Thomas Linley the younger

(14 y. old) with Thomas (12) by Gainsborough, |248x248pxOutside London, Bath was the most fashionable city in late 18th-century England and, in Bath, the Linleys were the most influential musical family. Originally from Gloucestershire and of a modest background (Tom's grandfather was a carpenter/builder whose business later flourished thanks to Bath's urban development), the Linleys quickly became the most prominent artists among the community of musicians providing entertainment to the wealthy tenants of the elegant city. Charles Burney famously described them as "a Nest of Nightingales". Tom's father, Thomas Linley the elder, who worked as a music and singing teacher, took over the management of the musical performances held at the Assembly rooms in Bath in 1766 and then became musical director of the New Bath Assembly Rooms in 1771. He soon put his children, whose musical education he supervised, to work. First, in 1762, Tom and his sister Elizabeth Ann were selling tickets to the concerts and soon after, as early as 1763, they were performing in front of full houses with their other siblings. Anything earned by the children was commandeered by Linley the elder and the talented youngsters quickly became a major source of income allowing the family finances to prosper and raising their social standing. Tom's sisters – Elizabeth Ann (born 1754), Mary (born 1758) and Maria (born 1763) – were accomplished singers and actresses. His brother Samuel (born 1760) was a talented oboist before becoming a sailor. His youngest brother, William (born 1771) would also be a musician and, later in his life, a composer. Tom, whose abilities were apparent from a very young age, played a violin concerto at a concert in Bristol on 29 July 1763 at the age of only 7. The Bath Journal thus advertised on 25 July 1763: For the Benefit of Mr. Linley. At Loggan's Room at the Hot Wells on the 29th Inſt. Will be perform'd A Concert of Vocal and Instrumental Music. The Vocal Parts by Mr. Linley, Mr. Higgins and Maſter Linley. The Firſt Violin by Mr Richards of Bath. End of the Iſt Act a Concerto on the Violin by Maſter Linley, a child of ſeven years old. End of the 2nd Act an Elegy of Jackson's by Mr. and Maſter Linley and Mr. Higgins Tom started to compose soon after. From then on, their father always asking for higher fees for them, Tom and his siblings started to appear further afield, notably in charity concerts and oratorios, including in London. In 1767, Tom appeared at Covent Garden, along with his sister Elizabeth, in Thomas Hull's The Fairy Favour, a masque written for the entertainment of the Prince of Wales, in which Tom sang the part of Puck, danced a hornpipe and played the violin. He must have made quite an impression as the Lloyds Evening Post of 3 February 1767 said of his performance that "[not] enough [could] be said of the little boy [whose] singing, playing on the violin, and dancing [...were] all beyond expectation, and discover extraordinary abilities in one, who must be considered a child". In May 1768, the famous portrait painter Thomas Gainsborough reported in a letter to William Jackson that "Tommy Linley [was] bound for Italy at the first opportunity". ==Journey to Italy==

Between 1768 and 1771, Tom journeyed to Italy to further study the violin and composition with Pietro Nardini in Florence. In Florence, Tom meets Wolfgang Amadeus Mozart in April 1770 and Charles Burney in September of the same year. In reference to Linley, Burney later wrote, "The Tommasino, as he is called, and the little Mozart, are talked of all over Italy as the most promising geniuses of this age." They would never meet again. About Tom, "der kleine Tomaso", Leopold Mozart writes in one of his letters to his daughter Anna Maria, that he is "ein allerliebster Knab [...] welcher wunderschön spielt" (a very dear boy [...] who plays beautifully). He thus details the whole episode between Tom and Wolfgang: According to the Mozart-Linley-Kraus 250th Anniversary Festival press release, Linley kept a letter he received from Mozart for the rest of his life. ==Career as a musician and composer==

