Antonín Kammell - A Bohemian Composer in 18th Century England Andrew Baker
[email protected] 1 Thomas Gainsborough Portrait of a Musician, probably a portrait of Antonín Kammel (1730–84), c. 1768 Oil on canvas, 76 x 64 cm (30 x 25 in) (Private Collection) 2 INTRODUCTION I first came across the 18th century composer and violinist Antonín Kammell in 1983. I was investigating Thomas Anson, the developer of Shugborough Hall, Staffordshire - a landscape, which was, in his time, decorated with a mixture of exotic, mysterious, and authentically classical monuments. Anson seems to have gone out of his way to avoid leaving any evidence of his private life. Almost no personal documents have survived in the Staffordshire Archives. One very revealing relic is a poem by his friend Sir William Bagot, dated 25th April 1772. This was sent from Staffordshire to Thomas Anson in London just before Easter, when the London season ended and those who were able to escaped the city for the country. Bagot exhorts Anson to bring his closest friends with him when he returns to his country estate: Bring Attic Stuart, Indian Orme, Kammell unruffled by a storm Shall tune his softest strain… “Attic Stuart” was James “Athenian” Stuart, the architect who had built Thomas Anson’s London House at 15 St James Square, extended the house at Shugborough, and designed the various authentically Greek monuments in the landscape. “Indian Orme” was Robert Orme, historian of the East India Company. In 1983 I failed to identify “Kammell”, though I was intrigued that he was obviously a musician – someone who would “tune his softest strain” - simply because I misread the name as “Hammell.” It never struck me that the first letter could be a K.