Vocal Music in Eighteenth-century Bath from the Pens of Thomas Linley Senior (1733-95) and Junior (1756-78)

Although the music of the two Thomas Linleys, father and son, is little known today, they were amongst the best-known English composers of their time.Their rise to fame during the 18 th century is all the more remarkable given that their careers were established in Bath, as opposed to London, the musical capital of Britain.John Sainsbury (1825) wrote glowing accounts of both musicians in his A Dictionary of Musicians From the Earliest Times, with that written about the elder Linley being particularly illuminating:As a singing-master and composer, Linley possessed a taste and style peculiarly his own, but still modelled on the principles of that pure English school, which, however overshadowed at present by the foreign structure that has been opposed to it, can never be totally eclipsed while there are any feelings of nature and good sense remaining among us.(II, p. 66) Both Linleys composed concert vocal music for the Bath concerts, as well as writing for the theatres of London.Their music is often strikingly different in style from that which was heard at the concerts of the pleasure gardens of London.I The present paper will attempt to present an overview of this repertoire, and illustrate its stylistic qualities.The Linley family was one the several musical dynasties which helped to shape the musical life of 18 th -century Britain.For over twenty years in Bath, the elder Linley (1733-95) led the varied career of composer, harpsichordist, concert director and singing teacher, at the same time composing for numerous stage works which were presented in London. 2 The concert series which he led in Bath was highly successful, and it often featured the many and varied musical talents of eight of the twelve children born to Linley and his wife, Mary Johnson. 3 The unique social situations that informed life in Georgian Bath appear to have had a deep effect on the music that was composed by both Linleys.Bath was far more than just a spa town with some remarkable Roman architecture.It was a complete social experience for those who spent time in the city.Bryan Little (1992) has remarked that "almost everyone who mattered in Georgian England sooner or later, for medical or social reasons, came to Bath" (p.305).While it had been an important medieval cathedral city, Bath declined in later years.A physical transformation of the town was begun in 1725 under the direction of John Wood which resulted in some of the best examples of the Palladian style (Little, 1992).Elaborate codes of behaviour were designed by Beau Nash, the Master of Ceremonies for the city, who quite ruthlessly imposed these codes on all who came to Bath, be they of noble or common birth.Bath was not only fashionable, but it was a centre for artistic activity, as well.Writers such as Pope, Fielding and Smollett were frequent visitors, and the painters Gainsborough and Thomas Barker took up residence there.Composers and musicians of note were also associated with the city, and the names of Thomas Chilcot, William Croft, J.e. Smith, the two Linleys, William Herschel and Venazio Rauzzini figure prominently in the 18 th century.Linley's concerts were an important aspect of the cultural life of the city, although they were likely on a more intimate scale than those in London because of the smaller population base.Timothy Roberts (1994) has remarked that "the vocal chamber music that Linley composed for such occasions inhabits the same rarefied world as Gainsborough's quasipastoral society portraits" (p.5).Throughout the 18 th century, Bath retained its aura of rarefied sophistication, where the concept of "taste" was given lip service even by those who did not actually possess it (Humphreys, 1992).Linley appears not to have felt any need to write down to the Bath audiences, or to make use of unnecessary musical gestures (such as extravagant passages of coloratura singing) to maintain attention.Certainly, the conditions

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