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Scan 65
Dictionary of music and musicians, 1908
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1ADCOCK
3to their removal from the factories to their places of destination. On such occasions the factories were crowded by professors and amateurs, anxious of witnessing the performances, and Adams played from ten to twelve pieces of the most varied kind, including two or three extemporaneous effusions, not only with great effect, but often with remarkable exhibition of contrapuntal skill, and in a manner which enraptured his hearers. Even in so small a field as the interludes then customary between the verses of a psalm tune, he would exhibit this talent to an extraordinary degree. Adams was a composer for, as well as a performer on, his instrument. He published many organ pieces, fugues, and voluntaries, besides ninety interludes, and several variations on popular themes. He also published numerous variations for the pianoforte, and many vocal pieces, consisting of short anthems, hymns, and sacred songs. Besides his published works, Adams composed several other pieces of various descriptions, which yet remain in manuscript. [The Musical Times of Sept. 1899 contains an account of his organ-recitals, and a set of harmonies to the 'Old Hundredth,' an amusing burlesque of the tortuous style of treatment then coming into fashion.] He died Sept. 15, 1858. His youngest son, Edgar Adams, followed the profession of his father, and held for many years the appointment of organist of the church of St. Lawrence, Jewry, near Guildhall. He died May 2, 1890.
5ADCOCK, JAMES, a native of Eton, Bucks, was born July 29, 1778. In 1786 he became a chorister in St. George's Chapel, Windsor, under William Webb (and afterwards under Dr. Aylward), and in Eton College Chapel under William Sexton. In 1797 he was appointed lay clerk in St. George's Chapel, and in 1799 obtained a similar appointment at Eton. He soon afterwards resigned those places and went to Cambridge, where he was admitted a member of the choirs of Trinity, St. John's, and King's Colleges. He afterwards became master of the choristers of King's College. He died April 30, 1860. Adcock published several glees of his own composition, and 'The Rudiments of Singing,' with about thirty solfeggi to assist persons wishing to sing at sight.
7ADDISON, JOHN, born about 1766, the son of a village mechanic, at an early age displayed a taste for music, and learned to play upon several instruments. Having, about 1793, married Miss Willems, a niece of Reinhold, the bass singer, a lady possessed of a fine voice and considerable taste, he conceived the idea of pursuing music as a profession. Soon after her marriage Mrs. Addison made a successful appearance at Vauxhall Gardens. Addison then went with his wife to Liverpool, where he entered on his professional career as a performer on the violoncello and subsequently on the double bass, an instrument to which, as an orchestral player, he afterwards confined himself. From Liverpool they went to Dublin, where Addison soon became director of the amateur orchestra of the private theatre, and, from having to arrange the music, improved himself in composition. After fulfilling other engagements in Liverpool and Dublin, Mr. and Mrs. Addison came to London, where, on Sept. 17, 1796, the latter appeared at Covent Garden Theatre as Rosetta in 'Love in a Village,' and afterwards performed other characters. In 1797 they went to Bath, where Mrs. Addison studied under Rauzzini. After a three years' engagement in Dublin, they proceeded to Manchester, where Addison was induced to abandon the musical profession and embark in the cotton manufacture. In this, however, he was unsuccessful, and soon resumed his profession. After a brief sojourn in the provinces he returned to London, and engaged with Michael Kelly as manager of his music business. He was also engaged at the Italian Opera and the Ancient and Vocal Concerts as a double bass player. In 1805 he made himself known as a composer, by the music to Skeffington's 'Sleeping Beauty.' He afterwards composed several pieces for the Lyceum, and composed and adapted others for Covent Garden Theatre. On March 3, 1815, a short sacred musical drama entitled 'Elijah raising the Widow's Son,' adapted by Addison to music by Winter, was produced at Drury Lane Theatre in the series of Lenten oratorios, under the direction of Sir George Smart. Addison next employed himself as a teacher of singing, and in that capacity instructed many singers who maintained very creditable positions in their profession. He died at an advanced age, on Jan. 30, 1844. His principal dramatic compositions are 'The Sleeping Beauty,' 1805; 'The Russian Impostor,' 1809; 'My Aunt,' 1813; 'Two Words,' 1816; 'Free and Easy,' 1816; 'My Uncle,' 1817; 'Robinet the Bandit,' 'Rose d'Amour,' an adaptation of Boieldieu's opera of that name, 1818. He was one of the six composers who contributed the music to Charles Dibdin the younger's opera, 'The Farmer's Wife,' in 1814.
9ADDITIONAL ACCOMPANIMENTS. 1. In the published scores of the older masters, especially Bach and Handel, much is to be met with which if performed exactly as printed will fail altogether to realise the intentions of the composer. This arises partly from the difference in the composition of our modern orchestras as compared with those employed a century and a half ago; partly also from the fact that it was formerly the custom to write out in many cases little more than a skeleton of the music, leaving the details to be
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