1723
before Jan 12
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Anastasia Robinson to Giuseppe Riva Sr Not knowing how to ask you to give your self the trouble of coming here, and necessity obliging me to beg a favour of you, I must do it by writing. I am very sensible the Musick of my Part is exstreamly fine, but am as sure the Caracter causes it to be of that kind, which no way suits my Capacity: those Songs that require fury and passion to exspress them, can never be performed by me according to the intention of the Composer, and consequently must loose their Beauty. Nature design’d me a peaceable Creature, and it is as true as strange, that I am a Woman and can-not Scold. My request is, that if it be possible (as sure it is) the words of my Second Song Pensa spietata Madre should be changed, and instead of reviling Gismonda with her cruelty, to keep on the thought of the Recitative and perswade her to beg her Sons life of Ottone. I have read the Drama and tho I do not pretend to be a judge, yet I fancy doing this would not be an impropriety, but even suposing it one, of two evills it is best to chuse the least; in this manner you might do me the greatest favour immaginable, because then a Short Melancholly Song would be proper. I have some dificultys allso in the last I Sing, but for fear that by asking too much I might be refus’d all, I dare not mention them. And now I beg of you to believe no other motive induces me to give you this trouble, but the just fear I have that it would be impossible for me to perform my Part tollerably. By your granting what I so exstreamly desire, I shall have a double satisfaction, being gratify’d in what I insist on, and the pleasure of knowing you to be a real Friend to she who is Sr your obliged humble servant Anastasia Robinson[1] |
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Sr You are naturally to much enclined to laugh at me, therfore to avoid giving you an occasion by writing in Italian I shall in English tell you, I have great hope’s Sigr Bononcini’s Demands may be agreed to, tho in another form than that which he propos’d, the difficulty is to get the Benefit Day certain for they would have it to depend on their favour and generosity (a wretched dependance indeed), I took the liberty to say what they designed doing, must be by Contract, for tho Bononcini was a Papist, yet he had been long enough in that Heretical unbelieving Country, to loose all his Faith. You see I have little to accquaint you with; to Morrow it is possible I may know more, and if I do, you shall allso; thus much for our friends business. Now I want your advice for my self, you have hear’d my new Part, and the more I look at it, the more I find it is impossible for me to sing it; I dare not ask Mr Hendell to change the Songs for fear he should suspect (as he is very likely) every other reason but the true one. Do you believe if I was to wait on Lady Darlington to beg her to use that pover over him (which to be sure she must have) to get it done, that she would give her self that trouble, would she have so much compassion on a distressed Damsell that they are endeavouring to make an abbominable Scold of (in spite of her Vertuous inclinations to the contrary) as to hinder the wrong they would do her; you might be my friend and represent, tho the greatest part of my Life has shew’d me to be a Patient Grisell by Nature, how then can I ever pretend to act the Farmegant. But to speak seriously I desire you will tell me whether it would be wrong to beg my Lady Darlington to do me this very great favour, and you think she should do it, for Sr your obliged humble Servant Anastasia Robinson[2] |
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Last Week arrived here the famous Italian Lady Cotzani, that we have formerly spoken of. ’Tis said, she is the finest Performer that ever Italy produced, which has raised the Expectations of People here to a very great Height; so that they promise themselves much more Satisfaction this Winter, than the Theatre has ever yet been able to afford them.[3] |
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Cotzani, the famous Italian Lady, we hear, begins to sing at the Theatre in the Hay-Market this Evening: She is to have 2000 l. for her Performance this Season. On Tuesday she had the Honour to sing before their Royal Highnesses, and several of the Nobility at Leicester-House.[4] |
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AT the King’s Theatre in the Hay-Market, this present Saturday, being the 12th of January, will be presented, A New Opera call’d, OTHO, King of Germany. Pit and Boxes to be put together, and in Regard to the Increase of the Numbers of the Subscribers, no more than Three Hundred and Fifty Tickets 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. No Tickets will be given out at the Door, nor any Persons whatsoever admitted for Money. Gallery 5 s. By Command, no Directors, Subscribers, or any other Persons will be admitted behind the Scenes. To begin exactly at Six a-Clock.[5] |
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Mr. MIST, I Am obliged to take Notice of a virulent Libel upon me, that appeared under the Title of Annus Mirabilis, and pretends to be written by ABRAHAM GUNTER, Philomath. The Author is pleased to tell us, that on Saturday the 8th of December, through the Influence of a strange Conjunction, the whole Humane Species were to be affected in a Change of their Sexes; and that I particularly should, about Eight of the Clock that Evening, make an unusual Motion, and be seized with a strong Succession of the Muscles in my lower Parts. This is a flagrant Scandal on me, who have neither made any such Motion, nor felt any such Succession. It was past Eight of the Clock before I sung the Song of Si videte, &c. and I took out my Watch on the Stage before the Audience, to convince them that the threaten’d Hour was past without any such Change, as was pretended should affect me. And, indeed, the Abuse is no less on Mr. Gunter, who, I believe to be a very honest Man, and, I dare say, very innocent of this Libel; for I find, upon Enquiry, that it has POP’d out upon the World from the Contrivance of two Wits in Conjunction; but if such Defamation be their best Talent, I think they ARE-BOTH-NOT worthy of that Character. I declare to you, Sir, and I desire you to declare for me to the World, that I, by Order, that Night about Eleven, communicated the State of my Affairs to Mr. H---gg---r, who, upon the most candid Inspection and Examination of Matters, is ready to testify, that I have no more of the negative Quality peculiar to the Females, nor that I am positively any more a Man than usual. Believe me to be, in Recitativo, SIR, Your Well-wisher, And humble Servant, SENZINO.[6] |
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Seignora Cuzzani, the famous Italian Lady, lately arrived, began to sing at the Theatre in the Hay- Market on Saturday last: We hear she is to have 2,000 l. for her performing this Season.[7] |
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His Majesty was at the Theatre in the Hay-Market, when Seigniora Cotzani performed, for the first Time, to the Surprize and Admiration of a numerous Audience, who are ever too fond of Foreign Performers. She is already jump’d into a handsome Chariot, and an Equipage accordingly. The Gentry seem to have so high a Taste of her fine Parts, that she is likely to be a great Gainer by them.[8] |
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On Saturday Night last the celebrated Seniora Cutzoni, lately arriv’d from Italy, said to exceed all others in Voice and Judgment, perform’d a Part in the New Opera, call’d Otho, before his Majesty, and a numerous Audience, with the greatest Applause imaginable.[9] |
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AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 15th of January, will be presented, A New Opera call’d, OTHO, King of Germany. Pit and Boxes to be put together, and in Regard to the Increase of the Numbers of the Subscribers, no more than Three Hundred and Fifty Tickets 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. No Tickets will be given out at the Door, nor any Persons whatsoever admitted for Money. Gallery 5 s. By Command, no Directors, Subscribers, or any other Persons will be admitted behind the Scenes. To begin exactly at Six a-Clock.[10] |
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A. de Fabrice to Count Flemming |
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À Londres le 15. de Janvier (1723). Monsieur. … A la fin la fameuse Cozzuna est arrivée non seulement, mais Elle a chanté encore à un nouvel Opera de Hendell, nommé Othon, le meme sujet de Celui à Dresden, avec un tres grand aplaudissement, et la Maison remplie comme un Oeuff. C’est aujourdhui la seconde representation et il y a une si grande presse pour y aller qu’on vend deja à 2. ou 3. Guinées le Ticquet, dont le pri Courant est une demy-Guinée; de maniere qu’on en fait presque un Mississippi ou une Sudsée. Outre cela il y a deux Factions, les uns pour Hendell et les autres pour Bononcini, les uns pour Cenesino, et les autres pour la Cossuna, qui sont aussy animés que les Whigs et Torys l’un contre l’autre, et qui partagent les Directeurs meme quelque fois.[11] |
London, January 15th, 1722–23. … In the end the famous Cozzuna not merely arrived but even sang in a new opera by Hendell, called Othon—the same subject as the one at Dresden—with enormous success; the house was full to overflowing. Today is the second performance and there is such a run on it that tickets are already being sold at 2 and 3 guineas which are ordinarily half a guinea, so that it is like another Mississippi or South Sea Bubble. Over and above that, there exist two factions, the one supporting Hendell, the other Bononcini, the one for Cenesino and the other for Cossuna. They are as much at loggerheads as the Whigs and Tories, and even on occasion sow dissension among the Directors.[12] |
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The Governour and Court of Directors of the Royal Academy of Musick do hereby give Notice, That they have appointed a General Court to be held on Wednesday the 23d Instant, at Eleven a-Clock in the Morning, at their Office in the Hay-Market. All the Subscribers belonging to the Corporation are desired to be present at the same time.[13] |
