Books › Grove's Dictionary of music and musicians, 1927 › scan 371
Scan 371
Grove's Dictionary of music and musicians, 1927
49 lines. Read by computer on 3 September 2026, twice; the two readings disagreed in places. Printed page 321. See the scan on archive.org.
1vernacular on a high plane in America. He died having been privileged to conduct only three concerts in the new home of the orchestra over whose artistic fortunes he had presided for fourteen years.
3H. E. K.
5THOMAS AND SALLY, a short opera which kept the stage, as a secondary piece, for a great number of years. The music was by Dr. Arne, and it was first produced at Covent Garden on Nov. 28, 1760.1 It was published by the composer himself, in folio, with the engraved date 1761; afterwards the plates were acquired by Walsh, who erased date, name of engraver and author's imprint. Walsh also issued a copy in oblong folio. The libretto was written by Isaac Bickerstaff, and the piece has the subtitle, 'The Sailor's Return.' The opera formed a model for a great number of plays up to the middle of the 19th century. Beard and Mattocks, with Miss Brent and Mrs. Vernon, were the original performers.
7F. K.
9THOMAS DE WALSYNGHAM, prior of Wymondham in 1396, and monk and singer at the abbey of St. Albans, c. 1440. He wrote a treatise, Regulae Magistri Thomae Walsingham de figuris compositis . . ., which is contained in the Waltham Holy Cross MS. in the British Museum (Q.-L.).
11THOMASSCHULE, see LEIPZIG.
13THOMÉ, FRANCIS LUCIEN JOSEPH (FRANÇOIS LUC JOSEPH) (b. Port Louis, Mauritius, Oct. 18, 1850; d. Nov. 16, 1909), composer, was brought as a child to Paris, where he entered the Conservatoire. He studied with Marmontel and Duprato, obtaining the second prize for piano and harmony (1869), and first prize for counterpoint and fugue (1870). On the completion of his studies he soon made a name for himself as a composer of works of small calibre, such as songs, piano pieces, etc., and was in great request as a teacher. His opera, 'Martin et Frontin,' was produced at Eaux-Bonnes in 1877, and his ballet, 'Djemmah,' at the Eden-Theatre, Paris, in 1886. Another ballet, 'La Folie parisienne,' was given at the same theatre; an operetta, 'Barbe-Bleuette,' was brought out in 1889, and 'Endymion et Phœbé' was given at the Opéra-Comique. One of his most important works was the music to the beautiful 'Mystère,' 'L'Enfant Jésus,' first heard in 1891. In 1892 his opera, 'Le Caprice de la reine,' was brought out at Cannes, and in 1898 another ballet, 'La Bulle d'amour,' was produced. Other works for the Paris stage were 'Le Papillon,' 'Le Trottin,' 'Mademoiselle Pygmalion'; and Thomé wrote also incidental music for many plays. A choral 'Hymne à la nuit' had a great success; but Thomé's name is best known to the English public by his popular 'Simple Aveu,' originally for piano.
151 An earlier date for the production of the opera is undoubtedly wrong.
17THOMPSON, a family of London music-publishers, of great note, in the second half of the 18th century. The firm started with PETER THOMPSON, who was established at the sign 'The Violin and Hautboy' (or, as sometimes given, 'The Violin, Hautboy and German Flute') at the west end of St. Paul's Churchyard. This address was afterwards named 75 St. Paul's Churchyard. Peter Thompson was publishing small musical works, as Country Dances, Instructions for the Flute, etc., in 1751. The sets of yearly Country Dances began with those for this year, and were continued throughout the whole period of the Thompson firm's existence and that of their successors. About 1758-59 Peter took his son Charles into partnership, and in 1762 his other son, Samuel, also. In 1764 Peter had either died or retired from the business. one of two readings
18THOMPSON, a family of London music-publishers, of great note, in the second half of the 18th century. The firm started with PETER THOMPSON, who was established at the sign 'The Violin and Hautboy' (or, as sometimes given, 'The Violin, Hautboy and German Flute') at the west end of St. Paul's Churchyard. This address was afterwards named 75 St. Paul's Churchyard. Peter Thompson was publishing small musical works, as Country Dances, Instructions for the Flute, etc., in 1751. The sets of yearly Country Dances began with those for this year, and were continued throughout the whole period of the Thompson firm's existence and that of their successors. About 1758–59 Peter took his son Charles into partnership, and in 1762 his other son, Samuel, also. In 1764 Peter had either died or retired from the business. one of two readings
20The various changes in the firm and the dates for them are best shown in tabular form. They will serve to give accurate date to the published music and the instruments made or sold by the Thompson family:
22Peter Thompson, 1751-58. one of two readings
23Peter Thompson, 1751–58. one of two readings
24Charles and Ann, c. 1758.
25Thompson & Son, 1758-59 to 1760-61. one of two readings
26Thompson & Son, 1758–59 to 1760–61. one of two readings
27Thompson & Sons, 1761-62 to 1763-64. one of two readings
28Thompson & Sons, 1761–62 to 1763–64. one of two readings
29Charles and Samuel, 1764 to 1776-78. one of two readings
30Charles and Samuel, 1764 to 1776–78. one of two readings
31Samuel and Ann, 1778.
32Samuel, Ann and Peter, 1779-80 to c. 1794. one of two readings
33Samuel, Ann and Peter, 1779–80 to c. 1794. one of two readings
34Samuel, Ann, Peter and Henry, 1792.
35Samuel, Ann and Henry, 1795-96. one of two readings
36Samuel, Ann and Henry, 1795–96. one of two readings
37Ann and Henry, 1796-97 (or later). one of two readings
38Ann and Henry, 1796–97 (or later). one of two readings
39Henry, 1798-99 to 1802-03. one of two readings
40Henry, 1798–99 to 1802–03. one of two readings
42In addition to this it may be mentioned that after 1790 the imprints frequently merely give 'Messrs. Thompson' or 'Thompsons' warehouse.'
44About 1804 Henry Thompson gave up the business, and it was taken over by Purday & Button, which, in 1807, is transposed into 'Button & Purday.' S. J. Button, the senior partner, on the retirement of Purday in 1808, took into partnership John Whitaker the musician. As BUTTON & WHITAKER (q.v.) the firm built up a large business, which in 1820 became 'Whitaker & Co.'
46In the early years of its existence the Thompson firm published many minor musical works, now of considerable interest. At a later date their trade was of a very extensive character, and they became among the most important of London music firms. Many violins bear their labels, but it must be remembered that these have been made by fiddle-makers in their employ. Dictionaries of violin-makers promulgate a great many errors of dates and facts relating to the Thompson firm.
48ROBERT THOMPSON, probably a brother of Peter Thompson, had a shop also in or near St. Paul's Churchyard. His sign and address was at the Bass Violin at number 1 Paul's Alley. A violin label of his (not very trustworthy evidence) would certify him at this
The computer misreads some letters and numbers. Where a name matters to you, read the scan.