1720
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The Governour and Court of Directors of the Royal Academy of Musick, have appointed a General Court to be held on Monday the 18th Instant at 11 in the Forenoon, at their Office in the Hay-Market; at which Time they design to proceed to the Choice of some new Directors; as also to consult about other special Affairs relating to the Corporation: All Members of the said Corporation are desired to take Notice hereof.[1] |
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The Governour and Court of Directors of the Royal Academy of Musick do hereby give Notice, That a General Court will be held on Wednesday the 3d of February next, pursuant to an Adjourment of the last General Court.[2] |
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This Day is publish’d, A Collection of Minuets, Rigadoons or French Dances for the Year 1720. Perform’d at the Balls, at Court, the Masquerades, and Publick Entertainments. Together with several favourite Minuets and Rigadoons, by Mr. Hendell, Mr. Lature, and Mr. Hill. The Tunes proper for the Violin or Hautboy, and many of them within the Compass of the Flute. Price 6 d. N.B. There are lately publish’d, all the Counttry Dances and French Dances for the last 20 Years, and may be had where these are sold. Printed and sold by J. Walsh, Servant in Ordinary to his Majesty, at the Harp and Hautboy in Catherine-street in the Strand, and J. Hare at the Viol and Flute near the Royal Exchang[e] in Cornhill.[3] |
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Anweisung an den Zahlmeister am Dresdner Hof |
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“… dem Kön. Engl. Capellmeister Händel, welcher vor Sr. Königl. Majestät und Sr. Hoheit dem Königl. Prinzen sich hören lassen,” sind 100 Dukaten zu zahlen.[4] |
(Hundred Ducats paid out to) Handel, Capellmeister to the King of England, who dutifully performed before His Majesty and His Royal Highness the Prince.[5] |
Feb 26/Mar 8 (NS)
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Francesco Bernardi {Senesino} (in
Dresden) to Giuseppe Riva (in London) |
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Monsieur Io mi trovo
debitore di risposta a due stim[atissi]me Lettere del p[rim]o e de[l] 22. del
passato, e sempre più carico d’obbligazioni verso le finezze del mio riverito
S[igno]r Riva. Verrò senz’altro preambulo ai particolari dell’ultima Lettera,
et ho l’onore di dirle, che atteso la generosa offerta delle 3000. Ghinee
effettive, fattami da cotesta Reale Accademia non farò difficultà d’assumere
l’impegno, e di trovarmi a tempo debito in Inghilterra. A questo fine
l’includo qui una specie di Procura, la quale stimo concepita in termini
assai amplij e bastevoli, perch’Ella possa favorirmi di stipolare il
contratto, e di prendere quelle sicurezze di cui mi parla rimettendo a lei di
prenderle in quel luogo ove stimerà più proprio. ben è vero ch’avendo io
osservato che l’Accademia dopo la prima Stagione si riserva la facoltà di
rompere il contratto sud[ett]o, credo di non potere fare a meno d’esigere dal
canto mio una facoltà consimile, et Ella averà tanto meno difficultà ad
ottenerla, quanto che la stessa cosa è stata accordata alla S[igno]ra
Durastante, anzi privativamente, e senza ch’alla Accademia rimanga di ciò
arbitrio veruno. La prego dunque quanto più posso di sopire quest’unico
scrupolo che mi resta, parendomi la dimanda mia così ragionevole da non
dovere ammettere negativa, tanto più con l’antecedente esempio. Potrei far
menzione del regalo per il viaggio di cui m’intenzionò la penultima sua
Lettera, et oltre l’esser si giusto, sarebbe un gran sovallo per me in caso
dovesse movermi d’Italia per costà, che ciò puole accadermi, onde ella veda
d’approfittarmi ancora in ciò, rimettendolo pure totalm[en]te in lei, che
saprà se sia fuor di convenienza il chiederlo. Non posso abbastanza esprimere
quant[’]io sia obbligato a M[onsieu]r Haidegger, il quale à avuto tanta parte
in questa faccienda e spero di continuare a goderne i favori Nel mio
soggiorno in Londra per dove si potranno regolare le mie mosse anche dalle
risposte ch’attendo alla mia antecedente lettera. A lei poi rendo mille
grazie a nome pure della S[igno]ra Salvaij, ch’abbia fatto motto di sua
Persona alla Reale Accademia. le pretenzioni di Essa sarebbero di 800. Ghinee
per la prima Stagione, per le due stagioni poi di 1500. Ghinee. vero è che
danno, come mi scrive a Madem[oise]lle Robyson 500. Sterline. Ella farà
riflessione che questa Sig[no]ra è a Casa sua, e finalm[en]te si rimetterebbe
la Sig[no]ra Salvaij a ciò ch’ella si degnasse fare in suo favore con
arbitrio di non mancare il contratto a la diferenza di 50. o 100. Ghinee per
la prima Stagione; Sperando che contenti della sua Persona gli facessero
nella seconda qualche vantaggio di più. Io le replico che la Virtuosa ha una
bellissima voce buona figura e talento sufficiente per avere incontro, di che
più esatta contezza potrassi avere costì in voce da M[onsieu]r Hendell, e
dalla S.ra Durastante e suo Marito, che l’uno oltre averla sentita
contrattava seco per portarla costà, in tempo che non era in alcun impegno con
questa Corte. le risoluzioni del Sig[no]r Berscelli le sentirà dal S[igno]r
Pallavicini, al quale la supplico d’indrizzare tanto le risposte della
presente, quanto quelle che concerneranno Madame Salvaij, perchè egli possa
in caso ch’io sia partito di qui far tener l’une con sicurezza, e comunicare
l’altra alla S[igno]ra Sud[ett]a, che sopra di esse prenderà le sue
risoluzioni. Rimando una Lettera che suppongo inclusa per isbaglio nella sua
del p[rim]o Febraio, e che Ella diceva diretta al S[igno]r Pallavicini.
e[...] rinnovandoli le proteste de miei infiniti doveri bramo di potere
accelerare il mio viaggio per esser tanto più presto ad abbracciarla e far
delle giubilazioni a iosa con i miei P[ad]roni et amici frai quali
distinguerò eternam[en]te lei con l’obbigazioni che le devo professandomi per
sempre De Vous
Mons[ieu]r Dresda 8. Marzo 1720. [...] Francesco Bernardi |
Monsieur I find
myself owing you a reply to your two most estimable letters of the first and
22nd of the last [month], and ever more grateful for the kindness of my
revered Signor Riva. I will come without further ado to the details of the
last letter, and I have the honour to tell you that in view of the generous
offer of 3000 guineas in cash made to me by the said Royal Academy, I will
have no difficulty in accepting the engagement, and arriving in England at
the time required. For this purpose I include herewith a kind of power of
attorney, which I consider to be couched in sufficiently comprehensive terms,
so that you may do me the kindness of drawing up the contract and undertaking
those guarantees about which you wrote to me, while I leave it to you to deal
with them in whatever place you consider most suitable. It is clear to me
that since the Academy reserves the right to break the above contract after
the first season, I believe I cannot do less than insist on a similar right
for myself, and you will have much less difficulty in obtaining it, since the
same condition has been granted to Signora Durastante, although privately,
without the Academy having the right to decide on it. So I ask you as
strongly as I can to assuage this one remaining reservation of mine, since it
seems to me that my request is so reasonable as not to admit of a negative
response, especially in view of the instance I have just quoted. I would like
to bring up the question of the grant for the travel expenses which you
mentioned in your penultimate letter, and as well as being fair, it would be
of great help for me – should it be necessary for me to travel there from
Italy, which may happen to me – if you could find it possible to assist me in
this matter, although I leave it totally to you, who will know whether it is
improper to ask for it. I cannot adequately express how obliged I am to
Monsieur Heidegger, who has played so important a part in this business, and
whose favour I hope to continue enjoying during my stay in London, for which
my travel can be organised also depending on the replies I am awaiting to my
previous letter. I, as well as Signora Salvai, give you a thousand thanks,
for having mentioned her name to the Royal Academy. Her expectations would be
800 guineas for the first season, and 1500 guineas for the next two. It is
true that, as you have written, they give £500 to Mademoiselle Robinson. You
will reflect that this lady is at home, and finally Signora Salvai would
accept whatever you decide to offer her, she being unwilling to abandon the
contract over a difference of 50 or 100 guineas for the first season; in the
hope that if they are pleased with her person they might make some larger
offer for the second one. I must repeat to you that the lady has a very fine
voice, a good figure and enough talent to be well received, about which more
precise information can be had there from Monsieur Handel personally, and
from Signora Durastante and her husband, for he [Handel] having heard her
sing contracted with her to take her there at a time when she had no
commitment to the court here. The decisions of Signor Berscelli you will hear
from Signor Pallavicini, to whom I ask you to address your replies to this
letter, as well as those which concern Madame Salvai, so that if I have left
here he can keep the ones [mine] safely, and communicate about the other one
to the above-mentioned lady, who will make her decisions about them. I am
returning a letter which I assume was included by mistake in yours of the
first of February, and which you said was intended for Signor Pallavicini.
