1733
|
We hear that most of the Musical Societies in Town have generoasly agreed to join their Assistance with the Gentlemen of the Chapel Royal, the Choirs of St. Paul’s and Westminster, in the Performance of Mr. Handel’s Great Te Deum, Jubilate, and Anthems, at St. Paul’s, both on the rehearsal and Feast of the Corporation of the Sons of the Clergy, in order to promote so great a Charity.[1] |
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MONDAY, Jan. 22. [...] We are assured, that above a hundred gentlemen well skilled in music, and fine performers, have already promised to assist the three choirs of the royal chapel, S. Paul’s and Westminster Abbey, both at the rehearsal, and on the feast-day of the sons of the clergy. P.[2] |
Jan
28
[...] in the Evening [of Sunday last] their Majesties, the Duke, and the Princesses, were present at the King’s Theatre in the Hay-Market, and saw the New Opera of Orlando.
[...]
We hear that there was collected last Monday at the Rehearsal of the Musick to be performed on the Feast-Day of the Sons of the Clergy 240 l. 5 s. 9 d. notwithstanding the ill State of Health of the Town, which is supposed to have detained several Persons from coming.[3]
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TUESDAY, Jan. 30. [...] Yesterday there was a rehearsal of the music, that will be performed on thursday [sic] next at S. Paul’s cathedral; before the sons of the clergy; on which occasion 236 l. 15 s. 6 d. was collected at the bason. C. D P. — 240 l. 5 s. 9 d. P.[4] |
Feb 1
|
Last Thursday [1 Febr.] there was a very considerable Collection at the Feast of the Sons of the Clergy; which, with what was gather’d that Day, and the Day of the rehearsal, at St. Paul’s, together with the 100 l. left by Dr. Godolphin, late Provost of Eaton, and what is further expected, will, ’tis thought, amount to a Sum little short of 1000 l.[5] |
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FRIDAY, Feb. 2. Yesterday the rev. Dr. Stebbing preached an excellent sermon before the sons of the clergy, after which they proceeded to dine at merchant-taylors hall: the collections at the church and hall amounted to 945 l. 10 s. 3 d. P. — The rev. Dr. Godolphin left 100 l. which was paid at S. Paul’s church. D P. — I hear, that Mr. Osborne is very angry at the annual increase of this charity.[6] |
Feb [2/]13
|
[Edward Holdsworth in Venice to Charles Jennens] Dear Sr. I have the favour of yrs
of Nov. the 27th. wch you will think me very tardy in
answering. but I did not receive it till long after date; The Peruzzi (or
Peruquiera as she is commonly call’d) having kept us at Milan till lately.
You may imagine by this yt she has an excellent voice to detain us
so long from the famous Farinelli. Indeed she sings well, but is not I think
to be compar’d to the other; but as she is a woman you must allow her to have
the advantage over the Castrato with so young a Gentleman as Mr
Herbert, who I thought wou’d have been almost in love. We have now the
pleasure of being entertain’d ev’ry night by Farinelli, who charms ev’ry
body, even such a savage as I am with respect to musick. All the English
Travellers here, who are very numerous, will stay out the whole Carneval for
his sake, wch is contrary to custom; for the most part usually go
to Rome about this time in order to finish the Carneval there. They all agree
yt He far surpasses whatever they had heard before. I hope one
time or other to have the satisfaction of waiting on you into this country to
hear him, there being little likelyhood of his ever going into England. All
the other performers here are very indifferent, at least they appears so in [1v]
Farinelli’s company. One of them is Marigha who was lately on ye
English stage. The Compositions either here or at Milan are not esteem’d, and
therefore I shall not have any more of them copied than some of the best
Airs. I am sorry that the loose Airs wch I sent you from Rome were
not to your mind; but this comes of employing a blockhead who knows no more
of an air than he does of the language of China. I hope you have by this time
found out Mr Bertie’s tuner to put yr
Harpsichord in order. I have wrote to Florence to acquaint the maker wth
the ill state you found it in on it’s arrival, and to complain of his sending
it out of his hands in so bad a condition. I suppose he will deny it; and
indeed I was very much surpris’d to hear your account of it, because Mr
Meynell had it tried by a good maker few days before ’twas sent of, and the
maker pack’d it up himself. I had this day some discourse with your friend Vivaldi who told me yt He had resolv’d not to publish any more Concerto’s, because He says it prevents his selling his Compositions in Mss wch He thinks will turn more to account; as certainly it wou’d if He [2r] finds a good market, for he expects a Guinea for ev’ry piece. Perhaps you might deal with him if you were here to choose what you like, but I am sure I shall not venture to choose for you at that price. I had before been inform’d by others that this was Vivaldi’s resolution. I suppose you already know yt He has publish’d 17 Concertos. […][7] |
The TOWN LADY’s Answer to — What tho’ I am a Country Lass.
