Article on Thomas Baker

Long biographical piece on Baker.  With a large portrait on page 274.  “[B]orn in England, and at the early age of seven displayed such musical genius and talent for the violin that his friends determined to give him a good musical education.  Master Baker attracted the notice of Princess Augusta, who was so pleased with him, that he immediately became her protégé, and through whose influence he obtained admission as a student in the Royal Academy of Music, London.  He prosecuted his studies there with great industry, and soon made rapid progress in his favorite instrument, the violin, under the tuition of Francois Cramer, and the celebrated Sig. Spagnoletti, then leader of the Royal Italian Opera House.  He also studied the piano, harmony and composition, under Mr. Attwood, the accredited pupil of the immortal Mozart.  We have often heard Mr. Baker speak with pride of having studied his lessons from the manuscripts of that great master.  In a few years Master Baker made his first public appearance as a solo violinist . . . [on] June 4, 1832, at the Theatre Royal, Covent Garden. . . . Baker performed between the pieces and made quite a furore, being recalled by a house crowded in every part.  From that time forward his name became familiar. . . . [H]e performed by request of King William for several nights, before the Court at Windsor Castle, and received substantial proofs of its favor, and at once established himself the musical pet at all the musical soirees of nobility.  We also find him as leader of the orchestra and sole player at the promenade concerts given under the direction of the celebrated Musard.  When Jullien arrived in England he sent for Mr. Baker, and at once made him a tempting offer for his exclusive services, for seven years.  During this time he was not only leader and solo player, but arranged the whole of  Jullien’s music. . . . Jullien held the right to publish all Mr. Baker’s compositions, for he had already become popular as a composer, especially in English ballads. . . . But Mr. Baker’s greatest effort was The Modern Pianoforte Tutor, an entirely new course of instruction for that instrument. . . . This work received especial patronage of Her Majesty Queen Victoria, and was selected for the instruction of the Royal children.  It was also adopted by the Royal Academy of Music and the Society of British Musicians. . . . He accompanied Mons. Jullien to this country in the spring of 1850, as leader of one of the finest orchestras ever assembled together. . . . At the termination of the concerts his engagement with M. Jullien ceased, and . . . he returned to Europe to settle up his private affairs and to return to this country, as a permanent home, which he did after a lapse of three months.  He recommenced his career in this country, by conducting the English Opera at Niblo’s Garden, and was afterwards engaged as musical director for Laura Keene at the Metropolitan (now Winter Garden) theatre.  Mr. Baker was the first leader in this country that used the baton in a theatrical orchestra.  This has been doubted by many, but it is nevertheless true.  He was also the first to introduce a more pleasing style of Entre Acte music which hitherto had been confined principally to common-place waltzes and Dutch music, being indifferently executed. . . . While at the ‘Cremorne,’ he composed a song for Carlotta Patti, which met with great success here and also lately in England.  The original music for two pantomimes and ‘Colleen Bawn’ was composed by Mr. B.  When the original Dion Boucicault went to England, he made very tempting offers to Mr. Baker to accompany him, which, however, were declined.  He is now musical director at Mrs. Wood’s Olympic Theatre.”