Grove's dictionary of music and musicians

210 SAITEN SALAMAN
and after leaving was elected an honorary
member of the institution. Almost from the
date of her first appearance in public, until her
retirement in 1870, she remained unrivalled as
a singer of oratorio and English ballads. The
admirable skill with which she controlled a
powerful contralto voice, the exquisite intonation,
perfect enunciation, and noble declamation
which distinguished her singing, caused her to
take a very high place, not only among English,
but among European artists of the 19th century.
She made her first appearance at the PhUharmonio
in a quartet, June 14, 1841, and in a
solo, April 14, 1842. In the winter of 1845-
1846, Mendelssohn, who had been delighted by
her singing in 'St. Paul,' obtained for her an
engagement at the Gewandhaus Concerts at
Leipzig, where her first appearance took place
Oct. 25, 1845, and on Deo. 6 she sang in a
duet with Jenny Lind. About this time
Mendelssohn dedicated to her his Six Songs'
(op. 57), besides writing the contralto music in
'
Elijah ' with the special view to her singing
it. Her success in Leipzig was followed by
several concert tours in France and Holland,
in both of which countries Miss Dolby established
her reputation as a singer of the first
rank. In 1860 she married M. Prosper Sainton,
(see above), and ten years later she retired from
public life. In 1872 Mme. Sainton opened her
Vocal Academy, at which she successfully
trained many excellent artists in the admirable
school of pure vocalisation, of which she was
herself so distinguished an example. Mme.
Fanny Moody is her most eminent pupil.
Besides her labours in connection with this
Academy, Mme. Sainton appeared before the
world as a composer. Her cantatas The Legend
'
of St. Dorothea,' and 'The Story of the Faithful
Soul, ' produced respectively at St. James's Hall
on June 14, 1876, and Steinway Hall on June
19, 1879, have been performed in the provinces
and the colonies with unvaried success. A fairy
cantata for female voices, 'Florimel,' was published
after her death, which took place at 71
Gloucester Place, Hyde Park, Feb. 18, 1885 ;
she was buried at Highgate Cemetery, the great
concourse of persons assembled testifying to the
estimation in which the singer was held. The
Eoyal Academy of Music founded, shortly after
her death, a scholarship in memory of the
eminent singer, once a student within its
walls. w. B. s.
SAITEN, SAITENINSTRUMENTE (Germ.)
Strings, Stringed Instruments.
SALA, Nicola, born at a little village near
Benevento, Naples, in 1701, and brought up in
the Conservatorio della Pietk de' Turohini under
Fago, Abos, and Leo. He died in 1800, and
devoted the whole of a long life to his Conservatorio,
in which he succeeded Fago as second
master about 1764, and Cafaro in 1787, as first
1 Also dedicated to Mme. Livla Frege.
master. The great work to which all his energies
were devoted was his Megole del contrappunto
prattico in three large volumes, containing
methodical instruction in the composition of
fugues, canons, etc., which was published in
1794. During the disturbances in Italy the
engraved plates vanished for a time and were
supposed to be lost. Choron then reprinted the
work (Paris, 1808), but the plates were afterwards
discovered. Both editions are in the
Library of the Eoyal College of Music. Sala
wrote little besides this work. Three operas,
' Vologeso,' 1737 ; 'Zenobia,' 1761 ; and Merope,'
'
1769; an oratorio, 'Giuditta,' 1780;
'
three 'Prologues' on the births of kings of
Naples ; a Mass, a Litany, and a few smaller
pieces, are mentioned by Florimo (Oenno storico,
p. 562). G.
SALAMAN, Charles Kensington, ^ bom
in London, March 3, 1814 ; began music early
—violin, PF., and composition. In 1824 he
became a student of the fioyal Academy of
Music, but soon left it and studied under Charles
Neate, the friend of Beethoven. He made his
first public appearance at Blackheath, in 1828,
as a PF. player ; then went to Paris and took
lessons of Herz, and in the following summer
returned to London and began teaching, playing,
and writing.
In 1830 he played a rondeau brillant of his
own in London, and composed an ode for the
Shakespeare commemoration, which was performed
at Stratford-on-Avon, April 23, and was
repeated in London. From 1833 to 1837 he
gave annual orchestral concerts in London, at
one of which he played Mendelssohn's G minor
Concerto for the third time in England—the
former two performances having been by the
composer himself. [In 1 835 he instituted, with
Henry Blagrove and others, the Concerti da
Camera. He was an associate of the Philharmonic
Society from 1837 to 1855.] In 1846,
1847, and 1848 heresided atRome, andwhileconducting
Beethoven's Symphony No. 2 (for the
first time in Rome), the concert was interrupted
by the news of Louis Philippe's flight from
Paris. [He was made a member of the Academy
of St. Cecilia in 1847. He founded an amateur
choral society in London in 1849.] On March
18, 1850, he played at the Philharmonic. In
1855 he began a series of lectures on the History
of the Pianoforte, and other musical subjects,
which he continued both in London and the
country for several years. In 1858 he was one
of the founders of the Musical Society of
London, and acted as its honorary secretary
until 1865. [He was one of the founders of
the Musical Association, and its secretary until
1877.] Mr. Salaman was for many years
a well-known professor and teacher of music in
London. Besides the ever -popular 'I arise
2 He assumed this name in 1S67 at the desire of his father, who
had heeu bom in Kensington in 1789.