





TABLE 





OF CONTEN 


TS 





VOL. II. 





LEADING ARTICLES. 


Page 
Benefit Concerts. - - 52 
Becker's Musical Lite: vrature . . 183 
—— ditto, (continued) . ° . 203 
Ecclesiastical Music of this Country, (from 
a lecture) by Henry Jobn Gauntlett . 49 
—— Composers, on, by Ditto e - 177 
English Music, by James Gattie . - 113 
Festival at Dusseldorff, Account of the Mu- 
sical, by Charles Klinge mann . 1 
Gresham Prize, on the, by Henry John 
Gauntlett . 81 
—- ditto “ditte we 97 


Harp, Lute, &c. onthe, by Geo. Hogarth . . 129 
Musical Study, on the Objects of, by Dr. 


Hodges . : . 145 
Memory of Musicians : ° . 150 
—— ditto (in Miscellaneous) . - 175 


Musical Festivals of Germany, Rise of, 
with a biographical sketch of their 


Founder . Fe . 167 
Musical literature, oy Becker | . 183 
Organ, on the, by G. Hogarth . - W 
Pianoforte, on the, by G. "Ho garth 65 
Proske, Herr Carl’ s, New Travels of Mu- 

sical Research through Italy . - i 


Rossini and Weber, reception of in Eng. 
land by the higher classes ° 
Spohr’s (Louis) Second Oratorio, ‘The 
Last Hours of the Saviour,’ By Henry 
John Gauntlett . 
Travels of Musical Research through Italy 
by Carl Proske . ° 
Vocal Writers, on, by Samuel Webbe . 33 
Violin, Tenor, Violoncello, and Double 
Bass, on the, by George Hogarth 161 
Welsh Bards and Minstrels, by J. Parry 199 


ConTRIBUTORS. 


Bhills (T. J.) Sonnet, “ Mori” 

Clarke, (Charles Cow den)Hymnto God by “a 

— Lines by ° ° 

Constant Reader, a, letter from ° 

C. W. ditto, upon Weber's last Waltz, 
(Reisseger's) 

Gauntlet, (H. J. Jon Ecclesiastical Music 49 

— ditto, on the Gresham Prize - & 

—— ditto ditto . ° rie 3 

——~ ditto, on Ecclesiastical Composers . 113 








Gattie, (James, , on English Music 
Gauntlett, (E. E.) Stanzas for Music 


— (H. ¢; )on Spohr’ s Second Oratorio q 


‘The last Hours of the Saviour’ 
Hogarth (George) on the Organ . 
— on the Piano-forte . 
—— Harp, Lute, &c. . 

— Violin, Tenor, &c. 


Hodges (Dr.) on the Objects of Musical a 





Study . 
Klingemann's (Chas. ) account ofthe Mu- 
sical Festival at Dusseldortf e | 
Moscheles (J.) Letter from ° - 7 
Martin (G. F.) ‘ That Smile’ 176 
Parry (J.)acct. of Welsh Bards & Minstrels 199 
Towers, (I.J.) ¢ Togathered roses,’ songby 15 
Thoms (w. J.) Sonnet ‘Apollo’. . 144 
Webbe (Samuel) On Vocal Writers 33 
W. P. Letter from . . - 127 
OPERAS AND CONCERTS. 
Blagrove's (Mr. ) Concert . 24 
Benedict's (Mr.)- ditto. 25 
Berrettoni (Sig.) and Mr. J. Bennett's a. 
Concert . - 26 
Birmingham Town Hall . . 26 
Bedford, Concert at ‘ ° 93 
Curioni's (Sig.) Concert. 43 
De Angioli's (Mlle. and Sig.) Concert 23 
Elouis (the Misses) and Sig. Piozzi's 
Concert . 24 
English Opera House, : Mountain Syiph 19 
— ditto ‘ Pacha’s Bridal’ . 205 
Filipowich's (Mme.) Concert. . o 
Gear's (Mr. Handel) Concert . 42 
Giubilei’s (Mr.) Concert. . ” 
Goodban's (Charles) ditto 139 
Ivanhoff's (Sig.) ditto. . pa 
King’s Theatre, ‘Don Giovanni’ 22 
— Closing of the . . 120 
London Choral Institution 8 
Liverani’s(Sig.)and Mlle.Lozano’ 9Concert 40 
Liverpool ditto . ‘ 44 
Lipinski's (Sig.) ditto = - . a 
New Musical fund ° . 24 
Nunn’s (Miss A.) Concert 43 
Ole Bull's (Mr.) last Concert 10 
Oxford Commemoration . 26 


Potter's (Mr.) Concert 








iv TABLE OF CONTENTS. 


ts 
Parry, jun. 's (Mr.) Concert ° ° 
Pape's (Mons. “hy Soirée. . 99 
Parigiani (Mlle.) & Sig. Marras’ ‘Coneert 44 
Royal Academy of Music, last Concert . 54 
Sacred Harmonic Society . & 
Societa Armonica . 
Sowinski's (Mr. Albert) Concert 
Stepney Concerts . 
Verini’s (Sig.) Concert 
Yorkshire Amateur 


FOREIGN. 


Becker's Musical Literature 5 

Berlin, Bach's Passion, - oe 's Tod 
Jesu ° 

—— New Operas . 

Brunswick, the Elbe Musical Festival 

Berlin, Glaser’ s “ Aurora” ° 

Berlin . 

—— Beethoven . . 

—— Karl Eckert . ° 

Brunswick Festival . 

Berlin, Demoiselle Léwe . 

— Ditto, and Von Fassman 

Haydn's saat ~~ 2. 

Codogno 

Cassel . ° 

— Herr Diska . 

Copenhagen, Marschner . 

Dresden . 

Erfurt, Spohr's new Oratorio 

Fodor, Mme. - . 

Florence . . 

Gotha, New Theatre . 

Imola . 

leipsic . 

— Mendelssohn Bartholdy 

Weber's Fragment of an Opera r 

— Herr Jul. Eicke’ _— wee 
Concert . ‘ 

Munich . . . 

Manheim . . 

