proper sphere, as even while working with his pen in hand, his thoughts were wandering upon the concord of sweet sounds. A change was therefore made, and Mr. Cox was allowed to make music his profession, as being more congenial to his taste, and he now received instruction from Mr. Moxhay, and also from Mr. H. Haycraft, the latter an Associate of the Royal Academy of Music, both professors established in his native town. In 1839, Mr. Cox came to London, and entered himself a pupil of the Academy, being placed in Mr. Sterndale Bennett's class for pianoforte, Mr. Lovell Phillips' for harmony and composition, and Mr. James Bennett's for singing. After studying upwards of two years, Mr. Cox left the Academy, on receiving the appointment of Resident Musical Instructor to the family of the Duchess of Sutherland. After a lengthened residence at Trentham, Mr. Cox returned to London; and being desirous of continuing his studies, placed himself as a pupil under Signor Crivelli, and, subsequently, on the recommendation of that master, he was nominated an Assistant-Professor at the Academy. On the occasion of Signor Crivelli bringing out his last edition of his celebrated L'Arte del Canto, in 1850, the English translation was confided to Mr. Cox, who performed the task most satisfactorily. Mr. Cox was nominated an Associate in 1852. CHARLOTTE DOLBY Was born in London. When quite a child she learnt the piano at a school then kept by Mrs. Sulsh, and was exhibited as the best child-pupil there. Having thus given some indication of musical talent, she was placed under a Mrs. Montague for the piano, and took also some lessons in singing, although her voice then was very weak, but without any intention of making music a profession. It was only on the death of her father that she was induced to study it as such, and with that view entered the Royal Academy, and was placed under Mr. J. Bennett and Mr. Elliott, and subsequently under Signor Crivelli, under whom she remained three years. In 1837 Miss Dolby was elected a King's Scholar. At the time when the Ancient Concerts were in existence, it was the custom annually to select some of the most advanced singers among the students to take part in the performance as a semichorus. An opportunity was thus given of hearing the best music, particularly that of the old masters, and also the first vocalists of the day. This advantage was not lost on Miss Dolby, who thus acquired a taste for classical music, in singing which, subsequently, she herself has become so distinguished. Although Miss Dolby's musical talent was now acknowledged, her voice was still weak, indeed, almost infantine, so that it became doubtful whether she could exercise her talents in public. Her début at the Academy Concerts was in consequence delayed; and it was not until some time after she entered as a student that her powers were developed; and she then gave proof of possessing not only the requisite qualification of being a first-rate musician, but her voice, gaining in strength, she at length essayed in public, and at once established her reputation. Her subsequent career as a vocalist is too well known to be repeated here. Miss Dolby was a student upwards of five years, and shortly after she left was elected an Associate Honorary Member. ADOLFO FERRARI, The son of Signor and Madame Ferrari, names of high repute in the musical profession, was born in London. At an early age showing a disposition for music, he was taught music, and soon advanced so far, that, as a boy he sang in public with Mrs. Salmon, Signor Begrez, and others. At the period of the change of voice, when unable any longer to sing, he was placed as a clerk in Messrs. Broadwood's office; but, not liking the "dull drudgery of the desk's dead wood", he was removed, and placed as an apprentice to a surgeon at Brighton. After the usual probationary period had passed, Mr. Ferrari passed the examination at the College and Hall with great credit. His early career as a medical man was passed as travelling attendant to a family of high distinction; and, upon the cessation of his travels, he practised for many years both at Brighton and Tunbridge Wells with great success. But in the zenith of the prosperity with which he was surrounded, and with the prospect of the still more promising future which awaited him, of rising in his profession, the love of music prevailed, and he left all to commence again as a student of the musical art. For this purpose he entered the Royal Academy of Music, and after a certain period of study, acting on the advice of his friends, he went to Italy, as his chief object in embracing music was to adopt the stage as his profession. While in Italy he appeared frequently at the theatres in Florence and other places with decided On his return to England, finding little or no opening for the theatre, Signor Ferrari devoted himself to the study of the art of singing; and in order that he might lose no opportunity of gaining knowledge, his master, Signor Crivelli, received him into his house, where he resided eight years, until his marriage. Signor Ferrari has, since that event, given up all idea of the theatre, and confined his sphere to teaching, in which he has succeeded, having established a reputation as a master of the art, and spreading the same principles which he learnt under the able guidance of Signor Crivelli. success, HENRY W. GOODBAN Is a native of Canterbury. He received the rudiments of a musical education from his father, a professor of music in his native town. His first instrument was the violin; but circumstances induced him to turn his attention to the violoncello, and he took every advantage that occurred of improving himself, placing himself under the guidance of Mr. Lindley in his occasional visits to the metropolis. He entered the Royal Academy of Music in 1837, desirous of pursuing his studies under the best auspices; and there, while still studying the violoncello under Mr. Lindley, he applied himself at the same time diligently to the pianoforte and harmony. During his academical career he played on his principal instrument, and produced several compositions at the concerts, and acted also as Sub-Professor. On leaving he was appointed an Associate; and in order to gain experience in his profession, travelled both in France and Germany. On his return he established himself in London, and was engaged in some of the principal orchestral societies. Mr. Goodban is also a Professor of the Institution. CHARLES HARPER. The father of the subject of this and the following sketch was the celebrated trumpet player of that name, who was a native of Worcester; but coming to town in pursuit of his profession, established himself at once in London as one of the first performers on the instrument. Charles, the younger of the two, soon shewed a decided disposition for music, and set to work on the pianoforte, making considerable progress on it. He entered the Academy in 1836, and in addition to the piano studied the violoncello, as his orchestral instrument. But as he occasionally amused himself on the horn, that instrument seemed more congenial to him; and without altogether relinquishing the others, he applied diligently to this, receiving instruction on it from the celebrated horn-player Puzzi. He soon advanced so far as to be competent to take part in the orchestra, and was remarkable for his tone and intonation. He remained a student at the Academy upwards of two years, acting as sub-professor, and latterly taking the first horn in the orchestra. In 1838, on the occasion of an ottett of Spohr's being played at one of the Philharmonic Concerts, young Harper was asked to take the horn part, in consequence of the refusal of those then engaged at the Philharmonic, and acquitted himself so admirably, that it led to his engagement not only at these concerts, but as principal horn in all the first orchestras in the country. On leaving the Academy, Mr. Charles Harper was appointed a professor, and an Associate Honorary Member. |