1731
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THURSDAY, Jan. 14. [...] Last night his R. Highness the Prince had a private Ball for a particular sett of Quality, at Mr. Heydegger’s in the Hay-market. P. A Ball at the Theatre in the Hay-market, for the entertainment of divers Persons of Quality and Distinction, which held till 5 this morning. LE.[1] |
Jan 14
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LONDON. On Thursday last in the Evening, at the Academy of Vocal and Instrumental Musick, (Mr. Gates, Master of the Children of the Chapel Royal being Director for the Night, and a numerous Assembly of Nobility and Gentry being present) were performed, with universal Applause, the following Compositions: 1. A Madrigal for 5 Voices, by Abbot Stefani, late President of the Academy. 2. A Piece of Vocal and Instrumental Musick, by Sig. Faux, Chapel Master to the Emperor. 3. A Madrigal for 5 Voices, by Sig. Antonio Lotti, Chapel Master to the Doge of Venice. 4. Mr. Handell’s Great Te Deum and Jubilate.[2] |
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FRIDAY, Feb. 5. Last night his R. H. the Prince had a private Ball at Mr. Heydegger’s house in the Hay-market, for a particular set of Quality. P.[3] |
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The Royal Academy of Musick have discharged several noted Hands from their Service, and voted in Mr. Gethin, one of the Gentlemen in his Majesty’s Band of Musick. The Musick that was performed at St. Paul’s for the Peace of Utrecht, composed by Mr. Handel, is to be performed before the Sons of the Clergy at St. Paul’s.[4] |
Feb 22
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AT Mr. HICKFORD’S Great Room in Panton-street near the Hay-market, on Friday next, being the 26th Day of February, Mr. CASTRUCCI, first Violin to the Opera, will have a compleat Entertainment of Vocal and Instrumental MUSICK; with several Concerto’s of his own Composition, particularly a Sola [sic], in which he will perform 24 Notes with one Bow; and the 1st and 8th Concerto of his Master the famous Corelli.[5] |
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We hear that very shortly there will be a compleat Concert of Vocal and Instrumental Musick for the Benefit of the last Violin of Goodmans- Fields Play-House, in which he will perform several Concerto’s of his own Composition, and particularly one Solo, in which he will execute five and twenty Notes with one Bow: This is esteem’d the more extraordinary, because it is one Note more than the Famous first Violin of the Opera can play.[6] |
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Last Night their Majesties, the Princesses Royal and Carolina went to the Opera House in the Haymarket, and saw the Opera of Porus.[7] |
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Yesterday there was a Rehearsal at St. Paul’s, of the Musick that will be performed on Thursday before the Sons of the Clergy, at their annual Meeting, at which there was a great Appearance of Persons of the first Rank and Figure; and their Collection on that Occasion amounted to above 200 l.[8] |
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THE ANNUAL FEAST of the SONS of the CLERGY will be held at Merchant-Taylor’s-Hall in Threadneedle-Street, To-morrow the 25th Inst. TICKETS may be had at the Chapter and Child’s Coffee-Houses in St. Paul’s Church-Yard; Tom’s Coffee-House in Covent-Garden; Rainbow and Richard’s Coffee-Houses at Temple-Bar; Batson’s Coffee-House in Cornhill; Oliver’s Coffee-House at Westminster-Hall-Gate; Sussex Coffee-House in Fleet-Street; and Wigan’s Coffee-House in King-Street by Guildhall. N. B. Stewards are provided for the Year ensuing. Mr. HANDELL’s Te Deum and Jubilate, together with TWO of his Anthems, will be Vocally and Instrumentally perform’d at Divine Service; and those that bring Feast Tickets will be admitted into the Choir.[9] |