|
I. WHAT tho’ I am a London dame, And lofty looks I bear a? I carry, sure, as good a name, As those who russet wear a. What, tho’ my cloaths are rich brocades? My skin it is more white a, Than any of the country maids That in the fields delight, a. II. What, tho’ I to assemblies go, And at the Operas shine, a? It is a thing all girls must do, That will be ladies fine, a: And while I hear FAUSTINA sing Before the king and queen, a, My eyes they are upon the wing, To see, if I am seen, a. […][8] |
[?]
|
at Powis house Ormond Street the stair Case painted by Amiconi [...] the sides of the Staircase. three different stories of Holofernis his head being cut off by Judith. first she is receivd by the General in the Army the other is a grand Festival. & the other side where she appears with the sword in her hand & the head of Holofernes showd to the people. [...][9] |
Feb 9
|
WHereas the Oratorio of JUDITH was notified to be perform’d at the Theatre-Royal in Lincoln’s-Inn-Fields as on Friday the Ninth of this Instant, the said ORATORIO, by Reason of the Indisposition of one of the Principal Singers [=Cecilia Young], is deferr’d till further Notice.[10] |
Feb 9
|
[Viscount Percival’s Diary, Friday 9 February 1732-33] Dined at home, and in the evening had my concert; performers — Sir Edward Anderson, Sir Lionel Pickering, Mr. Withrington, Mr. Needler, Mellan, Dobson, Pain, Prat, Sambroke, Bothmar, Mutso, Bagnal, my brother; and of professed musicians, Pasquelini, Arragoni, Vernon, the opera woman, and the great bass. The company were brother Parker, Lord Bathurst, Sir Thomas Hanmer, Mr. Hanmer, Dean Berkley, Mr. Cornwall, Sir John Barker, Mr. Clerke, Mr. Hildsley, Mr. Fortrey, sister Percival, Mrs. Minshull, Mrs. Devereux, Mrs. Spencers.[11] |
Feb 15
|
Miss Caecilia Young being still indisposed, is the Reason of the new
Opera of Dione, and the new Pantomime
Entertainment not being perform’d before the 23d Instant.[12] |
Feb 16
|
AT the Theatre-Royal in Lincoln’s- Inn-Fields, this present Friday, being the 16th Instant, will be Perform’d The New ORATORIO: CALL’D, JUDITH. Compos’d by Mr. WILLIAM DE FESCH. N. B. Tickets given out for the Ninth will be taken. The Composer humbly hopes the Disappointment the Town met with by its being postpon’d will be in no Means imputed to him, it being occasion’d by such an
Accident as any one might unfortunately fall under, that of the Mis-Conduct and pretended Sickness of Cecilia Young, who had engag’d for the Part of Judith, which will be perfom’d by Miss Chambers. N. B. The Pit and Boxes will be laid together at 5 s. First Gallery 2 s. 6 d. Upper Gallery 1 s. 6 d. No Person can be admitted behind the Scenes. Tickets may be had at Tom’s Coffee-House in Devereux Court, near the Temple; at the Rainbow Coffee-House, over-against the Royal-Exchange; and at Mr. Cook’s Musick Shop in New Street, Covent-Garden. Printed Books of the Oratorio may be had at the Theatre only. Price 1 s.[13] |
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W[illiam] H[uggins], Judith: An Oratorio; Or, Sacred
Drama ... The Musick Composed by Mr. William de Fesch, Late Chapel-Master of the Cathedral Church at Antwerp (London: [?], 1733). |
Feb 20 – Apr 5,
Dublin
|
[Mrs. Pendarves to Mrs. Ann Granville, between 20 February and 5 April 1732-3] [...] Mr. Pope I find has undertaken to lash the age; I believe he will be tired before they are reformed. He says he “will spare neither friend nor foe,” so that declaring ones-self for him, will not secure us from a stroke.[14] |
To be Perform’d,
at the Royal Chapel of White-
hall, by the Gentlemen of
