to fill the situation. He is the author royal and of St. Paul's cathedral. He was
of several anthems and pieces of sacred music, admitted vicar-choral of St. Paul's in 1756,
amongst which is the very popular tune to and a gentleman of the chapel royal in
" Merrick's Version of the Hundred and Fif- 1758. Hudson was almoner of St. Paul's,
tieth Psalm, with appropriate Interludes," and master of the choristers from 1773 till
and composed a very pleasing
published by Goulding and Co. Amongst his 1793,
piano-forte works are, " The Highland Fling service, which is still performed in that
So<fo,"(Goulding and Co.) "ThreeWaltzes cathedral. He was also music-master of
and Polonoise," (Clementi and Co.) " Les Christ's hospital, and composed many
In his
Enfant de Brunswick, Quadrilles," (May- hymns for that institution.
hew and Co.) " Andante and Polacca," younger days, he sang at Ranelagh and
(Mayhew and Co.) "Thinknot resentment Mary-le-bone gardens. He died in the
lingers," song, (Goulding and Co.) "If year 1815. His remains were interred in
thou hadst e'er strayed," (Mayhew and St. Paul's cathedral.
Co.) " The land o' the leal," (Mayhew and
HUEBER, (WENDELINUS) organist and
Co.) &c.
composer at Vienna, published there, in
HOYLE, (JOHN) author of a work en- 1650, " Cantiones sacrce, 1, 2, et trium
titled " A complete Dictionary of Music, Vocum cum Basso ad Organ."
containing a full and clear Explanation,
HUEBSCH, (JOHANN GEOBG GOTTdivested of technical Phrases, of all the HELP) a teacher of mathematics in GerWords and Terms, English, Italian, S(c. many about the middle of the last century,
made use of in that Science, speculative, published, mostly between the years 1764
and historical."
(Symonds, and 1767, many critical works on composipractical,
London, 1790.)
tion, the manufacture of instruments, and
HUBATSCHEK, a German composer of various curious musical questions. He died
operettas, at Gotha, about the year 1791.
in 1773, in the eightieth year of his age.
HUBER, (PANCRACE) a violinist and balHUGO, a priest at Nieutlingen, in Sua~
let-master to the court at Vienna in 1772, bia, died about the year 1332, and left a
published at Paris " Siv Duos for Vn. and manuscript entitled " Flores Musicte omnis
T." Op. 1, and subsequently, at Lyons, Cantus Gregoriani," which was published
" Four Quatuorsfor FL, V., T., and Bass." atStrasburg, by John Pryss, in 1488.
Dr. Burney, in his travels, speaks highly of
HUGOLINUS, (VINCENZO) chapelthe compositions of Huber.
master of the Vatican at Rome, was born
HUBERT, or properly UBERTI, ( A N - at Perugio. He appears to have been one
TONIO) a sopranist at the opera at Berlin, of the best church composers of the sevenwas born at Verona about the year 1697. teenth century.
Among his works are
He was much admired in his adagios, and " De Masica." " Quatro Motetti Concerwas a pupil of the school of Porpora, for ting'
" Motetti e Salmi cl due e tra
which reason he was called in Prussia, chori." " Due Madrigali & 5 voci."
Porporino. He died in 1783.
" Messe e Motetti a due e tre chori,"
HUDEMANN, (LTJDWIG FRIEDIUCH) And " Salmi a due e tre chori."
doctor of laws at Hamburgh, in 1732, was
HUGOT, (A,) flutist at the comic opera
380

HUM

HUM

at Paris, and professor of his instrument a t ! sion, but an excellent performer on the
iol da gamba, published, in 1607, and dethe conservatory, was an excellent performer. In an excess of brain fever, in the dicated to Anne, the queen of James I., a
year 1803, he wounded himself several collection of songs, entitled " Captain
times with a knife, and threw himself out Hume's poeticall Musicke, principally made
of a window of the fourth story of a house or two Basse-violls, yet so construed that
into the street. He was at the time forty- it may be plaied eight several waies upon
two years of age. There was another flutist iundrie Instruments, with much facilitie."
HUMMEL, (JOHANN NEPOMUK) chaat Paris about the same time, called the
elder Hugot, but the principal published pel-master to the duke of Saxe Weimar,
works are by A. Hugol. Among them are resides at Vienna, where he was born in
the following : " Methode de Flute :" this the year 1780. He is one of the most
work was written jointly by Hugot and celebrated living pianists and composers
Wimderlick, and was adopted by the con- for that instrument. He was a- pupil of
servatory. " Six Duos Concert, pour 2 Mozart, AlbrechtsbeTger, and Salieri. When
Fl." Op. 1, 1798. "Six Duos Concert, only nine years of age, he performed at a
pour 2 FL" Op. 2. " Six Duos Concert, concert given by Mozart in Dresden, and
pour 2 Fl." Op. 3. " Six Airs vane's, pour in the following year he played in public
FL avec B." ' Three Trios it 2 Fl. et B." at Cassel; in both of which places he was
Op. 6. ' Three Trios a 2 Fl. et B." Op. 7. received with enthusiasm. He passed the
" Six Sonat. pour FL et B." Op. 8. " Six years 1791 and 1792 in England, where his
Duos Concert, pour 2 FL" Op. 9. And Op. 1 was engraved on copper, and dedi" Quatre Concertos, pour la FL, Nos. 1, 2, cated to the queen. In 1793, he returned
to Germany, where, in that and the follow3, 4," 1797 to 1802.
ing year, he performed at various of the
HULLMANDEL, (NICHOLAS JOSEPH)
principal towns ; till at length^he returned
nephew of the celebrated Rodolphe, was a
to Vienna, where he has since applied himvery eminent pianist. He formerly resided
self more to composition than to playing in
at Paris, which capital he was obliged to
public. The scientific skill of his works
fly in the French revolution, on account of
is every where acknowledged, and some
his political opinions. He then settled in
persons go so far as to rank his compositions
London, where he continued till his death,
with those of Haydn, Mozart, and Beewhich took place in 1823, at the age of
thoven. His music is in general extremely
seventy-two. Among his works are " Douzt
difficult, but yet by no means deficient in
Trios de Piano," Ops. 1 and 2. (Paris, 1780.)
melody. Among his principal works are
"Three Sonatas for P. F. with Acct.for
the following : Instrumental: " Variations
V." Op. 3. (London.) " Three Sonatas
to La Belle Catherine, the Ploughboy, and
for P. F. with Acct.for V." Op. 4. " Three
a, German Air," Op. 1. (London, Preston.)
Sonatas for P. F.with Acct.for V." Op. 5.
" Vars. to Lass of Richmond Hill and Jem
(London.) " Six Sonatas," Op. 6. "Three
of Aberdeen," Op. 2. (London, Preston.)
Sonatas, with V. Ob." Op. 8. And " Sonata
" Airs var. pour le Clav." Op. 3. (OffenV. Ob." Op. 10. (London, Vienna, and
bach, 1793.) " Three Sonatas for the P.
Paris.) Hullmandel wrote also the article
F., with Ace. for Fl. and V." dedicated to
Claeicin in the Encyclope'die Slle'thodique.
the Queen. Op. 5. (London, Preston.)
The celebrated, Greatorex says of him.
" Ariette favor, de V Optra Castor et Pol" He is the first composer who so united
lux, Var. pour le Clav. avec. Accomp. de
the parts of his sonatas, as to prevent their
deux V., deux FL, deux Curs, A.et B." Op. 6.
servile repetition: an intermediate passage
(Offenbach, 1799.) " Gr. Sinf. h I'Occain them frequently connects the two parts
sion du Couronnement de S. M. Paul I. <}
into one."
Moscow, arranges pour Clav. et Fl, par
HUME, (TOBIAS) a soldier by profes381

HUM

HUM
Lutgert."
" Three Ftighe p. it p. Cemb."
Op. 7. (Vienna, 1800.) " Sonate, pour le
P. F." No. 13. (Vienna, 1803.)
" Gr.
Trio, pour le P. F., V., et Vc. Concert." Op.
12. " Fantasie pour le P. F." Op. 18.
(Vienna, 1805.) " Brilliant Hondo," Op.
50. " Concerto in A minor," Op. 85.
" The Celebration of the Birth and Day
of Christening of Parents, with Ace."
Op. 73. " Gr. Quintetto," Op. 74. " Gr.
Quintette," Op. 87. " Gr. Quintetto," Op.
97. " Trio for P. F., V., and Vc" Op. 22.
" Trio in G for Do." Op. 35. " Trio in
G.for Do." Op. 65. " Adagio, Vars. and
Rondo, on a Russian Theme, for P. F., FL,
and Vc" Op. 78. " Grand Trio in E
major for P. F., V., and Vc," dedicated to
J. B. Cramer, Op. 83. " Grand Trio for
Do." Op. 93. " Grand Trio for Do."
Op. 94. ''Divertissement in E flat, for
four hands," Op. 51. " Sonata in Efiat
with V. or T." Op. 19. " Sonata in D,
with V. or F. Obi." Op. 50. " Sonata in A,
with V. orFl. Obi." Op. 64. " Sonata in G,"
Op. 60. " Grand Sonata," Op, 20. " Grand
Sonata in C," Op. 30. " Grand Sonata,"
ded. to the grand-duchess Maria Paulowna.
" Caprice in F." " La Bella." " Capricciosa." " Preludes in all the Major and
Minor Keys," Op. 67. " Sappho, a Grand
Heroic Ballet." " Monferinc, varied for
P. F. and Vc. or V.," Op. 54. " Vars. to
the Tyrolese Air A Schilssl aind a Reinl."
" Five Vars. to the Air La Sentinelle."
Ci
Vars. to the Romance Partant pour la
Syrie." " Vars. to the Air Vivat Bacchus"
ct
Ten Variations to a Theme in Armida,
by Gluck," Op. 57. " Vars., Adagio, and
Rondo to the English Air Pretty Polly."
Ki
Vars. to an original Theme in A," Op. 76.
" Six favourite Polonaises, Nos.\,2," Ops.
70 and 71. " New Waltzes, No. 1 to 7."
" First Concerto for P. F. and V. principals," Op. 17.
"Second Concerto,"
Op. 34. "Third
Concerto," Op. 75.
" Grand Serenade as a Pot-Pourri, for
P. F., V., Guit., Clari., and Bassoon, or
Fl. and Vc'' Op. 63. " Grand Serenade as
a Pot-Pourri, for P. F., V., Guit., Clari.,
and Bassoon, or Fl, and Vc." Op, 66.
382

