John R. Parker.

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Bear Vienna. He it very decff, bid seems otherwise to he in fine
fatOier : runniag lUbout the hills, and bringing^ down notes for
iBBumerabie fine things every evening. He shewed ns a prodi*
gionsly fine piaao forte, which has just been senthkn -by Mr.
Broadwood, of London ; a noble specimen of the admiration
with which the genius of this great man is regarded in every
part of the world. The instrument is by far the finest we our-
selres ever saw, and had attracted immense applause from ^
the eogttoscenti of Vienna."

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»ign of the great BesthoVen^ at the sound of his Ijre ^^di-

vtfie," a spell of ecstacj falls upon every Grerman heart ;

the soft strain of Italy bursts into grandeur, and the song

of melting ardour pours forth, even from the icy shores of

the Neva.

The noble Briton, less rapid, but perhaps more steady

in his admiration, offers a tribute worthy to the " Gi>d of
Music,^^ We have reference to that prodigy ofart^ re-
ceived by BEETHOVEPf at Modlinhis summer residence, and
presented to him as a token of respect by Mr. Broadwood
of London. This precious instrument, 9i Horizontal Grand
Piano FbrUj has never yet been equalled. It has six oc-
taves from the lowest C, to the uppermost. The tone
is the most exquisite that can be conceived, any particu-
lar notes can be softened at pleasure, and nothing is omit-
ted to make this masterpiece perfect. Besides the pedals
on the left, there are two on the ri^t for the bass, and the
treble dampers are to be used separately, or together, as
may suit the taste of the performer. The scale is so welt
regulated, that the force of the bass, cannot injure the tre-
ble, on account of the successive and gradual dimunition of
the weight in the ascent, that is from the middle G, the
progressive lightness ascends to the upper C, after which
Ihe dampers are discontinued.

To give a just idea of the superior construction of this
instrument, it wiD be sufficient to state the fact, that af-
ter being transported from London to Trieste, and thence
on wheels to Modlin, it was opened, and found to be in per-
fect tune, already for the touch bf the Mighty Musician,

On the harmoniac platform is the following latin inscrip-

"£foc insirumentum est
TTiomas Broadiooody Londoniy
donnm^ proptUj ingenium illlnstrisimi

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On the front plate in large letters of ebohy, stand the
name of BEETHOVEy, and underneath it, John BroadtDOod
Sf SonSy Makers of Instruments to his majesty, and the
princesses, Great Pultnej Street, Grolden Square, London,
to the right, on the same plate, appears five names, of the
greatest Peformers in London,

Fred Kalkbrenner. J,B. Cramer j

Fkrd Ries. C Knyvett

C G fhrari.
In testimony of the transcendant superiority of the gift,
it is pleasing to remark here, as a farther homage to tal-
ents and the arts, that no duties were exacted by any Cus-
tom houses through which this instrument had to pass.


John Wall Callcott, was bom at Kensington Gravel
Pits, on the 20th November, 1776. He was placed under
the Care of Mr. William Young, where his progress was
considerable for his age. At twelve years old, when he
was removed from School, he had read much of Ovid, the
greatest part of Virgil, and had begun the study of the
Greek Testament. From this period, his acquirements,
wftich were very great, were the fruits of his industry. His
attention was addressed to music, at the period of his leav-
ing school, (1778) when he obtained an introduction to the
Organist of Kensington, and began to practice upon a spi-
nett, which Tiis father obtained for^him. About the year
1782 be attended the service at the Abbey and the Chapel

