Grove's dictionary of music and musicians

s
216 SALOME SALOMON
doubtless counterfeit. On April 21, 1907,
commemorative tablets in honour of Gasparo
da Salo and G. P. Maggini were placed in the
fa9ade of the church of San Giuseppe, arid of a
house near the Palazzo Veoohio, at Brescia.
Von Lutgendorff, Die Lautern und Oeigenmaxher
; Fleming, J. M., The Fiddle Fancier'
Guide ; Schebek, Edmund, Der Geigenbau in
Malien und sein deiiischer Urspnmg ; Weustenberg,
H. , Die alien italienisehen Geigenmacher ;
Hart, G., The ' Violin," Harper's Magazine, No.
368, Jan. 1881 (No. 2, vol. i., English edition) ;
Bull, Sara, OZe Bull : A Memoir. E. h-a.
SALOME. '
Drama ' in one act, founded on
the French play by Osear Wilde, the German
version by Fran Hedwig Lachmann, music by
Eiohard Strauss. Produced at Dresden, Dec. 9,
1905. Performed frequently at various German
music centres, and in New York, 1907, the representation
being forbidden after the first night.
Six special representations took place at the
Theatre du Chatelet, Paris, in German, beginning
May 8, 1907. The work had previously
been performed in Brussels, in French. M.
SALOME, Theodore CfisAK, born in Paris,
Jan. 20, 1834 ; received his education at the
Conservatoire, where he obtained various prizes
for harmony, counterpoint, and organ, and
gained the second Prix de Rome in 1861.
For many years he was organist of the small
organ in the church of the Trinity, in 1872-73
taught solffege in the Conservatoire, and was
maltre de chapelle at the Lycde Saint-Louis,
etc. He wrote various excellent organ pieces, and
several interesting orchestral works, performed
by the Society Nationale in 1877. He died at
Saint Germain-en-Laye in July 1896. G. f.
SALOMON, JoHANN Peter, a name inseparably
connected with that of Haydn, born at
Bonn,i 1745 (christened Feb. 2), early became
an expert violinist, and in 1758 was admitted
into the orchestra of the Elector Clement August.
In 1765 he made a concert- tour to Frankfort
and Berlin ; and Prince Henry of Prussia, who
had an orchestra and a small French operacompany
at Rheinsberg, made him his Concertmeister,
and composer of operettas. He had
already showed his appreciation for Haydn by
introducing his symphonies whenever he could.
On the prince's sudden dismissal of his band,
Salomon went to Paris, where he was well received,
but being so near London he determined
to go on there, and on March 23, 1781, made
his first appearance at Covent Garden Theatre.
The pieces on this occasion were Mason's ' Elfrida,'
set to music by Dr. Arne, and CoUins's Ode
'
on the Passions,' with solos and choruses by
Dr. Arnold, both of which he led, besides playing
a solo in the middle. The Morning Herald
says of him, He ' does not iplay. in the most
graceful style, it must be . confessed, but his
1 The Salomons' bouse was 515 Bonngasae, the same In which
Beethoven was bom. :
tone and execution are such as cannot fail to
secure him a number of admirers in the musical
world.' From this time he frequently appeared
at concerts as soloist, quartet-player (violin and
viola), and conductor. He quarrelled with the
directors of the Professional Concerts, soon after
their foundation, and thenceforward took an
independent line. During Mara's first season
in London, in 1784, he conducted and played
solos at aU her concerts. The Morning Chronicle
says, in 1785, Salomon's ' solo, though perhaps
not excelling in tone, was in the greatest point,
in pathetic impression, excelled by none ! Whose
violin-playing approaches nearer the human
voice ? On the whole Salomon is a mannerist,
but he has much originality—^he is very susceptible—he
is a genius.' In 1786 he gave a
series of subscription concerts at the Hanover
Square Rooms, and produced symphonies by
Haydn and Mozart. From that time he
contented himself with an annual benefit
concert, but acted as leader at others, both in
London, as at the Academy of Ancient Music
in 1789, and elsewhere, as at the Oxford
Commemoration, Winchester, and Dublin. A
grand chorus composed by him in honour of
the King's recovery, performed by the New
Musical Fund in 1789, and repeated at his own
concert, was his one successful vocal piece. He
removed in 1790 to No. 18 Great Pulteney
Street, in which house Haydn stayed with him
in the following year. The two had long been
in correspondence, Saloinon endeavouring in
vain to secure the great composer for a series
of concerts ; but as he was at Cologne on his
way from Italy, where he had been to engage
singers for the Italian Opera, he saw in the
papers the death of Prince Esterhazy, hurried
to Vienna, and carried Haydn back in triumph
with him to London. Haydn's two visits to
England in 1791 and 1794 were the most
brilliant part of Salomon's career as an artist,
and after the return of the fonner to Vienna
the two continued the best of friends. [It was
at Salomon's suggestion that Haydn undertook
to write The ' Creation. ' Salomon's most important
composition was an opera, Windsor
'
Castle,' composed for the Prince of Wales's
wedding, April 8, 1795.] In 1796 Salomon
resumed his concerts, at which he was assisted
by Mara, the young tenor Braham, and his own
promising pupil Pinto. On April 21, 1800, he
produced Haydn's 'Creation' at the King's
Theatre, though not for the first time in England,
as he had been forestalled by John Ashley
(Covent Garden, March 28). Salomon's active
career closes with the foundation of the Philharmonic
Society, in which he took a great
interest, playing in a quintet of Boccherini's,
and leading the orchestra, at the first concert
in the Argyll Rooms, March 8, 1813. Up to
the last he was busy planning an Academy of
Music with his friend Ayrtou. A fall from his