Naples 

— Teatro Fondo 

—— Opera 

mad Teatro Carolino 


— Musical Academ: my . 5 
—— 3rd Concert ” the enna Academy 74 
Paris 122 
—— Monpou . a 
Parma, Puritani ; Paganini 
Palestrina—his works collecting . 
Rome, Persiani’s Inez de Castro . 
Teatro Valle . ° 

Rossini at Frankfort 
Roujet de L'Isle, death of 
Rotterdam, Vauxhall Doele 
Strasburg, Herr Brod 
— Herr Jussin . 
nary, > y abaipeiaten’ 8 Opera 
— itto . 
Strauss, not dead . 72 
Sienna,—Corilla Lucii and Paolo Feretti = 
Turin, Teatro a. ° 
Trevisa . . ° a 
Turin ° « ° ° = 
Vienna . . 45 
— Schroeder Devrient . . 
— Philharmonic nanny, Onslow and 

Meyerbeer . 172 


fr 





Warsaw . e ° 


REVIEWS. 


Amusement pour les Jeunes Belles, A 
Marchan 1 
Al’ Elégante, Rondeau pourlep. LHC. 
Litolff . 17 
Away, aw: ay, o'er the "frozen plain. 
Joseph Philip Knight 
Breathings of Song, No. 4. G. Hargreaves 
——-, Rondo for the p. f. C. Neate . 
of the rudi of Harmony 
“a Thorough Bass. J. A. Hamilton . 
Castilian Waltzes. J. Weippert . 
Cathedral Chants, No. 1. E. Merriott 
Choral Harmonic Institution 
Cruse’s Cathedral Chants . 
—— Services . 
Capriccio for the p. f. W. ‘s. Bennett . 
Concerto for the organ. Haydn Wilson . 
Dramatic overture to Fortunatus, for the 
. J. W. Davison 
Divertimento for two performers on the 
p. f, by Charles Neate, op. 27. . . 140 
Dearest thy smile. J ohn Purvior Barratt 141 
Divertimento (first) for the p. f. H.C.Litolff 172 
Three ditto for Violin and p.f. C. Lipinski 172 
‘Do not request,’ Ballad by J. A. Wade ; 
music by T. Lato tour. 
‘England for me.’ Song; the words by 
Wm. Ball; music by T. Latour 
Fugues for the organ, Nos, 7,8, Dr. Crotch 187 
Grand variations brillant for the p. f. on 
Herold’s air ‘ Life's like an April day.’ 
H.C. Litolff . 
Grand variations on ‘Rule Britannia.’ 
C. Neate . 





f Ms of fine p. f. ‘playing, the, by J. D. 


56 
Give me no farewell token. J.P. Knight 188 
Had I met thee. B. Hime 141 
Haydn's 2d Set of Six Canzonetts. Wm. 
Hutchins Callcott ‘ . 187 
Irish Quadrilles, first set of. M. Barnett 10 
Introduction, variations, and polonaise 
for the p. f.on an airof Himmel’s, H.C. 
Litolff 


° ° ° ° 2 
Impromptu for the p. f. on the air ‘ Say 
could I live,’ from Barnett’s Mountain 
Sylph. J. Abel . ° ; a 
*I wooed thee,’ song. B. Hime . . 58 
If thou hast lost a friend. B. Hime . 98 
Tl canto dell’ Alpi. Marras . . 105 
Tl nuovo canto Veneziano. Ditto - 105 
Introduction and March for p. f. John 
Pickering 
— and brilliant variations for the p- f. 
by H. Dulcken . 
‘Liberi sie te addio,’ &e. &e. from the 
opera of Belisario. Donizetti . e 
‘Les Muses,’ Quadrilles. J. Weippert 
Let us love one another. B. Hime. 
L'ora d'amore. G. Marras ° 
L' Aurore Boreale. R. Nordman 
La dolce speranza. F.W. Horncastle 
La speranza. W. T. Wood, Esq. 
Melodies of many nations, Bk. 11, No. 7. 
F. W. Horncastle 
Military Divertimento. J. A. Rawlings 
Miniatures. A. Marschan 
Music in Russia. Review ud von  Tiet’ 5 
work . 134 





TABLE OF CONTENTS. 


Page 
Our Village Churchyard, song, by Bianchi . 
40 


Taylor . 

Oh dearest if thou ‘It stay. Caprini and 
Thomas Brown . 

‘Oh! give me back again.’ Song, by 
J. A. Wade; music, by T. Latour 


Pantheon of Musicians, ‘the, by F. Rass- 
1 


mann. e ‘ P e 
Plaisirs de la Jeunesse, No.1. D.J.Dos 
Santos . A P ° 

Quadrilles des Nations. J. Weippert 

Quadrilles sur ‘ Beatrice di Tenda.’ J. FE 
Barratt . 

* Swell, swell, the full chorus,’ from Han- 
del's oratorio of Solomon. —— 
by Sir George Smart. 

Souvenir de Londres. A. Marschan P 


Scena from Milton's Paradise Lost. Ed. 
1 


Mammatt, Esq. . 
‘The World is my toast,’ 
Muller « 
Three characteristic duetts for p. ‘t from 
Rossini. Arranged by W. Watts ° 
‘ The soul's errand.’ W. H. Calcott 
Three rondos for the Violoncello and p. f. 
No. 2, G. A. McFarren 
Troisiéme Polonaise pour le violon et p. £ 
J. Maltrass ? ° ° 
The Fireside, song. B. Hime ° . 
The First Prayer, ditto. Ditto . ‘ 
Ditto . 


song. G. 


The cottage by the stream, ditto. 

‘ The Night, ditto. Ditto 

The Seventh Day. H. R. Bishop 

Terpsichorean Waltzes. J. Weippert 

The Rocky Deep, song. C,H. Purday . 

The Beautiful Day. B. Hime 

The young Bride's Tomb. E. Merriott - 

The Blighted Heart. E. Mammatt, Esq. 
e Hawthorn Tree. G. Hargreaves 

The Last Look. G. Lanza ° 

The Mariner's life. Bianchi ~~ lor 

The Willow. B. Hime 

The Forrester. Ditto . 