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New MUSICK just publish’d. ** Six Suits of Lessons for the Harpsichord or Spinnet, in most of the Keys; with Variety of Passages and Variations throughout the Work. Composed by Mr. John Loeillet. Also six Overtures for Violins, in 4 Parts, for Concert. Compos’d by Mr. Handel, Mr. Bononcini, and other eminent Masters. And great Variety of Vocal and Instrumental Musick by the greatest Masters in Europe. Printed for, and sold by John Walsh, Musick-Printer and Instrument-Maker to his Majesty, at the Harp in Katharine-street in the Strand, and John and Joseph Hare at the Viol and Flute in Cornhill near the Royal Exchange.[14] |
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On Friday Night last, the famous Signiora Cuzzoni sung at the Right Hon. the Earl of Burlington’s, before a very numerous Assembly of the Nobility, who express’d a general Satisfaction at the surprizing Performances of that Lady.[15] |
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AT the King’s Theatre in the Hay-Market, this present Saturday, being the 19th of January, will be presented, A New Opera call’d, OTHO, King of Germany. Pit and Boxes to be put together, and in Regard to the Increase of the Numbers of the Subscribers, no more than Three Hundred and Fifty Tickets 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. No Tickets will be given out at the Door, nor any Persons whatsoever admitted for Money. Gallery 5 s. By Command, no Directors, Subscribers, or any other Persons will be admitted behind the Scenes. To begin exactly at Six a-Clock. Upon Complaint to the Royal Academy of Musick, that Disorders have been of late committed in the Footmen’s Gallery, to the Interruption of the Performance; This is to give Notice, That the next Time any Disorder is made there, that Gallery will be shut up.[16] |
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His Majesty was at the Theatre in the Hay-Market, when Seigniora Cotzani performed, for the first Time, to the Surprize and Admiration of a numerous Audience, who are ever too fond of Foreign Performers. She is already jump’d into a handsome Chariot, and an Equipage accordingly. The Gentry seem to have so high a Taste of her fine Parts, that she is likely to be a great Gainer by them.[17] |
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AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 22d of January, will be presented, A New Opera call’d, OTHO, King of Germany. Whereas it has been usual to deliver out the Opera Tickets at White’s Chocolate-House, the Royal Academy have judged it more Convenient that they for the future be delivered out at their Office in the Hay-Market, which will be this Day, at Half a Guinea each. And in Regard to the Increase of the Numbers of the Subscribers, no more than 350 Tickets will be delivered out. N.B. No Tickets will be given out at the Door, nor any Persons whatsoever admitted for Money. Gallery 5 s. By Command, no Directors, Subscribers, or any other Persons will be admitted behind the Scenes. To begin exactly at Six a-Clock. Upon Complaint to the Royal Academy of Musick, that Disorders have been of late committed in the Footmen’s Gallery, to the Interruption of the Performance; This is to give Notice, That the next Time any Disorder is made there, that Gallery will be shut up.[18] |
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AT the King’s Theatre in the Hay-Market, on Thursday next, being the 24th of January, will be A RIDOTTO; or, BALL. Tickets will be deliver’d To-morrow, at Mrs. White’s Chocolate-House in St. James’s-Street. N. B. The Pit will be cover’d, and there will be Instruments in two Places.[19] |
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AT the King’s Theatre in the Hay-Market, this present Saturday, being the 26th of January, will be presented, A New Opera call’d, OTHO, King of Germany. Whereas it has been usual to deliver out the Opera Tickets at White’s Chocolate-House, the Royal Academy have judged it more Convenient that they for the future be delivered out at their Office in the Hay-Market, which will be this Day, at Half a Guinea each. And in Regard to the Increase of the Numbers of the Subscribers, no more than 350 Tickets will be delivered out. N. B. No Tickets will be given out at the Door, nor any Persons whatsoever admitted for Money. Gallery 5 s. By Command, no Directors, Subscribers, or any other Persons will be admitted behind the Scenes. To begin exactly at Six a-Clock. Upon Complaint to the Royal Academy of Musick, that Disorders have been of late committed in the Footmen’s Gallery, to the Interruption of the Performance; This is to give Notice, That the next Time any Disorder is made there, that Gallery will be shut up.[20] |
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This Day is publish’d by Richard Mears at
the Golden Viol in St. Paul’s Church-yard. All the additional Songs in the Opera of Floridante, engrav’d by Tho. Cross. Price 1 s. 6 d. Where may be had, all the favourite Songs in the same Opera, also the favourite Songs in Crispus, and the favourite Songs in Mucio Scavolae, and the favourite Songs in Griselda, and the Anthem which was perform’d at the Funeral of his Grace the Duke of Marlborough, compos’d by Mr. Bononcini; and all the Aires in Radamistus transpos’d for the Flute by Mr. Bolton.[21] |
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AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 29th of January, will be presented, A New Opera call’d, OTHO, King of Germany. Whereas it has been usual to deliver out the Opera Tickets at White’s Chocolate-House, the Royal Academy have judged it more Convenient that they for the future be delivered out at their Office in the Hay-Market, which will be this Day, at Half a Guinea each. And in Regard to the Increase of the Numbers of the Subscribers, no more than 350 Tickets will be delivered out. N. B. No Tickets will be given out at the Door, nor any Persons whatsoever admitted for Money. Gallery 5 s. By Command, no Directors, Subscribers, or any other Persons will be admitted behind the Scenes. To begin exactly at Six a-Clock. Upon Complaint to the Royal Academy of Musick, that Disorders have been of late committed in the Footmen’s Gallery, to the Interruption of the Performance; This is to give Notice, That the next Time any Disorder is made there, that Gallery will be shut up.[22] |
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UN PASSO TEMPO, AT the Long-Room, at the Opera-House in the Hay-Market, this present Thursday, being the 31st Day of January, with agreeable Entertainments for Ladies and Gentlemen. Tickets to be had at the said Long-Room, at 5 s. each. To begin at Eight a Clock in the Evening.[23] |
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On Thursday Evening his Grace the Duke of Newcastle gave a great Entertainment to the Nobility at his House in Lincoln’s-Inn Fields, where there was a fine Concert of Vocal and Instrumental Musick, in which the famous Signiora Cazzoni perform’d a Part.[24] |
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Johann Mattheson, Critica Musica |
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Ich kennne Leute und könnte sie bey Nahmen und Zunahmen nennen die eine rechte künstliche richtige Fuge setzen; sind aber nicht dazu angeführet eine geschickte Imitation, mit solcher Anständigkeit vorzunehmen daß nicht der Fugen-Zwang hinten und vorne deutlich hervorrage. Was machts? Sie haben vom unrechten Ende angefangen und die Kunst der Natur vorgezogen. |
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Wie ein gewisser Weltberühmter Mann zum ersten mahl hier
in Hamburg kam wuste er fast nichts als lauter regel-mäßige Fugen zu machen
und waren ihm die Imitationes so neu als eine fremde Sprache wurden ihm auch
eben so saur. Mir ist es am besten bewust wie er seine allererste Opera
Scenen-weiß zu mir brachte und alle Abend meine Gedanken darüber vernehmen
wollte welche Mühe es ihm gekostet den Pedanten zu verbergen.1 1 Hierüber darff sich niemand wundern. Ich lernte von ihm; so wie er von mir. Docendo enim dicimus. Herr Bokemeyer schreibt ferner so: XVI. Die heute zu Tage florirende Maitres, so mehrentheils in der Geschwindigkeit und fremd-lautenden Sätzen wie auch ungebundenen Einfällen ihre grösseste Gloire1 suchen nehmen sich zwar die höchste Freyheit so daß die echte Kunst bey ihnen fast zu exuliren scheinet; allein die verständigsten unter ihnen wissen sie schon zu rechter Zeit obgleich etwas verdeckt an den Mann zu bringen wie unter andern mit Herrn Händels Kirchen-Stücken davon ich einige zu perlustriren das Glück gehabt zu beweisen stehet. Und also bleibt es hoffentlich eine ausgemachte Sache daß die Canones, als die einem Musico-Poetico höchst-nützlich sind mehrer Beobachtung gewürdiget zu werden verdienen und alle Firlefanz-Krämerey damit mancher ohne Uhrsache prahlet dagegen einschencken muß. 1 Pour ce qui est de la gloire, Monsieur, ce n’est pas la peine qu’on a prise, c’est la reiissite qui en decide: c’est la bonté des choses qu’on fait, & non pas l’Art, que l’on a mis à les faire. Hist. de la Mus. Tome, II. p. 36. |
When a certain world-famous man came here to Hamburg for the first time, he knew how to compose practically nothing but regular fugues, and if Imitationes were as strange to him as a foreign tongue, they were also just as troublesome. What I can remember best is how he brought me his very first opera, scene by scene, and every evening would ask my thoughts about it, and what pains it cost him to conceal the pedant [in him].…1 1 No one need wonder over this. I learnt from him as well as he from me. Docendo enim discimus. |
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Sonst ist hier am 7den dieses Monaths abermahl eine neue Opera vorgestellet worden welche den Titel: Muzio Scevola führet. Sie ist zwar an sich selbst ganz Italiänisch gesungen; doch in eine feine prosam übersetzet und dazu mit einem Teutschen-Vorspiele gezieret worden. So viel Actus darin befindlich sind eben so viel Componisten haben sich auch dabey signalisiret. Nehmlich drey. Die erste Handlung hat Buononcini gemacht; die andere Mattei (welcher unter dem Nahmen Pipo, i. e. Filippo, in dem Orchestre zu London den Violoncello spielet) und an der dritten Handlung hat Händel seine Kunst bewiesen. Alle diese Meister-Stücke sind uns aus Engelland herüber gesandt worden; ausser dem Prologo, welcher von Kaiser ist. Sollte nun dergleichen musicalische Aristocratie ferner bey den Opern einreissen so dürffte wohl schwerlich vors erste unter den Componisten ein Monarch entstehen; vielweniger hiesiger Orten einer von ihnen sein daher geflossenes Capital wohl zu belegen grosse Sorge tragen.[25] |
