68:, the work which Clayton had vamped up from his Italian gleanings. It was announced as 'a new opera, after the Italian manner, all sung,' with recitatives instead of spoken dialogue. It seems to have attained some success, though a contemporary writer (supposed to be Galliard) says 'there is nothing in it but a few sketches of antiquated Italian airs, so mangled and sophisticated, that instead of Arsinoe, it ought to be called the Hospital of the old Decrepid Italian Operas,' and Burney was inclined to acquit Clayton of plagiarism in its composition, for 'nothing so mean in melody and incorrect in counterpoint was likely to have been produced by any of the reigning composers of that time.' It was sung by
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Clayton is of importance in the history of
English music as the first to acclimatise legitimate opera in England, but as a composer his position is summed up in the words of his anonymous contemporary : 'If a reward was to be ordain'd for him that made the worst musick in all the world, the
125:), where he, Charles Dieupart, and Nicola Haym organized concert performances of his later works. They were advertised for subscription series in 1711 and 1712, but it is unclear how many of them were actually performed there. On 24 May 1711, settings by Clayton of a version of Dryden's
92:, at the celebration of her birthday; according to Genest it was performed fifteen, or according to Burney twenty-four times in 1705, and thirteen times in 1706. The opera has been described as the first English opera in the Italian style.
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His father was
William Clayton. He studied in Italy, from about 1702 to about 1704, bringing with him (as was said at the time) a considerable quantity of Italian songs which he had collected abroad. These he set to an adaptation by
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sang the principal parts. This work was repeated on the 15th and 22nd of the same month, but its failure was so decided that it was never again performed. The anonymous author already quoted opines that
62:, Clayton entered upon a series of opera performances at Drury Lane Theatre — the first venture of the kind in the annals of the English stage. The first season began on Tuesday, 16 Jan. 1705, with
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After the failure of 'Rosamond' the operatic venture continued until 1711. He was also the proprietor of a concert room at his house in the York
Buildings of London (near
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Encouraged by this success, Clayton tried his hand at another opera, and on
Tuesday, 4 March 1707, produced at Drury Lane a setting of Addison's
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author of
Rosamond wou'd have reason to say he had not lost his labour, since he wou'd have an undoubted title to the gratification.'
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were published, and posterity has thus been enabled to endorse the opinions of
Clayton's contemporaries.
84:, the last of whom made in it her first appearance on the stage. On 6 February 1705, it was played at
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133:, were performed, but both works failed, after which nothing is heard of the luckless composer.
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110:'mounted the stage on purpose to frighten all England with its abominable musick.' Both
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The King's Musick: A transcript of records relating to music and musicians (1460-1700)
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30:. His is said to be the first to acclimatise legitimate opera in England.
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101:, in which Holcomb, Leveridge, Hughes, Mrs. Tofts, Mrs. Lindsay, and
325: This article incorporates text from a publication now in the
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22:(1673–1725) was an English violinist and composer, and a member of
366:"Thomas Clayton and the Introduction of Italian Opera to England"
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345:. Vol. 11. London: Smith, Elder & Co. pp. 20–21.
273:"Cross, Letitia (bap. 1682?, d. 1737), singer and actress"
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of a drama by
Stonzani, which had been performed at
282:(online ed.). Oxford University Press. 2004.
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174:after Tomaso Stanzani (premiered London, 1705)
153:In addition to his 1710 cantatas with text by
129:(altered by John Hughes), and of Harrison's
218:– text by William Harrison (London, 1711)
279:Oxford Dictionary of National Biography
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418:Digitized images of Old English Songs
136:He is said to have died about 1730.
479:18th-century British male musicians
182:– opera in three acts, libretto by
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386:. University of California Press.
355:De Lafontaine, Henry Cart (1909).
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331:Squire, William Barclay (1887). "
474:18th-century classical composers
342:Dictionary of National Biography
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208:– libretto by John Hughes after
196:If Wine and Music have the Power
484:18th-century English composers
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16:English violinist and composer
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222:Ode for the Prince's Birthday
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454:British classical violinists
449:English male opera composers
296:UK public library membership
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434:British classical composers
157:, Clayton's works include:
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384:Companion to Baroque Music
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72:, Hughes, Ramondon, Good,
489:Male classical violinists
439:British Baroque composers
412:University of North Texas
378:Sadie, Julie Anne (1998)
406:Arsinoe, Queen of Cyprus
364:McGeary, Thomas (1998).
186:(premiered London, 1707)
163:Arsinoe, Queen of Cyprus
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65:Arsinoe, Queen of Cyprus
459:British male violinists
444:British opera composers
374:(subscription required)
166:– opera in three acts,
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370:Philological Quarterly
288:10.1093/ref:odnb/64328
206:The Feast of Alexander
361:. Novello and Company
216:The Passion of Sappho
41:Peter Anthony Motteux
235:Notes and references
54:In association with
86:St. James's Palace
380:"Clayton, Thomas"
294:(Subscription or
131:Passion of Sappho
127:Alexander's Feast
70:Richard Leveridge
24:The King's Musick
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469:1725 deaths
464:1673 births
316:Attribution
259:Squire 1887
210:John Dryden
155:John Hughes
56:Nicola Haym
28:William III
428:Categories
372:, Vol. 77
298:required.)
198:– text by
140:Assessment
123:The Strand
90:Queen Anne
82:Mrs. Tofts
78:Mrs. Cross
51:in 1678.
179:Rosamond
168:libretto
116:Rosamond
108:Rosamond
98:Rosamond
410:at the
350:Sources
339:(ed.).
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112:Arsinoe
88:before
45:Bologna
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335:". In
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192:(1710)
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49:Venice
408:arias
149:Works
388:ISBN
114:and
58:and
34:Life
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170:by
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