Upon his return from Italy in 1771 Tom was soon recognised as one of the best violin virtuosos in Britain and quickly became a leading figure in London's musical life, in a review of a concert given on 10 September 1774 in Winchester at the occasion of a three day musical festival. The composer Matthew Cooke, states that "''[Tom's] industry and perseverance made him indefatigable. [and that he]'' was one of the most eminent Violin Performers of the age." In 1773, one of Tom's cantatas ("In Yonder Grove") was performed at his benefit concert at the Haymarket by his sister Elizabeth and his brother Samuel. In ''Jackson's Oxford Journal'' of 26 August 1775 an advertising for that prestigious event shows that Tom, who had only just turned 19, was reckoned to have his rightful place among the greatest names, his anthem sitting in the program between Handel's Coronation Anthem and Giardini's new oratorio: BATH. AT the NEW ROOMS, on Friday March 17, will be performed the celebrated ODE of ALEXANDER's FEAST Set to muſic by Mr. HANDEL. The firſt violin by Mr. Linley, jun. The principal vocal parts by Miſs Linley, Miſs M. Linley, Mr. Linley, Mr. Brett, Mr. Matthews, and Maſter Samuel. Between the Iſt and 2d parts, a Miſcellaneous Act.- Organ Concerto.- Song, Miſs Linley.- Concerto Violin, Linley, jun.- Duetto Sacchini. To Subſcribers five tickets for one guinea. Single tickets at 5s. each, to be had at the Upper and Lower Rooms, the Pump-Room, and Rookfellers, where Books of the performance may be had at 6d. each. To begin at half paſt ſix o'clock. At Mr. Gyde's Rooms on Friday March 24, the celebrated Entertainment of ACIS and GALATEA.- With additional pieces, as will be expreſſed in the bills. But Tom also occasionally "led the band", as stated by the Bath Chronicle and Weekly Gazette of 29 February 1776 in a glowing review of the representation of Handel's Acis and Galatea. The Duenna or the Double Elopement was a collaboration between Sheridan, who wrote the play, and Tom Linley who produced the majority of the music, composing some (for instance the overture), and, in a pasticcio manner, adapting and arranging famous airs from contemporary operas and other tunes selected by Sheridan and Elizabeth Ann. Its popularity was such that King George III brought his family to see it several times and Garrick allegedly lost most of his audience at the nearby Drury Lane Theatre. In 1777 he composes what is usually viewed as his master-piece: an oratorio about the crossing of the Red Sea, The Song of Moses, which is reprised in 1778 in a slightly modified version. Sheridan's production of Shakespeare's play The Tempest at the Drury Lane theatre in 1777 gave Tom the opportunity to compose new incidental music for it, including, in lieu of the first scene, a Storm Chorus ("Arise, ye spirits of the storm") that the musicologist Roger Fiske deemed "one of the most remarkable achievements in English music". According to the Mozart-Linley-Kraus 250th Anniversary Festival press release, "[it] was performed in London representations of that play for about forty years after Linley's death, before it was [...] supplanted by Henry Bishop's [...] Tempest." In addition to that chorus, Linley also composed an air for Ariel's first appearance in the play, re-arranged some of the play's established music, including some of the numbers written by Thomas Arne, and wrote a separate setting of "Hark, hark, the watch-dogs bark" in which in the instruments of the orchestra are meant to somewhat render the sound of dogs barking and of cockerels. Contrary to the prior resounding success of The Duenna, his last stage work The Cady of Bagdad (1778) was a relative failure. ==Musical style==

His vocal writing and the sophisticated orchestration of his vocal music, though rooted in the influence of Johann Christian Bach's galant style and Arne's later music as well as the Italian operatic music still very much en vogue at the time, is full of creativity, freshness and renewed ingenuity. For instance, his orchestral cantatas, in the style of the ones composed by Arne and others for the pleasure gardens of Vauxhall and the likes, delight with their particularly refined obligato instrumental parts that either playfully intertwine with the singers' voice (for instance, the virtuosic oboe in the airs 'Fly, Damon, to yon secret grove' and 'If thy too-cruel bow be bent') or colour the piece with subtle echoes of poetically charged evocations (the french horn in the air 'Wrapt close from harm' in the cantata ''Ye nymphs of Albion's beauty-blooming isle''). The vocal and orchestral writing in his stage works also displays qualities found in music usually composed by more mature composers; his ability to intensify the protagonists' characterisations is certainly a very remarkable one. The music to The Duenna, though written in haste, has been reckoned to not only "save the comic opera from shallowness", but be the main reason of its success. However, Johnson, Byron and Hazlitt regarded Sheridan's text as among the finest comedies and that Prokofiev and Roberto Gerhard also set it to music. His only surviving violin concerto was most probably composed after his return from Italy as it has little to do with concertos he would have known before. The en-vogue Italianate galant style – inspired by the likes of Nardini, Lolli, Giardini and many others – pervades the whole composition, however Linley's imaginative and creative writing also transpires in his way of mixing passages of extreme technical demands on the soloist (virtuosic and complex musical lines set above the 5th position, long continuous passages of double-stops, octave scales, rapid extreme register jumps, etc.) with bare stark sober – almost plain – moments (the 'Scotch' of the second movement, the introduction of the theme by the soloist in the first movement, or the ending of the third movement in a quiet ritornello that not only does not bring the usual strong resolution expected at the end of a concerto but leaves us in suspens or 'hanging on'). His fresh approach to colourful orchestration both in terms of instrumentation and harmony (in particular the harmonic progressions in cadences and suspensions) also makes his concerto quite distinctive. His only surviving violin sonata also attests to Tom Linley's fantastic mastery of the instrument, with phenomenal technical difficulties including playing most of the time at the extreme upper register of the instrument (three octaves above middle C, or even higher), long passages of double-stops, rapid arpeggios across the full register of the instrument, quick jumps of more than two octaves, fast scales in alternate octaves, etc, making it quite a bravura piece in the spirit of a capriccio, despite its sonata form. The orchestration in his last major work, the incidental music to The Cady of Bagdad, "shows Tom becoming more experimental, particularly in his writing for brass and winds." Conductor Peter Leech adds that "it is tempting to speculate about the directions ''[Linley's]'' musical imagination would have taken", had he lived longer. ==The Music to The Duenna or The Double Elopement==

