Salmon. "In compass," says a musical critic, "in musical knowledge, in delicacy of taste, strength of expression, and even in volubility of execution (though it was not one of her fortes), in one or all of these she has been frequently excelled by singers who made not half the impression on an audience she did. There was something in the musicalglass-like tone of her voice that went at once to the soul; something in the exquisite brilliancy and facility of her

passing shake, that not only procured a willing pardon for all faults, but made the hearer doubt, whether what would have been musical sinning in other less-gifted singers, partook of the nature of sin in Mrs. Salmon. She seldom appeared to be imbued with any deep feeling herself; while one tone of her clear mellow voice would draw a tear from many a stern eye, or drive him, who was too proud to weep, to the resource of his snuff-box."

CHARLES SMITH was born in London, in 1786. At the early age of four, he evinced a great genius for music, both vocal and instrumental, playing on the piano-forte at every opportunity and singing several of Dibdin's favourite songs with great truth and correctness, though he could not speak the words plain. His father had been brought up in the choir of Christchurch, Oxford, where he displayed considerable talent, but afterwards declined making music his profession; and his mother, a woman of good family, at Durham, in Yorkshire, had given traits of genius in literature, many specimens of which had appeared in the periodicals of the day. To her watchful care is said to be owing his early improvement, and uncommon success in his youthful career. At length, his precocity of talent induced his parents to give him a master; and he was, at the age of five, placed under Mr. Costellow, with whom he made such progress, that he composed a little air before he was six, to some words by his brother; and this, with some of Dr. Arne's, he used to sing, to the astonishment of his auditors, accompanying himself on the piano-forte.

He had pursued this course till he was eight years of age, when his mother, having requested the advice of the late Dr. Arnold, as to what course ought to be adopted with the child, he called at their house to hear him; when Master Smith began by playing a very difficult sonata of Clementi's, at his performance of which the doctor

66

expressed himself highly delighted, and then requested to hear a specimen of his vocal ability. Upon this, he sang Henry's Cottage Maid, and In Infancy our Hopes and Fears. to his own accompaniment: the latter highly gratifying his learned auditor; but when he saw the child place on the desk The Soldier tired, he is said to have exclaimed, laughing, "My dear, you are a clever little fellow; but hope you are not going to attempt that song." Yes, sir, if you please," was his artless reply, "I'll try it; but as I only bought it yesterday, I fear I shall not sing it very well." He, however, executed the air, accompanying himself, in a style which the doctor confessed he had no conception of; deeming it impossible that a child of his age could have breath sufficient to go through the running passages. The doctor admitted that he had every requisite to form a fine singer; but as the voices of boys were very precarious, recommended that he should be placed in the Chapel Royal, where he would be well grounded in the theory of music, &c. This prudent counsel was attended to; and he was accordingly introduced to the head of the choir of the Chapel Royal, the late Dr. Edward Ayrton; who, being highly delighted with the child, gave him the first vacancy in the choir, which took place in 1796. In the summer of that year was solemnized the marriage of the princess royal, and young Smith was selected to sing a principal part in the marriage anthem; in performing which, he

pleased Dr. Ayrton so much, that he gave him a silver penny. The doctor's great age and infirmities, however, prevented his paying him proper attention; and the other branches of his education being somewhat neglected, his parents took him out of the school, in 1798, and articled him to J. Ashley, a celebrated teacher of Handel's music and ballads.

In 1799, he commenced singing in private parties; and, in 1800, was engaged at the oratorios, vocal concerts, Ranelagh, &c.; and subsequently, at all the private concerts, ladies' glee-concerts, provincial music meetings, &c. He was also a regular attendant of the Prince's Harmonic Club, held at the Thatched House Tavern, St. James's Street, where he occasionally joined in glees and duets with his majesty, George the Fourth, then Prince of Wales. He sang also, regularly, at the Royal Kentish Bowman's Lodge, in Kent; where he was much caressed by the Duchesses of Devonshire and Gordon, and other ladies who graced the lodge with their presence.

