Far more eminent than he, as composers, were Arnold, Shield, Storacé, Linley, and Jackson.
Samuel Arnold, Mus. Doc., was born in 1740—and had the advantage of studying music under Nares. He was, during his lifetime, both organist to the King, and to Westminster Abbey, wrote several Oratorios, and published selections of sacred music—but it is as a composer for the theatre, that we have to consider him. When only twenty-three years of age, he was appointed composer to Covent Garden Theatre, and his earliest operas were there produced. In 1776, he filled the same position with regard to the Haymarket, and this versatile genius composed Operas, and Oratorios, until his death in 1802.
William Shield (born in 1754) carved his own way up to the eminence, which he enjoyed, in his profession. Apprenticed to a boatbuilder, he gave up that business, as soon as he was out of his time: and, being musical, and, playing well on the violin, he soon obtained a situation at Scarborough, as leader of Concerts there, and gained such a reputation, that he was offered, and accepted, the position of first Viola, at the Italian Opera House. His first theatrical work was composing the Music, (in 1778), to "The Flitch of Bacon." He wrote the music for many other plays—and, on the death of Sir W. Parsons, he gained the appointment of "Master of his Majesty's Musicians in ordinary." He died in 1829.
In spite of his foreign name, Stephen Storacé, was born in England, although of Italian parentage. He was early sent to Italy, and studied at the Conservatorio of St. Onophris, at Naples, in 1787, being then 24 years of age. He returned to England, and, soon afterwards, was appointed Composer to Drury Lane; and, up to his death, in 1796, he was actively engaged on Operas, &c.
Thomas Linley received his musical education from Chilcott, the organist at Bath. One of his daughters, Eliza, married Sheridan, and, soon after the production of his first theatrical essay, "The Duenna," he became joint patentee, with his son-in-law, in Drury Lane Theatre, and, leaving Bath, went to reside in London. There, he wrote for the Stage, and composed many operas, besides songs, madrigals, &c. He received a severe shock, when his son was drowned, in 1778—and, although he lived till 1795, he never recovered from it.
William Jackson (whose Te Deum is, or was, such a favourite), was born, at Exeter, in 1730, and was afterwards Organist to the Cathedral of that city. He did not write much for the Stage, preferring sacred music, songs, and canzonets.
The following paragraph shows a curious state of things at the Opera:—
"When the Gallery at the Opera House, on Saturday night, expressed its disapprobation of the crowded stage, Sir John Gallini!!![9] who was part of that crowd, very modestly declared, that, unless the gentlemen behind the scenes left the House, there would be no Opera.—But, upon being asked where the half guineas should remain, if the gentlemen retired, this shark for words recanted his former assertion, and, very composedly, swallowed the gilded pill."—(Morning Post, Apr. 10, 1788.)
The Operatical Finale to the Ballet of "Alonzo e Caro."