NEWCASTLE'S MUSICAL HERITAGE AN INTRODUCTION By ...

features, Hawdon’s compositions in general are said to be pleasing and his
organ music in particular reflects his admiration for Handel. His hymn tune
‘Beverley’ may still be in use today. He was buried in St Nicholas Cathedral
under the Harris-Snetzler organ. An appropriate resting-place for an organist, I
am sure you will agree.
Thomas Thompson was born in Sunderland in 1777. His father, who
excelled in the science of music, was the pupil of James Hesletine, organist at
the cathedral in Durham. In 1778 Thompson, snr. moved to Newcastle, where his
son, Thomas, at the early age of nine years was initiated into the practice of the
violin and French horn under the tuition of his father, and performed on the horn
at the theatre and at concerts when only twelve years of age. It is stated in an
historic account of the city of 1827 that at about this time, i.e. 1789, young
Thompson had lessons on the pianoforte from Hawdon, son of Matthias, who
was the organist at All Saints from 1789 to his death in 1793. It is also stated that
Thomas Thompson had lessons on the organ and pianoforte from Charles
Avison, the son of the celebrated Avison, and at the beginning of 1793 he was
placed under the tuition of Muzio Clementi (Italian pianist, conductor, publisher
1752-1832) and also received instruction from Frick in thorough-bass and
composition. Apparently he was so keen on his violin studies that he practised for
ten hours a day. He returned from London, however, in 1794 as the chosen
successor to Hawdon at All Saints and the following year he succeeded Charles
Avison jun., at St Nicholas Cathedral. He continued his studies and in 1801 and
1803 he had lessons from G. B. Cramer (German pianist, teacher, publisher
1771-1858) and occasionally visited London to receive lessons from Ries
(German pianist, violinist, cellist, conductor 1784-1838), Kalkbrenner (German
pianist and teacher 1785-1849) and other eminent masters. He performed at the
Newcastle subscription concerts and a contemporary report states that the
brilliancy of his finger in rapid passages and the still more striking feeling,
expression and taste displayed in the cantabile parts of the performance never
failed to call forth great and merited applause. He also played the organ at the
Newcastle festival of 1796 (under the patronage of Prince William of Gloucester)
and again at the festivals of 1814 and 1824. He taught music and in this respect
he would have visited the wealthy homes of his clients as he is recorded as being
punctual and his behaviour was kind and conciliatory. He composed mostly
songs and duets which are said to be elegant and pleasing and marked by a
simple and flowing melody. He also published two airs with variations; ‘Cease
your Funning’ and an original ‘Thema’, which it is said would do credit to any
master.
Newcastle’s musical heritage is not only comprised of those who were born
on the banks of the River Tyne but must include those who for one reason or
another chose to come to Newcastle and devote their lives (or at least some of
them) to the furtherance of music within the town. Later still we need to give
consideration to all those internationally famous instrumentalists and singers,
who were prepared to brave the north-eastern climate and share their art and by
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