1732
|
Signora Stradi, one of the Italian Singers, being much indisposed there was no Opera perform’d on Tuesday Night last [4 January] at the Theatre in the Haymarket.[1] |
Jan 27
|
The Annual Feast of the Sons of the Clergy will be
held at Merchant Taylors Hall on the 17th of
February next, and Hendall’s great Te
Deum and Jubilate, with two of his Anthems, will be vocally and instrumentally performed at S. Paul’s
on Monday the 14th, being the Rehe[a]rsal,
with a larger Number of Instruments than was ever yet.[2] |
Feb 14, 17
|
On Monday were rehearsed at S. Paul’s for the Festival of
the Sons of the Clergy, Mr. Handel’s Te
Deum and Jubilate, compos’d for the Publick
Thanksgiving for the Peace of Utrecht, together with the
two Anthems made by him, one for his late
Majesty, and the other for his present
Majesty on their Coronations. As they are esteemed by
all good Judges some of the grandest Compositions
in Church-Musick, and were performed by
a much greater Number of Voices and
Instruments than has ever yet been on 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 250
l. 5 s. which is above 47 l. more than was
given last Year, although that was near double what
had been collected in any former Year. It is to be observ’d, that there was such a generous Spirit in
every body to promote this Charity, that the
Performers gave their Attendance Gratis. And On Thursday was held the Annual Feast of the Sons of the
Clergy, when the Musick above-mentioned was performed
before a numerous and splendid
Audience, at St. Paul’s Cathedral; and the Rev. Dr.
Warren preached an excellent Sermon. Afterwards they returned to Merchant Taylor[’]s Hall to
Dinner. A very handsome Collection was
made, which, with those made at the Rehearsal, and
at the Church Doors the same Day, amounted
to the Sum of 830 l.[3] |
Feb
17
[Feb.] 17. The annual Feast of the Sons of the Clergy was kept this Day at Merchant-Taylors Hall, where the Collection, together with those made at the Rehearsal, and at the Sermon, at St. Paul’s, amounted to the Sum of 830 l.[4]
Feb 22
|
[Viscount Percival’s Diary, Tuesday 22 February 1731-2] From the House I went to the Rose Tavern in Chancery Lane, to the anniversary dinner kept by the Society for Propagating Christian Knowledge, and afterwards I went to the Opera Sosarmis, made by Hendel, which takes with the town, and that justly, for it is one of the best I ever heard.[5] |
Feb 23, Mar 1, 3
|
ESTHER. an ORATORIO; or,
Sacred Drama. the MUSICK as it was Composed for the MOST NOBLE JAMES DUKE
CHANDOS. by George Frederick Handel, in the Year 1720. [double rule] And Perform’d by
the
CHILDREN of His MAJESTY’s Chapel, on Wednsday 23:
February 1731. [double rule] LONDON 1732. [iv]
[v] Mr. Bernard Gates, Master of the Children of
the Chapel Royal, together with a Number of Voices from the Choirs
of the Chapel Royal, and Westminster, join’d in the Chorus’s, after the
manner of the Ancients, being place between the Stage and the Orchestra; and
the Instrumental parts (two or thee particular Instruments, necessary on
this Occasion, excepted) were performed by the Members of
the Philarmonick Society, consisting only of Gentlemen; at the Crown
& Anchor Tavern, in the Strand
|
||||||||||||||||||||||
Feb 23
|
[Viscount Percival’s Diary, Wednesday 23 February 1731-2] From dinner I went to the Music Club, where the King’s Chapel boys acted the History of Hester, writ by Pope, and composed by Hendel. This oratoria or religious opera is exceeding fine, and the company were highly pleased, some of the parts being well performed. I there met Mr. Kelsal, Clerk of the Treasury, and a member of our House, who told me he learned from one of the Committee, which sits on the Charitable Corporation, that very black proceedings of the directors come to light, and some of our members must be expelled the House. He meant Denis Bond and Sir Archibald Grant.[7] |
Feb 23 – Mar 3
|
[manuscript copy of Esther] Esther an Oratorio or Sacred Drama. The Musick as it was composed for the most Noble James Duke of Chandos by George Frederic Handel in the Year 1720. And perform’d by the Children of His Majesty’s Chapel on Wednesday the 23d of February 1731. [...] Mr. Bernard Yates (Gates), Master of the Children of the Chapel Royal, together with a Number of voices from the Choirs of the Chapel Royal and Westminster, join’d in Chorus’s after the manner of the Ancients, being placed between the stage and the Orchestra; and the Instrumental parts (two or three particular instruments, necessary on this Occasion Excepted) were perform’d by the members of the Philarmonic Society consisting only of Gentlemen; at the Crown and Anchor Tavern, in the Strand on Wednesday 23d of February 1731 for the Philarmonic and Wednesday 1 of March 1731 Society and on Friday 3d of March 1731 for the Academy.[8] |
We hear that several Soldiers have been examined before the Right Hon. the Earl of Scarborough, concerning the great Disturbance that happened at the last Assembly at the Opera House in the Haymarket; and that Orders are given for placing a stronger Guard on such Occasions for the future.[9]
Mar 13
|
AT the New Theatre in the Hay-Market, this present Monday, being the 13th of March, will be performed, A New English Opera, (after the Italian Method) call’d, AMELIA. By a Set of Performers who never yet appeared in Publick. Pit and Boxes to be laid together at 6 s. Gallery 3s. N. B. Subscibers Tickets will not be taken after the first four Nights. Tickets for the Night may be had at Mr. Fribourg’s, Maker of Rappee Snuff, near the Play-house Gate. [...] This Day at 4 o’Clock will be Publish’d, AMELIA. A New ENGLISH OPERA. As it is perf[o]rmed at the New Theatre in the Hay-Market, after the Italian Manner. Set to Musick by Mr. JOHN- FREDERICK LAMPE. Printed for J. WATTS, at the Printing Office in Wild-Court near Lincoln[’s]-Inn-Fields.[10] |
The same Night [Tuesday last] their Majesties, his Royal Highness the prince of Wales, and the three eldest Princesses, were at the Theatre in the Hay-Market, and saw the Opera of Sosarmes.[11]
Mar 17
|