" Grand Septuor, dedicated to Maria

Louisa," Op. 74. " Overture to Opera
DieRiiekfahrt," Op. 69. " Grand Sonata,
in A flat" Op. 92. (This is universally
allowed to be one of the finest productions known for the piano-forte.) " Three
Fugues." " Grand Sonata, dedicated to
Haydn."
" Rondo," Op. 11. " Le Tableau anime",divert." Op.33.
"Sonata,"
Op. 81. " Der Zaubencng, a grand Pantomime." " Quintet of the Negroes in
theBattet of Paul and Virginia."
" PotPourri, Nos. 1 and 2, from the Opera Eselshaut," Ops. 58 and 59. " Overture to Die
Gute-Nackricht."
" Vars. to the favourite
theme in Les deux Savoyards?' t( Vars. to
God save the King."
" Vars. to a Dutch
Song," Op. 21. " Vars. to a March in
Cendrillon," Op. 40. " Twelve German,
Dances," Op. 29. " Sim very easy Pieces."
Op. 52. Vocal: " Messe,with Organ Ace.
No. \," Op.77. " Messe, with Organ Ace.
No. 2," Op. 80. " Polymelo's Russian
national Songs, for four solo voices, chorus,
and full orchestra," Op. 82. "La Senlinelle, varied for Voice, P. F., V.,
and: Guitar Concertante, with Vc." Op.
71.
HUMMEL,

(JOHANN

BARNARD)

native of Berlin, is a pianist and good composer in his native city, where he is also
proprietor of a music warehouse. He has
published some pleasing compositions for
his instrument.
HUMPHREY

(PELHAM) was one of

the first set of children of the chapel royal,

after the Restoration, and was educated at
the same time with Blow and Wise, under
captain Cook. He was admitted a gentleman of the chapel in 1666; and distinguished himself so eminently in the composition of anthems, as to excite the envy
of his master, who, it has been reported,
died of grief at seeing that applause paid to
his pupil, which was justly due to his
merit. After Cook's death, Humphrey succeeded to his place of master of the children.
He died in 1674, in the twenty-seventh year
of his age.
In Dr. Boyce's collection of cathedral

HUP

H U X

music, there are two very fine anthems of

Humphrey's composition, " O Lord my
God," and " Have mercy upon me." In
conjunction with Blow and Turner, he composed the anthem, " / will always give
thanks." He wrote also many of the lines
to the songs in the Theatre of Music,
and other collections of his time, particularly
that to the favourite song, " When Amelia
first I courted." In Humphrey's verse anthems many new effects are produced, by
modulation, and notes of taste and expression. I t is somewhat remarkable that all
the seven verse anthems, which Dr. Boyce
has inserted in his collection, written by
this plaintive composer, should be in flat
keys, most of them in C and F minor,
which are much out of time on the organ, by
the usual temperament of that instrument.
If well sung, however, these crude chords
may add to the melancholy cast of the
compositions.

rari, Tranquillini, and Barba. He'published

much music for the violin.
HURKA, (FRIEDRICII FRANZ) chamber-

musician to the king of Prussia, was born in

Bohemia, in 1762. He received his first
instructions in singing at Prague, under
Biaggio, where he also was attached to the
choir of one of the churches. On the
change of his voice to a tenor, he came to
Leipsic, and after sudying further under
Bandini, appeared on the theatrical boards,
from which period^ he was considered one
of the best German theatrical and concert
singers for many years. He composed and
published, between the years 1789 and
1802, several collections of German songs,
some of which were extremely popular.
He died at Berlin, in 1805.
HURLEBUSCH,

(CONRAD

FREDE-

RICK) chapel-master to the king of Sweden,

and afterwards organist of the old church
in Amsterdam, was born at Brunswick,
Several songs by Humphrey are inserted towards the close of the seventeenth century. He travelled, from the year 1715 to
in Musica Antiqua.
HUMPHRIES, (JOHN) a violinist and 1721, through Germany and Italy, and in
composer for his instrument, in London. 1723 went to Stockholm, where he had
been promised the situation of organist, but
He died in 1730.
HUNT, ( K A R L ) chamber-musician and was disappointed, and in consequence,
violinist to the court of Saxony, was born shortly afterwards, returned to his native
at Dresden in 1766. Among other works, country, where, after refusing several simihe has published the following: " Sixteen lar offers of appointment, he at length
Variations for the Piano-forte, on the pas- determined on Amsterdam, in which city
toral air Come la Rosa " " Twelve Varia- he resided till his death. He published
tions on Pace, mio caro sposo," 1792; much vocal and instrumental music, but
" Andante con 12 Variat." 1793; andsurcharged with notes, and in bad taste.
HUTCHINSON (Dn.) published seve" Grandes Sonates tirdes d'un Quintetto
ral beautiful glees about the year 1772,
de Mozart."
HUNTER, (Mrs. JOHN) wife of the under the assumedname of Ireland. Amongst
celebrated surgeon of that name, was a them are, " How sleep the brave," three
lady endowed with a most refined taste, voices; "Return, my lovely maid," four
both in music and poetry. She wrote the voices; "To love and wine," three voices;
words of the celebrated canzonets, set to "Jolly Bacchus," three voices ; a n d " Where
music by Haydn ; also composed many very weeping yews," four voices.
HUXTABLE (ANTHONY) was an emipleasing airs, which she sang- herself in a
nent musician and an excellent violinist.
captivating style.
HUPFELD (BARNARD) was born at In the early part of his life, he was one
Cassel, in 1717. He was a violin pupil of of the first violins at the opera, principal
Agrell. In 1734, he went to Vienna, and concerts in London, and at the celebrated
some years afterwards to Italy, where he commemorations of Handel at Westminster
studied composition under Domenico Fer- abbey, and the Pantheon. When he retired
383

J A C

J A C

from London, he settled near South Molton,

in Devonshire, as a professor of the violin
and piano. He led all the public concerts
in the neighbourhood. He died in 1818.

latter instrument he studied under the 6ele=

brated P. Meyer. He is also one of the
first violin performers at the public concerts
in his neighbourhood.
HYAGNIS, a native of Cetena?, the
capital of Phrygia, and contemporary with
Erechtheus, who instituted the Panathenaean games at Athens, 1506 years before
Christ, was the inventor I the flute and
Phrygian mode, as well as of the nomes or
airs that were sung to the mother of the
gods, to Bacchus, to Pan, and to some
other divinities and heroes of that country.
Plutarch and Nonnus both tell us that he
was the father of Marsyas ; and Alhenasus,
from Aristoxenus and Apuleius, ascribes to
him not only the invention of the single
flute, but of the double.

HUXTABLE, (CHHISTOPHEK)

son

of

the preceding, in early childhood began

the piano-forte and violin, under his father's
tuition, and performed in public when very
young. He finished his musical studies in
London, under the first masters, and performed at the public concerts during his
stay there. He is, at present, organist of
Barnstaple, in Devonshire, and professor of
the piano-forte and violin. He has also
succeeded his father, as leader to the public
concerts in his neighbourhood.
HUXTABLE, (WILLIAM) brother of the
preceding, professor of the piano-forte and
harp at Barnstaple, has shared the same
HYDE, a celebrated English performer
musical education as his brother. The on the trumpet.

I J
JACKET or JAQUET. See BEKCHEN.
JACHINT, (GIUSEPPE) a celebrated
violoncellist at Bologna, about the year
1700.
JACKSON, (JAMES) a celebrated singer
at Trinity college, Cambridge, in the middle
of the last century.
JACKSON, (WILLIAM) an eminent
musical composer and a man of letters, was
born in 1730 at Exeter. His father, a shopkeeper iu that city, gave him a liberal
education, with a view to a learned profession ; but he displayed so decided a
taste for music, that he was placed as a
pupil to Travers, organist of the cathedral in Exeter. In 1748, he removed to
London, and passed two years under the
tuition of John Travers, organist to the king's
chapel, and an eminent song composer.
He then returned to his native place, where
he settled for life, as a teacher, performer,
and composer of music. He soon attained
reputation and employment; but it was not
till 1777 that he succeeded to the places of
sub chanter, organist, lay-vicar, and master
384

of the choristers in the cathedral. His

talents in musical composition were first
made known in 1775, when he printed a
collection of twelve songs, set in a manner
so simple, elegant, and original, as soon
to become favourites with the public. He
shortly after published a second and a third
collection of songs; and it is by his
vocal compositions, that he has acquired the
greatest reputation. Among his musical
works, are also anthems, hymns, odes, elegies, and canzonets, some of them of great
merit and originality. Chasteness of conception, ingenuity of construction, and truth
of expression, are their general characteristics. In instrumental music, some of his
sonatas for the* harpsichord are much applauded. His manuscript anthems and
services for Exeter cathedral, were much
admired by all who heard them, as producing all the devotional effects which
could result from a union of poetical with
musical taste.
W. Jackson first appeared to the world in
a literary capacity, by a publication, in 1782,

J A C
" Thirty Letters on various Subjects)" two
volumes small octavo. This miscellany
contains many striking reflections upon men,
manners, and opinions, sometimes singular
and paradoxical, but generally lively and
instructive. An attempt to revive the exploded doctrine of equivocal generation, and
another to retrieve the poetical reputation
of Quarles, are those in which the ingenious
writer deviates from the common judgment.
These letters were well received, and were
republished in a third edition, with additions
and corrections, in 1795. Besides being
the author of other literary works, Jackson
published, in 1791, a pamphlet entitled
" Observations on the present State of Music
in London." This book was thought to
betray some prejudice against the modern
masters, and undue preference of those
under whom the writer's musical taste was
formed, intermixed, however, with valuable
and judicious observations. To his other
tastes, Jackson added that for painting, in
which art he was no mean proficient. He
employed his pencil chiefly in landscape,
and by his study of strong and partial lights,
produced striking effects. Jackson was a
member of a very respectable literary society, instituted at Exeter in 1792, which
published an octavo volume of their joint
contributions in 1796. He was extremely
well qualified for conversation, by extensive
information, a turn for pleasantry, and a
communicative and social disposition. He
enjoyed a very select acquaintance, and
was greatly respected by the principal persons in his neighbourhood. He died of an
asthmatic complaint in 1803.
JACOB, a pupil of Gavinie's, was a violinist in the orchestra of the grand opera at
Paris. In 1769, he published a " Nouvelle
Mdthode tie Musique." He died at Paris,
about the year 1770.
JACOB, (GUNTHZR) a Benedictine
monk and composer, at Prague, at the beginning of the eighteenth century. He
published much church music.
JACOB (BENJAMIN) was born in London, in the year 1778. He evinced a love
for music at a very early period of life, and
VOL. I.

