1711

Jan 3 – Jun 2

1711	Opera House
Wednesday 3 Jan^y	Pyr & Dem
Saturday 6 Jan^y	Pyr & Dem
Wednesday 10 Jan^y	Etearco new opera by Subscription Pit & Boxes laid together Boxes 15s – those on the stage 10s 6 gall^y 5s – 2 gall^y. 2 s –
Saturday 13 Jan^y	Etearco
Wednsday 17 Jan^y	Etearco
Wednesday 24 Jan^y	Etearco.
Saturday 27 Jan^y	Etearco
Wednesd^y 31 Jan^y	Etearco
Saturday Feb 3	Pyr & Dem
Wednesday Feb 7.	Hydaspes
Saturday Feb 10	Hydaspes
Tuesday Feb 13	Pyr & Dem the first and second act & Musick
Tuesday Feb 20	Hydaspes
Saturday Feb 24	Rinaldo (new opera)
Tuesday Feb 27	Rinaldo
Saturday March 3	Rinaldo
Tuesday Mar 6	Rinaldo
Saturday Mar 10	Rinaldo
Tuesday Mar 13	Rinaldo
Saturday Mar 17	Rinaldo
Saturday Mar 24	Rinaldo Dancing Mons^r. del guel Mad^e. le ferra just arrivd fr^m Bruxelles
Wednesday ap 4^th	For the Benefit of Sig^r Nic Grimaldi Hydaspes Boxes & Pit put together Tickets 10s 6
Saturday ap 7.	Hydaspes Dan^g. by Mon^r & M^rs Delagarde Two bences of Pit raild of at Box price
Wednesday Ap 11	For the Ben^t of Sig^r Urbani Rinaldo
Saturday april 14	Almahide Sig^a d’ l’Epine
Wednesday ap 18.	Almahide
Saturday ap 21	Almahide
Wednesday ap 25	Rinaldo
Saturday apr 27 [28]	For the Ben^t of Sig^a schiav Hydaspes
Wednesday May 2	For the Ben^t. of Boschi & Goseppe Almahide Dan^g. M^r Thurmond & M^rs Granger
Saturday May 5	For Ben^t. of Gioseppe & Boscia Rinaldo Curt by Urbani
Wednesday 9^th-	Rinaldo
Saturday 12^th-	For the Ben^t of the Baroness Pry [sic] & Dem Sg D’ L’Epine
Wednesday 16^th	Clotilda By reason of the hot weather the water fall will play the best part of the opera
Saturday 19	Clotilda
Wednesday 23^d May	Clotilda
Saturday 26^th-.	Rinaldo
Wednesday 30	Hydaspes The last opera this season
Saturday June 2	Rinaldo Benefit of the Box keepers[1]

Jan 27

^*_*^* There is an Invitation to bring over as

many Italian Singers, as there are now Palatines, that

Psalms may be sung at every Door in Opera Airs.

You may hear farther at the new Theatre in the

Hay-Market.[2]

Feb 6

Tuesday, the 6th of February [1711], being the Queen’s Birth-day, the same was observ’d with great Solemnity: The Court was extream [sic] numerous and magnificent; the Officers of State, Foreign Ministers, Nobility, and Gentry, and particularly the Ladies, vying with each other, who should most grace that Festival. Between One and Two in the Afternoon, was perform’d a fine Consort, being a Dialogue in Italian, in Her Majesty’s Praise, set to excellent Musick by the famous Mr. Hendel, a Retainer to the Court of Hanover, in the Quality of Director of his Electoral Highness’s Chapple [sic], and sung by Signior Cavaliew [sic] Nicoloni Grimaldi, and the other Celebrated Voices of the Italian Opera: With which Her Majesty was extreamly well pleas’d.[3]

Feb 13

AT the Queen’s Theatre in the Hay-Market,

this present Tuesday, being the 13th of February,

will be presented the First and Second Act of an Opera, call’d,

Pyrrhus and Demetrius. The Part of Marius to be perform’d by

Siginora Francisca Vanini Boscchi, and the Part of Climene by

Madamoiselle Isabella Girardeau. To which will be added, The Musick

that was perform’d before her Majesty at Court upon her Birth-day.

The new Subscription Opera, call’d [B/R]inaldo, is just now printed, and

to be sold at Rice’s Coffee-house by the Playhouse in the Hay-Market.

These Plays are sold by J. Knapton at the Crown in St. Paul’s Church-

yard, and B. Lintott next Nando’s Coffee-house, Temple-Bar.[4]

Feb 15

Francesco Maria Mannucci, Tagebuch

Ricordo che si dettero notizie de’Musici e Virtuosi ch’erano stati al servizio di Sua Altezza. Si parlò così, oltr’agl’altri, di Alessandro e Minichino Scarlatti, di Bernardo Pasquini (di recente Memoria, ma certo imperitura), di Arcangelo e del Sassone Hendle [sic].

Poi si parlò de’progetti per Pratolino, e per la Quaresima e Settimana Santa; il Gran Principe disse che aveva Musica alla Cantata del Sepolcro, detta il Pianto di Maria Vergine la quale aveva già fatto comporre, per il Venerdì di Santo di Siena, al detto Sassone due anni sono [1709], ma che il Ser.^mo Principe giudicò bella sì, ma slegata e un po’risentita – come s’usa di dire per Musica non tutto nuova e di Sacco d’altri – e la volle regalare a’Frati di Genova.

Il Sig. Gioacom’Antonio [Perti] disse allora che il Giovine Sassone forse sarà il più Grande di tutti, quando finirà di seguitare gl’altri, onde far presto a comporre; al che Prete Casini continuò: “Ho trovato in lui un Miracolo di Talento, ma troppo malizzia [sic], com’anco voi dite. Lo scusa, in parte, la giovin’età, [la] quale è Male veloce a passare.”[5]

Feb 22

By Subscription.

AT the Queen’s Theatre in the Hay-Market, on Saturday next, being the 24th of February, will be perform’d a new Opera, call’d, Rinaldo. Tickets and Books will be delivered out at Mr. White’s Chocolate-house in St. James’s-Street, to Morrow and Saturday next.[6]

Feb 24

By Subscription.

AT the Queen’s Theatre in the Hay-Market, this present Saturday, being the 24th of February, will be perform’d a new Opera, call’d, Rinaldo. Tickets and Books will be delivered out at Mr. White’s Chocolate-house in St. James’s-Street, to Morrow and Saturday next.[7]

Feb 24

TO HER

Most Sacred MAJESTY,

The QUEEN.

MADAM,

AMong the numerous Arts and Sciences, which now distinguish the Best of Nations under the Best of Queens; Musick, the most [page] engaging of the Train, appears in Charms we never saw her wear till lately; when the Universal Glory of your Majesty’s Illustrious Name drew hither the most celebrated Masters from every part of Europe.

In this Capacity for Flourishing, ’twere a publick Misfortune, shou’d OPERA’s for want of due Encouragement, grow faint and languish: My little Fortune and my Application stand devoted to aTrial, whether such a noble Entertainment, in its due Magnificence, can fail of living, in a City, the most capable of Europe, both to relish and support it. [page]

MADAM,

This OPERA is a Native of your Majesty’s Dominions, and was consequently born your Subject: ’Tis thence that it presumes to come, a dutiful Entreater of your Royal Favour and Protection; a Blessing, which having once obtain’d, it cannot miss the Clemency of every Air it may hereafter breathe in. Nor shall I then be longer doubtful of succeeding in my Endeavour, to see the English OPERA more splendid than her MOTHER, the Italian. I humbly presume to beg the Honour of your Majesty’s [page] Permission, to subscribe my self with the most profound Submission and Obedience,

MADAM,

Your MAJESTY’s

Most Eternally Devoted

Subject and Servant,

AARON HILL. [page][8]

PREFACE.