And while renewing to you the assurance of my total respect, I am eager to hasten
my journey so that I may all the sooner embrace you and have plentiful
celebrations with my patrons and friends, among whom I regard yourself
especially, with the obligations which I owe you, professing myself as ever, Yours Dresden, 8 March 1720 [...] Francesco Bernardi[6] |
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LONDON, February 27. Yesterday [...] The same Day one John Waterlidge was committed to Newgate, by Justice Santlow, for forging Masquerade Tickets, under the Hand of Mr. Heydiger, the Master of the Opera-House in the Hay-Market: Himself endeavour’d, with one of his sham Tickets, to pass into the House, in the Habit of Shepherdess, but was detected at the third Door, and carry’d before Justice Santlow, who sent him in his Habit to Newgate. Several Persons of Quality were stopt at the Doors, their Tickets being Counterfeit; but making it appear they were impos’d on, they were admitted.[7] |
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Yesterday South Sea was 174. Opera Company 83, and a half. No Transfer.[8] |
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[issue dedicated to the South Sea “bubble”] At the Rehearsal on Friday last, Signior Nihilini Beneditti rose half a Note above his Pitch formerly known. Opera Stock from 83 and an half, when he began; at 90 when he ended.[9] |
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On Tuesday Night his Majesty went to the Opera in the Hay-Market, to see the Company of Comedians, lately arriv’d from France, perform their Tumbling, &c. … A Legion of Italian Songsters, Comedians, &c. are coming hither from Italy, to perform at the Theatre’s.[10] |
Hamburger
Relations-Courier
Nachdem das bekandte grosse Oratorium von 4 der berühmtesten Componisten musicalisch gesetzet worden; als dienet den Liebhabern andächtiger Music zur Nachricht; daß man gesonnen morgen g. G. als den 20 Martii die Composition des Hrn. Capell-Meisters Hendels; und übermorgen die von dem Hrn. Telemann auffs vollkommenste besetzt im Trill-Hause aufzuführen. Der Anfang ist präcise um 4 Uhr.[11] |
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Tho’ the French are so boisterous and void of all Moderation or Temper in their Conduct, the Italians are a more tractable and elegant Nation. If the French Players have laid aside all Shame [referring to explicit sexual encounters portrayed on stage by the French players], the Italian Singers are as eminently nice and delicate, which the Reader will observe from the following Account, which I have receiv’d from the Hay-Market. To Sir JOHN EDGAR, Auditor-General of the World, and the Stage. SIR, “YOUR last Paper very rightly, and with great Justice, notify’d to the Town the Rise of the Opera-Stock, occasion’d by the Elevation of half a Note above the usual Pitch of Signior Beneditti. I hope, Sir, you will allow no one hereafter to call him no Man, when you shall have heard from me, how much he is a Man of Honour. It happen’d, Sir, in the casting the Parts for the new Opera, that he had been, as he conceiv’d, greatly injur’d; and, the other Day, apply’d to the Board of Directors, of which I am an unworthy Member, for Redress. He set forth, in the recitative Tone, the nearest approaching ordinary Speech, that he had never acted any thing, in any other Opera, below the Character of a Sovereign; or, at least, a Prince of the Blood; and that now he was appointed to be a Captain of the Guard, and a Pimp. The Chairman reprimanded him with much Rigour, for pretending to dispute any Part given him; and directed him to withdraw. He did accordingly, and it was debated among us for some time, whether he ought to be reliev’d; he found Friends, and was made a Prince; but he urg’d further, that he had a most particular Excellence in making Love, and hoped they would allot him a Scene to show that Talent. He withdrew again, by Order, and we directed that he should make Love to Zenobia, with proper Limitations: The Chairman signify’d to him, that the Board had made him a Lover, but he must be contented to be an unfortunate one, and be rejected by his Mistress. He express’d himself very easy under this, and seem’d to rejoyce, that (considering the Inconstancy of Women) he could only feign, not pursue that Passion to Extremity. He mutter’d very much against the very Attempt of making him only a Guard to the Character he had formerly appear’d in; and said still much more on the Insult of designing him for a Pimp: It was, said he, enough that Fortune has bereft me of the Possession of the Fair by Force; and when I could not know what I lost, she shall never bring me so low as to resign them by my Will and Consent; much less to make way for, or contribute to giving them into the Arms of other Men. This appear’d to the Board, in a Person of Beneditti’s Circumstances, a great Question, whether Jealousy or Envy were the Reason he had such an Aversion to being commodious. Your leisure Thought on the Subject will much oblige, SIR, Your most
obedient humble Servant, MUSIDORUS. Hay-Market, March 9, 1719-20.[12] |
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[Stefano Benedetto Pallavicini to Giuseppe Riva, Dresden, Saturday 9 March 1720] To come now to the account of Salvai that your m{ost}. i{llustrious}. lordship requested, she has a beautiful and full-bodied voice, is young, small in stature, but comely and uninhibited. Handel, who has heard her, and Durastanti, who will have arrived there, will be able to tell you about her manner of singing in a way that I cannot.[13] |
Mar 17/28 (NS)
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Francesco Bernardi {Senesino} (in
Dresden) to Riva (in London) |
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Monsieur Rispondo al
compitis[si]mo suo [foglio] dei 26. Feb[brai]o, cui è concernente all’altro antecedente,
al quale già risposi, e spero esserli giunto assieme con la Procura, e
l’altro del S[igno]r Pallavicini, e Sig[no]r Berscelli, supponendo che il
fatto sia accomodato nella conformità ch’io m’esprimevo. Sopra a Madame
Salvaj lei averà sentito le Sue pretenzioni dall’istesso Foglio e n’attendono
anziosam[en]te le risposte sue dirette al S[igno]r Pallavicini, come nel
d[ett]o Foglio convenissimo, ne in ciò io m’allungo di vantaggio se non che
gl[i] e la raccomando, perche mi sono a cuore i vantaggi della mede[si]ma. Il
mio Viaggio che pensavo fare preventivam[en]te adesso per Londra, e differito
che quasi stavo alla mossa per intraprenderlo, in un sud[ett]o e differito
fino al tempo prescrittomi, essendomi sopragiunta una nuova assai funesta per
me, et altretanto dolorosa, d’una perdita d’una mia sorella, quale avea tutto
l’indrizzo della mia Casa in Siena, questo causa che sia necessitato ad
andare a fare una corsa alla Patria, et accomodare i miei interessi alla
meglio che sarà possibile per poi vivere con più quiete se Iddio vorrà,
sperando che nei primi d’Agosto avvenire potermi mettere alla Vela per
Londra, per essere in quel tempo destinatomi. Ella però non lasci di
raccomandarmi in Olanda Al Suo Corrispondente per il tempo ch’io passarò di là
per essere il viaggio più speditivo, et acciò possa essere assistito da
qualched’uno di cuore non avendo alcuna pratica per quei Paesi. Quantunque io
Sia a Siena potrò ricevere e la risposta della presente et altre sue lettere,
et a lei non mancarà indirizzo in Modena perche, venghino consegnate ad un
certo S[igno]r Francesco Peli, che può essere a lei noto, al quale dirò io
che me l’invij a Siena, e per l’istesso canale lei potrà ricevere le mie
costà, e quando lei abbia altre mire in Modena non hà che suggerirmele,
perch’io sappia come debba contenermi per farli giungere le mie Lettere
costà. La Sua risposta che deve essere indirizzata al Sig[no]r Pallavicini,
non mi giungerà quà in tempo Essendo obligato dover partire il giorno
sud[ett]o dopo le Feste, ma il Sig[no]r Pallavicini me la farà avere in
Italia; et in caso sia conchiuso il trattato, il che non dubito, lei mi farà
somma grazia di compire il tutto con la sua assistenza, cioè di trovarmi
costà un buon Quartiere vicino al Teatro e di spesa onesta, in somma in tutto
io mi riporto a lei, e non vedo l’hora di venire in persona ad abbracciarlo e
[giu]bilare un poco con i miei Pr[otettori] et [am]ici nella tanto desiderata
Londra et infine lei mi scriva sempre che io sub[it]o ch’arrivo in Italia non
mancarò di dargliene avviso con mandare la mia lettera in Modena, et
divotam[en]te la riverisco e mi conf[ess]o De Vous
Monsieur Dresda 28 Mar[z]o 1720 [...] Francesco Bernardi |
Monsieur I reply to your
most kind [letter] of the 26th of February, concerning the other previous
letter to which I have already replied, which I hope has reached you together
with the power of attorney and the other [letters] from Signor Pallavicini
and Signor Berscelli, presuming that the matter has been settled according to
what I expressed. Concerning Madame Salvai, you will have heard her demands
from the same letter; [they all] wait anxiously for your replies to Signor
Pallavicini, as we agreed in that letter; I won’t write at length on her
behalf other than to say that I recommend her, because I have her best
interests at heart. My journey to London, which I initially thought to
undertake now, and which I was about to begin, has suddenly been postponed
until the prescribed time, due to some very lamentable and furthermore
painful news which has reached me concerning the loss of a sister of mine,
who had full management of my house in Siena. This has made it necessary [for
me] to make a visit home in order to take care of my interests as well as
possible, in order to give me peace of mind, God willing, and to allow me
hopefully to sail to London at the beginning of this coming August, so that I
may arrive at the appointed time. Please don’t forget to recommend me to your
correspondent in Holland for the time that I arrive there so that my journey