The Bells of Ostend. F.K. Jacob 

The Maid of Loire. J. P. Knight 

The Hunter's call. John Whittaker 

Violin, on the, byG. Dubowrg  . ° 

— ditto (second notice) . 

Violins, two, three duets for. C. Weichsel 

Variations brillantes, by J. Mayseder, 
arranged for p. f. solo 


Violin, the amateur's guide for the, by E. ’ 


Woodward 

When the stars are in the sky, ballad. 
G. A. MeFarren . e 

Meg ae, mine own love,’ serenade. 


Youder B Bark. G.L. Newson . ° 


MISCELLANEOUS. 


Amy Claude, the late 
Adams's lectures, (Mr Thos. ) 
Amateur Violinists . 
Bennett, Mr. W. S. ° 
Beethoven's monument 
Braham, Mr. 

Bland, Mrs. . 
British Musicians . 

— ditto . ° 

— ditto . 4 

—— ditto . ‘* 


Brunswick . 
Burat's(M.) drama ‘at the Théatre Comte - 


95 


Burney’s(Dr.  aaaeaimaeaaietmans 174 
14 


188 | Catch Club. 
|—— ditto. ° 
iF 


Cimarosa e 
Chamber Concert . 
Chipp’s Drums 
Catalani, Mme. . 
Charitable Concerts 
Charmante Gabrielle 
Costa, Signor e 
—_— letter to him . 


Berlin 
Davies, Cecilia ‘ e 
De Berivot, Mons. and Mad. - 
De Beriot, Mme. going to Dublin and 
Edinburgh Festivals, &e. 
— Ditto, offer by Caldwell for America 


Di Tanti Palpiti . 

Drury-la. Jones's arrangement with Bunn 

Eng. Opera House (Conservative cme. 
— ditto 

— ditto (The Rose of the Alhambra)’. 
— ditto 


pany) . : 
Souk Musical Artists P 
Filippo . . . 
Francis I, anecdote ef . 
French modesty . . 

Gluck in deshabille . 
Huguenots, The . ° 
Jewess, The 

London Choral Institution 

Ditto e . . 
Ditto . 
Liverpool Festival 

Large letters in show bills 
Lecture (Musical), Hart's 
Mariotti, the veteran . 
Malibran . e 
—— ditto. . 





Melodists’ Club. ° ‘ 
Moscheles . P 
Miseries of Musical Life, Groans 1, 2,&3 
Melodists’ Prizes . . ; ° 
Mozart's Accompaniments ° ‘ 
Mariotti : 

Music compared to Rhetoric 
Mendelssohn's new Oratorio 
Manchester Festival . 
Madrigalians, The ° 
Mozart's Reyuiem 
Mitcham, performance of Sacred Music at 
Musical Criticism . ° e 
Musical Conductors ; 

Margate, Sunday Concerts 


tani.’ !! . 
Monument to Mozart . 





| 
w | 
' | Nicolini . . 


National Music Hall 
| Norwich Festival . 
Letter to Editor 
Novel accompaniment to a a Quairile 


Native Talent . 
Norwich Festival ; Harper 
| Ole Bull. ° ‘ 
ditto . ‘ 
—— in the Provinces 


re 
Cherubini, Member of the e Academy at a 


—— ditto to (Bunn to to raise a German com- 
22 


—— Ditto, Letter to the site “I Puri- 
° o3 


—— Ditto . ° ‘ e - 206 





vi TABLE OF CONTENTS. 








Page Page 
Orange-street Chapel . ‘ . 79 | Sounding Board . ‘ . 108 
Organ in 751 : - 108 | St. Paul, Mendelssohn's . ° - 19 
Organ on a new principle . . a Sunshine, — ° . - 122 
Opera Season,—Laporte's receipts - 156 | Tones . . ° . 1b 
Open ban’ reel - 106 | Thalberg . . ° . 30 
Opera, a new, at the St, James’ s Theatre 174 Tunbridge Wells . Fi . . 126 
Organ mending . . 174 | Usefulness of a Conductor : . 158 
Orchestral Instruments. . + 206 | Vocal Society . ° 46 
Provincial Concerts " . - ba a . . ° ° . 61 
Philharmonic Society . . os Vaudevilles . lo 
Purcell, Commemoration of . : 93 | Weber's last Waltz, (C. G. Reisseger’ s) c. 
Ditto . . . . . 108 W.'s letter to the Editor upon . + 206 
Ditto . . . - 125 { Winchester Musical Festival . * 206 
Paris Italian Opera . . - 191 | Wood, Mr. and Mrs. . ° - 46 
Puppo the Violinist . . + 206 | Worcester Festival 61 
Queen Adelaide . . + 14] Ditto . . 94 
Queen's Concert at St. James's . + 78 | Yorkshire Amate ur Society . . 94 
Reicha’'s death. . . 46 
Royal Society of Musicians . - 46 
Royal Academy of Music : . 47 Poetry. 
Royal Musical Festival . . - 62 
Ries, Ferdinand . : . 107 | Apollo, Sonnett after the Antique, by 
Ralph Rasper, jeu d'esprit . . 108 W.J. Thoms . 
Rossini, new Opera ° . 143 | Hymn to God, by Charles Cowden Clarke 44 
— his vanity . . . 191 | Lines by ditto -lil 
Romantic disinte' srestednes SS . - 175 | Mori, Sonnett before the Antique, oy 
Subscription Concerts, Four ° - 30 T. J. Bhills 
St. James's Theatre ° ° - 46 | Stanzas for Music by E. E. Gauutlett * 159 
Ditto ° - 156 | To gathered roses, song, by I. J. Towers 15 
Stafford House, Concert at . - 791 That Smile, by G. F. Martin ° . 176 
St. Petersburgh . . . - 107 | The Heart’s-ease, by C. Q. ° - 207 

















\\ 


Ss 
\ 


ANN 











* LET THE BRIGHT SERAPHIM.” 


a eS | 


ae | 














ORCHESTRAL SKETCHES. 