WHen I ventur’d on an Undertaking so hazardous as the Direction of OPERA’s in their present Establishment, I resolv’d to spare no Pains or Cost, that might be requisite to make those Entertainments flourish in their proper Grandeur, that so at least it might not be my Fault, if the Town should hereafter miss so noble a Diversion.

The Deficiences I found, or thought I found, in such Italian OPERA’s as have hitherto been introduc’d among us, were, First; That they had been compos’d for Tastes and Voices, different from those who were to sing and hear them on the English Stage; And Secondly, That wanting the Machines and Decorations, which bestow so great a Beauty on their Appearance, they have been heard and seen to very considerable Disadvantage.

At once to remedy both these Misfortunes, I resolv’d to frame some Dramma, that, by different Incidents and Passions, might afford the Musick Scope to vary and display its Excellence, and fill the Eye with more delightful Prospects, so at once to give Two Senses equal Pleasure. [page]

I could not chuse a finer Subject than the celebrated Story of Rinaldo and Armida, which has furnish’d OPERA’s for every Stage and Tongue in Europe. I have, however, us’d a Poet’s Privilege, and vary’d from the Scheme of Tasso, as was necessary for the better forming a Theatrical Representation.

It was a very particular Happiness, that I met with a Gentleman so excellently qualify’d as Signor Rossi, to fill up the Model I had drawn, with Words so sounding and so rich in Sense, that if my Translation is in many Places led to deviate, ’tis for want of Power to reach the Force of his Original.

Mr. Hendel, whom the World so justly celebrates, has made his Musick speak so finely for its self, that I am purposely silent on that Subject; and shall only add, That as when I undertook this Affair, I had no Gain in View, but That of the Acknowledgement and Approbation of the Gentlemen of my Country; so No Loss, the Loss of That excepted, shall discourage me from a Pursuit of all Improvements, which can possibly be introduc’d upon our English Theatre.

A. Hill. [page]

IL

POETA

AL

LETTORE.

ECcoti, benigno Lettore, un Parto di poche Sere, che se ben nato di Notte, non è però aborto di Tenebre, mà si farà conoscere Figlio d’ Apollo con qualche Raggio di Parnasso. La Fretta di darlo alla Luce provenne da chi cerca sodisfare la Nobiltà con Cosi non communi; ed in me prevalse una Gara virtuosa, (non già nella Perfezzione dell’ Opera, mà solo nella Brevità del Tempo) poiche il Signor Hendel, Orfeo del nostro Secolo, nel porla in Musica, a pena mi diede Tempo di scrivere, e viddi, con mio grande Stupore, in due sole Settimane armonizata da quell’ Ingegno sublime, al maggior Grado di Perfezzione un Opera intiera. Gradisci, ti prego discretto Lettore, questa mia rapida Fatica, e se non merita le tue Lodi, Almeno non privarla del tuo Compatimento, che dirò più tosto Giustizia per un Tempo così [page] ristretto. Se qualcheduno poi non e contento, mi spiace; ma che questi tali considerino bene, ch’ il Disgusto proverra da Loro medesimi, e non dalla Composizione, che in Fine e prodotta da quella bona Volonta con cui rispetta tutti, e puole sodisfare ogn’ uno.

Giacomo Rossi.

Feb 27

By Subscription.

AT the Queen’s Theatre in the Hay-Market, this present Tuesday, being the 27th of February, will be perform’d a new Opera, call’d, Rinaldo. Tickets and Books will be delivered out at Mr. White’s Chocolate-house in St. James’s-Street, this Day.[9]

Mar 3

By Subscription.

AT the Queen’s Theatre in the Hay-Market, this present Saturday, being the 3d Day of March, will be perform’d a new Opera, call’d, Rinaldo[.] Tickets and Books will be delivered out at Mr. White’s Chocolate-house in St. James’s-Street, this Day.[10]

Mar 6

By Subscription.

AT the Queen’s Theatre in the Hay-Market, this present Tuesday, being the 6th Day of March, will be perform’d a new Opera, call’d, Rinaldo. Tickets and Books will be delivered out at Mr. White’s Chocolate-house in St. James’s-Street, this Day.[11]

Mar 6

[Joseph Addison]

AN Opera may be allowed to be extravagantly lavish in its Decorations, as its only Design is to gratify the Senses, and keep up an indolent Attention in the Audience. Common Sense however requires, that there should be nothing in the Scenes and Machines which may appear Childish and Absurd. How would the Wits of King Charles’s Time have laughed to have seen Nicolini exposed to a Tempest in Robes of Ermin, and sailing in an open Boat upon a Sea of Paste-Board? What a Field of Raillery would they have been let into, had they been entertain’d with painted Dragons spitting Wild-fire, enchanted Charriots drawn by Flanders Mares, and real Cascades in artificial Land-scips? A little Skill in Criticism would inform us that Shadows and Realities ought not to be mix’d together in the same Piece; and that Scenes, which are designed as the Representations of Nature, should be filled with Resemblances, and not with the Things themselves. If one would represent a wide Champian Country filled with Herds and Flocks, it would be ridiculous to draw the Country only upon the Scenes, and to crowd several Parts of the Stage with Sheep and Oxen. This is joining together Inconsistencies, and making the Decoration partly Real and partly Imaginary. I would recommend what I have here said, to the Directors, as well as to the Admirers, of our Modern Opera.

As I was walking the Streets about a Fortnight ago, I saw an ordinary Fellow carrying a Cage full of little Birds upon his Shoulder; and, as I was wondering with my self what Use he would put them to, he was met very luckily by an Acquaintance, who had the same Curiosity. Upon his asking him what he had upon his Shoulder, he told him, that he had been buying Sparrows for the Opera. Sparrows for the Opera, says his Friend, licking his Lips, what are they to be roasted? No, no, says the other, they are to enter towards the end of the first Act, and to fly about the Stage.

This strange Dialogue awakened my Curiosity so far that I immediately bought the Opera [wordbook], by which means I perceived that the Sparrows were to act the part of Singing Birds in a delightful Grove: though upon a nearer Enquiry I found the Sparrows put the same Trick upon the Audience, that Sir Martin Mar-all practised upon his Mistress; for, though they flew in Sight, the Musick proceeded from a Consort of Flagellets and Bird-calls which was planted behind the Scenes. At the same time I made this Discovery, I found by the Discourse of the Actors, that there were great Designs on foot for the Improvement of the Opera; that it had been proposed to break down a part of the Wall, and to surprize the Audience with a Party of an hundred Horse, and that there was actually a Project of bringing the New-River into the House, to be employed in Jetteaus and Water-works. This Project, as I have since heard, is post-poned ’till the Summer-Season; when it is thought the Coolness that proceeds from Fountains and Cascades will be more acceptable and refreshing to People of Quality. In the mean time, to find out a more agreeable Entertainment for the Winter-Season, the Opera of Rinaldo is filled with Thunder amd Lightning, Illuminations, and Fire-works; which the Audience may look upon without catching Cold, and indeed without much Danger of being burnt; for there are several Engines filled with Water, and ready to play at a Minute’s Warning, in case any such Accident should happen. However, as I have a very great Friendship for the Owner of this Theater, I hope that he has been wise enough to insure his House before he would let this Opera be acted in it.