can run more expeditiously, and that I can be kindly assisted by someone
there as I don’t have any experience of those lands. Although in Siena, I
will receive your replies to my current [letter], as well as other letters of
yours; you will certainly have an address in Modena, so that [from there]
they can be delivered to a certain Francesco Peli, whom might be known to
you, to whom I will ask to forward them to me in Siena. Through the same
channel you will be able to receive my letters. If you had other plans in
Modena, you can simply tell me so that I can arrange for my letters to be
sent there. Your answer that needs to be addressed to Signor Pallavicini will
not reach me here on time, as I am forced to leave on the said day after the
holidays, but Signor Pallavicini will let me have it [Riva’s answer] in
Italy; if the contract is settled, about which I have no doubt, you will
graciously deal with all the necessary arrangements, that is to find me good
quarters near the theatre and at an honest price. I entrust all to you, and
cannot wait to come in person to embrace you and rejoice with my patrons and
friends in much desired London. Finally, do continue to write to me, as I
will inform you via a letter to Modena as soon as I arrive in Italy. I revere
you devoutly and confess myself Yours, Sir Dresden 28 March 1720 [...] Francesco Bernardi[14] |
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[Thomas Tudway to Humfrey Wanley, 29 March 1720] I thank you very kindly for your Score of Bassanis Church Music, wch my Lord sent to me from Wimple im[m]ediately; Thô ye Te Deum is not in it, yet, I observe throughout ye Stylo Ecclesiastico, wch is cheifly what I desir’d it for; Mr Purcell, has observ’d it, wth great exactnes; wch, ye many Pathos’s he has work’d up, do plainly show; Dr Crofts I think has been a little Theatrical, thô much more strickt to ye Church Style than Mr Hendale; These, are ye only 3 composers in England, that have ever made any peices of music of this kind; and if It please God, I live to finish that for my Lord, I hope I shall observe at least, ye decent part & solemnity, proper on yt occasion; [...][15] |
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The Directors of the
Royal Academy of Musick, by Virtue of a Power given them under the King’s Letters
Patents, finding it necessary to make a further Call of 5 l. per Cent. from
each Subscriber, have authorized the Treasurer to the said Royal Academy, or
his Deputy, to receive the same, and to give Receipts from each Sum so paid
in: This is therefore to desire the Subscribers to pay, or cause the said 5
l. per Cent. to be paid according to the several Subscriptions on the 25th or
26th Instant, at the Opera-House in the Hay-Market; where Attendance will be
given by the Deputy-Treasurer, from Nine in the Morning till Two, who will
give Receipts for every Sum so paid by each Subscriber as aforesaid.[17] |
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William Stukeley, Diary Apr. 18 [1720]. At the Lincolnshr. Feast, Ship Tavern, Temple barr. prest. Sir Is. Newton. Upon my mentioning to him the rehearsal of the Opera to night (Rhadamisto) he said he never was at more than one Opera. The first Act he heard with pleasure, the 2d stretch’d his patience, at the 3d he ran away.[18] |
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The Governour and
Court of Directors of the Royal Academy of Musick do hereby give Notice, that
a General Court will be held on Friday the 6th of May next, at Eleven of the
Clock in the Forenoon, whereof each Subscriber is desired to take Notice.[19] |
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RADAMISTUS, AN OPERA. As it is Perform’d At the KING’s THEATRE in the HAY-MARKET, FOR THE Royal Academy of Musick. [woodcut framed by single lines] LONDON: Printed for THO. WOOD in Little Britain. 1720. [page]
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[Stefano Benedetto Pallavicini to Giuseppe Riva, Dresden, Wednesday 24 April 1720] Having been favoured by your most illustrious lordship’s most esteemed letter of the 9th, I did not fail to send your enclosure promptly to Senesino, who continues to travel with difficulty because of the bad weather that he has encountered. What you tell me of the problems that have arisen since the conclusion of the agreement tallies with the news written by Handel to one of his correspondents here, from which—although it is based partly on suspicion—we have concluded that the Academy is divided by a kind of schism.[20] |
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By Command. AT the King’s Theatre in the Hay-Market, this present Wedneesday, being the 27th of April, will be perform’d a New Opera call’d, RADAMISTUS. The Pit and Boxes to be put together, and no Persons to be admittd without Tickets, which will be deliver’d at Mrs. White’s Chocolate-house in St. James’s-street, and at the Theatre, at Half a Guinea each.The Gallery 5 s. N.B. When the Tickets are dispos’d of, no Person will be admitted for Money. To begin at Half an Hour after Six.[21] |
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The Governour and Court of Directors of the Royal Academy of Musck do hereby give Notice, That a General Court will be held on Friday the 6th of May next, at Eleven a-Clock in the Forenoon, whereof each Subscriber is desired to take Notice.[22] |
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[Diary of Mary, Countess Cowper] [Wednesday, April 27.] At Night, Radamistus, a fine Opera of Handel’s Making. The King there with his Ladies. The Prince in the Stage-box. Great Crowd.[23] |
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On Wednesday Night last, his Majesty and his Royal Highness the Prince were at the Opera in the Hay-Market.[24] |
May 3
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[Mr. Southwell to Dorothy Savile (later Countess of Burlington), May 3] Handle’s new opera pleases very much & has many good songs in it[25] |
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AT the King’s Theatre in the Hay-Market, this present Saturday, being the 14th of May, will be perform’d a New Opera call’d, RADAMISTUS. Boxes 8 s. Pit 5 s. Gallery 2 s. 6 d. Boxes on the Stage Half a Guinea. N. B. The Communication from the Stage to the Side Boxes on Market-Lane Side being taken off, the Admittance to them will be through the Passage that leads to the Pit on the Left Hand. To be admitted on the Stage One Guinea. To begin at Half an Hour after Six.[26] |
Suites de Pieces
pour le Clavecin Composées par G. F. Handel. [rule] PREMIER VOLUME [rule] J. Cote sculp
London printed for the Author, <an>d are only to be had at Christopher Smiths in Coventry Street the Sign of ye Hand & Musick book ye upper end of the <Ha>y Market and by Richard Mear’s Musical Instrumentmaker in St. Pauls Church Yard. [folio] [royal crest] GEORGE R. GEORGE, by the Grace of GOD, King of Great Britain, France and Ireland, Defender of the Faith, &c. To all to whom these Presents shall come, Greeting: Whereas George Fredrick Handel, of our City of London, Gent. hath humbly represented unto Us, That he hath with great Labour and Expence composed several Works, consisting of Vocal and Instrumental MUSICK, in Order to be Printed and Publish’d; and hath therefore besought Us to grant him Our Royal Priviledge and Licence for the sole Printing and Publishing thereof for the Term of Fourteen Years: We being willing to give all due Encouragement to Works of this Nature, are graciously pleased to condescend to his Request; And We do therefore by these Presents, so far as may be agreeable to the Statute in that behalf made and provided, grant unto him the said George Fredrick Handel, his Executors, Administrators and Assigns, Our Licence for the sole Printing and Publishing the said Works for the Term of Fourteen Years, to be computed from the Date hereof, strictly forbidding all our Loving Subjects within our Kingdoms and Dominions, to Reprint or Abridge the same, either in the like, or any other Volume or Volumes whatsoever, or to Import, Buy, Vend, Utter or Distribute any Copies thereof Reprinted beyond the Seas, during the aforesaid Term of Fourteen Years, without the Consent or Approbation of the said George Fredrick Handel, His Heirs, Executors and Assigns, under their Hands and Seals first had and obtain’d, as they will answer the contrary at their Perils: Whereof the Commissioners and other Officers of Our Customs, the Master, Wardens and Company of Stationers are to take Notice, that due Obedience may be rendred to our Pleasure herein declared. Given at Our Court at St. James’s the 14th Day of June, 1720. in the Sixth Year of Our Reign. By His Majesty’s Command, J. Craggs. [folio]
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New Musick just publish’d, *║* All the Songs, Airets, and Symphonies, in the new Opera call’d Numitor, as they are perform’d at the King’s Theatre for the Royal Academy; compos’d by Signor Porti. The new Minuets and Rigadoons, French Dances, perform’d at the Ball at Court on his Majesty’s Birth-day, 1720. Together with the new Dances and the Minuets and Rigadoons at the late Masquerades. Printed for and sold by J. Walsh, Servant in Ordinary to his 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.[28] |
Jun 20/Jul 1 (NS)
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Francesco Bernardi {Senesino} (in
Dresden) to Riva (in London) |
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Siena il p[rim]o Lug[li]o 1720. Monsieur Mi viene
consegnato il pregiatis[si]mo [foglio] di V[ostra] S[ignoria] dei 3. caduto dal
S[igno]r Seg[retari]o della Serenis[si]ma Governatrice fr[at]ello pure di
codesto Sig[no]r Seg[retari]o Pucci, al quale consegno il presente, et in
risposta le dico esser da me venerati i suoi ponderati consigli, che oltre
l’appigliarmici con l’esecuzione costà, io g[lie]ne ne resto all’estremo
obbligato, e scorgo da ciò quanto a mio favore ella s’interessa, e mi
