Page:A Dictionary of Music and Musicians vol 3.djvu/233

SALOMON. at Bonn, Feb. 1745 (christened Feb. 2), early became an expert violinist, and in 1758 was admitted into the orchestra of the Elector Clement August. In 1765 he made a concert-tour to Frankfort and Berlin; and Prince Henry of Prussia, who had an orchestra and a small French opera-company at Rheinsberg, made him his Concertmeister, and composer of operettas. He had already showed his appreciation for Haydn by introducing his symphonies whenever he could. On the prince's sudden dismissal of his band, Salomon went to Paris, where he was well received, but being so near London he determined to go on there, and on March 23, 1781, made his first appearance at Covent-Garden Theatre. The pieces on this occasion were Mason's 'Elfrida,' set to music by Dr. Arne, and Collins's 'Ode on the Passions,' with solos and choruses by Dr. Arnold, both of which he led, besides playing a solo in the middle. The 'Morning Herald,' says of him 'He does not play in the most graceful style, it must be confessed, but his tone and execution are such as cannot fail to secure him a number of admirers in the musical world.' From this time he frequently appeared at concerts as soloist, quartet-player (violin and viola) and conductor. He quarrelled with the directors of the Professional Concerts, soon after their foundation, and thenceforward took an independent line. During Mara's first season in London, in 1784, he conducted and played solos at all her concerts. The ;Morning Chronicle' says, in 1785, 'Salomon's solo, though perhaps not excelling in tone, was in the greatest point, in pathetic impression, excelled by none! Whose violin-playing approaches nearer the human voice? On the whole Salomon is a mannerist, but he has much originality—he is very susceptible—he is a genius.' In 1786 he gave a series of subscription concerts at the Hanover Square Rooms, and produced symphonies by Haydn and Mozart. From that time he contented himself with an annual benefit concert, but acted as leader at others, both in London, as at the Academy of Ancient Music in 1789; and elsewhere, as at the Oxford Commemoration, Winchester and Dublin. A grand chorus composed by him in honour of the King's recovery, performed by the New Musical Fund in 1789, and repeated at his own concert, was his one successful vocal piece. He removed in 1790 to No. 18 Great Pulteney Street (opposite Broadwood's), in which house Haydn stayed with him in the following year. The two had long been in correspondence, Salomon endeavouring in vain to secure the great composer for a series of concerts; but as he was at Cologne on his way from Italy, where he had been to engage singers for the Italian Opera, he saw in the papers the death of Prince Esterhazy, hurried to Vienna, and carried Haydn back in triumph with him to London. This period of Haydn's stay in England was the most brilliant part of Salomon's career as an artist, and after the return of the former to Vienna the two continued the best of friends. In 1796 Salomon resumed his concerts, at which ie was assisted by Mara, the young tenor Braham, and his own promising pupil Pinto. On April 21, 1800, he produced Haydn's 'Creation' at the King's Theatre, though not for the first time in England, as he had been forestalled by John Ashley (Covent Garden, March 28). Salomon's active career closes with the foundation of the Philharmonic Society, in which he took a great interest, playing in a quintet of Boccherini's, and leading the orchestra, at the first concert in the Argyll Rooms, March 8, 1813. Up to the last he was busy planning an Academy of Music with his friend Ayrton. A fall from his horse caused a long illness, from which he died Nov. 28, 1815, at his house No. 70 Newman Street. He was buried Dec. 2 in the south cloister of Westminster Abbey. He bequeathed his house to the Munchs of Bonn, his next of kin; £200 to F. Ries, for the benefit of his brother Hubert; and his Stradivarius violin (said to have belonged to Corelli, and to have his name upon it) to Sir Patrick Blake, Bart., of Bury S. Edmunds.

Salomon was, on the whole, a first-rate solo-player, but his special field was the quartet, in which he showed himself a solid and intelligent musician. Haydn's last quartets were composed especially to suit his style of playing.

He was a man of much cultivation, and moved in distinguished society. Bland published an engraving of him by Facius from Hardy's picture. Another portrait by Lansdale was sent by Salomon himself to the Museum at Bonn. His best epitaph is contained in a letter from Beethoven to his pupil Ries in London (Feb. 28, 1816): 'Salomon's death grieves me much, for he was a noble man, and I remember him ever since I was a child.' [ C. F. P. ]

SALTARELLO or SALTARELLA (Latin saltare, to jump).

I. In 16th-century collections of dance tunes the melodies usually consist of two distinct divisions, the first of which is written in common time, the second in 3 time. The former was probably danced like our English country-dances (i.e. the dancers standing in two lines facing each other) and bore the distinguishing name of the dance, while the latter was like the modern round dance and was variously entitled Nachtanz, Proportio, Hoppeltanz, or Saltarello, the first three being the German and the last the Italian names for the same movement. Thus in Bernhard Schmidt's Tabulaturbuch (Strasburg, 1577) are found the following dances: 'Possomezzo Comun' with 'Il suo Saltarello'; 'Bin guter Hofdantz' with 'Nachdantz'; 'Alemando novello. Ein guter neuer Dantz' with 'Proportz darauf'; and 'Ein guter neuer Dantz ' with ' Hoppeldantz darauf.' Similarly in Queen 