[Viscount Percival’s Diary, Friday 17 March 1731-32] In the evening I had my concert, where my two daughters sung, together with Mrs. Middleton, Bertoldi, Mr. Bagnal, my brother and Aragoni. And the gentlemen who played were Mr. Needler, Mr. Mellan, Mr. Withrington, Mr. Bothmar, Sir Edmond Anderson, my brother on the fiddle, Mr. Dobson and Mr. Griffin on the violoncello; the great bass was played by a master from the Opera, and Verner played the tenor. The company to hear it were Earl of Grantham, Horace Walpole, Mr. Cornwall, Mr. Tuffnell, Mr. Herbert, Mr. Clerk, Mr. Hillsley, Sir John Evelyn, cousin Le Grand, Colonel Middleton, Sir Philip Parker, Sir Thomas Hanmer, and Dr. Smith. The Countess of Londonderry, Sir John Evelyn’s daughters, Lord Ashburnham’s sister, Miss Le Grand, Mistress Walpole, sister Percival, Lady Hanmer. [...][12] |
Apr 1
On Saturday Night last their Majesties, and the three Eldest
Princesses, were at the King’s Theatre in the Haymarket, and saw the Opera of
Coriolanus.[13]
Apr 4
|
We hear great Preparations are making at Spring Gardens, Vaux-Hall, for a Ball after the Italian Manner at their Carnevals.[14] |
Apr [6/]17
|
[Edward Holdsworth in Rome to Charles Jennens] Dear Sr. I have executed yr
com[m]issions here to the best of my judgment, and hope what I have done here
will be to yrs and your cousin’s satisfaction […] inform your
cousin yt the prime cost of the [three] Tables from the shop,
exclusive of other charges, is 78 Roman Crowns, wch amounts to
near 20£ sterl. […] As to your musick, I have purchas’d
Vinci’s Artaserse wch was his last and most admir’d
performance; The Saxon’s Fabricio, wch was acted here
the last Carneval wth great applause; Three Operas of Scarlatti;
and some Airs of Porpora & others. value in all about 8£: 15sh.
Vinci’s Opera and one of Scarlatti’s you have entire,
both Songs & Recitativo, as I was advis’d to take them, so yt
if you think they deserve it, you may have them perform’d on the [1v, 2v]
English Theater. Your books are pack’d with Mr Herbert’s, and sent
to Leghorn. I hope to deliver them to you myself by Mich[aelmas] but if you
are desirous to have them sooner, Mr Herbert will acquaint Sr
James Hallet, to whom his things are directed, yt all ye musick
books belong to you […] We shall go from hence to Florence, and if my friend whom I have employ’d there has met wth a Harpsicord wch He can recommend, and not exceeding the price you fix in yrs to Mr Herbert (wch He recvd. yesterday) I shall venture to purchase it for you. […][15] |
Apr 12
’Tis considently [sic] reported, that a Marriage
is actually treating between his most serene Highness the Prince of
Nassau-Orange, and her Royal Highness the Princess Royal; on which Occasion the
Prince is shortly expected at this Court.[16]
Apr 12
Monsieur Heydegger, we hear, intends to go to Italy this Summer, with a
Design to engage some celebrated Singers of both Sexes to come over for the
next ensuing Winter Season.[17]
Apr 15
LONDON. / Her Majesty is so well recover’d of her last short
Indisposition, as to go last Saturday to the King’s Theatre in the Haymarket to
see the Opera Coriolanus.[18]
Apr 17
|
[Viscount Percival’s Diary, Monday 17 April 1732] Monday, 17. — This day I carried my son to wait on the Speaker and Mr. Horace Walpole; after which I carried him and my daughters to the rehearsal of the Opera of Flavius, and then went to the House [...][19] |
Apr 17, 18
Last Night there was a Rehearsal of the Opera call’d Flavius, at the King’s Theatre in the Haymarket, at which were present a great Number of the Nobility, &c. and ’tis expected their Majesties will go there this Evening.
[…]
At the KING’s THEATRE in the HAYMARKET, the Opera of FLAVIUS.[20]
Apr 20
|
Never Perform’d in Publick before, AT the Great Room in Villars-street York-Buildings, this present Thursday, being the 20th of this Instant April, will be perform’d, by the best Voices and Instruments ESTHER an ORATORIO: OR, SACRED DRAMA in English. As it was compos’d originally for the most noble James Duke of Chandos, the Words by Mr. POPE, andthe Musick by Mr. HANDEL. Tickets to be had at the Place of Performance at 5 s. each. To begin exactly at 7 o’Clock.[21] |
The same Evening [Saturday 22 April] their Majesties, his Royal Highness the Prince of Wales, and the Three Eldest Pricesses, went to the Opera-house in the Hay-Market, and saw an Opera called FLAVIUS.[22]
In the Evening [of Saturday] their Majesties, &c[.] went to the
King’s Theatre in the Hay-market, and saw the Opera call’d Flavius.[23]
Apr 25
At the KING’s THEATRE in the HAYMARKET, the Opera of FLAVIUS.[24]
[...] and that Evening [Tuesday 25 April] their Majesties, his Royal
Highness the Prince of Wales, &c. went to the King’s Theatre in the
Haymarket and saw the Opera Flavius.[25]
Apr 29
At the KING’s THEATRE in the HAYMARKET, the Opera of FLAVIUS.[26]
Apr 30
The New Anthem which was sung on Sunday last
by four of the Boys of his Majesty’s Chapel Royal at St. James’s before the
Royal Family, and compos’d by Mr. Gate’s, Master of the Children of that Choir,
was highly applauded, and judg’d to be an exceeding fine Composition.[27]
May 2
|
We hear that the Proprietors of the English Opera will very
shortly perform a celebrated Pastoral Opera
call’d Acis and Galatea, compos’d by Mr. Handel, with
all the Grand Chorus’s and other Decorations, as it
was perform’d before his Grace the Duke of
Chandos at Cannons; and that it is now in Rehearsal.[28] |
May 2
[“this Evening’s Entertainment will be”]
At the KING’s THEATRE in the HAY-MARKET, the Oratorio of HESTER in
English.[29]
|
By His MAJESTY’s COMMAND. AT the KING’s THEATRE in the HAY-MARKET, this present Tuesday, being the 2d Day of May, will be performed, The SACRED STORY of ESTHER: AN ORATORIO in ENGLISH. Formerly composed by Mr. HANDEL, and now revised by him, with several Additions, and to be performed by a great Number of the best Voices and Instruments. N. B. There will be no Action on the Stage, but the House will be fitted up in a decent Manner, for the Audience. The Musick to be disposed after the Manner of the Coronation Service. 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 5 s. To begin at 7 o’Clock[.][30] |
|
[Viscount Percival’s Diary, Tuesday 2 May 1732] From the House I went to the Opera House to hear Hendel’s “oratory,” composed in the Church style.[31] |
LONDON.