riguarda, assicurandola che non vedo l’ora di venir costà per godere
gl’effetti del suo Patrocinio e dipendere in tutto e per tutto dal medesimo,
che sò mi sarà d’un spalleggio per dissipare quelle calunnie che mi danno da
temere assai quantunque le mie procedure sieno state finadora molto
differenti, e se per caso qualche cosa mi possa essere accaduto, non sarà se
non che con tutte le ragioni che m’assistevano, ma non per altro provenienti
ne da superiorità ne da Capriccio ne dà malignità alcuna. tutte codeste
impressioni ingiustam[en]te fattemi doverebbero essermi vantaggiose nella
diversità Del mio procedere quando non fossero inoltrate negl’animi di quegli
a segno di non potersi mai estinguere particolarmente a quelli che ne sono
l’impostori. Iddio difenda la mia innocenza ch’io dal mio canto operarò
secondo soglio nel passato, e molto più costà per appigliarmi ai suoi amorosi
consigli che sò non esser altro che per mio maggior bene. Il mio maggior
dispiacere è il sentire che lei non si trovarà alla mia venuta costà, ma
altresi la ringrazio che ella m’abbia appoggiato ad amici tali che non
mancarò considerarli in quel grado che ella me li descrive per non sbagliare
in alcuna cosa che io, per non esser pratico, potesse incorrerci
involontariam[en]te. Non lasciarò sub[it]o di fare quelle visite che da lei
mi vengano insinuate, et altresì farò il possibile per vincere l’animo di
M[onsieu]r Hendel, quantunque il gran piacere possa avere nel sentire la
venuta del S[igno]r Gio[vanni] Bononcino da me tanto stimato virtuosis[si]mo
[et] a Seconda di tutta la Nazione farne a Gara con chi si sia nell[’]
ammirarlo come hò fatto altre volte. Vorrei al mio arrivo che fusse pronto il
mio quartiere et in caso ella potrebbe lasciarne il peso a M[onsieu]r
Haidegger a cui io professo infinite obbligazioni, e che mi riverirà
caram[en]te. Io al presente non godo intieram[ente] la salute ma spero presto
rimettermi ed essere in pronto alla partenza per costà verso la fine di
Lug[li]o, ò anche prima per prender pausa nel viaggio acciò il furore dei
Caldi non mi pregiudicasse, et in mia Compagnia sarà il mio caro Berscelli un
fr[at]ello e due ser[vitor]i e di conserva ce ne verremo a godere la tanto
desiderata Londra. Ella potrebbe favorirmi di qualche lettera a Roterdam per
mezzo del S[igno]r Fano o altri suoi amici, per che colà avesse assistenza
nell’imbarco e in altro bisogno potesse accadermi. Io sperarei nel primo sfronto
in codesto Teatro una buona scielta d’opera et una buona parte, a misura di
quelle che soglio avere in Italia e altrove, e questo lo spero dalla bontà di
tutta l’Accad[emi]a Reale[.] Godo sentire stabilito il S[igno]r Boschi si che
la Compagnia sarà di tutta riputazione per la buona scielta che fà di
suggetti codesta Accad[emi]a Reale. Io spero la risposta di questa in
Amsterdam per Roterdam con l’indirizzo di qualche buono Amico suo colà, e con
presto riverirla in persona Resto sempre più obbligato di quanto m’espone
nella sua per mio bene assicurandola che oltre l’esecuzione professarò tutta
la dipendenza in lei con la quale mi pregio vivere eternam[en]te e Sono De Vous
Monsieur Votre tres humble et tres oblige
Serviteur François Bernardi |
Monsieur, The most
valuable [letter] from your honour of the 3rd of the last month was delivered
to me by the secretary of the most serene governess [of Siena, Violante
Beatrice of Bavaria] and brother of the secretary Pucci, to whom I entrust
the present [letter]. In answer to you I say that your judicious advice is
most appreciated, as I will not only follow it over there [in London], but
will also remain most obliged to you for this, as I see from this how much
you care for my wellbeing and how much regard you have for me. I assure you
that I am looking forward to arriving over there to enjoy the effects of your
patronage and to depend in every way upon it, for I know that you will help
me to dissipate those slanders which cause me considerable distress, although
my behaviour until now has been very different, and if anything has happened
to me, it has been with all good reason and not in any way deriving from a
sense of superiority, nor from willfulness or any maliciousness. All these
unjust impressions would play to my advantage because my behaviour is
actually very different, if it were not for the fact that they [the slanders]
are so ingrained in people’s hearts, especially of those who initiated them,
that they cannot be extinguished. God may defend my innocence, while for my
part I will continue to act as I always have in the past, especially over
there, in order to follow your loving advice, which I know is nothing other
than for my own good. My greatest sorrow is to hear that you will not be
there [in London] for my arrival, but nevertheless I thank you for having
entrusted me to friends, whom I will not fail to consider in such esteem as
you describe them, in order not to err in anything which, for lack of local
knowledge, I could incur involuntarily. I will not fail to pay those calls
that you suggest and also I shall do all I can to win over Monsieur Handel,
although I may have great pleasure in hearing of the arrival of Signor
Giovanni Bononcini, a great artist whom I much admire, as does the whole nation,
and I would challenge anyone to admire him more than I do and have done in
the past. I would hope that my quarters are ready for my arrival and perhaps
you could leave this responsibility to Monsieur Haidegger, to whom I profess
infinite obligation and to whom I ask you to send my kind regards. At present
I am not particularly well, but I hope to recover soon, and to be ready to
depart [for England] towards the end of July or possibly earlier, in order to
have a break in the journey so that the great heat does not affect me, and my
dear Berselli, a brother and two servants will accompany me; together we will
come to enjoy much desired London. Please send me some letters [of
introduction] to Rotterdam via Signor Fano or any other of your friends, so
that I can have assistance in taking the boat and for anything else I might
need. I would hope that for my first appearance in the theatre there I would
have a good choice of opera and a good part, on the same level as those I am
used to having in Italy and elsewhere, and I hope for this through the
goodness of the Royal Academy. I am delighted that Signor Boschi has been
engaged, so that the company will have a fine reputation for the Royal
Academy’s choice of subjects. I hope for a reply to this [letter] in Amsterdam
via Rotterdam, with the addresses of some good friends of yours there, and to
be able very soon to pay my respects to you in person. I remain ever more
obliged to you for what you have promised in your [letter] on my behalf,
assuring you that as well as what you are doing for me, I will acknowledge
the total reliance on you with which I am privileged to live, and I am, Yours, Sir Your most humble and very obliged
Servant François Bernardi[29] |
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THis is to give Notice to all Gentlemen and Ladies, Lovers of Musick, that the most celebrated new Opera of Radamistus, compos’d by Mr. Handell, is now Engraving finely upon Copper-Plates by Richard Meares, Musical Instrument-Maker and Musick-Printer, at the Golden Viol and Hautboy on the North-side of S. Paul’s Church-yard, London. NB. To make this Work the more acceptable, the Author has been prevailed with to correct the whole.[30] |
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John Gay, Poems
on Several Occasions. [Subscribers List] Mr. Handel.[31] |
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[Claver Morris diary, Wells, 1 August 1720] [Augustus Spittle brought] the Treble Voice-Part of Handel’s Anthem [Morris paid a guinea] For Handel’s Anthem in 8 parts, (My Song shall be) prick’d out in 9 Books[32] |
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[Wells, 2 August 1720] [...] I returned home by 8, & went to our Consort, at Close-Hall where Mr. Spittle was, & much Company; and we tried Handel’s Anthem (My Song shall be King.)[33] |
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Willer’s Hamburg Notes Aug. 29. Rinaldo. 60 Rthl.[34] |
Aug 23
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[p.1] A
Catalogue of Instrument
belonging to his Grace James Duke of Chandos. No. 1 A Chamber
Organ with 3 Rows of Keys and 18 Stops made by Mr. Jordan No. 2 A four
square Harpsichord with two Rows of Keys at one End and a Spinet on the side made
at Antwerp by John Ruckers, the Lid is painted and the Lid
[struck through] represents the Mount Parnassus with the nine
Muses, and Minerva coming to instruct them, painted by A Tilens in the year 1625. No. 3 A
Harpsichord with two Rows of keys made at London by Hermanus Table 4 A Spinet made by Thos.
Hichcock. 5 A double Bass with a Case for it made by Mr.
Barrett – 16 6 A Violincello or Bass Violin made by Mr.
Mears 7 A Tenor Violin by Mr. Mears 8 A Violin made by Jacobus Stainer in Absam
prope Oeni Pontus 1660, this is printed
upon a little Paper on the Inside of this Violin a Case to it. 9 A Violin made by Jacobus Stainer in Absam
prope Oeni Pontum 1676 this is written
upon a little Paper in the inside of this Violin a Case to it. 10 A
Violin made by Jacobus Stainer in Absam prope Oeni
Pontum 1665 this is Printed
upon a Paper in the Inside a Case to it. 12 A
Violin made by Jacobus Stainer in Absam prope Oeni
Pontus 1678 this is written
upon a Paper on the inside a case to it. [Added later:] there
are besides these violins be fore mentioned 2 more made at London. The following
Instruments are at London in Albemarle Street
12 A Bass Viol made by Henn: Jay in Southwark
1613 with a case to it. 13 An Harpsicord with two Rows of keys in the back Parlour. 14 A
Spinet in my Lord Marquess’s Room
15 An Harpsicord with gutstrings made by Mr.
Longfellow of Pembroke Hall in Cambridge,
this Instrument stands at Boswell Court at my House.