It is no wonder, that those Scenes should be very surprizing, which were contrived by two Poets of different Nations, and raised by two Magicians of different Sexes. Armida (as we are told in the Argument) was an Amazonian Enchantress, and poor Seignior Cassani (as we learn from the [2] Persons represented) a Christian Conjurer (Mago Christiano.) I must confess I am very much puzzled to find how an Amazon should be versed in the Black Art, or how a Christian should deal with the Devil.

To consider the Poets after the Conjurers, I shall give you a Taste of the Italian, from the first Lines of his Preface. Eccoti, benigno Lettore, un Parto di poche Sere, che se ben nato di Notte, non è però aborto di Tenebre, mà si farà conoscere Figlio d’ Apollo con qualche Raggio di Parnasso. Behold, gentle Reader, the Birth of a few Evenings, which tho’ it be the Offspring of the Night, is not the Abortive of Darkness, but will make it self known to be the Son of Apollo, with a certain Ray of Parnassus. He afterwards proceeds to call Seignior Hendel the Orpheus of our Age, and to acquaint us, in the same Sublimity of Stile, that he Composed this Opera in a Fortnight. Such are the Wits, to whose Tastes we so ambitiously conform our selves. The Truth of it is, the finest Writers among the Modern Italians, express themselves in such a florid form of Words, and such tedious Circumlocutions, as are used by none but Pedants in our own Country; and at the same time, fill their Writings with such poor Imaginations and Conceits, as our Youths are ashamed of, before they have been Two Years at the University. Some may be apt to think, that it is the difference of Genius which produces this difference in the Works of the two Nations; but to show there is nothing in this, if we look into the Writings of the old Italians, such as Cicero and Virgil, we shall find that the English Writers, in their way of thinking and expressing themselves, resemble those Authors much more than the Modern Italians pretend to do. And as for the Poet himself, from whom the Dreams of this Opera are taken, I must entirely agree with Monsieur Boileau, that one Verse in Virgil, is worth all the Clincant or Tinsel of Tasso.

But to return to the Sparrows; there have been so many Flights of them let loose in this Opera, that it is feared the House will never get rid of them; and that in other Plays, they may make their Entrance in very wrong and improper Scenes, so as to be seen flying in a Lady’s Bed-Chamber, or pearching upon a King’s Throne; besides the Inconveniencies which the Heads of the Audience may sometimes suffer from them. I am credibly informed, that there was once a Design of casting into an Opera, the Story of Wittington and his Cat, and that in order to [do] it, there had been got together a great Quantity of Mice; but Mr. Rich, the Proprietor of the Play-House, very prudently considered that it would be impossible for the Cat to kill them all, and that consequently the Princes of his Stage might be as much infested with Mice, as the Prince of the Island was before the Cat’s arrival upon it; for which Reason, he would not permit it to be Acted in his House. And indeed I cannot blame him; for, as he said very well upon that Occasion, I do not hear that any of the Performers in our Opera, pretend to equal the famous Pied Piper, who made all the Mice of a great Town in Germany follow his Musick, and by that means cleared the Place of those little Noxious Animals.

Before I dismiss this Paper, I must inform my Reader, that I hear there is a Treaty on Foot with London and Wise, who will be appointed Gardiners of the Play-House, to furnish the Opera of Rinaldo and Armida with an Orange-Grove; and that the next time it is Acted, the Singing Birds will be Personated by Tom-Tits: The Undertakers being resolved to spare neither Pains nor Mon[e]y, for the Gratification of the Audience.[12]

Mar 8

[critique of partisanship] Where Parties are pretty equal in a State,

no Man can perceive one bad Quality in his own, or

good one in his Adversaries. Besides, Party being a

dry disagreeable Subject, it renders Conversation

insipid or sowr [sic], and confines Invention. I speak not

here of the Leaders, but the insignificant Crowd of

Followers in a Party, who have been the Instruments

of mixing it in every Condition and Circumstance of

Life. As the Zealots among the Jews bound the Law

about their Foreheads, and Wrists, and Hems of

their Garments; so the Women among us have got the

distinguishing Marks of Party in their Muffs, their

Fans, and their Furbelow’s. The Whig Ladies put on

their Patches in a different Manner from the Tories.

They have made Schisms in the Play House, and each

have their particular sides at the Opera: And when a

Man changes his Party, he must infallibly count upon

the Loss of his Mistress. I ask’d a Gentleman t’other

day, how he liked such a Lady? but he would not

give me his Opinion, ’till I had answer’d him whether

she were a Whig or a Tory. [...][13]

Mar 10

By Subscription.

AT the Queen’s Theatre in the Hay-Market, this present Saturday, being the 10th Day of March, will be perform’d a new Opera, call’d, Rinaldo. Tickets and Books will be delivered out at Mr. White’s Chocolate-house in St. James’s-Street, this Day.[14]

Mar 13

By Subscription.

AT the Queen’s Theatre in the Hay-Market, this present Tuesday, being the 13th Day of March, will be perform’d a new Opera, call’d, Rinaldo. Tickets and Books will be delivered out at Mr. White’s Chocolate-house in St. James’s-Street, this Day.[15]

Mar 16

[Richard Steele]

SIR,

‘THE Opera at the Hay-Market, and that under the little Piazza in Covent-Garden, being at present the Two leading Diversions of the Town; and Mr. Pow[e]ll professing in his Advertisements to set up Whittington and his Cat against Rinaldo and Armida, my Curiosity led me the Beginning of last Week to view both these Performances, and make my Observations upon them.

First therefore, I cannot but observe that Mr. Powell wisely forbearing to give his Company a Bill of Fare before-hand, every Scene is new and unexpected; whereas it is certain, that the Undertakers of the Hay-Market, having raised too great an Expectation in their printed Opera [wordbook], very much disappoint their Audience on the Stage.

The King of Jerusalem is obliged to come from the City on foot, instead of being drawn in a triumphant Chariot by white Horses, as my Opera-Book had promised me; and thus while I expected Armida’s Dragons should rush forward towards Argantes, I found the Hero was obliged to go to Armida, and hand her out of her Coach. We had also but a very short Allowance of Thunder and Lightning; tho’ I cannot in this Place omit doing Justice to the Boy who had the Direction of the Two painted Dragons, and made them spit Fire and Smoke: He flash’d out his Rosin in such just Proportions and in such due Time, that I could not forbear conceiving Hopes of his being one Day a most excellent Player. I saw indeed but Two things wanting to render his whole Action compleat, I mean the keeping his Head a little lower, and hiding his Candle.

I observe that Mr. Powell and the Undertakers had both the same Thought, and I think, much about the same time, of introducing Animals on their several Stages, tho’ indeed with very different Success. The Sparrows and Chaffinches at the Hay-Market fly as yet very irregularly over the Stage; and instead of perching on the Trees and performing their Parts, these young Actors either get into the Galleries or put out the Candles; whereas Mr. Powell has so well disciplin’d his Pig, that in the first Scene he and Punch dance a Minuet together. I am informed however, that Mr.Powell resolves to excell his Adversaries in their own Way; and introduce Larks in his next Opera of Susanna or Innocence betrayed, which will be exhibited next Week with a Pair of new Elders.

The Moral of Mr. Powell’s Drama is violated I confess by Punch’s national Reflections on the French, and King Harry’s laying his Leg upon his Queen’s Lap in too ludicrous a manner before so great an Assembly.

