1728
Jan 18
|
[Mrs. Pendarves to Mrs. Ann Granville, 19 January 1727-8] [...] Yesterday I was at the rehearsal of the new opera composed by Handel: I like it extremely, but the taste of the town is so depraved, that nothing will be approved of but the burlesque. The Beggars’ Opera entirely triumphs over the Italian one; I have not yet seen it, but everybody that has seen it, says it is very comical and full of humour; the songs will soon be published, and I will send them to you.[1] |
|
On Monday was represented for the first Time, at the Theatre Royal in Lincoln’s Inn-Fields, Mr. Gay’s new English Opera, written in a Manner wholly new, and very entertaining, there being introduced, instead of Italian Airs, above 60 of the most celebrated old English and Scotch Tunes. There was present then, as well as last Night, a prodigious Concourse of Nobility and Gentry, and no Theatrical Performance for these many Years has met with so much Applause.[2] |
|
This Week a Dramatick Entertainment has been exhibited at the Theatre in Lincoln’s-Inn Fields, entitled the Beggar’s Opera, which has met with a general Applause, insomuch that the Waggs say it has made Rich very Gay, and probably will make Gay very Rich.[3] |
|
A New Opera, composed by M. de la Coste, entitled Arion, is to be performed in few Days.[4] |
|
LONDON, Feb. 6. [...] We hear his Majesty has made a Present of the fine Organ that was put up for the Coronation-Day in Westminster- Abbey, to the said Church; and which is to be placed at the West End of the Choir, and to stand in the same Form as that at St. Paul’s, viz. with two Fronts. Made by Mr. Shrieder, the King’s Organ-Builder.[5] |
|
The BEGGARS OPERA, that is now presented at the Theatre-Royal in Lincoln’s-Inn- Fields, meets with that universal Applause, that not one third Part of the Company that crowd thither to see it, can get Admittance: which occasions a new Run to the Provok’d Husband at Drury-Lane; and so proves an equal Advantage to both Houses.[6] |
Feb 8
|
AT the King’s Theatre in the Hay- Market, this present Thursday, being the 8th Day of February, will be a BALL. Tickets will be deliver’d to the Subscribers this Day, at Mrs. White’s Chocolate-House in St. James’s-street, at the usual Price. A sufficient Guard is appointed within and without the House, to prevent all Disorders and Indecencies; and to oblige Persons guilty of ’em, immediately to quit the Place. Strict Orders are given not to deliver any Bottles and Glasses from the Side-Boards, and to shut them up early. The Doors to be open’d at Half an Hour after 8 o’ Clock. The Coaches are desired to come to the Hay-Market, and the Chairs up Market-Lane from the Pall-Mall. The Time being very short from the Opera to the Ball, for the great Preparations to be made, no Persons whatsoever can be admitted to see the House before the Ball begins. If any Subscribers or others have any Tickets to spare, they are desired not to give them to their Servants, but to send them to the Office in the Hay-Market, where the Money they cost shall be returned, to prevent their falling into bad Hands.[7] |
|
His Majesty was last Thursday-Night at the Masquerade, where a Supper was provided for him. At the Masquerade the same Night a Merchant’s Clerk in the City, won 4000 Guineas at the Hazard Table, and went off with them. Some of the Masqueraders having committed great Disorders at a Tavern in Pall Mall, by breaking the Windows, and wounding the Master of the House; a Guard of Soldiers were sent to protect the Vintner, and secure the Rioters.[8] |
|
The Earl of Essex is preparing a fine Consort of Vocal and Instrumental Musick, at his House in St. James’s Square, for the Entertainment of their Majesties on Monday Night next, who are then to stand Godfather and Godmother to his Lordship’s new born Son, the Viscount Malden.[9] |
|
The fine Organ made by Mr. Shrieder, which was set up in Westminster Abbey, and used on the Day of the Coronation, has been presented to the said Abbey by his Majesty. It is accounted one of the best Performances of that Maker.[10] |
|
The Beggar’s Opera is continued acting at the Theatre-Royal in Lincoln’s-Inn-Fields, with the greatest Applause, and to an Audience as numerous as ever. And we are informed, That most of the Boxes are taken to the 25th Night.[11] |
|
We hear that the British Opera, commonly called the Beggars Opera, continues to be acted, at the Theatre in Lincoln’s-Inn Fields with general Applause, to the great Mortification of the Performers and Admirers of the Outlandish Opera in the Haymarket.[12] |
|
His Majesty has subscrib’d 1000 l. to the Opera’s in the Hay-Market.[13] |
|
On Saturday Night their Majesties, the Princess Royal and the Princess Carolina went to the King’s Theatre in the Haymarket, to see the Performance of the New Opera call’d, Siroe.[14] |
[Owen Swiney, Venice, to Charles Lennox, 2nd Duke of Richmond, 27 February 1727/8]
[...]
By all the letters written from London, to this place, by Signora Faustina & Signor Boschi, people are persuaded that the dissolution of the academie, is not far distant: if the matter is not soe, they are both to blame, for their reports doe prejudice Messrs. de L’academie, by fright’ning those, who might be, very, usefull to ’em, from thoughts of going for England.