—o——_—— 


“CLARA ANASTASIA NOVELLO 


Was born on the 10th of June, 1818, At the age of nine years, her parents 
placed her under the care of their friend, Mr. John Robinson, organist of the 
Catholic chapel, York, in order that she might derive, at one and the same 
time, the advantages of country air and. diet, with those of judicious prepa- 
ratory tuition, as well in singing as piano-forte playing. Miss Hill, of York, 
was her first singing teacher. Here, under regular discipline, Clara laid the 
foundation, both of her present excellence as a vocalist, aud of her clear, fine 
health; for she was accustomed to pass whole days together at a farmer- 
friend’s, on the moors, inhaling the bracing air of that region, and battening 
upon the substantial Yorkshire fare of home-baked bread, home-made cheese, 
home milk, and home-fed poultry and bacon: and, by her own account, her 
rations were like a sparrow’s meal at harvest-tide. This is the sort of train- 
ing for a young singer. There are many in York who remember the small, 
clear, and “ childish treble,” of little Clara Novello, at the Catholic chapel 
in that city. Shortly before quitting York, she was witness to the all-but- 
total disaster, by fire, of the Cathedral. 


In the year 1829, she returned home to London, and highly amused ‘het 
parents, while she excited their fond anticipations, by her exhibitions of pro- 
fessional progress. Her showy pieces, at this early period, were, “ The 
soldier tired;” the variations upon the Irish melody, ‘‘ My lodging is on the 
cold ground ;” and the air in the Beggar’s Opera, “‘ Cease your funning;” 
in which Madame Catalani and Mrs. Salmon used to entrap the applauding 
hands of the town, 


In the same year, her father and mother, upon their return from a visit to 
the widow and sister of Mozart, at Salsburg, happening to take Paris in their 
way, found that a vacancy for a pupil in the singing school for church music, 
was to be filled up in the course of three or four days. Mr. Novello instantly 
made interest with M. Choron, the admirable and respected head-master 
of the establishment, in behalf of his daughter Clara, who was fortunately 
at that time on a visit in Boulogne. It was necessary that she should undergo 
a trial and examination previously to admission ; whereupon her mother, who 
has not a character for. supineness and inactivity among those that are 
acquainted with her, instantly left Paris, and in three days produced her 
daughter for the trial. She sang one or two pieces, (the “‘ Agnus Dei” of 
Mozart’s Mass, No. 1, and “ The soldier tired”); when the business was con- 
cluded in her favour, against nineteen competitors. It was in this excellent 
academy that she acquired her present solid and firm sostenuto, from singing 
(without the instruments) the choral pieces of Palestrina, Leo, Handel, &c. 
At one of the public exhibitions of the pupils, Clara had the honour of singing 
before the late Royal Family, (the king, Charles X. being present) when the 
Prince Polignac was pleased to pay her some kind and encouraging compli- 
ments. She was placed upon a stool, that she might be conspicuous to the 
audience. 


The cause of her quitting Paris arose from the ecclesiastical establishment 
being broken up, at the breaking out of the last revolution, in 1830. The 
governess of the female pupils, being alarmed for the safety of the young 
people,—particularly for Clara, who was a foreigner, and a favourite with her, 




















x ORCHESTRAL SKETCHES. 


applied to a friend of the family to receive her little charge. She was in con- 
sequence hurried through the turbulent streets, meeting, in her progress, the 
wounded and dead who were being conveyed from the field of strife. The 
horrid novelty of the scene produced so strong an effect upon her nervous 
system, that upon her arrival at the destined asylum of her friends, she sank 
into a sleeping stupor, in which she remained thirty-six hours; and thus, in 
all probability, was providentially saved from an attack of brain fever. 


Upon her return to her native country, she made her debut here in public 
at the benefit concert of Mrs. Sewell, at Windsor, where she sang in the duet 
“ Forsake me not,” from Spohr’s ‘ Last Judgment,’ and the little ballad 
“ Chagrin d’amour.” Shortly after this, she received an engagement for the 
whole series of twelve Ancient Concerts; and in the same season, the com- 
pliment of being engaged by the directors of the Philharmonic Concerts, where 
she sang the ‘‘ Per pieta” of Mozart. She must ever look back with pride 
and satisfaction at this event in her life; seeing that, in the first place, she 
had not reached her fifteenth year; also that she should be invited to sing a 
solo, at the finest instrumental concert in the world ; and lastly, that she was 
the youngest musician who had received that distinguished honour. In the 
same year, 1833, she made her first appearance at a provincial festival in 
Worcester; and in 1834, she formed one of the orchestra at the centenary 
celebration of Handel in Westminster Abbey. In the same year, the mem- 
bers of the Philharmonic Society again testified their approbation of her 
talent, by electing her (and not only without a dissentient voice, but with a 
friendly and animated applause) an Associate of their institution. She was at 
that time only sixteen years old. 


Whatever good fortune may have attended Clara Novello, (and her career 
has been undeviatingly steady and prosperous,) she owes every thing to her 
own solid acquirements; to her father’s honourable standing, and intercourse 
with his brother professors ; and not least to her mother’s calm sagacity, and 
prudent management. She owes nothing to back-stair influence with persons 
in authority, either in her own profession, or in the press: and yet few public 
performers have received a larger share of spontaneous kindness and encou- 
ragement from both, than she. The critics have perhaps not considered her 
youth, when writing upon her performances; but this in itself was a tacit 
compliment. Of the quality of her voice there are not, we should presume, 
two opinions ; and certainly it is of the finest character. All judges, moreover, 
are unanimous as to the undeviating correctness of her intonation. Her style 
is purely correct, and rational. She takes no unwarrantable liberties with her 
author; and what graces she introduces, are never redundant or at variance 
with the character of her music. Her sostenuto is remarkable for firmness, 
equality, and extension. This valuable qualification in her singing is attribu- 
table to her early practice of the long suspensions that constantly occur in the 
choral rousic of Palestrina, and which formed part of her almost daily lesson 
while in Paris. The chief characteristic of her singing, is sweetness and equa- 
bility, without effort: indeed, whether executing a Tyrolean ballad, or that 
exceedingly arduous scena, the ‘Tu m’abandoni,’ of Spohr, her manner is 
equally composed. This, to a certain extent, may account for the charge that 
has sometimes been urged, of her wanting animation. Although it is to be 
acknowledged, that there is some justice in the objection, yet we think that 
pure nature is always to be preferred to affectation and display. Besides, we 
have heard her say that she does not consider her organ to have as yet reached 
its full development of power, and that, therefore, she will not ccnsent to 
force her voice. They who have heard her, in private, sing the ‘ Deh parlate’ 
of Cimarosa, professedly in imitation of Mad. De Beriot, (both the tone and 
peculiar manner in that supreme vocalist being caught with felicitous correct- 
ness,) at the time they have acknowledged no deficiency of animation, had also 