As to the Mechanism and Scenary, every thing indeed was uniform and of a Piece, and the Scenes were managed very dexterously; which calls on meto take Notice, that at the Hay-Market the Undertakers forgetting to change their Side-Scenes, we were presented with a Prospect of the Ocean in the midst of a delightful Grove; and tho’ the Gentlemen on the Stage had very much contributed to the Beauty of the Grove by walking up and down between the Trees, I must own I was not a little astonish’d to see a well-dress’d young Fellow in a full-bottom’d Wigg, appear in the Midst of the Sea, and without any visible Concern taking Snuff.

I shall only observe one thing further, in which both Dramas agree; which is, that by the Squeak of their Voices the Heroes of each are Eunuchs; and as the Wit in both Pieces are equal, I must prefer the Performance of Mr. Powell, because it is in our own Language.

I am, &c.[16]

Mar 17

AT the Queen’s Theatre in the Hay-Market, this present Saturday, being the 17th Day of March, will be perform’d a new Opera, call’d, Rinaldo.

These Plays [i.e. The History and Fall of Caius Marius and Rinaldo] are sold by J. Knapton at the Crown in St. Paul’s Church-yard, and B. Lintott next Nando’s Coffee-house, Temple-Bar.[17]

Mar 19

AT the Queen’s Theatre in the Hay-Market, to Morrow being Tuesday, the 20th Day of March, will be perform’d an Opera, call’d, Rinaldo. With Dancing by Monsieur du Breil and Mademoiselle le Fevre just arriv’d from Bruxelles. The Price’s as usual. The 2 Benches Rail’d in at the price of the Boxes.

These Plays [i.e. She Wou’d, if She Cou’d and Rinaldo] are sold by J. Knapton at the Crown in St. Paul’s Church-yard, and B. Lintott next Nando’s Coffee-house, Temple-Bar.[18]

Mar 24

AT the Queen’s Theatre in the Hay-Market, this present Saturday, being the 24th Day of March, will be perform’d a new Opera, call’d, Rinaldo. With Dancing by Monsieur du Breil and Madamoiselle la Fevre, just arriv’d from Bruxelles.

These Plays [i.e. Hamlet Prince of Denmark and Rinaldo] are sold by J. Knapton at the Crown in St. Paul’s Church-yard, and B. Lintott next Nando’s Coffee-house, Temple-Bar.[19]

Apr 9

Q. Gentlemen, Pray give your Opinion on what a late daily Paper said on Music in Recitativo. He reflects it to be very ridiculous for a General to sing his Commands, a Lady to sing a Message, &c.

A. We think those Reflections very Idle; how many Instances have we of the like in the Works of the best Poets, and what is Poetry, but Musical Numbers where the very Expression I’ll Sing, is so frequently used, and Music in Recitativo, is only a more Emphatical delivery of Speech, and laying the Accents stronger in their proper Places. Never any Orator spoke well, without raising and sinking his Voice, quarter Notes, half Notes and sometimes whole Notes on those Parts of Speech he wou’d more Emphatically grace, and tho’ Recitativo strains the Notes something beyond common Speech, if Custom brought [2] Oratory nearer to it, we doubt not but it wou’d then be thought more Beautiful; we cannot be supposed to say this for the promoting Italian Opera’s; which we think wou’d be more for the Honour of our Nation to banish the English Stage; not only for the encouragement of our own Masters, who may in Time arrive to as Beautiful a Manner as the Italian’s, if not to the same, but also because we must appear ridiculous to strangers to give such Attention to Words not understood by the greatest Part of us; we say we cannot be thought hereby to promote those Opera’s, tho’ we speak in defence of Recitativo, because it may be equally used in English Opera’s. The Reflections also that Author makes on the Music of that incomparable Master the late Mr. Henry Pursel [sic], shew he has not all that Skill and Tast [sic] in Music he pretends to, to set up for such a nice Critic.[20]

Apr 11

Q. Gentlemen, I hear a Consort of Music is to be perform’d every Night, and to begin next Week, do you think the Town is likely to hear the Charge of keeping it up so often in these Times?

A. We are apt to think you are misimform’d [sic], for we cannot think any rational Man wou’d propose such a Thing. For if it be 5 s. a Ticket, such a priz’d Consort, cou’d be maintain’d but once a Week formerly, before the Nation was so much drein’d; and shou’d it be but 2 s. 6 d. a Ticket, then that wou’d not be sufficient to pay the best Performers, and so it [2] wou’d fall of Course; besides shou’d it be under 5 s. per Ticket, the Company of Quality wou’d be broke in upon by Inferior Persons, and the first by Consequence drop it, and ’tis notorious, a weekly Consort cannot be kept up by any but them. We may further Remark, that when a Consort was kept up once a Week at York-Buildings, Mr. Finger, the Composer, had greater Patrons to promote it by their Interest than perhaps any of our present Masters can propose to themselves; besides in those Times there was very indifferent Music at the Theaters: But then the Masters of the Stage observing what Detriment the Music Meetings prov’d to them; by degrees they improv’d the Music at the Theaters, and as that was improv’d so the Music Consorts sunk by Degrees, till they had not Auditors enough to bear the Charge: Considering all which we think it preposterous for any Person to propose the keeping up a Consort now, tho’ but once a Week; for it is not reasonable to imagine, that now they have got as good Hands at the Stage as can be obtain’d for the Consort, nay, perhaps better, that any Person will continue to give more to hear a bare Consort, than for a Play, when also they will hear as good or better Music. Yet it is not much to be wonder’d at if there may be such a Design on Foot, since not one Project in ten, answers the Undertakers Ends.[21]

Apr 11

For the Benefit of Signor Valentini Urbani.

AT the Queen’s Theatre in the Hay-Market, this present Wednesday, being the 11th of April, will be perform’d an Opera, call’d, Rinaldo. The Boxes and Pit to be put together, and no Body will be admitted without Tickets, which will be deliver’d out at St. James’s Coffee-house in St. James’s-street, and at the Theatre, at half a Guinea each Ticket. The first Gallery 2 s. 6 d. the 2d Gallery 1 s. 6 d. Boxes upon the Stage half a Guinea.

These Plays [i.e. Love for Love and Rinaldo] are sold by J. Knapton at the Crown in St. Paul’s Church-yard, and B. Lintott next Nando’s Coffee-house, Temple-Bar.[22]

Apr 24

New Musick, just Publish’d.

All the Songs set to Musick in the last new Opera

call’d, Rinaldo: Together with the Symphonys and Riturnels in a

Compleat Manner, as they are Perform’d at the Queen’s Theatre.

Compos’d and exactly Corrected by Mr. George Friderick Hendell.

Printed for J. Walsh, Servant in ordinary to her Majesty at the Harp

and Hoboy in Katherine-street in the Strand, and J. Hare at the Viol

and Flute in Cornhill near the Royal Exchange.[23]

Apr 25

At the Desire of several Ladies of Quality.

AT the Queen’s Theatre in the Hay-Market, this present Wednesday, being the 25th of April, will be presented the last new Opera, call’d, Rinaldo.

