various PF. pieces. He contributed to 'Concordia,' during its existence, and still occasionally writes in the 'Musical Times.'
SALCIONAL or SALICET, a soft-toned organ-stop of a reedy quality. The pipes are of a very small scale, the tenor C being of about the same diameter as the middle C of an ordinary open diapason. The mouth is also much more 'cut up' than that of a diapason pipe. The origin of the word Salicet is plain; to this day country boys make toy wind-instruments out of 'withy'; but withy is also called 'sally,' and 'sally' is salix a willow. In some counties a willow is called (by combining both names) a 'sally-withy.' A Salicet is therefore a stop made to imitate a rustic 'willow-pipe.' The introduction of the Salcional or Salicet was later than that of the Dulciana (said to have been invented by Snetzler), and it must be considered merely as a variety of that stop. It is of 8 ft. or unison pitch.
SALE, John, born at Gainsborough, March 19, 1734, was admitted in 1766 a lay clerk of St. George's Chapel, Windsor, and held that post until his death, Oct. 2, 1802.
His son, John, born in London in 1758, was in 1767 admitted a chorister of St. George's Chapel, Windsor, and Eton College under William Webb, and so continued until 1775. In 1777 he obtained a lay clerk's place in both choirs. On July 12, 1783 [App. p.779 "1788"], he was admitted a gentleman of the Chapel Royal in the room of Nicholas Lade or Ladd; in 1794 he succeeded John Soaper as vicar choral of St. Paul's; and in 1796 John Hindle as lay vicar of Westminster Abbey. At Christmas 1796 he resigned his appointments at Windsor and Eton. In 1800 he succeeded Richard Bellamy as almoner and master of the choristers of St. Paul's. On Jan. 14, 1812, he was appointed successor to Samuel Webbe as secretary to the Catch Club, and soon afterwards resigned his places of almoner and master of the choristers of St. Paul's. He was also conductor of the Glee Club. He possessed a rich, full, and mellow-toned bass voice, and sang with distinct articulation and energetic expression. He was for thirty years a principal singer at the Concert of Ancient Music and other leading concerts in London, and at various provincial festivals. He composed several glees, which were included, with glees by Lord Mornington and other composers, in collections published by him. He died Nov. 11, 1827. He left two sons, viz.—
John Bernard, born at Windsor, 1779, and admitted a chorister of St. George's Chapel Windsor, and Eton College in 1785. In 1800 he succeeded Richard Bellamy as lay vicar of Westminster Abbey; on Jan. 19, 1803 was admitted a gentleman of the Chapel Royal, in the place of Samuel Champness, and in 1806, on the death of Richard Guise, obtained a second lay vicar's place at Westminster Abbey.[1] On March 30, 1809, he succeeded Michael Rock as organist of St. Margaret's, Westminster. About 1826 he was appointed musical instructor to the Princess (now Queen) Victoria. In 1838 he was admitted organist of the Chapel Royal on the death of Attwood. His voice was a powerful bass, and his style of singing chaste and refined; he excelled in anthems, glees and other part singing. He was for many years principal second bass at the Concert of Ancient Music. He long enjoyed a high reputation as a teacher of singing and the pianoforte. His compositions were few, consisting only of some chants, psalm-tunes, Kyries, glees, songs and duets. One of his duets, 'The Butterfly,' was long in favour. In 1837 he published a collection of psalm and hymn tunes, chants, etc., with a concise system of chanting. He died Sept. 16, 1856. Of his three daughters, two, Mary Anne and Sophia, were organists and teachers of music; Sophia died May 3, 1869. The youngest, Laura, was the wife of William John Thoms, the antiquary, and originator of 'Notes and Queries.'
The other son, George Charles, born at Windsor in 1796, was admitted a chorister of St. Paul's under his father in 1803. He afterwards became a skilful organist, in 1817 succeeded Dr. Busby as organist of St. Mary, Newington, and in 1826 was appointed organist of St. George's, Hanover Square. He died Jan. 23, 1869.
SALIERI, Antonio, Court-capellmeister at Vienna, son of a wealthy merchant, born Aug. 19, 1750 at Legnano in the Venetian territory [App. p.779 "Legnago in the Veronese territory"], learnt music early from his brother Franz, a pupil of Tartini. After the death of his parents a friend of the family named Mocenigo took him to Venice, where he continued his studies, and made the acquaintance of Gassmann, composer and late Capellmeister to the Emperor, who became much interested in him, and took him to Vienna in June 1766. Here Gassmann continued his fatherly care, provided his protégé with teachers and himself instructed him in composition, made him acquainted with Metastasio, and introduced him to the Emperor Joseph, whose chamber-concerts he henceforth attended, and often took an active part in. While Gassmann was in Rome, composing an opera for the Carnival of 1770, Salieri conducted the rehearsals for him, and composed his own first comic opera, 'Le Donne letterate,' which received the approval of Gluck and Calsabigi, and was performed with success at the Burgtheater. On Gassmann's death in 1774 Salieri returned his paternal kindness by doing all in his power for the family, and educating the two daughters as opera singers. In the same year the Emperor appointed him court composer, and on Bonno's death in 1788 he became Courtcapellmeister. He was also a director of the Opera for 24 years, till 1790, when he resigned, and out of compliment to him the post was given to his pupil Weigl. In 1778 Salieri was in Italy, and composed five operas for Venice,. Milan, and Rome. For the Emperor's newly-founded National-Singspiel he wrote 'Der Rauch
- ↑ In order to understand how one person could perform the duties of two in the same choir it is necessary to explain that by longstanding custom each lay vicar attends during six months of the year only, i.e. in each alternate month.