CLARA ANASTASIA NOVELLO, xi 
no misgivings in pronouncing what she will be a few years hence—health and 
prosperity attending their exertions. The case is, that Clara Novello, who 
appears so sedate and demure a person to a large and mixed audience, is, 
among her friends, remarkable for exuberance of animal spirits. Her courage is 
indomitable; difficulties and opposition only acting as stimulants to exertion. 
She has a generous nature, with a child-like fondness for the most simple 
pleasures. But the best features in her character are, that she does not appear 
to have a spark of envy, and is wholly devoid of affectation. 


THOMAS HARPER. 


Havine voted Mr. Harper’s Trumpeter defunct, we take upon ourselves the 
pleasing task of sounding his professional praise. Without any farther parley, 
then, we beg to say, that he first drew breath in the city of Worcester, A.D. 
1786. At an early age he put up his dits and crooks, and, aided by his shanks,* 
trudged up to London. 

He was placed under the late Mr. Eley, then master of the East India 
Volunteer band, who taught him the horn and trumpet; the progress he made 
on the latter instrument was surprising, and bis excellent instructor used to say, 
“ dat young Harper vouill blay de teivil mid de drumpet blayers, vuone of dese 
days.”—The prognostication of the composer of the celebrated ‘Duke of York’s 
March,’ has been verified to the letter. Harper remained with his band for 
nearly eighteen years, during which time he was frequently engaged at various 
theatres, and eventually installed, as Tromba Primo, at Drury Lane and the 
Lyceum theatres. In the train of these engagements, came that of the King’s 
Theatre, also the Philharmonic, Ancient Concerts, country festivals, &e., in 
short, no performance of any magnitude is considered complete without 
Harper, who, with a feeling that does credit to his heart, speaks in the most 
grateful terms of the great kindness shown him by Sir George Smart. 


The command and mastery which Harper has over his very difficult instru- 
ment, is truly astonishing ; add to this his rich and mellow tone, and correct 
intonation, which places him above all competitors, particularly in the music 
of Handel. On one occasion, when the ‘ MgEssian’ was performed at the 
Hanover Square Rooms, we happened to sit next to’an American amateur, 
who was quite enraptured when Harper ran down from the dominant (or 5th) 
to the key note, about the middle of the ‘ Hallelujah Chorus,’ and he exclaimed 
at the end, “I would give a hundred dollars to hear those five notes at New 
York.” This was many years prior to the ‘ Battle of Trumpets,’ in America, 
between Mr. Norton and Signor Gambati. In 1815, Mr. Harper was elected 
a member of the Royal Society of Musicians ; and he is now one of the court 
assistants for life. Mr. Harper has a son, whom he is bringing up to fill his 
place,—but, at a far, far distant period, we trust; he has been much occupied 
of late, in preparing a complete preceptor for the trumpet, and other brass 
instruments; he has also been appointed by the Commander in Chief to 
arrange a set of cavalry and other calls, for the use of the army. Some two 
or three seasons ago, Mr. Harper announced a benefit concert, when he received 
upwards of a dozen offers from young ladies, to sing ‘ Let the bright Seraphim’ 
to his trumpet accompaniment; and at the first Exeter Hall Festival, thirty- 
six applications were sent in to the same effect. Happy Harper!—In con- 
clusion, we have the pleasure to state, that Mr. Harper is highly respected 
among his brother professors, and that he is ever most attentive to his duties. 
—May he long live to enjoy his well-earned fame, and,—unbecoming levity 
apart,—may he rise to everlasting glory at the last trump. 


* Small pieces belonging to the trumpet, to tune it 




















AE ALE LOE 


4 Chronological List of Departed Musicians : 


COMPILED AND ARRANGED 


BY JOHN PARRY, B.A. 


It is hoped that the following list will prove both useful and interesting to the musical 
world at large. In arranging it, the compiler has consulted and collated the following publi- 
cations. Dr. Burney's History of Music; The Musical Quarterly Magazine ; Hogarth’s 
Musical History ; The Musical Biography; The Biographical Dictionary of Musicians; The 
Harmonicon ; The Musical Library ; Cross’s Account of the York Festival, &c. Notwith- 
standing every possible care has been taken to render the dates correct, still the compiler is 
fully aware that several errors remain, owing, in a great measure, to the variance between 
authorities already quoted. 

Any of the readers of The Musical World who may be enabled to furnish dates to fill up the 
few blanks left, or any material corrections, will confer a favour by so doing; for it is the wish 
of the compiler to render it as complete as possible. Of course, the list might have been ex- 
tended tenfold ; but the object was to bring under the eye at once the births and deaths of those 
musical characters with whose names the public in general are mostly familiar. For very 
obvious reasons, the names of the many eminent musicians who still remain among us, have 
not been inserted ; and we most sincerely hope, that many, many years of content and happi- 
ness will roll over their heads, ere any of them be gathered to their fathers. 