On the 7th of this month [27th December 1722] again a new opera was presented here, which bore the title: Muzio Scevola. It was sung, ’tis true, entirely in Italian; yet [its dialogue] is translated into a fine prosam, and it is also adorned with a German prologue. As many Actus as are found therein, just so many composers have distinguished themselves with them. Namely, three. Buononcini has composed the first act; the second, Mattei (who under the name of Pipo, i.e. Filippo, plays the violoncello in London) and Händel has shown his art in the third act. All these masterpieces have been sent here to us from England; except the Prologo which is by Kaiser. If such-like musical aristocracy should now become supreme in opera writing, then, first of all, a monarch might arise with difficulty among the composers. Much less might one of them arise here, therefore great care should be taken to invest wisely the capital thrown out [sic].[26] |
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LONDON. MAdam Cotzani continues to be greatly caress’d and admir’d; the House has agreed with her for two Years; and as her Gains are so very considerable here, there is no great fear of her leaving us at the Expiration of that Term. She has it in her Power, no doubt, to make a very considerable Fortune, since she is not only visited and entertained by our Nobility and Gentry, but is daily receiving valuable Presents from them. One has given her a fine Chariot; another a Pair of Horses; a Third a curious repeating Watch; a Fourth, a Diamond Necklace; a Fifth, a Pair of Diamond Earings; so that she already makes a gay Figure amongst us. It is to be wish’d that our own Performers were encouraged in the same manner.[27] |
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AT the King’s Theatre in the Hay-Market, this present Saturday, being the 2d of February, will be presented, A New Opera call’d, OTHO, King of Germany. Whereas it has been usual to deliver out the Opera Tickets at White’s Chocolate-House, the Royal Academy have judged it more Convenient that they for the future be delivered out at their Office in the Hay-Market, which will be this Day, at Half a Guinea each. And in Regard to the Increase of the Numbers of the Subscribers, no more than 350 Tickets will be delivered out. N. B. No Tickets will be given out at the Door, nor any Persons whatsoever admitted for Money. Gallery 5 s. By Command, no Directors, Subscribers, or any other Persons will be admitted behind the Scenes. To begin exactly at Six a-Clock. Upon Complaint to the Royal Academy of Musick, that Disorders have been of late committed in the Footmen’s Gallery, to the Interruption of the Performance; This is to give Notice, That the next Time any Disorder is made there, that Gallery will be shut up.[28] |
Feb 3
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[John Gay to Jonathan Swift] [“London. Febr. 3. 1722/3.”] [...] Pope has just now embark’d himself in another great undertaking as an Au- thor, for of late he has talk’d only as a Gardiner. He has engag’d to translate the Odyssey in three years, I believe rather out of a prospect of Gain than inclination, for I am persuaded he bore his part in the loss of the Southsea. He lives mostly at Twickenham, and amuses himself in his house and Garden. I supp’d about a fortnight ago with Lord Bathurst & Lewis at Dr Arbuthnot’s, whenever your old acquaintance meet they never fail of expressing their want of you. I wish you would come & be convinc’d that all I tell you is true. As for the reigning Amusement of the town, tis entirely Musick. real fiddles, Bass Viols and Haut-boys not poetical Harps, Lyres, and reeds. Theres no body allow’d to say I sing but an Eunuch or an Italian Woman. Every body is grown now as great a judge of Musick as they were in your time of Poetry. and folks that could not distinguish one tune from another now daily dispute about the different Styles of Hendel, Bononcini, and Attillio. People have now forgot Homer, and Virgil & Caesar, or at least they have lost their ranks, for in London and Westminster in all polite conversation’s Senesino is daily voted to be the greatest man that ever liv’d. [...][29] |
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AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 5th of February, will be presented, A New Opera call’d, OTHO, King of Germany. Whereas it has been usual to deliver out the Opera Tickets at White’s Chocolate-House, the Royal Academy have judged it more Convenient that they for the future be delivered out at their Office in the Hay-Market, which will be this Day, at Half a Guinea each. And in Regard to the Increase of the Numbers of the Subscribers, no more than 350 Tickets will be delivered out. N. B. No Tickets will be given out at the Door, nor any Persons whatsoever admitted for Money. Gallery 5 s. By Command, no Directors, Subscribers, or any other Persons will be admitted behind the Scenes. To begin exactly at Six a-Clock. Upon Complaint to the Royal Academy of Musick, that Disorders have been of late committed in the Footmen’s Gallery, to the Interruption of the Performance; This is to give Notice, That the next Time any Disorder is made there, that Gallery will be shut up.[30] |
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[...] certain Projectors have found out numberless Arts and Devices, and are arrived at a great Perfection in Inventions, for taking the Time off our Hands. In order to [do] this, they have provided the Town with a competent Number of Taverns, Ale-Houses, Coffee-Houses, Toy-shops, Theatres, Cock-Pits, Bear-Gardens, and Long Rooms, where a Man may be very busy, and yet at the same time think himself about nothing. Yet all these Places have been found insufficient to swallow up the Leisure Hours of many People, and almost every day produces some new Project to expel Idleness: Of all which I was wonderfully delighted the other Day with one, which is contained in the following Advertisement. By the Order of several Persons of Quality, AT the Long Room, at the Opera House in the Hay-market, on Thursday the 31st of January will be UN PASSO TEMPO, with agreeable Entertainments for Ladies and Gentlemen. Tickets to be had at the said long Room at 5 s. each. This is a sort of Entertainment entirely new and unheard of in England till last Week; and I was in good hopes that it would make amends for all the Deficiencies of Plays, Balls, Opera’s, Masquerades, Ridotto’s, and other polite Diversions, and answer the utmost Expectations of the Town; but I am informed, that the celebrated Mr. H——r has still something farther in View to oblige the Beau- monde with, which is preparing with all possible Expedition, and will excel the Performances even of the most incomparable Seigniora Cuzzona herself. Nothing but that Impatience of Idleness, which is inherent in Mankind, could push them on, at this extravagant Rate, to encourage Assemblies, whose only use can be to spend Time, and keep them awake. Foreigners, no doubt, think us mad to throw away our Money in this manner; but I tell you, Seignior Pasquin, an Englishman had rather Starve than be Idle. The same Busy Spirt which carries these People to Opera’s, Ridotto’s and Passo Tempo’s, works upon others in another manner, and hurries them about Town from one Place to another after News and Politicks. [gives example of a man who daily roams the town in search of intelligence][31] |
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[Lord Chamberlain’s Records] These are to
Pray and require You to Pay or Cause to be paid to Mr: William Keitch Hautboi, Mr: Pessenwolt David and Henry Rosha Double Base the sum of sev’n Pounds Eleven Shillings and Six Pence for their attending one Practice of the Te Deum and performing in the same before his Maj[es]ty at St. James’s, And for so doing this shall be your Warr[an]t. Given under my hand this 12th day of Feb[rua]ry 1722/3 in the Ninth Year of His Majesty’s Reign. To Charles Stanhope Esq. &c. Holles Newcastle Marginal entry: Hauteboi & Double Base for performing in the Te Deum at St James’s £7.11.6[32] |
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AT the King’s Theatre in the Hay-Market, this present Saturday, being the 9th of February, will be presented, A New Opera call’d, OTHO, King of Germany. Whereas it has been usual to deliver out the Opera Tickets at White’s Chocolate-House, the Royal Academy have judged it more Convenient that they for the future be delivered out at their Office in the Hay-Market, which will be this Day, at Half a Guinea each. And in Regard to the Increase of the Numbers of the Subscribers, no more than 350 Tickets will be delivered out. N. B. No Tickets will be given out at the Door, nor any Persons whatsoever admitted for Money. Gallery 5 s. By Command, no Directors, Subscribers, or any other Persons will be admitted behind the Scenes. To begin exactly at Six a-Clock. Upon Complaint to the Royal Academy of Musick, that Disorders have been of late committed in the Footmen’s Gallery, to the Interruption of the Performance; This is to give Notice, That the next Time any Disorder is made there, that Gallery will be shut up.[33] |
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AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 12th of February, will be presented, A New Opera call’d, OTHO, King of Germany. Whereas it has been usual to deliver out the Opera Tickets at White’s Chocolate-House, the Royal Academy have judged it more Convenient that they for the future be delivered out at their Office in the Hay-Market, which will be this Day, at Half a Guinea each. And in Regard to the Increase of the Numbers of the Subscribers, no more than 350 Tickets will be delivered out. N. B. No Tickets will be given out at the Door; nor any Persons whatsoever admitted for Money. Gallery 5 s. By Command, no Directors, Subscribers, or any other Persons will be admitted behind the Scenes. To begin exactly at Six a-Clock. Upon Complaint to the Royal Academy of Musick, that Disorders have been of late committed in the Footmen’s Gallery, to the Interruption of the Performance; This is to give Notice, That the next Time any Disorder is made there, that Gallery will be shut up.[34] |