Faustina complains that she is not paid by the Academy, & that she sings in a great many private places, without any presents &c.[15]
|
[John Gay to Jonathan Swift] [“Whitehall. / Febr. 15. 1727/8”] Dear Sir I have deferr’d writing to you from time to time till I could give you an account of the Beggar’s Opera. It is Acted at the Playhouse in Lincoln’s Inn fields, with such success that the Play house hath been crouded every night; to night is the fifteenth time of Acting, and ’tis thought it will run a fortnight longer. I have order’d Motte to send the Play to you the first opportunity. I made no interest either for approbation or money, nor hath any body been prest to take tickets for my Benefit, notwithstanding which, I think I shall make an addition to my fortune of between six and seven hundred pounds. I know this account will give you pleasure, as I have push’d through this precarious Affair without servility or flattery. As to any favours from Great men I am in the same state you left me; but I am a great deal happier as I have no expectations. The Dutchess of Queens- berry hath signaliz’d her friendship to me upon this occasion in such a conspicuous manner, that I hope (for her sake) you will take care to put your fork to all in proper uses, and suffer nobody for the f<uture> to put their knives in their mouths. Lord Cobham says that I should printed it in Italian over against the English, that the Ladys might have understood what they read. The outlandish (as they now call it) Opera hath been so thin of late that some have call’d that the Beggars Opera, & if the run conti- nues, I fear I shall have remonstrances drawn up against me by the Royal Academy of Musick. [...][16] |
|
[Lord Chamberlain’s Records] These are to pray and require you to pay or Cause to be paid to Mr. Christopher Smith the sum of Thirty Pounds Ten Shillings for Copying the Anthems composed by Mr. Handel for His Majesty’s Coronation, Also to pay him the sum of Three pounds two Shillings and Six pence for Office Fees. Amount[in]g in all to the sum of Thirty Three Pounds Twelve Shillings & Sixpence. And for so doing this shall be your Warrant Given under my hand this 27th. Day of Feb[rua]ry 1727/8 In the first Year of His Majesty’s Reign. To the Hon[oura]ble S[i]r John Hobart Bart. &c. Grafton Marginal entry: Mr: Smith for Copying Anthems Composed for His Majesty’s Coronation s d £33:12:6 These are to pray and require you to pay of Cause to be paid to Mr Barn[ar]d Gates for the several persons in the Annext List for two Rehearsals and P[er]forming the Anthems at his Majesty’s Coronation the several Sums opposite to their Names. Amounting to the Sum of Forty four pounds two Shillings as Certifyed by the Sub Dean of His Majesty’s Chapel. Also to pay them the sum of Four pounds Ten Shillings and Sixpence for Office Fees Amounting in all to the sum of Forty Eight Pounds Twelve Shillings and Six pence. And for so doing this shall be your Warrant Given under my hand this 27th Day of Feb[rua]ry 1727/8. in the first Year of His Majesty’s Reign. To the Hon[our]ble S[i]r John Hobart Bart. &c. Grafton Marginal entry: Vocal Musick for p[er]forming at His Ma[jes]t[y]’s Coronation. s d £48:12:6 These are to pray and require you to pay, or Cause to be paid to Mr: Christopher Smith for the Fifty Seven Supernumery P[er]formers of Musick at His Majesty’s Coronation each the sum of Three pounds three Shillings, and for the use of the Instrum[en]ts and other expences the sum of Fifteen Pounds Fifteen Shillings as appears by the Annext Bill Certifyed by Mr. Handal. Also to pay them sum of Twenty Pounds and four pence for Office Fees Amounting in all to the sum of Two Hundred Fifteen pounds Six Shillings and four pence. And for so doing this shall be your Warrant. Given under my hand this 27th day of Feb[rua]ry 1727/8. In the first Year of His Majesty’s Reign. To the Hon[oura]ble S[i]r John Hobart Bart. &C. Grafton Marginal entry: Instum[en]t[a]l Musick for p[er]foming at His Majesty’s Coronation s d £215:6:4[17] |
|
[Mrs. Pendarves to Mrs. Anne Granville, 29 February 1727-8] [...] The Opera will not survive after this winter; I wish I was a poet worthy the honour of writing its elegy. I am certain excepting some few, the English have no real taste for musick; for if they had, they could not neglect an entertainment so perfect in its kind for a parcel of ballad singers. I am so peevish about it, that I have no patience. [...][18] |
|
[Mrs. Pendarves to Mrs. Ann Granville, 12 March 1728] [...] I shall go to the opera to-night I believe. I have sent to Lady Sunderland to know if she has any room in her box. To-morrow morning an opera is to be rehearsed; I have not heard of the fame of it, its name nor author. The last is a charming piece of musick, but quite neglected for the Beggars’ Opera. [...][19] |
|
[Mrs. Pendarves to Mrs. Ann Granville, 14 March 1727-8] I desire you will introduce the Beggars’ Opera at Glocester; you must sing it everywhere but at church, if you have a mind to be like the polite world. I was last Tuesday at the Italian Opera with the club, ’twas sweet and lovely: it gave me infinite pleasure, and you accompanied every delightfull note. [...][20] |
|
[Mrs. Pendarves to Mrs. Ann Granville, 19 March 1727-8] Operas are something mended within this fortnight; [166] they are much fuller than they have been any time this winter. [...][21] |
|
[John Gay to Jonathan Swift] [“March. 20th. 1727/8.”] [...] The Beggar’s Opera hath now been acted thirty six times, and was as full the last night as the first, and as yet there is not the least probabi- lity of a thin audience; though there is a discourse about the town that the Directors of the Royal Academy of Musick to sollicite against it’s being play’d on the outlandish Opera days, as it is now call’d. On the Benefit day of one of the Actresse’s last week one of the players falling sick they were oblig’d to give out another play or dismiss the Audience, A Play was given out, but the people call’d out for the Beggar’s Opera, & they were forc’d to play it, or the Audience would not have stayd. [174v] I have got by all this success between seven & eight hundred pounds, and Rich, (deducting the whole charge of the House) hath clear’d already near four thousand pounds. In about a month I am going to the Bath with the Dutchess of Marlborough and Mr Congreve, for I favours from the Court. [...]. There is a Mezzo-tinto Print publish’d to day of Polly, the Heroine of the Beggar’s Opera, who was before unknown, & is now in so high vogue, that I am in doubt, whether her fame does not surpass that of the Opera itself. [...][22] |
From the London Evening-Post, April 4. 1728.