his Majesty’s Chapel Royal and the best Hands, HARMONIA SACRA; consisting of the TE DEUM, JUBILATE, ANTHEMS, and other Pieces of CHURCH MUSICK, composed by the most eminent Masters, ancient and modern. The Whole will be divided into Three Performances. The first to be on Tuesday the 13th Day of March; and to consist of the following Pieces, viz. A TE DEUM, JUBILATE, and TWO ANTHEMS, perform’d at his Majesty’s Chapel Royal: All with Voices and Instruments, and set to Musick by Mr. Handel. The second Performance to be on Tuesday the 3d of April; and to consist of The late Mr. Henry Purcell’s TE DEUM and JUBILATE, with Voices and Instruments, perform’d upon several publick Occasions at St. Paul’s Cathedral: Signior Bononcini[’]s Anthem, with Voices and Instruments, perform’d in Westminster Abbey at the Duke of Marlborough’s Funeral: An Anthem in Latin by Colonna, (the Words taken out of the 110th Psalm). The third Performance to be on Tuesday the 17th of April; and to consist of A TE DEUM; an Anthem on his Majesty’s Return from Hanover, (both perform’d at St. James’s Chapel Royal): Part of the Song of Deborah and Barak, paraphrased from the 5th Chapter of Judges. All with Voices and Instruments, and set to Musick by Dr. Greene. The several Performances to begin at Twelve o’Clock. TICKETS will be deliver’d at a Guinea each TICKET, which will entitle any Person to be admitted to the Three Performances. TICKETS may be had at Mr. Jackson’s, Bookseller, in Pall- Mall, near St. James’s Gate; Mr. King’s, Bookseller, in Westminster-Hall; Mr. Greene’s, Bookseller, at Charing- Cross; Mr. Browne’s, Bookseller, at the Black Swan without Temple-Bar; Mr. Innys’s, Bookseller, at the West End of St. Paul’s Cathedral; Mr. Meadows’s, Bookseller, at the Angel in Cornhill, over against the Royal-Exchange.[15] |
Feb 23
|
[Viscount Percival’s Diary, Friday 23 February 1732-33] I returned home to dinner, and had my concert, at which were present Sir Thomas Hanmer, Mr. Bagnall, Sir Jo. Barker, Mr. Stradling, Sir Edmond Thomas, Mr. Horace Walpole and his lady, Lady Parker and her daughters, Mr. Tuffnell, Mrs. Devereux, Lady Mary Cooly, Lady ———— Hambleton, sister Percival, Lady Bathurst, Mons. Montolio, Mr. Clerke and cousin Fortrey; and the performers were: Sir Edmond Anderson, Mr. Mutso[,] Mr. Withrington, Mr. Thomas, Mr. Sambroke, Mr. Hanmer, on the fiddle; Mr. Dobson, Mr. Pain, on the bass; Mr. Bothmar, Vernon, on the hautboy; my brother Percival, the tenor; Sir Lionel Pilkington and Mr. Bagnall, on the harpsichord; Aragoni, and my daughters, singers.[16] |
42. Orlando. An Opera. Compos’d by Mr. Handel. Sold by John Walsh, pr. 11s. 6d.[17]
Mar 3
|
[Viscount Percival’s Diary, Saturday 3 March 1732-33] In the evening I went to the English Opera called “Achilles,” with my brother Percival.[18] |
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Preparations are making at Whitehall-Chapel, for the Performance of several Pieces of Church- Musick, with Voices and Instruments, compos’d by the greatest Masters. The first Performance will be on the 13th of this Instant March.[19] |
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By HIS MAJESTY’s Command, AT the KING’s THEATRE in the HAY-MARKET, on Saturday the 17th of March, will be perform’d, DBORAH, [sic] An ORATORIO, or SACRED DRAMA; (in English) Composed by Mr. HANDEL. The House is to be fitted up and illuminated in a new and particular Manner.[20] |
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On Saturday in the Evening their Majesties, his Royal Highness the Prince of Wales, and the Three Eldest Princesses, went to the Opera House in the Haymarket, and saw an Opera called Floridante.[21] |
Mar 13