J A C
was taught the first rudiments of the science
by his father, who, being a tolerable amateur performer on the violin, instructed his
son on that instrument; by which means he
gained such a knowledge of the relations of
musical sounds, as to be able to name any
note he heard.
When seven years old, he was instructed
in singing by an ingenious chorus singer,
named Robert Willoughby, by whom he
was introduced as a singing-boy into
the choir of Portland chapel, then in a
flourishing state, it being composed of the
best chorus singers of that day. But harmony was his delight, single sounds not
satisfying his ear ; he therefore, at the age
of eight, began to practise the harpsichord;
(the piano-forte being then in its infancy)
but at first without any particular instructor.
After some time, he was, however, put
under the tuition of the late Mr. Shrubsole,
then organist of Spafields chapel, and, subsequently, for a short period, under the
tuition of Matthew Cooke, organist of'
Bloomsbury church ; but he was principally
advanced in the science by his own observation, study, attention, and perseverance,
making whatever he heard or saw in music
a lesson. In this manner, he may be said
to have been under obligations to every musician he fell in company with. At ten years
of age he was appointed organist of Salem
chapel, near Soho-square, in which"situation
he continued little more than a year. Between the age of eleven and twelve, he was
invited to Carlisle chapel, Kennington-lane,
some years afterwards occupied by Thomas
Adams, until his election to Deptford. In
the year 1790, when Haydn was in London,
Jacob, then aged twelve, had the honour o
tuning the great composer's piano-forte; and
as a proof of a correct ear in temperament,
Haydn was so well satisfied as to desire
Jacob might tune for him again, which hedid repeatedly. The next organist's situation he was appointed to, was at Bentinck.
chapel, Lisson-green, a chapel of ease to>
St. Mary-le-bone. Here he continued from
the latter end of 1790 until 1794 ; in
December of which year, he was invited by
2 c
385

JAC
the Rev. Rowland Hill to succeed Immyns,
as organist of Surrey chapel; in which
situation he has continued to the present
day, although several places, in and out of
the establishment, have been offered to
him since, with much higher salaries.
In the year 1796, he began to study
harmony, under Dr. Arnold, from whose
friendship he derived much of his early
success in the profession ; he was also proposed by the doctor as a member of the
royal society of musicians, and was elected
in 1799. It may here be noted, that so
early as the age of eleven, Jacob was frequently engaged to take the organ, when
anthems and choruses were to be sung in
places of worship for charitable purposes.
At this time he could play readily from the
full scores of Handel, which he preferred to
any arrangement in accompanying. He was
one of the treble boys at the two last musical festivals in Westminster abbey, in 17901791. In this office, the late William Russel,
who afterwards became a celebrated performer on the organ, and organist of the
Foundling, was, as on other occasions, for
several years, his constant companion : both
were pupils of Shrubsole, and about the
same age. In the spring of 1800, Jacob
conducted a series of oratorios, under the
direction of Bartleman, in Cross-street,
Hatton-garden. For several years he presided at the organ, at the annual concert
for the Choral Fund, while Dr. Arnold conducted at the piano, and Barthelemon led
the band. In the year 1808 he set on foot an
organ exhibition at Surrey chapel, consisting
of a selection of airs, choruses, and fugues,
from various authors, performed publicly
on the organ, without any vocal accompaniment. In 1809, he and Samuel Wesley
united in an organ performance, playing
alternately the fugues of Sebastian Bach
and Handel, with many of his overtures,
airs, and choruses. About 3,000 persons
of the highest respectability, also many in
the first rank of professors and amateurs,
were present; and as a proof of the interest
excited, continued to sit with the greatest
attention, through, a four hours' perform-

JAC
ance on the organ only. We are informed
that Jacob considers himself under considerable obligations to S. Wesley, for his
friendship, through which he became acquainted with the works of the immortal
Sebastian Bach, and received some of the
most useful hints and instructions in his
profession.
In 1811, 1812, and 1814, these performances were repeated, when Dr.Crotch played
alternately with Jacob, and the interest and
attendance was as marked and numerous as
on the preceding occasion. In 1809, Jacob
opened the organ at St. Swithin's, London,
built by Gray. On Easter-day, 1810, he
opened an organ at Camden chapel, Camberwell, built by Elliot. In 1814, he was
chosen umpire in the selection of an organist
at St. Paul's, Deptfdrd. Thomas Adams
was then chosen, after hearing nineteen candidates. In 1815, he was joint umpire with
Attwood and Williams, for the choice of an
organist at Lambeth. From among thirteen
candidates, Warren was chosen. In 1815,
he opened the organ at Christchurch, Birmingham, built by Elliot, and gave two
organ performances there, for which he was
specially engaged from London upon very
liberal terms.
In April, 1818, he was made umpire at
Cripplegate church, where there were thirteen candidates for the place of organist.
Miss M. Horth was chosen. In 1818, at
the Lent oratorios at Covent-garden theatre,
Jacob conducted at the organ and pianoforte. He performed a concerto on the
organ nearly every night: the season was
remarkably successful. In October, 1818,
he was elected an associate of the Philharmonic society. In May, 1819, he recommended Mr. Murdie to the Philanthropic
chapel: upon the death of Williams he was
chosen by the vestry. In 1819, he also recommended J. Turle to Christchurch, Surrey,
who was elected by the parish. In 1821,
he was applied to to nominate an organist
to Clapham church, when he recommended
Blackburn, who was chosen unanimously.
In the same year, he also conducted a concert at Hanover-square, for the benefit of

J AC

J A E

Mr.Hyde. He was likewise appointed umpire

at St. Bride's, Fleet-street, when there were
twenty-four candidates for the organist's situation ; six were selected, and Mather chosen
from them, by the committee of the vestry.
InDeeember, 1823, Jacob was elected o'ne
of the court of assistants of the royal society
of musicians. He has further conducted
annually, for several years, a concert at
Surrey chapel, for the benefit of the almshouses belonging to that place, performing
the parts of the band on the organ, excepting
the double drums of Mr. Jenkinson, and
trumpet of Mr. Harpur : the produce of this
concert is about 200 annually, the place
being always crowded.
His very extensive engagements as a
teacher have prevented Jacob's attention
being much turned to composition; he has,
however, produced the following works:
"A Second Volume of Tunes, for the Use of
Surrey Chapel," partly composed, partly selected, and wholly arranged by B. Jacob.
" Dr. Watts's Divine and Moral Songs, as
Solos, Duets, and Trios," composed by
Jacob. " A Glee for two Trebles and Bass,
'Stay, oh stay, thou lovely shade,'" dedicated to Dr. Arnold. "A Glee for Alto,
Te7ior, and Bass, ' Sure not to life's short
span confined,'" dedicated to Joseph Smith,
Esq. "A Canzonet,'Maternal Tenderness,' "
words by William Hayley, Esq. " National
Psalmody," a collection of tunes, with appropriate symphonies, for the use of the
church of England, for every Sunday
throughout the year, harmonized, arranged,
adapted, and many of the tunes composed
by Jacob. This has become, by the very
extensive patronage of the bishops, clergy,
and parish-officers, a standard work for
psalmody. The above are the only works
which Jacob has printed: he has several
Other pieces in manuscript, and is now preparing an " Analytical and Analogical
Treatise on Thorough-bass and the Principles of Harmony."
JACOBI, (CONHAD) a director of music
at Dessau, died there in 1811. There are
published some instrumental works of his
composition.

JACOBI, (MICHAIL) a singer at Luneburg. He performed also on the violin,

lute, and flute. His publications, consisting
chiefly of sacred music, bear date from 1661
to 1663.
JACOBI, (SAMUEL FBANZ) conductor

and organist at the palace church in Wittenburg, in 1730.