Last Night their Majesties, the Prince of Wales, Princess Royal, and the Princess Amelia, went to the King’s Theatre in the Haymarket, and saw the Secret Story of Esther, an Oratorio compos’d by Mr. Handel.[32]
Last Tuesday Night [2 May] 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 a Performance call’d (Esther, an Oratorio.)[33]
May 3
|
We hear that the Proprietors of the English Opera, will very
shortly perform a celebrated Pastoral Opera,
call’d, Acis and Galatea, compos’d by Mr. Handell;
with all the Grand Chorusses, and other
Decorations, as it was perform’d before his Grace the Duke
of Chandos at Cannons. ’Tis now in Rehearsal.[34] |
May 4
The Prince of Nassau Orange is expected here the beginning of next
Month, and will, we hear, have an Apartment at Somerset House during his
sojourn here, which, ’tis said to be design’d three Months.[35]
May 6
We hear that the Prince of Nassau Orange, who is contracted to the Princess
Royal of Great Britain, will be made Governor of Hanover.[36]
May 6
|
By His MAJESTY’s COMMAND. AT the KING’s THEATRE in the HAY-MARKET, this present Saturday, being the 6th Day of May, will be performed, ESTHER: AN ORATORIO in ENGLISH. Formerly composed by Mr. HANDEL, and now revised by him, with several Additions, and to be performed by a great Number of the best Voices and Instruments. N. B. There will be no Action on the Stage, but the House will be fitted up in a decent Manner, for the Audience. The Musick to be disposed after the Manner of the Coronation Service. 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 5 s. To begin at 7 o’Clock[.] _________________________________________________ Notice is hereby given, That if there are any Tickets which could not be made use of on Tuesday last, the Money will either be return’d for the same, on sending them to the Office in the Hay-Market, or they will be exchanged for other Tickets for this Day.[37] |
|
[Viscount Percival’s Diary, Saturday 6 May 1732] I returned to dinner, and in the evening went to Hendel’s oratorio. The Royal Family was there, and the house crowded.[38] |
On Saturday last their Majesties, &c. went to the Theatre in the Haymarket, and saw an Oratorio call’d Esther.[39]
May 9
|
By His MAJESTY’s COMMAND. AT the KING’s THEATRE in the HAY-MARKET, this present Tuesday, being the 9th Day of May, will be performed, ESTHER: AN ORATORIO in ENGLISH. Formerly composed by Mr. HANDEL, and now revised by him, with several Additions, and to be performed by a great Number of the best Voices and Instruments. There will be no Action on the Stage, but the House will be fitted up in a decent Manner, for the Audience. The Musick to be disposed after the Manner of the Coronation Service. 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 5 s. To begin at 7 o’Clock[.] N. B. The Silver Tickets of the Subscribers to the Opera, will be admitted.[40] |
Last Night the King and Queen, &c. went to the Theatre in the Haymarket, and saw the Secret Story of Esther, compos’d by Mr. Handel.[41]
May 11
Books and Pamphlets published since our last. 11 [May] […] Acis and
Galatea: an English Pastoral Opera.[42]
|
ACIS and GALATEA: AN ENGLISH PASTORAL OPERA. In THREE ACTS. As it is Perform’d at the NEW THEATRE in the HAY-MARKET; Set to MUSICK By Mr. HANDEL. [woodcut] LONDON: Printed for J. WATTS at the Printing-Office in Wild-Court near Lincoln’s-Inn Fields. [line] MDCCXXXII. [Price Six Pence.] [...] Dramatis Personae. MEN.
WOMEN.
Chorus of Shepherds, and Shepherdesses. |
May 13
|
By His MAJESTY’s COMMAND. AT the KING’s THEATRE in the HAY-MARKET, this present Saturday, being the 13th Day of May, will be performed, ESTHER: AN ORATORIO in ENGLISH. Formerly composed by Mr. HANDEL, and now revised by him, with several Additions, and to be performed by a great Number of the best Voices and Instruments. There will be no Action on the Stage, but the House will be fitted up in a decent Manner, for the Audience. The Musick to be disposed after the Manner of the Coronation Service. 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 5 s. To begin at 7 o’Clock[.][43] |
The same Evening [i.e. “On Saturday last”] their Majesties, &c. went to the King’s Theatre in the Haymarket, and saw the Oratorio of Esther, compos’d by Mr. Handel.[44]
May 16
[“this Evening’s Entertainment will be,”]
At the KING’s THEATRE in the HAY-MARKET, the
Oratorio of ESTHER in English.[45]
|
By His MAJESTY’s COMMAND. AT the KING’s THEATRE in the HAY-MARKET, this present Tuesday, being the 16th Day of May, will be performed, ESTHER: AN ORATORIO in ENGLISH. Formerly composed by Mr. HANDEL, and now revised by him, with several Additions, and to be performed by a great Number of the best Voices and Instruments. There will be no Action on the Stage, but the House will be fitted up in a decent Manner, for the Audience. The Musick to be disposed after the Manner of the Coronation Service. 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 5 s. To begin at 7 o’Clock[.][46] |
Last Night the King and Queen, his Royal Highness the Prince of Wales, &c. were at the Theatre in the Haymarket, and saw Esther, an Oratorio in English composed by Mr. Handel.[47]
The Reason of the opera called, The Restauration of King Charles II; or the Life and Death of Oliver Cromwell being prohibited to be acted after it had been rehearsed at the New Theatre in the Haymarket, was, that it contain’d some Expressions, which several of his Majesty’s Justices of the Peace thought too scurrilous to be represented on any Stage, and in order to stifle the Performance of a Thing that carried with it such an evil Tendency, they proposed to have issued out Warrants for taking up all the Players, upon which it was laid aside.[48]
|
