(fl London, 1643–80). English trumpet maker and court trumpeter. A medallion, dated by Byrne to 1643, shows ‘SIMON BEAL AET SVAE 28A’ holding a trumpet with a distinctive three-lobed ball on the bell pipe, possibly the earliest evidence of this English feature. Beale is known from two references in Pepys’s diary and other contemporary documents. He was said to work in Suffolk Street, London. In 1655 he supplied trumpets for a state occasion. His name appears in court records from the time of his appointment in June 1660 as a King’s Guard until February 1680, when his name appeared in a petition against one Joseph Wheeler, another trumpeter. His activities before 1660 are not clear, but Pepys stated that Beale had been one of Oliver Cromwell’s guards. He is reported to have made the tuba stentorphonica (‘speaking trumpet’), invented in 1670 by Sir Samuel Morland. In September 1675...
(b Pavenham, Beds., 1650; d Brasted, Kent, bur. April 12, 1712). English trumpeter and brass instrument maker. He was apprenticed to the widow of a member of the Haberdashers Company of London in 1664, presumably through a family connection. At the age of 16 he was appointed Trumpeter in Extraordinary to Charles II. He married at the age of 21 on taking his freedom of the Haberdashers and moving to Hatchett Alley on Tower Hill. In 1678 he was appointed Trumpeter in Ordinary and also became a trumpeter in the second Troop of Horse Guards. He moved to The Horne and Trumpet in Salisbury Street and advertised trumpets of silver and brass for sale. The surviving plate books of the Royal Jewel House show that Bull was also responsible for instrument repairs from at least 1685 until 1700. Bull moved from Salisbury Street to the Haymarket in 1682...
Nona Pyron and Angela Lepore
(b Parma, Oct 16, 1649; d ?Parma, 1697). Italian composer, cellist, instrument maker, sculptor and painter. All that is known of his life is that he worked at the Este court at Modena. His only known music is Trattenimento musicale sopra il violoncello a’ solo (Modena, 1691), a set of 12 sonatas for solo cello (like his contemporaries at the Este court, G.B. Vitali and Giuseppe Colombi, he was himself a cellist). Precedents for his sonatas can be found in various works for solo cello by Colombi. Others by the two Bolognese composers G.B. Degli Antoni and Domenico Gabrielli probably influenced him still more: Degli Antoni’s set of 12 Ricercate appeared in 1687, and Gabrielli published a similar set of seven Ricercary in January 1689, shortly after spending a year at the Este court. The appearance of Galli’s sonatas in 1691 seems more than just coincidental: they could well have been inspired by his close contact with Gabrielli. Their style is remarkably close to that of Gabrielli’s ...
Harold E. Samuel
(b Nuremberg, April 11, 1626; d Nuremberg, Aug 6, 1686). German organist, instrumentalist, composer and instrument maker, son of Sebastian Hainlein the younger (see Hainlein family). His early instruction on wind and keyboard instruments and in singing led to his being paid an expectant’s salary by the city of Nuremberg at the age of 17. During the period 1646–7 he was in Munich, where he at least heard – if he did not study with – G.G. Porro. From October 1647 to July 1648 he was in Italy. In five extant letters he said that he was displeased with Italian performers and was practising without the aid of a teacher. He referred to four living Italian composers, G.G. Arrigoni, Cavalli and Rovetta in Venice and Francesco Turini in Brescia, but he apparently did not study with any of them. He took up his first important position in Nuremberg in ...
[ Il Bardella ]
( d Florence, Jan 25, 1621). Italian lutenist and singer, inventor of the chitarrone . Sometimes styled ‘bolognese’ (and probably related to the Bolognese composer Romolo Naldi), he was associated with the Medici court in Florence from 1571, and by 1588 he was custodian of the court’s musical instruments. In 1609 his salary was a high 16 scudi per month, comparable with that of Giulio Caccini. He is recorded often as performing at court, sometimes as a singer (e.g. in the first of the intermedi for the wedding of Grand Duke Ferdinando I and Christine of Lorraine in 1589) but chiefly as an instrumentalist. Emilio de’ Cavalieri credited him with the invention of the chitarrone (in a letter to Luzzasco Luzzaschi of 1592; see Prunières) – Naldi seems to have designed and first used the instrument in the 1589 intermedi – and his virtuosity on the instrument was praised by Caccini in the preface to ...
(bap. Saluzzo, Piedmont, May 24, 1616; d Rome, May 3, 1690). Italian inventor, maker and player of musical instruments. He moved to Rome around 1636, and from 1650 to 1652 he was known as guardiano degli strumentisti for the Congregazione di Santa Cecilia (a very prestigious post, which later was held by musicians such as Carlo Mannelli, Arcangelo Corelli and Giovanni Lulier). He was a trombone player and organist with the Musici del Campidoglio, for whom he was decano from at least 1676 to 1684. He also played various kinds of bowed instruments in numerous public performances, and claimed to have built and introduced the ‘contrabasso di viola’ to Rome about 1646. He died in Rome and not in France, as was erroneously reported by J.-B. de La Borde. He had no children, and thus, contrary to earlier hypotheses, could not have been the father of Pietro Todini, a harpsichord-maker mentioned in ...