Louisa M. Middleton

“ Before 1818 Barnett had composed a mass and published songs; of the latter, 'The Groves of Pomona,' a grand scena, was sung by Braham. In these early attempts Barnett's strength, of talent and vein of poetic feeling were at once recognised, and he was advised to cultivate the higher branches of his art (Quarterly Musical Magazine, 1821-8, passim) . His music to Wolfe's 'Not a Drum was heard,' had extraordinary merit; but he first won popularity through 'The Light Guitar,' sung by Madame Vestris. ”

“ Costa had other reasons connected with the production of his own music for discontent, and he seceded, with Grisi, Mario, and the greater part of his fine orchestra, to the new Royal Italian Opera House at Covent Garden in 1847. Lablache alone remained faithful to Lumley.
Up to 1847 Lumley's management met with brilliant success. ‘He found ill-paid and unpaid artists, an interior in disorder, a band and chorus in revolt, shabbiness and poverty rampant within the walls, and, as with the wand of the enchanter,’ he revolutionised the whole system (Musical World, 1847, p. 45) . ”

“ Henceforward he produced songs and ballads with surprising facility, some of the most melodious of them ('Rise, gentle Moon,' 'My Fatherland,' and others) being composed for the plays with music then in vogue. For the Lyceum, and especially for the Olympic, where Barnett was musical director in 1832, he composed a number of musical farces.
This inartistic employment wearied a musician of the calibre of Barnett, whose aim it became to wed music to poetry in true dramatic form, and whose ambition seems to have been to write a national English opera. ”

“ In 1810, at the Russell Institution, Great Coram Street, Russell Square, London, Kemp began a series of lectures on musical education, in which he advocated the teaching of music in classes and the playing of exercises by pupils in concert. On account of failing health he returned with his wife and family to his native city, and resided there until 1824, with the interruption of a visit to France in 1818–21. He had founded a musical college at Exeter in 1814. A journey to London in April 1824 proved too fatiguing for Kemp, then in a weak state of health, and he died in his lodgings on 22 May. ”

“ Harrison was trained as a soprano to sing solos at the Ancient Concerts and at the Society of Sacred Music in 1776. Not until he was eighteen did his voice break (Lysons) . He cultivated his tenor voice with the utmost care, and became the most finished singer of his age. George III, hearing him at one of the queen's parties, had the artist engaged for the Handel Commemoration, 1784, to open the ‘Messiah;’ he thus sprang into the notice of musicians and fashionable people. He had made his first appearance at the Three Choirs meeting as principal tenor in 1781, at Gloucester ”

“ FISH, WILLIAM (1775–1866) , a musician of Norwich, was born in that city in 1775. He commenced his musical career as violinist (Grove) in the orchestra of the theatre, and, after studying under Sharp, the oboist, and Bond, the pianist and organist, was fitted to take part in various capacities in the important local concerts and cathedral festivals. He was organist of St. Andrew's, Norwich, opened a music warehouse, and became well known in the neighbourhood as a teacher. ”

“ HESELTINE, JAMES (1690–1763) , organist and composer, a pupil of Dr. Blow, was in the early part of the century organist to St. Katharine's Hospital, near the Tower (Grove) . In 1710 he was elected organist of Durham Cathedral. A misunderstanding between him and the dean and chapter led him to destroy his compositions, but he held the post of organist until his death on 20 June 1763, and was buried in the Galilee of the cathedral. Early in 1730 Heseltine married a daughter of Sir George Wheler, canon of Durham. His portrait is in the Music School, Oxford. ”

“ Adelaide Kemble's short public career was of rare artistic value. She showed cynical compatriots and critical foreigners (Neue Zeitschrift, ix. 61) that the highest rank of executive art could be reached by an Englishwoman. There was little or no scope for musico-dramatic talent apart from the Italian opera, but Miss Kemble thrilled her audiences with the creations of Rossini and Bellini. The non-fulfilment of Liszt's intention to conduct German opera in London in 1842 was a great disappointment to her. ”

“ When young, Holmes was very handsome. He was apprenticed to Robert B. Seeley, the bookseller, but subsequently chose the profession of music, and studied under Vincent Novello, who generously made him an inmate of his house for several years. He thus came to know Charles Lamb and most of the men of letters of the day. Always a great admirer of Mozart, he and Novello raised a subscription for Mozart's widow, and went to Germany to present it to her in 1828. ”

“ Accounted the head of the English school, Greatorex in 1801 revived the Vocal Concerts. He was a professional member of the Madrigal Society, the Catch Club (from 1789 to 1798) , and of the Royal Society of Musicians (from 1791) . He was also one of the board at the Royal Academy of Music on its establishment (1822) , and was its chief professor of the organ and pianoforte. No important oratorio performance in town or country was thought complete without his co-operation as conductor or organist. ”