These Plays [i.e. The Funeral and Rinaldo] are sold by J. Knapton at the Crown in St. Paul’s Church-yard, and B. Lintott next Nando’s Coffee-house, Temple-Bar.[24]

May 3

New Musick, Just published,

All the Songs set to Musick in the last new Opera call’d Rinaldo: together with the Symphonys and Riturnels in a compleat manner, as they are perform’d at the Queen’s Theatre, Compos’d and exactly Corrected by Mr George Fridrick Hendell, there is likewise publish’d all the Symphony’s or Instrumental Musick in the Opera of Etearco, which together with their Songs makes that Opera Compleat as it was perform’d at the Queen’s Theatre. Printed for J Walsh Servant in Ordinary to Her Majesty, at the Harp and Hoboy in Catherine Street in the Strand, and J. Hare at the Golden Viol and Flute in Cornhil near tghe Royal Exchang[e].[25]

May 3

Thomas Coke, Order May ye 3d 1711 Mr Hill & Collier That Mr Collier pay back whatever he received out of ye subscription money over and above what was due att ye End of ye subscriptions to Mr Van brugh for Rent and the receits of ye gallery &ca over & above the said subscription money and Mr Hill to clear all the charges of ye six nights subscription ye Receits of ye Gallery &ca
4th night— 5th— 6th—	18:09:09 27:02:06 19:08:03 65:00:06[26]

May 5

At the Desire of several Ladies of Quality.

For the Benefit of Signor Gioseppe, and Signora Francisca Boschi.

AT the Queen’s Theatre in the Hay-Market, this present Saturday, being the 5th of May, will be presented the last new Opera, call’d, Rinaldo. The part of Eustacio to be perform’d by Signor Valentini Urbani. Pit and Boxes to be put together, and none to be admitted without Tickets, which will be deliver’d out this Day at St. James’s Coffee house and at the Play-house Door, at half a Guinea each Ticket. First Gallery 2 s. 6 d. Upper Gallery 1 s. 6 d.

These Plays [i.e. The Old Batchelor and Rinaldo] are sold by J. Knapton at the Crown in St. Paul’s Church-yard, and B. Lintott next Nando’s Coffee-house, Temple-Bar.[27]

May

‘The Famous mock Song, to Ho un non so* che nel cor,

Sung by Sign^ra Boscchi, in the Opera of Pyrrhus, Corectly Engrav’d.’

Good folks come here, I’ll sing,

A song of th’ Opera King,

Which is so much admir’d,

Let not your ears be tir’d.

Repeat.

Th’ Italians boast

This Song’s compos’d,

By some prevailing Ghost,

The singer bears a name,

Of most surprizing Fame,

No Master yet can tell,

If this voice came from Hell,

It is suppos’d

Th’ infernal host,

Sent here this cunning Ghost,

The Britains to awake,

For some mischievous sake.

His shape was like a man,

The voice just like mad Grann,

Not any graces, tawny, ugly, brown,

Yet not withstanding won’drous pleas’d the town,

And sung so brazen fac’d,

That Monsters were amaz’d,

To hear a Porcupine,

Cou’d charm great wits so fine.

Another King most stout,

Turn’d English Op’ra’s out,

Which Britains first admired,

But now alas are tired.

Repeat.

It was suppos’d,

They were compos’d,

By some poor harmless Ghost,

Rinaldo had the name,

Of most surprising Fame,

He and some other Spark,

Deceive all in the Dark.

Home Hide the Carr,

Swing Slanderer,

Cheat Bite Trick ev’ry where,

Say Op’ras have no need,

Of silly English Breed,

They cry th’ Italian men,

Will show you what they can,

Come see this Hero big and Famous here,

Whose name is valiant Sign^r Cavalier,

He kill’d so Brazen faced,

A Lion which amazed,

The mob for whom twas fit,

And scar’d them from their wit.

* Hò un non so che nel cor,

Che in vece di dolor,

Gioia mi chiede.

Ma il core uso a temer,

Le voci del piacer

O non intende ancor,

O inganno del pensier

Forsi le crede.[28]

May 5

John Jacob Heidegger, Notice

Mr Colliers agreement about ye Lunicons payment for ye Score of Rinaldo May 5th 1711

May the 5th 1711

Mr Collier agrees to pay to Mr Lunecan for the Copy of Rinaldo this day the sum of eight pound and three pound every day Rinaldo is playd till six and twenty pound are payd and he gives him leave to take the sayd Opera in his custody after every day of acting it till the whole six and twenty pound are payd.[29]

May 9

At the Desire of several Ladies of Quality.

AT the Queen’s Theatre in the Hay-Market, this present Wednesday, being the 9th of May, will be presented the last new Opera, call’d, Rinaldo. Being the last time of performing it this Season.

These Plays [i.e. The Tender Husband and Rinaldo] are sold by J. Knapton at the Crown in St. Paul’s Church-yard, and B. Lintott next Nando’s Coffee-house, Temple-Bar.[30]

May 26

At the Desire of several Persons of Quality.

AT the Queen’s Theatre in the Hay-Market, this present Saturday, being the 26th of May, will be presented the last new Opera, call’d, Rinaldo. Boxes 8 s. Pit 5 s. First Gallery 2 s. 6 d. Upper Gallery 1 s. 6 d. Stage-Boxes half a Guinea.

These Plays [i.e. Sir Courtly Night and Rinaldo] are sold by J. Knapton at the Crown in St. Paul’s Church-yard, and B. Lintott next Nando’s Coffee-house, Temple-Bar.[31]

May 26

[Aaron Hill to Thomas Coke]

May y^e 26^th1711.

Sir.

Please to pay y^e twenty Guineas

due for y^r subscriptions to Etearco & Rinaldo,

to m^r Thomas Howlatt Printer at his order;

one of y^e Creditors of y^e House; for

your most humble

servant.

A: Hill.

To y^e R^t: Hon^ble: m^r Coke

vicechamberlain of her majesty’s

Household.

[in different ink and writing]

<Rec^d> y^e 3^d <viii>

I accept this bill to pay it

y^e <17^th Jul^y>

T Coke [43v]

Thomas Howlatt.

27^th. March 1712

R^d of J^on Swayne[32]

Jun 2

At the Desire of several Persons of Quality.

For the Benefit of the Box-keepers.

AT the Queen’s Theatre in the Hay-Market, this present Saturday, being the 2d of June, will be presented an Opera call’d, Rinaldo. Being the last time of performing any Opera this Season. Note, The Tickets deliver’d out for Hydaspes will be taken in at this Opera.

These Plays [i.e. The Man of Mode and Rinaldo] are sold by J. Knapton at the Crown in St. Paul’s Church-yard, and B. Lintott next Nando’s Coffee-house, Temple-Bar.[33]

Jun 5

New Musick, just publish’d,

All the Symphonys or Instrumental Musick in the

last new Opera call’d Rinaldo, which together with their Songs makes

that Opera Compleat as it was perform’d at the Queen’s Theatre.

Note, There being now 12 Operas publish’d, most of them with

Symphonys after the Italian manner, which may be had single or the

whole in 2 Vollums [sic] neatly Bound. Printed for and sold by J. Walsh,

Servant in ordinary to her Majesty, at the Harp and Hoboy in Catherine-

street in the Strand, and J. Hare at the Viol and Flute in Cornhill

near the Royal Exchange.[34]

Jun 7

New Musick just published,

[3 crosses] The Monthly Mask of Vocal Musick, or the

newest Songs made for the Theatre and other Occasions for May,

pr. 6 d. all Lovers of Musick, may be furnished with the best and

newest Compositions of Musick, for the Violin, Flute, Harpsicord,

and Voice, both of Italian and English, Printed for J. Walsh

Servant in Ordinary to Her Majesty, at the Harp and Hoboy in

Catherine-stre[e]t in the Strand, and J. Hare at the Golden Viol and

Flute in Cornhil near the Royal Exchinge [sic].[35]