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Yesterday were rehearsed at St. Paul’s, for the Festival of the Sons of the Clergy, which is to be celebrated To-morrow, the Great Te Deum and Jubilate, composed by Mr. Handel for the publick Thanksgiving upon the Peace of Utrecht, together with the two Anthems made by him for the Coronation of his present Majesty: As they are esteemed by all good Judges some of the grandest Compositions in Church Musick, and were perform’d by a much greater Number of Voices and Instruments than usual upon the like Occasion, so there was a nobler Audience, and a more generous Contribution to the Charity, than has been known, the Collection amounting to 203 l. 9 s. 7 d. which is very near double what has been given in any other Year. [Craftsman:] On Thursday at the Feast, at Merchant Taylors Hall, the Collection amounted to 476 1.[10] |
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The same Day being the Annual Meeting of the Sons of the Clergy at the Cathedral Church of St. Paul’s, an excellent Sermon was preach’d by the Reverend Mr. Spateman suitable to the Occasion; when Mr. Handel’s Te Deum and Jubilate, together with two of his Anthems, were performed both vocally and instrumentally, before a numerous and crowded Congregation. Afterwards they proceeded to Merchant Taylor’s Hall, where a fine Entertainment was provided, at which were present many of the Right Reverend the Lords Bishops and Clergy, with several Persons of Distinction; when we hear the Collection of the Bason on this Occasion, towards the usual Charity, amounted to much more than the last Year.[11] |
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Thursday was held the annual Feast of the Sons of the Clergy, when Mr. Handel’s Te Deum and Jubilate, composed for the Publick Thanksgiving upon the Peace of Utrecht; together with the two Anthems made by him for the Coronation of his present Majesty, were perform’d before them at St. Paul’s Cathedral. The Collection made then and at the Rehearsal last Tuesday amounted to upwards of 700 l.[12] |
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[Viscount Percival’s Diary, Friday 5 March 1730-31] This evening I revived my winter concert. The performers were Mr. Needler, Mr. Mellan, Mr. Withrington, Mr. Mercer, and Mr. Vernor on the fiddle, Mr. Dobson, Mr. Pain on the bass-viol, Mr. Fabry and Mr. ————— on the harpsichord. The company were the Earl of Grantham, Earl of Shaftesbury, Lord Howard of Effingham, Sir John Evelyn, Mr. Hill, Mr. Walker, brother Parker, Mr. Tripland, Mr. Greenvil, Mr. Le Grand, Mr. Clerk, Countess of Torrington, Lady Frances Nassau, and her sister, Lady Anne —————, sister Percival, cousin Le Grand and cousin Betty Southwell, Lady Ranelagh, Lady Humphreys and her daughter, Mrs. Donellan, Mrs. Minshull.[13] |
Last Night their Majesties, his Royal Highness the Prince of Wales, and the three eldest Princesses, were at the Kings Theatre in the Haymarket and saw the Opera of Sosarmes.[14]
Last Night their Majesties, his Royal Highness the Prince of Wales, and the three eldest Princesses, were at the King’s Theatre in the Haymarket, and saw the Opera of Sosarmes.[15]
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[Viscount Percival’s Diary, Thursday 8 April 1731] I returned home to dinner, and found there my cousin Fortrey, Mr. Fabry and his wife.[16] |
This
is to give Notice
To
all Shopkeepers and Others,
THat at the Printing-House in Bow Church Yard, Cheapside, London, all manner of Business in Printing, either at the Letter-Press or Rolling-Press, continues to be carried on by THOMAS COBB, who married the Widow of the late Mr. JOHN CLUER, who kept the said Printing House;
Where Shopkeepers Bills, and Bills of Parcels are curiously engraved on Copper: Also Marks for Tobacconists, Haberdashers of Hats, &c. are engraved on Wood or Copper.
Labels for Surgeons Chests, Apothecaries, Grocers, &c. may be had there, painted or plain.
Also Blank Receipts for Taxes, &c. Titles for Hungary-Water, Directions for Dassey’s Elixir, and Spirits of Scurvey-Grass.
Likewise Club-Orders and Funeral Tickets.
Feast-Tickets for Gardeners and Florists, are printed there, from a curious new Copper Plate, just Engriv’d, being the best ever yet done.
All Sorts of Pictures painted or plain, Lottery Pictures for Children, Copy-Book Covers, and a new Round-Hand Copy-Book with the Copies set on the Top of every Leaf for Learners to write underneath.
