¹ Dates for members of the Mahon family on the Ancestry website, <http://www.ancestry.com> (accessed 2019 and 2020) have been adopted.

² Oxford Journal, 9 November 1771.

³ Matthews, Betty, ‘The Musical Mahons’, The Musical Times, 120, no. 1636 (June 1979), 482–4CrossRefGoogle Scholar; A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660-1800, ed. Philip Henry Highfill, Kalman A. Burnim, and Edward A. Langhans, 16 vols. (Carbondale: Southern Illinois University Press, 1973–1993), vol. 10 (1984) 56–9, vol. 13 (1991), 244–5; Weston, Pamela, Yesterday’s Clarinettists: A Sequel (Haverhill: The Panda Group, 2002), 106–10Google Scholar.

⁴ Dictionary of National Biography, ed. Sidney Lee, 63 vols. (London: Smith, Elder, & Co., 1885–1900), vol. 50 (1897) 204–5.

⁵ Saunder’s News-Letter, 13, 18, 19-21, 23 June 1806.

⁶ Concert on June 9, 1817; Myles Birket Foster, History of the Philharmonic Society of London 1813-1912 (London: John Lane, 1912), 32.

⁷ Pietro Alessandro Guglielmi was one of the most important late eighteenth century opera composers. In 1757, he began writing dialect comic operas in Naples, and was commissioned in 1763 for an opera seria in Rome. From 1767 to 1772 he shared the post of composer and music director of the King’s Theatre in London with Felice Alessandri, where he penned a number of famous works, and from 1772 to 1776 he wrote operas for Venice, Rome, Turin, and Milan. From 1776 to 1793, Guglielmi lived in Naples and continued to compose. In 1793, he was appointed maestro di cappella at St. Peter’s in Rome, and took on those duties at San Lorenzo Lucina, continuing to write for theatres. He belonged to a number of important institutions such as the Accademia di Santa Cecilia in Rome; the Institut National des Sciences et des Arts; and the arts and sciences section of the Istituto Nazionale in Naples. Mary Hunter and James L. Jackman, ‘Guglielmi family (opera), (1) Pietro [Pier, Piero] Alessandro Gugliemi’, Grove Music Online, accessed 20 June 2021.

⁸ Nico Bertelli in the introduction to a modern edition of Gratias agimus tibi, Aria for Soprano, obbligato Clarinet and Orchestra (Massa, Italy: Nico Bertelli, 2013).

⁹ Mahon also performed this work with Mary Ann Wood in Salisbury in 1822. Rice, Albert R., ‘The Repertoire for Voice, Clarinet, and Orchestra or Piano, ca. 1780-1888’, The Clarinet 45, no. 4 (September 2018), 38–46 Google Scholar.

¹⁰ ‘Catalani, Angelica’, Theodore Baker, Baker’s Biographical Dictionary of Musicians (New York: Schirmer, 2001). Gale in Context: Biography, accessed 20 June 2021.

¹¹ Biographical Dictionary of Actors, vol. 10, 56.

¹² Letter from John Mahon via Charles Ashley to the Governors of the Royal Society of Musicians, sent from Belfast, 22 January 1820; letter from John Mahon to the Governors of the RSM, sent from Dublin, 11 December 1826; letter from Margaret Mahon to the Governors of the RSM, sent from Dublin, before 10 March 1834; letter from Anne Mangan (Mahon’s daughter) via Mr Simcock to the Governors of the RSM, sent from Dublin, after 10 March 1834. All letters contained in John Mahon’s RSM file (RSM A065).

¹³ Letter from John Mahon via Charles Ashley to the Governors of the RSM, sent from Belfast, 22 January 1820, contained in John Mahon’s RSM file. In addition, it is possible that Mahon’s only son also followed him into the musical profession, as in a letter of 1826, John Mahon comments that he is expecting his son to take ‘the situation in the theatre’. See letter from John Mahon to the Governors of the RSM, sent from Dublin, 11 December 1826. Both letters contained in John Mahon’s file (RSM A065).

¹⁴ Matthews, ‘The Musical Mahons’, 484.

¹⁵ John Marsh, The John Marsh Journals: The Life and Times of a Gentleman Composer (1752-1828), ed. Brian Robins (Stuyvesant, New York: Pendragon Press, 1998), 180–1.