To the Author.
SIR,
THE kind Reception given by the Publick to some late Discoveries in the Papers of the Plagiaries of Swift, Pope, Arbuthnot, and their Accomplices, have encouraged me to proceed in my Search, the Effects of which I desire you to publish in the following Instances.
We whose Names are signify’d by the following initial Letters do declare,
1. That the Authors have been heard to confess, that an Epigram on Handel and Bononcini, printed in the last Volume of Miscellanies, did not belong to any of them.
[.../24]
——To all these Assertions we are ready to make Oath if called upon; and will be heard of at Mr. Lintot’s whensoever any of the Gentlemen injur’d will put in their Claim. J.H. J.C. L.S. J.E.
I am, SIR,
Your Humble Servant,
Philalethes.[23]
|
Signiora Faustina, Mrs. Cuzzoni, Signior Senesino, his Brother, and many other Italian Voices perform’d in the Consort at the Portugal Envoy’s. His Excellency has promis’d to repair the Damage done to Golden Square.[24] |
|
On Tuesday and Wednesday last a great many of the Ministers of State, Foreign Ministers and Nobility dined with the Envoy of Portugal in Golden Square on the Account of the double Royal Marriage in Spain and Portugal. There were illuminations Tuesday and Wednesday in the Evening, and on Thursday Evening there was a Masquerade. Signiora Faustina, Mrs. Cuzzoni, Signior Senesino, and many other Italian Voices performed in a Consort there, and during the Rejoycings there was a large Cask filled with several Hogsheads of Wine placed within the Rails of the Square, out of which the Wine ran into a Leaden Cistern without the Rails, for the Pouplace [sic], many of whom were found lying Drunk in the Streets
the next Morning. The Rails were
pull’d down and the Cask carried away. His Excellency has promised to repair the Damage in the Square.[25] |
Apr 12 – Jun 1
|
Voiage / D[’]Angleterre / D’hollande / Et / De Flandre / [...] / fait, / En L’année / 1728. / Par Mr. Fougeroux / Pierre jacques [...] Leur musiciens sont aussi mauvais que Leur Sculpteurs, ils ont Recours en Cela aux Italiens[.] [211 ...] L’opera qui autrefois n’etoit Rien, est devenu depuis trois ans un Spectacle Consi- derable, ils ont fait venir d’Italie Les plus [212] belles voix [et] Les plus habiles symphonistes et y ont ajouté Ce que L’Allemagne a de meil- leur. Cela Leur Coute tant qu’on parloit a mon départ de Londres de La Rupture de Cet opera[.] il n’y avoit que Six voix dont trois etoient excellentes, La fameuse faustine de Venise[,] La Cuzzoni et Senesino fameux Castrattes, – deux autres Castrattes[,] Balbi et Palmerini et Boschi pour La basse, autant bon que peut estre un italien pour Cette partie qui est tres rare Chez eux. J’avois dejà entendu a Venise Les trois belles voix, et Comme il y a douze ans elles etoient encore meilleures qu’a présent; La faustine a un gosier Charmant et La voix assez grande mais un peu rude, sa figure et Sa beauté sont des plus mediocres, La Cuzzoni quoique d’une voix plus foible a une douceur qui enchan- te avec des passages divins, apres La fameu- se Santine de Venise qui ne joue plus. presentement, L’Italie n’a point eu de[s] plus belles voix que les deux femmes: Le Sanesino est tout ce qu’ils ont eu de meilleur[,] bon musicien, beau gosier et assez bon acteur[.] On donnoit a Senesino 1600 pieces ou Livres Sterlings valant 35000 ff monoye de france et 1500 pieces a chaque des deux actrices quoique L’opera ne Se joue que deux fois La Semaine, Les mardys et Les samedys[,] et qu’il Cesse pendt: L’esté, C’est un paix exor- bitant et Le moyen dont ils Se font Service pour enlever tout ce que L’italie avoit de meilleur. L’orchestre etoit Composé de vingt quatre violons Conduit par Les deux Castrucci [213] freres, deux Clavessins, dont Indel [Handel] allemand grand joueur et grand Compositeur en tou- choit un, un Archilut, trois violoncelles, deux Contrebasses, trois bassons et quelquefois des flutes et des Clairons. Cet orchestre fait un grand fracas, Comme il n’y a point de partie du milieu Les vingt quatre violons ne jouent ordinairement que Le premier et Le Second dessus, Ce qui est extremement brillant et d’une belle execu- tion, Les deux Clavessins [et] L’archilut font Les accords et Les parties du milieu, il n’y a qu’un violoncelle, Les deux Clavessins et L’archilut pour Le Recitatif. La musique en est bonne et tout a fait dans Le gout italien, a L’exception de quelques morceaux tendres dans Le gout francois. C’est Indel qui a Composé Les troix opera[s] que j’ay veu. Le premier etoit Ptolemé Roy d’Egypte, Le second Siroé Roy de Perse, Et Le troisieme Admette Roy de Tessalie. C’étoient d’anciens operas Italiens pour Les paroles que L’on avoit traduit en vers Anglois a Coté de L’italien en faveur des dames. Comme il n’y a aucun Spectacle en danses en decora- tions en Machines et que Le theatre est denué de * Choeur et de Cette multitude d’acteurs qui decorent La scene, on peut dire que Le nom d’opera est mal appliqué a Ce Spec- tacle, C’est plutôt un beau Concert Sur un theatre. [*] Il n’y a qu’un trio ou quatuor a La fin et deux duo dans tout L’Opera. La salle en est petitte et d’un gout fort mediocre, Le theatre assez grand avec de [214] mauvaises * decorations, il n’y a point d’am- phiteatre[,] Ce n’est qu’un parterre, ou sont de grands bans Ceintrez jusqu’a L’orchestre ou Les hommes et Les femmes Sont assis pesle-mesle. Les Loges Sont Louées a L’année[.] au fond de La salle il s’eleve une galerie Ceintrée soutenue par des piliers qui donnent dans Le parterre et elevée Comme nos Secon- des Loges: C’est pour La petitte bourgeoisie[,] On y donne Cependant Cinq schelings qui font 5ff 10s. de france. Les places du parterre sont d’une demie guinée, valant 11ff 10s. Le Roy a deux Loges Contre Le theatre, il y veint [sic] deux fois avec La Reine; Les princesses etoient vis a vis dans une autre Loge; On bat des mains quand Le roy arrive et on Le Salue en sortant; il n’avoit que deux hallebardiers pour toute garde. Les bords du theatre sont ornez de Colones, Le longs desquels Sont atta- chez des miroirs avec des bras et plusieur de bougies, ainsi qu’aux pilastres qui Soutien- nent La galerie du fond de La Salle, aulieu de Lustres ce Sont de vilains Chandeliers de bois soutenus de Cordes Comme on en voit aux danseurs de Cordes: Rien n’est plus vilain Ce Sont pourtant des bougies par tout. [*] Dans les changemens de decorations on se sert d’une sonette au- lieu d’un siflet. Comme vous n’estes pas sectateur de La musique italienne, Je n’ose pas vous dire, Monsieur, qu’excepté Le Recitatif et La mauvaise maniere d’accompagner en Coupant Le Son de Chaque accord, il y a des arrettes magnifiques pour L’harmonie avec des accompagnement de violons qui ne Laissent Rien a Souhaiter. Les ouvertures de [215] Ces operas sont des especes de sonates en fugues fort belles. J’y entendis un morceau de someil fort imité de Ceux que vous Connoissez dans nos operas. On avoit meslé dans une de Ces ouvertures des Corps [sic] de Chasse ainsi que dans Le * Chorus de La fin[,] ce qui faisoit des merveilles[.] [*] Ce Chorus est composé seulement de quatre voix. Les Concerts Pendant que nous sommes Sur La musique, il faut vous parler des Concerts publics de Londres[,] qui sont peu de Chose en Comparaison des nôtres. Nous en entimes * un qui se tint dans une salle basse, toute peinte mais fort noircie qui sert ordinai- rement de salle a danser; il y a une tribu- ne au bout ou L’on monte quelques mar- ches, C’est ou se met La musique. On y joua quelques sonates et L’on y Chanta des vaudevilles anglois et allemands: On paye pour Ces mauvais Concerts Cinq schelings qui valent 5ff 10s. Nous entendi- mes encore un autre Concert au premier etage, dans un Caffé ou Les violons de L’opera s’exercent tous Les jeudys, il n’y avoit que des allemands qui executent fort bien, mais qui jouent durement, un entre autre[s] joua tres bien de La flutte alle- mande, Nous y vismes aussi un ministre jouer du violoncelle. * Contre La Pompe a feu[.] Vous serez Surpris, Monsieur, de ce que je vais vous dire, que parmy Les gens de qualitez hommes et femmes il y en a peu qui s’attachent a La musique. On ne Scait Ce que C’est que de Concerter ensemble [216] tout Le plaisir Conciste a bien boire et a fumer; vous scavez Monsieur, Combien L’occupation de La musique en france detourne La jeunesse de La debauche et de quel Commerce elle devient par tout. [... 217 ... 220 ... Lincoln’s-Inn-Fields theatre] On y jouoit une espece d’opera Comique appellé L’opera des gueux, a Cause qu’on y Representoit une bande de voleurs de[s] grands Chemins avec Leur Capitaine, dont [221] il n’y avoit que deux acteurs de bons et une fille appelleé [sic] fenton assez jolie. L’orchestre est aussi mauvais que L’autre [Drury Lane theatre]. Tout est en vaudevilles avec de mechante musique[.] On pretendoit que Le poëte avoit fait quelque application au gouvernement present. On y boit a chaque moment, on y fume, et Le Capitaine avec huit fem- mes qui Luy tiennent Compagnie dans La prison Les baise a plusieurs reprises. On alloit Le faire pendre au Cinquieme acte, mais avec de L’argent il a L’adresse de se sauver du Gibet, C’est par ou L’opera finit. Je vous ennuyerois de vous parler des Contredanses de La fin. Les Bals. Il se fait de temps en temps des bals publics sur Le theatre de L’opera, ou chaque personne donne pour entrer plus de dix ecus de france. La danse est Ce qu’il y a de moins interressant; sur Les Cotez du theatre, L’on pratique dans plusieurs pieces bien ornées des divertissemens de jeu et ou L’on vous donne a boire de toutes sortes de vin et de Liquers imaginables avec des viandes froides et des Confitures a discretion, Jugez Monsieur si <?ou> divertissemt. est du gout des Anglois. Tout Le monde y est masqué en Domino. Le parterre se Leve a niveau de theatre de la même maniere que Le Notre: il y eut encore pendant nostre sejour un bal Chez Le Duc de Norfort ou Le Roy et toute La Cour se trouverent La magnificence y partut dans Les habits dans Les piereries et Les Rafraichissemens[.][26] |
[Owen Swiney, Venice, to Charles Lennox, 2nd Duke of Richmond, 14 May 1728]
[...]
I am Sorry to hear that matters go so, very, ill with the academy & that a faithfull Servant of Theirs is likely to loose the Regalo or Salary of one intire year and to be, likewise, saddled with postage of letters and pacquets. received and forwarded on their accounts.
[...]