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Petition by the Grand Jury for the County of Middlesex to the House of Commons Whereas there has been lately publish’d a Proposal for Six Ridotto’s, or Balls, to be managed by Subscription at the King’s Theatre in the Hay-Market, &c. We the Grand Jury of the County of Middlesex, sworn to enquire for our Sovereign Lord the King, and the Body of this County, conceiving the same to be a Wicked and unlawfull Design, for carrying on Gaming, Chances by Way of Lottery, and other Impious and Illegal Practices, and which (if not timely suppressed) may promote Debauchery, Lewdness, and ill Conversation: From a just Abhorrence, therefore, of such Sort of Assemblies, which we apprehend are contrary to Law and good Manners, and give great Offence to his Majesty’s good and virtuous Subjects, We do present the same and recommend them to be prosecuted and suppressed as common Nuisances to the Publick, as Nurseries of Lewdness, Extravagance, and Immorality, and also a Reproach and Scandal to Civil Government.[35] |
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The Court of Directors of the Royal Academy of Musick in the Hay-market, have lately made a Dividend of Seven per Cent. on their Capital; and, it is thought, that if this Company goes on with the same Success as they have done for some Time past, of which there is no doubt, it will become considerable enough to be engrafted on some of our Corporations in the City, the Taste of the Publick for Musick being so much improv’d lately.[36] |
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AT the King’s Theatre in the Hay-Market, this present Saturday, being the 16th of February[,] will be presented, A New Opera call’d, OTHO, King of Germany. Whereas it has been usual to deliver out the Opera Tickets at White’s Chocolate-House, the Royal Academy have judged it more Convenient that they for the future be delivered out at their Office in the Hay-Market, which will be this Day, at Half a Guinea each. And in Regard to the Increase of the Numbers of the Subscribers, no more than 350 Tickets will be delivered out. N. B. No Tickets will be given out at the Door, nor any Persons whatsoever admitted for Money. Gallery 5 s. By Command, no Directors, Subscribers, or any other Persons will be admitted behind the Scenes. To begin exactly at Six a-Clock. Upon Complaint to the Royal Academy of Musick, that Disorders have been of late committed in the Footmen’s Gallery, to the Interruption of the Performance; This is to give Notice, That the next Time any Disorder is made there, that Gallery will be shut up.[37] |
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The Town is at present very productive of new Entertainments; to the great Advantage of the Play-Houses, and agreeable Amusement of the Nobility and Gentry. […] And at the Hay-Market, on Tuesday last, was perform’d the New Opera call’d Coriolanus, said to exceed any Thing of the Kind ever seen upon that Stage.[38] |
Feb 23
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To Seignior FRANCESCO BERNARDO detto SENZINI, at the Opera-House in the Hay-Market. SIG. YOU must not be surprized at receiving an Address from a Person, who has not the Honour of being in the Number of your Acquaintance; for you must consider your self now in the Nature of publick Blessings, that is, Persons who serve the Publick: (For so they are call’d, as long as they continue in Place)[.] Therefore, as a certain Gentleman has said in a Dedication, you must be taken Notice of, and commended, whether you will, or no. The great Advantages this Nation has received from your Appearance amongst us, have made you the Subject of almost all Conversations; not only of the Vulgar, but the Learned. I happened the other Day to be engaged in a Dispute with a Vertuoso of our College, concerning the Disposition and natural Endowments of Persons of your SEX. The Argument was logically, Physically, and Philosophically handled on both Sides; I modestly urged, that it was not unreasonable to suppose you of a middle Nature betwixt us and Angels; which I was inclined to believe from the Sweetness and Melody of your Voice; for it seemed to me as if you had fetch’d your Musick from Heaven; to which my Antagonist answered with this Quotation from MILTON. The wise Creator peopled
highest Heaven With Spirits Masculine. Observe the Word Masculine, from whence he infer’d that you could have no Business there; for that the Gates of those Mansions of the Gods were for ever shut against you, wherefore he was of Opinion that there was a kind of Limbo made on Purpose for such Spirits as yours, if you had any; or else that you were sent in amongst the Women, where you must expect but bad Quarters. Finding him run into Raillery, I changed the Head of our Argument, and put him in Mind how many Persons of your Sex have been endow’d with great Wisdom and Sagacity, this he also denied, pretending to prove from natural Causes and Effects, that there could be no Wisdom where there was no Beard; and he would as soon believe, that you had a Son or Daughter, as a Grain of Sense. To strengthen his Assertion, he quoted LUCIAN, who, he says, has proved that an Eunuch cannot be a Philosopher. I was surpriz’d to hear a Man of his Learning produce the Authority of LUCIAN, an Author who, ’tis known, never said any thing seriously in his Life; and here I cannot forbear observing, how Men suffer themselves to be imposed upon by false Appearances. It is an Error that has long possest the World, that the Seat of Wisdom lies in the Beard: Our Theatres have not a little contributed to this Imposition; for you never see a Prophet, Philosopher, or Conjurer, introduced upon the Stage, with less than two or three Foot of Beard. But, methinks, that there is one Thing which seems to overthrow this common Opinion, and is a Proof that the Antients did not believe that Wisdom lay so singularly in the Beard; which is, that Apollo, the God of Wisdom, was always represented without One. And to tell you the Truth, I should have believed he had been one of your Class, if the Poets and Historians of Antiquity had not ascribed to him a numerous issue, begot in stolen Intrigues upon the Bodies of the most beautiful Nymphs of those Times. I take this silly Notion to be a great deal more modern than some would make it. But to silence every Thing that can be said on that Side of the Question, I shall make Use of one easy Argument, which can neither be disputed, nor denied. Have not several of the fair Sex, whose smooth Chins were conscious of no Beard, been renowned for Learning, Prudence, and consummate Wisdom? Was not Aspacia, a beautiful Maid of Alexandria, a deep Philospher? Were not Thomyris Queen of Scythia, Semiramis, Queen of Babylon, <as our> own Queen Elizabeth, most profound Politicians? Yet will any Man pretend to maintain that the Wisdom of these celebrated Ladies lay in their Beards? No, certainly! that wou’d overthrow the very Foundation of this ridiculous Opinion; then whereabouts will they place it? In short, they have not one shift to fly to. Again, they tell us, that Courage, as well as Wisdom, lies in the Beard; must the same Thing be a Type, a Figure, or Symbol, to signify and represent such different Qualifications? indeed, the military Heroes of our Times (the greatest Part of whom never saw the War) in their Looks and Gestures make open Pretences to Courage; but far be it from them to lay Claim to any Accomplishments of the Mind; perhaps, such an Assumption might hinder their Preferment; but be that as it may, thus much however we know, that even their God Mars himself, who was always drawn terrible with a Beard, was one of the hard Heads: From all which we may make the same Conclusion, which LUCIAN has merrily done before us, that if Wisdom were to be judg’d by Length of Beard, a Goat may carry the Prize from all the Philosophers of the Age. So feeble then are all the Objections raised against thy Merit, O Senzini, that they fall of themselves for want of Reason to support them. And tho’ my Respect for you has ever been great, yet does it rise almost to Veneration, since I have been informed of your great skill in Astrology and Divination. This the Envious may question too, perhaps; Infidels that will believe Nothing but what they see. But do not all the Learned allow, that it is common for Maids to receive Intimations of Things to come, by Dreams; and the chast Spirits of the upper Air will not communicate themselves to any thing but Virgins? Of old, throughout all Greece, the Answers of the Oracles were constantly delivered by a Virgin; then who can be presum’d to have a Familiarity with those kind Demons so much as One, whose Virginity was never questioned? [1328] When I hear thy Musick, I become almost a Pythagorean; and am disposed to believe that the Soul of Orpheus informs thy Body; and then it is that I am more fix’d in my belief of your Knowledge of Futurity: For I read that Orpheus was the first of all the Grecians, who was learned in Astrology and Divination, to which he was assisted by his great skill in Musick. Indeed, if we look round upon the Professors of this Branch of the Mathematicks, an Objection will arise, which is, that very few of them can be mistaken for Conjurers. However, they meet with a very good Regard, and are acceptable in the most polite Assemblies, from a Power and Dexterity of managing their Instruments, which, I think,
is not one of your Talents. But your Organs are employed in a different Way, and your Faculties more turn’d to the Speculative. It is an an Observation of the Indulgence of Nature; that where any Sense is defective, that Defect is supplied in a double Portion of Sensation another Way. Now as this is in some Degree your Case, the Respect, which I have for you, makes me wish that you would put your occult Powers into Motion, and endeavour not to be barely, Vox, & praeterea Nihil. I dare promise before-hand you are cut out for something more than Singing; and, whenever you are pleased to exert in Prognostication, will do as well as those old Gentry, the Sibylls. It is plain, that He, who is learned in the Divine Science of Musick, and is not subject to gross Avocations, may comprehend all Things beneath the Moon; nay more, may converse among the Stars, and by the Force of Harmony may call round him the wandring Spirits of the Air, or allure those whose dark Abode is beyond the River Acheron, and compel them to declare what there is in Fate. As I am under a strong Conviction that this Power is in you, it is my Request to you, that tho’ you are a Stranger to our Land, nevertheless you would employ your Skill in inquiring into the Fate of this poor Country for seven Years to come. Conjure up the Spirits of ENGLISH Patriots who are long departed; retire to some solitary Grove at dead of Night, dig a Hole and sprinkle it with the Blood of Sheep, then take your Lyre, and you will charm up the Ghosts of all the wise Men, that have died for many Ages. This was the Method which Ulysses took by the Direction of Circe, when he called up a Thousand Spirits from the Deep, and among them was that of his Mother, by whom he was informed of all that should happen to him. When you have done this, let your Predictions be made publick; that the People may no longer listen and be imposed upon by the Forgeries of pretended Philomaths, and common Almanack-Makers. So may Astrology and Musick flourish together, and the World not have Cause to reproach us, that we have given away so much Money for a Song. P.S. If you design me the Honour of communicating any thing in Answer to this, send it to the Publisher of this Paper, directed for Yours, GRESHAMITE[39] |
