Thomas Roseingrave

Thomas Roseingrave (1688 – 23 June 1766) was an English musician and organist.

Early years

He was born at Winchester but spent his early years in Dublin, studying music with his father, Daniel Roseingrave. In 1707 he entered Trinity College but failed to complete his degree. In 1709 he was sent to Italy with the financial assistance of St Paul’s Cathedral in order “to improve himself in the art of music”. In Venice he met Domenico Scarlatti and was greatly impressed by his harpsichord playing. He followed Scarlatti to Naples and Rome and, later in life, he published an edition of Scarlatti’s sonatas for harpsichord which led to a “Scarlatti cult” in England.

Roseingrave composed several works in Italy including an anthem and a cantata. He probably returned to England in 1714. In 1720 he produced Scarlatti’s opera "Amor d’un ombra e Gelosea d’un aura" under the title "Narciso" at the Haymarket Theatre, to which he added two arias and two duets of his own. He was appointed organist of St George’s, Hanover Square, in 1725. He became known as an accomplished improviser, especially of fugues. He had a great admiration for the music of Palestrina and was highly skilled at contrapuntal writing. According to Charles Burney he could play the most difficult music by sight.

Later years

In the 1730s he was at the height of his powers. However, his brilliant career came to an end when he was not allowed to marry a young lady with whom he had become infatuated. Her father would not have her marrying a musician. The disappointment affected his brain, his behaviour became irrational at times, and he neglected his duties. Eventually he retired to Dublin. He died at Dún Laoghaire in 1766 and was buried in the family grave in the churchyard of St Patrick’s Cathedral, Dublin.

Evaluation

Roseingrave’s best compositions are his keyboard works which show surprisingly little influence of continental composers. His harpsichord works occasionally reflect the influence of Scarlatti, but the organ works are closer to the English style of Purcell and Blow. They are at times highly chromatic, reflecting the dissonant approach of English music such as Purcell’s viol fantasies. They show irregular phrasing and form, suggesting that they may have arisen from freely extemporised performances for which he had been so famous. He also wrote solos for flute, and Italian cantatas. His contemporaries often criticised him for his “harsh, ungrateful harmony, and extravagant and licentious modulations”. Most English composers in the 18th century had adopted the Italianate style in the Handelian manner, and the ears of English music lovers were becoming accustomed to the easier harmony and form of the galant style. Thus Roseingrave’s music would have appeared to many to be too intellectual and old-fashioned.

Media

References

The New Grove Dictionary of Music & Musicians, ed Stanley Sadie; 1980; ISBN 1-56159-174-2