The Faustina, always, writes of the great obligations that She owes the Duke and Duchesse of Richmond, but complains that She is not paid, & that regalo’s are not made her, Where She is called to Sing &c.[27]
|
[Mrs. Pendarves to Mrs. Anne Granville, 11 May 1728] Mr. Dubourg is just come from Dublin; our friends there propose being in England some time this month; [173] he left my brother in good health. [...] There is to be but four opera nights more, and then adieu to harmony of that kind for ever and ever. Senesino and Faustina have hired themselves to Turin and to Venice for the next winter and the carnival following. [...][28] |
|
[John Gay to Jonathan Swift] [“Bath. May 16 1728.”] [...] The Beggar’s Opera is acted here, but our Polly here hath got no fame, but the Actor’s have got money. I have sent by Dr Delany the Opera Polly Peacham, & Captain Macheath, I would have sent you my own head wch is now graving to make up the Gang, but it is not yet finish’d. I suppose you must have heard that I have had the honour to have had a sermon preach’d against my works by a Court Chaplain, which I look upon as no small addition to my fame. [...][29] |
|
[Lord Chamberlain’s Records] These are to pray and require your Lordship to pay or Cause to be paid to Mr: Christopher Shrider the sum of One Hundred and Thirty Pounds for putting up a large Organ in Westminster Abbey for the P[er]formance of Mr: Handals Vocal and Instrumental Musick on the Coronation of His Majesty and the Queen as Appears by the Annext Bill Certifyed by Mr. Barnard Gates Tuner of the Regals and Organs. And for so doing this shall be your Lord[shi]p’s Warrant. Given under my hand this 8th Day of June 1728. In the first Year of His Majesty’s Reign. To the R[igh]t Hon[oura]ble the L[or]d Hobart Bart. &c. Grafton Marginal entry: Mr Shrider for provide[in]g an Organ for His Majesty’s Coronation £130[30] |
|
Signor Senesino and Signora Faustina, two famous Performers in the Italian Opera’s, have taken Leave of their Majesties, designing in a few Days to return by the Way of France to Italy.[31] |
|
The famous Signiora Cuzzoni, who is now Lying-in, will set out in a Month’s time on her Return to Italy.[32] |
|
To CALEB D’ANVERS, Esq; SIR, ABout a Year ago, you gave us an Account of the declining State of the Royal Academy of Musick, occasioned by the Disputes between Cuzzoni and Faustina, concerning the first Part in the Opera; and having the Cause of Harmony very much at Heart, you proposed some Preliminaries for a general Pacification, which were accepted on both Sides by the Parties concern’d, after some Alterations, and a Congress was accordingly open’d, the Beginning of this Summer, at the Opera-House, in the Haymarket, pursuant to Notice given for this Purpose, in the publick Papers. But alas! it is too well known how this Assembly broke up; that they wrangled, for some time, about Forms and started Difficulties about meer Trifles, without so much as once mentioning the material Points in Debate. This did, of Consequence, very deeply affect every Man, who had any real Concern for the Musical Government of Great Britain, which now seems to be in the utmost Danger, and hath raised a general Indignation against Those, who have reduced it to this Extremity. I need not mention these Men. They are sufficiently denoted by the daily Exclamations of the Subscribers against them; but it can not be amiss, for the Instruction of other States and Societies, to recapitulate their Proceedings, for some Years past, on this Affair; from whence the monstrous Absurdity and Madness of their Conduct will appear, and I hope be a Warning to all true Lovers of Musick and Harmony. I believe, I may defy the wisest Man in Britain to give a rational Account how these Commotions first arose, and perhaps, it may not be prudent for me to make any Enquiries into the true Causes of them. All that we know, at present, is that Madam Faustina was pleased, upon her coming over hither, to set up a Claim to the first Part in the Opera, against her Competitor Seigniora Cuzzoni, (who had long possess’d it) by virtue of a former, secret Promise, as she pretended, of the said Cuzzoni to surrender it to Her; and it was said that this excellent Singer, by the Advice of her chief Confidantes (who drew her into this foolish Engagement) would have willingly enough fulfilled her Promise, rather than occasion so much Disturbance in the Academy; but great Numbers of the best Friends of the Opera expressed the utmost Abhorrence of such a Design and would not, upon any Terms, be induced to consent that she should give up so material a Right; alledging that it was of the utmost Consequence to the whole Community, and seemed to affect the very Constitution of their Government itself. Faustina, on the other Hand, finding that Cuzzoni and her Agents began to praevaricate and refused to comply with the Conditions, on which she was brought over, thought it high time to take Care of her self. She is acknowledged to be a Lady of as much Art, Spirit and Intrigue as any of her Countrywomen the Italians, and by the Negociation of much abler Sollicitors than Cuzzoni employed, made such powerful Alliances amongst the chief Nobility and Gentry of the Kingdom, and engaged them so zealously in her Interest, that Cuzzoni began to think herself in imminent Danger and applyed herself, with the utmost Diligence, to the forming of counter Alliances, in order to defeat the formidable Designs of her Rival; but though Cuzzoni was herself very much esteemed by all true Lovers of Musick, on account of her sweet Voice and excellent Judgment, yet having intrusted the Management of her Affairs in the Hands of unskilful Persons (who seemed to know no other Methods of Negotiation, than Threats, Blusters and Bribes) they were not able, by all their Endeavours, to turn the Balance on her Side. Some considerable Persons, indeed, did take her Money and promised to stand by her defensively, in case Faustina or any of her Confederates should attack Her but Cuzzoni’s Ministers, either from some Infatuation which had possess’d them, or a Design to betray Her, committed Hostilities first. They employed Mobbs to insult Her before her own Door, and, in the Theatre, condescended to make use of the barbarous