¹⁶ Marsh, John Marsh Journals, 215.

¹⁷ Marsh, John Marsh Journals, 230.

¹⁸ Marsh, John Marsh Journals, 232.

¹⁹ Hampshire Chronicle, 27 August 1787.

²⁰ Ancestry.com, <http://www.ancestry.com>

²¹ Ancestry.com, <http://www.ancestry.com>

²² Salisbury and Winchester Journal, 8 June 1789.

²³ Reading Mercury, 23 March 1795.

²⁴ National Library of Ireland, Killadoon Papers, MS 36058/7; Herbert, Trevor and Barlow, Helen, Music & the British Military in the Long Nineteenth Century (Oxford: Oxford University Press, 2013), 135 CrossRefGoogle Scholar.

²⁵ Salisbury Journal (October 1771), cited by Burrows, Donald and Dunhill, Rosemary, Music and Theatre in Handel’s World: The Family Papers of James Harris 1732–1780 (Oxford: Oxford University Press, 2002), 651 Google Scholar.

²⁶ Oxford Journal, 31 October, 5 November 1772.

²⁷ Gazetteer and New Daily Advertiser, 19, 24 February 1773; Morning Chronicle and London Advertiser, 17, 19, 25 February 1773; Public Advertiser, 23 February 1773.

²⁸ Morning Herald and Daily Advertiser, 3 March 1783.

²⁹ Price, Curtis Alexander, Milhous, Judith, Hume, Robert D., and Dideriksen, Gabriella, Italian Opera in Late Eighteenth-Century London (Oxford: Clarendon Press, 2001), vol. 2, 693 Google Scholar and concert programmes contained in ‘Historical Texts’ online platform, <https://historicaltexts.jisc.ac.uk> (accessed 15 June 2020).

³⁰ Carnelley, John, George Smart and Nineteenth-Century London Concert Life (Woodbridge: Boydell Press, 2015), 103 Google Scholar.

³¹ Foster, History of the Philharmonic Society of London 1813–1912, 8–27.

³² Foster, History of the Philharmonic Society of London 1813–1912, 29–98; Morning Post, 23 February 1818; and Anonymous, ‘The Vocal Concerts’, Quarterly Musical Magazine and Review, 1 (1818), 464.

³³ Caledonian Mercury, 29 March 1806. The Mr. Corri referred to here is most likely to be Natale Corri (1765–1822), a singing master, guitarist, composer, and music publisher who arrived in Edinburgh in 1785 to reside with his brother Domenico. Domenico moved to London around 1790 and Natale remained in Edinburgh, establishing concert rooms there and organising subscription concerts. See Peter Ward Jones, revised by Rachel E. Cowgill, ‘Corri family’, ‘(2) Natale Corri’,” The New Grove Dictionary of Music and Musicians, <https://doi.org/10.1093/gmo/9781561592630.article.06565> (accessed 2 July 2021).

³⁴ Hampshire Chronicle, 1, 15 August 1774.

³⁵ Hampshire Chronicle, 25 August 1777; Derby Mercury, 3 October, 1777; Hampshire Chronicle, 25 September 1780; Belfast Mercury, 13 January 1786; Belfast News-Letter, 6–10 January 1786; Caledonian Mercury, 20 February, 13 March, 3 April 1786.

³⁶ Belfast Newsletter, 29 June–3 July, 1792, 10-13 July, 1792, Roy Johnston and Declan Plummer, The Musical Life of Nineteenth-Century Belfast (Farnham: Ashgate, 2015), 31; Caledonian Mercury, 21 July 1792, 9 February 1793, 11 March 1793, 13 July 1793, 17, 22, 24 March 1794, 26 April, 15, 17 May 1794, 10 October 1801; Newcastle Courant, 24 November, 1 December 1792, 12 January 1793; Weston, Yesterday’s Clarinettists, 108. The basset horn was introduced to England by the Duke of York in 1787 on returning from his ancestral German home. It was remarked that the Duke had ‘added to the excellence of his Band, by the introduction of a new instrument called the Basset horn, which he brought with him from Dresden in Saxony. It is much of the construction of the clarionet, and nearly as long, as a bassoon. The tones of course are not so loud and shrill as those produced by the clarionet and possesses all the variety and sweetness of the flute.’ The World, 27 October 1787; Reading Mercury, 29 October 1787; Finns Leinster Journal (Ireland), 31 October–3 November 1787.