Born Died Age 


ABEL, C. F. “ . Viola da gamba, 7 1724 1787 63 
Atcock, Dr. ° . Organist and Composer, 1715 1806 91 
AvpRIDGE, Dr. (Rev.) . A learned Amateur, > 1647 1710 63 
ALBRECHTSBERGER, J. G. Theorist, . ; 1736 1809 73 
Anrossl1, P. ° « Operas, ' 1736 1795 59 
ARNE, Dr. r . Operas and Songs, rt 1710 1778 68 
ARNOLD, Dr. ‘. . Operas and Sacred, ‘ 1740 1802 62 
Atrersury, L, - - Glees, &c. ° F 1740 1800 60 
Avison, C. ° * Violinist and Composer, 1712 
Ayrton, Dr. ‘ . Organist, Anthems, &c. 1734 1808 74 
Bacu, J. SEBASTIAN, - Organ fugues, Masses, &c. 1685 1750 65 
Bacu, C. P. E. . . Organ, Harpsichord, Orches- 

tra, &e. A “ 1714 1788 74 
BARTHELEMON, F. H. -« Violinist, “ ; 1741 1808 67 
BattisHILtL, J. i . Anthems, Glees, &c. ; 1738 1801 63 
BaumGarten, C. F, - Violin, Organ, Theorist, 1754 1824 70 
BaRTLEMAN, J. . Bass Singer, ° 1771 1820 49 
Bateson, T. ° - Madrigals, ° about 1560 
Bates, Joan . - An accomplished Amateur, 1740 1799 59 
Bares, Mrs. . - Miss Harrop, eminent Singer, 1754 1811 57 
Bantl, MADAME . - Eminent Singer, . 1759 1806 47 
BEarD, . . Singer, . ° P 1736 1791 55 
BENNET, JOHN : - Madrigals, ‘ about 1555 
BEETHOVEN, L. - Every thing! . ° 1770 1827 57 
Be.uint, V. ‘ - Operas, . . ; 1806 1835 29 
Birp, W. . ‘ « Composer of * Non Nobis,” 1543 1633 80 
Bitiineton, Mrs. . An eminent Singer, - 1765 1817 52 
Brancut, F. ° - Operas and Theory, about 1760 1816 56 
Biow, Dr. . Sacred and Secular e 1648 1708 60 
Boccuerini, L.  . + Quintets, &c. Violin, about 1736 1805 69 
Bole.pieu, A. ° - Operas, . - . 1770 1834 64 
Boyce, Dr. ‘ . Anthems,&e. . , . 1710 1779 69 
Brent, Miss ° - Afterwards Mrs. Pinto, the 

original Mandane, . 1740 
Butt, Dr. ° - Organ, Virginal,andComposer, 1563 1622 59 
Burney, Dr. ‘ . History of Music, * 1726 1814 88 
Buononcint, G,. B. - Operas, &e. F about 1680 1750 70 
Cauicortt, Dr. 2 - Glees, “ ; 1766 1821 55 














4 CHRONOLOGICAL LIST OF DEPARTED MUSICIANS. 


° 

5 Born 
Carey, H. . Songs and Farces, ‘ 1685 
CarTeER, T. Z - Songs, &e. ; 1768 
CHoron . ‘ . A learned Theorist, - 1772 
CuiLp, Dr. - Anthems, &e.  . i 1606 

l Crmarosa, D. F . Operas, &e. ° < 1751 

. Crari, C. M. - Vocal Duets, &c. &c. about 1670 

' Crakk, Dr. (Whitfield) . Sacred and Glees, > 1770 

| CiementI, M. f . Pianist and Composer, . 1752 
CorRELLI . . . Violinist and Composer, 1653 
Corr, D. . ° . Operas, &e. : P 1743 
Cooke, Dr. B P . Glees, &e. : about 1732 
CRAMER, W. _ . An eminent Leader, ° 1730 
Crort, Dr. ° . Anthems, &e.  . e 1677 
CRosDILL ° - Violoncellist, Fr ° 1755 
Croce, D. - Madrigals, F about 1530 
Dany, JoHN i - Glees, . about 1758 
Davies, CEcILIA, (Ingls.) A celebrated Singer, ‘ 1757 
Davy, Joun - Dramas and Songs, . 1770 


Dispin, CHARLES 


Dussek, J. L. 
Eccies, JoHN 
ERrarp, SEBASTIAN 











Festine, M. C. 


Fiscuer, J. C. ‘ 
Forp, THomas ° 
Franco. ‘ 


GaABRIELI, JOHN 
GABRIELLI, MADAME 
GEMINIANI ° 
GERBER. 


G1BBons, ORLANDO 
GIARDINI . ° 
Guuck, C. ‘ 
Gow, NEIL ° 
Graun, C. H. 


GREENE, Dr. M. 


Grecory, Pore . 


Grertry, A. ° 
Gueuietmi(P.)  . 
Guipo p’AREZZO . . 


HanpeE1, G. F. ° 
Haypwn, Dr. J. ? - 
Hacve, Dr. 








. Songs of the Sea, and Dramas, 1745 


Dickons, Mrs, (Miss Poole) Singer, . ° ° 1778 
Durante, F. ° - Duets, &c. ‘ 1693 
Dupuis, Dr. P . Organ and Theorist, ° 1733 


. Pianist and Composer, ° 1760 


- Dramas and Glees, ‘ 1669 
. Inventor of the Double Ac- 


tion Harp, . ; 1752 
FarRant, RIcHARD - Madrigals, — about 1530 
FaRINELLI, SIGNOR - Celebrated Singer, . 1705 
Festa, C - Madrigals, ‘ about 1500 


. Violin, one of the Founders 


of the Royal Society of 
Musicians in 1738, . 1700 


. A celebrated Oboist, ° 1749 
- Madrigals, ‘ about 1560 
- Inventor of different points 


or notes, to indicate 
their value in time, about 1020 
. Historian and Theerist . 1550 


. A celebrated Singer, . 1730 
- Violinist, 1666 
- Dictionary of Musicians, | 1746 
. Madrigals, Anthems, &c. 1583 
- Violinist, ‘ e 1716 
. Operas, &c. 1712 
. Celebrated Scottish Fiddler, 1727 
. Sacred, &c. 1701 


. One of the Founders of the 
R. S. of Musicians, . 1697 


. Gregorian Chant, &c. . 550 


- Operas, &c. ° ° 1741 

. Operas, &c. . 1727 
Inventor of musical notation, 

solmisation, &c. about 1000 

. Everything! . ° 1684 

Every thing! . ° 1732 


Organ, &c. . ° 1769 


Died 

1743 
1800 
1834 
1696 
1801 


1836 
1832 
1713 
1824 
1793 
1799 
1727 
1825 


1836 
1824 
1814 
1833 
1755 
1796 
1812 


1831 
1585 
1782 


1800 


1762 


1625 
1796 
1787 
1807 
1759 


1755 

604 
1813 
1804 


1759 
1808 
1821 





51 











A OAL EAE II 
erm te 


ct mmm 





xiv 


HARRINGTON, Dr. W. 