After his articles with Mr. Ashley had expired, he continued his vocal career without interruption till 1803; and such was his popularity, that he frequently had three engagements for the same night. In the summer of the latter year, he went with a party to Edinburgh and Glasgow, to perform at glee-concerts; but, after his return to town, his voice becoming unsteady, he resolved, by the advice of Mr. Ashley, to cease singing soprano. He now commenced teaching, and resumed his practice on the organ, in which he had early become a proficient; and very often officiated at the Chapel Royal for Mr. Knyvett and Mr. Stafford Smith.

When he was about eighteen, he became Bartleman's deputy at Croydon Church; and was elected organist there on the resignation of that great vocalist. In the meantime, Smith had composed several songs, which were sung with great applause by Mr. Thomas Welsh and himself; his own voice having now sunk into a tenor. When nearly twenty, he made a trip to Dublin, where he formed some connexions that unsettled his mind, and kept him from his family and his business for upwards of ten months. Shortly after his return, he was appointed organist of Welbeck Chapel, on the resignation of Charles Wesley; and, about the same time, began to compose for the theatres. He furnished the music for the farce of Yes or No; The Tourist's Friend; Hit or Miss; Any Thing New; How to die for Love; all from the pen of Mr. Pocock, in conjunction with whom, alone, Mr. Smith wrote for the stage.

In 1813, at which time his voice had settled to a bass, he was received with great applause at the oratorios; and was engaged at the same performances for three successive seasons. In 1815, he married Miss Booth, of Norwich; and, in the following year, accepted the offer of a lucrative situation at Liverpool, where he has since resided. Among his latter compositions, are the ballads, The Baby Boy, and Far o'er the Sea; but his most celebrated production is The Battle of Hohenlinden, which has been highly eulogized by all musical critics. His merits, as an organist, have been frequently testified by Dr. Crotch and Mr. Charles Wesley; and his abilities as a concert-vocalist were surpassed by few during the period of his early career.

JOHN SINCLAIR was born in or near Edinburgh, in 1790; and, from a child, is said to have received constant instruction in music. When a boy, he became extremely partial to scenic exhibitions; and used, it is said, to pass all his leisure hours, with his little

VOL. IV.

companions, in performing plays, in a place they procured for the purpose, in Edinburgh. At length his ambition led him to desire to try his powers on a regular stage; and, for this end, he and one of his associates of the sock and buskin, earnestly entreated Mountford,

the proprietor of the Edinburgh Theatre, to hear them recite. This he declined, but furnished them with a letter of recommendation to a friend of his, the manager of a provincial theatre in the neighbourhood. Of the contents of this important document, they resolved to acquaint themselves before its presentation; and, breaking the seal, found it to run thus:-" Dear Sam,-This will be presented to you by two young gentlemen, who are determined to go to h-ll their own way; and as I know no one so intimate with the old gentleman as yourself, I intrust them to your care."

This seems to have cut short their expedition; and a knowledge of Sinclair's predilection having become known to his horror-stricken father, a devout follower of the kirk, his future attendance at theatrical exhibitions was prohibited; and he was subsequently obliged, by his father, to undertake the office of chanter in a Scotch church. At this time, his musical abilities were much admired, both for the sweetness with which he sang, and his manner of performing on more than one instrument; application was, in consequence, made to the celebrated Gow, of Edinburgh, by the late Colonel Campbell, of Shawfield, that he would prevail with Sinclair to join his regiment as a clarionet player. Sinclair, who found his situation at home very irksome, and was under many obligations to Gow for his friendly offices and instructions, did not want much persuasion; and accordingly, without the knowledge of his parents, accepted the offer, and joined the colonel's regiment.

Removing with it to Aberdeen, he there taught singing in most of the principal families; and was prudent enough to economize his means till he had accumulated £100, with which he purchased his discharge, and obtained a substitute. He then went to London; but meeting with small encouragement, he returned to Aberdeen in a short time. By the advice of his friends, however, he visited the British metropolis, in the hope of procuring an engagement; and, at a benefit at the Haymarket Theatre, which took place soon after, he appeared in the character of Cheerly, in The Lock and Key, as a young gentleman, being his first appearance. His recep

tion was such as to induce him to decline an offer made to him, about this time, of an ensign's commission; and, shortly afterwards, he was taken by Mr. Welsh, as a pupil, for three years. Mr. Harris, of Covent Garden, no sooner heard him sing, than he concluded an engagement with him for five, and, subsequently, for seven years; Mr. Welsh sharing his salary and benefits during the time he remained under his tuition. He made his début in the character of Don Carlos, in The Duenna; and was received with the most flattering applause.