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[Lord Chamberlain’s Records] M:r Geo: Hendall to be sworn Composer of Musick for his Maj:ty’s Chapl Royl. These are to require You to Swear and Admit M:r George Hendall into the place and quality of Composer of Musick for his Majesty’s Chappel Royal. To have hold Exercise, and Enjoy the said place together with all rights, Profitts, Privileges, and Advantages – thereunto belonging; And for so doing this shall be Your Warrant Given &ca this 25th day of Febry 1722/3 in the Ninth Year of his Majesty’s Reign. To His Majesty’s Gent Ushers &ca. Holles Newcastle.[40] |
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Johann Mattheson, Critica Musica |
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Lüneburg. Unser Herr Cantor Dreyer wird am künfftigen Char-Freytage die Passion von Herrn Capellmeister Händels Composition aufführen und ist anitzo mit Ausschreibung derselben würklich beschäfftiget. Es ist dieses das berühmte Oratorium, welches erstlich von dem Herrn Keiser, hernach von Herrn Händeln, Herrn Telemann, und dem Auctore Criticae, einfolglich von 4. Capellmeistern, in die Music gesetzet worden.[41] |
Lüneburg. Our Cantor Dreyer will perform on the coming Good Friday the ‘Passion’ by Capellmeister Händel, and is now earnestly occupied with copying out the same. It is the famous Oratorium which was set to music first by Herr Keiser, then by Herr Händel, Herr Telemann, and the Autore Criticae, consequently by 4 Capellmeister.[42] |
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The new Opera Tickets are very high, and like to continue so as long as Mrs. Cotzani is so much admired. They are traded in at the other End of the Town, as much as Lottery Tickets are in Exchange-Alley.[43] |
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New MUSICK just publish’d, The Monthly Masque of Vocal Musick, or the newest Songs made for the Theatres and other Occasions, for February; price 6 d. Twelve Cantato’s in English, being a choice Collection of the Compositions of several Authors. Also the Masque of Acis and Galatea, and six Overtures for Violins in 4 Parts, for Concert, composed by Mr. Handel, Mr. Bononcini, and other eminent Authors. Also great Variety of Vocal and Instrumental Musick, by the best Masters. Printed for, and sold by J. Walsh, Musick-Printer and Instrument-Maker to his Majesty, at the Harp in Katharine-street in the Strand, and John and Joseph Hare at the Viol and Flute in Cornhill near the Royal Exchange.[44] |
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The Presentment of the Ridotto’s by the Grand Jury, has as yet had no Effect on the Managers of that Entertainment, and as they can’t be prosecuted till next Term, the number of Nights allotted for that Diversion will be over before that time.[45] |
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Having promised now and then to consider the State of the British Stage, as the Town has lately abounded with new Entertainments, we think it a proper Time to enlarge our Remarks; but first we shall begin with the Opera, since that is also a Theatrical Representation. We have observed
that the Greeks and Romans, with all their Wisdom, were wont to interest their great Officers of State in the Conduct and Management of publick Plays and Representations; it was
not enough that, by the Wisdom of their Councels [sic],
they made their People content at Home, and, by their Bravery in
War, terrible Abroad, but when they return’d either from
Conquest or from an Embassy, it was their Custom to
bring Home with them whatever was rare or curious in
foreign Countries, and to inrich these publick Shews with all the
Wonders of Art and Nature. There is a faint Representation of this Custom reviv’d amongst us by the Royal Academy of Musick, (I dont mean of that Part of making the People either content at Home, or terrible Abroad (for I would not be misunderstood) but of ending into Italy for the finest Voices, and most exquisite Musicians, as well as the most skilful and delicate Genius in the Science of composing, to render our Opera, if possible more elegant than that of Italy it self, and this at an immense Charge. Such Shews and Representations would be the Credit and Ornament of a Nation, and must deserve our highest Praise, were they carried on with the same Spirit and Design, as were those by the Patrons of Rome and Greece. Would our Gentlemen, like those, after they had used their Endeavours for the publick Safety, study to make those Pleasures and Entertainments as elegant as possible, and exhibit them to the People Gratis? For this was the Practice of the generous Antients; nay, many private Patricians have not only obliged the Age in which they liv’d, but gratifyed Posterity, by erecting at their own Charge, Theatres and Amphitheatres, built of the most polish’d and strongest Marble, and contrived with so much Skill and Labour, as if they aim’d at making them immortal, by furnishing Materials most able to resist the Injuries of Time. There is not the
least Appearance of any Design, like this, in the Conduct of the Gentlemen of whom we are
speaking, every Man who is admitted to see these
Representations pays as dear as one of these Undertakers; and
they have contrived to screw it up to such an extravagant
Price, that the far greatest Number of our People are quite
excluded from these Entertainments, because of the Expence; and
others, who, because of their Love of Musick, cannot
stay away, place it among their Vices, as well they may when
their Circumstances cannot well support the Charge. But if the
Charge of our Operas be so considerable as to demand so high a Price, methinks those
Gentlemen who share the great Employments of the Nation,
and are inrich’d by the publick Money, might, by
contributing towards this Expence, make the Price so easy to the
People, that they might go to them with Pleasure, and without
incommoding their Circumstances, nor could they do a
more grateful Thing, since some Amusements are absolutely
necessary towards relieving the Mind from the
Fatigues of Business, and Cares of the World. As to our Gentlemen
calling themselves the Academy of Musick, I cannot see upon what Pretence they assume that Title, for by the word Academy one would
imagine that the Science of Musick was studied and improved
there, and that certain Masters were appointed to teach and
instruct young Persons, who had the Gift of fine Voices, which no
doubt might be found in England as well as in Italy,
were they look’d for; and that others, in whom a Genius was
discovered for this Science, were to be bred up with all the
Advantages that Practice and Instruction could give them;
this would be a Means of inviting the God of Musick
to forsake his beloved Italy, and to come and reside amongst us, it would be a naturalizing Musick, and making it our own, since then we
shou’d not only have Persons able to perform, but
others of Capacity to compose fine Entertainments, and we
might see a better Opera in England, than in any other Part of
the World, without one Foreigner either upon the Stage
or in the Orchaestra. But as Nothing like this seems to be either attempted or designed, we must expect that this Science will soon be lost from among us; for ’tis not supposed that the prosent [sic] Set of Performers will continue any longer here, than till they have fill’d their Purses; after which, ’tis thought, they will go and purchase Principalities in Germany, since at the extravagant Rate they are paid, they will carry away Money enough out of England for such a Purpose. Therefore if a
Man considers the Steps which have been taken in this Undertaking, he would be
tempted to think, that it was set on Foot only out of a
servile Compliment to some Person or Persons, for Flattery is the
very Composition of Courtiers, and since we cannot discover
the least Appearance of a publick Spirit thro’ the whole Conduct
from first to last, I cannot see that it deserves to be
either prais’d or encourag’d by the Publick. A Man no doubt
would be counted a Barbarian who did not delight in Harmony, and it must be
allowed that Musick has some Influence over the Passions of the
Mind: Grave Tunes compose us, lofty Ones elate us, and
light Ones make our Blood as it were dance in our Veins,
yet this Effect lasts no longer than the Musick; we carry no
Impressions away with us; it may put our Tempers for a while
into Tune, but it never mends the Heart: When a young Man
brag’d to Diogenes of his great skill in Musick, the
Philosopher told him that Wisdom governed Kingdoms and Cities,
but that Musick would not rule so much as a scolding
Wife, or a froward [sic] Child. It is a
Diversion that only gratifies the Sense, and has nothing in it of the profitable; it deserves to be plac’d only in the third Rank of our publick Entertainments;
Tragedy claims the first Place, as being the most
noble and instructive; Comedy next, which turns Vice into
Ridicule, and by the [1340] Jests and Sarcasms, which are cast upon the
Follies of Men, makes us laugh at, and despise them at the
same Time. It is therefore strange that so many considerable Persons should interest themselves in the Management of a Pleasure merely sensual, and leave the most noble and exalted Entertainment which a sensible Soul can take Delight in, in such abject and mercenary Hands, as one of our Theatres is at present. We shall, in our
next, take Notice of the good or bad Effect the Stage has upon the Minds and
Morals of Men, and of what Advantage the good Management of it
might be to the civil Government; we are diverted from
it at present by the Consideration of a new Tragedy [Mariamne],
which the new Theatre presented the Town the latter End
of last Week. [...][46] |
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New Musick this Day is publish’d, That celebrated Opera, called Otho; containing all the Songs and Symphonies with the Overture; as they were performed at the King’s Theatre, for the Royal Academy; compos’d by Mr. Handell. Printed for, and sold by John Walsh, Musick-Printer and Instrument-Maker to his Majesty, at the Harp and Hautboy in Katharine-street, and John and Joseph Hare at the Viol and Flute in Cornhill near the Royal-Exchange.[47] |