JACOBITUS (PETRVS AMICUS)

pub-

lished at Venice, in ] 589, " Motetti a 4, 5,

e 6 voci," Op. l._
JACOPONUS, a monk, who lived probablyin the fourteenth century, is the author
of the text and first melody to the " Stabat
mater dolorosa," which has since become
so celebrated by the compositions of Palestrina, Pergolese, and Haydn.
JADIN, (JEAN) a violinist, published at
Brussels, from 1777 to 178?, five operas of
instrumental music, consisting of symphonies, quatuors, and trios for the violin.
JADIN, (HYACINTHE) son of the pre-

ceding, was a celebrated pianist at Paris,

and a professor of his instrument at the conservatory. He published much vocal and
instrumental music between 1789 and 1799.
He died about the year 1800.
JADIN, (Louis) brother of the preceding, was very eminent at Paris as a
pianist and composer, and was also a professor of his instrument at the conservatory.
He wrote the music of several comic operas,
and also composed many romances and
much instrumental music between the years
1796 and 1810. Among his operas are
"L'Heureux Stratageme," in twd acts. " *
Portrait" in two acts, 1790. "Mahomet
II." in three acts, 1803. The above were
performed at the academy of music. " Le
Manage de la Vieille," in one act, 1796.
" Candas," in three acts, 1798. " Jean
Bart," "Ruse contre Ruse;" "Porceaugnac;" " Le Grand Pere," in one act, 1805;
and "LaPartic de Cainpagne," in two acts,
1810. The last seven were performed at
the Thdalre Feydeau.
JAEGER, (JOHANN) a violoncellist to the
margrave of Anspach, was born in 1745. In
his youth lie was in the service of the court
of Holland, as performer on the hautboy and
2c2
387

J A tt

JAff

horn. From thence he went to Wurtemburg, composer for his instrument belonging to
where, through the instructions of JomelH, the orchestra of the theatre at Hanover, in
Decler, and Seemann, he arrived at a high the latter years of the last century.
degree of eminence. Since the year 1802,
JANITSCH, (JOHANN GOTTLIEB) chamhe has retired to Breslau on a pension from ber-musician and performer on the double
the margrave.
bass to the court of Prussia, was born at
J A E G E R , (JOHANN- ZACHAEIAS L.) Schweidnetz, in Silesia, in 1708. He comson of the preceding, and born at Anspach posed ten operas of cantatas, serenatas, and
in 1777, was only eleven years of age when funeral music, during the period of his resihe was named chamber-musician and vio- dence at the university of Frankfort on the
loncellist in the chapel of the margrave of Oder. He wrote also several quatuors in
Anspach. When scarcely nine years old, he the style of Graun, which were printed at
could perform solos on the violoncello with Berlin about the year 1760. Among his
admirable rapidity, precision, and firmness. other compositions are a " Te Deum," and
In 1787, his father went with him to Berlin, music on the occasion of the coronation of
when the queen of Prussia was so delighted the king of Sweden.
with the boy's performance, that she wished
.TANNEQUIN, (CLEMENT) a celebrated
to engage him for her chapel; and on the French composer, flourished about the year
father's expressing a desire that his son 1510. Amongst his works are "Vingt-quashould remain with him at Anspach, the tre Chansons & quatre Voix," Paris, 1533.
queen settled a pension on the child of about "Chansons" Paris, 1537. " Canzoni Frantwenty pounds a year, which was much in- cesi a 4 Voci," Venice, 1538. "Inventions
creased by a gift from the margrave on his Mitsicalespour quatre et cinq Voix" Paris
return to Anspach.
and Lyons, 1544. c<Le dixicsme livre des
Chansons, contenant la Battaile &. quatre
J A H N , (AUGUST WILHELM FEIEDHICH)
born at Armstadt in the year 1780, is con- de Clement Jannequin, avec la cinquiesme
sidered an excellent pianist, and also a good Partie de PhilippeVerdelot,si placet, et deux
performer on the violin, violoncello, flute, Chasses duLievrea quatre Parties et leChant
and hautboy. He published, in 1801, "Mu- des Oyseaux a trois," Antwerp, 1545.
JANOTTY, a composer, published about
sikalischer Blumenstraus bestehend in Mdrschen, Menuetten, Angloisen, Sfc. fur das the year 1755, at Paris, an opera of violin
Klavier." He printed also at Leipsic, in sonatas.
1783, " Six Sonatas for the Harpsichord."
JANOWKA, an organist at Prague,
JAMES, (JOHN) an organist and com- published in that city, in the year 1701, a
poser for his instrument in London. He musical work, entitled " Claris ad Thesaudied about the year 1745. The style of his rummagnw Artis Musictz, seu elucidamm
compositions is dignified and scientific, but omnium fere rerum ac vcrhorum,inMusica
only three of his vocal pieces were pub- fignrali tain vocali, quam instrumentali
obvenientium, consistens potissimitm in
lished.
JAN, (M. DAVID) a Dutch composer at definitionibus et divisionibus, quibusdam rethe beginning of the seventeenth century. centioribus de Scala, 7'ono, Cantu, et Ge" Psalm geklangt, waerinn de 150 Psal- nere Musicos etc. sententiis, variisque exitien Davids mctsgaders verscheiden Loffan- quisitis observationibus in gratiani cupi~
schen mil 4, 5, 6, 7, vnd 8 Stimmen te dorian hvjus artis studiosormn diligenter,
fideliter, ac fundamentaliter
alphabetico
hooren zyn" Amsterdam, 1600.
JANI, (JOHANN) a composer and court- ordine compositum."
organist at Aurich, in Germany, died in
JANSEN, (HENRY) born at the Hague
1728.
in 1741, translated into French, from the
English and German, numerous works on
JANIEVICS. See YANIEWICZ.
JANITSCH, (ANTON) a violinist and the arts, among which is one from the
388

JAR

JAR

Jircumstanees having obliged Jarnowick to

[uit France about the year 1780, his situaion was filled by Viotti, whose eminent
alents soon caused his predecessor to be
orgotten. Jarnowick next proceeded to
Prussia, where, in 1782, he was engaged as
irst violin in the royal chapel of Potsdam,
n 1792, we find him in London, where he
ilayed at all the great concerts till the year
1796, when the well-known dispute took
)lace between him and J. B. Cramer, which
terminated in the loss of Jarnowick's popuarity in this country. He next proceeded to
Hamburgh,
where he resided several years,
JANSON, (L. A. J.) brother of the prend then returned to Berlin, which, after a
ceding, was also a violoncellist of great
eminence. He was admitted in the orches- short residence, he again quitted for St.
tra of the academy of music, at Paris, in Petersburg. In that city he died of apo1789, which situation he still held in 1800. plexy, in the year 1804. The following
He also published much music for his anecdotes are related of this singular chaacter. On his journey to Lyons, he once
instrument.
announced a concert at six francs a ticket,
JANUS (JOHANN) published at Bremen,
when, no company arriving, he resolved to
after the decease of Luder Knop, in 1667,
be revenged on the avarice of the Lyonese,
the " Swan Song" of this latter composer,
and postponed the performance to the foltogether with some allemandes and coulowing evening, changing the price of the
rantes.
tickets to three, francs. A crowded audience
JANUS (MARTIN) was considered one of
was the consequence; but at the moment
the best composers of simple melodies of the
the concert was about to commence, they
age in which he lived. He died about
were given to understand that Jarnowick
the year 1660.
had suddenly taken post-horses and quitted
JARNOWICK or GIORNOVICK1,
the town. Another time, being in the mu(GIOVANNI MANE) born at Palermo in
sic shop of Bailleux, Jarnowick accidentally
1745, was the favourite violin pupil of the
broke a pane of glass. " Those who break
celebrated Lulli, and first performed in pubwindows must pay for them," said Bnilleux.
lic at the concert spirituel, in Paris, choos" Right," replied the other, " how much is
ing for his debut the sixth concerto by his
it?" "Thirty sous." "There's a three
master. It is said that he was not at firsi
franc piece." " But I have no small change."
successful, but nothing could disconcer
" Never mind that," replied Jarnowick,
him, and he soon afterwards played his owe
"we are now quits," and immediately
first concerto in la major, in which he ob
dashed his cane through a second square.
tained Uie greatest applause. During ter
He often quarrelled with the chevalier de
years, the style of Jainovvick was in fashior
Saint-Georges, who was a good violinist,
at Paris. Correctness, purity of tone,
but more celebrated swordsman. One day,
elegance characterised this skilful violinist
in the heatof theirdispute, Jarnowick boxed
but he was deficient in vigour of tone an<
the ears of Saint-Georges, who contented
sensibility, his staccatto had little brilliancy
himself with coolly observing to a third
and, above all, his graces wanted scienci
party who was present, " J'nime trop sou
and dexterity. Thus the celebrated Lamott
talent pour se battre avec lui:" I admire
a German violinist, who possessed the quahis talents too much to fight him.
lities which Jarnowick wanted, share
equally with him the applause of the public
JABVIS, an English organist, and master

writings'of Engel, entitled " Sur laPeinture

en Musique," Berlin, 1780.
JANSON, (J. B. A. J.) born at Valenciennes in 1742, was a violoncello pupil of
Bertaud. He first performed at the concert spirituel in 1766. In the following
year, he accompanied the hereditary prince
of Brunswick to Italy, where his talents were
highly esteemed. He returned to Paris in
1789, and was nominated a professor of the
conservatory in 1795. He published several
trios, quatuors, sonatas, and concertos for
his instrument. He died in 1803.

389

JAY

J EE

of Mr. Groc-mbridge, and of the late W.

Russel, organist to the Foundling. Jarvis
was blind, but his " mind's eye" led him to
an intellectual fount, and the extraordinary
playing of Dr. Worgan determined him
inter silvas academi queerere verum. The
doctor had never before instructed the blind,
and was naturally rather averse from the undertaking ; but when he heard Jarvis play,
he resolved to try the experiment; and said
Mr. Jarvis, " I thought my performance not
despicable, yet how great was my astonishment and mortification when the doctor said
to me,' Sir, you do very well, but you have
been wrongly taught, and if you come to me,
you must begin your practice all over again,'
Accordingly," added Jarvis, "he began
with me as if I had been a child, making
me play my five notes up and down, and
saying,' There, sir, you must work much in
that way before we proceed any farther.'"
The master-pupil went away in dudgeon,
but wisely determining not to lose the benefit of instruction by neglect, adhered strictly
to the doctor's injunctions. He had not
done so long before he exclaimed, " The
doctor's right, and I have been practising in
a wrong way all my life." This conviction
was followed by immediate reformation, the
master and pupil were soon satisfied with
each other, and Jarvis became a distinguished ornament to a school which no
such pupil ever deserted. He published
some music for the piano-forte.

instruments, and as a composer, are all remembered to this day. In the year 1800,
Dr. Jay settled in London, and after the
Midsummer vacation, in the same year,
was engaged by Mrs. Cannon, of Little
Chelsea, as resident instructor in music of
the young ladies at her seminary, where he
has continued ever since. In the year 1809,
he received a bachelor's degree in music
from the university of Oxford, and at the
installation of his royal highness the duke
of Gloucester, he was honoured with a
doctor's degree from his royal highness's
own hands. We should further observe,
that Dr. Jay is an honorary member of the
royal academy of music, where his eldest
daughter is a student, and a fine performer
on the harp. She has already received a
medal from the hands of prince Leopold.
Dr. Jay's second daughter, is also a fine
piano-forte performer.