In 1816, he married the daughter of the late Captain Norton, who fell with Sir Ralph Abercrombie, in Egypt,-an attachment of long secret standing. The union took place in Edinburgh, without the knowledge or consent of the lady's mother; but all parties were afterwards reconciled. In July, 1818, his engagement with Mr. Harris terminating, he resolved to visit Italy for improvement, and declined, therefore, a renewal of terms with Mr. Harris; and, after fulfilling some provincial engagements, he left England for Paris in April, 1819; where he studied for some time, under the celebrated Pellegrini, of the French Italian Opera. His next instructor was Banderali, at Milan, where he was offered an engagement; but declined it, in consequence of his determination to hear every style of Italian singing before he made his début in a foreign theatre.

In May, 1820, whilst at Naples, he became acquainted with Rossini, who gave him his advice and instruction; and introduced him to the manager of San Carlos. His immediate engagement was the consequence; but the revolution putting an end to the gamingtables, the great source of the manager's profits, he resigned the management of the theatre; and Sinclair's engagement was nullified. Thus checked, after profiting, it is said, both by the instruction and advice of Rossini, he quitted Naples to avail himself of offers made him in the north of Italy. At the carnival of 1821, he was engaged at Pisa, where he had previously sung at the court of the Grand Duke of Tuscany, by whom he was liberally rewarded. He appeared at Bologna in the following spring, where he was

voted a member of the Philharmonic Academy; a distinction but rarely conferred upon foreigners: he was, the same year, engaged at Modena, and at Florence. From Florence he went to Venice, where he appeared during the carnival of 1822-3; with the advantage of having an opera written purposely for him by Rossini. In the spring of 1823, he was engaged at Genoa, on account of the visit of the king of Sardinia, who greatly distinguished him by his attention, and sent for him to sing at his palace. He declined all further offers in Italy; and, soon after, departed for England, having concluded

an engagement with Mr. C. Kemble, for fifty nights. He made his re-appearance in Prince Orlando, in The Cabinet, and was received with the most vehement applause; and in the polacca, No more by Sorrow chas'd, he was encored twice. Both his voice and style of singing have been decidedly improved by his continental tour; yet, for the last few years, his reputation has been on the decline. He is, however, in the estimation of all judges of his art, amongst the first of our theatrical vocalists of the nineteenth century. His style of executing The Thorn is a beautiful specimen of ballad singing.

THIS charming vocalist is the daughter of a carver and gilder, and was born in London, on the 18th of September, 1794.

She gave early proofs of her musical abilities, and was, in 1807, placed under the tuition of Mr. Lanza, who taught her, in three years, to sing at sight with perfect correctness. She went through, not only all the gradations of solfeggios, but a whole course of vocal exercises, designed to give facility of execution in modulations, cadenzas, and every style of ornament; and studied nearly two hundred pieces of music, English and Italian, selected from the best English and Italian operas, and from oratorios. Such, at least, is the statement of Mr. Lanza, who has set it forth in a letter written by him, in confutation of a report, that Miss Stephens had only received from him twenty-five lessons during the whole five years for which she was articled to him. Whilst under Mr. Lanza's care, she sang at Bath, Bristol, Southampton, the Pantheon, and other places, with great applause; and it was not until she had mastered the most difficult parts of her professional studies, that, in the autumn of 1812, she became the pupil of Mr. Welch. Signor Guglioni, it is said, had previously recommended her to the managers of the Opera House, to supply the place of Madame Catalani; but as the subject

of our memoir was unacquainted with the Italian language, she declined the contemplated engagement.