The birth of the comic opera The Duenna was not an easy one, despite both Sheridan's and the Covent Garden director's enthusiasm; almost 50 years had passed since the success of ''The Beggar's Opera'', and comic operas had lost their popularity. But Sheridan's play The Rivals, created in January 1775, had been such a great success that they thought that a new comedy by the same author, to which would be added musical interludes, could not fail. in 1800 seems to be a simple re-edition of the 1776 one by C.&S. Thompson, without any amendment or addition. Finally, the vocal score published 1835, though it reinstated some of the musical numbers lost at the turn of the century, further diluted the original music by adapting it to the new singing conventions and musical taste. The list of music and composers below was established by Andrew Edwards based on "the volumes of Tom's music which Thomas Senior and George III commissioned after his death and on [...] the manuscript sources by Roger Friske [sic.] and [...] William Davies." ==Works==

Stage works Other vocal works Instrumental works ==Death==

Tom was a host of the Duke of Ancaster with his sister Mary and "his Companion Mr. Olivarez, Italian Master" – maybe the Spanish violin virtuoso and composer Juan Oliver y Astorga – at Grimsthorpe Castle in Lincolnshire, when he drowned in a boating accident "just three months after his 22nd birthday". The press reported the circumstances of his death as follows: ''Drewry's Derby Mercury, Friday 14 August 1778:On the 5th Inſtant a melancholy Accident happened at Grimſthorpe in Lincolnſhire, the Seat of his Grace the Duke Ancaſter:- Mr. Thomas Linley, eldeſt Son of Mr. Linley, one of the Proprietors of Drury-lane Theatre, Mr. Olivarez, an Italian Maſter, and another Perſon, agreed to go on the Lake in his Grace's Park, in a Sailing Boat, which Mr. Linley ſaid he could manage very well; but no ſooner had they ſailed into the Middle, than a ſudden Squall of Wind ſprung up, and overſet the Boat; however, they all hung by the Maſt and Rigging for ſome Time, till Mr. Linley ſaid, he found it was in vain to wait for Aſſiſtance, and therefore, though he had his Boots and Great Coat on, he was determined to ſwim to Shore, for that purpoſe he quitted his Hold, but had not ſwam above 100 Yards before he ſank to the Bottom, and was unfortunately drowned. Her Grace of Ancaſter ſaw the Whole from her Dreſſing-Room Window, and immediately diſpatched ſeveral Servants off to take another Boat to their Aſſiſtance, which unfortunately came only Time enough to save Mr. Olivarez.- Mr Linley remained under Water near 40 Minutes, ſo that every Effort made uſe of to resſtore him to Life proved ineffectual. – This Accident has deprived the Profeſſion to which he belonged of one of its Principal Ornaments, and Society of a very accompliſhed and valuable Member.'' ''Jackson's Oxford Journal, Saturday 15 August 1778:On Wedneſday the 5th Inſtant, Mr. Thomas Linley, eldeſt Son of Mr. Linley, one of the Proprietors of Drury-lane Theatre, fell out of a Boat into a Lake belonging to his Grace the Duke Ancaſter, at Grimſthorpe in Lincolnſhire, and was unfortunately drowned. The Circumſtances of his Death are thus related by a Perſon just arrived from Grimſthorpe: Mr. Linley and Mr. Olivarez, Italian Maſter, and another Perſon, agreed to go on the Lake in a Sailing Boat, which Mr. Linley ſaid he could manage; but no ſooner had they ſailed into the Middle of the Lake, than a ſudden Gale of Wind ſprang up, and overſet the Boat; however, they all hung by the Maſt and Rigging for ſome Time, till Mr. Linley ſaid he found it was in vain to wait for Aſsiſtance, and therefore, though he had his Boots and Great Coat on, was determined to ſwim to Shore, for which Purpoſe he quitted his Hold, but had not ſwam above a hundred Yards before he ſunk. Her Grace the Ducheſs of Ancaſter ſaw the whole from her Dreſsing-room Window, and immediately ordered ſeveral Servants to take another Boat, and go to their Aſsiſtance, but they unfortunately only came early enough to take up Mr. Olivarez, his Companion, not being able to find the Body of Mr. Linley for more than forty Minutes.— Miſs M. Linley came up to Town with the melancholy Tidings of the Diſaster, and now lies dangerously ill at the Duke of Ancaſter's in Berkeley-ſquare; Mrs Sheridan is likewiſe inconfortable [sic.] for the Loſs of ſo valuable a Brother; and Yeſterday Mr. Linley his father whoſe Sufferings on the Occaſion no Language can expreſs, went down to pay the laſt Tribute to a beloved Son.'' Ipswich Journal, Saturday 15 August 1778 ''On Wednesday laſt a moſt melancholy accident happened at Grimſthorpe, the Duke of Ancaſter's ſeat in Lincolnſhire. As Mr. Linley, jun. (who with his ſiſter was ſpending the ſummer there with the Duke and Ducheſs) was in a veſſel uppon a large piece of water in the park, by some unſkilful management, the wind being high, the veſſel ſunk, and Mr. Linley, in endeavouring to ſwim on ſhore, was unfortunately drowned. His body was taken up in about 40 minutes, and every poſſible method (according to Mr. Hawes's plan) uſed for his recovery; but unfortunately without ſucceſs.'' Tom's funeral was held at Edenham parish church but parish records seem to indicate that he was not buried there. Local rumour has it that his body may have been taken to Bath to be interred. Tom's death was a shock to his contemporaries and was immediately recognised as both a human tragedy and a tragedy for the Arts and for English music in particular. A memorial edition of his works was commissioned by King George III. ==Discography==