|
AT the KING’s THEATRE in the HAY-MARKET, this present Tuesday, being the 13th Day of March, will be reviv’d, An OPERA, call’d, FLORIDANTE. PIT and BOXES to be put together, and no Persons to be admitted without TICKETS, which will be delivered This Day, at the Office in the Hay-Market, at Half a Guinea each. GALLERY FIVE SHILLINGS. By His MAJESTY’s COMMAND, No Persons whatever to be admitted behind the SCENES. To begin at Half an Hour after six o’Clock. ________________________________________________ By HIS MAJESTY’s Command. AT the KING’s THEATRE in the HAY-MARKET, on Saturday the 17th of March, will be perform’d, DEBORAH, A NEW ORATORIO, in ENGLISH. Composed by Mr. HANDEL. And to be performed by a great Number of the best Voices and Instruments. N. B. This is the last Dramatick Performance that will be exhibited at the King’s Theatre till after Easter. The House to be fitted up and illuminated in a new and particular Manner. Tickets to be deliver’d at the Office at the Opera House on Friday and Saturday the 16th and 17th Instant, at One Guinea each, Gallery Half a Guinea.[22] |
Mar 17
|
And this Day is published, DEBORAH. An Oratorio; Or, Sacred Drama As it is to be perform’d this Evening, being the 17th of March, at the King’s Theatre in the Hay- Market. The Musick compos’d by Mr. HANDEL The Words by Mr. Humphreys.[23] |
D E B O R A H.
AN
ORATORIO:
OR
SACRED DRAMA.
As it is Perform’d at the
KING’S THEATRE in the Hay-Market.
--------------------------------------------------------
The MUSICK Compos’d by Mr. HANDEL.
--------------------------------------------------------
The Words by Mr. HUMPHREYS.
--------------------------------------------------------
[ornament]
LONDON:
Printed for JOHN WATTS at the Printing-Office in Wild-Court near Lincoln’s-Inn Fields: And are to be had at the KING’S THEARTE [sic] in the Hay-Market. 1733.
[Price One Shilling.]
[page … page]
TO THE
QUEEN.
MADAM,
HOW much soever Mankind may vary in their Opinions on difficult Points of Speculation, they all confess, with a perfect Unanimity, That the polite Arts are favour’d by Your Majesty, with the Approbation and Patronage of the Greatest and Best of QUEENS.
The many amiable Instances of Your Majesty’s condescending Regard to the Muses, in particular, inspired one of the humblest of their Admirers with an ardent Ambition to grace this Drama with Your Majesty’s sacred Name.
Had I been able, MADAM, to have represented Deborah, acting for the Happiness of her People, with half the Lustre that diffuses itself around Your Majesty’s Conduct, I might then have congratulated my self for drawing so excellent a Portraiture; but if a much greater Master had employed [page] his Abilities on this Occasion, he would have been sensible like my self, by the Event, that he had only shewn how much the Jewish Heroine is transcended by BRITANNIA’s QUEEN.
Could I hope, MADAM, to improve my inconsiderable Talent in Poetry to that Perfection, as would enable me to paint the shining Character of Your Majesty in a just Light, I should be indefatigable in cultivating my Propensity to the Muses, because I am persuaded that whenever a happy Genius shall exert itself suitably to such a Subject, he may venture to promise Immortality to his Production.
But, tho’ I acknowledge my self infinitely inferiour in such an Attempt to many of my Contemporaries, yet I humbly implore Your Majesty’s Permission to declare, that I am not exceeded, by any of my Fellow-Subjects, in the Loyalty and Veneration with which I have the Honour to be,
MADAM,
Your MAJESTY’s
most dutiful,
and most
obedient
Subject and Servant,
SAMUEL HUMPHREYS. [page]
ADVERTISEMENT.
