1710
Jan 10 NS
Giorgio Stella to Elector Johann Wilhelm von der Pfalz |
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Mentre che è Cominciata l’Opera di San Cassano [Cassiano] mi è parso bene di mandare l’Opera, e 6: Ariette delle più belle, sono intersiate [= intrecciate] con instromenti, mà non mi à Stato possibile di haverli, non mando di San Gio. Grisostomo, che credo che il Valeriano [Pellegrini] le manderà, il quale è molto aplaudito, perché è Virtuoso …[1] |
Venice, 10th January 1710. As the opera at San Cassiano has commenced, I thought well to send you the opera [libretto] and six of the finest arias. They have instrumental accompaniments, but it was not possible for me to obtain the latter. I am not sending those [arias] from the San Giovanni Crisostomo theatre, which I believe will be sent by Valeriano [Pellegrini], who is much applauded, being a virtuoso singer.[2] |
Mar 9 NS
Carl Philipp von Neuburg to Ferdinando de’ Medici Serenissimo Signor mio, Cugino Oss.mo, Fu bensì da me il da V.A. raccomandatomi Giorgio Federigo Hendel, e mi consegnò l’umanissimo di lei Foglio. Ma siccome lo stesso [Händel] non hebbe d’uopo della mia Assistenza, così mi riuscì di sommo Sentimento il non poter far conoscere la Stima che facio [sic] dei di lei Comandi, nella pronta esecutione de’ Medesimi. Devo però [= perciò] attendere l’onore d’essere dall’A. V. impiegato in congiunture più favorevoli, per poterle comprovare il sommo della mia Osservanza, con la quale le bacio affetuosamente le Mani. Insprugg, 9 Marzo 1710 Affett.mo Servitore e Cugino Carlo Filippo Conte Palatino del Reno[3] |
Electress Sophia of Hanover to Sophia Dorothea, Princess Royal of Prussia |
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A Herenhausen, le 4 de Juin 1710 ie va [ca..] tous les iours voir nostre Princesse Electorale qui ce porte a present for bien et ne garde plus le lit elle et diverti de la Musique d’un Saxson qui surpasse touse qu’on a iamais entandu sur le Clavesin et dans la Composition on L’a fort admire en Italye il est for propre a estre Maitre de chapelle si le Roy L’avoit sa Musique serat bien mieux en Ordre qu’elle est a présent il va a Dusseldorf pour y Composer un opera |
I go [almost] every day to see our electoral princess {= Caroline, later Queen of Great Britain}, who is very well at the moment and no longer confined to bed. She is entertained by the music of a Saxon {= Handel} who surpasses every one who has ever been heard in harpsichord-playing and composition. He was much admired in Italy. He is very suitable to be [appointed] Master of the Chapel. If the king {= Frederick I of Prussia} took him, his music would be in much better shape than it is at present. He is going to Düsseldorf to compose an opera there.[4] |
Electress Sophia of Hanover to Sophia Dorothea, Princess Royal of Prussia |
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A Herenhausen le 14 de juin 1710 car d’icy il n’y a pas grand chose a dire si non que L’Electeur a pris un maitre de chapelle qui sapelle Hendel qui ioue a mervelle du Clavesin dont le Prince et la Princesse Electorale ont beaucoup de ioye, il est assez bel homme et la medisance dit qu’il a este amant de la Victoria, La Pes Ele ce porte si bien qu’elle ce promene tous les soirs avec moy au iardin, ce qui est un grand plesir pour moy |
But there is not much to say from here except that the elector {= Georg Ludwig, later King George I of Great Britain} has taken on a Master of the Chapel named Handel, who plays marvellously on the harpsichord, in which the electoral prince and princess {= the later King George II and Queen Caroline} take a great deal of pleasure. He is quite a handsome man, and gossip says that he has been in love with Victoria. The electoral princess is so well that she walks every evening with me in the garden, which is a great pleasure for me.[5] |
Electress Sophia of Hanover to Sophia Dorothea, Princess Royal of Prussia |
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A Herenhausen le 15 de Juin 1710 Vous ne me [raendes] pas ma chere Princesse si le Roy a garde dans son service la bonne chanteuse dont V A R parle, L’Electeur a pris dans son service Henling qui ioue si bien du Clavesin et qui est (: a ce qu’on dit:) si savant en musique le Pr et la Pes Electorale en sont charme et ravy que L’Electeur La retenu, pour moy ie ne m’y entants pas, depuis que i’ay perdu la feu Reyne ma fille la musique me rant melancolique |