*** At the abovesaid Printing-Office may be had all Sorts of Paper for Writing Musick, sold cheaper than at any other Place.
Likewise Mr. Handel’s Opera’s, and many other Books of Musick, are there Engraved, Printed and Sold.
[...][17]
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[Viscount Percival’s Diary, Thursday 29 April 1731] [...] After dinner I went to the Vocal Music Society.[18] |
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[Viscount Percival’s Diary, Friday 30 April 1731] I returned home to dinner, and had my concert for the last time this season. The performers were Mr. Needler, Mr. Mulso, Mr. Withrington, my brother Percival, Mr. Payn, Mr. Vernon, Mr. Bagnal, and the great bass for the instrumental parts, and Signor Fabri, Signora Bertholdi, Mrs. Demer and my daughter for the vocal. The company were Lady Evelyn, Lady Bland, Lady Leusham, cousin Le Grand, sister Percival, Mrs. Minshull, aunt Whorwood, Mrs. Schutz, etc., Lord Leusham, Sir John Evelyn and his son, Mr. Le Grand, Mr. Wesley, Mr. Francis Clerke, etc.[19] |
[April 30/] May 11
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[Edward Holdsworth in Naples to Charles Jennens] Dear Sr. I thank God I am now so far recover’d of my indisposition yt I can ramble about with pleasure, but as my leg is still weak, I think ’twou’d be imprudent to venture as yet upon another journey, and therefore we propose to pass the summer here. […] I am sorry yt I did not bring wth me the Musick wch I had copied for you at Rome, because I might have had an opportunity of forwarding it by some vessel from hence to England; but as I propos’d to make but a short stay here I unfortunately left it lock’d up at Rome. There is now performing at Bologna an Opera wch ’tis believ’d will be the finest yt ever was heard on an Italian stage; The Performers are Cuzzoni (for out of respect I must name her first) Faustina, Teza, Farinelli, Scalzi, &c. in short all ye best voices in Italy. Several English gentlemen are flock’d thither to hear it; I wish yt curiosity had brought you thither too. […][20] |
[May 28/] Jun 8
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[John Herbert in Naples to Charles Jennens] Dear Sr I receiv’d
yrs of ye 19th of
April last week […] I hope we shall have the honour
to see you at Bolognia where we are to go to hear ye
finest Opera yt ever was <in>
Italy there being |
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At the
particular Request of the Gentlemen of Deptford and Woolwich, For the BENEFIT of Mr. RAY. By the Company of COMEDINAS, AT the Theatre-Royal in Lincoln’s-Inn- Fields, this present Monday, being the 7th of June, will be performed, A Comedy, call’d, The LONDON CUCKOLDS. [...] To which will be
added, FLORA; An OPERA Of TWO ACTS: [...] With several ENTERTAINMENTS of DANCING, [...] And at the End of the Play the celebrated Water Musick, composed by Mr. Handel, in which Mons. Poitier will beat the Kettle Drums. [...] this will be the last Time of the Company’s acting this Season.[22] |
[Barbara Pisani in Vienna to Gio. Giacomo Zamboni, 20 June 1731]
I am infinitely indebted to your words and work on my behalf in London {...}, and if at present I were free to move and not engaged at the imperial court, where I must depend for every necessity on the wishes of my master [Charles VI] (from whom I hope shortly to have a most clement decision [concerning my permanence here]), I would have the opportunity to be able to decide. At present, I have no such opportunity, unless I am released from service, in which case I will be allowed to tell you my thoughts clearly and succinctly, for thus I hold them, both for the duty and for the character they display {...}. You already know this from what I wrote in reply to one with which Handel favoured me concerning this subject {...}, and I confirm and repeat what I expressed to him. Please receive, sir, these, my sentiments, in good faith, and give me the opportunity to serve you there. I will not fail in my duty to respond to you. Only after some delay did I receive from Riva your courteous letter.[23]
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The famous Signor Bonanchini, whom her Grace the Junior Dutchess of Marlborough allows 500 l. per Ann. for Life, for his several fine Performances in Musick that he entertains her Grace with twice a Week, has obtained Leave of Absence for some Months to go for France on his private Affairs.[24] |
[Jun 30/] Jul 11