Jun 17

Johann Wilhelm, Elector Palatine, to George Ludwig, Elector of Hanover

Durchlauchtigster pp. Ew. Ld. Cappelmeister Händel, welcher die gnad haben wirt, deroselben dises zue überliefern, habe ich einige tage alhier bey mir dahero auffgehalten. Umb ihme einige Instrumenta und andere sachen zu weisen, und dessen meynung hierüber zue Vernehmen. Dannenhero ersuche Ew. Ld. hiermit fr. Vetter- und angelegentlichst, Sie geruhen demselben, diesen seinen gegen dessen willen beschehenen Verzug, in Ungnaden nicht zue Vermercken und auszuedrucken, sondern Vielmehr in dero beständiger Gnade und protection wie bishero, also auch hinkünfftig zue erhalten. Dero Ich hinwiederum pp. Ddorff den 17 Junij 1711.[36]

Most Illustrious etc., Your Highness, I have kept Capellmeister Händel, who will kindly hand over to you this note, for a few days here with me, in order to show him several Instrumenta and other things, and to learn his opinion of them. Therefore I entreat your Highness herewith, with cousinly cordiality and earnestly, that you may deign not to interpret amiss this delay, occurring against his will, and not to lay it to his charge, but to grant him your continuing grace and protection, even now as hitherto. I am again, etc., Ddorff 17th June 1711.[37]

Jun 17

Johann Wilhelm, Elector Palatine, to the Dowager Electress Sophie of Hanover

Durchlauchtigste pp. Ew. Ld. wirt Bringer dises dero geliebtesten H. Sohns deß H. Churfürsten zu Braunschweig Ld. Cappelmeister Händel Underthst. zue hinderbringen, die gnade haben, daß ich ihne einige wenige Täge, Umbwillen ich demselben einige Instrumenten gewisen, und seine meynung hierüber Vernohmen, allhier bey mir auffgehalten. Nun setze zue Ew. Ld. mein fr. Söhnl. Vertrauen, ersuche dieselbe auch zuegleich angelegentlichst hiermit, Sie geruhen mir, zue meiner höchster und ewiger obligation, den angenehmen gefallen zue erweisen, und obg. Händel bei hochers dero H. Sohnes Ld. mit dero allgütigstem hohem Vorworth dahin ohnschwer zu statten zu kommen, daß demselben dieser gegen sein Verschulden beschehene Verzug nicht Ungüetig gedeuthet, mithin in dero fürwehrenden Churf. Hulden und Gd. noch ferners continuiren und erhalten werden möge pp. Dero Ich pp. Ddorff d. 17 Junij 1711.[38]

Most Illustrious etc., Your Highness, The bearer of this note, Herr Händel, Capellmeister to your most beloved son, His Highness, Elector of Brunswick, will kindly communicate to you that I have kept him here with me for a few days, in order to show him several instruments and to learn his opinion of them. Now I place in Your Highness perfect confidence, as would a friend and a son, and herewith earnestly entreat you, at the same time, that you may deign to show me an acceptable favour, to my highest and everlasting obligation: straightway by your noble intercession, supreme above any other, persuade your son to this end, that he shall not interpret amiss the delay of the above-mentioned Händel, occuring against his will, and that consequently this man may be yet again established and retained in the grace and protection of his Prince Elector. I am, Your etc., Ddorff 17 June 1711.[39]

Jun 21

New Musick published,

[3 crosses] All the Songs set to Musick in the last new

Opera call’d Rinaldo, together with its Pieces for the Harpsicord,

as also the Symphonies and Returnels in a compleat manner, as they

were performed at the Queens Theatre, and exactly corrected by

Mr George Friderich Hendel. Note, There now published 12 Operas

after the Italian manner, which may be had single or the

whole in 2 Vols. neatly bound. J: Walsh Servant in Ordinary to

Her Majesty, at the Harp and Hoboy in Katherine street in the

Strand, and J. Hare at the Viol and Flute in Cornhill near the

Royal Exchange.[40]

Jul 9

[lawsuit filed by Aaron Hill in Chancery, 9 July 1711]

two Elegant Operas Entituled Etearco and Rinaldo . . . requiring new Cloaths

for the Actors, Rich Scenes, Machines and other Expensive Decorations,

Towards the defraying the Extraordinary Charges of these necessary Embellishments,

The Nobility and other persons of Quality were pleased to Subscribe

as hath been usuall for several Years last past upon the like occasion

. . . and accordingly Subscriptions were taken in by Mrs White at White’s

Chocolate house in St James’s for the said Operas to the Amount of Three

thousand pounds and upwards by which Subscriptions, the Master of the

theatre is obliged [to] shew the New Opera[s] Twelve Nights [i.e., six nights

each] for the Subscribers by whose Tickets only people are in those Nights

admitted.[41]

Summer

Hanover Chamber Accounts payments to “Georg Friedrich Hendell”
Midsummer 1711 – Midsummer 1712	1,000 Thaler, less deduction of 83 Thaler, 12 Groschen[42]

July

Handel to Andreas Roner
—FAITES bien mes complimens à Mons. Hughes. Je prendrai la liberté de lui ecrire avec la premiere occasion. S’il me veut cependant honorer de ses ordres, et d’y ajouter une de ses charmantes poesies en Anglois, il me fera la plus sensible grace. J’ai fait, depuis que je suis parti de vous, quelque progrés dans cette langue &c. –—	—— PRESENT my best compliments to Mr. Hughes. I will take the liberty of writing to him [at] the first opportunity. If, in the mean time, he will honour me with his commands, and add to them one of his charming English poems, he will lay me under the greatest obligations. Since I left you, I have made some progress in that language, &c.[43]

Jul 31

Andreas Roner to John Hughes

Ce Mardi, 31 Juillet, 1712. MONSIEUR, AYANT reçu ce matin une lettre de Mons. Hendel, j’ai crû ne devoir pas manquer à vous en communiquer aussitot un extrait qui vous regarde, et qui est une reponse au compliment dont vous m’ aviez bien voulu charger. Je lui ecrirai vendredi prochaine, ainsi vous n’aurez, si vous plait, qu’ à m’ envoyer ce que vous aurez destiné pour lui; et je puis, Monsieur, vous assurer, que si l’honneur de vôtre souvenir lui fait un sensible plaisir, je n’en sens pas moins par le moyen que j’aurai par là de faciliter votre correspondence, et de vous donner une preuve de la consideration extreme, avec laquelle j’ai l’ honneur d’être, Monsieur, vôtre tres humble & tres obeissant serviteur, A. RONER.

Tuesday, July 31, 1711. SIR, HAVING received this morning a letter from Mr. Handel, I thought it my duty to send you as soon as possible an extract of it, which relates to you, in answer to the compliment which you conveyed by me. I shall write to him next Friday, so you need only send me, if you please, what you intend for him, and I can assure you, Sir, that if the honour of your acquaintance is particularly pleasing to him, I am no less pleased with being the means of promoting your correspondence, and of giving you a proof of the extreme regard, with which I have the honour to be, Sir, &c.[44]

Aug 8

Dienerbesoldungen bei Hofe. Musicanten.