[Added later:] these two following Instruments have been found at
Cannons since I made my first Catalogue. 16 A
Bass Viol made by Barrack Norman 1702
17 A
Bassoon made by H. Wietfelt
18 Two French Hunting Horns made per Johannem
Leicham Schneider in Wienn 1711 19 A
Trumpet made by John Harris at London
All these Instruments I have
under my Care Augt. the 23d. 1720 J.C. Pepusch [p.9] Observations upon comparing two Catalogues of his
Grace’s Musical Instruments
One wrote by Mr Noland and subscrib’d by Dr Pepusch in
1720. Aug 23. The other wrote by the Dr. himself and
deliver’d to his Grace Octob: 23:1721. From No. 1 to No. 11 inclusive
there is an exact agreem’t. But at the end of No. 11 in Nolands Catalogue there are
these words added. There are besides the violins before mention’d 2 more
made at London. The Drs’ Catalogue owns [?] one of
these made at London by John Brown 1709 a Quere what is become of the other? [35] |
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Paolo Antonio Rolli to Giuseppe Riva |
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Londra il 25
d’Ag.o 1720 Portolongone
pesca al fondo, e per far paura al’Filarmonico, mandogli un messo indicente
taciturnità sotto le pene del bando: e non ricevente risposta. Compatisca la
grossezza della pilola. Zitto perch’è secreto. Goldensquare che ceramente è
golden non vuol più calzare il coturno canoro-stile della Pallade veneta.
L’ornato Conte di Burlington e in York, seco v’è il buon Bruce, e il. Sig.
Kent. La Cuzzona è impegnata per quest’anno: e per l’altro non vuol venire a
men del prezzo Senese. La Signora Margherita è gravida e v’è di ciò molto
disturbo ne’ Direttori: alcuni me n’an fatto alto lamento, particolarmente in
tempo ch’ella doveva essere il sostegno feminino dell’opera. L’onesto
Avelloni n’è afflitto, ed essa n’è infierità: e ne vedrete l’affetto del di
lei ritorno in Italia, senza curarsi di 1000.– lire e più l’anno qui: delle
quali la metà risparmiata; fa gran denaro nel paese Ausonio, particolarmente
per l’ovara che produce il germe annuale … Non ò ancor nuove del Bononcini. vorrei che se ne venisse per Germania, giacchè il Contagio Marsigliese dicesi che si dilata: ma la Bug. [?] non vorrei che se ne venisse ad isolarci benchè a mal che non à rimedio è coglioneria pensare [?] va un po là diceva Balam all’asino.[36] |
London, 29th [sic] August 1720. … Portolongone
fishes in deep waters and in order to scare the Musiclover (“Filarmonico”), I
sent him a warning to keep his mouth shut under pain of the ban. No answer
came; no wonder! Consider the size of the pill. Do not breathe a word,
because it is a secret. Goldensquare, who is truly golden, refuses any longer
to wear the Operatic buskin just like the Venetian Minerva. The honourable
Earl of Burlington is in York and the good Bruce and Mr. Kent are with him.
Cuzzona has been engaged for this year; as for next year she refuses to come
for less money than at Siena. Mrs. Margherita is pregnant and the Directors
[of the Academy] are very much annoyed about it. Some of them have complained
with me of it, especially now that she was expected to be the leading lady in
the Opera. Honest Avelloni is distressed about it, and she flew into a rage,
and you will see the result: she will return to Italy, regardless of her
salary here of a thousand pounds and more per year. The half of this if saved
means a lot of money in Italy, especially for someone like her who germinates
yearly.… No news yet from Bononcini. I had rather he came through Germany, since the Marseilles epidemic is said to be spreading. But I should not like it to end by putting us in quarantine, although it is damned silly to worry about an evil for which there is no remedy. “Go on there,” Balaam kept saying to his ass.…[37] |
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On Monday next the Famous Singer, Beneditte, Sings before their Royal Highnesses the Prince and Princess, in Mr. Penkethman’s Theatre at Richmond.[38] |
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His Grace the Duke Chandois’s Domestick Chappel at his Seat at Cannons near Edgworth, is Curiously adorned with Painting on the Windows and Ceiling, had divine Worship perform’d in it with an Anthem on Monday last, it being the first time of its being opened.[39] |
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Paolo Antonio Rolli to Giuseppe Riva Londra il 20/9
Settembre 1720. Amico Caris.mo Non si concluse
poi nulla circa la casa accennatavi nell’altra lettera: Il Sig.r
Avelloni offerse 100.– [£], ma il padrone non volle darla a meno di
120.–. Forsechè s’io non diceva esser troppo caro, si sarebbe concluso il
contratto: e così al principio d’ottobre vi cominciavano a correre cinque
lire di spesa inutile il mese: … Oggi gli stocchi an cominciato a rialzarsi
dalla ruinissima caduta: la nostra sottoscrizzione non trovava 30 per
cento di contante. Spero che lo spirito d’Alzamento ritornerà, e per Dio, me
ne voglio profittare. Aspetto con ansietà il Senesino, e
non mancherò usar seco tutta l’arte per cattivarlo a tutta l’onestà per
rischiarirgli le materie. Non ò altre nuove di Bononcini,
dopo che seppi ch’avea ricevuto il denaro trasmesso, e s’avea fatto dar
credito a Livorno di cento altre doppie da un corrispondente del Sig.r
Como. Addio, è tardi, e non ò notizie municipali da darvi per ora. Vro Rolli[40] |
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Paolo Antonio Rolli to Giuseppe Riva |
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Londra il 23 di
settembre Lpo [1720] Caro Riva mio, Lunedì passato arrivò il Sig:r
Senesino col Berselli e la Salvai: n’ebbi nuova il martedì in Richmond stando
a pranzo, et immediatamente col buono Casimiro venni alla città. Mi consolo
infinitamente di trovar questo celebre virtuoso si ben costumato, amatore
delle lettere, gentilissimo e d’ onorati sentimento. Caro Riva se dal buon
mattino siegue buona giornata, credimi ch’è una grand’ eccezzione della
Regola. Non passa buona corrispondenza tra lui e la Salvai: di lei non so
ancora dirvene alcuna cosa perchè solo una volta, l’ò vista, ma posso dirvi
che rumaroso, faccendone, e non inventor di prudenza e polvere l’uomo
[Handel] e i vostri occhiali lo squadreranno a prima vista. Ò trovato casa
dalli Sig.ri Senesino e Berselli in Leicesterstreet vicino a
Leicesterfeel. dove pagan 120 lire annue padroni di tutta la casa, perchè la
mia irriconciliabile avversione alle Landledi le fa sbalzar via per prima
condizione di contratto. Sono in tre a pagarne la pigione. due della quattro
parti ne sborsa il Senesino col suo fratello, una il Berselli, e l’altro un
tale Abbe, non ricordo il nome … Il Proteo alpino [Handel] s’è
spiegato in termini di stima verso di me col nostro Casimiro, il quale nelle
occasioni gli à chiaramente dimostrato ch’io devo meritar qualche stima. Caro
Riva esercito seco tutti quali atti di dipendenza che l’onestà permette: e
vedremo ancora se l’anima spinosa s’ammollirà. Ieri fui chiamato dal Bord
dell’Accad.a Reale, mi fu dato ordine d’esaminare ed accorciare il
Drama dell’Amore e Maestà: nulla avanzo senza il nostro Senesino,
ed ambo non avanziam nulla senza l’Heydegger: or vedete, se si può più. ma
quanto godo che il Senesino abbia cosi buona mente e per Dio che intende la
cabalà a meraviglia, ed aspettiamo voi per il Triumvirato. Ma caro Riva, che ruine san queste del southsee tutta la nobiltà è all’ultimo esterminio: non si vedono che visi malinconici.… Gran Banchieri falliscono; grandi stoccanti spariscono: non v’à conoscente o amico che si veda in total ruina. Questi villani Direttori della compagnia an tradito tutti ed vassicuro che se ne teme tragedia. Presto vi converrà tornare col caro et adorato Re Giorgio, e ne sarete spettatore. Il buon Casimiro non à sicurezza che in voi, senza il di cui consenso non si può alienare il titolo dell 1000.–[41] |
London, 23rd September 1720. On Monday last
Senesino arrived in company with Berselli and Salvai. I heard the news while
dining in Richmond on Tuesday and at once came up to town with our dear
Casimiro. I am delighted to find this famous artist a man well-mannered,
well-read, extremely kind and endowed with the noblest sentiments. Dear Riva,
if it is ever true that one recognises a fine day from a fine morning,
believe me it is the great exception to the rule. He and Salvai are not on
good terms with each other. About her I have nothing to tell you, because I
have seen her only once; but of him I can say that you will find out at the
first glance that the man is a noisy busybody and certainly not the soul of
discretion. I have found lodgings for Senesino and Berselli in Leicester
Street near Leicester Fields [?], where they pay a yearly rent of 120 pounds
for the whole house, because my invincible dislike for landladies causes them
to dart off at the first condition of a contract. They are three groups to
pay the rent: one half of it is paid by Senesino and his brother, the other
half by Berselli and a certain Abbé, whose name I don’t remember.… The Alpine Proteus [Handel] has
spoken of me in terms of great esteem to Casimiro, who has proved clearly to
him on several occasions that I deserve some consideration. Dear Riva, I
submit myself to all shows of humility towards him within the limits of
decorum, and we shall see whether that bristly nature of his will soften.