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[Edward Holdsworth in Naples to Charles Jennens] Dear Sr. Since I wrote to you last I have been again very much indispo’d, wch prevented my writing to you for some time. I thank god I am now perfectly recover’d, my unfortunate leg excepted; wch still continues so weak, yt I am not able to stand long upon it […] The opera at Bologna wch had rais’d people’s expectation very high, and brought a vast concourse of Virtuosi thither from all parts, has succeeded very ill. The book was bad, and the Composition very mean, particularly Cuzzoni’s part, wch put ev’ry body very much out of humour; And may convince you, if you want a proof of it, yt the finest voices in ye world signify nothing without a H- - l [Handel]. […][25] |
Aug 24
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[Edward Holdsworth
in Naples to Charles Jennens] […] We propose to spend some time
in Florence before we leave Italy, and then I will inform my
self about Botro’s Harpsicords,
and of wt value one of them may be. And
if you insist upon my giving my opinion of the sweetness of his instruments,
you shall have it. And if the blind organist, whom I suppose you know, shou’d happen to travel into this country, pray desire
him to choose some Pictures for you.[26] |
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[Viscount Percival’s Diary, Tuesday 31 August 1731] [...] The 31, Mr. Botmar came with Martini, the famous “hautboy,” and dined with me. We talked of the brutality and insolence of certain persons to their superiors, and Botmar told us three instances of it. Bononcini, the famous composer, was in the Emperor Joseph’s favour to that degree that he made him extraordinary presents above his salary, yet he had the insolence often to refuse to play when he sent to him for that purpose. At last the Emperor made him come to Court, and asked him, “Do you consider it is an Emperor whom you refuse?” “Yes,” replied the saucy fellow, “but there are many sovereign princes, and only one Bononcini.” This insolent temper obliged him to leave that Court, and he came in the late Queen’s time for England, where for a while he reigned supreme over the commonwealth of music, and with justice for he is a very great man in all kinds of composition. At length came the more famous Hendel from Hanover, a man of the vastest genius and skill in music that perhaps has lived since Orpheus. The great variety of manner in his compositions, whether serious or brisk, whether for the Church or the stage or the chamber, and that agreeable mixture of styles that are in his works, that fire and spirit far surpassing his brother musicians, soon gave him the preference over Bononcini with the English. So that after some years’ struggle to maintain his throne, Bononcini abdicated, and the present young Duchess of Marlborough took him into her house with a salary of five hundred pounds a year, a sum no musician ever had before from any Prince, nor ought to have. While he was there, the gentlemen of the King’s Chapel set up their club of vocal [202] and instrumental music, of which I am a member, and Bononcini accepted to be one of the principal conductors of it, Bishop Stephani, formerly known by the name of Abbé Stephan, when at Hanover, a person most famous for harmonious cantatas of two voices, being declared our president, though absent. For two or three years our concert proceeded with great union, till last year (1730) two accidents fell out that divided us; nevertheless we still hold on, though, like the fall of the angels in heaven, the best of our vocal performers went off with Mr. Green, the humpback, organist of St. Paul’s and the King’s Chapel, the chief undoubtedly of our English composers now living. Our first misfortune was the loss of Bishop Stephani, who died that year, in honour of whom the club resolved not to elect a president for the future, but to keep that post vacant, as if there were no man living worthy to supply his place. This was a resolution insupportable to Bononcini, who had reason to expect that honour, and thereupon he cooled very much in his affection to the club, coming very seldom, but still he continued of us, and favoured us at times with his compositions, which were generally fine; at last (I now come to the second accident I spoke of) he sent us by his friend Mr. Green a composition to be performed, which one of the club, who is versed in foreign music, acquainted us was not the work of Bononcini, but of the Emperor’s master of the chapel, and proved it by showing that very composition printed several years ago, and dedicated to the