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Royal, and made some acquaintance with the heads of the
profession. In this year he was also appointed assistant
organist at St. George the Martyr, Queen's Square, Hoi*
bom, by Mr. Reinhold. He nearly at the same time,
through the kindness of Dr. Cooke, obtained admission to
the orchestra of the Academy of ancient music, and he
sung in the chorusses of the Oratorios at Drury Lane The-
atre. In the first of these years he began to bestow some
attention upon the principles of vocal composition, and he
finished his first to the words of Gray's ode " O sovere^
cf the vnllmg soulj^^ printed in Warren's 23d Collection*
From this period he continj^ed to improve in vocal harmo*
ny. During the year 1784 he had the pleasure to attend
the commemoration of Handel, in Westminster Abbey. In
the following year he gained three prize medals given by
ihe Catch Club, and took his Bachelor's degree at Oxford,
on the invitation of Dr. Phibp Hayes. His exercise, on
the occasion, was upon Wartons ode to Fancy. In 1786
he bore off two medals, at the Catch Club, and succeeded
to several valuable engagements in teaching, through the
interest of Dr. Arnold, by whom his glee, " TVhen Arihur
first y^^ was introduced among the music of " The Battle of
Hexhamy — In 1787 he gained two more medals at the
Catch Club. In 1788 he did not write for the prizes,
though he still employed all his leisure in the study for
voices. In 1789 he again became a candidate for the me-
dals, and had the good fortune (the concomitant of his un-
common abilities) to gain all four ; a circumstance which
never occurred before or since. He was elected organist
of Covent Garden Church in 1789. TTie election was,
however, strongly contested, and the business terminated
by a proposal, on the part of Mr. Callcott to divide the
situation with Mr. Charles Evans. In 1790 the celebrated

Haydn arrived in London. Mr. Callcott was introduc-

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ed to him, by Mr. Solomon, and received some lessons from
that eminent musician. He accepted the office of organ-
ist to the Asylum for Female Orphans in 1792, which situa-
tion he retained till 1802, when he resigned it in favor of
Mr. Horsely, the present worthy incumbent, afterwards his
son in law. In 1800, he took his degree of Doctor in
Music, in company with Mr» Clement Smith, of Richmond.
Mr. Horsley at the same time, took the degree of Bache-
lor. Dr. Callcott first conceived the design of compos-
ing a Musical Dictionary in 1797, and he persevered in it
for some years after, but finding that such a work would
interfere too much with his business as a teacher, he laid it
aside till some future period of leisure and advantage, and
in 1804 and 1805 employed himself in writing the Musical
Grammarj one of the most popular works in our language.

The Grammar was first published by Birchall in 1806.
In the following year his various pursuits and incessant ap-
plication brought on a nervous comj^aint, which compel-
led him to retire altogether from business, and it was not
till 1813 that his family and friends again had the happiness
of seeing him among them. He remained well till the au-
tumn of 1816l at which, symptoms of his former indisposi-
tion again appeared. From this period his professional
avocations were wholly superseded, and on the 6th of May,
1821 he ceased to feel all fiu-ther affliction.

The basis of Dr. Callcott's fame rests upon his glees,
but he has written some songs that are unequalled in point
of legitimate expression, and which, as we esteem them,
are models for the formation of a fine English style. Such
an one is his " Angel ofLife^^^ His glees certainly place
him among the very foremost of those who have cultivated
that species of composition. No man was ever more deserv-
edly beloved than Dr. Callcott for the gentleness and he-

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Dignity of his disposition, nor more highly respected for
the extent of his various attainments in languages, litera-
ture, and in science.


Muzio Clementi was horn at Rome in the year 1725,
His father was a worker in silver of great merit, and prin-
cipally engaged in the execution of embossed vases^ and
figures employed in the Catholic worship. At an early pe-
riod of his youth he evinced a powerful disposition for mu-
sic, and as this was an art which greatly delighted his fa^
ther, he anxiously bestowed the best instructions, by pUc»
ing him under Buroni the principal composer to St. Peters,
after which, and at the age of six years, he began sol facing
and was instructed by CordicelU in thorough bass. At
nine years of age he passed his examination, and was ad-
mitted as an organist at Rome. He next went imder the
celebrated Santanelli, the last great master of the true
vocal school, and between eleven and twelve he went un-
der 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 hi^ 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 have it. It was accordingly repeated in Church
in presence of his master, who being little accustomed to
bestow praise on any one, said to his pupil, after his dry
manner, " Why did you not tell me yon were about tp

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write a mass, this is very well to be sure, but if you had
consulted me it mi^t have been much better."