A DIARY of the Week’s News in VERSE. ON MONDAY died Pit, the Keeper of Newgate at home; On TUESDAY came News that Thomson was taken at Rome; The same Day a Soldier was dang’rously hurt in the Park By a Ball, perhaps, aim’d at some other Mark; In the Ev’ning the King, whom God bless, and the Queen, At the fam’d Oratorio were both to be seen, Th’ Oratorio which all in old English is sung; And on WEDNESDAY was christened the young *Mr. Young. A Lawyer and Lord went to it Pell-Mell, But who had the better’s not easy to tell. Last THURSDAY, at Epsom, was a Day of great Sport, The Prince grac’d the Downs with half of his Court: Among the Nags enter’d was swift bonny Kate, But the Horse of Squire Rich went off with the Plate. YESTERDAY there was publish’d a very learn’d Book, Where answers to Atheists you’ll find, if you look, By the Rector of Exon, well vers’d in the Greek What happens TO-DAY, you shall hear of next Week. * Sir William Young’s Son.[49] |
May 20
|
By His MAJESTY’s COMMAND[.] AT the KING’s THEATRE in the HAY-MARKET, this present Saturday, being the 20th Day of May, will be performed, for the last time, ESTHER: AN ORATORIO in ENGLISH. Formerly composed by Mr. HANDEL, and now revised by him, with several Additions, and to be performed by a great Number of the best Voices and Instruments. There will be no Action on the Stage, but the House will be
fitted up in a decent Manner, for the Audience. The Musick to be disposed after the Manner of the Coronation Service. 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 5 s. To begin at 7 o’Clock[.][50] |
Their Majesties, &c. were on Saturday Night last at the King’s Theatre in the Haymarket, and saw the Oratorio call’d Esther in English.[51]
May 30
|
The 30th of May last was perform’d in French at Mrs. Chauvin’s
School in Great Chelsea, over against the Physick Garden, by
her Scholars, the TRAGEDY of AHASUERUS and Queen ESTHER before a great Number of Persons
of Quality; which both for fine Language and
Performance was greatly esteemed.[52] |
PLAYS, POETRY, and ENTERTAINMENT.
64. Acis and Galatea: An English Pastoral Opera. In three Acts. Set to Musick by Mr. Handel. Sold by J. Roberts, price 6d.[53]
Jun 8
|
[Lord Wentworth to the Earl of Strafford] London: June: 8: 1732: Dear Papa [...] I belive thier Was a great many people kill’d at a la frisko Because thier was a great many Poeple Went to see it a monday and so the People Thought to get a good Deal of mony & ask’d A Shilling for seeing of it & the common People was so angrey that the[y] broke down The fence & got in & knock’d down every Body they mett with; [...][54] |
Jun 8
|
[Lucy Wentworth to the Earl of Strafford] London June ye 8th: 1732 Dear Pappa [...] one hears no other news but of Miss Vane, & the Frisko which was last night & I fancy there was a great deal of mestcheif done for a monday ye mob broke in & Mr: Johnson was there & he was knock’d down, [...][55] |
Jun 8
|
This Day is Published, SEE and SEEM BLIND: OR, A Critical Dissertation on the Publick Diversions,
&c. Of Persons and Things, and Things and Persons, and
what not. In a Letter from the Right
Hon. the Lord B—— to
A—— H——, Esq; Risum Teneatis Amici. Printed
for H. WHITRIDGE, at the Corner of Castle-Alley,
at the Royal-Exchange.[56] [see “Individual Titles”] |
late June
|
Reflections
on some modern Plays. I Lately payed a Visit to a
Yorkshire Gentleman, just come to Town, who told me that several in the
Country entertain a Suspicion of the Booksellers presuming to publish bad
Plays which were never performed on any Stage, and to print them as acted at
the Theatres in Drury-Lane, Lincoln’s-Inn-Fields, &c. with the
Names of the Players opposite to the Names of the Characters; and this Art,
say’d he, they are [12] supposed to use as an Imposition on their
Customers who live at a great Distance from London; some of which buy every Play that is acted. I wonder,
continues he, why the Managers of the Theatres will suffer themselves to be
abused, in such a Manner, by the Chicane of Booksellers, if the Law has any
Redress for them. He was going on in the same invective Strain, taking the Facts for granted, till I interrupted him by asking his Reasons for suspecting the Booksellers guilty of such Frauds. My
Reasons! says he. Can any Man of common Sense (and here he began with a Tone
of Indignation and Contempt) read the dramatic Pieces which have been printed
within these few Years, such as the Tragedy of Timoleon, Periander, Medea, the Ballad-Operas of Sylvia or the Country-Burial, the Devil
to pay, and the long Catalogue of Rubbish published these last three
Winters, under the Denominations of Tragedys, Comedys, Farces, and
Ballad-Operas, and suppose the Managers of the Theatres would affront their
Audiences with the Representation of such Stuff? Can any one read the comical
Incidents in the Tragedys of George
Barnewell, and Injured Innocence,
and the dismal Passages in some late Comedys not to be rival’d, and imagine
that the two Cibbers, who are
reputed Judges of Something more than Action, and the few other good Actors
of that House, would ever burden their Memorys with such an Heap of indigested
Trash, or condescend to be the Spokesmen of such Nonsense? Here
I interrupted him again, and assured him, notwithstanding his great Surprise,
that all the Plays which he had named had been performed in Drury-Lane, and Lincoln’s-Inn-Fields; but, as I have been neither a Spectator nor
Reader of [13] any of them, I told him I could not judge of the
Justness of his Censure; and that my Opinion of his good Taste and
Understanding will keep me from reading them. One Play I mentioned to him as
not liable to the Censure which he had passed on the rest; which is the
modern Husband. I own, says he, that is a Comedy which gave me Pleasure, tho
it is not entirely conformable to the Rules of the Drama. By
the Rules of the Drama, says I, you mean, I presume, the Rules of Critics,