You have not [informed] me, my dear princess, whether the king has retained in his service the fine singer of whom Your Royal Highness spoke. The elector has taken into his service Henling [sic], who plays the harpsichord so well and who is (so they say) so learned in music. The electoral prince and princess are charmed with him and delighted that the elector has kept him. For myself, I do not know much about it: since I lost the late queen, my daughter, music makes me melancholy.[6] |
Summer
Hanover Chamber Accounts payments to “Georg Friedrich Hendell” |
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Midsummer (‘Johannis’) 1710 – Midsummer 1711 |
1,000 Thaler[7] |
Sep 13
Elector Johann Wilhelm von der Pfalz to the Granprincipe Ferdinando de’Medici Serenissima Altezza Reale, Ho trovato nel virtuoso Giorgio Federigo Hendel tutti quasi singolari talenti, per cui gode un giusto luogo nella benigna stima di V. A. R., di cui egli mi ha recato un umanissimo foglio. Mi chiamo però debitore a V. A. R. della soddisfazione che ho avuta di trattenerlo qui alcune settimane, e molto più mi stimerò favorito s’ella si compiacerà tener esercitata, co’suoi comandi, la mia cordialissima osservanza, mentre resto baciandole affetuosamente le mani. Dusseldorff 13 Settembre 1710[8] |
Oct 4–Dec 30
[Wednesday 4 October– Thursday 9 November] |
The opera House open’d Oct 4th. 5th. & 7 then closd till 4 novr. contd till 18th nov then closd. |
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Wednsday 22 Nov |
Hydaspes Siga Elv Pillotta Schiavonetti Gioseppe Boschi. |
The Opera commenced 22 novr. under the direction of A. Hill. |
Saturday 25 nov |
Hydaspes |
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Wednesday 29 nov |
Hydaspes. |
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Saturday Decr 2 |
Hydaspes |
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Wednesday Dec 6th |
Pyr & Dem |
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Saturday Dec 9th |
Pyr & Dem Made Isae Girardeu |
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Wednesday Dec 13 |
Pyr & Dem |
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Saturday Dec 16 |
Pyr & Dem New Cascade Scene after Italian Manner |
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Wednesday Dec 20 |
Hydaspes |
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Friday Dec 22 |
Hydaspes |
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Wednesday 27 Dec |
Hydaspes |
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Saturday 30 Dec |
Pyr & D[9] |
Nov
17
To
Signor Cav:o Nicolini
Grimaldi att
ye Princes head In S:t
Martins Lane Nov ber 17th 1710. Sr I understand a Messenger left word at
my Lodging this day to come to Practice the
Opera, to night, but I must desire You to
provide another being I once gave my Word
I wou’d not Play except our Old Master Mr Du
Parr was in also, It is not that I
think my self a better performer than Others Or
that I have less need of Mony then any Other
that makes me do this, but it is a. Principle
of honesty, which obliges every well meaning Man to stand as much upon his
word as his bond, I shall be ready to
serve You on any other Occasion, and wish
You all Prosperity & Success and
Remain Sr Yo:r most humble Serv:r to Com[m]and Nov:r 17 W:
Armstrong 1710[10] |
Dec 18
POEMS. Q. FIRST ’twas Whisper’d,
then aloud, Fame
has sounded to the Crowd, Wonders
meant to please the Age, Wonders
on the * British
Stage: Such
as Athens
ne’er cou’d boast, Nor
the whole Italic
Coast; Such
as Gallia
ne’er cou’d raise, Tho’ a Rival, fond of Praise; That
both Art
and Nature will Vie,
with strong contested Skill, For
advancing our Delight, Soft’ning Cares of Day, at Night. Tuneful
Numbers, to soft Notes, Warbled
through Seraphic Throats; While
the † Flow’r of e’ery Clime (Such
as never, ’till this time, [3] Joyned their Harmonious Noise, To
disperse Coelestial Joys) Grace
the Theater,
as these, Must
most Elegantly please; So
the Eye (as we are told) Equal
Wonders will behold. Beauties
of that Excellence, Such
as are of brightest Sense, Will
with great surprize be caught, And
Idea’s
brighter taught. Groves
in Nat’ral Forms appear, While
their Inmates
charm the Ear; Streams
from Fountains,
which arise, ’Till
they hit the Azure Skies; Cataract
and bright Cascade, Both
the Ears and Eyes invade: Nor
the Land
alone; but Ocean, Will
appear in Genuine motion; Sometimes
peaceful Calms,
then Storms, In
the most Terrific Forms; While
Turnado’s black, on high, Seem
to muffle up the Sky; Sprouts,
like other Sea’s Rain down, Threatning all the Globe to drown; Thunders
horrid Bolts prepare, Sheets
of Lightning singe the Air. ’Till
from his Alcove
below, Where
Streams unmolested flow, Neptune
rises to asswage [sic], The
rough Blasts of Northern Rage; Strait
the Mounting Billows fall, And
obey the awful call, Sporting