Yesterday I was called by the Board of the Royal Academy and commissioned to
examine and shorten Il Dramma dell’
Amore e Maestà (The Drama of Love and Majesty). I should make no progress
without our Senesino and both of us would be at a loss without Heydeger: now
you see if we can do more! How I rejoice that Senesino has such a clever mind
and understands the Cabal to perfection! We are expecting you to come and
make up the Triumvirate. My dear Riva, what ruination has the Southsea crash caused! The whole nobility is at its last gasp; only gloomy faces are to be seen. Great bankers are going bankrupt, great shareholders just disappear and there is not an acquaintance or friend who has escaped total ruin. These rogues of Company Directors have betrayed everybody and I assure you the tragic worst is feared. You will have to return soon with the dearly beloved King George and you will witness it all for yourself. Our good Casimiro has only you for security and without your consent the stock of 1000 pounds cannot be transferred.[42] |
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Paolo Rolli to Giuseppe Riva London, 29th September 1720. We did not come
to any final decision about the house which I spoke of in my last letter.
Avelloni offered 110 pounds but the landlord refused to let it at less than
120 pounds. Perhaps if I had not said it was too dear, the bargain would have
been struck.… The stocks today have begun to
rise. After their headlong fall, our subscription could not fetch 30% cash
value. I hope there will soon be a tendency to rise and by God I intend to
take advantage of it. I am waiting anxiously for
Senesino, whom I shall try to ingratiate with every art known to me and I
shall explain everything to him in all honesty. No other news from Bononcini, since I heard that he had received the money sent to him and had obtained credit of a hundred pistoles [at 18/– each] in Leghorn from a correspondent of Mr. Como’s.[43] |
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Paolo Antonio Rolli to Giuseppe Riva |
|
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Londra 18
ottobre 1720 … Sappiate poi
che M.r Salvai portè seco il Polani da Olanda: Sappiate ancora che
Sanda non può nèmeno nominarsi nella corte de’Direttori, perchè l’Amicone s’è
dichiarato suo Oste: suppongo ad istanza de’Beneficati che vedrem con alte
[?] cresta pettoruti incedere. Sappiate che la Marga di concerto col nostro
Senesino proposero l’opera d’Amore e Maestà: La qual’opera non può farsi come
a Firenze, perchè così saria d’innumerabile recitalivo e di tante poche
ariette; che il Sen.no n’avrebbe 4 sole in tutto. ebbi ordine
dunque d’acconciarla, e di concerto con amendue, tolsi ed aggiunsi e cangiai
il necessario. L’Alpestre Fauno [Handel] per lo sistema antico ch’ei sempre
propone per mostrare che quanto si fà è il medesimo ch’era prima: propose il
Polani ad accomodare e dirigere l’Opera. Furie dunque nel nostro Sen.no
Opera da lui proposta, necessaria nova musica per l’aggiunto e per quello
egli ci vuole variato: nemico di far pasticci d’arie uscita con un coglione:
sono stati motivi tutti di suo risentimento. Il Fauno [Handel] me gli fece
dire ch’ei non contradicesse; ed io parai la silvestie Ambasciata: ma non
potendo ritenerlo, lo consigliai d’andare egli stesso a parlargli con dolce
risolutezza che dicesse voler’aver tutta la Deferenza a’ suoi consigli ma in
ciò che riguarda la propria stimazione, pregarlo a ben considerare tutti il
sopraccennati motivi: ch’egli non avea privata passione contro alcuno non che
contra al Polani; mentre avrebbe sotto di lui recitata ogn’altra Opera che i
Sig.i Direttori medesimi fossero per iscegliere: ma non mai
un’opera offerta da lui stesso, e della quale la corte de’Sig.ri
Direttori aveagli chiesto ragione per lo buon’esito: in somma che non
potendosi già recitar quest’Opera come stava; non v’era luogo di recitarla in
tal maniera, ch’ei non proponeva alcun’altro, mentre l’Accademia à presso di
se bravissimi Maestri. L’Uomo restò, e domandogli se questo era un mio
raggiro [unlesbare Stelle] ma n’ebbe assertiva negativa, e notizia ch’avevo
già dato l’Esemplare del Drama al Polani, ed esposto solamente i sentimenti
della Corte a lui perchè dirigesse il Polani: soggiungendo di più ch’ei non
era venuto a dirigere Opere, ma a fare il musico. Credete amico ch’ei parlò a
meraviglia, se parlò come ne ripetè il Discorso. E credete pure che la bella
prim’Opera undrebbe a terra se quello stupido l’avesse a dirigere; e ciò con
piacere del Selvaggio [Handel]. Domani il Sn.no deve andare alle
Corte de’Sig.ri Direttori: egli è questa sera a Richmond per le
ripetite istanze del Principe Reale che n’è trasportato e penso che verrà
seco la Margherita se il Casimiro non sta tanto male; quanto mi si dice
essere stato ne’giorni passati. Quei Direttori che n’an già risaputo il Fatto
come Arbuthnot e il colend. Blethwait, an detto che saran domani apposta al
Bord per fare tutto quello il Sig.re Senesino vorrà perchè a
ragione: e siccome il tutto passa con somma dolcezza e modestia così si
spera, che l’Uomo farà buon viso al cattivo gioco. Ma rido che sospetta di
me, e non si fida della mia civilissima apparenza al suo maestoso Caprino
aspetto. Ma sian’inpalati i Direttori del Southsee ch’an ravinato tutti li
miei amici. e temo molto, che avran per consequenza ravinato l’Accademia, God
dam’em <…> storta Bolognese! … Bononcini è già quì. Milord Burlington appena arrivato in città; ch’è andato per 15 giorni alla campagna, e m’a detto che al suo ritorno farà trovare preparata l’abitazione per il med.mo. Vado a poco a poco istruendolo e dichiarandogli la cifra: e lo trovo disposto al Dovere ed il principale mio consiglio è tenerli unito co’l Senesino: del quali egli à già concepito molta stima, perch’è bravissimo.[44] |
London, 18th October 1720. You must know
that Madame Salvai has brought Polani with her from Holland; you must know
further that the name of Sanda [Sandoni?] may not even be mentioned in the
Board of Directors, because Amicone is there declared to be his host, at the
suggestion, I suppose, of the Beneficiaries whom we shall soon see strut
about, highcrested and puffed-up. I must tell you that Margherita, in
conjunction with our Senesino, proposed the opera of “Amore e Maestà.” Which
opera cannot be performed as at Florence, because it would then have so much
endless recitative and so few arias, that Senesino would have only four in
all. I was therefore instructed to polish it up and in accord with them both
I removed and added and changed as was necessary. The Alpine Faun [Handel],
according to the ancient system which he always proposes, in order to show
that what has been done is the same as it was before, proposed Polani to
rearrange and direct the opera. Our Senesino, naturally enough, was furious:
the opera had been proposed by him, new music was necessary for the
additional part and for that he wanted it to be varied; he was opposed to
making a pastiche of old arias and wanted to have a man at the harpsichord;
at his first outburst he [Handel] called him a damned Fool; these were all
motives for his resentment. The Faun obliged me to tell him not to oppose him
and I was bearer of the Faun’s embassy. But I could not restrain him
[Senesino] and I advised him to go himself to speak to him [Handel] with
gentle firmness and say to him that he wished to show all due deference to
his advice, but that as regarded his personal estimation he begged him to
take into consideration all the above-mentioned arguments; that he
entertained no personal animosity against anyone except Polani, but that he
would have sung under him in any other opera which the esteemed Directors
themselves might wish to choose; not, however, in an opera which himself had
proposed and for the success of which the Board of Directors had made him
responsible; in short that it not being possible to perform this opera as it
then was, there was no occasion for performing it in such a manner; that he
did not propose anyone else, while the Academy had at its disposal excellent
musicians. The Man [Handel] was taken aback and asked him if this was a trick
of mine <…> but be obtained a non-committal reply and was informed that
I had already given a copy of the opera to Polani and had only explained to
him the Board’s opinions so as to guide Polani, adding furthermore that he
had not come to direct operas but to be a musician. Believe me, he [Senesino]
spoke with remarkable eloquence, if he·worded the reply as he repeated it to
me. Rest assured also that the very first opera would fail utterly if
directed by that stupid man—and all to the delight of the Savage [Handel].