ALL those Lines mark’d down the Side with a Pencil, are left out in the Performance.[24]
|
An Entertainment, perhaps, the most magnificent that has ever been exhibited on an English Theatre …. The Composition of the Musick is by no means inferior to the most finish’d of that Gentleman’s Works; but the Disposition of the Performers was in a Taste beyond what has been attempted. There was a very great Number of Instruments by the best Hands, and such as would properly accompany three Organs. The Pit and Orchestre were cover’d as at an Assembly, and the whole House illuminated in a new and most beautiful manner.[25] |
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[Viscount Percival’s Diary, Tuesday 27 March 1732-3] Tuesday, 27. — Went to the Vestry in the morning. Went in the evening to see “Deborah,” an oratorio, made by Hendel. It was very magnificent, near a hundred performers, among whom about twenty-five singers.[26] |
|
Their Majesties, together with his Royal highness the Prince of Wales, and the Princesses were again … to see Deborah … at which was likewise present one of the most numerous Audiences of Nobility and Persons of Distinction that has been ever seen in any Theatre.[27] |
|
Last Night [27 March] their Majesties, the Prince of Wales, and the three eldest Princesses, were again present at Mr. Handel’s new Oratorio of Deborah; but Signora Strada being very ill, did not perform in it.[28] |
Apr 3
To be performed,
At the Royal
Chapel of Whitehall,
By the Gentlemen
of his Majesty’s Chapel-Royal,
and the best
Hands,
HARMONIA SACRA. On Tuesday the 3d of April will be performed, The late Mr. Henry Purcell’s Te Deum and Jubilate, with Voices and Instruments (performed upon several publick Occasions at St. Paul’s Cathedral): Signior Bononcini’s Anthem. with Voices and Instruments (performed in Westminster Abbey, at the Duke of Marlborough’s Funeral). An Anthem in Latin by Colonna: the 110th Psalm. And on Tuesday the 17th of April will be performed, A Te Deum: An Anthem on his Majesty’s Return from Hanover (both performed at St. James’s Chapel Royal): Part of the Song of Deborah and Barak, paraphrased from the 5th Chapter of Judges. All with Voices and Instruments, and set to Musick by Dr. Greene. The Performances to begin at 12 o’Clock. Tickets will be delivered at a Guinea for both the Performances; or at Half a Guinea for either of the two Performances. N. B. The Performances of Church Musick at Whitehall are for augmenting a Fund for the Widows, &c. of the Gentlemen of the Chapel- Royal, who die in his Majesty’s Service. Tickets may be had at Mr. Jackson’s, Bookseller, in Pall Mall, near St. James’s Gate; Mr. King’s, Bookseller, in Westminster Hall; Mr. Green’s, Bookseller, at Charing Cross; Mr. Browne’s, Bookseller, at the Black Swan without Temple Bar; Mr. Innys’s, Bookseller, at the West End of St. Paul’s Cathedral; Mr. Meadows’s, Bookseller, at the Angel in Cornhill, overagainst the Royal-Exchange.[29] |
|
By his MAJESTY’s COMMAND. AT the KING’s THEATRE in the HAY-MARKET, this present Tuesday, being the 3d of April, will be performed, DEBORAH, A NEW ORATORIO, or SACRED DRAMA, In ENGLISH. Composed by Mr. HANDEL. And to be performed by a great Number of the best Voices and Instruments. The House to be fitted up and illuminated in a new and particular Manner. TICKETS will be delivered at the Office in the Hay- Market, this Day, at Half a Guinea each. GALLERY FIVE SHILLINGS. To begin at Half an Hour after six o’Clock. The Silver Tickets of the Subscribers to the Opera will be admitted.[30] |
|
The Subject of To-morrow’s Hyp-Doctor will be the Jesuit’s Letter, Mr. Handel’s Oratorio, Fog’s Prophecy, a second Letter from Charles Forman, Esq; to Sir R. W. An Account of a new general Excise of Beards in France, a Letter from a Lady on the Fashion of naked Necks and Breasts, and a new Sect of both Sexes, called of Taste, or Tasters.[31] |
Apr 11, Dangan
|
[Mrs. Pendarves to Mrs. Ann Granville, 11 April 1733] I am sorry the Act at Oxford happens this year; I fear it will incommode me in my journey to Gloucester — the town will be so cramm’d; and I have so much a higher pleasure in view than any entertainment they can give, that I have no thoughts of stopping there.[32] |
Apr 14
|