who have no Right to impose Rules: the antient Writers of Tragedy and Comedy
divided their Plays into five Acts, in which we have generally followed their
Example; and I know no other stated Rule to be observed; and that may be
departed from sometimes without any Disadvantage. Unerring Reason is the only
Guide in Tragedy and Comedy, tho a Man who is merely a reasonable Man, and no
more, is not qualifyed to write either, particular Talents being requisite
for both, under the Conduct of Reason; and that Poet who wants any other Rule
besides Nature or Reason mistakes his Province when he attempts to write. The
modern Husband I acknowledge to
have some Scenes independent on the main Busyness of the Play, and some
Expressions the Omission of which would be no Detriment to the Work; yet it
has Wit, Humour, Satire, and moral Reflections not unworthy the Pen of the
best Stoic. If indeed the Author had made every Scene conducive to the
principal Design, to the Plot of the Play, and as dependent one on the other
as every Link in a Chain, and every Expression as necessary as every Scene,
he would have produced a more perfect Piece than it now is: and I doubt not
but that he, who is capable of writing so entertaining a Play as it [14]
now is, is ingenuous enough to confess these Truths, and to acknowledge that
his Intent was to expose particular Vices and Follys, to make these
ridiculous and those odious, to give his Audience Pleasure and himself
Profit, and that he had not Leisure to make it otherwise than it now is, and
that he laughs, without Anger, at those who expose themselves by a fruitless
Endeavour to expose him. My
Friend, who now thought it his Turn to speak again, asked me what I thought
of the Character of Lady Charlotte,
some Objections to which he had seen, he sayed, in a paultry weekly Journal
in March last, the Title of which he had forgot. I own the Possibility,
continued he, of such a Character, tho I never met with one like it, which I
attribute to my living chiefly in the Country, and not conversing much with
Ladys in Town. To whom I replyed, you speak like a reasonable Man; and the
ignorant Thing, who published his
Objections in the paultry weekly Journal of which you before spoke,
discovered himself to have no Notion of Humour, and that his Conversation was
not among Persons of superior Rank, especially the Ladys; for, if it was, he
must have met with more than one Lady
Charlotte, or at least with some who partake of that ridiculous foolish
Alertness, and Volubility of talking Nonsense, joined to an extraordinary
Opinion of themselves, and a Fondness for Gaming and every fashionable Folly,
all which constitute the Character of Lady
Charlotte: so whether the Follys represented in her meet in one real
Person, (as I am certain they often do) or are divided among several, and she
made a Compound of them all, she is a proper Character for Comedy. As I was
proceeding in my Remarks [15] on this Character a young Lady came in,
and, immediately addressing herself to my Friend, occasioned the following
Dialogue. Lady. Mr. Manly! Where have you been these fifty
Years since last Summer? Manly. Where,
Niece, have you learn’d this Manner of talking within these few Months? Who
do you keep Company with? Lady. My
Companions, Sir, are all Persons of the Beau
Monde, who have not their Equals at Hazard, and who never stay from a
Masquerade or Opera. Manly. I
hope, Madam, the Masquerade has no Charms to you. Lady. The
Masquerade! I have been at a hundred this Winter. Ha’n’t you seen the Oratorio, Sir? Manly. I
have read it. Lady. Read
it! But the Music! O! I cou’d sit a thousand Years to hear it! Manly. I
wou’d not be a Slave, Cousin, to what ought to be the Amusement of but a few
Minutes. Lady. And
ha’n’t you really been at the Oratorio?
All the World is fond of the Oratorio. Manly. Then
all the World is fond of Nonsense. Lady. Well, you are the strangest Man still that ever was. I have five hundred Visits to pay this Morning, and have made but fifty of them yet. Mr. Manly, your Servant.[57] |
Jun 20
|
[Harriet Wentworth to the Earl of Strafford] London June ye 20th 1732 Dear Papa [...] it was put in the news papers that a Lady lastly much talked of about Saint Jame’s was thought to bed of a son[.] I hear that the entertenment at spring gardens was mighty prity and well ordared [...][58] |
Jun 20
|
[Viscount Percival’s Diary, Tuesday 20 June 1732] Tuesday, 20 June. — This day I have been married twenty-two years, and I bless God that I have lived so long with the best wife, the best Christian, the best mother, and the best mistress to her servants living; and that not only the world thinks so, but that I am myself sensible of it. [...] I dined at home and went in the evening to the Opera House to hear the fine masque of Acis and Galatea, composed by Hendel.[59] |
Last Night her Majesty, his Royal Highness the Prince of Wales, and the
Three Eldest Princesses, went to the Opera House in the Haymarket, and saw a
Serenata called, Acis and Galatea,
and afterwards returned to Kensington.[60]
[Gio. Giacomo Zamboni to Johann Heinrich von Heucher in Warsaw, 11 July 1732]
Handel,
Director of the music at court as well as of the opera, and Master of the Royal
Princess [Anne], came to see me the day before yesterday in order to ask me to
try to find out whether the musician [Giovanni Bindi, called] Porporino, who
serves [Augustus II] the king [of Poland], may obtain His Majesty’s permission
to go in England in order to sing there all of next season, that is, from
October until about June, during which time 50 operatic performances will be
given. If His Majesty wishes to bestow
this favour, Porporino should list his pretensions, which he can do in a letter
to me, so that I may instruct Handel.
