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Scan 256
Grove's Dictionary of music and musians, 1910
12 lines. Read by computer on 12 September 2026, twice; the two readings disagreed in places. Printed page 214. See the scan on archive.org.
1Royal, May 28, 1817, and was also lay vicar of Westminster Abbey and lay clerk of St. George's, Windsor. With an ungrateful voice he sang with much taste and expression, and was an excellent singing-master. He died at Windsor, Jan. 26, 1858. one of two readings
3W. H. H. one of two readings
4Royal, May 28, 1817, and was also lay vicar of Westminster Abbey and lay clerk of St. George's, Windsor. With an ungrateful voice he sang with much taste and expression, and was an excellent singing-master. He died at Windsor, Jan. 26, 1858. W. H. H. one of two readings
6SALMON, THOMAS, born at Hackney, Middlesex, June 24, 1648, was on April 8, 1664, admitted a commoner of Trinity College, Oxford. He took the degree of M.A. and became rector of Mepsal or Meppershall, Bedfordshire. In 1672 he published An Essay to the Advancement of Musick, by casting away the perplexity of different Cliffs, and uniting all sorts of Musick in one universal character. His plan was that the notes should always occupy the same position on the stave, without regard as to which octave might be used; and he chose such position from that on the bass stave—i.e. G was to be always on the lowest line. Removing the bass clef, he substituted for it the capital letter B, signifying Bass. In like manner he placed at the beginning of the next stave the letter M (for Mean), to indicate that the notes were to be sung or played an octave higher than the bass; and to the second stave above prefixed the letter T (for Treble), to denote that the notes were to be sounded two octaves above the bass. Matthew Locke criticised the scheme with great asperity, and the author published a Vindication of it, to which Locke and others replied. [See LOCKE, MATTHEW.] [In 1688 he wrote a book on Temperament, A Proposal to perform Music in Perfect and Mathematical Proportions; he lectured before the Royal Society on Just Intonation, in July 1705; and in the following December approached Sir Hans Sloane with a view of making researches into the Greek enharmonic music. He died at Mepsal, and was buried there August 1, 1706. For his non-musical works, see Dict. of Nat. Biog.] W. H. H.
8SALO, GASPARO DA, a celebrated violin-maker of Brescia. [The career of this maker rested entirely upon conjecture, until the keeper of the Brescian State Archives, Cavaliere Livi, undertook to investigate da Salo's life, and published the result of his researches in the Nuova Antologia, on August 16, 1891. The documentary evidence there quoted has proved Gasparo da Salo to have been a member of an artistic family; that his legitimate name was Gasparo di Bertolotti; that his grandfather was a lute-maker of Polepenazze, named Santino di Bertolotti; and that his father was a painter, Francesco di Bertolotti, who was apparently called 'Violino' by his intimate friends. Owing to the loss of certain requisite pages of the parish registers of Salo, the exact date of this violin-maker's birth is still unknown, but calculating by the income-tax returns of Brescia, which declare him to be twenty-six in 1568, and forty-five in 1588, his birth locates itself with some degree of accuracy in the year 1542. one of two readings
10It is supposed that da Salo learnt his art partly from his grandfather and partly from a Brescian viol-maker who stood sponsor to his son Francesco, named Girolamo Virchi. Whether Virchi was da Salo's master or not is merely surmise, but what is certain is that the great Brescian master's earliest efforts met with such small encouragement that he contemplated removing to France, but was turned from his purpose by a loan of 60 lire from a certain brother Gabriel of St. Pietro. This advance was apparently the turning-point in da Salo's career; it was the moment when hazardous venture gave place to definite aim. In 1568 da Salo was renting a house and shop in the Contrada del Palazzo Vecchio, Brescia, at £20 per annum. He then possessed the title of 'Magistro di Violino,' and owned a stock of musical instruments which he valued at £60. In 1579 there is an added title of 'Magistro a Cittari,' and in 1583 'Artifice d' Instrumenti di Musica.' Five years later, 1588, and twenty after his first establishment in the Contrada del Palazzo Vecchio, he changed his residence to the Contrada Cocere, where he valued his stock of finished and unfinished violins at £200, and styled himself 'Magister instrumentorum musica.' In 1599 he bought a house in Brescia, in a street called St. Peter the Martyr; and between 1581 and 1607 owned some small properties about Calvagese, near Salo. He died in Brescia on April 14, 1609, and although all trace of the place of his interment is lost, it is known that he was buried at Santo Joseffo in Brescia. His wife's Christian name was Isabella; she was born in the year 1546. G. da Salo's son, Francesco, was born in Brescia, 1565, and died there in 1614 (?). He was