³⁷ A listing of the programmes with performers is in Foster, History of the Philharmonic Society of London, 8–70; and in Taylor, Ian, Music in London and the Myth of Decline: From Haydn to the Philharmonic (Cambridge: Cambridge University Press, 2010)Google Scholar, inter alia.

³⁸ Carnelley, George Smart and Nineteenth-Century London Concert Life, 81; Weston mistakenly stated that John Mahon played in the Russell Concerts when a comparison of the lists of performances by John and William indicate that William performed.

³⁹ Carnelley, George Smart and Nineteenth-Century London Concert Life, 86. Mozart’s orchestration remained controversial and at George Smart’s Oratorio series 1813 concert, it was criticized by J. Carter in The Gentleman’s Magazine, 1 (1813), 220–2 as Mozart’s ‘improvements’; Carnelley, George Smart and Nineteenth-Century London Concert Life 127, note 93.

⁴⁰ Stuart’s Star and Evening Advertiser, 9 April 1789.

⁴¹ The soft, Irish or bellows-blown uilleann pipe. ‘Bagpipe §4: Ireland’, The Grove Dictionary of Musical Instruments, 2nd ed., ed. L. Libin (New York: Oxford University Press, 2016), vol. 1, 169.

⁴² Morning Chronicle and London Advertiser, 17, 25 February 1773; Gazetteer and New Daily Advertiser, 19, 24 February 1773; Public Advertiser, 23 February 1773. The Messiah was also performed at the same venue on 26 March 1773, again with Mahon performing a clarinet concerto between the acts. See Gazetteer and New Daily Advertiser, 26 March 1773; Morning Chronicle and London Advertiser, 25, 26 March 1773; Public Advertiser, 26 March 1773.

⁴³ Morning Chronicle and London Advertiser, 27 February 1773.

⁴⁴ John Mahon, Clarinet Concerto no. 2, ed. Elaine Thomas (London: Novello, 1989).

⁴⁵ Public Advertiser, 3 March 1773. The advertisement claimed that this was a new form of entertainment, including sacred works and solo performances and clearly taking its inspiration from its Parisian counterpart. The Concerto Spirituale was repeated ‘By Particular Desire’ on 17 March 1773 and again featured a clarinet concerto performed by Mahon. See Morning Chronicle and London Advertiser, 13, 15 March 1773; Public Advertiser, 13, 15, 17 March 1773.

⁴⁶ Morning Chronicle and London Advertiser, 4 March 1773.

⁴⁷ Public Advertiser, 5 April 1783. For an advertisement for the performance of Alexander’s Feast see Morning Chronicle and London Advertiser, 3 April 1783.

⁴⁸ The Norfolk Chronicle or the Norwich Gazette, 17 December 1785.

⁴⁹ World and Fashionable Advertiser, 6 September 1787. Italics present in original quotation.

⁵⁰ Morning Chronicle and London Advertiser, 9 March 1773 and ‘Account of the Prodigal Son, an Oratorio, As it was performed, for the first time, at the Hay-Market, on Friday, March 5, 1773’, The Hibernian Magazine, or Compendium of Entertaining Knowledge, for April 1773, vol. 3 (Dublin: James Potts, 1773), 186–7.

⁵¹ Morning Post and Daily Advertiser, 2 July 1788.

⁵² London Chronicle, 27 September 1788 – 30 September 1788.

⁵³ Morning Chronicle, 18 October 1796. Italics present in original quotation.

⁵⁴ Oracle and Public Advertiser, 18 October 1796.

⁵⁵ Times, 18 October 1796.

⁵⁶ Oxford Journal, 6, 13, 20, 27, 1786; General Evening Post, 13–16 May 1786. Manchester Central Library, Henry Watson Music Library, Br 580 Mc 71; Österreichische Nationalbibliothek, MS16781-4°. Mus. J. Bland’s Catalogue of Music lists Mahon’s 2nd Concerto, dated 25 March 1786, British Library, Hirsch IV.113.(1). Cited by Elaine Thomas, ‘John Mahon, Concerto No. 2 for Clarinet and String Orchestra’ (M.A. dissertation, The City University London, 1987), 8–9.