Tomorrow Senesino must go before the Board of Directors; he is this evening
at Richmond at the repeated request of the royal Prince [of Wales] who is
quite carried away by him, and I think that Margherita will go with him, if
Casimiro is not so ill, as I am told he has been in the last days. Those
Directors, who have already come to know of the facts, such as Arbuthnot and
the most estimable Blaithwaite, have declared that they will be at the Board
tomorrow of set purpose to do all that Signor Senesino shall desire because
he is in the right; and as the whole affair is proceeding with the utmost
smoothness and restraint, so we hope that the Man [Handel] will set a good
face on a bad game. But I am amused that he should suspect me and not trust
my most polite manners in his majestic Faunlike presence. They ought to be gibbeted
these South Sea Directors, who have ruined all my friends—and I very much
fear that they will in consequence have ruined the Academy. God damn’em.… Bononcino is here already. Mylord Burlington had only just arrived in town when he went into the country for a fortnight and he told me that on his return he will have the house ready prepared for him. I am gradually instructing him and telling him the remuneration [due to me]. I find him well disposed to do his duty and my principal advice to him is to keep himself united to Senesino. He has already conceived a high opinion of him because he is very able.[45] |
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[Paolo Rolli to Giuseppe Riva, October 1720] Learn that la Margherita [Durastanti] in concert with our friend Senesino has proposed the opera, “Amore e Maestà,” which cannot be given in the version used at Florence, because it contains such an immense amount of recitative, and so few ariettas that Senesino would only have four solos in the whole work. So I had orders to shorten it, and with the assistance of . . . . . I added to it and changed it where necessary. The Alpine Faun [“l’Alpestre Fauno,” i. e., Handel, possibly in allusion to his German origin], is all for the old system, which he is always advocating, because he says that the more one works at a [436] thing, the more it remains the same as before. He proposes Polani to adapt and direct the opera. Senesino is furious . . . .[46] |
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Next Sunday the Cathedral at St. Paul’s, which has been shut some time, will be opened, when a new Anthem will be sung; there has been such Improvements made to the Organ, that it is now reckoned the best in Europe.[47] |
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Next Sunday St. Paul’s Cathedral is to be opened; there hath been great Improvements made in the Choir, and particularly in the Organ, which is now said to be the best in Europe; there is also to be a new Anthem sung.[48] |
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The new Stops and Addition of Notes to the Organ at St. Paul’s is now finish’d, and, by the best Judges, thought to be the finest in Europe; they will be open’d To-morrow, and a new Anthem will be sung by some of the best Masters, among whom are Mr. Wheeley, Mr. Hughs and Mr. Chelsum.[49] |
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This is to give Notice, That Mr. Handel’s Harpsicord Lessons neatly Engraven on Copper Plates, will be published on Monday the 14th Instant, and may be had at Christopher Smith’s the Sign of the Hand and Musick-Book in Coventry-street the Upper-End of the Hay-Market, and at Mr. Richard Mear’s Musick-Shop in St. Paul’s Church-Yard.[50] |
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This is to give Notice, That a General Court of the Corporation of the Royal Academy of Musick will be held on Friday next, being the 4th Instant, at 11 of the Clock in the Forenoon, at their Office in the Hay-Market, pursuant to an Adjournment of the last General Court.[51] |
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The Directors of the Royal Academy of Musick, by virtue of a Power given them under the King’s Letters Patents, having thought it necessary to make a Call of 5 l. per Cent from each Subscriber, have authorized the Treasurer to the said Royal Academy or his Deputy to receive the same, and to give Receipts for each Sum so paid in. This is therefore to desire the Subscribers to pay, or cause to be paid, the said 5 l. per Cent, according to the several Subscriptions, on the 19th, 21st, and 22d of this Instant November, at the Opera House in the Hay-market, where Attendance will be given by the Deputy Treasurer, from Nine in the Morning till One in the Afternoon, who will give Receipts for every Sum so paid by each Subscriber as aforesaid.[52] |
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Johann Mattheson, Grundlage einer Ehrenpforte, Hamburg 1740 Mylord Carteret … langte den 8. November 1720 von seiner schwedischen Gesandtschafft in Hamburg an, und fand an unsers Matthesons Musik solche Lust, daß er einst zwo gantzer Stunden, ohne von der Stelle zu weichen, bey ihm saß und zuhörte; zuletzt aber, in Gegenwart der hohen Gesellschafft, dieses Urtheil fällete: Händel spiele zwar ein schönes und fertiges Clavier; aber er sänge dabei nicht mit solchem Geschmack und Nachdruck. Dieser grosse Mann [Carteret], der hernach Staats-Secretär, Vice-König in Irland etc. geworden, reisete den 14. Nov., in Gesellschaft des Herrn von Wich, als seines nahen Anverwandten, nach England …[53] |
Mattheson’s Records, 28th October to 3rd
November (8th to 14th November) 1720 Lord Carteret … from the Swedish Legation, arrived in Hamburg on 8th November 1720, and found in the music of our Mattheson such delight, that at one time he sat by him and listened for two whole hours without leaving his place; finally, in the presence of the illustrious company he passed this judgement: Händel indeed played the harpsichord in a beautiful and finished manner; but he did not sing with such taste and vigour. This great man [Carteret], who subsequently became Secretary of State, Lord Lieutenant of Ireland, &c., journeyed to England on 14th November in the company of Herr von Wich, his nearest kinsman.[54] |
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This is to give Notice, That Mr. Handel’s Harpsicord Lessons neatly Engraven on Copper Plates, will be published on Monday the 14th Instant, and may be had at Christopher Smith’s the Sign of the Hand and Musick-Book in Coventry-street the Upper-End of the Hay-Market, and at Mr. Richard Mear’s Musick-Shop in St. Paul’s Church-Yard. Note, The Author has been obliged to publish these Pieces to prevent the Publick being imposed upon by some Surreptitious and incorrect Copies of some of them that has got abroad.[55] |
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This Day is published, Mr. Handel’s Harpsichord Lessons neatly Engraven on Copper Plates, and may be had at Christopher Smith’s the Sign of the Hand and Musick-Book in Coventry-street the Upper-End of the Hay-Market, and at Mr. Richard Mear’s Musick-Shop in St. Paul’s Church-Yard. Price One Guinea.[56] |
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Händel, Preface to his Suites de Pièces pour le Clavecin I have been
obliged to publish some of the following Lessons, because surrepticious and incorrect
Copies of them had got Abroad. I have added several new ones to make the Work
more usefull, which if it meets with a favourable Reception; I will still
proceed to publish more, reckoning it my duty, with my Small Talent, to serve
a Nation from which I have receiv’d so Generous a protection. G F. Handel[57] |
Nov 29
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[Mrs. Pendarves to Mrs. Ann Granville] London, 29th Nov. 1720. [...] I was last Wednesday at the opera called Astartus; it is a new one, and there is very fine musick in it. The stage was never so well served as it is now, there is not one indifferent voice, they are all Italians. There is one man called Serosini [Senesino] who is beyond Nicolini both in person [58] and voice. [...][58] |
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New Musick just publish’d, … IV. The 3d Book
of the Lady’s Banquet, containing great Variety of the most pleasant and airy
Lessons for the Harpsichord or Spinnet, now in use. Compos’d by several
Authors. Price 3 s. … Printed for and sold by J. Walsh, Servant to his Majesty, at the Harp in Katharine-street in the Strand; and J. Hare at the Viol and Flute in Cornhill, near the Royal Exchange.[59] |
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On Thursday the 15th instant, will be publish’d, (with his Majesty’s
Royal Privilege and Licence) †*† The Opera of
Radamistus, composed by Mr. Handel; the Elegancies of which, and the
Abilities of its Author, are too well known by the Musical Part of the World,
to need a Recommendation, unless it be by informing them, that there hath
been such due Care taken in the Printing of it, (which consists of 124 large
Folio Copper-Plates, all corrected by the Author) that the Printer presumes
to assert that there hath not been in Europe a Piece of Musick so well
printed, and upon so good Paper. Publish’d by the Author, and printed by
Richard Meares, Musick-Printer in S. Paul’s Church-yard. Sold also by
Christopher Smith at the Hand and Musick-Book in Coventry-Street near the
Hay-Market. At both which Places Mr. Handel’s Harpsichord Lessons are
likewise sold. NB. The four Opera’s of Corelli have been retarded by the printing of Radamistus; but are now in hand, and will be publish’d with all Expedition, it being thought necessary that the same Workman who began them should finish the Whole.[60] |
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Giuseppe Riva to Agostino Steffani, London, Monday 2 December 1720 {...} Here we found the other sea, that of the South [the South Sea Company], in terrible turmoil: no sooner had we arrived in London than we beheld with compassion the first of the poor, drowned sailors, as well as others who were in danger without hope of saving themselves. Last Saturday [30 November N. S.] the opera house opened with the première of L’Astarto, with poetry by Apostolo Zeno [revised by Paolo Antonio Rolli] and music by [Giovanni] Bononcini, who is here. It had a marvellous reception, and in truth no opera could better stir the affections or make us more interested in the emotions of the characters. In sum, this is music that goes straight to the heart without any twists or turns, which I have heard mylord Piva [Steffani] say is the quality most difficult to achieve and rarely encountered nowadays. Some [of those] who are transported by Handel would like to find something [negative] to say, but it is difficult to resist the torrent [of admiration for Bononcini].[61] |
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This Day publish’d, †*† The most celebrated Opera of Rhadamistus, composed by Mr. Handell, curiously engrav’d upon 123 Copper Plates, and printed upon fine Dutch Paper, the whole Work being corrected by the Author. Printed and sold by Richard Meares, at the Golden Viol and Hautboy in S. Paul’s Church-yard, and sold by Christopher Smith at the Hand and Musick-Book in Coventry-Street in the Hay-Market.[62] |
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[An Ode on the Power of Musick] [dedicated to Alexander Malcolm dedication signed: “London December the / 19th, 1720.”] X. Musick religious Thoughts inspires, And kindles bright Poetick Fires; Fires! such as great * Hillarius raise Triumphant, in their blaze! Amid the vulgar-versifying Throng His Genius, with Distinction, show, And o’er our popular Metre lift his Song High, as the Heav’ns are arch’d o’er Orbs below. As if the Man was pure Intelligence, Music transports him o’er the heights of Sense, [8] Thro’ Chinks of Clay the rays above lets in, And makes mortality Divine. Tho’ Reason’s bounds it ne’er defies, Its Charms elude the Ken Of heavy, gross-ear’d Men, Like mysteries conceal’d from vulgar Eyes. Others may that Distraction call, Which Musick raises in the Breast, To me, ’tis Ecstacy and Triumph all, The foretastes of the raptures of the blest. Who knows not this, when Handell plays, And Senesino Sings? Our Souls learn Rapture from their Lays, While rival’d Angels show amaze, And drop their Golden Wings.[63] * Aaron Hill, Esq; |
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AT the King’s Theatre in the Hay-Market, this present Wednesday, being the 28th of December, will be perform’d an Opera, call’d, RADAMISTUS. The Pit and Boxes to be put together, and no Person whatever to be admitted without Tickets, which will be deliver’d out this Day, at Mrs. White’s Chocolate-house in St. James’s-street, at Half a Guinea each. N. B. Four Hundred Tickets will be deliver’d out, and after they are disposed of, no Person whatsoever will be admitted for Money. A proper Officer will attend at each Door, to deliver every Subscriber his Ticket, without which he will not be admitted. No Persons are to be admitted behind the Scenes. Gallery 5 s. To begin exactly at Six.[64] |
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On Wednesday
Night the Royal Family with a great Number of the Nobility, &c. were
[:went] to see the New Opera, call’d Rhadamistus, but Isabella did not Sing
as was expected. … Signior Nicoleni, the famous Italian Eunuch, is newly arriv’d here from Venice, and Sang last Wednesday Night at the New Opera with great Applause, ’tis said the Company allows him 2000 Guineas for the Season.[65] |
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On Wednesday Night his Majesty and the rest of the Royal Family went to see the new Opera, called Rhadamistus, where the famous Nicolini performed with his wonted Applause.[66] |
[1] The London Gazette, nr. 5815, Saturday 9 – Tuesday 12 January 1720, [2].