Dem Neu angenommenen Capellmeister Georg Friedrich Hendell sind Laut Gnädigster assignation vom 8. August 1711 und einhalts des unterm 16. Junii 1710 enthaltenen Patents jährlich beygeleget, auch von Johannis 1710 bis Johannis 1711 zum ersten mahl bezahlet 1000 Thlr.[45]

Sep 6

New Musick just published,

The Monthly Mask of Vocal Musick, or the newest Songs made for the Theatres and other occasions for August, pr. 6 d., The new Flute Master, the 7th Edition containing the best Directions for Learners on the Flute, together with the newest Aires both of Italian and English, particularly the Favourite Song Tunes in the Opera of Rinaldo, composed by Mr Hendel, with an extraordinary Collection of Trumpet Tunes, Jiggs, Marches and Minuets for the Flute, pr. 1 s. 6 d. Printed for J. Walsh Servant in Ordinary to Her Majesty, at the Harp and Hoboy in Catherine Street in the Strand, and J. Hare at the Viol and Flute in Cornhil near the Royal Exchange.[46]

Sep 13 (NS)

[Giacomo Antonio Perti to Countess Aurora Sanseverino, 13 September 1711]

{...} oltre la serenata, della quale V.S. dovrà favorirmi, devono rappresentarsene anche tre altre; Una del Sassone, Un’altra di Mancini, ed un altra del Porpora; e farò anche rappresentare in questo mio Teatro un’opera.[47]

Sep 13

Just Publish’d,

The most Celebrated Aires and Duets in the Operas

of Rinaldo, Hydaspes, and Almahide, curiously contrived and

fitted for two Flutes and a Bass with their Symphonies, introduced

in a compleat manner in three Collections. As also the most Celebrated

Aires and Duets in the Opera of Rinaldo, for a single Flute.

Price 1 s. 6 d. All fairly Engraven and Carefully Corrected. Printed

for J. Walsh Servant to her Majesty at the Harp and Hoboy in

Katherine-street in the Strand, and J. Hare at the Viol and Flute in

Cornhill.[48]

Nov 10 – Dec 29

1711	Queens Theatre
		The Opera House under Swiney open’d Nov 11 1711. & closd June 25^th. 1712
Saturday 10^th. [Nov.]	Almahide Alm – M^rs Barber Boxes 8 Pit 5 gal 2s 6 up g 1s 6 Boxes on stage 10s 6
Wednesday 14^th.	Almahide <B>allack <be>gin
Saturday 17^th-	[in pencil] Almahide alm Barber
Wednesday 21^st-	Hydaspes Darius Sig^a Maria Rosa Pisaena B 8s. Pit 5 G 2s 6 uG 1s 6 stage 10s 6 Began <?G> all<?ery>
Saturday 24^th-	Hydaspes Darius S R O
Wednesd^y 28^th	Almahide
Saturday Dec 1^st-	Almahide
Wednes^y 5^th-	Hydaspes Darius Sig^a D le E’Pine
Satur^y 8^th-	Hydaspes Darius Sig^a De L Epine
Wednes^y 12^th	Antiochus By Subs^n 197 3 – 29. – Stage 151. 6 oclock
Saturday 15^th-	Antiochus By Sub
Wednesd^y 19^th	Antiochus By Sub
Saturd^y 21^st-	Antiochus By Sub
Wednesday 26^th-	Hydaspes Del E Pine Boxes 8 Pit 5 s <...>
Saturday 29^th-	Almahide[49]

Nov 23 NS

Baptismal Register of the Church “Zu Unser Lieben Frauen” in Halle

23. Herr Doct. Jur. Michael Dietrich Michaelsen 1 Tochter Johanna Friderica nat. 20 huj. Pathen: Frau Johanna Elisabeth gebohrne von Alemannin, Herrn Johann Friedrich von Hornig Erbherrn auf Zingst und Reinßdorff, königl. Pr. Cammerraths im Herzogthum Magdeburg Gemahlin, – Herr George Friedrich Händel, churfl. hannoverscher Hoff-CapellMeister, – Frau Friderica Amalia, Herrn Oberambtmann Schwartzens von Oppin ux. Vor die Frau von Hornigken stehet des Kindes Frau GroßMutter Cammerdiener Händelin.[50]

23. Herr Michael Dietrich Michaelsen, Doctor of Law, one Daughter Johanna Friderica nat. 20th inst. Godparents: Frau Johanna Elisabeth, née von Alemann, wife of Herr Johann Friedrich von Hornig, Lord of the Manor at Zingst and Reinssdorff, Royal Prussian Finance Councillor in the Dukedom of Magdeburg,—Herr George Friedrich Händel, Court Capellmeister to the Elector of Hanover,—Frau Friderica Amalia, wife of Herr Schwartz von Oppin, Senior Bailiff. The child’s grandmother, Frau Händel, stood proxy for Hornig’s wife.[51]

Nov 20

[Lady Strafford to the Earl of Strafford at Utrecht]

ST. JAMES’S SQUARE, November 20, 1711.

.... I have this day been to see Lady North an Gray

and made her all the fine speeches I could think off, and have

promised her to carry her to an Opera which she seem’d very

much pleased with; her cloths are not yet com, so I have not

my scarfe yet. [...][52]

Nov 27

[Lady Strafford to the Earl of Strafford at Utrecht]

ST. JAMES’S SQUARE, November 27, 1711.

[... 214 ...] I think Lady North and Gray a very prity sort of

woman; we went to the opera togethere last Satturday and

she seem’d mightily pleased at my earring of her....

[...] I wish I could make Lampoons

and Ballets for then you should have plenty of them. Here

is a new woman com to sing in the operas; the town has laid

it out that Lord Ashburnham must take her, and then he and

Lord Portland shall decide whose mistress sings best.....[53]

Dec 26

Mr. SPECTATOR,

‘WE whose Names are subscribed think you the properest Person to signify what we have to offer the Town in Behalf of our selves, and the Art which we profess, Musick. We conceive Hopes of your Favour from the Speculations on the Mistakes which the Town run into with Regard to their Pleasure of this Kind; and believing your Method of Judging is, that you consider Musick only valuable as it is agreeable to and heightens the Purpose of Poetry, we consent that That is not only the true way of relishing that Pleasure, but also that without it a Composure of Musick is the same thing as a Poem where all the Rules of poetical Numbers are observed, but the Words of no Sense or Meaning; to say it shorter, meer musical Sounds are in our Art no other than nonsense Verses are in Poetry. Musick therefore is to aggravate what is intended by Poetry; it must always have some Passion or Sentiment to express, or else Violins, Voices, or any other Organs of Sound, afford an Entertainment very little above the Rattles of Children. It was from this Opinion of the Matter, that when Mr. Clayton had finished his Studies in Italy, and brought over the Opera of Arsinoe, that Mr. Haym and Mr. Dieupart, who had the Honour to be well known and received among the Nobility and Gentry, were zealously enclined to assist, by their Sollicitations, in introducing so elegant an Entertainment as the Italian Musick grafted upon English Poetry. For this End Mr. Dieupart and Mr[.] Haym, according to their several Opportunities, promoted the Introduction of Arsinoe, and did it to the best Advantage so great a Novelty would allow. It is not proper to trouble you with Particulars of the just Complaints we all of us have to make; but so it is, that without Regard to our obliging Pains, we are all equally set aside in the present Opera. Our Application therefore to you is only to insert this Letter in your Paper, that the Town may know we have all three joined together to make Entertainments of Musick for the Future at Mr. Clayton’s House in York-Buildings. What we promise our selves, is, to make a Subscription of two Guineas for eight times; and that the Entertainment, with the Names of the Author of the Poetry, may be printed, to be sold in the House, with an Account of the several Authors of the vocal as well as instrumental Musick for each Night; the Money to be paid at the Receipt of the Tickets at Mr. Charles Lillie’s. It will, we hope, Sir, be easily allowed, that we are capable of undertaking to exhibit by our joint Force and different Qualifications all that can be done in Musick; but least you should think so dry a thing as an Account of our Proposal should be a Matter unworthy your Paper, which generally contains something of publick use; give us Leave to say, that favouring our Design is no less than reviving an Art, which runs to Ruine by the utmost Barbarism under an Affectation of Knowledge. We aim at establishing some settled Notion of what is Musick, at recovering from Neglect and Want very many Families who depend upon it, at making all Foreigners who pretend to succeed in England to learn the Language of it, as we our selves have done, and not be so insolent as to expect a whole Nation, a refined and learned Nation, should submit to learn them. In a Word, Mr. SPECTATOR, with all Deference and Humility, we hope to behave our selves in this Undertaking in such a Manner, that all English Men who have any Skill in Musick may be furthered in it for their Profit or Diversion by what new things we shall produce; never pretending to surpass others, or asserting that any thing which is a Science is not attainable by all Men of all Nations who have proper Genius for it: We say, Sir, what we hope for is not expected will arrive to us by contemning others, but through the utmost Diligence recommending our selves.