married to Signorina Fior of Calvegese, near Salo, in his twenty-third year. He followed the fiddle-making profession during his father's lifetime, but ceased to do so after his death. It is probable that he sold his business to his father's pupil Paolo Maggini, and retired. In any case he apparently left Brescia in 1614, and nothing further is known of him after that date.] Gasparo da Salo was one of the earliestmakers of stringed instruments who employed the pattern of the violin as distinguished from that of the viol. His works are of a primitive pattern, more advanced than that of Zanetto and other old Brescian makers, but totally different from that of the contemporary Amati family. The model varies, being sometimes high, sometimes flat; the middle curves are shallow, and the sound-holes straight and angular. The wood is generally well chosen, and the thicknesses are correct; and the tone of the instrument, when of the flat model and in good preservation, peculiarly deep and penetrating. [He made many instruments, especially basses, of pear wood as well as sycamore wood. His selection of timber was most careful; indeed, the remarkable regularity one of two readings
11SALO, GASPARO DA, a celebrated violin-maker of Brescia. [The career of this maker rested entirely upon conjecture, until the keeper of the Brescian State Archives, Cavaliere Livi, undertook to investigate da Salo's life, and published the result of his researches in the Nuova Antologia, on August 16, 1891. The documentary evidence there quoted has proved Gasparo da Salo to have been a member of an artistic family; that his legitimate name was Gasparo di Bertolotti; that his grandfather was a lute-maker of Polepenazze, named Santino di Bertolotti; and that his father was a painter, Francesco di Bertolotti, who was apparently called 'Violino' by his intimate friends. Owing to the loss of certain requisite pages of the parish registers of Salo, the exact date of this violin-maker's birth is still unknown, but calculating by the income-tax returns of Brescia, which declare him to be twenty-six in 1568, and forty-five in 1588, his birth locates itself with some degree of accuracy in the year 1542. It is supposed that da Salo learnt his art partly from his grandfather and partly from a Brescian viol-maker who stood sponsor to his son Francesco, named Girolamo Virchi. Whether Virchi was da Salo's master or not is merely surmise, but what is certain is that the great Brescian master's earliest efforts met with such small encouragement that he contemplated removing to France, but was turned from his purpose by a loan of 60 lire from a certain brother Gabriel of St. Pietro. This advance was apparently the turning-point in da Salo's career; it was the moment when hazardous venture gave place to definite aim. In 1568 da Salo was renting a house and shop in the Contrada del Palazzo Vecchio, Brescia, at £20 per annum. He then possessed the title of 'Magistro di Violino,' and owned a stock of musical instruments which he valued at £60. In 1579 there is an added title of 'Magistro a Cittari,' and in 1583 'Artifice d' Instrumenti di Musica.' Five years later, 1588, and twenty after his first establishment in the Contrada del Palazzo Vecchio, he changed his residence to the Contrada Cocere, where he valued his stock of finished and unfinished violins at £200, and styled himself 'Magister instrumentorum musica.' In 1599 he bought a house in Brescia, in a street called St. Peter the Martyr; and between 1581 and 1607 owned some small properties about Calvagese, near Salo. He died in Brescia on April 14, 1609, and although all trace of the place of his interment is lost, it is known that he was buried at Santo Joseffo in Brescia. His wife's Christian name was Isabella; she was born in the year 1546. G. da Salo's son, Francesco, was born in Brescia, 1565, and died there in 1614 (?). He was married to Signorina Fior of Calvegese, near Salo, in his twenty-third year. He followed the fiddle-making profession during his father's lifetime, but ceased to do so after his death. It is probable that he sold his business to his father's pupil Paolo Maggini, and retired. In any case he apparently left Brescia in 1614, and nothing further is known of him after that date.] Gasparo da Salo was one of the earliestmakers of stringed instruments who employed the pattern of the violin as distinguished from that of the viol. His works are of a primitive pattern, more advanced than that of Zanetto and other old Brescian makers, but totally different from that of the contemporary Amati family. The model varies, being sometimes high, sometimes flat; the middle curves are shallow, and the sound-holes straight and angular. The wood is generally well chosen, and the thicknesses are correct; and the tone of the instrument, when of the flat model and in good preservation, peculiarly deep and penetrating. [He made many instruments, especially basses, of pear wood as well as sycamore wood. His selection of timber was most careful; indeed, the remarkable regularity one of two readings
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