Enginry of Hisses and Catcalls. They maltreated her Servants, whom she sent to accommodate Matters, and reviled her Person; They charged her with odious Designs against Cuzzoni’s Fortune and Life; and represented one of her intimate Friends, as an ungrateful Upstart, a poor, distress’d Ballad-Singer, whom They had set up and borne upon their Shoulders; though it is well known that He was in Possession of the first Character in Musick, long before we took any Notice of Him. This extraordinary Usage naturally produced the sharpest Resentment on the other side. Faustina exerted herself, and made ample Reprizals. She despised foul Language and personal Reflections, but attacked Cuzzoni in the tenderest Part, and returned Actions for Words. Cuzzoni’s high Spirit was thoroughly enraged at this; but, on a sudden, she found her Hands tied up from Revenge. Those, whom she chiefly depended on, instead of giving her the expected Assistance, desired Time to consider who was the Aggressor; notwithstanding which she continued to talk big, menace and defy, and gave it out very confidently, every Day, by herself and her Agents, that Matters would be soon made up to her Advantage. In the mean time, all Offices of Friendship and mutual Intercourse (however for the Interest of both) were laid aside. Even visiting ceased; nor would They send a civil How d’ye to one another. Nay, these Animosities were not confined to the Rival Ladies, but spread themselves through most of the polite Families in Town; insomuch, that we were, on a sudden, surprized with unaccountable Alliances. The most intimate Friends broke off their Acquaintance with one another, and run into the Arms of their inveterate Enemies. In short, every thing seemed to tend to an open Rupture, though it was thought that all Parties secretly desired Peace. In this deplorable Situation of Affairs, you were pleased to propose a Congress for terminating all Differences and restoring the Academy to its former Lustre; but you will give me leave to complain of one palpable false Step, which I apprehend to be the Consummation of all our former Blunders and Mismanagement; I mean setting up Senesino for a Moderator between the contending Parties, who had manifestly too large an Interest in these Disputes, to decide them impartially. This was generally foreseen and complain’d of at first; for though He pretended, and solemnly assur’d us, that He had nothing at Heart but a friendly Accommodation, it soon appeared, as we all suspected, that He not only design’d to make Himself more considerable by these Contentions, but had a secret Understanding with Faustina; for as soon as the Conferences at the Hay-Market were discontinued (for, I think, the Congress was not finally dissolv’d) Senesino, the Mediator, immediately left us and went over to Faustina. It is pretended indeed by those, who love to palliate Matters, that Cuzzoni is now left absolutely in Possession of her Right, which remain’d somewhat doubtful during the Struggle last Winter; whereas Faustina, by deserting her Ground, seems to give up her Pretensions, or at least to be made so sensible of the Impracticability of her Designs, that she will hardly resume them. It is true, indeed, that Cuzzoni is left, at present, to sing by Herself; but I would willingly ask these Gentlemen, whether They think that one Person, with all the Advantages of Voice and Judgment, can possibly entertain the Town with an Opera, in all its usual delightful Variety; and whether the Connoiseurs of Musick would not be glad to have a safe, honourable and lasting Accommodation concluded with Faustina, though They might be very sorry to see her possessed of the first Part. The same Gentlemen endeavour to alleviate our Sorrows and remove our Discontents, under these melancholy and most unharmonious Circumstances, by assuring us, that Senesino will come over to us again, and that He is gone off at present only with a Design to reconcile Faustina to our Interest and Proposals. But this does not seem to satisfy many People; even though his Excellency Mr. H———r, (who is equally remarkable for the Gracefulness of his Person and the Elegance of his Address) is sent over to negotiate that Affair. They tell us farther, by way of Comfort, that in case a final Accommodation cannot be brought about, we need not doubt of a Truce for some Years, till a more favourable Opportunity offers itself. But neither does this Project seem to give People the Satisfaction which They desire, because They cannot depend, with any Certainty, on the Continuance of such a meer Cessation of Hostilities, and They do not seem inclinable to come into another Subscription, to support the Expence of so many Performers, till They are convinced of a perfect Agreement. But let these Affairs end how They will, the Management of them hath, without doubt, been exceedingly ridiculous, if not worse, and Mr. Gay had too much Reason, in his Beggar’s Opera, to expose it to the Contempt of the whole Town. I am, SIR, &c.[33] |
A Rising-Sun, second-hand, eclips’d Five Digits by the dirty Hands of an Opera Porter. A Full Moon, span new, never used, but one Side a little Rat-eaten. Several Setts of Clouds, flying down the Wind, in good Condition. Six Dozen of pretty twinkling Stars, a little out of Order for want of Brushing. Four Mantles of State, made in the Reign of King CHARLES II. and worn by Emperors of several Ages and Nations: They are rich Embroidery, and still very fit for Kettle-Drum Banners, or to make Petticoats for Running Footmen. Four Dozen of Musick-Books, with long Symphonies and Ha-ha’s, very proper Pills for Asthmatick People. All the Pikes, Javelins and Partizans of Alexander’s Life-Guard, may now serve the Train Band Officers either to fight, or to make into Fishing Rods. Four Brocade Breeches, worn by Nicolini and Senesino, cut into upper Leathers for Ladies Slippers; the Wastebands bespoke to line the Cape of Mother Needham’s Cloak. Three Dozen of Roman Sandals and Buskins, made by the best Hand in Crambo-Alley, of the antique Fashion, and very well suited to the modern Taste. Several other Rarities that we want English Names for, but are very useful to the Curious,— and are to be expos’d at the Place of SALE.[34] |
THE NAMES of the SUBSCRIBERS.
[...]