Emperor. The club were astonished that so great a man as Bononcini should descend so low as to father another man’s works, and impose them on us as his own, and mentioning their surprise in public, Bononcini could not but soon hear of the matter. He stormed and maintained the gentlemen had accused him falsely, insisting that music to be still his own; whereupon it was agreed to write to Vienna to the composer to know the truth. In the meantime, Bononcini withdrew from our Society, and many of it, who are his professed friends, taking his part, left us also. Three months ago Bononcini quarrelled with the Duchess, his protector, on pretence she used him ill. In return for the handsome salary she gave him, he used to entertain her with concerts, which she accepted, not imagining that he would bring her in a bill at last to pay the performers, some of whom were promised three guineas a time. The Duchess, making a demur to paying them, Bononcini took a distaste, left her, and has formed a scheme to erect a music meeting at York buildings in opposition to the Opera. This is the story of this proud man, who if he had valued himself less, the world would have esteemed him more.[27] |
[Count Philip Josef Kinsky in London to Gio. Giacomo Zamboni, {September 1731}]
I have received letters saying that Pisani cannot come, since the doctors say that she has pulmonary consumption (p[h]tisie). Thus Händl will be burned (voilà Mons. Händl flambé), unless he has other letters.[28]
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Mr. Heydegger is putting the King’s Theatre in the Hay-market into order to entertain the said Prince [i.e. the Duke of Lorrain] with Balls and Operas.[29] |
[...] The report that was set about Friday last of the Queen’s death was the invention of the Spittlefeild wevers [sic] and the stock jobbers, to fall stock. I ride out with her Saturday morning, she was very cheerfull and in very good humour, which one can’t be without one is in perfect good health. ...[30]
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Last Night their Majesties, with the Princess Royal and the other two eldest Princesses, went to the Opera House in the Hay-Market, as did also his serene Highness the Duke of Lorrain. His Royal Highness the Prince of Wales being indispos’d, prevented his coming.[31] |
Last Tuesday Night [23 November] their Majesties, his Royal Highness the Prince of Wales, and the Three Eldest Princesses, went to the Opera House in the Hay-Market, and saw an Opera call’d PORUS; at which Performance his Serene Highness the Duke of Lorrain, accompanied by several Persons of Distinction, were present.[32]
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AT the KING’s THEATRE in the HAY-MARKET, this present Saturday, being the 27th Day of November, will be perform’d, An OPERA, call’d, PORUS. PIT and BOXES to be put together, and no Persons to be admitted without TICKETS, which will be deliver’d This Day, at the Office in the Hay-Market, at HALF a GUINEA each. GALLERY FIVE SHILLINGS. By HIS MAJESTY’s COMMAND, No Person whatever to be admitted behind the SCENES. N. B. The SILVER TICKETS are ready to be deliver’d to the SUBSCRIBERS, or their Order, on Payment of the Subscription Money at the Office in the Hay-Market.[33] |
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NEW MUSICK, And EDITIONS of MUSICK, Lately Published, Compos’d by Mr. HANDEL, 1. The Whole Opera of Porus
in Score[.] 2. A compleat Set of all his late Opera’s in Score. 3. The Mask of Acis and Galatea. 4. Apollo’s Feast, 3 Vols. containing the choicest Songs out of the late Opera’s. 5. Twenty-four Overtures for Violins, &c. in 8 Parts: Also the same Overtures curiously set for the Harpsichord. 6. Six celebrated Songs for French Horns, &c. in 7 Parts. 7. Seven Collections of Favourite Opera Aires, collected from his Opera’s, curiously fitted for a German Flute, Violin, or Harpsichord, Vol. 1. 6. [sic] The choicest Songs in the Opera’s of Lotharius, Parthenope, and Porus, for a German Flute, &c. Vol. 2. Part 1, 2. 7. [sic] A complete Set of all the Opera’s transposed for the Flute, in Two Vols. 4to. All printed for and sold by JOHN WALSH, Musick Printer and Instrument-Maker to his Majesty, at the Harp and Hautboy in Catherine-street in the Strand.[34] |
Last Tuesday Night [7 December] the King and Queen, his Royal Highness the Prince of Wales, and the Three Eldest Princesses, went to the Opera House in the Hay-market, and saw the Opera of Admetus.[35]
Dec
27
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William
