Scan 635
Groves Dictionary of Music and Musicians Vol.5, 1925
10 lines. Read by computer on 9 September 2026. Printed page 569. See the scan on archive.org.
1to the ear, which tires with a process which, through the slow and uncertain response due to the points of friction, seems interminable. [See Pianoforte, Tone, Tuning.] A. J. H.
3WRIGHT, DANIEL, father and son with the same Christian name, London music-publishers during the early part of the 18th century. Hawkins sums up the character of the elder Wright as a man 'who never printed anything that he did not steal' (Hist. Music, Novello ed., p. 884). However this may be, the two Wrights published many now very interesting musical works. Daniel Wright, the elder, was established by, or before, 1709 at the corner of Brook Street, next the Sun Tavern in Holborn, his sign being 'The Golden Bass Violin.' He died or gave up business about 1734. His son, Daniel Wright, junior, had a business on the north side of St. Paul's Churchyard, under the sign 'The Golden Bass,' and may have succeeded J. Clarke and John Hare,'earlier publishers who, in partnership, had a shop here also on the north side with the sign the 'Golden Viol.' Wright, junior, in due course changed his sign to that of the 'Violin and Flute.' He probably gave up trade about 1740, and there seems some likelihood that John JOHNSON of Cheapside founded his extensive business upon that of the younger Wright, though not on the same premises. For some years before the elder Wright's death, or retirement, both names appear on some of the imprints; the elder at least claimed to be a musical instrument maker. Wright, senior, published Lully's 'Lessons for the Harpsichord or Spinnet,' ob. folio, circa 1710; the 'Songs in Hurlothrumbo,' circa 1729, folio; John Humphries' 'Six Solos for a Violin,' 1726; some half-sheet songs, and many curious books of dances and airs for the flute or violin. His son followed much on the same lines. The elder Wright was also notorious for publishing musical works, under the same title as, and in similar style to, those issued by Walsh. For instance, he published a 'British Musical Miscellany' (1733), a 'Merry Musician,' and a 'Monthly Mask of Vocal Musick' (1718), the latter with a rudely engraved pictorial title-page copied from Walsh. Hawkins speaks of the elder Wright impudently publishing a set of Lessons for the harpsichord by Greene, without permission of the composer.
5Besides the two Daniel Wrights, senior and junior, there was a music-seller named Thomas Wright — 'At the Golden Harp and Violin, on London Bridge,' who published half-sheet engraved songs about 1730–35. Another early music-seller with the same surname was E. Wright who, according to an elaborately engraved trade card, circa 1740, 'At her music shop under St. Dunstan's Church, Fleet Street, makes and sells all sorts of musical instruments.'
7WRIGHT, THOMAS, organist and composer, born at Stockton-on-Tees, Sept. 18, 1763. He was the son of Robert Wright (a pupil of Avison of Newcastle), who was organist in Stockton Church from 1766 to 1797, the date of his death. Robert was the son of Thomas Wright, the elder, the first organist of Stockton, about 1758–60. Thomas Wright, the younger, grandson of the above, early developed musical talent. He was instructed by his father, and at eleven years of age went to John Garth, at Sedgefield (nine miles from Stockton) as organ pupil; he succeeded Garth at the organ, 1784–85. Previous to his appointment as full organist, he had been apprenticed to Thomas Ebdon at Durham Cathedral. Wright soon became famous for his extempore voluntaries, and in high repute as a teacher for the pianoforte, violin, and organ. He succeeded his father at Stockton in 1797, and resigned the appointment and left Stockton in 1817. After a period of residence and an organ appointment at Kirkleatham, near Redcar, he returned to Stockton and resumed teaching. It was while on a professional engagement that a sudden seizure caused his death, at Wycliffe rectory, near Barnard Castle, on Nov. 24, 1829. He had married in 1794 Elizabeth Foxton, a lady of some literary attainment who survived him.
9Besides the hymn tune 'Stockton,' he composed 'A Concerto for the harpsichord or pianoforte … dedicated to the Hon. Miss Dundas,' 1795; 'An Anthem for thanksgiving for Peace' [of Amiens, 1802]; 'Overtures and Songs in a musical piece called Rusticity,' 1800 (written by his wife); 'A Musical Primer' and 'Supplement,' etc. The 'Concerto' is remarkable for being (so far as the present writer can ascertain) the first music to contain metronome marks, indicating speed value. In the preface attached, Wright explains his system, and claims that for simplicity and effectiveness it is superior to the chronomètres of Loulié, and of Sauveur [see Metronome, vol. iii. p. 188a], and to the metronometres of later invention. A simple pocket metronome consisting of a weighted string swinging across a wooden arc marked from zero in tens, was of his invention or adaptation. One bearing his name and the date 1795 is still in existence. Each movement of the concerto is marked with a speed mark; and he explains that '28 = p' indicates that the vibration of a weighted string measured over twenty-eight keys of the harpsichord, goes to a minim. Wright also invented an organ attachment to a square pianoforte, which plays a set of organ pipes at will, without impairing its use as a pianoforte. This invention does not appear to have been ever made public; his own instrument is in the possession of Miss Edith Wright, of Wakefield, his granddaughter. He built for himself in 1789 a chamber organ, constructed two orreries for illustrating and
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