On the 23rd of September, 1813, she made her début on the stage at Covent Garden Theatre, as Mandane, in Artaxerxes, and was received with rapturous applause, particularly in her execution of Checked by Duty, racked by Love. Her next appearance was as Polly, and her third as Clara, in The Duenna, in both of which she was successful, and soon became the leading female vocalist of the time. In 1814, she was engaged to sing at the Ancient Concerts, and opened the same year her performance there with, Hush, ye pretty warbling Quire; which is said, by some critics, to be, perhaps, the best song she ever sang. After remaining some years at Covent Garden, she transferred her services to Drury Lane, but, from some cause or other, she attracted less attention than she did at the rival theatre. Latterly she has been heard to more advantage at the oratorios, concerts, and music meetings, than on the stage; though even there, few would find more admirers.

Whether she was indebted to her vocal accomplishments alone, for the homage which has sometimes been paid her, we leave our readers to judge, from the following anecdote. "We are well aware of the fact," says an anonymous writer, "that ever since the year

1815, a gentleman has regularly attended all the metropolitan performances of Miss Stephens, sitting generally in the third or fourth row of the pit, and the instant the opera concluded, quitting the house, and placing himself at the stage door of the theatre, to catch a glance of the syren as she passed to her carriage; yet he never presumed to address her. To such a pitch of enthusiasm was he carried, that he has gone as far as Ipswich, and we believe, once even to Dublin, in hopes of meeting the lady, if she, by chance walked forth to enjoy the country scenery. To the truth of the tale we positively pledge ourselves." This gentleman is not the only one who is said to have been captivated by the charms of Miss Stephens; and more than one titled personage has been often named as her intended husband. Be this as it may, a more spotless character than that of the fair vocalist, has never been known to the stage; whilst, in private life, her quiet and unassuming manners, and her amiable conduct in all her domestic relations, have endeared her to a large circle of friends and acquaintances. It is not a solitary instance of her charitable disposition, that when she was engaged on the occasion of a benefit for the Dulwich Hospital, she not only returned the price of her services (thirty guineas), but sent ten guineas in addition.

The songs, in which Miss Stephens has chiefly distinguished herself, are: Auld Robin Gray, Oh, Slumber my Darling, Pretty Mocking Bird, Angels ever bright and tair, Let the bright Seraphim, We're a' noddin,

Pious

Orgies, &c. &c. The pathos and sim. plicity which she throws into the words of Auld Robin Gray, have never been equalled; and the ballad, as sung by her, is undoubtedly one of the most

affecting vocal performances on the stage. As an actress, she holds a respectable rank, though she has had but few opportunities offered her, of displaying her powers in that respect; in such characters, however, as Polly and Floretta, she excels; her natural artlessness infusing into those parts a charm that the most studied acting frequently fails to impart. There is a gentleness, almost approaching to timidity in her manner on the stage, which renders it the more interesting, from its being part of her real character. In some respects, however, this has been a disadvantage to her; for the slightest disapprobation on the part of the audience, has quite unnerved her, and a single hiss has been sufficient to draw tears from her, and suspend her powers of utterance in the midst of a song.

"Her voice," says a writer in The Harmonicon, "while it retained the early freshness of youth, was one of the sweetest that can be imagined; her compass, the usual compass of a soprano, reaching to the high D; her execution good, but not remarkable either for rapidity or variety. Ballads, and songs of simple and pathetic expression, were her forte ;-loftier efforts seemed neither adapted to her taste, nor suited to her talents. An honourable independence has been the result of her labours, and whenever she retires into private life," (which she has had the prudence to do before the waning either of her powers or popularity) "she will carry with her the respect of the public, and meet with that welcome in society, which is the sure reward of talent joined to such exemplary conduct, in all situations, as she has exhibited from the commencement of her career up to the present hour."

MRS. WAYLETT is the daughter of a Mr. Cooke, a respectable upholsterer at Bath, where she was born on the 7th of February, 1800. After having received a genteel education, she was placed under Mr. Loder, the eminent

violinist, and, on the 16th of March, 1816, she made her début on the Bath stage, in the part of Elvina, in The Blind Boy. She continued to perform at Bath, Bristol, and Brighton, for the next two years, applauded in most of