Charles Neate

Charles Neate (28 March 178430 March 1877

In Vienna From 1815 he lived abroad for two years. For a few months he lived in Munich, studying counterpoint with Peter Winter. In May 1815 he visited Vienna, and stayed there until February 1816. A Viennese merchant, Johann Hering, who was also a musician, introduced him to Beethoven. Beethoven, unable to give lessons to Neate, recommended him to Emanuel Aloys Förster, but regularly supervised Neate's musical studies; they met in Baden bei Wien, where Beethoven stayed during the summer of 1815.

In 1818 Neate was a founding member of the Regent’s Harmonic Institution; a music publishing firm established with the intent of raising funds for the Royal Philharmonic Society and its restoration of the Argyll Rooms.

In December 1824 Neate wrote to Beethoven, on behalf of the Philharmonic Society, inviting him to come to London: The Philharmonic Society is willing to pay you three hundred guineas for your visit, expecting that you will yourself conduct the performances of your works, of which one must be heard in every concert. It is also expected that you will write a symphony and a concerto, to be performed during your visit, which you may regard afterwards as your property.... I profit from this occasion to tell you that I am your sincere friend, and that you will be surrounded here by a great many persons who will improve every opportunity to show their esteem and admiration of the great Beethoven, whose fame shines more than ever in this country. Beethoven seriously considered the offer, but a visit to England did not take place.

Neate became well known as a pianist and teacher. He was the first to play in England, at the Philharmonic Society's concerts, Beethoven's Piano Concertos No. 3 and No. 5.

His Capriccio for the Pianoforte, on a German Air was reviewed in 1828: "Mr. Neate is one of those excellent musicians whose sterling worth is not to be injured, nor his judgement misled by the commands of fashion. He is judicious in yielding enough to the present taste, not to be behind-hand in the refinements effected by the progression of art, but he selects those improvements that suit well with his own elegant and expressive style; all this is exemplified in his capriccio."

His Second Grand Trio, for Pianoforte, Violin and Violoncello, op. 22, was reviewed in 1831: "This was performed by Mr. Neate at one of his concerts.... The first movement is the least striking of the whole.... The Andante... will gain the suffrages of all who possess real taste.... The Minuet and Trio have both a great deal of that very rare commodity, originality, and abound in spirit well kept up.... The finale, differing in style from the other parts of the Trio, derives much of its effect from contrast.... This work requires a superior pianist to execute it, but it exhibits none of those freaks which only the contriver of them can play...."

Personality A writer in the magazine The Musical World gives a particular impression of the musician: "I recall... Charles Neate, one of the best informed but most egotistical of pianists, whose admiration for, and acquaintance with, Beethoven made his society at all times enjoyable.... Neate introduced into England many celebrated works of Beethoven, Weber and Hummel – and he did not forget, when you were in his society, to let you know it."