JASPER, a composer of some sonatas

for the piano-forte and violin, published at.
Mentz between the years 1794 and 1797.
JASSOU, (Jo A.AND.) author of a work entitled " De Cantoribus Eccles, Vet. et Novi
Testamcnti," published at Helmstadt inl 708.
JAST, (F.) a dramatic composer at Vienna, brought out several operettas and
ballets in that city about the year 1790.
JAY (Dr. JOHN) was s.ent to the continent in early life, after having received the
first rudiments of a musical education under
John Hindmarsh, who at that time was one
of the first violin players of the age; and
secondly, under Francis Phillips, whose
great talents as a performer on several
390

List of Dr. Jay's principal works : "Air,

ly Fontaine, with Introduction and Variations," dedicated to John Maltass,
Esq. " Hungarian Duet for two Performers on the Piano-forte," -dedicated to
J. Sanderson, Esq. "Hi tanti polpiti,"
duet for two performers on the piano-forte,
dedicated to Miss Price. "Portuguese Air,"
dedicated to P. Palmer, Esq. " Vienna
Walts, with Variations for the Piano-forte,"
dedicated to Miss Faulknor. " Sonata"
dedicated to the right honourable lady
Frances Wilson. " Grand Sonata," dedicated to G. Sinclair, Esq. "Grand Sonata,
with ' Pray Goody,' " dedicated to Miss
Pearson. " Grand Overture," dedicated to
Miss Vere. " Grand Duet," dedicated to
Miss Eyre. "A French Air," dedicated to
G. Sinclair, Esq. "A Second French Air,"
dedicated to Miss Badger. " Saxe-Weimar
Waltz, with Variations for the Pianoforte," dedicated to her royal highness (by
permission) the duchess of Saxe -Weimar,
with several songs.
IBOTTE, author of six duos for two
bassoons, published before the year 1801 at
Leipsic.
JEEP, (JOIIAKN) a composerin the early
part of the seventeenth century, was born in

JEN
the duchy of Brunswick. He published
" Geistliche Psalmen und Kirchen Gesatig
-D, M. Luthers unit anderer froinmen
Christen mit 4 Stimmen
dern Choral
nach componirt durck, Sfc." Nuremburg,
1607 ; and " Stude7iten Glirtleins, Erster
Tkeil; lustiger Liedlein mit 3, 4, und 5
Stimmen, zu singen und zu spielen," Nuremburg, 1607, 1614, and 1617.
JEGG, ( J . M.) a pianist, published at
Augsburg, in 1799, " Douze Variations
pour le Clav." Op. 1.
JELTCH, (VINCENTIUS) a contrapuntist
of the seventeenth century, published at
Strasburg, the following three works:
" Parnassia militia Concertuum 1, 2,
3, et 4 vocum," 1623. "Arion primus,"
1628.
This work contains twenty-one
Latin motets for one, two, three, and four
voices. And lastly, "Arian Secundus,"
1628, containing psalms for vespers, arranged for four voices.
JELYOTTE, (PIEKRE) a celebrated
countertenor singer, born at Beam. He
performed at the academy of music in
Paris, in 1752, and retired with a pension
in 1755. He brought out at Versailles,
on occasion of the marriage of the dauphin,
father of Louis XVI., in 1745, a ballet entitled " Zelisca," which had great success.
La Borde states, that Jelyotte composed a
great number of delightful songs. He died
in a state of great poverty, subsequently to
the year 1780.
JENISCH,(J. C. F.) a composer of pianoforte music, residing, in 1806, at Riga/ He
published at Jena, in 1789, " Sammbung
leichter Handstiicke furs Klavier."
JENKINS, (JOHN) a native of Maidstone, in Kent, and born in the year 1592,
was a celebrated composer- of music for
viols, in the reigns of Charles I. and IT.
His compositions are chiefly fantasias in
five and six parts, several of which have been
greatly admired. He was also the author
of many single songs, of which there are
some specimens in Smith's Musica Antiqua,
and he set to music some part of a poem,
written by Edward Benlowes, and entitled
" Theophila, or Love's Sacrifice." He also

1MB
Composed " Twelve Sonatas for two Violins
and a Bass, with a 7'korough-bass for the
Organ," which were printed in London,
about the year 1660, and reprinted at
Amsterdam, in 1664. These were the
first compositions of the kind that had
been published in England.
He died in the year 1678, at the great
age of eighty-six years, and has been spoken
of by several musical writers in terms of
great respect. Wood says of him, "that he
was a little man with a great soul."
JENKINS, a celebrated English trumpeter in the latter part of the last century.
JENNEQUIN.

See JANNEQUIN.

JENSEN (W. G. M.) published at

Konigsberg, in 1800," 15 Duetsche Lieder
mit begleitung des Klavier."
JEROME DE MORA VIE, a musical
writer, about the year 1260. He resided
during some time at Paris, at the convent of
Saint Jacques, where he wrote a treatise
" De Musica."
JESTER, a native of Berlin, composed,
about the year 1799, an operetta called
" Der Wunderigel."
JEUNE.

See LEJEUNE.

JEWIT, (RANDOLPH) an English musician, and pupil of Orlando Gibbons. He

was, at first, organist in Dublin, which
country he quitted for England, in 1639,
having obtained the situation of organist
at Winchester, where he died.
IKEN, (CONBAD) doctor of theology at
Bremen, died in 1753. He published, in
1745, a dissertation, " De tabis Hebrceorum
argenteis."
ILGEN, (KARL DAVID) a German pro-

fessor of theology, was born in Thuringia

in 1768. He published at Leipsic, in 1788,
" Chorus Grtecorum tragicus qualis fiterit,
et quare usus ejus hodie revocari nequeat."
1MBAULT, (J. J.) a violinist at Paris,
was born in 1753. He was a pupil of
Gavinife from the age of ten, and at seven*
teen years old made his debut as a public
performer, in the Paris concerts. Imbault
is celebrated as the editor of excellent
editions of many classical works in music:
among which are the treatise on fugue and
391

I N C
and counterpoint of Marpurg, the instructions for the organ by Joseph Martini, the
methods for the violoncello of Tiili&re,
Breval, and L. Duport, a superb edition of
the quartets of Haydn, &c.
IMMLER, a violoncellist and singer at
Cobourg, in the latter half of the last century.
He composed several sonatas, and some
church music, amongst which is a " Te
Deum," t\\e words by Klopstock.
IMMYNS, (JOHN) the founder of the
Madrigal society in London, in 1741, was
a celebrated musical amateur. He died in
1764.
(Sir J. Hawkins, vol. v. p. 349.)
INCLEDON, (CHARLES.) This eminent
vocal performer is a native of Cornwall,
in which county his father is said to have
been a respectable physician. At the age
of eight years, he was articled to the celebrated Jackson, of Exeter, a master fully
capable of cultivating the talents of his
pupil. Young Incledon made a rapid progress, and his fine voice and scientific
acquirements soon rendered him the favourite of all the lovers and practisers of music
in the vicinity of Exeter. He, however, was
so averse to the restraint he was under at
the cathedral, that, after remaining with
Jackson six or seven years, he left Exeter,
and, unknown to his friends, he entered, in
the year 1779, as a sailor, on board the
Formidable. He sailed to the West Indies,
and continued in the navy for four years,
during which time he was in several engagements. His vocal abilities gained him
the notice of many distinguished officers,
among whom were admiral Hervey, lord
Mulgrave, and admiral Pigot; the former
of whom having ascertained from him how
he had been brought up, they all advised
him to attempt the stage, aud furnished him
with letters of recommendation to Colman;
but the manager was blind to his merits,
and the letters, were, of course, useless.
Incledon, nevertheless, determined to persist in his stage pursuits, and he consequently, about 1783, joined Collins's company at Southampton. After having played
with this company for twelve months, he
was invited to Bath. At Bath, however,
392

INC
it was some time before he attained his full
popularity. It was to the friendship of
Rauzzini that he was indebted for being
brought forward in a manner which he
deserved. His talents were, also cultivated
by Rauzzini with the utmost care. It was
in October, 17S0, that Incledon made his
first appearance on a London stage, in the
character of Dei mot, in the Pour Soldier,
at Covent-garden theatre. Though deriving little from the helps of science, or
from the patronage of scientific men, with
the exception only of the short instruction
he received from Rauzzini, and with
scarcely any other guide than nature, or
other aid than voice, ear, confidence1, and
an infelt delight in the practice of singing,
the name of Incledon soon spread itself
among the great body of the public. His
vocal endowments were certainly consider*
able; he had a voice of uncommon power,
both in the natural and falsetto. The
former was from A to G, a compass of
about fourteen notes, the latter he could
use from D to E, or F, or about, ten notes.
His natural voice was full and open, neither partaking of the reed nor the string,
and sent forth without the smallest artifice ;
and such was its ductility, that when he
sang pianissimo, it retained its original
quality. His falsetto was rich, sweet, and
brilliant, but totally unlike the other. He
took it without preparation, according to
circumstances, either about D, E, or F, or
ascending an octave, which was his most
most frequent custom, he could use it with
facility, and execute in it ornaments of a
certain class with volubility and sweetness.
His shake was good, and his intonation
much more correct than is common to
singers so imperfectly educated. His pronunciation of words, however, was coarse,
thick, and vulgar. His fort was ballad,
and ballad not of the modern cast of whining or want of sentiment, but the original,
manly, energetic strain of an earlier,and
better age of English poesy and English
song writing, such as "Black-eyed Susan,"
and "The Siorm," the bold and cheering
hunting song, or the love song- of Shield,

J O H

J O M

1774, and " Neptun und Amphitritre,"