⁵⁷ Two later eighteenth-century British oboe concertos were published with alternate solo parts for the flute and clarinet: Karl Friedrich Baumgarten, A Grand Concerto for the Hautboy, Flute or Clarinet Obligato, with Accompaniments for Two Violins, two Tenors, two Flutes, two Bassoons, two horns and a Violoncello (London: Longman & Broderip, [ca. 1790]), and William Thomas Parke, A Grand Concerto for the Oboe, German Flute, or Clarinet; with Accompaniments for two Violins, two Flutes, two Tenors, two Horns, two Bassoons, a Violoncello and Bass (London: Fentum, ca. 1790).

⁵⁸ A Catalogue of Vocal & Instrumental Music. Engraved, Printed and Sold Wholesale and Retail by John Welcker, No. 9 Hay Market facing the Opera House London., 1, British Library, Gen. Ref. Coll. 7896.h.40.(17.). See, also, Elaine Thomas, ‘John Mahon, Clarinet Concerto No. 2’, ed. Elaine Thomas (London: Novello, 1989), Preface.

⁵⁹ David Johnson, ‘Preface’, John Mahon Concerto in F for Clarinet in B Flat (or Violin, Flute or Oboe), 2 Horns, Strings and Continuo, ed. David Johnson (Edinburgh: David Johnson Music Editions, 2006).

⁶⁰ Morning Chronicle and London Advertiser, 16 February 1775; Morning Post and Daily Advertiser, 16 February 1775. Thomas, ‘John Mahon, Clarinet Concerto No. 2,’ Preface.

⁶¹ Rice, Albert R., The Clarinet in the Classical Period (New York: Oxford University Press, 2003), 157 Google Scholar.

⁶² David Johnson states that based on Edinburgh newspaper advertisements, Mahon wrote at least eight concertos for clarinet. Unfortunately, only the first two were published, so the total number must remain speculative. See David Johnson, John Mahon Concerto in F for Clarinet in B Flat, Preface and Notes.

⁶³ British Library, G.250.(28.); Bodleian Library, (W) Mus. Voc. I, 38 (9); University of Glasgow Library, Library Research Annexe, Store HQ01101; University of California at Berkeley, Music Library, M1621.M216 H6 1796 Music Case X.

⁶⁴ For examples of other instruments printed at the conclusion of sheet music, see Albert R. Rice, ‘Some Performance Practice Aspects of American Sheet Music, 1793-1830’, Music in Performance and Society, Essays in Honor of Roland Jackson, ed. Malcom Cole and John Koegel (Warren, Michigan: Harmonie Park Press, 1997), 230–47 (pp. 230–4).

⁶⁵ Caledonian Mercury, 16, 18 April 1795; Star, 15 October 1796; Oracle and Public Advertiser, 15, 17, 25 October 1796; Telegraph, 17, 25 October 1796; Sun, 18 October 1796; True Briton, 18 October 1796.

⁶⁶ British Library, g.271.w.w.(1.); University of Glasgow Library, Sp Coll Farmer f187; National Trust, Tatton Park, bound with D. Steinbelt, A Spanish Air [1800].

⁶⁷ Compare this instrumentation to other published marches of the same period in Herbert and Barlow, Music & the British Military, Appendix 2, 287–93, (p. 292).

⁶⁸ The Morning Post, 25 March, 11 April 1801; British Library, g. 1104.e(1.) Another band work by Mahon was advertised in The Times, 28 October 1800 as ‘John Mahon’s Twelve Divertisements, dedicated to the most Noble the Marquis of Salisbury’, price 10s 6d. Printed by Geo, Astor. This work has not been found but may be preserved in a collection.

⁶⁹ The Observer, 30 August 1801, 20 December 1801; Morning Post, 18 December 1801; Star, 22 August, 18 December 1801; Sun, 22 August 1801; Morning Chronicle 22 August 1801; a second reprinting with corrections was advertised in Morning Post, 2 May 1806 but has not been found. A later printing by Goulding, D’Almaine, Potter & Co. was completed in 1812.

