Thomas Linley
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1756
https://musicbrainz.org/artist/6a2e17c0-cbbd-45ff-a163-cfcc79bb81ea
Thomas Linley Thomas Linley Thomas Linley Thomas Linley

Biography

The death in a boating accident of Thomas Linley, the younger, at the age of 22 deprived English music of one of the most promising talents not just of the day, but in its entire history. He was born into ...

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Thomas Linley, The Parley of Instruments Baroque Orchestra and Choir & Peter Holman
The Tempest - incidental music.: Arise! Ye spirits of the storm [chor and instr]
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The Tempest - incidental music.: Arise! Ye spirits of the storm [chor and instr] The Tempest - incidental music.: Arise! Ye spirits of the storm [chor and instr] The Tempest - incidental music.: Arise! Ye spirits of the storm [chor and instr] The Tempest - incidental music.: Arise! Ye spirits of the storm [chor and instr]
Thomas Linley, The Parley of Instruments & Paul Nicholson
The Tempest - incidental music; Arise! Ye spirits of the storm (feat. The Parley of Instruments & Paul Nicholson)
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The Tempest - incidental music; Arise! Ye spirits of the storm (feat. The Parley of Instruments & Paul Nicholson) The Tempest - incidental music; Arise! Ye spirits of the storm (feat. The Parley of Instruments & Paul Nicholson) The Tempest - incidental music; Arise! Ye spirits of the storm (feat. The Parley of Instruments & Paul Nicholson) The Tempest - incidental music; Arise! Ye spirits of the storm (feat. The Parley of Instruments & Paul Nicholson)
The Parley of Instruments Baroque Orchestra and Choir, Thomas Linley & Paul Nicholson
Arise! ye spirits of the storm (The Tempest)
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Arise! ye spirits of the storm (The Tempest) Arise! ye spirits of the storm (The Tempest) Arise! ye spirits of the storm (The Tempest) Arise! ye spirits of the storm (The Tempest)
Thomas Linley, Emma Kirkby & Timothy Roberts
The Lark sings high in the cornfield for voice and keyboard
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The Lark sings high in the cornfield for voice and keyboard The Lark sings high in the cornfield for voice and keyboard The Lark sings high in the cornfield for voice and keyboard The Lark sings high in the cornfield for voice and keyboard
Thomas Linley
Overture to The Duenna (1775) Allegro – Adagio - Rondeau
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Overture to The Duenna (1775) Allegro – Adagio - Rondeau Overture to The Duenna (1775) Allegro – Adagio - Rondeau Overture to The Duenna (1775) Allegro – Adagio - Rondeau Overture to The Duenna (1775) Allegro – Adagio - Rondeau
Thomas Linley
The Tempest - incidental music [for a revival of Shakespeare's play]
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The Tempest - incidental music [for a revival of Shakespeare's play] The Tempest - incidental music [for a revival of Shakespeare's play] The Tempest - incidental music [for a revival of Shakespeare's play] The Tempest - incidental music [for a revival of Shakespeare's play]
Thomas Linley
Ye Nymphs of Albion's Beauty-blooming Isle - cantata for soprano, ob, hn, str & bc - no.2
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Ye Nymphs of Albion's Beauty-blooming Isle - cantata for soprano, ob, hn, str & bc - no.2 Ye Nymphs of Albion's Beauty-blooming Isle - cantata for soprano, ob, hn, str & bc - no.2 Ye Nymphs of Albion's Beauty-blooming Isle - cantata for soprano, ob, hn, str & bc - no.2 Ye Nymphs of Albion's Beauty-blooming Isle - cantata for soprano, ob, hn, str & bc - no.2
Thomas Linley
But why dost thou retire? (from "Daughter of Heav'n, fair art thou")
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But why dost thou retire? (from "Daughter of Heav'n, fair art thou") But why dost thou retire? (from "Daughter of Heav'n, fair art thou") But why dost thou retire? (from "Daughter of Heav'n, fair art thou") But why dost thou retire? (from "Daughter of Heav'n, fair art thou")
Thomas Linley, Rachel Nicholls & Pawel Siwczak
Adieu, thou dreary pile (from The Duenna)
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Adieu, thou dreary pile (from The Duenna) Adieu, thou dreary pile (from The Duenna) Adieu, thou dreary pile (from The Duenna) Adieu, thou dreary pile (from The Duenna)
Thomas Linley, Rachel Nicholls & Pawel Siwczak
When Sable night (from The Duenna)
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When Sable night (from The Duenna) When Sable night (from The Duenna) When Sable night (from The Duenna) When Sable night (from The Duenna)
Thomas Linley, Rachel Nicholls & Pawel Siwczak
By him we love offended (The Duenna)
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By him we love offended (The Duenna) By him we love offended (The Duenna) By him we love offended (The Duenna) By him we love offended (The Duenna)
Thomas Linley
Cantata: "In Yonder Grove" – Air: "Tune Philomel"
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Cantata: "In Yonder Grove" – Air: "Tune Philomel" Cantata: "In Yonder Grove" – Air: "Tune Philomel" Cantata: "In Yonder Grove" – Air: "Tune Philomel" Cantata: "In Yonder Grove" – Air: "Tune Philomel"
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Biography

The death in a boating accident of Thomas Linley, the younger, at the age of 22 deprived English music of one of the most promising talents not just of the day, but in its entire history.

He was born into a musical family – his father and teacher Thomas was a composer and a successful promoter of concerts in fashionable Bath who would later become director of the Drury Lane Theatre in London, and his older sister was an acclaimed soprano who only gave up singing publicly after her elopement with the playwright Richard Brinsley Sheridan in 1772 – and by the age of 7 he was performing a violin concerto at a concert in Bristol.

Later, while still a boy, he studied with William Boyce, and after appearing on stage in London as a singer, dancer and violinist at the age of 11, was in 1768 sent to study the violin for three years with Pietro Nardini in Florence, where he also met and briefly befriended his exact contemporary Mozart. On returning to England he continued to perform in concerts in London and Bath until his appointment as leader of the orchestra at Drury Lane brought a permanent move to the capital in 1773. His tragic drowning came while on holiday with his family in Lincolnshire five years later.

Not surprisingly, Linley’s output is small, though he is said to have composed at least 20 violin concertos and seven violin sonatas, only one each of which survive. For the stage he wrote music for Sheridan’s The Duenna (1775) and for his adaptation of The Tempest, as well as a comic opera of his own, The Cady of Bagdad (1777).

It is in his music for soloists, chorus and orchestra, however, that his considerable ability and imagination are best displayed. The anthem Let God arise, written for the 1773 Worcester Festival, gives notice of a Handelian skill for vital and accomplished choral writing, and to that early assurance (not least in counterpoint) is added an impressive facility in the modern, continental galant style in the subsequent Shakespearean Lyric Ode (1776) and short oratorio The Song of Moses (1777).

Linley’s early death, together with that of two other cruelly curtailed talents of the day – Stephen Storace and George Frederick Pinto – was a major loss to English music at a time when it could ill afford it.

Profile © Lindsay Kemp

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