Despite its remarkable quality and idiosyncrasies, the music of Tom Linley is not widely known. There are however a few commercial recordings in existence, most of them published by the independent British classical label Hyperion and its subsidiary label Helios. • A Lyric Ode on the Fairies, Aerial Beings and Witches of Shakespeare, The Parley of Instruments, Paul Nicholson (Helios, CDA66613, 2005) • Cantatas & Theatre Music (Music for The Tempest, Overture to The Duenna and the three cantatas: In Yonder Grove, ''Ye Nymphs of Albion's beauty-blooming isle and Daughter of Heav'n fair art though'') Julia Gooding, The Parley of Instruments, Paul Nicholson (Helios, CDA66767, 2006) • The Song of Moses & Let God arise, The Parley of Instruments, Peter Holman (Helios, CDA67038, 2008) • The song "To heal the wound a bee had made" is available on Enchanting Harmonist – A soirée with the Linleys of Bath, Rufus Müller, Invocation (Hyperion, CDA66698, 1993) • A Violin Sonata in A major is available on English 18th-century Violin Sonatas, The Locatelli Trio (Hyperion, CDA66583, 1992) • His only surviving violin concerto (Violin Concerto in F major) is available on English Classical Violin Concertos, Elizabeth Wallfisch, The Parley of Instruments, Peter Holman (Helios, CDH55260, 2008) Another recording of Linley's Violin Concerto in F major is available on the label Oehms Classics: • Mozart in Italien, Mirjam Contzen, , Reinhard Goebel (Oehms Classics, OC 753, 2010) Another recording of the Lyric Ode is available on the label Philips Classics: • A Shakespeare Ode on the Witches and Fairies, Musicians of the Globe, Philip Pickett (Philips Classics, 446–689–2, 1998) Two arias from The Tempest ("Come Unto these Yellow Sands" and "Faithful Ariel") – wrongly attributed by the publisher to Thomas Linley the elder – are available on the label Navona Records: • The Shakespeare Concerts Series, Vol. 5: Full Fathom Five, Andrea Chenoweth, Stephen Hammer, Arcadia Players, Ian Watson (Navona Records, NV5996, 2015) The aria "O bid your faithful Ariel fly" from The Tempest is also available on the label Eloquence: • Eighteenth-Century Shakespearean Songs, April Cantelo, English Chamber Orchestra, Raymond Leppard (Eloquence, ELQ4824765, Decca 4824765, 1961) ==Notes==