Mr. Handel. 4 Books.[35]
|
Mr. Heyddegger not having succeeded in his late Journey to Italy, the Italian Opera’s are now entirely laid aside in this Kingdom for the present.[36] |
A musical festival, probably the first held in Bristol, took place in the Cathedral on the 22nd November, 1727. […] The festival in the Cathedral was repeated a year later [1728].[37]
|
We hear that the Italian Opera’s are laid aside for this Season for want of Performers; and that Mr. Heidegger has obtain’d Leave for having Masquerades this Winter at the Hay-Market.[38] |
Dec 2
|
[John Gay to Jonathan Swift] London Decemr. 2. 1728.” [...] I have had a very severe attack of a feaver which by the care of our friend Dr Arbuthnot hath I hope now almost left me; I have been confin’d about ten days but never to my bed, so that I hope soon to get abroad [182v] about my business, which is, the care of the second part of the Beggar’s Opera which was almost ready for rehear- sal. But Rich receiv’d the Duke of Grafton’s commands (upon an information he was rehearsing a Play improper to be represented) not to rehearse any new Play whatever ’till his Grace hath seen it; what will become of it I know not, but I am sure I have written nothing that can be legally supprest, unless the setting vices in general in an odious light, and virtue in an amiable one may give offense. [...] Prince Frederic is expected over this week. [...][39] |
|
Vienna, Dec. 8. [...] The famous
Italian Singer Cuzzoni is arrived here from England by the Way of France, and going to make a Visit to the Minister of Great Britain, he kept her to dine with him, after which she danced [sic] in his Presence. [...][40] |
|
Letters from Vienna say, Madam Cuzzoni was arrived there, and had din’d at the British Minister’s, where she sung, and that she was to sing before the Emperor, after which she was to go to Italy, and then to England.[41] |
[“Polly Peachum’s Opera: Or, A Medley of New Songs.”]
A NEW
BALLAD.
By CALEB D’ANVERS.
To the Tune of, Sally in our Alley
|
I. OF all the Belles that tread the Stage, There’s none like pretty Polly, And all the
Musick of the Age, Except her Voice, is Folly; The waining Nymphs of Drury-Lane I now can bear no longer; And when she’s present, I disdain My quondam Favourite Y[oun]ger. [39] II. Compar’d with her, how flat appears Cuzzoni or Faustina? And when she sings, I shut my Ears To warbling Senesino. What though her Father is a Rogue, Her Mother though a Whore is? Those Vices now are high in Vogue, And Virtue out of Door is. [… 40 …] Some Prudes indeed, with envious Spight, Would blast her Reputation, And tell us that to Ribands bright She yields, upon Occasion. VI. But these are all invented Lies, And vile outlandish Scandal, Which from Italian Clubs arise, And Partizans of Handel. Then let us toast the blooming Lass, Whose Charms have thus ensnared me; I’d drink it in a brimming Glass, |
|
On the famous Contests between SIGNORA CUZZONI, and SIGNORA FAUSTINA. WHILE with the heighten’d Force of Rival sound, Each tuneful Stranger struck the ravish’d Ear, Careless of Joy the adverse Hearers frown’d, And each in Rage extoll’d his fav’rite Fair. Strange! that from Harmony’s all-Soothing spell, Tumultuous Jars, and fiercest Discord came, Strange! that the Breast of Man enrag’d shou’d Swell By notes which list’ning Savages wou’d Tame.[43] |
[Owen Swiney to Charles Lennox, 2nd Duke of Richmond, no place and date]
P.S. My hopes to recover any thing from Messrs. de L’academie, depend intirely on your Grace’s warm Sollicitation in my favour and laying before ’em ye Services of four years, during which time, their Petitioner has been, more than once, publickly, thank’d for his faithful Services &c.
Mr. Handel & Mr. Heidegger, both, are convinced that my request is just & have promised me to Sollicite your Grace & ye other Members of ye late Society &c.[44]
ca 1728
|
The Musicall Gramarian or A practick Essay upon Harmony, plain, and artificiall. With Notes of comparison between the Elder and later Musick, and Somewhat Historicall of both. [...] the beginning of subscribing [...] hath bin carryed on with very [180r] great profusion, for celebrating ye choisest Itallian operas and Inviting over the most celebrious voices. As Grow up to their full magnitude so our Operas were performed by English voices, nay the Itallian of forrein opera’s were translated and fitted to ye musick, nay more some scenes were sung in English and others In Itallian or Dutch rather then fail, wch made such a crowd of Absurditys as was not to be borne. But now the Subscription’s, with a Royall Encouragemt hath brought the opera’s to be performed In their native Idiom and up to Such a Sufficiency that many have say’d, they heard them, have not Exceeded. Now having brought our English opera musick to this pass, It will scarce be manners to thro any censures at them, but be they very great and [180v] good, there is no such perfection upon Earth to or from wch somewhat may not a buon Cento be added, or Substracted, and perhapps alltered for the better. One thing I dislike is the laying too much stress upon some one voice, wch is purchased at a dear rate. Were it not as well If somewhat of that was abated, & added to the rest to bring ye orchestre to a neerer Equallity: Many persons come to hear that Single voice, who care not for all the rest, Especially If it be a fair Lady: And observing ye discours of the Quallity crittiques, I found it run’s most upon ye point, who sings best? and not whither ye musick be good and wherein? and it is a sorry case to sitt by one who during a recitativo, sighs & groan’s at what he is to Endure, before this favorite ariette, or that ballett comes up. And it [is] a fault In ye Composition to overcalculate for ye prime voice, as If no other [181r] other [sic] part were worth Regarding, whereupon the whole Entertainmt consists of Solo’s; and very little or no Consorts of voices: where is there a Chorus of 4 full voices Interwoven with ye proper Consort ornaments to be heard? I am sure Nature affords not mean’s for musick to be so good any other way. If they say It is not suitable to a Drama to have many sing together. The contrary of that is most apparently true; for (excepting ye comedys) wch of ye Ancient Dramatiques had not a chorus that sang what was proper to the Subject? And now at last, from what I can perceiv, the Opera’s made In England of ye latter date, are more substantially musicall, than those wch are used notatim out of Itally, wch latter have of late diverted from the Lofty style downe to the Ballad, fitt for the streets that Receivs them, whereby it appears that the Itallian vein is much degenerated.[45] |
[1] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 1:158.