Harrison, S. 
Hasse, G. A. ; 
Hawkins, Sir Joun 
Hayes, Dr, W. 
Hayes, Dr. P. 
Heroup, M. 
Hime, F. H. 
Hook, JAMES 
JACKSON, W. 

Jacos, B. 
JARNOWICK 
INCLEDON, CHARLES 
JomE.u, N. 
JORDAN, "Mrs. 


Kent, JAMES : 
KELty, MICHAEL . 
KEISEWETTER 
Kino, M. P. 
Kircuer, A. 
Koutumann, A.F. . 
Kozexucu, L. 
Knyvertt, C,. 
Knapton, P. 
Kramer, C. 
KREUTZER 

Lasso, ORLANDO 
Lawes, W. 
Lawes, H. 

Leo, LEonARDO 
LEonI ‘ 
LeveripcE, R. 

Lin ey, T. 
Lintey, Miss 


Lintey,T. Jun. . 
LINLEY, WILLIAM 


Lock, M. 


Lut ty, J.B. 
LuTuer, MARTIN 
MARCELLO 
Mara, MADAME 
Marenzio, Luca 
Martin, G.S. 
Martini, Papre 
MarrtinI, G. S, E. 


Marpurg, F. W. 
Matuews, CHARLES 
Mayer, S. ° 
MERSENNE, M. 
METASTASIO, 


A CHRONOLOGICAL LIST 


. Vocal Duets and Glees, 

. Tenor Singer, 

. Operas, Songs, &e, 

. History of Music, 

. Organist, &c. 

- Organist, &c. 

. Operas, 

. Operas, &c. 

- 2000 Songs, & many Dramas, 
. Canzonets, Anthems, &c. 


Organist, A . 
Violinist, 


. Singer, 
. Operas, Sacred, &e. 
. Actress,and Mother of Earls, 


Lords, and Ladies, 
Anthems, &e. . ° 


. Singer and Composer, 


Violinist, 


. Operas, Glees, ke. . 

- Inventor of the Aolian Harp, 
. Theorist, ° 3 

. Pianoforte, 


Organist, and Glees, 
Pianoforte Composer, 
Military Music, 


. Violinist and Composer, 


Madrigals, 


- Sacred, . - ° 


Cantatas, &e. A ms 


. Sacred, and Operas, 


Singer, 
Cantatas, &e. 


about 


- Operas, &c. 
. Afterwards Mrs. Sheridan, 


Singer, 


. Vocal Composer, 
. An accomplished Amateur, 


Songs, Glees, &c. . 


- Composer of the Music in 


. 


. Madrigals, 


Macbeth, 
Operas, &c. 
Sacred, &e. 
Sacred, &c. ° 
A celebrated Singer, 
about 


. Oboist, . . 
« Composer and Theorist, 
. First introduced Accompani- 


ment in two staves to 
Printed Songs, &c. . 


. Organist, &c.  . 

. Comic Singer, and Actor, 

. Operas, . 

. Theorist, 

- Lyric Poet, Author of nume- 


rous Operas, 


Born 
1727 
1760 
1705 
1719 
1707 
1739 


1765 
1746 

1730 
1778 
1745 
1765 
1714 


1765 
1700 
1762 
1777 
1765 
1601 


1756 


1758 
1754 
1788 
1767 
1767 
1520 
1582 
1600 
1694 
1747 
1668 
1730 


1750 
1756 


1771 


1619 
1634 
1483 
1686 
1750 
1530 
1693 
1706 


1741 
1718 
1776 
1760 
1588 


1698 


Died 

1816 
1812 
1783 
1789 
1777 
1797 
1833 
1814 
1827 
1803 
1829 
1804 
1826 
1774 


1816 
1776 
1826 
1827 


1680 
1829 


1822 
1833 
1834 


1593 
1645 
1662 
1745 


1758 
1795 


1792 
1778 
1835 
1667 
1687 
1546 
1739 
1832 


1740 
1784 


1795 
1835 


1648 


1782 























} 



















Meuut, E. H. 
MerepitTH, Mr. 
MILLICO 
MILter, Dr. 
MonTEVERDE, C. 


MooreneEaD, JoHN 
Mortey, 'T. . 
MorninGTon, EARL oF 


Mozart, I. C. W. T. 
Natot, S. 

Nares, Dr. 
Naumann, J. G. 
Nicoxal, D. T. 
Nicoxal, F. 
Norais, C. ; 
Paccuierortt, G. 
PALEstRINA, G. P. 
PaissiIELLo, G. 
PaRKE, JOHN 
Parke, Miss 
Paxton, STEPHEN 
Parsons, Sir W. 


Pepucu, Dr. 
Perez, D. 
PERGOLEs! 
Puixivor, A. 
Piccrni, N. 
Pistoccut, F, A. 
Pinto, G. F 
PLayrorp, J. 
PLEYEL, J. 


Purce.t, H. 


Purcet, D. 
QuanTzZ, J. J. 
RaMEav, J. P. 
RanDLeEs, Miss E. 


at the court of George I 


RavzzinI, V. 
ReicnarptT, J. FPF. . 
Ricci or Rizzro, Davip 


RiGEL, H. J. 
RIGHINI, V. 
Rosa, SALVATOR 
Rope, P. 


OF DEPARTED MUSICIANS. 