Cleland to John Gay Thursday,
27 December 1731 Sir, — I am astonished at the Complaints occasion’d
by a late Epistle to the Earl of Burlington; and I
should be afflicted were there the least just Ground for them. Had the Writer
attacked Vice, at a Time when it is not only tolerated but triumphant; and so
far from being concealed as a Defect, that it is proclaimed with Ostentation
as a Merit; I should, “while I admired his Courage,” have been apprehensive
of the Consequence: Had he satirized Gamesters of one hundred thousand Pounds
Fortune, acquired by such Methods as are in daily Practice, and almost
universally encouraged; had he overwarmly defended
the Religion of his Country, against such Books as come from every
Press, are publickly vended in every shop, and
greedily bought by almost every Rank of Men; or had he called our excellent Weekly
Writers by the same Names which they greatly bestow on the greatest Men in
the Ministry and out of the Ministry, for which they are all
unpunished, and most rewarded: In any of these Cases, indeed, I might have
judged him too presumptuous, and perhaps have trembled for his Rashness. I could not but hope better for this small and modest Epistle,
which attacks no one Vice whatsoever; which deals only in Folly
and not Folly in general, but a single Species of it; that only Branch, for
the opposite Excellency to which, the Noble Lord to whom he writes must
necessarily be celebrated, I fancied it might escape Censure, especially
seeing how tenderly he treated these Follies, and seemed less to accuse them,
than to make their Apology. Yet
hence the Poor are cloath’d, the Hungry fed, Health
to himself, and to his Infants Bread, The
Lab’rer bears. Is this such aCrime,
that to impute it to a Man must be a grievous Offence? ’Tis
an Innocent Folly and much more Beneficent than the Want of it;
for Ill Taste employs more Hands, and diffuses Expence
more than a Good one. Is it a Moral Defect? No, it is but a Natural
one; a Want of a Taste. It is what the best good Man living may be
liable to: The worthiest Peer may live exemplarily in an ill favoured House, and the best reputed Citizen be pleased with a vile Garden. I thought (I say) the
Author had the common Liberty to observe a Defect, and to compliment a Friend
for a Quality that distinguishes him? Which I know not how any Quality should
do, if we were not to remark that it was wanting in others? But they say the Satire is Personal. I thought it could
not be so, because all its Reflexions are on Things’;
unless the Pictures, Statues, trimmed Trees, and Violins, are Persons’.
His Reflections are not on the Man, but his House, Garden, &c.
Nay, he respects (as one may say) the Persons of the Gladiator,
Amphitrite, the Nile, and the Triton: He is only sorry to see them (as he
might be to see his best Friends) ridiculous, by being in the wrong Place,
and in bad Company. Some fancy, that to say a Thing is Personal, is
the same as to say it is Injust, not
considering, that nothing can be Just that is not Personal: I
am afraid that all such Writings and Discourses as touch no Man, will mend no
Man. The Good Natured indeed are apt to be alarmed at any thing like Satire; and the Guilty readily
concur with the Weak for a plain Reason, because the Vicious look upon
Folly as their Frontier. Iam proximus ardet Ucalegon. [Aeneid, ii. 311–312.] No wonder those who
know Ridicule belongs to them, find an inward Consolation in removing it from
themselves as far as they can; and it is never so far, as when they can get
it fixt on the best Characters. No Wonder,
those who are Food for Satirists shou’d rail at
them as Creatures of Prey; every Beast born for our Use,
would be ready to call a Man so. I know no Remedy, unless People in our Age would as little
frequent the Theatres, as they begin to do the Churches; unless Comedy were
forsaken, Satire silent, and every Man left to do what seems good in his own
Eyes, as if there were no King, no Priest, no Poet, in Israel. But I find myself obliged to touch a Point, on which I must be
more serious; it well deserves I should: I mean the malicious Application of
the Character of Timon, which I will boldly
say, they would impute to the Person the most different in the World from a Manhater, and the Person whose Taste and Encouragement
of Wits have ever been shewn in the highest
Place. The Author of this Epistle must certainly think so, if he has the
same Opinion of his own Merit as Authors generally have; for he has been “always
distinguished and” favoured by this very Person.
