Scan 113
Grove's dictionary of music and musicians ed. by J. A. Fuller Maitland, 1910
36 lines. Read by computer on 3 September 2026. Printed page 89. See the scan on archive.org.
1THOMASSCHULE
3THOMASSCHULE. See LEIPZIG, vol. ii. p. 668.
5THOMPSON, a family of London music-publishers, of great note, in the second half of the 18th century. The firm commenced 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.
7The 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.
9THE THOMPSON FIRM
11Peter Thompson, 1751 to 1758.
12Charles and Ann, circa 1758.
13Thompson and Son, 1758–59 to 1760–61.
14Thompson and Sons, 1761–62 to 1763–64.
15Charles and Samuel, 1764 to 1776–78.
16Samuel and Ann, 1778.
17Samuel, Ann, and Peter, 1779–80 to circa 1794.
18Samuel, Ann, Peter, and Henry, 1792.
19Samuel, Ann, and Henry, 1795 to 1796.
20Ann and Henry, 1796 to 1797 (or later).
21Henry, 1798–99 to 1802–3.
23In addition to this it may be mentioned that after 1790 the imprints frequently merely give 'Messrs Thompson' or 'Thompsons' warehouse.'
25About 1804 Henry Thompson gave up the business, and it was taken over by Purday and Button, which, in 1807, is transposed into 'Button and Purday.' Mr. S. J. Button, the senior partner, on the retirement of Purday in 1808, took into partnership John Whitaker the musician. As 'Button and Whitaker' (q.v.) the firm built up a large business, which in 1820 became 'Whitaker & Co.'
27In 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. Recent dictionaries of violin-makers promulgate a great many errors of dates and facts relating to the Thompson firm.
29ROBERT 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 address in 1749. He was certainly there in 1755, and publishing a small quantity of half-sheet music. He remained in Paul's Alley until 1771, when he removed to 8 Lombard Street, remaining there for about ten years. He was perhaps more of an instrument-maker than a music-publisher. F. K.
31THOMSON, CÉSAR, violinist, was born at Liége, Belgium, on March 18, 1857, beginning study of the violin in childhood under his father, who sent him, at the age of seven, to the Liége Conservatoire of Music. There he joined the class of Jacques Dupuis, a very exacting task-master, with whom he studied to such purpose that before reaching the age of fourteen he had acquired executive powers far exceeding those of any other of the many talented pupils, some of them since famous, of the Conservatoire; and two years later was recognised as possessing a technique unrivalled by any violinist then living. Later he went for some finishing lessons to Léonard, with whom he studied interpretation, but his career has been mainly noteworthy for achievements in the domain of pure technique. In 1875 he travelled in Italy, and became a member of the private orchestra of Baron de Derwies. In 1879 he joined Bilse's orchestra in Berlin as Concertmeister, and in 1882, after a very successful appearance at the annual musical festival at Brussels, he was appointed violin professor at the Liége Conservatoire. This post he held until 1897, when he left Liége, and the following year succeeded Ysaye as principal professor of the violin at the Brussels Conservatoire. He has travelled much as a soloist in the principal cities of the Old and New Worlds, and has scored many successes, notably at the Gewandhaus concert in Leipzig in 1891, and at Brussels in 1898, but in England and America he has never succeeded in capturing the sympathies of his audiences. He relies upon technique too exclusively, and practises emotional reticence to the verge of austerity, teaching his many pupils to do the same. He is greatest as an exponent of Paginini, whose works he revived at a time when they were fast becoming a dead letter, some think deservedly, but has also devoted himself to the editing, arranging, and performing of works of the early Italian school.
33THOMSON, GEORGE, born at Limekilns, Dunfermline, March 4, 1757, died at Leith, Feb. 18, 1851,1 was for fifty years Secretary to the Board of Trustees for the Encouragement of Arts and Manufactures in Scotland. His place in musical history is that of the most enthusiastic, persevering, and successful collector of the melodies of Scotland, Wales, and Ireland,
351 [Dates verified by registers and gravestone in Kensal Green Cemetery.]
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