If the said musician is not with the king, but is in Dresden, I beg you, sir, to inquire so that I may have a response; and it will be best if I have it on a separate page. I know that the affair about which I write is not of consequence. Yet I, knowing that the Royal Princess takes a great interest in all this, cannot dispense with your help.[61]
[Jul 29/] Aug 9
|
[Edward Holdsworth in Florence to Charles Jennens] Dear Sr Inclos’d is the bill of loading
for your Harpsichord, wch as my Banker Mr Blackwell
informs me was put into the Cabbin of the Ship yt it might be less
expos’d to damage, & was by him particularly recommended to the care of
the Captain. Upon the receipt of this ’twill be necessary yt you
send the bill to some friend in London, who may be ready to take charge of ye
Harpsichord immediately upon ye arrival of the ship, and pay the
fifty shillings fraight and customs. It will be proper yt you give
directions to have it carried to your own house from the Customhouse by
Porters, & not jumbled in a Cart. I wish it may answer your expectation
and that you may find a great deal of pleasure from it. Mr Willonghby Bertie
took one of these instruments with him to England when He went from hence,
and as I am inform’d has instructed a man to put it in tune when out of
order. You may apply to ye same person to tune yours, whenever
there shall be occasion. […2v] I have bought for you a book of Sonatas compos’d here purposely for the Piano-forte, wch I shall send for England wth Mr Herbert’s books when we leave this place. […][62] |
[Johann Heinrich von Heucher at the encampment near Warsaw to Gio. Giacomo Zamboni, 13 August 1732]
Please convey my very humble compliments to Hendel, whom I have the honour of knowing personally and by reputation. Tell him that he must address himself immediately to His Highness, our Royal Prince [Friedrich August], if he wants to have one of our musicians, since His Majesty the King [Augustus II] no longer takes an interest in affairs concerning the chapel and orchestra. Solkowsky [Alexander J. Sulkowsky], the Chamberlain and Shield-bearer (écuyer) of His Highness [Friedrich August], who is at present here at the encampment, assures me that this is the case.[63]
Aug 21
York, Aug. 21. On Saturday Night last ended the Week’s grand Entertainments at this Place: But what contributed very much to compleat the whole, Signior Senesino, who accompanied Lord Bulrington into these Parts, thought fit, on his own Accord, to oblige an Audience of 900 or 1000 Persons, with the finest Voice, in the most elegant Room in Europe.[64]
[Gio. Giacomo Zamboni to Alexander J. Sulkowsky in Dresden, 26 August {probably 26 August/6 September} 1732]
Handel,
director of the opera and music master of the Royal Princess [Anne], asked me
some time ago to write to some lord of the [Saxon/Polish] court in order to
learn if His Majesty [Augustus II] would permit Porporino to come and sing in
the operas here next year, and (in the event that the king consented) to learn
from the singer what his pretensions were.
I wrote first of all to Heucher at Warsaw, who replied that he was the
wrong person, since I must write to someone at the court of His Royal Highness
[Friedrich August], and in this regard he cited the authority of Your
Excellency, who was then at the encampment.
That is why I have taken the liberty to trouble you, sir, with this
affair. And you are the best person,
since no-one has more influence with the Royal Prince than Your
Excellency. I beg you to believe that I
did not readily accept such a commission; but, having been charged with it, I
am trying to execute it as well as possible, above all with regard to the
interest that the Royal Princess takes in all things which concern Handel and
the operas.
I therefore very humbly beg Your Excellency to kindly honour me with four lines in reply.[65]
[Gio. Giacomo Zamboni to Heucher in Warsaw, 9 September {probably 29 August/9 September} 1732]
I am sorry,
sir, to have troubled you unnecessarily for the affair of Porporino and also
for….I have already remedied the first fault (or at least I believe that I have
remedied it) by writing to Sulkowsky {...} [147]
P.S. Handel returns a thousand compliments to you. You may destroy my letter to the king [Augustus II].[66]
[Giovanni Bindi, called Porporino, in Dresden to Gio. Giacomo Zamboni, 24 September 1732]
I did not
reply immediately to the honour of your most esteemed letter dated August 26,
with its supposition that I could obtain the leave desired by the most beloved
and revered Handel. But, with more than
a little displeasure, I must tell you that I am not permitted a leave at this
time.
Notwithstanding
that, I render a thousand thanks, both to Handel for the favourable opinion he
has of me and to you for the trouble you have given yourself on my regard.
If your Royal Princess [Anne] or Prince [Frederick Louis] would personally write or would assign the task to one of your ministers, such as the one serving the emperor [Thomas Robinson] or the one at this court [George Woodward], or to our minister serving you there [Friedrich Karl von Watzdorff], I think that my most clement master [Augustus II], with such a letter, will give it all his attention, and that I could have a leave for the forthcoming year. I desire it in order to have the honour of serving you and in order to merit the esteem of Handel. I entreat you to signify my respects to him.[67]
Sep 22
On Sunday next the new Organ is to be opened at St. Botolph’s without Aldgate, by Dr. Green, Organist of the Royal Chappel at St. James’s and St. Paul’s Cathedral; upon which occasion there is to be a suitable Sermon, and an Anthem.[68]
THEOLOGICAL.
[…]
53. Part of the Song of Deborah and Barak paraphrased, from Judges 5, and set to Musick by Dr. Greene. Printed for B. Barker, and sold by J. Roberts, price 3d.[69]
A REGISTER of BOOKS published in OCTOBER, 1732.
[…]
9. Part of the Song of Deborah and Barak paraphrased, from Judges 5. and set to Musick by Dr. GREEN. Printed for B. Barker, and sold by J. Roberts, price 3d.[70]
Part of the Song of Deborah and
Barak paraphras’d. Set to Musick by Dr.
Greene.[71]
Oct 25, 27
|
To-morrow and Friday next there will be a Rehearsal at the Chapel Royal at
St. James’s, of a fine new Anthem, composed against the Royal Family’s
coming to Town, which will be perform’d by the Gentlemen and
Children belonging to the Chapel.[72] |
Oct 27
|
Yesterday there was a Rehearsal of the new Anthem and
Musick at the Chapel Royal at St. James’s,
composed in Account of the Return of their Majesties
to St. James’s, which is to be performed before their Majesties To morrow.[73] |
[Oct 28/] Nov 8
|
[Edward Holdsworth in Turin to Charles Jennens] Dear Sr I suppose this will find you
return’d to London, where I hoped to have seen you by this time. Tho’ ’tis a
very filthy smoaky town, yet I begin to be so tired of Italy that I shou’d
have been very glad to have met you there; but Mr Herbert’s
fondness for Operas will still keep us on this side [of] the mountains for
another winter. Our Scheme was to have heard Cuzzoni’s first Opera
here to have gone from hence to Milan for the Peruchiera, (who has lately
appear’d upon the stage, and is thought by many of the Virtuosi to be equal to
the Cuzzoni) and to have finish’d the Carneval with Farinelli at Venice; but
the death of the old King having put a stop to all diversions here will break
part of our measures & make us hasten to Milan sooner then we intended.