1775. He wrote also a work on the organ,
INFANTAS, (FERDINAND DE LAS)&c.
a composer of the sixteenth century, was a
JOHNSON, (ROBERT) an ecclesiastic
priest at Cordova, in Spain. Several of his and a learned musician, was one of the first
sacred compositions were published at Ve- of our church composers who disposed their
nice, between the years 1570 and 1583.
part with intelligence and design. In
I N G E G N E R I , (MARCO ANTONIO) a writing upon a plain song, (moving in slow
celebrated composer of the sixteenth cen- notes of equal length) which was so much
tury, was chapel-master of the cathedral at practised in these times, he discovers conCremona, and published several works of siderable art and ingenuity, as also in the
sacred music and madrigals at Venice, pre- manner of treating subjects of fugue and
imitation.
viously to the year 1592.
JOLLY, an English composer of glees.
INSANGUINE, (GIACOMO) born at
Monopoli, was a dramatic composer in Two of his compositions were much admired at the British concerts.
Italy, between the years 1770 and 1790.
JOAN, composer of a concerto for the JOLY, a French musician, published at
Paris, in 1786, " Six Duos pour Violon."
violin, published at Augsburg in 1799.
JOMELLI, (NICOLO) born at Aversa,
JOANELLI BERGAMENSIS DE
GARDINO, (PETRUS) a contrapuntist of near Naples, in 1714. His taste for music
the sixteenth century, published at Venice, manifested itself at a very early age, and
in 1568, " Thesaurus Musicus, for four, he first studied his art at Aversa, under the
canon Muzillo. His parents then sent him
five, six, and eight voices."
JOANNES DAMASCENUS, a cele- to a conservatory at Naples, to complete
brated church composer in the first half of his musical education under Feo. But it
the eighth century. He died in 760. He was from Leo that he learned, as he himself expressed it, the sublime of music.
resided chiefly at a convent in Jerusalem.
JOANNES PADUANUS published at About the year 1736, Leo heard a cantata
Verona, in 1578, a work entitled " Institu- of Jomelli's performed at the house of his
pupil, signora Barbapiccola, and, transtion's Musicte."
JOANNES SALESBERIENSIS, born ported with pleasure, he exclaimed, " Sigat Salisbury, in England, in 1110, was a nora, non passera motto, e questo giovane
doctor of divinity of the university of Paris sara. la stupore e Vammirazione di tutta
This prediction was shortly
and appointed bishop of Chartres, in France I'Europa."
in 1176, where he died in 1182. He wrote realized.
Jomelli was only twenty-three years of
a work entitled " Polycraticam" the first
book and sixth chapter of which treats age when he composed his first opera,
" De musica et instrumentis, et modis, et " L'Errore Amoroso," which was performed
in the new theatre at Naples. Vinci and
fructu eorum."
JOECHER,
(CHRISTIAN
GOTTLIEB) Leo had alone, till this period, given, by
professor of history at Leipsic. He pub- their compositions, an idea of such melolished, for his degree in medicine, a treatise dious music.
" De viribus Musices in corpore humauo."
In 1738, he gave "Odoardo," at the TheaHe also compiled the principal part of the tre Fiorentini in Naples. The delight and
"Allgemeines Gelehrten Lexikon," Leipsic, enthusiasm excited by these operas were
1750 and 1751, 4 vols.
unexampled. He was engaged at Rome in
JOHNSON, (HENRY P H I L I P ) chapel- 1740, and it was here that he saw his
niaster and chamber-musician to the king growing reputation greatly increased by the
of Sweden, at Stockholm, composed for the approbation of the Romans. He composed,
theatre of that city the operas of " Egle," at Rome, " Ricimero" and " Astianatte,"
393

breathing the chaste simple grace of genuine English melody.

JOM

JOM

poser, whose fame was spread throughout

Italyi, and Jomelli felt that the suffrage of
the Venetians was necessary to fill the
measure of his reputation. He therefore,
in compliance with their wishes, proceeded
to Venice, where his opera of " Merope"
caused such delight, that the government
appointed him master of the conservatory
for girls. Here he composed a " Laudate"
for two choirs of eight voices, which excited
the greatest admiration.
In 1748, Jomelli returned to Naples, and
gave " Ezio."
Recalled to Rome in the
following year, he composed " Artaserse,"
some intermezzi, and the oratorio of " La
Passione," at the request of his patron,
cardinal York.
Jomelli had by this time obtained in
Italy all the laurels she could bestow; in
1749, therefore, he repaired to Vienna, to
display his genius in a court where Metastasio was the poet. Jomelli imagined that
if he had pleased at Naples, whose school
abounds in great masters, at Rome, where
taste is so refined, and at Venice, where
had existed the greatest abilities which can
honour harmony, he should succeed in obtaining the same advantages at Vienna,
and, above all, in meriting the friendship
of Metastasio, and becoming his composer.
He was not deceived. On his arriving in
that capital, he gave " Achille in Sciro,"
which was equally well received by the
court and the city. From this moment, the
most sincere and lasting friendship was
concluded between the greatest lyric poet
and the greatest musician of Italy. Metastasio felt at once, that Jomelli was the
composer best adapted to set his verses.
After remaining nearly two years at the
court of Vienna, which was rendered particularly brilliant by the presence of Maria
Theresa, equally celebrated as a sovereign
and for her love of the arts, and who presented Jomelli with a diamond ring, he
returned to Rome, where, on the vacancy
of the place of chapel-master of the church
of St. Peter, he was elected to that office,
and from the year 1750 until 1753 comVenice had not yet seen the new com- posed much sacred music for his choir. He,
594

which operas were so esteemed by the

public, that when their author talked of
quitting Rome to proceed to the other citiesof Italy, they would not allow him to depart, and it was with difficulty that he was
enabled to proceed to Bologna, where he
arrived in 1741, and gave " Ezio."
Jomelli was desirous of possessing the friendship of the Padre Martini. A short time
after his arrival in this city he visited that
master, without making himself known to
him, and begged to be admitted amongst
the number of his pupils. Martini gave
him the subject of a fugue, and seeing that
he filled it up excellently, he said to him,
" Who are you 1 you are joking with me;
it is I who must learn of you." " I am
Jomelli; I am the composer who is to
write the opera for the theatre of this city ;
I implore your protection." The contrapuntist replied, " It is very fortunate the
theatre possesses so philosophical a musician ; but I compassionate your situation in
the midst of a company of such ignorant
cormpters of music." Jomelli afterwards
avowed, that he had learned much from
this illustrious master. He added, that if
the Padre Martini was deficient in genius,
art had supplied him with that which was
denied by nature.
Jomelli remained at Bologna till 1740,
when he returned to Rome, and composed
" Didune," which had even greater success
than " Ricimero." The Romans declared
they had never heard more beautiful airs,
accompaniments better adapted to the
words, richer or purer harmony, or a more
correct and elegant style, which was majestic without inflation, grand without inequality, and always full of sentiment and
melody. These praises, which were in
every mouth, and repeated by all the journalists of the day, reached Naples, and the
countrymen of Jomelli signified their desire
that he should return, and allow them in
their turn the pleasure of applauding his
works. He instantly acceded to their request, and composed his opera of "Eumene," which had prodigious success.

J OM
at the same time, composed the opera of
" Ifigenia," in 1751, and " Talestris" and
" Attilio Regolo," in 1752. In 1753, he
was engaged to furnish several courts with
operas, in all ten in number; amongst
which are distinguished " Semiramide,"
" Bajazette," " Volgeso," and " Demetrio."
The reputation of this composer extended
on every side; his abilities had never appeared so brilliant as on his third stay at
Rome. He was now again engaged in
Germany, and that country and Italy appear to have emukmsly disputed his compositions. The duke of Wurtemburg, one
of the greatest musical connoisseurs of his
day, being anxious to possess as chapelmaster, him who had during two years enchanted Austria, made very liberal offers
to Jomelli, who accepted them, and during
the fifteen years that he resided at that
court, he composed his finest operas. We
have yet only spoken of his dramatic music.
Gifted with a brilliant and varied imagination, and the most profound sensibility, he
could not fail to delight equally in sacred
music. He was naturally excited to attempt
this style in Rome, where it is especially
cultivated and rewarded, and where his
public situation called for sacred composition. On his third residence in this city,
he composed about thirty works, and,
amongst others, a hymn for the feast of the
Apostles, which is still sung every year on
the festivals of St. Peter and St. Paul; and
these compositions, in which the touching
is united to the sublime, and the pathetic
tenderness of religion to its imposing majesty, were the essays of an inexhaustible
mind, that now for the first time signalized
its superiority in this style.
In 1768, Jomelli returned to his beloved
native country, after a long absence, not
foreseeing a disgrace which was destined to
embitter the rest of his hitherto happy life,
and which he had never before undergone.
On his arrival at Naples, he composed
" Armida," for the theatre of San Carlos,
which was enthusiastically applauded. In
1770, he wrote " Demo/oonte " this un-

J OM
fortunately gave less pleasure, and hoping
to be more successful, he gave, in 1773,
" Ifigenia," which was ill sung, and failed.
Jomelli was so affected by this misfortune,
that he had a paralytic stroke. Immediately
on his recovery, he composed a beautiful
cantata on the birthday of a prince of
Naples. 'This was soon followed- by his
last and greatest work, the sublime " Miserere," for two voices; for which his friend,
the poet Mattei, wrote Italian words, and
which is sung wherever good music is known
and cultivated.
Jomelli died at Naples in the year 1774.
His obsequies were publicly celebrated by
all the musicians of that city. A mass for
two choirs was performed, expressly composed for the occasion by Sabbatini. The
following classed list comprises the principal works for the church and theatre of
this eminent musician. For the church:
" A Dixit, 4 voc." " The Psalm, In convertendo, 2 voc." " I Responsori of Passion Week, 4 voc." " A Dixit, 8 voc."
" A Miserere." " A Canfitebor, 3 voc."
" A Laudate, 8 voc." " A Graduate, 4
voc." " The Hymn, Urbs Jerusalem, 4
voc." " A Bealus Vir, 4 voc." " A Miserere, A voc." " A Confitebor, 4 voc." " A
Regnurn mundi, 4 voc." " A Te Deurn, 4
voc." " Veni sponsa Christi, a canto solo
con ripieni, 4 voc." " Victimcs paschali,
4 voc." " Credidi propter quod, 4 voc."
" Confirma hoc Deus, Offertorio." " Gra->
dnale, 3 voc., for the Festival of the Virgin.
Mary''
"Discerne causam meam, Graduate, 4 voc." " Domine Deus in simplicifate, Offertorio." "Justus ut palma florepit." " Offertorio, with Hallelujah Chorus,
4 voc."
" Betulia liberata, Oratorio."
" Oratorio della Passione." " Lamcntationes Jeremice." " Benedictus Dominus
Deus Israel." " Missa." " Motetta a 4
voci per la domenicu della Palma." " Se'quentia Paschatts."
" Qui tollis." " 11
Salmo 50 a 2 voci, con Strom." " Sospiri
penitcnti a 2 Soprani e pin Stomenti, com-'
posto poco inanzi la sua morte.'' " Miserere a 4 voci." " Confirma a 4 voci."
"Requiem." Another"Miserere." "Mag-,

