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Scan 214
the history of the violin, 1864
2 lines. Read by computer on 28 September 2026. Printed page 192. See the scan on archive.org.
1to have performed a solo on the violoncello was suddenly taken ill, and the directors in this emergency sent to Lindley's father, to say that his son might play in the evening as a favour. He eagerly embraced the opportunity, and played a concerto in such an admirable style, that he was rapturously encored. On the following morning, two of the directors called, requesting him as a favour to play at the next concert, when he was again encored; and he played concertos at the nine subsequent concerts, and was encored on every occasion, thus reaching the top of his profession at the age of sixteen, and there remained unrivalled for the next sixty years, universally respected for his talent and integrity. At the time of his joining the professional concerts he was a pupil of the younger Cervetto, with whose approbation, at the age of eighteen, he took the place of first violoncello at the King's Theatre on the retirement of Sperate, where, and at the Italian Opera, which he joined on its opening, he remained for fifty-eight years, thus exceeding the time of Theobaldo Gatti, who died in 1727, and was for fifty-two years principal bass-viol in the French theatre. Soon after Lindley joined the opera orchestra, Bernard Romberg came over to England, and Crosdill invited him to a music party at Mr. Thompson's, where he lived, and which was usually given after the rehearsals of the Ancient Concerts, on Mondays during the season. Lindley and a large party of professors and amateurs were also present, and Romberg played many of his difficult compositions for the instrument in fine style, and with much execution. When the party broke up, Crosdill said to Lindley, who he knew was going to play a concerto that evening at a concert where Salomon, a friend of Romberg, was to lead, "They have heard Romberg; now, Lindley, let them hear what an Englishman can do." In the
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