⁷⁰ Anonymous, ‘Review of New Musical Publications’ The Monthly Magazine; or, British Register (1 September 1801) vol. 12, part 2, 147.

⁷¹ Loc cit.

⁷² British patent, no. 2381 (10 April, 1800). See Rice, The Clarinet in the Classical Period, 48 and Andrew Lyle, ‘John Mahon’s Clarinet Preceptor’, Galpin Society Journal, 30 (May 1977), 52–5.

⁷³ Rice, Albert R., From the Clarinet d’Amour to the Contra Bass: A History of Large Size Clarinets, 1740–1860 (New York: Oxford University Press, 2009), 111–12CrossRefGoogle Scholar, 161.

⁷⁴ Morning Chronicle and London Advertiser, 14, 27 April 1785.

⁷⁵ Gazetteer and New Daily Advertiser, 24 March 1787; Morning Chronicle and London Advertiser, 7, 10 April 1787.

⁷⁶ Morning Herald, 21 April 1787; The World and Fashionable Advertiser, 20 April 1787.

⁷⁷ Freeman’s Journal, 20 June 1789; Saunders’s News-Letter, 23 June, 14 July 1789, Dublin; Freeman’s Journal, 7–9, 9–11 July 1789; Hibernian Journal, 10 July 1789; Taylor, Music in London and the Myth of Decline, 46, Figure 3.8.

⁷⁸ Hibernian Journal, 26 June 1789.

⁷⁹ Belfast Newsletter, 1–4 December 1789; Johnston and Plummer, The Musical Life of Nineteenth-Century Belfast, 30.

⁸⁰ Belfast Newsletter, 15–18, 22–25, 25–29 December, 1789; Johnston and Plummer, The Musical Life of Nineteenth-Century Belfast.

⁸¹ Newcastle Courant, 12 January 1793.

⁸² Caledonian Mercury, 11 March 1793.

⁸³ Caledonian Mercury, 17, 22, 24 March 1794.

⁸⁴ Caledonian Mercury, 16, 18 April 1795.

⁸⁵ Hibernian Journal, 10 March 1797.

⁸⁶ Morning Chronicle, 26 February 1800.

⁸⁷ Caledonian Mercury, 8 April 1802.

⁸⁸ Caledonian Mercury, 15, 17, 19 March 1804.

⁸⁹ Caledonian Mercury, 7, 23 February 1805.

⁹⁰ Caledonian Mercury, 9, 11 March 1805; Saunders’s Newsletter, 31 May, 7 June 1806.

⁹¹ Mahon, John, A New and Complete Preceptor for the Clarinet (London: Goulding, Phipps and D’Almaine, 1801), 2 Google Scholar.

⁹² Hereford Journal, 12 April 1787. A gentleman would not want to be identified as a musician at this time.

⁹³ Belfast Newsletter, 29 January–2 February, 5–9, 9–12 February 1790.

⁹⁴ Catherine Crisp, ‘Teachers and Amateur Players of the Clarinet in London, ca 1750 – ca 1810’, A Handbook for Studies in 18^th-Century English Music, 23, ed. Colin Coleman and Katherine Hogg (2019), 1–32 (pp. 6–7).

⁹⁵ Soon after his debut, it was remarked that his voice ‘displayed such universal compass of voice, combined with strength, sweetness, and flexibility, as raised him to the highest degree of popular favour. The distinctness of his articulation, the felicity of his cadenzas, and the rapidity of his shake, were deservedly the theme of universal approbation.’ Anonymous, ‘Memoirs of Mr. Sinclair’, The Theatrical Inquisitor and Monthly Mirror, 4 (February 1814), 67–71 (p. 70).

⁹⁶ Anonymous, ‘Memoirs’, 68.

⁹⁷ Anonymous, ‘Memoirs’.

⁹⁸ Rohr, Deborah, The Careers of British Musicians, 1750-1850: A Profession of Artisans (Cambridge: Cambridge University Press, 2001), 138CrossRefGoogle Scholar, 206, note 73.

⁹⁹ Taken from letter from John Mahon via John Watts to the Governors of the RSM, sent from Dublin, 31 December 1827. Letter contained in John Mahon’s file (RSM A065).