395

J O N

JOS

ntficat." "Miserere o Salmo 50 di Davidde." " Offertorio, Inpartituara etparti

separ." " Veni Sancte Spiritus, 4 vac'
For the theatre: " L'Errore Amoroso,"
1737. " Odoardo," 1738. " Ricimero,"
1740.
" Astianatte," 1740. " Ezio,"
1741. " La JOidone," 1746. " Eumene,"
1746. " Artaserse," 1749. " Achille in
Sciro,"1749.
" Didone," 1749. " Ifigema," 1751. < Talestri," 1752. " Attilio
JRegolo," 1752. "Semiramide," 1753. ".fiajazetle." 1753. " Vologeso," 1753. " Z>emetrio," 1753. " Pelope." " Enea nel
Lazio."
" II Re pastore." " Alessandro
nelV Indie." " Nittetti." " La Clemenza
di Tito." " Demofoonte," 1772. " Vologeso." "L'Olimpiade."
" II Fetonte."
','L'Isoladisabitata." "Endimione."
"L'Asile di Amore." " La Pastorella illustre."
" La Schiava liberata," " 11 Cacciator
deluso," " II Matrimonio per concorso,"
and " Armida," 1768.
JONAS, (CAKL) a celebrated composer
and pianist, born probably at.Berlin in
1770, was so fortunate as to be patronised
in his youth by the princess Amelia of
Prussia, who procured him instructions on
the piano and in. composition from the
celebrated Fasch. After the death of his
patroness, the king of Prussia interested
himself for young Jonas, and sent him to
the university of Halle, from which town,
in 1793, he published his Op. 1, entitled
" Ariette pour le P. F., avec uuinze Variat.
comp. et dediee a S. M. le R. de Prusse,
par Ch. Jonas," which composition was
highly spoken of by the German critics.
JONES (EDWAKD) published, about the
year 1785, a work entitled " Musical and
Poetical Relics of the Welsh Hards, preserved by tradition and authentic Manuscripts, never before published"
(See
Monthly Review, January, 1786.) A second volume of this work appeared in
1789, and an improved edition of the second volume in 1802, under the title,
" The Bardic Museum of primitive British
Literature, and other admirable Rarities;
forming the second Volume of the Musical,
Poetical, and Historical Relics of the
396

Welsh Bards and Druids, drawn from authentic Documents of remote Antiquity."
JONES, (Rev.W.) ofNayland, in Suffolk, an English musical amateur, who published, about the year 1784, "A Treatise on
the Art of Music as a course of Lectures,
preparatory to the practice of Thorough-bass
and Musical Composition." (See Monthly
Review for 1786.) It is considered a work
of some authority.
JONES (ROBERT) seems to have been
a voluminous composer. Two of the works
published by him are, "A MusicalDreame,
or the Fourth Book of Ayres; the first part
for the Lute, two Voices, and the Viol da
Gamba; the second part is for the Lute, the
Viol, and four Voices to sing: the third
part is for one Voice alone to the Lute, the
Basse-Viol, or to both if you please,whfreof
two are Italian Ayres," printed in 1609;
and " The Muses Gar din for Delights, or
the Fifth Book of Ayres onely for the Lutet
the Basse-Viol, and the Voice."
Two songs by this composer, " My love
bound me with a kiss," and " Farewell,
dear love," are to be found in Smith's Musica Antifjua,
JORTIN, (Dr. JOHN) vicar of Kensington, was born in London in 1698.
He
published "A Letter concerning the Music
of the Ancients." He died in 1770.
JOSEPH, (GEORG) a musician in the
service of the bishop of Breslau in 1690,
published some sacred compositions in that
city.
JOSQUIN DES PRES is enumerated
by Guicciardini among the musicians of the
Flemish school. He may justly be called
the father of modern harmony, and the inventor of almost every ingenious contexture
of its component parts, nearly a hundred
years before the time of Palestrina, Orlando
di Lasso, Tallis, or Bird, the great musical
luminaries of the sixteenth century, whose
names and works are still held in the highest reverence by all true judges of the genuine style of choral compositions.
Adami, in his historical list of the singers in the pope's chapel, mentions Josquin
as one of the greatest cultivators and sup-

J O S
porters of church music. He calls him,
Uomo imigne per Vinventione.
After quitting Italy, he was appointed
chapel-master to Louis XII. of France, who
reigned from 1498 to 1515, and it is scarcely
probable that such an honour should have
been conferred upon him, till he had attained great eminence in his profession. He
must have acquired the public favour,
either by his works or performance, before
he could be noticed by a sovereign ; and it
has been well observed, that it is as difficult for a prince to get a man of merit, as
it is for a man of merit to approach a
prince.

JOS

In consequence of the procrastinatlfin of

the performance of Louis XII.'s promise
relative to the benefice, Josquin applied to
a nobleman in high favour at court, to use
his interest in his behalf; who encouraging
his hopes with protestations of zeal for his
service, constantly ended with saying, " I
shall take care of this business: let me
alone"laissefaire moi (laissez mot faire.J
When at length Josquin, tired of this vain
and fruitless assurance, turned it into solmisation, and composed an entire mass on
these syllables of the hexachords, la, sol,
fa, re, mi; which mass is among Josquin's
productions in the British Museum, and is
It appears that Josquin was an ecclesias- an admirable composition.
tic ; for it is related, that when he was first
The following circumstance, which likeadmitted into the service of Louis, he had wise happened during Josquin's residence
been promised a benefice by his majesty ; at the court of France, has been recorded
but this excellent prince, contrary to his both by Glareanus and Mersennus.
usual custom, for he was in general both
These writers inform us, that Louis,
just and liberal, forgot the promise he had though music afforded him great pleasure,
made to his maestro di capella; when Jos- bad so weak and inflexible a voice, that he
quin, after suffering great inconvenience never was able to sing a tune, and defied
from the shortness of the king's memory, his maestro di capella to compose a piece of
ventured, by a singular expedient, to re- music, in which it was possible for him to
mind him publicly of his promise, without bear a part. However, the musician acgiving offence; for being commanded to cepted the challenge, and composed a canon
compose a motet for the chapel royal, he for two voices, to which he added two
chose part of the 119th psalm, " Memor other parts, one of which had nothing more
esto verbi tui servo tuo .'" " Oh ! think of to do than to sustain a single sound, and
thy servant as concerning thy word!" the other only the key-note and its fifth,
which he set in so exquisite and supplicat- to be sung alternately. Josquin gave his
ing a manner, that it was universally ad- majesty the choice of these two parts, and,
mired, particularly by the king, who was beginning with the long- note, after some
not only charmed with the music, but felt practice his royal scholar was enabled to
the force of the words so effectually, that he continue it, as a drone to the canon, in spite
soon after granted his petition by conferring of nature, who had never intended him
on him the promised preferment. For which for a singer.
act of justice and munificence, Josquin,
Among musicians, Josquin was the giant
with equal felicity, composed, as a hymn of of his age, and seems to have acquired an
gratitude, another part of the same psalm universal dominion over the affections
" Bonitatem feristi cum servo tuo,Domine." and passions of the musical world. Indeed,
" O Lord ! thou hast dealt graciously with his compositions were as well known, and
thy servant."
as much practised throughout Europe, at
Josquin seems to have professed a certain the beginning of the sixteenth century, as
vein of wit and humour, in addition to a Handel's were in England about seventy
musical genius, of which Glareanus has years ago.
In the music book of prince Henry, aftergiven his readers several instance?, besides
wards Henry VIII., which is preserved in
those iust related.
397

J O Z

I SH

the Pepys collection at Cambridge, there are

several of his compositions; and we are
toid that Anne Boleyne, during her residence in France, had collected and learned
3, great number of them. In a very beautiful manuscript in the British Museum,
consisting of French songs of the fifteenth
century, in three and four parts, there are
likewise many of Josquin's compositions.
It is, perhaps, sufficient to observe, without enumerating the mere names of this
great musician's professional contemporaries, either on the continent or in England,
that they were every way inferior to him in
talent, and that Josquin's fame has chiefly
been acquired by his masses, and still more
excellent motets ; a large, and perhaps the
most valuable collection of which now extant, is preserved in the British Museum.
JOST, a musician at Vienna, composed,
about the year 1780, two operettas called
the " Stealer of Apples" and the "Barber
of Benzing," together with several ballets.
JOUBERT, organist of the cathedral at
Nantes in 1788, brought out, in 1776, at
the concert spirituel in Paris, a French
oratorio of his composition, entitled "La
Jtuine de Jerusalem, ou le 2'riomphe du
Christianisme." He likewise composed for
the theatre of Nantes, in 1778, the opera
called " La Force de VHabitude."
JOUBERT, a violinist, and one of the
best pupils of Lully, flourished at Paris
about the year 1690,
JOUSSE, (J.) a musician, resident in
London, published a few years since an introduction to the art of solfaing and singing, which has been considered a useful
work. He has since translated the principles of accompaniment, or thorough-bass,
of Albreehtsberger, and has also published
"Harmonic Cards," to teach the chords,
and " Arcana Musicw" being a selection
of curious and interesting musical problems.
(Chappell's Cat.)

