Scan 46
Groves Dictionary Of Music And Musicians,vol.1 Ed.3, 1904
38 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1catalogue see Q.-L.). The most favourite were 'A 5th set of 6 overtures, op. 14' (Bremner), and 'Six sonatas, op. 18.'
3Probably the most interesting among Abel's compositions are those written for the viola da gamba. None of them seems ever to have been published, but specimens exist in the British Museum and other public libraries, and in private collections. They include studies and other pieces marked 'Viola da Gamba senza Basso,' sonatas, 'A Viola da Gamba Solo e Basso,' and 'Duettos' marked 'Per la Viola da Gamba e Violoncello.' They evince a high degree of taste, little musical imagination, and unlimited command over the peculiar resources of the instrument. Some adagios from his quartets were published in score, with pianoforte adaptations, 'as a tribute of respect to his memory by his surviving and grateful pupil, J. B. Cramer' (1820).
5Abel's playing was most remarkable in slow movements. 'On the viol da gamba,' says the European Magazine, 1784, p. 366, 'he is truly excellent, and no modern has been heard to play an Adagio with greater taste and feeling.' Burney's testimony is to the same effect, and he adds that 'his musical science and taste were so complete that he became the umpire in all musical controversy, and was consulted like an oracle.' Among his pupils both in singing and composition were J. B. Cramer, Graeff and Brigida Giorgi (Signora Banti).
7His friend Gainsborough painted a three-quarter-length portrait of Abel playing on the viola da gamba, distinguished by its careful execution, beauty of colouring and deep expression. It was bequeathed by Miss Gainsborough to Briggs, and was sold in London in 1866. Gainsborough also exhibited a whole-length 1 of Abel at the Royal Academy in 1777. A very powerful portrait of him by Robineau is to be found at Hampton Court, and another by a nameless artist is in the Music School at Oxford.
9A good idea of Abel's personal appearance is afforded by a caricature representing 'A Solo on the Viola di Gamba, Mr. Abel,' drawn by J. N., 1787, etched by W. V. Gardiner.
11Following English traditions, Abel played on a 6-stringed viola da gamba, instead of the 7-stringed one commonly in use on the Continent. The instrument shown in his portraits is evidently by an old German maker, and has a brass 'rose' inserted in the belly under the finger-board.
13E. J. P., with addns.
15(3) Leopold August (b. Cöthen, 1717; d. Ludwigslust, Aug. 25, 1794) (Q.-L.); elder brother of the preceding, violinist, and pupil of Benda. He played in the orchestra of the theatre at Brunswick, and was successively conductor of the court band to the Prince of Schwarzburg-Sondershausen (1758), the Mar-
17grave of Schwedt (1766), and the Duke of Schwerin (1770). He composed a 'sinfonia a 8 voce' in 1766, and some violin studies, etc., are in the possession of the Gesellschaft der Musikfreunde at Vienna.
19M. C. C.
21ABEL, Clamor Heinrich (b. Westphalia, middle of 17th cent.), chamber musician to the court of Hanover. His work Erstlinge musikalischer Blumen appeared first in 3 vols. (Frankfort, 1674, 1676 and 1677), afterwards united under the title Drei Opera musica (Brunswick, 1687).
23M. C. C.
25ABELL, John (b. London, 1650; d. Cambridge, 1724), a celebrated alto singer and performer on the lute.
27It is supposed that he was educated in the choir of the Chapel Royal, of which establishment he was sworn a 'gentleman extraordinary' in 1679. He was greatly patronised by royalty, and between the years 1679 and 1688 received 'bounty money' amounting to no less than £740. (See 'Moneys received and paid for secret services of Charles II. and James II.'—Camd. Soc.) Charles II. sent him to Italy to study, and after his return Evelyn thus describes meeting him:
29'Jan. 27, 1681-82. After supper came in the famous treble, Mr. Abel, newly returned from Italy. I never heard a more excellent voice, and would have sworn it had been a woman's, it was so high and so well and skilfully managed, being accompanied by Signor Francisco on the harpsichord.'
31In Dec. or Jan. 1685-86 he married Frances Knollys, sister of the titular Earl of Banbury, who, as soon as he knew of it, 'put her out of the house.'2 He remained in the service of the chapel until the Revolution of 1688, when he was dismissed for his supposed leaning to the Roman Church. After this he travelled abroad, visiting France, Germany, Holland and Poland, leading a vagrant sort of life, and depending for his support upon his voice and lute. It is said that when Abell was at Warsaw he refused to sing before the court, but his objections were overcome by the somewhat summary method of suspending him in a chair in the middle of a large hall, while some bears were admitted below him. He was asked whether he preferred singing to the King and the court, who were in a gallery opposite to him, or being lowered to the bears; he not unnaturally chose the former alternative. He was Intendant at Cassel in 1698 and 1699 (D.N.B.). About the end of the century, Abell returned to England, and occupied a prominent position on the stage. Congreve, in a letter dated 'Lond. Decem. 10, 1700,' says:
33'Abell is here: has a cold at present, and is always whimsical, so that when he will sing or not upon the stage are things very disputable, but he certainly sings beyond all creatures upon earth, and I have heard him very often both abroad and since he came over.'
351 Reproduced in The Oldest Music Room in Europe, by J. H. Mee, p. 26.
362 Letter from Bridget Noel to the Countess of Rutland. Hist MSS. Com., 12th Report, Appendix, Pt. v.
373 G. M. Berkeley's Literary Relics, 1789, p. 322.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.