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An Establishment of certain Annual Pensions and Bountys, which Our Pleasure is shall commence from the 25th Day of March 1723 and be paid and accounted payable Quarterly during our Pleasure, and apon the Death of any of the Persons receiving the same or other determination of our Pleasure therein. [...] per Annum George Frederick Handel 400 – –[48] |
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For the Benefit of Signora Francesca Cuzzoni. AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 26th of March, will be perform’d an Opera call’d, OTHO, King of Germany. With an Addition of Three new Songs, and an entire new Scene. Tickets will be deliver’d out a[t] the Office in the Hay-Market this Day, at Half a Guinea each. And particular Care will be taken to place Benches on the Stage for the Accommodation of the Company. The Gallery 5 s. To begin exactly at Six a-Clock. NB. Whereas this Benefit for Signora Cuzzoni is part of her Contract, the Directors of the Royal Academy of Musick resolve not to make use of the Liberty of the House for this Night.[49] |
Mar 26
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On Tuesday Night the Opera of Otho was perform’d at the Hay-Market, for the Benefit of the famous Signora Cuzzoni the Italian Singer: upon which Occasion there was an extraordinary Concourse of Nobility and Gentry at that Theatre.[50] |
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On Tuesday last was perform’d the Opera of Otho, King of Germany, for the Benefit of Mrs. Cuzzoni; and a considerable Benefit it was to her indeed, for, we hear that some of the Nobility gave her 50 Guineas a Ticket. Notwithstanding the Town so much admires this Lady’s Performance, yet there are several who believe that Mrs. Tofts was equal to her in every Respect; but she was not born in Italy. Why Musick should be confined only to that Country is what we cannot perceive; since no Person that ever came out of it equal’d the Harmony of our famous Purcell. As we delight so much in Italian Songs, we are likely to have enough of them, for as soon as Cuzzoni’s Time is out, we are to have another over; for we are well assured Faustina, the fine Songstress at Venice, is invited, whose Voice, they say, exceeds that we have already here; and as the Encouragement is so great, no doubt, but she will visit us, and, like others, when she makes her Exit, may carry off Money enough to build some stately Edifice in her own Country, and there perpetuate our Folly.[51] |
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[describes a vision; among appointments in the Civil and Military Offices are] [...] Lord Chamberlain of the Household [sic], Seignior Senisini. [...] Maids of Honour to her Majesty, Mademoiselle D’Epingle, Seigniora Duristante, Seigniora Cutsona, the virtuous Mrs. M—ley, and the celebrated Mrs. Sally Salisbury.[52] |
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There remaining very few of the Subscribers who have neglected to pay the Calls to the Royal Academy of Musick, pursuant to the late Advertisement in several Courants, and the Gazette of the 23d of March last; and the Court of Directors supposing that such Neglect may have proceeded from the respective Persons either being out of Town, or not appriz’d of the said Advertisement, have therefore thought fit to prolong the Time till Monday the 8th Instant; and after such Time, the Tickets of those that have not paid their Calls will be absolutely refused, other Subscribers taken in their Room, and proper Measures taken to oblige them to pay what is due.[53] |
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New Musick this Day is publish’d, The Monthly Mask of Vocal Musick; or, The newest Songs made for the Theatres, and other Occasions, for March. Price 6 d. Also the Favourite Songs in the Opera’s of Otho, price 2 s. The Favourite Songs in Floridante, price 2 s. The Favourite Songs in Crispus, price 2 s. The Favourite Songs in Griselda, price 2 s. The Favourite Songs in Mutius Scaevola, price 2 s. And next Week will be publish’d, The Favourite Songs in Coriolanus. Printed for and sold by John Walsh, Musick-Printer and Instrument-Maker to his Majesty, at the Harp in Catherine-street in the Strand, and John and Joseph Hare at the Viol and Flute near the Royal Exchange in Cornhill.[54] |
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We are told that the Italian Singers at our Opera, to the Number of five, of whom two are Eunuchs, have obtain’d a Permission from the King of France sign’d by his Majesty, the Duke of Orleans, and one of the Secretaries of State, to go over thither in July next, to perform twelve times, for which ’tis said the King will give them new Habits for the Theatre, and a Gratuity of 35,000 Livres, and that His Majesty intends to give the old Opera 23,000 Livres to make them amends for the Loss which they may suffer by the new one.[55] |
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Yesterday two Persons of great Distinction, with several Ladies, dined with the Sardinian Ambassador, and after Dinner went into his Excellency’s Chapel to hear Tenebres Sung, which was done with great Solemnity; the Miserere and the Lamentations being Sung by the famous Signiora Cazoni.[56] |
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New Musick for the Flute published, That Celebrated Opera call’d Otho, for a Flute; containing the Overture, Songs and Symphonies for a single Flute, and the Du[e]ts for two Flutes; also all the late Operas done in like Manner, viz. Floridante, Radamistus, Rinaldo, Griselda, Atarchus, Numiter, Pyrrhus, Hydaspes, Almahide, Calypso, Cresus, and Armenyus: Also all the Vocal Musick, with their Symphonies, in the same Operas. Printed for and sold by John Walsh, Servant to His Majesty, at the Harp in Katherine-street, in the strand; and John and Joseph Hare, at the Golden Viol in Cornhill, near the Royal Exchange.[57] |
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Johann Mattheson, Hamburg Opera List 177. Floridantes. Music vom Hn. Capellmeister Händel. Hr. Beckau hat die Übersetzung gemacht.[58] |
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Le Mercure de France Quelques Acteurs Italiens de l’Opera de Londres doivent venir à Paris, et donner douze representations dans le cours du mois Juillet prochain, moyennant une somme considerable qui sera prise sur la recette. Le surplus tournera au profit de l’Académie qui cessera ses exercices pendant tout ce mois; elle fournira tout ce qui sera necessaire pour les representations des italiens, les habits, les décorations, les Choeurs, les Balets, les Symphonies, etc. Ceux qui doivent partager la somme promise sont au nombre de cinq personnes; sçavoir, deux femmes, deux haut Contes, et un Concordant. On a dit que le prix des places sera augmenté d’un tiers, et qu’il n’y aura point d’entrées franches …[59] |
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Johann Mattheson, Critica Musica Ich lasse jedem seine Meinung; aber die meine gehet unmaßgeblich dahin daß wer eine Doppel-Fuge mit 2. 3. und mehr subjectis, absonderlich vors Clavier concinne und artig in einander zu flechten weiß derselbe viel ehe den Nahmen eines vollkommenen harmonischen Meisters verdiene als wenn er an jedem Rock-Knopf einen Canonem von andrer Gattung hätte und noch immer ein Dutzend dazu aus den Ermeln schütteln könnte. Ich habe es mit beyden versucht und finde die Doppel-Fugen viel schätzbarer als die Canones: zumahl da sie auch grössren Nutzen hauptsächlich in der Instrumental-Music haben und nicht nur den Zuhörer ergetzen sondern auch den Componisten und Spieler warm halten können. Von alten braven Maitres wüste ich keinen der den Herrn Capellmeister Johann Krieger in Zittau darinn überginge. Und unter den jüngern ist mir noch niemand vorkommen der eine solche Fertigkeit darinn hätte als der Herr Capellmeister Händel: nicht nur im Setzen; sondern so gar im extemporisiren wie ich solches hundertmahl mit grössester Verwunderung angehöret habe. Doch machen diese treffliche Leute eben ihren grössesten Staat nicht aus der Doppel-Fuge allein; vielweniger aus dem Canone. Sie haben sich aber weit mehr mit der ersten als mit dem andern bey rechten Kennern in Credit gesetzet: das ist gewiß und provocire ich deswegen auf ihre eigene Aussage wenns ihnen beliebt solche zu thun ganz kühnlich.[60] |
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AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 14th of May, will be performed a New Opera call’d, FLAVIUS. Tickets will be delivered out at their Office in the Hay-Market this Day, at half a Guinea each. N. B. No Tickets will be given out at the Door, nor any Persons whatsoever admitted for Money. Gallery 5 s. By Command, no Persons whatsoever will be admitted behind the Scenes. By reason of the shortness of the Opera, to begin exactly at Eight a-Clock.[61] |
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New Musick published. Solos for a German Flute, with a thorough Bass for the Harpsicord or B[a]ss Violin, by Sig. Pietro. Price 3 s. NB. There is now engraving, and will be speedily published, that celebrated Opera call’d Flavius, as it is performed at the King’s Theatre for the Royal Academy, composed by Mr. Handel: Where also may be had, the Opera of Otho, Floridant, and other curious Pieces, by the same Author. Printed for and sold by John Walsh, Servant to His Majesty, at the Harp in Catherine-street in the Strand, and John and Joseph Hare, at the Viol and Flute in Cornhill, near the Royal Exchange.[62] |
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Wilhelm Willers, Bemerkungen über Theater Vorfälle May 27. Zum erstenmahl Rinaldo[63] |
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[Giuseppe Riva to Agostino Steffani, London, Thursday 3 June 1723] Here, because of the factionalism that is the soul of this agitated country, which takes its nature from the element [water] that surrounds it, we have, beside Bononcini and Handel, a third composer, named Signor alias Father Attilio Ariosti, one of whose opera [Coriolano] has had a very good reception. Bononcini, being employed, will still remain here next year, but will then leave the field free [for others].[64] |
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The Governour and Court of Directors of the Royal Academy of Musick, have appointed a General Court to be held To-morrow, the 5th Instant, at Eleven in the Morning, at their Office in the Hay Market; all Persons belonging to the Corporation, are desired to be present at the same time.[65] |