remembered for his impudence in foisting on

the London public eight sonatas of Alberti
as his own compositions. He even went
so far as to Jiave them engraved with his
name, and sold at the price of one guinea. Very shortly afterwards, an English
gentleman brought these sonatas with him
from Jtaly in the handwriting of Alberti,
and gave them over to Walsh, the publisher, who printed them in a six-shilling
book. Jozzi soon after this quitted England
and settled as a singing-master at Amsterdam, where he again published eight sonatas, which were most probably the abovementioned of Alberti.
IPEREAf, (JOSUA VAN) a Dutch clergyman, who died at Batavia in 1780. He
wrote the following works on musical subjects : " Von den Wechselgeiangen der
Heiden und Jnden," 1774. " Kirkelyhe
Historie van het Psalm-Gezangder Christenen, van de dagen der Apostelen tot op
onzentegenivoordigen tyd, en inzonderheid
van onze vele verbeterde Nedertuitsche
Psalmberyminge uit echte stuhken samengebracht," first vol. Amsterdam, 1777. The
second volume of the same work was published at Amsterdam, in 1778.
IRRIG, (SEBASTIAN) a German musician, published at Paris, in 1756, twelve
sonatas for the harpsichord, in the style of
Albertini.
ISAAC, (HEINEICH) chapel-master to
the emperor Maximilian I., was a pupil
of Josquin, and born in the year 1440. In
1475, he held the situation of chapel-master
at the church of So. Giovanni at Florence,
where he set to music for three voices the
songs of " Lorenzo de Medici," and also
composed some sacred music. He probably entered the emperor's service soon after
his accession to the throne in 1493.
ISHAM (JOHN) was the deputy of Dr.
Croft for several years. He died in 1726,
having met with very little encouragement
in his musical studies, though he wrote sundry valuable compositions for the use of the
church. The words of two anthems composed by him, namely, "Unto thee, 0 Lord,"
and " 0 sing unto the Lord a new song,"

JOVANELLI.

See GIOVANELLI.

JOZZI, (GIUSEPPE) an Italian sopranist,

was in London in 1746, and performed in
Gluck's opera, La Caduta de Giganti. He
}iad little powers of voice, and is more
398

ISO
are in the collection made by Dr. Croft,
and published in 1712. Isham joined with
William Morley in the publication of a collection of songs composed by them both.
ISHERWOOD, a celebrated English
bass singer, now residing, we believe, in the
north of England. He performed at the
grand provincial meetings in the autumn of
1823. His voice is said to be a genuine
bass, with little or no mixture of the baritone.
ISINARDI, (PAOLO) a celebrated poet
and composer, born at Ferrara, flourished
there in the second half of the sixteenth
century. He was a pupil of Monara. He
composed a great number of sonnets and
madrigals, as also sacred music.
ISMENIAS, a pupil of Antigenes, was
a celebrated musician of Thebes, who, according to Lucian, gave three talents, or
581/. 5*. for a flute, at Corinth. The extravagance, however, of this popular musician, was even more conspicuous than his
professional abilities. He is recorded, by
Pliny, as a prodigal purchaser of jewels,
which he displayed with great vanity ; and
was once very angry that an emerald had
been bought at Cyprus for less than he
thought the value of it, though purchased
by himself; and said to the person whom
he had employed on this occasion, " You
have done your business like a fool, and
disgraced the gem."
Plutarch also relates the following story
of him. Being sent for to accompany a
sacrifice, and having played some time
without the appearance of any good omen
in the victim, his employer became impatient, and, snatching the flute out of his
hand, began playing in a very ridiculous
manner himself, for which he was reprimanded by the company; but the happy
omen soon appearing, " There," said he,
" to play acceptably to the gods, is their
own gift." Ismenias answered, with a
smile, " While I played, the gods were so
delighted, that they deferred the omen, in
rirder to hear me the longer ; but they were
glad to get rid of your noise upon any
terms."
ISO, a French musician, brought out at

ISO
the academy of music, in 1759, the two
following operas, " Pheetuse," and " Zimide."
ISOLA, (GAETANO) a Genoese composer, wrote, in the year 1791, for the
theatre at Turin, the serious opera " La
Conquista del Velio d'Oro."
1S0UARD (NICOLO) was born at Malta
in 1775, where his family held an honourable rank. His father did not intend him
for a musician, but he could not resist his
natural inclination for the art. His leisure
moments were devoted to the study of
music ; and, on his being placed at Naples,
in a banker's house, he particularly applied
himself to music, and finished his studies in
counterpoint in that city under Sala. He
also obtained instruction from Guglielmi in
dramatic composition. He finally totally
abandoned commerce, and gave at Florence
his first opera, " VAviso ai maritati," the
success of which still further confirmed
him in his resolution, and thenceforward he
assumed the name of Nicolo, in consideration of his father. After having composed
for the different theatres of Italy and Malta,
he established himself at Paris, where,
amongst seventeen operas, both comic and
serious, which extended his reputation, he
composed " La Cenclrillon," in 1813, the
success of which was unrivalled. Nicolo
played on the organ, harmonica, and several
other instruments, with superior ability.
He died in the midst of his career, leaving
" La Lampe Merveilleuse," an unfinished
opera, which was performed after his death
at the royal academy of music. The following list comprises his principal works:
" H4be" a cantata. Operas performed in
Italy: " VAviso ai maritati."
" Artaserse." " PJnaldo d'Asti." " // Barbiere
di Siviglia." " V' Improvisata in Campagna." " 11 Tonneliere." " /due avari."
". Ginevra di Scozia." " 11 Barone d'Albachiara." Operas performed in France :
" Le Tonnelier," 1801. " V'Impromptu
de, Campagne." " La Femme avare,"
1802.
" Les Confidences," 1803. " Le
Midecin Turc." " L'Intrigue aux FenSlres."
" La Ruse inutile," 1805.
399

J UN
" Idala." " La Prise de Passau," 1806.
" Les Rendez-vous Bourgeois." " Les Crtanciers," 1807. " Un jour ct Paris."
" Cimarosa," 1808. " VIntrigue
au
Se'rail," 1809. " Cendrillon," 1810. " La
Fite au Village," 1811. Also part of
" Le Baiser et la Quittance." " Le petit
Page." " Flaminius la Victime des Arts."
JUDELIUS, (JOANNES) a German musician, published at Erfurt, in 1625, a work
called " Encomium Gamico-harmonicum."
JUDICE, (C/ESAR PE) a composer of
madrigals aud motets, published at Messina
and Palermo, between the years 1628 and
1666. He was a native of Sicily.
JULIEN (N) published at Paris, in
1780, under the name of Julien Vaine, a
collection of comic opera songs for two
violoncellos.
JULIEN, (PIERRE) a musician of the
sixteenth century, born at Carpentras, in
France, published, in 1570, "Levrai Chemin
pour apprendre a chanter toute Sorte de
Musique."
JULIEN, (G.) an organist at Chartres,
in France, probably in the seventeenth century, published, in Paris, a book of organ
music.
JUMILHAC, (LE PERE DE) a Benedictine monk, published in Paris, in 1673,
" La Science et la Pratique du Plainchant"
JUMILHAC, (LEON DE) a French amateur violinist, pupil of Baillot, published in
1810, at Paris, twelve variations for the
violin, on the air, " Que ne suis-je lafougire."
JUNGE, (JOACHIM) a doctor of philosophy at Hamburgh, died in 1657. Among
his published works is one entitled " Harmonica 7'heoretica."
JUNGHAUTZ, (J. A.) organist at Armstadt, was born in 1745. He is known in
Germany by some gocd compositions for
the harpsichord.
JUNIUS, (ADHIANUS) a doctor in medicine, bom in Holland in 1512, published a
work, one of the chapters of which treats of
" Musica inslrumenta eoque spectantia."
JUNC published at Paris, in 1785,
400

Jus
" Trots Sonates pour le Clave'cin, avec Accompagnements de V. ad lib,"
JUNKER, (KARL LUDWIG) a celebrated

amateur musician in the north of Germany,

died in 1797. He published many works
on music between the years 1776 and 1786,
Two concertos for the harpsichord, and some
other small works for the same instrument,
composed by Junker, have also been published.
JUSDORFF, a flutist at Gottingen, has
published several operas of music for his instrument, at Offenbach, since the year 1799.
JUST, (J. A.) a musician at the Hague,
born about the year 1750, was a pupil of
Kernberger. He was considered one of the
best performers of his time on the harpsichord. He published at Amsterdam, the
Hague, and Berlin, much music for his instrument. Besides which he composed the
music of the operas, " Le Marchande de
Smyrne," and " Le Page;" also " A Cantata for Whitsuntide, for fifteen Voices."
JUSTAIN, a French musician, published,
in 1785, a violin concerto.
JUSTIN MARTYR was at first a philosopher of the sect of Plato. In the year
133 he embraced the Christian religion, and
died a martyr during the persecutions of
Antoninus, in 163, or, according to other
historians, in 166. His works, which were
published at Paris in 1636 and 1742, contain many excellent remarks on the church
music used in his time.
JUSTINIANUS, (LEONARDUS) a Venetian nobleman, lived about the year 1428.
He was celebrated as a scholar, and also as
a musical composer. He wrote a great
number of amatory songs, which had such
success, that, notwithstanding every effort
of the clergy, all Italy was inundated with
them. In reparation for his licentiousness,
he subsequently wrote as great a number
of vocal pieces in honour of the holy virgin
and saints.
JUSTINIAN, a Greek emperor in the
sixth century, is celebrated for his body of
laws. He was an excellent musician, and
in the Greek church they still sing a troparius or hymn on the divinity of Jesus

I V E

I VE

Christ, of his composition. He died in

565.
IVES (SIMON) was a lay-vicar in the
cathedral of St. Paul's, till driven from
thence by the usurpation, when he became
a singing-master. He and Henry Lawes
were made choice of to compose the airs,
lessons, and songs of the masque performed,
by order of the four inns of court, before

king Charles I. and his queen, at Whitehall, on Candlemas night, 1633. Many
catches and rounds of Ives's are to be found
in Hilton's Collection, and in Playford's
Musical Companion; as are also some songs,
among the airs and dialogues published in
his time. He died in the parish of Christchurch, London, in 1662,

END OF VOL. I.

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401