This may prove a considerable injury to Cuzzoni, because the Operas in Italy
are already fix’d, & the parts all full; but I think she cannot fail of
being receiv’d somewhere; I wish it may be at Venice. […2v] I hope the
Piano-forte Harp<sic>hord is arriv’d safe. If you have any farther
commands for me before I leave Italy I shall be very glad to receive them at
Venice. You may direct for me to Mr Brown the English Consul. I
believe we shall stay there till the beginning of March, or perhaps longer,
till the season is good for travelling, and then we propose to make the tour
of Germany homewards. […] [postscript] If you send to Sr James Hallet he will let you have the musick books, having had notice from Mr Herbert that they belong to you.[74] |
Oct 29
|
[…] The same day
[Sunday, 29 October 1732] the Te Deum composed by Mr.
Green, against the Royal Family’s coming to
Town, was performed in the Chapel
Royal at St. James’s.[75] |
Oct 31
|
[Lord Hervey to Charles, Second Duke of Richmond] [“ST. JAMES’S, Oct. 31: 1732.”] [...] Adieu my dear Lord, I am going to Lady Pembroke’s to hear the new Opera—Woman, Celestina; the Operas begin on Saturday; [...][76] |
Nov 16
|
[premiere: 16 November 1732] Upon Mrs. Cecilia Young’s representing Britannia, in the Opera so call’d. NO more shall Italy its Warblers send, To charm our Ears with Handel’s heavenly Strains; For dumb his (d) rapt’rous Lyre, their Fame must end, And lo! Cecilia from th’ Aetherial Plains: Her Voice once call’d an Angel from the Skies, To sing like Accents, see! she hither flies.[77] |
Nov 20
|
[Viscount Percival’s Diary, Monday 20 November 1732] Monday 20. — Went with my wife and daughters to town, and after dinner at my brother Percival’s, I carried them to the Crown Tavern to a public music given by the members of our Monday Society, where they heard the Italian singers, Strada, Celestina, Seresino the Bass [sic], and another.[78] |
Nov 22
|
[Viscount Percival’s Diary, Wednesday 22 November 1732] 22. — Visited Lord Grantham and cousin Le Grand. [...] I afterwards heard the practice of Alexander at the Opera House and dine with my brother Percival, and then went to our Wednesday Music Club at the Crown Tavern.[79] |
In these days, lives in London, without Encouragement, the famous Mr. Bononcini, whose Musick for Celestialness of Stile, I am apt to think, will demand remembrance in the Soul after Fire has destroy’d all things in this World; and I that have translated his Sounds into our own English Language, cannot say enough of this great Man, who is rival’d by Mr. Handel, a very big Man, who writes his Musick in the High-Dutch Taste, with very great success: so when you peruse these two Masters, you’ll guess at the Men, and blush [x] for the Taste of England. So if you have Merit, go to Italy, and there you’ll have encouragement in your Life; but if you’re willing to be honour’d after Death, come back again to England, and when you die, and are bury’d, they’ll be sure to lay upon your Body a Monument of Stone.[80]
[1] Read’s Weekly Journal, or, British-Gazetteer, no. 355, Saturday 8 January 1732, [3]; Chrissochoidis, 693.
[2] The Daily Journal, no. 3452, Thursday 27 January 1732, [1]; also, The London Journal, no. 657, Saturday 29 January 1731-2, [2].
[3] The London Journal, no. 660, Saturday 19 February 1731-2, [2].
[4] The Monthly Chronicle, no. 50 (vol. 5, no. 2), February 1732, 30.
[5] 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), 224.
[6] Foundling Museum, Gerald Coke Handel Collection, accession no. 681; repr. William C. Smith, “Handeliana,” Music & Letters 31 (1950), 125-32: 126; title page reprinted in Handel: A Celebration of His Life and Times, 1685-1759, ed. Jacob Simon (London: National Gallery, 1985), 156.
[7] 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), 225.
[8] William C. Smith, “Handeliana,” Music & Letters 31 (1950), 125-32: 126.
[9] Read’s Weekly Journal, or, British-Gazetteer, no. 365, Saturday 18 March 1732, [3]; Chrissochoidis, 693.
[10] The Daily Journal, no. 3491, Monday 13 March 1732, [2].
[11] Read’s Weekly Journal, or, British-Gazetteer, no. 365, Saturday 18 March 1732, [3]; Chrissochoidis, 693.
[12] 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), 242.
[13] The Daily Advertiser, no. 367, Monday 3 April 1732, [1].
[14] The Daily Post, no. 3915, Tuesday 4 April 1732, [1].
[15]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 1,” item 7, ff. 1r, 2v; 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:
88–89.
[16] The Daily Advertiser, no. 375, Wednesday 12 April 1732, [1].
[17] The Daily Advertiser, no. 375, Wednesday 12 April 1732, [1].
[18] The Daily Advertiser, no. 378, Monday 17 April 1732, [1].
[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), 257.
[20] The Daily Advertiser, no. 379, Tuesday 18 April 1732, [1].
[21] The Daily Journal, no. 3523, Thursday 20 April 1732, [1].
[22] The Daily Courant, no. 5004, Monday 24 April 1732, [2]; Chrissochoidis, 693.
[23] The Daily Advertiser, no. 385, Monday 24 April 1732, [1].
[24] The Daily Advertiser, no. 386, Tuesday 25 April 1732, [1].
[25] The Daily Advertiser, no. 387, Wednesday 26 April 1732, [1].
[26] The Daily Advertiser, no. 390, Saturday 29 April 1732, [1].
[27] The Daily Advertiser, no. 392, Tuesday 2 May 1732, [1].
[28] The Daily Post, no. 3939, Tuesday 2 May 1732, [1].
[29] The Daily Advertiser, no. 392, Tuesday 2 May 1732, [1].
[30] The Daily Journal, no. 3533, Tuesday 2 May 1732, [1]; also, with the title “ESTHER, / AN / ORATORIO, / In English.” The Daily Courant, no. 5011, Tuesday 2 May 1732, [2].
[31] 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), 266.
[32] The Daily Advertiser, no. 393, Wednesday 3 May 1732, [1]; repr., Ilias Chrissochoidis, “His Majesty’s choice: Esther in May 1732,” Newsletter of The American Handel Society 22/2 (Summer 2007), 4-6: 5.