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AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 4th of June, will be performed an Opera call’d, OTHO, King of Germany, with an Addition of three new Songs, and an entire new Scene. Tickets will be delivered out at the Office in the Hay-Market, this Day, at Half a Guinea each. Gallery 5 s. Particular Care will be taken to keep the House cool. To begin exactly at Seven a-Clock. N. B. The Directors of the Royal Academy of Musick resolve not to make use of their Tickets for the Liberty of the House for this Night.[66] |
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AT the King’s Theatre in the Hay-Market, this present Saturday, being the 8th of June, will be performed an Opera call’d, OTHO, King of Germany, with an Addition of three new Songs, and an entire new Scene. Tickets will be delivered out at the Office in the Hay-Market, this Day, at Half a Guinea each. Gallery 5 s. To begin exactly at Seven a-Clock.[67] |
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[Papers of Jane Martha Temple, Lady Portland; Single ms leaf with “orders” in French for Princess Anne’s daily schedule] Order given at their house / Sunday evening 9 June 1723 / Rise at 7; pray till 8, dress and have breakfast; from 8 till 9 go for a walk; read from 9 till 10; from 10 till 11 read aloud with the grienault [Amelia? Caroline?] and discuss what she has read on her own; study from 11 till 12; at noon go to prayers till 1; between 1 and 2 lunch; from 2 till 3 play shuttlecock or walk and discuss rational matters; work from 3 to 4 while the grienault reads; from 4 to 5 either practice clavecin or read; after that, play music with Handel; at 6:30 go for a walk when the weather is nice.[68] |
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New Musick just published. That Celebrated Opera call’d Flavius, containing all the Overture[,] Songs and Symphonies, as they were perform’d at the King’s Theatre for the Royal Academy, compos’d by Mr Handell. Printed for and sold by John Walsh, Servant to His Majesty, at the Harp in Catherine-street in the Strand; and John and Joseph Hare, at the Golden Viol in Cornhill, near the Royal Exchange.[69] |
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Treasury Papers |
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1723 Memorial |
Royal Academy of Music |
Lords of the Treasury |
For a warrant to pay 1000l. out of the Bounty Office and for 200l. to defray the taxes and other expenses attending the receipt of the 1000l. which his Majesty allowed. Minuted: —“26th June 1723 1,000 li. order’d.”[70] |
Jul 15
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New Musick Publish’d. Flavius for a Flute; the Overture, Symphonies, Songs, Ariets for a single Flute, and the Duets for two Flutes, of that Celebrated Opera compos’d by Mr. Handell. Also may be had where these are sold, all the late Operas, as Otho, Floridant, Grisilda, Astartus, and several others for Voices and Instrument composed by Mr. Handell, Mr. Bononcini, and other Authors. Printed for and Sold by John Walsh, Servant to His Majesty, at the Harp in Catherine-street in the Strand, and John and Joseph Hare, at the Viol and Flute in Cornhill, near the Royal Exchange.[71] |
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The House in which the Opera’s, &c. are kept in the Hay-Market, is beautifying and new painting by some of the best Masters; Mr. Heidiger the Master having ordered 1000 l. to be expended on that Account, for the better Entertainment of his Audiences in the Winter.[72] |
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Anastasia Robinson to Giuseppe Riva … Sigr Bononcini is return’d & desires me to tell you that being very much taken up in Composing the first Opera for England calld Farnace, (which by the way was chose by very good judges) he desir’d Sigr Lelio to acquaint you with it, & at the same time to lett you know that there was the greatest probability imaginable of Italian Operas being fixt at Paris, they having sent most advantageous offers to Faustina & other Singers in Italy, but it is impossible as yet to have their answers, as to his refusing to Play the Violoncello to the Regent, he says he leaves it to you to judge whether tis possible, since he is neither a Senesino, nor a Cuzzoni; & since I have mention’d that Princess [Francesca Cuzzoni], I must tell you, she has been at the Bath this Season, where they say she gott a good deal of Money, she came from there a week ago, about an affair of very great consequence, some say to see Sandoni, others to buy New Cloaths, but the learned do not pretend to determine, not knowing which was most dear to her; however it was, she returnd again, & is now there. Yesterday arriv’d a New Singer, whose name I think I have heard say is Bigonzi, he tells people that Casimiro sent for him to suply the place of another Performer, which must be Gordon, & consequently an honourable Post he waits for. The Italian Comedians will be in England I am afraid before you …[73] |
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They write from the Bath, that Mrs. Cuzzoni, the famous Italian Singer, has been down there all the Season, much to the Satisfaction of the Quality and Gentry, and not a little to her own; she usually disposing of Six Hundred Tickets for her own Share, at Half a Guinea a Piece every time she sung in publick, which was never less than once a Week.[74] |
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[Audit Office Declared Accounts of the Paymaster of Pensions of 1723] George Frederick Handell at the same rate [£200/year] for ½ a year ended at Lady 1723 by vertue of the Old Estab[lishmen]t. 100 £ more to him at 400 £ p annum for ¼ of a year to Midsr. 1723 by the New Establisht. 100 £ in both.[75] |
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[Gio. Giacomo Zamboni to Giuseppe Riva in Hanover, 5/16 November 1723] I believe that they will begin with the last opera of last season, [Flavio] by Hendel, in which [Alexander] Gordon will be replaced by a new virtuoso, named [Giuseppe] Bigonzi, {...}[76] |
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The Court of Directors of the Royal Academy of Musick have ordered a Call of 5 l. per Cent. which is the 10th Call, to be made payable on all the Subscribers to the said Royal Academy on or before the 23d Instant. These are to give Notice, That the Deputy-Treasurer will attend at the Office at the Opera House in the Hay-Market on the several Days following, viz. 21st, 22d, and 23d Instant, from Nine in the Morning till Two in the Afternoon, to receive the same. And these are further to give Notice, That a General Court, which is the Annual Court by Charter, for chusing Deputy-Governour and Directors for the Year ensuing, will be held on Friday the 22d Instant, at the Office aforesaid, at Eleven in the Morning, in order to chuse the said Deputy-Governour nd Directors and all Subscribers to the <…>[77] |
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[Gio. Giacomo Zamboni to Giuseppe Riva in Amsterdam, 6/17 December 1723] Bononcino, besides being quite enraged over the ill-success of his opera, has been so ill that he could not play for the third performance [on December 4]; so he asked Attiliazzo [Ariosti]. On Wednesday [December 11] they will perform [Handel’s] Ottone, after having performed [Bononcini’s] Farnace only four times.[78] |
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AT the King’s Theatre in the Hay-Market, this present Wednesday, being the 11th of December, will be perform’d an Opera, call’d, OTHO, King of Germany. Tickets will be delivered out at the Office in the Hay-Market this Day, at Half a Guinea each. And in Regard to the Increase of the Number of the Subscribers, no more than Three Hundred and Fifty Tickets will be delivered out. NB. No Tickets will be given at the Door, nor any Persons whatsoever admitted for Money. The Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.[79] |
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AT the King’s Theatre in the Hay-Market, this present Saturday, being the 14th of December, will be perform’d an Opera, call’d, OTHO, King of Germany. Tickets will be delivered out at the Office in the Hay-Market this Day, at Half a Guinea each. And in Regard to the Increase of the Number of the Subscribers, no more than Three Hundred and Fifty Tickets will be delivered out. NB. No Tickets will be given at the Door, nor any Persons whatsoever admitted for Money. The Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.[80] |
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AT the King’s Theatre in the Hay-Market, this present Wednesday, being the 18th of December, will be perform’d an Opera, call’d, OTHO, King of Germany. Tickets will be delivered out at the Office in the Hay-Market this Day, at Half a Guinea each. And in Regard to the Increase of the Number of the Subscribers, no more than Three Hundred and Fifty Tickets will be delivered out. NB. No Tickets will be given at the Door, nor any Persons whatsoever admitted for Money. The Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.[81] |
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AT the King’s Theatre in the Hay-Market, this present Saturday, being the 21st of December, will be perform’d an Opera, call’d, OTHO, King of Germany. Tickets will be delivered out at the Office in the Hay-Market this Day, at Half a Guinea each. And in Regard to the Increase of the Number of the Subscribers, no more than Three Hundred and Fifty Tickets will be delivered out. NB. No Tickets will be given at the Door, nor any Persons whatsoever admitted for Money. The Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.[82] |
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AT the King’s Theatre in the Hay-Market, this present Saturday, being the 28th of December, will be perform’d an Opera, call’d, OTHO, King of Germany. Tickets will be delivered out at the Office in the Hay-Market, this Day, at Half a Guinea each[.] And in Regard to the Increase of the Number of the Subscribers, no more than Three Hundred and Fifty Tickets will be delivered out. NB. No Tickets will be given at the Door, nor any Persons whatsoever admitted for Money. The Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.[83] |
1723
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John Walsh, Cash-book 1723 Opera Flavio … £26 5 0[84] |
[1] Händel Handbuch, 112.