[2] The London Gazette, nr. 5820, Tuesday 26 – Saturday 30 January 1720, [2].
[3] The Daily Post, nr. 108, Friday 5 February 1720, [2].
[4] Händel Handbuch, 87.
[5] Deutsch, 100.
[6] I-MOe Autografoteca Campori: Melania Bucciarelli, “Senesino’s Negotiations with the Royal Academy of Music: Further Insight into the Riva-Bernardi Correspondence and the Role of Singers in the Practice of Eighteenth-Century Opera,” Cambridge Opera Journal 27 (2015), 189–213: 207–10; English translation based on that by Donald Burrows in George Frideric Handel, Collected Documents. Volume 1: 1609–1725 (Cambridge: Cambridge University Press, 2013).
[7] The Original Weekly Journal, Saturday 27 February 1720, p. 1675.
[8] Deutsch, 100.
[9] The Theatre, no. 20 (Saturday 5 – Tuesday 8 March 1720), [2]; repr., Chrysander, 2:30; Deutsch, 101.
[10] The Original Weekly Journal, Saturday 12 March 1720, 1688.
[11] Händel Handbuch, 87–88.
[12] The Theatre, no. 21 (Tuesday 8 – Saturday 12 March 1720), [2]; partly repr., Deutsch, 101.
[13] Lowell Lindgren and Colin Timms, “The Correspondence of Agostino Steffani and Giuseppe Riva, 1720-1728, and Related Correspondence with J.P.F. von Schönborn and S.B. Pallavicini,” Royal Musical Association Research Chronicle 36 (2003), 1-174: 34.
[14] I-MOe Autografoteca Campori: Melania Bucciarelli, “Senesino’s Negotiations with the Royal Academy of Music: Further Insight into the Riva-Bernardi Correspondence and the Role of Singers in the Practice of Eighteenth-Century Opera,” Cambridge Opera Journal 27 (2015), 189–213: 210–11.
[15] British Library, Add. Ms. 70482,(formerly Portland Papers 29/257), loose folios.
[16] British Library, Harley Ms. 7342, f. 12r-v; repr. Christopher Hogwood, “Thomas Tudway’s History of Music,” in Music in Eighteenth-Century England: Essays in memory of Charles Cudworth, ed. Christopher Hogwood and Richard Luckett (Cambridge: Cambridge University Press, 1983), 19-47: 45.
[17] The London Gazette, nr. 5839, Saturday 2 – Tuesday 5 April 1720, [2].
[18] Deutsch, 102.
[19] The London Gazette, nr. 5845, Saturday 23 – Tuesday 26 April 1720, [2].
[20] Lindgren and Timms, “Steffani,” 36.
[21] The Daily Courant, nr. 5777, Wednesday 27 April 1720, [1].
[22] The Daily Courant, nr. 5777, Wednesday 27 April 1720, [1].
[23] Diary of Mary Countess Cowper, Lady of the Bedchamber to the Princess of Wales. 1714-1720 (London: John Murray, 1864), 154; repr. Deutsch, 104.
[24] The Original Weekly Journal With fresh Advices, Foreign and Domestick, Saturday 30 April 1720, p. 1730.
[25] Chatsworth, Devonshire Papers, Letter MS 157.1: Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institutions and Its Directors (New York and London: Garland, 1989), 133, n79.
[26] The Daily Courant, nr. 5792, Saturday 14 May 1720, [2].
[27] British Library, shelfmark K1K9.
[28] The Post-Boy, nr. 4821, Thursday 16 – Saturday 18 June 1720, [2].
[29] I-MOe Autografoteca Campori: Melania Bucciarelli, “Senesino’s Negotiations with the Royal Academy of Music: Further Insight into the Riva-Bernardi Correspondence and the Role of Singers in the Practice of Eighteenth-Century Opera,” Cambridge Opera Journal 27 (2015), 189–213: 211–12; English translation based on that by Donald Burrows in George Frideric Handel, Collected Documents. Volume 1: 1609–1725 (Cambridge: Cambridge University Press, 2013).
[30] The Post-Boy, nr. 4831, Saturday 9 – Tuesday 12 July 1720, [1].
[31] John Gay, Poems on Several Occasions (London: Jacob Tonson and Bernard Lintot, 1720), n.p.; announced in The Daily Courant, nr. 5844, Thursday 14 July 1720, [2].
[32] H. Diack Johnstone, “Claver Morris, an Early Eighteenth-Century English Physician and Amateur Musician Extraordinaire,” Journal of the Royal Musical Association 133 (2008), 93–127: 117, and 113, n64 (continued from 112).
[33] [Claver Morris], The Diary of a West Country Physician, A.D. 1684-1726, ed. Edmund Hobhouse (Rochester: Stanhope Press, 1934), 80.
[34] Deutsch, 107.
[35] repr., Handel: A Celebration of his Life and Times, 1685-1759, ed. Jacob Simon (London: National Portrait Gallery, 1985), 283.
[36] Händel Handbuch, 92.
[37] Deutsch, 111–12.
[38] The Weekly Journal or, British Gazetteer, Saturday 27 August 1720, 1695.
[39] The Weekly Journal or, British Gazetteer, Saturday 3 September 1720, 1702.
[40] Händel Handbuch, 93.
[41] Händel Handbuch, 93.
[42] Deutsch, 112–13.
[43] Deutsch, 113–14.
[44] Händel Handbuch, 93–94.
[45] Deutsch, 114–15.
[46] R. A. Streatfeild, “Handel, Rolli, and Italian Opera in London in the Eighteenth Century,” The Musical Quarterly 3 (1917), 428-45: 435-36.
[47] The Weekly Journal. Or, Saturday’s-Post, nr. 99, Saturday 22 October 1720, 592.
[48] The London Journal, nr. lxv, Saturday 15 – Saturday 22 October 1720, 4.
[49] The Weekly Journal: or, British Gazetteer, Saturday 22 October 1720, 1743.
[50] The Daily Courant, nr. 5939, Wednesday 2 November 1720, [2].
[51] The Daily Courant, nr. 5939, Wednesday 2 November 1720, [2].
[52] The Daily Courant, nr. 5943, Monday 7 November 1720, [2].
[53] Händel Handbuch, 95.
[54] Deutsch, 116.
[55] The Daily Courant, nr. 5945, Wednesday 9 November 1720, [2].
[56] The Daily Courant, nr. 5948, Monday 14 November 1720, [2].
[57] Deutsch, 117–18.
[58] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed, Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 1:57-58.
[59] The Post-Boy, nr. 4892, Tuesday 29 November – Thursday 1 December 1720, [2].
[60] The Post-Boy, nr. 4892, Tuesday 29 November – Thursday 1 December 1720, [2].
[61] Lindgren and Timms, “Steffani,” 44.
[62] The Post-Boy, nr. 4898, Tuesday 13 – Thursday 15 December 1720, [1].
[63] [Jos.] Mitchell, An Ode on the Power of Musick (London: Thomas Jauncy, 1721), 7-8.
[64] The Daily Courant, nr. 5986, Wednesday 28 December 1720, [2].
[65] Applebee’s Original Weekly Journal, Saturday 31 December 1720, 1936.
[66] The Weekly Journal, Or Saturday’s-Post, nr. 109, Saturday 31 December 1720, 652.