[2] The Daily Journal, no. 2201, Thursday 1 February 1728, [2].
[3] The Country Journal: Or, The Craftsman, no. 83, Saturday 3 February 1728, [2].
[4] The Daily Journal, no. 2204, Monday 5 February 1728, [1].
[5] The London Evening-Post, no. 25, Saturday 3 – Tuesday 6 February 1728, [2].
[6] The Daily Journal, no. 2207, Thursday 8 February 1728, [1].
[7] The Daily Journal, no. 2207, Thursday 8 February 1728, [2].
[8] The British Journal: Or, The Censor, no. 4, Saturday 10 February 1727-8, [3].
[9] The London Evening-Post, no. 27, Thursday 8 – Saturday 10 February 1728, [2]; The Daily Post, no. 2617, Saturday 10 February 1728, [1].
[10] The British Journal: Or, The Censor, no. 4, Saturday 10 February 1727-8, [2].
[11] The Daily Journal, no. 2210, Monday 12 February 1728, [1].
[12] The Country Journal: Or, The Craftsman, no. 85, Saturday 17 February 1728, [2; 2nd version].
[13] The British Journal: Or, The Censor, no. 5, Saturday 17 February 1727-8, [3].
[14] The Daily Post, no. 2624, Monday 19 February 1728, [1]; The Daily Journal, no. 221[6], Monday 19 February 1728, [2].
[15] Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institution and Its Directors (New York and London: Garland, 1989), 377-78.
[16] British Library, Add. Ms. 4805, f. 172r.
[17] Donald Burrows, Handel and the English Chapel Royal (Oxford and New York: Oxford University Press, 2005), 610.
[18] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 1:160.
[19] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 1:162.
[20] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 1:163.
[21] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 1:165-66.
[22] British Library, Add. Ms. 4805, f. 174r-v.
[23] A Compleat Collection of all the Verses, Essays, Letters and Advertisements, which have been occasioned by the Publication of Three Volumes of Miscellanies by Pope and Company (London: A. Moore, 1728), 23-24.
[24] The Daily Post, no. 2664, Friday 5 April 1728, [1].
[25] The Country Journal: Or, The Craftsman, no. 92, Saturday 6 April 1728, [2].
[26] Foundling Museum, Gerald Coke Handel Collection, accession no. 2367, pp. 210-21; first published (with several errors and regularized spelling) in Winton Dean, “A French Traveller’s View of Handel’s Operas,” Music & Letters 55 (1974), 172-78: 177-78.
[27] Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institution and Its Directors (New York and London: Garland, 1989), 378, 380.
[28] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 1:172-73.
[29] British Library, Add. Ms. 4805, f. 176r.
[30] Donald Burrows, Handel and the English Chapel Royal (Oxford and New York: Oxford University Press, 2005), 611.
[31] The Daily Post, no. 2740, Wednesday 3 July 1728, [1]; repr., The London Evening-Post, no. 89, Tuesday 2 – Thursday 4 July 1728, [2]; repr., The Weekly Journal: Or, The British Gazetteer, no. 163, Saturday 6 July 1728, [3].
[32] The Daily Post, no. 2747, Thursday 11 July 1728, [1]; repr., The Weekly Journal: Or, The British Gazetteer, no. 164, Saturday 13 July 1728, [3].
[33] The Country Journal: Or, The Craftsman, no. 113, Saturday 31 August 1728, [1]; repr. (not from the original issue), Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institution and Its Directors (New York and London: Garland, 1989), 401-04.
[34] The Parrot. By Mrs. Prattle, no. 3, Wednesday 9 October 1728, [2].
[35] [John Ernest] Galliard, The Hymn of Adam and Eve, out of the Fifth Book of Milton’s Paradise-Lost; set to Musick by Mr. Galliard ([?London]: [?], 1728.
[36] The London Evening-Post, no. 144, Thursday 7 – Saturday 9 November 1728, [1].
[37] John Latimer, The Annals of Bristol in the Eighteenth Century (Bristol: [the author], 1893; repr. Bath: Kingsmead Reprints, 1970), 161.
[38] The London Evening-Post, no. 150, Thursday 21 – Saturday 23 November 1728, [1]; The Universal Spectator, and Weekly Journal, no. 7, Saturday 23 November 1728, [2].
[39] British Library, Add. Ms. 4805, f. 182r-v.
[40] The Daily Post, no. 2883, Tuesday 17 December 1728, [1].
[41] The London Evening-Post, no. 160, Saturday 14 – Tuesday 17 December 1728, [2].
* A mighty weak sucking Priest, who to show his Theological Capacity, preached a Sermon at Lincoln’s-Inn-Chapel against the Deism of the Age, and the Beggars Opera.
[42] Caleb D’Anvers [=Nicholas Amhurst], The Twickenham Hotch-Potch, For the Use of the Rev. Dr. Swift, Alexander pope, Esq; and Company. Being a Sequel to the Beggars Opera, &c. (London: J. Roberts, 1728), 38-40; see also, Deutsch, Handel, 223-24.
[43] John Whaley, A Collection of Poems (London: the author, 1732), 100.
[44] Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institution and Its Directors (New York and London: Garland, 1989), 380.
[45] British Library, Add. Ms. 32533, ff. 179v-181r; repr. Roger North, The Musicall Gramarian, ed. Hilda Andrews (Oxford University Press / London: Humphrey Milford, [1925]), 39-41.