Why, in God’s Name, must a Portrait apparently collected from twenty
different Men, be applied to one only? Has it his Eye? No, it is very
unlike. Has it his Nose or Mouth? No, they are totally
differing. What then, I beseech you? Why it has the Mole on his Chin.
Very well: but must the Picture therefore be his, and has no other Man that
Blemish? “Would to God I had it together with his Magnificence, Beneficence,
Generosity and Goodness! Then I would add one Vanity more to the Catalogue,
and firmly believe myself the best Man of my Age and Country, because I have honoured my God with most Dignity, and done
most Good to my Neighbour.” Could there be a more melancholy Instance how much the Taste of
the Publick is vitiated, and turns the most
salutary and seasonable Physick into Poyson than if amidst the Blaze of a thousand bright
Qualities in a Great Man, they should only remark there is a Shadow about
him, as what Eminence is without “one”? I am confident the Author is incapable
of imputing any such to a Person, whose whole Life
(to use his own Expression in Print of him) is a continued Series of
good and generous Actions. “I say I am confident, for I have known this
Author long and well; and” I know no “good” Man who would be more concerned,
if he gave the least Pain or Offence to another; and none who would be less
concerned, if the Satire were challenged by any one at whom he would really
aim it. If ever that happens, I dare engage he will own it, with all the
Freedom of a Man whose Censures are just, and who sets his Name to them. “I
am, Sir, Your
humble Servant.” “I really cannot help smiling at the Stupidity, while I lament
the Slanderous Temper of the Town. I thought no Mortal singly could claim
that Character of Timon, any more than any
Man pretend to be Sir John Falstaff. “But the Application of it to the D. of Ch. [Chandos]
is monstrous; to a Person who in every particular differs from it. “Is
his Garden crowded with Walls? Are his Trees cut into Figures of
Men? Do his Basons want Water? Are there
ten steep Slopes of his Terrass? Is he
piqued about Editions of Books? Does he exclude all Moderns
from his Library? Is the Musick of
his Chappel bad, or whimsical, or jiggish? On the contrary, was it not the best
composed in the Nation, and most suited to grave Subjects; witness Nicol.
Haym’s, and Mr. Hendel’s noble
Oratories? Has it the Pictures of naked Women in it? And did ever Dean
Ch — w — d [?Knightly Chetwood, Dean of Gloucester] preach his Courtly Sermons
there? I am sick of such Fool-Applications.”[36] |
[1] The Grub-street Journal, no. 55, Thursday 21 January 1731, [2].
[2] The Daily Journal, no. 3130, Saturday 16 January 1731, [1]; repr. Lowell Lindgren, “The Three Great Noises ‘Fatal to the Interests of Bononcini,’” The Musical Quarterly 61 (1975), 560-83: 567.
[3] The Grub-street Journal, no. 58, Thursday 11 February 1731, [2].
[4] The London Evening-Post, no. 503, Tuesday 16 – Thursday 18 February 1731, [1].
[5] The Daily Post, no. 3566, Monday 22 February 1731, [1].
[6] The Daily Post, no. 3567, Tuesday 23 February 1731, [1].
[7] The Daily Courant, no. 9167, Wednesday 24 February 1731, [2].
[8] The Daily Courant, no. 9167, Wednesday 24 February 1731, [2]; repr. Deutsch, .
[9] The Daily Journal, no. 3163, Wednesday 24 February 1731, [1].