Tritons
than advance, Joyning Nerieds in a Dance, As
they smoothly glide along, Sounding
with their Shells their Song. * The Improvement of the Theater, in the Hay-Market,
so much talk’d of. †
The new Voices brought from Foreign Parts. Nay, Machines, they say, will move, Glorious
Regions
from above, Bringing
down the Blest
aboads, While
we mingle, with the Gods. These Designs and Numbers more, Such
as ne’er were known before, Fame
Reports (if Fame says true) Will
be shewn to Publick view. Now ye Daelians, ye who know, All
Transactions here below, Say
if these things will advance, Or
if ’tis not all Romance. When
the Nation was in Health, Blest
with Peace
and flowing Wealth; Arts
and Sciences did Flourish, And
the Great,
th’ Ingenious cherish; Then
(by Reason we are taught) Things
were to Perfection brought; And
Invention flow’d with ease, Or
to profit or to please; But
when War
so long hath Reign’d; And
of Gold the Nation drain’d, Say
from whence, can we surmize, Such
Great Things as these can rise. A. Strange we own these matters seem, Strange
as if ’twere all a Dream; That
surrounded thus with Wars, Checkt too by Intestine Jars, Art shou’d
Progress make, nay more, Than
was ever known before. Yet
th’ Report is just and true, As
th’ events will quickly shew: Tho’ Mister’ous does
appear. Thus
the Mistery we clear. The * Ruler of the Stage, we find, A
Youth of vast extended Mind; No
disappointments can controul, The
Emanations of his Soul; But
through all Lets will boldly run, Uncurb’d, like th’ Horses of
the Sun, Prompt
by a Genius, which declares, Th’ events will Answer all his Cares. Of
apprehension quick and fraught, With
matter for sublimest Thought; In
Fancy fruitful, and of Sense Digestive
of all flows from thence; We
may expect from such a Sluice, All
Art, or Nature can produce. * Aaron Hill, Esquire. What Praises may his Merits claim, How
justly fill the Trump of Fame; Since
so much Honour he will gain The
Nation, by his Fertil Brain: How
to our Glory will it sound, In
all the Neighbo’ring Kingdoms round, That
while War with wild Devastations, Sinks
and oppresses other Nations; We,
as not Sinking by its Rage, With
Minds serene approach the Stage; Crowding
the Theater, to show, We
scarcely Taxes feel or know; Look
down on France, who sink beneath Oppressing
Loads and hardly Breath; Beholding
us with envy while We
unconcern’d appear and Smile. To his alluring and attractive Skill, Which
with such Crouds the Theater does fill; We
owe this Credit to our Grand Affairs: The
Glory’s his, but others reap their shares.[11] |
1710
Christoph Gottlieb Schröter, Letzte Beschäftigung mit Musikalischen Dingen …, Nordhausen 1782 § 10. … Diese kluge Wort-Ausleger und witzige Ton-Forscher finden, wegen ihrer langwierigen Erfahrung, in der obersten Classe [der Komponisten] als ehrwürdige Beysitzer jederzeit die wohlverdienten Ehrenstellen. § 11. Wer getrauet sich wohl zu behaupten, daß dieses Jahrhundert von solchen beliebten Männern leer gewesen? Als ich 1710, 11, 12 zu Dreßden anfieng, die gute Wirkung der dasigen Musik herzrührend zu empfinden, so erfuhr ich zugleich, daß solche schöne Arbeit theils Händel, theils Kaiser, u. a. m. verfertiget. Telemann kam auch mit verbesserten Kirchenstücken dazu, wobey jedoch gemeldet wurde, daß dessen Ouverturen und andere französische Stücke ihm noch besser gerieten. Bey solchen Umständen rief jedermann: Nun ist die Musik aufs höchste gestiegen![12] |
[1] Händel Handbuch, 44.
[2] Deutsch, 28.
[3] Händel Handbuch, 45.
[4] Donald Burrows, “Handel and Hanover,” in Bach, Handel, Scarlatti Tercentenary Essays, ed. Peter Williams (Cambridge: Cambridge University Press, 1985), 35–60: 39.
[5] Donald Burrows, “Handel and Hanover,” in Bach, Handel, Scarlatti Tercentenary Essays, ed. Peter Williams (Cambridge: Cambridge University Press, 1985), 35–60: 39.
[6] Donald Burrows, “Handel and Hanover,” in Bach, Handel, Scarlatti Tercentenary Essays, ed. Peter Williams (Cambridge: Cambridge University Press, 1985), 35–60: 39.
[7] Donald Burrows, “Handel and Hanover,” in Bach, Handel, Scarlatti Tercentenary Essays, ed. Peter Williams (Cambridge: Cambridge University Press, 1985), 35–60: 40.
[8] Händel Handbuch, 46.
[9] British Library, Egerton Ms. 2321, ff. 2r-5v.
[10] Hoblitzelle Theatre Collection, Harry Ransom Center, University of Texas at Austin; repr. Vice Chamberlain Coke’s Theatrical Papers, 1706-1715, ed. Judith Milhous and Robert D. Hume (Carbondale: Southern Illinois University Press, 1982), 155.
[11] The British Apollo: Or, Curious Amusements for the Ingenious, vol. 3, nr. 115, Friday 15–Monday 18 December 1710, [2–3].
[12] Händel Handbuch, 47.