Extract from the CRAFTSMAN. MR. D’Anvers begins his last Craftsman with a Letter from a Jesuit in England to the Rector of his Order at Brussels. This Letter was wrote in the Year 1627, and discovers a Design which was at that time on foot to enslave the Nation by EXCISES and a STANDING ARMY. It is extracted from the first Volume of Rushworth’s Collections, and having therefore been so often in Print, we shall only lay before our Readers the following remarkable Paragraph taken out of it. In the first Place (says the Jesuit to the Rector) we take into Consideration the King’s Honour, and present Necessity; and we shew how the King may free himself of his Ward, as Lewis XI. did. And for his great Splendor and Lustre, he may raise a vast Revenue, and not be beholding to his Subjects; which is by way of Imposition of EXCISE. Then our Church Catholicks proceed to shew the Means how to settle this Excise, which must be by a mercenary Army of Horse and Foot. After the Jesuit’s Letter Mr. D’Anvers in a second Letter gives an Account of an Attempt which has been lately made by the famous Mr. H[ande]l, upon the Liberties and Properties of all who love Operas: It may not be amiss to inform our Country Readers, that tho’ there is some Foundation for a Letter of this kind from what happen’d lately at the Oratorio of Deborah, (upon which Accident he may see an Epigram in our BEE, No. VIII.) yet that Mr. D’Anvers is generally thought to have something more in his View. The Rise and Progress of Mr. H—l’s Power and Fortune [...][33] |
Apr 17
|
By his MAJESTY’s COMMAND. AT the KING’s THEATRE in the HAY-MARKET, this present Tuesday, being the 17th Day of April, will be Revived, ESTHER, AN ORATORIO, or SACRED DRAMA, In ENGLISH. Composed by Mr. HANDEL. And to be performed by a great Number of the best Voices and Instruments. The House to be fitted up and illuminated in a new and particular Manner. TICKETS will be delivered at the Office in the Hay- Market This Day, at Half a Guinea each. GALLERY FIVE SHILLINGS. To begin at Half an Hour after six o’Clock.[34] |
To be Perform’d,
At Whitehall
Chapel,
By the Gentlemen
of his Majesty’s Chapel-Royal, and the best
Hands, HARMONIA SACRA. This Day the
17th of this Instant April will be Perform’d, A TE DEUM; An ANTHEM compos’d upon his Majesty’s Return from Hanover (both perform’d at St. James’s Chapel-Royal): And Part of the Song of Deborah and Barak, paraphras’d from the 5th Chapter of Judges. All with Voices and Instruments, and set to Musick by Dr. Maurice Greene, Composer and Organist to his Majesty. The Performance to begin at 12 o’Clock. Tickets will be deliver’d at Half a Guinea each Ticket. N. B. The Performances of Church-Musick at
Whitehall- Chapel are for augmenting a Fund for the Widows,
&c. of the Gentlemen of the Chapel-Royal, who die in his Majesty’s Service. Tickets may be had at Mr. Jackson’s, Bookseller, in Pall- Mall, near St. James’s Gate; Mr. King’s, Bookseller, in Westminster-Hall; Mr. Green’s, Bookseller, at Charing- Cross; Mr. Brown’s, Bookseller, at the Black Swan without Temple-Bar; Mr. Innys’s, Bookseller, at the West-End of St[.] Paul’s Cathedral; Mr. Meadows’s, Bookseller, at the Angel in Cornhill, over-against the Royal-Exchange.[35] |
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[Sir John Clerk of Penicuik, Saturday 5 May 1733] I never in all my life heard a better piece of musick nor better perform’d – the famous Castrato, Senesino made the principal Actor the rest were all Italians who sung with very good grace and action, however, the Audience was very thin so that I believe they get not enough to pay the Instruments in the orchestra. I was surprised to see the number of Instrumental Masters for there were 2 Harpsichords, 2 large basse violins each about 7 foot in length at least with strings proportionable that cou’d not be less than a ¼ of an inch diameter, 4 violoncellos, 4 bassoons, 2 Hautbois, 1 Theorbo lute & above 24 violins. These made a terrible noise & often drown’d the voices. One Signior Montagnania sung the bass with a voice like a Canon. I never remember to have heard any thing like him. amongst [sic] the violins were 2 Brothers of the name Castrucci who play’d with great dexterity.[36] |
|
Just[ice Gryphus]. D’ye hear, Mr. Constable — see that they be forth-coming at my Return from the Grand Jury, where my Brother Justices and I are going to indict Operas, Ridottos, Oratorios, and Bawdy-houses.[37] |
May
23
May 23, 1733. / Her Majesty Queen Caroline, has been Graciously pleased to give a Benefaction of 1000 l. towards finishing the new Building of Queen’s College Oxon; of which the Queens Consorts of England, are by the Charter of King Edward the third, declar’d Patronesses in Succession: [...][38]
|
[Charles Delafaye to the Earl of Essex] Whitehall May 24th. 1733. My Lord, It has been intended some time to send a Messenger to
your Excy. but as there is no pressing occasion for it, the
usual Hurry towards ye Close of a Session has delayd it.