[2] Händel Handbuch, 112–13.
[3] The London Journal, no. 180, Saturday 5 January 1722-3, 3; reported, William C. Smith, “Handeliana,” Music & Letters 31 (1950), 125-32: 131.
[4] The London Journal, no. clxxxi, Saturday 12 January 1722-23, 3.
[5] The Daily Courant, nr. 6623, Saturday 12 January 1723, [2].
[6] The Weekly Journal or Saturday’s-Post, no. 220, Saturday 12 January 1723, 1293; repr. Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institution and Its Directors (New York and London: Garland, 1989), 410-11.
[7] The St. James’s Journal, no. 39, Saturday 19 January 1723, 232.
[8] The London Journal, no. 182, Saturday 19 January 1722-3, 3; repr., William C. Smith, “Handeliana,” Music & Letters 31 (1950), 125-32: 131.
[9] The British Journal, no. 18, Saturday 19 January 1723, 3.
[10] The Daily Courant, nr. 6625, Tuesday 15 January 1723, [2].
[11] Händel Handbuch, 113.
[12] Deutsch, 147–48.
[13] The London Gazette, nr. 6129, Saturday 12 – Tuesday 15 January 1723, [2].
[14] The Post-Boy, nr. 5224, Saturday 12 – Tuesday 15 January 172[3], [2].
[15] The St. James’s Journal, no. 40, Saturday 26 January 1723, 238.
[16] The Daily Courant, nr. 6629, Saturday 19 January 1723, [2].
[17] The London Journal, nr. clxxxii, Saturday 19 January 1723, 3.
[18] The Daily Courant, nr. 6631, Tuesday 22 January 1723, [2].
[19] The Daily Courant, nr. 6631, Tuesday 22 January 1723, [2].
[20] The Daily Courant, nr. 6635, Saturday 26 January 1723, [2].
[21] The Daily Post, nr. 1039, Saturday 26 January 1723, [2].
[22] The Daily Courant, nr. 6637, Tuesday 29 January 1723, [2].
[23] The Daily Post, nr. 1043, Thursday 31 January 1723, [2].
[24] The St. James’s Journal, no. 41, Saturday 2 February 1723, 2[46].
[25] Händel Handbuch, 114.
[26] Deutsch, 146.
[27] The London Journal, no. clxxxiv, Saturday 2 February 1722-23, 3.
[28] The Daily Courant, nr. 6641, Saturday 2 February 1723, [2].
[29] British Library, Add. Ms. 4805, f. 83v; repr. Letters, written by the late Jonathan Swift, D. D. Dean of St. Patrick’s, Dublin, and several of his Friends. From the Year 1703 to 1740. Published from the Originals; with Notes explanatory and Historical, by John Hawkesworth, L.L.D., 3 vols (London: T. Davies, R. Davis, L. Davis and C. Reymers, and J. Dodsley, 1766), 2:249-50.
[30] The Daily Courant, nr. 6643, Tuesday 5 February 1723, [2].
[31] Pasquin, no. 11, Wednesday 6 February 1722-23, [2].
[32] Donald Burrows, “Handel and the English Chapel Royal during the Reigns of Queen Anne and King George I,” 2 vols. (Ph.D. dissertation, Open University, Milton Keynes, 1981), 2:188r; Donald Burrows, Handel and the English Chapel Royal (Oxford and New York: Oxford University Press, 2005), 608.
[33] The Daily Courant, nr. 6635, Saturday 9 February 1723, [2].
[34] The Daily Courant, nr. 6649, Tuesday 12 February 1723, [2].
[35] Deutsch, 149.
[36] The London Journal, no. 186, Saturday 16 February 1722-3, 8.
[37] The Daily Courant, nr. 6653, Saturday 16 February 1723, [2].
[38] The British Journal, nr. xxiii, Saturday 23 February 1723, 5.
[39] The Weekly Journal or Saturday’s-Post, no. 226, Saturday 23 February 1723, 1327-28; repr. (with omissions) Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institution and Its Directors (New York and London: Garland, 1989), 411-13.
[40] Donald Burrows, “Handel and the English Chapel Royal during the Reigns of Queen Anne and King George I,” 2 vols. (Ph.D. dissertation, Open University, Milton Keynes, 1981), 1:256; Donald Burrows, Handel and the English Chapel Royal (Oxford and New York: Oxford University Press, 2005), 608.
[41] Händel Handbuch, 115–16.
[42] Deutsch, 150.
[43] The London Journal, no. clxxxviii, Saturday 2 March 1722-23, 3.
[44] The Post-Boy, nr. 5244, Thursday 28 February – Saturday 2 March 1723, [2].
[45] The London Journal, no. clxxxviii, Saturday 2 March 1722-23, 3.
[46] The Weekly Journal or Saturday’s Post, no. 228, Saturday 9 March 1723, 1339-40; repr. (except third paragraph) Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institution and Its Directors (New York and London: Garland, 1989), 383-85.
[47] The Post-Boy, nr. 5251, Saturday 16 – Tuesday 19 March 1723, [2].
[48] Donald Burrows, “Handel and the English Chapel Royal during the Reigns of Queen Anne and King George I,” 2 vols. (Ph.D. dissertation, Open University, Milton Keynes, 1981), 1:257v, n.38.
[49] The Daily Courant, nr. 6685, Tuesday 26 March 1723, [2].
[50] The St. James’s Journal, no. 49, Saturday 30 March 1723, 293.
[51] The London Journal, no. 192, Saturday 30 March 1723, 3; repr., William C. Smith, “Handeliana,” Music & Letters 31 (1950), 125-32: 131.
[52] Pasquin, no. 22, Monday 1 April 1723, [2].
[53] The Daily Courant, nr. 6690, Monday 1 April 1723, [1].
[54] The Daily Post, nr. 1096, Wednesday 3 April 1723, [2].
[55] The Weekly Journal; Or, British Gazetteer, Saturday 6 April 1723, 2518; also in The London Journal, nr. cxciii, Saturday 6 April 1723, 5.
[56] The Daily Journal, no. 692, Thursday 11 April 1723, [2].
[57] The Daily Courant, nr. 6710, Wednesday 24 April 1723, [2].
[58] Händel Handbuch, 117.
[59] Händel Handbuch, 117.
[60] Händel Handbuch, 117–18.
[61] The Daily Courant, nr. 6727, Tuesday 14 May 1723, [2].
[62] The Daily Courant, nr. 6734, Wednesday 22 May 1723, [2].
[63] Händel Handbuch, 118.
[64] 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: 87.
[65] The Daily Courant, nr. 6745, Tuesday 4 June 1723, [2].
[66] The Daily Courant, nr. 6745, Tuesday 4 June 1723, [2].
[67] The Daily Courant, nr. 6749, Saturday 8 June 1723, [2].
[68] Richard G. King, “On Princess Anne’s Lessons with Handel,” Newsletter of the American Handel Society 7/2 (August 1992), 4.
[69] The Daily Courant, nr. 6760, Friday 21 June 1723, [2].
[70] Deutsch, 154.
[71] The Daily Courant, nr. 6780, Monday 15 July 1723, [2].
[72] The British Journal, nr. liii, Saturday 21 September 1723, 2.
[73] Händel Handbuch, 119.
[74] The London Journal, no. ccxxi, Saturday 19 October 1723, 3.
[75] David Hunter, “Royal Patronage of Handel in Britain: The Rewards of Pensions and Office,” in Handel Studies: A Gedenkschrift for Howard Serwer, ed. Richard G. King (Hillsdale, NY: Pendragon Press, 2009),127-53: 130.
[76] Lowell Lindgren, “Musicians and Librettists in the Correspondence of Gio. Giacomo Zamboni (Oxford, Bodleian Library, MSS Rawlinson Letters 116-138),” [Royal Musical Association] Research Chronicle 24 (1991), 1-194: 63.
[77] The London Gazette, nr. 6214, Tuesday 5 – Saturday 9 November 1723, [1].
[78] Lindgren, “Zamboni,” 66.
[79] The Daily Courant, nr. 6908, Wednesday 11 December 1723, [2].
[80] The Daily Courant, nr. 6911, Saturday 14 December 1723, [2].
[81] The Daily Courant, nr. 6914, Wednesday 18 December 1723, [1].
[82] The Daily Courant, nr. 6917, Saturday 21 December 1723, [2].
[83] The Daily Courant, nr. 6922, Saturday 28 December 1723, [2].
[84] Deutsch, 155.