Born 


. Operas 1763 
- Bass Singer, about 1740 
. Singer and Composer, . 1730 
Sacred, & Harpischord Tutor, 1731 
. Founder of the Recitative, 
also of the present style 
of counterpoint. Ma- 
drigals, &e. . P 1560: 
. Dramas, &e. ‘ F 
. Madrigals, , , 1563 
. Glees, &c. Father to the 
Duke of Wellington 1729 
. Every thing! 1756 


. Celebrated ‘Buito Singer, about 1770 


. Organ, and Sacred, 1740 
. Operas, 1741 
. Organ, &c. . 1733 
- Songs, &e. 1733 
. Singer, &c. , 1740 
. Celebrated Singer, 1750 
. Theorist, Sacred, &c. 1514 
. Operas, &e. ; 1741 
. Oboist, 1745 
. Singer and Pianist, 1775 
. Glees, 1749 
. Master of George Third’s 

Household Band. 1757 
. Celebrated Theorist, A 1667 
« Operas, &c. ; 7 1711 
. Operas and Sacred, 1704 
. Operas, : 1726 
- Operas, 1728 
- Operas, &c. 1660 
* A prodigy on the Vv iolin, 1789 
. Psalms, Hymns, &c. . 1613 
. Symphonies, Quartets, Piano- 

forte, &e. 1757 
- Sacred, Dramatic, Cantatas, 

&e. one of the greatest 

Geniuses that everlived, 1658 


. Dramas, Cantatas, &e. 


about 1660 


. Flute, Invented the Fnat) key 1697 


- Theorist, &c. 1683 
A precocious Welsh child, whe 
oe a the pianoforte i in public before she was two years of age, and 
I before she was four. She becamea most 
excellent performer, both on the harp and p.-f. ata very early age 1800 
. Singer and Composer 1748 
. Operas, &e. 1752 
- Queen Mary of Scotland’s ‘fa. 
vourite ° 1538 
. Sacred and Operas 1741 
- Operas, &e. 1758 
. Painter and Musician 1615 
. Violinist and Composer 1774 
An eminent Theorist ; 1712 


RoussEau, J. J. 
RUBINELLI, G. 


. A celebrated singer : 1752 


wt 


we 


Died 
1818 
1810 


1807 


1804 
1604 


1781] 
1792 
1820 
1790 
1801 
1801 
1811 
1790 


1595 
1816 
1829 
1822 


1817 
1752 
1778 
1737 
1795 
1801 
1720 
1808 
1693 


1831 


1695 


1773 
1764 


1829 
1810 


1566 
1799 
1812 
1673 
1830 
1778 














xvi A CHRONOLOGICAL LIST, ETC. 


RussELi, W. . - Organ and Sacred 
Saccuint, A. M. G. . Violinist and Operas 
SAVILLE, J. : . Author of the Waits Madri- 
gal . 2 about 
Satrerl, A. . ° - Operas, &e. 
Satomon, J. P. “ . An eminent Violinist 
SALINAS, F. . ° . Treatises, &c. ° 
Sag, JOHN. ° . Bass Singer, Glees, &c. . 
Sartr,G. . ° - Operas . ° 
Scarzatti, A. ‘ - Harpist, Cantatas, &e. 
ScarzattI, D. . - Harpsichord, Lessons, &c. 
ScHROETER, C. G.. . Inventor of the Pianoforte 
Scnroeter, J.S. . . Pianist and — ° 
SHIELD, WILLIAM . - Operas, Songs, &c. ° 
Smitu, J.S. - Glees, &c. 6 
SPAGNOLETT!I, P. . . An eminent Violinist P 
Sporrorts, R. - . Glees, &e. 
STANLEY, JOHN. ; A celebrated blind Organist 
StamiTz, J. . - Symphonies, &c. . about 
STEFFANI, A. ° . Operas, Duets, &e. ° 


STEIBELT, D. . Eminent Pianist & Composer 
STEVENSON, Sir JOHN . Sacred, Dramatic, Songs, &c. 


StoracE, STEPHEN - Operas x 

STORACE, SIGNORA . - Singer and excellent Actress, 
Italian and English . 

STRADELLA, A. . . Sacred and Operas 


Violinist, &e. 
Madrigals, wrote a Motett i in 
40 distinct parts ° 


Stronck, N. A. 
Tauuis, T. . 


TarTINI, G. . . Violinist, Author of the De- 
vil’s Solo. ‘ 

TEs!, SIGNORA - An eminent Singer about 

TRAVERS, J. . Organist, Duets, &c. 

TROBE, LA, THE Rev. C C. J. Sacred, &c. “ ° 

Tye, Dr. C. ° . Sacred, &c. ° about 

VANHALL, J. . - Symphonies, &c. . . 

Vinct, LEONARDO . - Operas, &c. 

Viorti, G. B. ‘ - Eminent Violinist & Compt 

Vocier, ABBE - A learned Musician, inventor of the 


Orchestrion, on which he performed in the most masterly manner ; 
he also put the first open pedal to a p.-f., to sustain the sound, &c. 


Warp, Joun . Madrigals . : 
WaeErent, U. : . Madrigals . 
WEBBE, SAMUEL . « Glees, &c. F 
WEBER, Cart Von. . Operas, &c. . . 
WELDON, JOHN . . Madrigals’ P ° 
WEELEKES, T. - . Madrigals ° about 
WeEsteEY, CHARLES . Organist,&c. ° 
WisyE, J. A - Madrigals ° 
WIsE, MATTHEW . . Organist, &c. . re 
WInTER, P. . . Operas, Sacred, &c. ° 
WoE Ft, J. . . Celebrated Pianist & Compr 
Worean, Dr. ° . Vocal Composer, &c. « 
ZARLINO, G. ; . Theorist, and the discoverer 
of the relation between 
the major & minorthirds 
ZELTER, C, F, ° . A distinguished Amateur. 


ZINGARELLI,N. . . Operas, &c. . . 


Born 
1777 
1735 


1630 
1750 
1745 
1513 
1758 
1730 
1650 
1683 
1699 
1750 
1749 
1750 
1768 
1770 
1713 
1700 
1650 
1755 
1759 
1763 


1765 
1650 
1640 


1520 


1692 
1693 
1706 
1758 
1520 
1739 
1690 
1755 


1749 
1580 
1517 
1740 
1786 
1676 
1568 
1757 
1560 
1638 
1755 
1772 
1733 


1500 
1758 
1752 