¹⁰⁰ Letter from John Mahon via Charles Ashley to the Governors of the RSM, sent from Belfast, 22 January 1820. Letter contained in John Mahon’s file (RSM A065).

¹⁰¹ Letter from John Mahon via Mr Simcock to the Governors of the RSM, sent from Dublin, 31 August 1824. Letter contained in John Mahon’s file (RSM A065).

¹⁰² Letter from John Mahon via Mr Simcock.

¹⁰³ Foster, History of the Philharmonic Society of London 1813-1912, 66–70.

¹⁰⁴ Letter from John Mahon via Mr Watts to the Governors of the RSM, sent from Dublin, 13 March 1825. Letter contained in John Mahon’s file (RSM A065). Cited in Rohr, The Careers of British Musicians, 129.

¹⁰⁵ Letter from John Mahon via Mr Watts to the Governors of the RSM, sent from Dublin, 3 August 1825. Letter contained in John Mahon’s file (RSM A065).

¹⁰⁶ These clarinets are identical to the instrument illustrated in the fingering chart of William Gutteridge’s Introduction to the Art of Playing on Gutteridge’s New Patent Clarinet (London: Clementi & Co., 1825), although five variations of keywork are illustrated in Gutteridge’s patent. These include one clarinet with two keys for low E♭ and D (e♭ and d) E and E♭ (e and e♭) and duplicate keys on the upper joint for ease of fingering. It is significant that Thomas Willman, clarinettist and long-time colleague of Mahon’s, also played a Gutteridge clarinet in the patent with a lowest note of E (e), prominently illustrated in Thomas Willman’s contemporary tutor, A Complete Instruction Book for the Clarinet (London: Goulding, D’Almaine & Co., 1825).

¹⁰⁷ Letter from John Mahon via Mr Simcock to the Governors of the RSM, sent from Dublin, 20 February 1826. Letter contained in John Mahon’s file (RSM A065).

¹⁰⁸ Letter from John Mahon via Mr Watts to the Governors of the RSM, sent from Dublin, 31 December 1827. Letter contained in John Mahon’s file (RSM A065). Cited in Rohr, The Careers of British Musicians, 128.

¹⁰⁹ Ehrlich, Cyril, The Music Profession in Britain since the Eighteenth Century (Oxford: Clarendon Press, 1985), 49Google Scholar.

¹¹⁰ Mahon comments: ‘I have for a long time been out of the Theatre, but for a few weeks I was engaged on a very small Salary’. See letter from John Mahon via Mr Watts to the Governors of the RSM, sent from Dublin, 20 December 1829. Letter contained in John Mahon’s file (RSM A065).

¹¹¹ Anonymous, ‘Miscellaneous, Royal Society of Musicians’, The Musical World, 6, no. 78 (8 September 1837), 203.

¹¹² See letter from Anne Mangan via Mr Watts to the Governors of the RSM, sent from Dublin, 17 June 1834. Letter contained in John Mahon’s file (RSM A065). In this letter she refers to ‘the state of destitution my unhappy sister is in being utterly incapacitated by the afflictions of the almighty’.

¹¹³ See letters from Anne Mangan to the Governors of the RSM, Dublin, 10 January 1840; Dublin, 10 July 1840; Dublin, 4 February 1846; Dublin, 12 February 1846; and Dublin, 24 July 1846. Letters contained in John Mahon’s file (RSM A065). Anne Mangan’s final letter is dated 11 December 1847, in which she confirms that her sister Elizabeth was aged 29 at her death

¹¹⁴ Extract of poem taken from Jenkin Jones, Hobby Horses, A Poetic Allegory in Five Parts (London: M. Allen, 1797), part 5, 125-6. Italics present in original quotation.

¹¹⁵ Although John Mahon was born in Oxford, the Mahon family were of Irish origin. As such, it is likely that his name was pronounced ‘M’hone’. The rhyming couplets in this poem support this idea, rhyming the word ‘tone’ with ‘M’hone’. See P. Weston, “Mahon family” The New Grove Dictionary of Music and Musicians, <https://doi.org/10.1093/gmo/9781561592630.article.17462> (accessed 7 June, 2020).

