in 'The School for Scandal,' 1777, and accompaniments to the songs in 'The Beggar's Opera.' He also set such portions of Sheridan's Monody on the Death of Garrick, 1779, as were intended to be sung. 'Six Elegies' for 3 voices, composed at Bath (much commended by Burney), and 'Twelve Ballads' were published in his lifetime. The posthumous works of himself and his son, Thomas, which appeared a few years after his death, in 2 vols., consist of songs, cantatas, madrigals, and elegies, including the lovely 5-part madrigal by him, 'Let me, careless,' one of the most graceful productions of its kind. As an English composer Linley takes high rank.
Eliza Ann, his eldest daughter, 'The Maid of Bath,' born 1754, received her musical education from her father, and appeared at an early age at the Bath concerts as a soprano singer with great success. In 1770 she sang at the oratorios in London and at Worcester Festival, and rose high in public favour. In 1771 she sang at Hereford Festival, and in 1772 at Gloucester. In March, 1773, she became, under somewhat romantic circumstances, the wife of Richard Brinsley Sheridan, and, after fulfilling engagements at Worcester Festival and at Oxford, contracted before her marriage, she retired at the zenith of her popularity. Her voice was of extensive compass, and she sang with equal excellence in both the sustained and florid styles. She died of consumption at Bristol in 1792.
Mary, his second daughter and pupil, also a favourite singer, sang with her sister at the oratorios, festivals, etc., and for a few years afterwards, until her marriage with Richard Tickell, commissioner of stamps. She died in July 1787.
Maria, his third daughter, was also a concert and oratorio singer. She died at Bath Sept. 5, 1784, at an early age. Shortly before her death she raised herself in bed, and with momentary animation sang part of Handel's air 'I know that my Redeemer liveth,' and then, exhausted with the effort, sank down and soon afterwards expired.
Thomas, his eldest son, born at Bath in 1756, displayed at an early age extraordinary skill on the violin, and at 8 years old performed a concerto in public. After studying with his father he was placed under Dr. Boyce. He then went to Florence and took lessons on the violin from Nardini, and whilst there became acquainted with Mozart, then about his own age, and a warm attachment sprang up between them; when they parted they were each bathed in tears, and Mozart often afterwards spoke of Linley with the greatest affection. On returning to England he became leader and solo-player at his father's concerts at Bath, and subsequently at the oratorios etc. at Drury Lane. In 1773 he composed an anthem with orchestra ('Let God arise') for Worcester Festival. In 1775 he assisted his father in 'The Duenna,' by writing the overture, three or four airs, a duet and a trio. He subsequently composed a chorus and two songs for introduction into 'The Tempest.' In 1776 he produced 'An Ode on the Witches and Fairies of Shakspere.' He also composed a short oratorio, 'The Song of Moses,' performed at Drury Lane, and added accompaniments for wind instruments to the music in 'Macbeth.' He was unfortunately drowned, through the upsetting of a boat, whilst on a visit at the Duke of Ancaster's, Grimsthorpe, Lincolnshire, Aug. 7, 1778. The greater part of his miscellaneous compositions are contained in the 2 vols. of posthumous works above mentioned.
Another son, Ozias Thurston, born 1765, was also instructed in music by the father. He entered the Church and obtained a living, which he resigned on being appointed, May 5, 1816, a junior fellow and organist of Dulwich College, where he died March, 1831.
William, his youngest son, born about 1767 and educated at St. Paul's and Harrow, learned music from his father and Abel. Mr. Fox procured for him a writership at Madras, and he was subsequently paymaster at Vellore and subtreasurer at Fort St. George. He returned from India with a competence, and devoted his attention to literature and music, composed many glees, published a set of songs, two sets of canzonets, and many detached pieces, edited 'Shakspere's Dramatic Songs,' 2 vols. fol. 1815–16, and wrote two comic operas, two novels, and several pieces of poetry. He died in 1835.
[ W. H. H. ]
LIPINSKI, Karl Joseph, eminent violinist of the modern school, born Oct. 30 (or according to a family tradition Nov. 4), 1790, at Radzyn in Poland, son of a land-agent and amateur violinist, who taught him the elements of fingering. Having outgrown this instruction he for a time took up the cello, on which he advanced sufficiently to play Romberg's concertos. He soon however returned to the violin, and in 1810 became first Concertmeister, and then Capellmeister, of the theatre at Lemberg. Not being able to play the piano, he used to lead the rehearsals with his violin, and thus acquired that skill in part playing which was one of his great characteristics as a virtuoso. In 1814 he resigned his post, and gave himself up to private study. In 1817 he went to Italy, chiefly in the hope of hearing Paganini. They met in Milan, and Paganini took a great fancy to him, played with him daily, and even performed in public with him at two concerts (April 17 and 30, 1818), a circumstance which greatly increased Lipinski's reputation. Towards the close of the year Lipinski returned to Germany, but soon went back to Italy, attracted by the fame of an aged pupil of Tartini's, Dr. Mazzurana. Dissatisfied with Lipinski's rendering of one of Tartini's sonatas, but unable on account of his great age (90) to correct him by playing it himself, Mazzurana gave him a poem, which he had written to explain the master's intentions. With this aid Lipinski mastered the sonata, and in consequence endeavoured for the future to embody some poetical idea in his playing—the secret of his own success, and of that of many others who imitated him in this respect. In 1829 Paganini and Lipinski met again in Warsaw, but unfortunately a rivalry was excited between them which destroyed the old friendship. In 1835 and 36, in
