Charles Neate (28 March 1784 – 30 March 1877) was a British pianist and composer, a founding member of the Royal Philharmonic Society. From 1815 to 1816 he lived in Vienna and became a friend of Ludwig van Beethoven. At the Philharmonic Society he promoted the music of Beethoven and of other composers of the time.

He was born in London and studied piano with John Field and composition with Joseph Wölfl. On 2 March 1806 he was admitted as a member of the Royal Society of Musicians. In 1813 he was one of the original members of the Royal Philharmonic Society, of which he became a director and where he sometimes performed or conducted the orchestra.

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

Returning to London, Neate brought with him three overtures by Beethoven to be performed at the Philharmonic Society: the overtures to “The Ruins of Athens op. 113”, “King Stephen op. 117”, and “Zur Namensfeier op. 115”; however, these did not receive a warm reception. Neate brought back other works that Beethoven hoped could be published in England. The correspondence between Neate and Beethoven continued to concern the publication of works and the performance of works by the Philharmonic Society. Neate, George Thomas Smart, and Beethoven’s pupil Ferdinand Ries (who lived in London at this time) did much to promote Beethoven’s music in London.

In 1818 he was one of the founding members of the Regent’s Harmonic Institution, a music publishing house founded with the aim 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 yourself conduct the performances of your works, of which one must be heard in every concert. It is also expected that you write a symphony and a concerto, to be performed during your visit, which you may afterwards consider as your property… I take advantage of this occasion to tell you that I am a sincere friend of yours, and that you will be surrounded by a great number of people who will seize every opportunity to show their esteem and admiration for the great Beethoven, whose fame shines more than ever in this country. Beethoven seriously considered the offer, but the visit to England did not take place.

He became very well known as a pianist and teacher. He was the first to perform in England, at the concerts of the Philharmonic Society, Beethoven’s Piano Concertos No. 3 and No. 5. He died in Brighton in 1877, after many years of retirement.

As a composer Neate wrote mainly for piano. His Serenade for two performers at one piano, op. 15, was reviewed in 1827: “This is composed in the style that belongs to the Serenade: it is flowing, easy and unostentatious… But… we cannot avoid saying, that the subject-matter is decidedly unequal to the extent over which it has spread….”

The Capriccio for Piano, 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.”

The Second Grand Trio, for Piano, Violin and Cello, 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….”

Beethoven wrote for him WoO 168 two Canons: WoO 168/1 Das Schweigen (Silence): Lerne Schweigen (Learn to be silent). WoO 168/2 Das Reden (Speech): Rede, Rede (Speak, speak).