Scan 565
Groves Dictionary Of Music And Musicians,vol.4, Ed.3, 1908
20 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1most beautiful quality, of extensive compass, very brilliant tone and extraordinary flexibility. She excelled in songs of agility. She unfortunately gave way to intemperance, which eventually occasioned derangement of the nervous system, and in 1825 she suddenly lost her voice. She married again, a clergyman named Hinde, who died leaving her totally destitute. A concert was given for her relief, June 24, 1840, which proved a complete failure. She gradually sank into a state of the greatest poverty; in 1845 an effort was made to raise a fund to purchase an annuity for her, but it was only partially successful. Her death was registered in the names of Eliza Salmon Hinde.
3Her husband, (2) JAMES SALMON (d. West Indies), son of (3) JAMES SALMON (gentleman of the Chapel Royal, Nov. 30, 1789, vicar-choral of St. Paul's, and lay-clerk of St. George's Chapel, Windsor, d. 1827), received his early musical education as a chorister of St. George's, Windsor. In 1805 he was appointed organist of St. Peter's, Liverpool, and was in much esteem as a performer. In 1813, having fallen into embarrassed circumstances (by some attributed to his wife's extravagance, and by others to his own irregularities), he enlisted, and went with his regiment to the West Indies, where he died.
5(4) WILLIAM (b. 1789; d. Windsor, Jan. 26. 1858), another son of James (3), was also a chorister of St. George's. He was admitted a gentleman of the Chapel Royal, May 28, 1817, and was also lay-vicar of Westminster Abbey and lay-clerk of St. George's, Windsor.
7W. H. H.
9SALMON, THOMAS (b. Hackney, Middlesex, June 24, 1648; d. Mepsal, Bedfordshire, July 1706), was on Apr. 8, 1664, admitted a commoner of Trinity College, Oxford. He took the degree of M.A. and became rector of Mepsal or Meppershall. In 1672 he published
10'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.'
11A quotation from the Essay will be found in the article SPINET.
13Matthew Locke (q.v.) criticised the scheme with great asperity, and the author published a Vindication of it, to which Locke and others replied. 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 was buried at Mepsal, Aug. 1, 1706. For his non-musical works see D.N.B.
15W. H. H.
17SALÒ, (1) GASPARO DA (b. circa 1542; d. Brescia, Apr. 14, 1609), 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 Salò's life, and published the result of his researches in the Nuova antologia, on Aug. 16, 1891. The documentary evidence there quoted has proved Gasparo da Salò 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 Salò, 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 26 in 1568, and 45 in 1588, his birth locates itself with some degree of accuracy in the year 1542. It is supposed that da Salò 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 Salò'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 Salò's career; it was the moment when hazardous venture gave place to definite aim. In 1568 da Salò 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' istruimenti 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 musice.' 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 Salò. 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 (b. 1546).
19G. da Salò's son, (2) FRANCESCO (b. Brescia, 1565; d. there, ? 1614), was married to Signorina Fior of Calvagese, near Salò, in his twenty-third year. He followed the fiddlemaking 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
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