[33] Read’s Weekly Journal, or, British-Gazetteer, no. 372, Saturday 6 May 1732, [4]; Chrissochoidis, 693.
[34] The Daily Journal, no. 3534, Wednesday 3 March 1732, [3].
[35] The Daily Advertiser, no. 394, Thursday 4 May 1732, [1].
[36] The Universal Spectator, and Weekly Journal, no. 187, Saturday 6 May 1732, [2].
[37] The Daily Journal, no. 3537, Saturday 6 May 1732, [2]; The Daily Courant, no. 5015, Saturday 6 May 1732, [2].
[38] 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), 271.
[39] The Daily Advertiser, no. 397, Monday 8 May 1732, [1]; repr., Ilias Chrissochoidis, “His Majesty’s choice: Esther in May 1732,” Newsletter of The American Handel Society 22/2 (Summer 2007), 4-6: 5.
[40] The Daily Journal, no. 3539, Tuesday 9 May 1732, [1]; The Daily Courant, no. 5017, Tuesday 9 May 1732, [2].
[41] The Daily Advertiser, no. 399, Wednesday 10 May 1732, [1]; repr., Ilias Chrissochoidis, “His Majesty’s choice: Esther in May 1732,” Newsletter of The American Handel Society 22/2 (Summer 2007), 4-6: 5.
[42] The Grub-street Journal, no. 124, Thursday 18 May 1732, [3].
[43] The Daily Journal, no. 3543, Saturday 13 May 1732, [2]; The Daily Courant, no. 5012, Saturday 13 May 1732, [2].
[44] The Daily Advertiser, no. 403, Monday 15 May 1732, [1]; repr., Ilias Chrissochoidis, “His Majesty’s choice: Esther in May 1732,” Newsletter of The American Handel Society 22/2 (Summer 2007), 4-6: 5.
[45] The Daily Advertiser, no. 404, Tuesday 16 May 1732, [1].
[46] The Daily Journal, no. 3545, Tuesday 16 May 1732, [2]; The Daily Courant, no. 5023, Tuesday 16 May 1732, [2].
[47] The Daily Advertiser, no. 405, Wednesday 17 May 1732, [1]; repr., Ilias Chrissochoidis, “His Majesty’s choice: Esther in May 1732,” Newsletter of The American Handel Society 22/2 (Summer 2007), 4-6: 5.
[48] Read’s Weekly Journal, or, British-Gazetteer, no. 374, Saturday 20 May 1732, [3]; Chrissochoidis, 693-94.
[49] Read’s Weekly Journal, or, British-Gazetteer, no. 374, Saturday 20 May 1732, [2]; Chrissochoidis, 694; see also, Ilias Chrissochoidis, “A ‘fam’d Oratorio … in old English … sung’: Esther on 16 May 1732,” The Handel Institute Newsletter 18/1 (Spring 2007), [4-7].
[50] The Daily Journal, no. 3549, Saturday 20 May 1732, [1]; The Daily Courant, no. 5027, Saturday 20 May 1732, [2].
[51] The Daily Advertiser, no. 409, Monday 22 May 1732, [1]; repr., Ilias Chrissochoidis, “His Majesty’s choice: Esther in May 1732,” Newsletter of The American Handel Society 22/2 (Summer 2007), 4-6: 5.
[52] The Country Journal: Or, The Craftsman, no. 310, Saturday 10 June 1732, [2].
[53] The London Magazine. Or, Gentleman’s Monthly Intelligencer 1 (1732), 107; Chrissochoidis, 694.
[54] British Library, Add. Ms. 31145, f. 42r.
[55] British Library, Add. Ms. 31145, f. 44r.
[56] The Daily Journal, no. 3566, Thursday 8 June 1732, [2].
[57] The Comedian, or Philosophical Enquirer 3 (June 1732), 11-15; repr., Ilias Chrissochoidis, “Oratorio à la Mode,” Newsletter of The American Handel Society 23/1-2 (Spring-Summer 2008), 7-9: 7-8.
[58] British Library, Add. Ms. 31145, f. 52r.
[59] 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), 281.
[60] The Daily Courant, no. 5054, Wednesday 21 June 1732, [2].
[61] 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: 144.
[62]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 1,” item 8, ff. 1r, 2v; 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:
89–90.
[63] 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: 145.
[64] The Universal Spy. Or, The Royal Oak Journal Reviv’d, no. 8, 26 August [?1732], [2].
[65] 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: 146.
[66] 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: 146-47.
[67] 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: 147.
[68] The Universal Spy. Or, The Royal Oak Journal Reviv’d, no. 12, 22 September 1732, [3].
[69] The London Magazine: Or, Gentleman’s Monthly Intelligencer 1 (1732), 322; Chrissochoidis, 696.
[70] The Gentleman’s Magazine 2 (1732), 1035; Chrissochoidis, 697.
[71] A Miscellany of Lyric Poems, The Greatest Part written for, and performed in The Academy of Music, held in the Apollo (London: printed for the Academy, 1740), 19-24; Chrissochoidis, 697.
[72] The London Evening-Post, no. 764, Saturday 21 – Tuesday 24 October 1732, [2].
[73] The Daily Journal, no. 3688, Saturday 28 October 1732, [1].
[74]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 1,” item 9, ff. 1r, 2v; 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:
90–91.
[75] The Daily Courant, no. 5166, Monday 30 October 1732, [2].
[76] [Charles G. Lennox,] Earl of March, A Duke and His Friends: The Life and Letters of the Second Duke of Richmond, 2 vols. (London: Hutchinson, 1911), [1:]223.
(d) At the time that Britannia was represented, the Opera of Cato, (not compos’d by Mr. Handel) was playing at the Theatre Royal in the Hay-Market.
[77] [John Lockman], The Humours of New Tunbridge Wells at Islington (London: J. Roberts, 1734), 30; see also, Deutsch, 297; Chrissochoidis, 697.
[78] 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), 296.
[79] 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), 297.
[80] [Samuel] Johnson, The Blazing Comet: The Mad Lovers; Or, The Beauties of the Poets (London: James Crokatt, 1732), ix-x; see also Deutsch, 300; Chrissochoidis, 697-98.