At the age of fourteen a Mr. Dfeckford residing in Dor^
setshire in England, then on his traTels in Italy, was et-
tremely desirous of taking him over to that coimtry. The
decUning riches of the Roman church, at this period not
giving much encouragement to the talents of the Father,
he agreed to confide the rising talents to the care of Mr.

The country seat of Mr. Beckford being in Dorsetshire,
by the aid of a good library and the conversation of the
family, Clementi quickly obtained a competent knowl-
edge of the English language. His efforts to acquire pre-
eminence on the harpsichord, were in the mean time as in-'
defatigable as they were successful, and at the age of
eighteen he had not only impressed all his contemporaries
in the powers of execution and expression, but had written
hi* Opera 2, whidi gave a new era to that species of com-
position. The simplicity, brilliancy, and originaUty which
it displayed, captivated the whole circle of professors and
amateurs. It is superfluous to add what all the great mu-
sicians of the age have uniformly allowed, that this admi-
rable work is the basis on which the whole fabric of mod-
em sonatas for the piano forte has been erected. When
Schroeter arrived in England, he 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 executive ability has made, that was
once an obstacle to the most accomplished talent, is now
within the power of thousands. ,

After he quitted Dorsetshire, he went to London, and was
engaged to preside at the harpsichord, in the Orchestra of
the Opera house^ where he had an opportunity of improyw^


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ing his taste by the performances of the first singers of the
age. The advantages he derived from this species of study
was quickly shewn by the rapid progress he made beyond
his cotemporaries, either in the dignity of his style of exe-
cution, and in the powers of expression. This also he
carried into his compositions and Dussek, Steibelt, Woelfj
Beethoven, and other eminent performances on the Con-
tinent, who had no opportunity of receiving personal in-
structions from Clementi, declare that they had formed
themselves entirely on his works. His ability in extern^
poraneous playing, has perhaps no parallel. The richness
of harmonic combination, the brilHancy of fancy, the pow-
er of effect, and the noble style of execution which he dis-
plays, make him stand alone in an age which has produced
such a host of executive talent.

In 1780 at the instigation of Pacchiekotti, he deter-
mined to visit Paris, where he was received with enthusi-
asm, and had the honour to play before the<Q,ueen, who be-
stowed upon 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
would scarcely believe himself to be the same man. Hav-
ing enjoyed the unabated applause of the Parisians until
the summer of 1781, he determined on paying a visit to
Vienna. At Vienna he became acquainted with Haydn
and Mozart, and all the celebrated musicians resident in
that capital. The Emperor Joseph 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 the Dutchess. In 1782 he returned to
England, and some time after he took John B. Cramer
then about 16 years old^ under his tuition. The following

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year Clembnti returned to France, in 1784 he again ciaune
back to England. From this period to 1802 he remained
pursuing his professional labours with increasing reputation ;
and wishing to secure himself sufficient time for the prose-
cution of his studies, he raised his terms to one guinea per
hour. His fame however was so great that this augmenta-
tion of pence rather increased than diminished the candi-
dates for instruction. The great number of excellent pu-
pils which he found during this period, proves his superior
skill in the art of tuition ; the invariable successs which
attended his public performances, attracted his pre-eminent
talents as a player, and his compositions are a lasting proof
of his application and genius. About the year 1800, hav^
ing lost a lai^e sum of money by the failure of the well
known firm of Longman and Broderip, 26 Cheapside^
he was induced by the persuasions <)[ some eminent mer-
cantile gentlemen, to embark in the concern.

A new firm was accordingly formed from that period and
he declined any more pupils. The hours which he did not ^
thenceforward employ in his professional studies, he dedi-
cated to the mechanical and philosophical improvement of
piano fortes, and the originality and justness of his concep-
tions were crowned with complete success. The extraor^
dinary wid admirable talents of John Field, Clembnti had
cultivated with encreasing delight, and he had been often
heard to say, that such was his quickness of conception,
retentiveness of memory, and facility of execution which
this highly gifted boy possessed, that he seldom had occa-
sion to make the same remark to him a second time. With
this favourite pupil in the autumn of 1802 he paid a third
visit to Paris, where he was received with unabated esteem
and admiration. From Paris he proceeded to Vienna,
where he intended to place Field under the direction of
Albrecbtsbei^er; to which his pupil seemed to assent jn&t

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pleasure ; but when the time came, 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 inchnations — ^they therefore proceeded direct-
ly to St. Petersburg.