[10] The Daily Journal, no. 3163, Wednesday 24 February 1731, [1]; repr. (with omissions) The Grub-street Journal, no. 60, Thursday 25 February 1731, [3]; repr. The Country Journal: or, The Craftsman, no. 243, Saturday 27 February 1730-31, [2]; repr. (Craftsman) Deutsch, 271.
[11] The Daily Courant, no. 9169, Friday 26 February 1731, [2].
[12] Read’s Weekly Journal, or, British-Gazetteer, no. 310, Saturday 27 February 1731, [2].
[13] Manuscripts of the Earl of Egmont: Diary of Viscount Percival afterwards First Earl of Egmont. Vol. I. 1730-1733 (London: His Majesty’s Stationery Office, 1920), 155.
[14] The Daily Advertiser, no. 345, Wednesday 8 March 1731, [1].
[15] The Daily Advertiser, no. 351, Wednesday 15 March 1731, [1].
[16] Manuscripts of the Earl of Egmont: Diary of Viscount Percival afterwards First Earl of Egmont. Vol. I. 1730-1733 (London: His Majesty’s Stationery Office, 1920), 175.
[17] The London Journal, no. 613, Saturday 24 April 1731, [4].
[18] Manuscripts of the Earl of Egmont: Diary of Viscount Percival afterwards First Earl of Egmont. Vol. I. 1730-1733 (London: His Majesty’s Stationery Office, 1920), 187.
[19] Manuscripts of the Earl of Egmont: Diary of Viscount Percival afterwards First Earl of Egmont. Vol. I. 1730-1733 (London: His Majesty’s Stationery Office, 1920), 188.
[20] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 1,” item 4, f. 3r; repr. Amanda Babington and Ilias Chrissochoidis, “Musical References in the Jennens–Holdsworth Correspondence (1729–46),” Royal Musical Association Research Chronicle, 45:1 (2014), 76–129: 87.
[21] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 1,” item 4, f. 1r; repr. Amanda Babington and Ilias Chrissochoidis, “Musical References in the Jennens–Holdsworth Correspondence (1729–46),” Royal Musical Association Research Chronicle, 45:1 (2014), 76–129: 87–88.
[22] The Daily Journal, no. 3251, Monday 7 June 1731, [1].
[23] 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: 128.
[24] The Daily Courant, no. 9249, Wednesday 30 June 1731, [2]; repr. Lowell Lindgren, “The Three Great Noises ‘Fatal to the Interests of Bononcini,’” The Musical Quarterly 61 (1975), 560-83: 572-73.
[25] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 1,” item 5, f. 1r; repr. Amanda Babington and Ilias Chrissochoidis, “Musical References in the Jennens–Holdsworth Correspondence (1729–46),” Royal Musical Association Research Chronicle, 45:1 (2014), 76–129: 88.
[26] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 1,” item 6, f. 1v; repr. Amanda Babington and Ilias Chrissochoidis, “Musical References in the Jennens–Holdsworth Correspondence (1729–46),” Royal Musical Association Research Chronicle, 45:1 (2014), 76–129: 88.
[27] Manuscripts of the Earl of Egmont: Diary of Viscount Percival afterwards First Earl of Egmont. Vol. I. 1730-1733 (London: His Majesty’s Stationery Office, 1920), 201-02; partly repr., Deutsch, 277.
[28] 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: 132.
[29] The London Evening-Post, no. 598, Tuesday 28 – Thursday 30 September 1731, [1].
[30] Peter Wentworth, London, 7 October 1731: The Wentworth Papers, 1705-1739, ed. by James J. Cartwright (London: Wyman & Sons, 1883), 474.
[31] The Daily Advertiser, no. 247, Wednesday 17 November 1731, [1].
[32] Read’s Weekly Journal, or, British-Gazetteer, no. 349, Saturday 27 November 1731, [4]; Chrissochoidis, 692.
[33] The Daily Journal, no. 3400, Saturday 27 November 1731, [2].
[34] The Daily Journal, no. 3400, Saturday 27 November 1731, [2].
[35] Read’s Weekly Journal, or, British-Gazetteer, no. 351, Saturday 11 December 1731, [3]; Chrissochoidis, 692.