“ In the library of the Royal College of Music four out of the five chants described as ‘Welles tunes’ are attributed to Jackson, together with the organ part of the service in C, and of the anthems, ‘The days of Man,’ ‘O Lord, let it be Thy pleasure,’ ‘The Lord said unto my Lord,’ ‘O how amiable,’ ‘Christ our Passover,’ ‘Many a time’ (a thanksgiving anthem for 9 Sept. 1683) , ‘God standeth in the congregation,’ and ‘I said in the cutting off of my days’ (a thanksgiving anthem for recovery from a dangerous illness) . ”

“ Among his most fashionable and popular ballads, composed between 1830 and 1847, were, ‘Thou art gone from my gaze,’ ‘Song of the roving gipsey,’ ‘Constance;’ and later, between 1852 and 1862, with a stronger vein of melody, ‘Minnie,’ ‘Old friends at home,’ and Burns's ‘Jolly Beggars.’ Linley's flowing style of composition was little suited to the stage, and his musical pieces produced at London theatres had small measure of success. ”

“ When Camden determined to found a history lectureship at Oxford, he transferred all his right in the manor of Bexley in Kent to the chancellor, masters, and scholars of the university on the twofold condition that the profits of the manor (valued at about 400l. per annum) should be enjoyed by Heather, his heirs, and executors for the term of ninety-nine years after Camden's death, and that during that period Heather should pay to the professor of history in Oxford the sum of 140l. ”

“ Lodge's opera of “Domenica” won't do; he is a good musician, but not equal to writing for the stage; perhaps he holds himself above it.’ No record appears of the publication of this or of his other English opera, ‘The Bridal of Triermain,’ or of his German opera, ‘Lucinda.’ More successful was his oratorio, ‘Paradise Lost,’ published in 1857 with pianoforte score, the selection of passages from Milton being made with discrimination. Lodge had already given proof of his literary taste in his poetical writings. ”

“ Sims Reeves then made his début in opera in England. The outlay was very large, and the resources of the impresario could not long bear the strain. A shop which he had opened for the sale of his music, first in Maddox Street and then in Regent Street, was sold, realising 8,000l., but this did not meet the demands of creditors, and Julien was declared bankrupt 21 April 1848. Nevertheless, in June and July 1849 monster concerts were given—two at Exeter Hall, and one at the Surrey Zoological Gardens—with four hundred instrumentalists, three distinct choruses, and three distinct military bands. ”

“ HALL, HENRY, the younger (d. 1713) , organist, son of Henry Hall the elder [q. v.] , succeeded his father in 1707 as organist of Hereford Cathedral. He is said to have composed little or no music, applying himself to verse-making. Such trifles as 'To Mr. R. C., a dun;' 'All in the Land of Cider;' 'Catch on the Vigo Expedition,' in 'The Grove,' 1721; and 'A Ballad on the Jubilee,' in 'Pope's Miscellany' (Lintot, 5th edit., 1727, vol. ii.) were admired for their ease and brilliancy in an age that was not repelled by their coarseness. ”

“ FORSTER, WILLIAM (1739–1808) , the founder of a family of eminent musical instrument makers and publishers, known in the trade as 'Old Forster,' was the son of a maker of spinning-wheels and repairer and maker of violins in Cumberland. William made his way southwards as a cattle-drover, and reached London in 1759. At home he had been carefully taught music and the making of instruments, and the violins with which he supplied the shops were accepted and sold without difficulty. ”

“ To her and to Ann Heather he left his harpsichord (‘made by Petrus Joannes Couchet’) , his Cremona violin, and all his instruments and books of music. He had given his picture of Geminiani and his own portrait to his ‘faithful servant, Ann Phillips,’ to whom also was granted during her life the use of his house in King's Row, Upper Grosvenor Street, and his household goods. Robert Heather, coachbuilder, and John Stafford Smith were the executors. The collection of music was sold in 1782. Except a few court minuets, &c., Kelway's only publication was ‘Six Sonatas for the Harpsichord,’ 1764. ”

“ HORN, CHARLES EDWARD (1786–1849) , vocalist and composer, was the second son of Karl Friedrich Horn (1762–1830) , musician, who came to England from Saxony as a valet (Papendiek) in 1782, and was appointed music-master to Princesses Augusta and Elizabeth about 1789, and organist to St. George's Chapel, Windsor, in 1823. Charles Edward Horn was born in London in 1786. He was taught music by his father, and had a few lessons at Bath from Rauzzini in 1808. ”