In Petersburgh Clementi was received with the greatest
distinction. He played extemporaneously in the society of
the principal professors, with his accustomed excellence,
and to the admiratidn of his audience ; and having intro-
duced Field to all his friends, soon afterwards left Russia,
for Berlin and Dresden. At this place Iflengel intro-
duced himself to the acquaintance of Clementi, and
after obtaining some instructions, became desirous to ac-
company his master in his travels, Clementi was so
much pleased with his character, that he took him on to Vi-
Cfnna, where, during some months, worked very hard under
his direction.

During the following summer Clementi took Klengel
on 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 his wife in child bed, he immediately
left the scene of his sorrows, and once more visited Peters-
burg. In this journey he took with him another promis-
ing pupil of the name of Berger, who is now the principal
professor of the piano-forte at Berlin. At Petersburg he
foimd Field in the full enjoyment of the highest reputation,
he might be said to be the idol of the Russian nation. Here
he remained but a short time, and went back to Vienna.
Having heard of the death of his brother, he proceeded
once more to Rome, to settle the affairs of his family, and
afterwards arrived in England in 1810, and the year fol-

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lowing married his present wife. • His first publication af-
ter his return was the " Appendix," to his " Introduction
to the art of Playing on the Piano Forte," a work which
has been of infinite use both to the profession and to the
pubBc, and the demand for which, has constantly augment-
ed in proportion as its excellence has been discovered.
He next adapted the twelve grand symphonies of Haydu
for thj piano forte, with accompaniments for the flute, vio-
lin, and violincello. Afterwards he adapted " Haydn's
Creation," the oratorio of the " Seasons," and Mozart V
overture to Don Giovanni, besides various selections from
the vocal compositions of the same author.

We now come to mention a work, by which the author
must, have established his fame as a composer of the first
eminence, had he neve»,written another note. We allude
to his ^^Gradus Pamassum.^^ Tne pubfic must anticipate
much pleasure from the knowledge that there are in press
several new compositions from the fruitful and unexhausta-
ble pen of the accomplished subject of this memoir. We
must now close our sketch of the life of this extraordinary-
man, whom we rejoice to see on the verge of seventy, re-
taining all the vivacity, freshness, and vigour of intellectu-
al strength, and in the enjoyment oFa constitution which
promises the musical world rich harvests still to come fronn
the fertiUty of his comparable genius.

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^rhis truly scientific and very able professor, was bom at
Oxford, (Eng.) in 1745. At nine years of age be was
placed under the superintendence of the celebrated Dr.
Nares, with Drs. Arnold, Dupuis and Mr. Rayner Taylor
of Philadelphia, of whom we shall have occasion to notice
hereafter. Dr. Jackson continued with Dr. Nares until
1773, when he was appointed a surplice boy at the King's
Chapel Royal, on account of his natural taste for music, he
was also one of the tenor singers at the grand conmiemo-
ration of Handel in 1784, and received his Diploma from
St. Andrew's College in 1791, and mi^ated to this country,
in 1796. He arrived at Norfolk Virginia, where he re-
mained a short time, and removed to Alexandria, visited
the cities of Baltimore and Philadelphia. From thence he
resided at Elizabeth Town, N. J. and subsequently at N.
York, where he remained for many years in active and
constant employment as a teacher and organist. In 1812.
Dr. Jackson removed to Boston5 which city had been rep-
tesented, as being a more desirable place for his profes-
sion ; immediately upon his arrival there, he was employed
as organist at the church in Brattle Street, where he re-
mained for some time, until he was exiled to Northamp-
ton, Mass. on account of being an Englishman, this coim-
try being then at war with Great-Britain. In 1813 Dr. ^