We are,

SIR,

Your most humble Servants,

Thomas Clayton.

Nicolino Haym.

Charles Dieupart.[54]

---

[1] British Library, Egerton Ms. 2321, ff. 6v-13v.

[2] The Grouler: Or, Diogenes Robb’d of his Tub, no. 1, Saturday 27 January 1710/1, [2].

[3] [Abel Boyer, The History of the Reign of Queen Anne, digested into Annals. Year the Ninth (London: Thomas Ward, 1711), 335; repr. [Abel] Boyer, Quadriennium Annae Postremum; Or the political State of Great Britain. During the Four last Years of the late Queen’s Reign, 2^nd edition, 8 vols. (London: the author, 1718), 1:156; see also Burrows, “Hanover,” 41.

[4] The Daily Courant, no. 2907, Tuesday 13 February 1711, [2]; partly repr. Deutsch, Handel, 31.

[5] Händel Handbuch, 48.

[6] The Daily Courant, nr. 2915, Thursday 22 February 1711, [2].

[7] The Daily Courant, no. 2917, Saturday 24 February 1711, [2]; ad of 22 February reprinted in Deutsch, 34.

[8] Rinaldo, Opera. Da rappresentarsi nel Reggio Teatro a Londra (London: Tho. Howlatt, 1711), n.p.; repr. Deutsch, 32-34.

[9] The Daily Courant, no. 2919, Tuesday 27 February 1711, [2].

[10] The Daily Courant, no. 2923, Saturday 3 March 1711, [1].

[11] The Daily Courant, no. 2925, Tuesday 6 March 1711, [2].

[12] The Spectator, no. 5, Tuesday 6 March 1711, [1-2]; partly repr., Deutsch, 35-36.

[13] The Examiner, no. 32, Thursday 1 – Thursday 8 March 1711, [1].

[14] The Daily Courant, no. 2929, Saturday 10 March 1711, [2].

[15] The Daily Courant, no. 2931, Tuesday 13 March 1711, [2].

[16] The Spectator, no. 14, Friday 16 March 1711, [2]; partly repr., Deutsch, 36-37.

[17] The Daily Courant, no. 2935, Saturday 17 March 1711, [2].

[18] The Daily Courant, no. 2936, Monday 19 March 1711, [2]; Deutsch?.

[19] The Daily Courant, no. 2941, Saturday 24 March 1711, [2].

[20] The British Apollo: Or, Curious Amusements for the Ingenious, vol. 4/6, Friday 6 – Monday 9 April 1711, [1-2].

[21] The British Apollo: Or, Curious Amusements for the Ingenious, vol. 4/7, Monday 9 – Wednesday 11 April 1711, [1-2].

[22] The Daily Courant, no. 2956, Wednesday 11 April 1711, [2].

[23] The Daily Courant, no. [2]973, Tuesday 24 April 1711, [2].

[24] The Daily Courant, no. 2974, Wednesday 25 April 1711, [2].

[25] The Post-Man; And The Historical Account, nr. 2003, Tuesday 1 – Thursday 3 May 1711, [2].

[26] Händel Handbuch, 52.

[27] The Daily Courant, no. 2983, Saturday 5 May 1711, [2].

[28] William C. Smith, “Handel’s First Song on the London Stage,” Music & Letters 16 (1935), 286–292: 286, 289–90.

[29] Händel Handbuch, 52.

[30] The Daily Courant, no. 2986, Wednesday 9 May 1711, [1].

[31] The Daily Courant, no. 3001, Saturday 26 May 1711, [2].

[32] British Library, Add. Ms. 69950, f. 43; repr. (letter content) Henrik Knif, Gentlemen and Spectators: Studies in Journals, Opera and the Social Scene in Late Stuart London (Helsinki: Finnish Historical Society, 1995), 230, n94.

[33] The Daily Courant, no. 3007, Saturday 2 June 1711, [2].

[34] The Daily Courant, no. 3009, Tuesday 5 June 1711, [2]; partly repr. William C. Smith, “Handel’s ‘Rinaldo’: An Outline of the Early Editions,” The Musical Times 76 ([no. 1110, August] 1935), 689-95: 691.

[35] The Post-Man; and The Historical Account, &c, no. 2017, Tuesday 5 – Thursday 7 June 1711, [2].

[36] Händel Handbuch, 53.

[37] Deutsch, 43.

[38] Händel Handbuch, 54.

[39] Deutsch, 43.

[40] The Post-Man, and The Historical Account, &c, no. 2013, Tuesday 19 – Thursday 21 June 1711, [2]; partly repr. William C. Smith, “Handel’s ‘Rinaldo’: An Outline of the Early Editions,” The Musical Times 76 ([no. 1110, August] 1935), 689-95: 691.

[41] The London Stage, 1660-1800, “A New Version of Part 2, 1700-1729,” ed. Judith Milhous and Robert D. Hume (proofs available online), 597.

[42] Donald Burrows, “Handel and Hanover,” in Bach, Handel, Scarlatti Tercentenary Essays, ed. Peter Williams (Cambridge: Cambridge University Press, 1985), 35–60: 40.

[43] The Correspondence of John Hughes, Esq. (Author of the Siege of Damascus) and Several of His Friends, 2 vols. (Dublin: Thomas Ewing, 1773), 1:37–39.

[44] The Correspondence of John Hughes, Esq. (Author of the Siege of Damascus) and Several of His Friends, 2 vols. (Dublin: Thomas Ewing, 1773), 1:36–38.

[45] Händel Handbuch, 54.

[46] The Post-Man; And The Historical Account, nr. 2037, Tuesday 4 – Thursday 6 September 1711, [2].

[47] Carlo Vitali and Antonello Furnari, “Händels Italienreise – neue Dokumente, Hypothesen und Interpretationen,” Göttinger Händel-Beiträge 4 (1991), 41-66: 43.

[48] The Daily Courant, no. 3095, Thursday 13 September 1711, [2]; repr. William C. Smith, “Handel’s ‘Rinaldo’: An Outline of the Early Editions,” The Musical Times 76 ([no. 1110, August] 1935), 689-95: 693.

[49] British Library, Egerton Ms. 2321, ff. 17v-23v.

[50] Händel Handbuch, 55.

[51] Deutsch, 46.

[52] The Wentworth Papers, 1705-1739, ed. by James J. Cartwright (London: Wyman & Sons, 1883), 208.

[53] The Wentworth Papers, 1705-1739, ed. by James J. Cartwright (London: Wyman & Sons, 1883), 213-14.

[54] The Spectator, no. 258, Wednesday 26 December 1711, [2]; partly repr. Deutsch, 46-47.