A Dictionary of Music and Musicians/Pinto, Thomas
PINTO, Thomas, son of a Neapolitan of good family, born in England, at 11 played Corelli's concertos, and led the concerts in St. Cecilia's Hall in Edinburgh. His reading at sight was marvellous; he would even turn the book upside down, and play correctly from it in that position. His great gifts inclined him to carelessness, from which he was fortunately roused by the appearance of Giardini. After 1750 he played frequently as leader and soloist in benefit concerts, at the Worcester and Hereford Festivals, at Drury Lane Theatre, and, after Giardini, at the King's Theatre. His first wife was Sibilla Gronamann, daughter of a German pastor; after her death he married (1766) Miss Brent, the celebrated singer, who died in 1802. [See Appendix.] A speculation with regard to Marylebone Gardens, into which he had entered with Dr. Arnold, failed, and he took refuge in Scotland, and finally in Ireland, where he died in 1773. A daughter by his first wife married a Londoner named Sauters, and had a son
George Frederic, born Sept. 25, 1786, at Lambeth, who took his grandfather's name. He early showed a decided talent for music, and the education and progress of the pretty and lively boy were watched over with the greatest interest by his gifted grandmother. His first teachers were soon outstripped, and then Salomon proved a first-rate master and true friend. From 1796 to 1800 the young Pinto frequently appeared at Salomon's concerts, and afterwards under his wing at Bath, Oxford, Cambridge, Winchester, and specially in Scotland. A second and longer tour extended to Paris. Besides playing the violin, he sang with taste, and made considerable progress on the pianoforte, for which he composed, among other music, a sonata dedicated to his friend John Field. In 1805 his health, never strong, suddenly broke down, having been undermined by excesses, and he died at Little Chelsea, March 23, 1806. His remains lie in St. Margaret's, Westminster, beneath the same monument with those of his grandmother. Pinto's technique was perfect, and his tone full, powerful and touching. Salomon, a shrewd observer, declared that if he had only been able to control his passions, he might have been a second Mozart.