Jackson with Messrs Graupner & Mallet, commenced a se
ries of oratorios, some of which were repeated *at Salem.
At the conclusion of the war in 1815, he returned to Bos-
ton, and was immediately engaged as Organist at the King's

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Chapel, so called, in School street, after which he officia-
ted as organist, for several years at Trinity Church, in
Summer-street, and on the erection of St. Paul's Church
in Common Street, he was engaged at an extraordinary
high salary as organist, which situation he held until his

Dr. Jackson was married in the year 1787 to the eldest
daughter of Dr. Samuel Rogers, Physician, London, hy
whom he had eleven children. In recording some hrief
particulars of this distinguished Professor, we are happy to
add our tribute of euTogy which appertains to his memory.
His professional erudition, solidity of judgment, and a cute -
ness of perception, were manifest on all occasions. As an
oi^nist, he was pre-eminent. Any one acquainted with
the true style of Organ playing must acknowledge his unri-
valled talents, his voluntaries were elaborate and re-
plete with chromatic harmonies, embracing the most scien-
tific and classic modulations. His interludes to psalmody
were particularly appropriate to the sentiments expressed
in the subject, and until his residence in the metropolis of
New- England, chanting the church service was little prac-
tised and less understood.

It is to this venerable professor, that this pleasing and
truly useful branch of church service was performed, and
its practice properly inculcated among the choristers of the
several episcopal churches in Boston, and to him, are we
indebted for a very valuable book of chaimts, canons, sanc-
tusses and kyrie eleisons. His compositions as a harmo-
nist, are of high rank, they possess a profound knowledge
of the science, and an originality of modulation wherein are .
displayed a comprehensive view of effects, the result only
of deep and laborious study.

We are desirous to perpetuate the name of this erudite
professor, whose distinguished abilities as a teacher, many

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df the first families in Boston have long and ardently cher-
ished, and whose pupils have felt themselves fondly endear-
ed, and whose memory will ever be appreciated.

Among the remaining highly talented professors, we pre-
sume this sketch will excite a sympath^c feeling, as it may
load those who are partial to the art, to enquire, whether
the talents of professors in music are appreciated, or their
endeavors properly rewarded? while we may with equal
propriety inquire, whether we sufficiently value or reward
those who are now laboring for our gratification and im-
provement ?

This subject is pregnant with interest, and we diould re-
joice, if our humble efibrts would stir up a proper spirit,
and more faithfully, both in sentiment and action, honour
and reward what is at our command. We cannot help
cherishing the hope, that the many respectable and
hi^ly gifted artists now domesticated among us, may jei
more fully receive remimeration for their labors, and that
when deprived by sickness, age or other casualty from
their exertions, their talents and services may be recorded
for posterity, by far more abler pens than ours.


Died on the 16th of April, at his house in Bemer's street
aged 54, after an illness of several years, Mr. James Bar-
TLEMAN. He was completely educated in music ; he wai
a scientific singer, and learned in the various erudition of
the English and Italian composers, particularly in the mad-
rigalists^ and the yniien of sacred muiic* His bias wacr

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decided towards those compositions which, even when he
^rst came into' life, had ah^adj hegun to be considered as
ancient music ; but all that lay in his own department, he
lightened of its heaviness by the brilliancy of his voice,
and animated by the energy of his manner. He carried
much dramatic effect into the orchestra, and he restored
the knowledge of Purcell's finest compositions, as well as
of Handel's finest opera songs. He was, of his own ac-
cord, and*under the influence of his own disposition, rapid-
ly infusing a new grace into Ba$e singing, when the meana
were afforded him by Haydn's character of Raphael, in
the Creation — ^by Callcott's beautiful songs, written on
purpose for him — ^by Pergolesi's " O Lord have mercy up-
on me," — by Dr. Crotch's Palestine, and several other
things from Stevens, Webb, Callcott, and Horsley, of du-
rably impressing the stamp of elegance upon this point of
the art. The freer admission of omanxental passages, of a

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Online LibraryJohn R. ParkerA musical biograhy: or Sketches of the lives and writings of eminent musical ... → online text (page 10 of 20)