¹¹⁶ Extract of poem quoted in Lewes, C. Lee and Lewes, J. Lee, Memoirs of Charles Lee Lewes, containing Anecdotes, Historical and Biographical, of the English and Scottish Stages, During a period of forty years. Written by himself, 4 vols. (London: R. Phillips, 1805), vol. 4, 234–5Google Scholar.

¹¹⁷ Parke, William. T., Musical Memoirs; Comprising An Account of the General State of Music in England, 2 vols. (London, Henry Colburn and Richard Bentley, 1830)Google Scholar, vol. 1, 13 and Burney, C., A General History of Music from the Earliest Ages to the Present Period, 4 vols. (London: Printed for the author, 1789)Google Scholar reprinted with critical and historical notes by Frank Mercer, 2 vols. (New York: Foulis, 1935), vol. 2, 1021–2.

¹¹⁸ Johann Georg, J.G. Albrechtsberger’s sämmtliche Schriften über Generalbass, Harmonie-Lehre, und Tonsetzkunst zum Selbstunterrichte, ed. Ignaz Ritter von Seyfried, 3 vols. (Vienna: Anton Strauss, 1826), vol 3, 194 and J. P.[arker], ‘On the Clarionet’, The Harmonicon (London, 1830), vol. 8, part 1, 57–8. Albrectsberger’s treatise was translated into English by Arnold Merrick, who included the reference to Mahon. See A. Merrick, Methods of Harmony, Figured Base, [sic] and Composition, Adapted for Self-Instruction by John George Albrectsberger, 2 vols. (London: R. Cocks & Co., 1835–1844), vol. 1, 286.

¹¹⁹ J. P.[arker], ‘On the Clarionet’.

¹²⁰ J. P.[arker], ‘On the Clarionet’ and Betty Matthews, ‘ Mahon, John (Admitted 6 July, 1783)’, Members of The Royal Society of Musicians 1738-1984 (London: Royal Society of Musicians, 1985), 95Google Scholar. Italics present in original quotation.

¹²¹ Oxford Journal, 5 November 1774.

¹²² Morning Chronicle, 23 August 1805; London Courier and Evening Gazette, 24 August 1805; Manchester Mercury, 27 August 1805; 24 September 1805; Derby Mercury, 29 August 1805,

¹²³ Hampshire Chronicle, 29 August 1785; Charles Burney, An Account of the Musical Performances in Westminster-Abbey, and the Pantheon, May 26^th, 27^th, 29^th; and June the 3^d, and 5^th, 1784 in Commemoration of Handel (London: The Author, 1785), 17–18; Biographical Dictionary of Actors, vol. 10, 58.

¹²⁴ The World and Fashionable Advertiser, 26 February 1787; Morning Chronicle and London Advertiser, 26, 27, 28 February 1787; Public Advertiser, 28 February 1787.

¹²⁵ Carnelley, George Smart and Nineteenth-Century London Concert Life, 80–1 and concert programmes contained in ‘Historical Texts’ online platform, <https://historicaltexts.jisc.ac.uk> (accessed 29 June 2020).

¹²⁶ Morning Post and Gazetteer, 4 August 1801. In addition, at the first concert, William Mahon and Holmes performed a Concertante for clarinet and bassoon, which was also favourably received. See also Arne, Thomas A., The Musick in the Masque of Comus (London: J. Simpson, ca. 1740), 16 Google Scholar.

¹²⁷ Bath Chronicle and Weekly Gazette, 25 November 1802.

¹²⁸ Morning Post, 20, 21, 23 April 1801; Morning Chronicle, 21, 23 April 1801.

¹²⁹ London Courier and Evening Gazette, 24 April 1801.

¹³⁰ Morning Post, 23, 27 May 1801; Morning Chronicle, 23 May 1801; Taylor, Music in London and the Myth of Decline, 47, 162. A June 1801 letter from Beethoven to Hoffmeister shows that before sending the Septet to his publishers, Beethoven had ‘sent it to London to Hr. Salomon (for performance at his concerts, out of mere friendship)’ Alexander Wheelock Thayer, Thayer’s Life of Beethoven, rev. and ed. Elliot Forbes (Princeton, New Jersey: Princeton University Press, 1970), 1, 279, cited by Taylor, Music in London and the Myth of Decline, 162, note 59.

¹³¹ Oxford Journal, 11 May 1816; Oxford University and City Herald, 11 May 1816.