It is hoped all ye parliamentary Business may be
finishd so as that ye Houses may rise on this Day sev’night ;
which every body longs for, that they may go &
breath fresh Air in ye Country. [deciphered
numerical code:] We have at length the Court of Spain’s Answer to the late
proposal from the Court of Vienna: They do not accept it, But
leave room for further Negociation, which looks to me
like gaining time, in hopes that troubles may arise upon the Polish
Election and give them an opportunity of obtaining better terms. [172v] [normal
text:] Here is like to be a Schism in ye Musical World;
Hendel is become so arbitrary a prince, that the Town
murmurs, Senesino not being able to submit any longer
to his Tyranny threatens to revolt and in conjunction
with Cazzona to set up a separate Congregation at Lincolns
Inn Fields, which it is thought will be sooner full
than that for ye Hay Market, tho’ Heydegger,
who is in great Distress spares no pains to repair ye
Loss by getting new Singers of ye first Distinction
from Italy. I am with ye utmost Zeal & Respect, My Lord Your Excy’s most humble & most obedient Servant Ch: Delafaye[39] |
late May
|
LONDON, June 2. We are credibly inform’d that one Day last Week Mr. H–d–1, Director-General of the Opera-House, sent a Message to Signior Senesino, the famous Italian Singer, acquainting Him that He had no farther Occasion for his Service; and that Senesino reply’d the next Day by a Letter, containing a full Resignation of all his Parts in the Opera, which He had perform’d for many Years with great Applause. —— We hope the polite Mr. Walsingham will give us Leave to observe, upon this Occasion, that the World seems greatly ASTONISH’D at so unexpected an Event; and that all true Lovers of Musick GRIEVE to see so fine a Singer dismiss’d, in so critical
a Conjuncture.[40] |
May 29
|
Last Night the King, Queen, Prince, and the three eldest Princesses, were at the King’s Theatre in the Hay-market, and saw the Opera called Griselda.[41] |
Jun
4
Last monday night there [sic] Royal Highnesses the Duke and the Princess Amelia, were at the New Theatre in the Hay market, and saw the Opera of opera’s, or Tom Thumb the Great, set to musick after the Italian manner; and the same met with universal applause, the Humour being entirely new.[42]
|
On Saturday Night their Royal Highnesses the three eldest Princesses were at his Majesty’s Theatre in the Hay-market, to see the Opera of Grisalde, which being the last Time of Performing, Signior Senisino addressed himself to the Audience, in an Italian Speech, which the Polite Part of them received with Approbation.[43] |
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[Lord De la Warr to the Duke of Richmond] June the 16: 1733 [...] There is A Spirit got up against the Dominion of Mr Handel, A Subscription carry’d on, and Directors chosen, who have contracted with Senisino, and have sent for Cuzzoni, and Farrinelli, it is hoped he will come as soon as the Carneval of Venice is over, if not sooner. The General Court gave power to contract with any Singer Except Strada [who remained with Handel’s company], So that it is Thought Handel must fling up, which the Poor Count [Heidegger] will not be sorry for, There being no one but what declares as much for him, as against the Other [Handel], so that we have A Chance of Seeing Operas once more on A good foot. Porpora is also sent for. We doubt not but we shall have your Graces Name in our Subscription List. The Directrs. chosen are as follows. D. of Bedford, Lds. Bathurst, Burlington, Cowper, Limmerick, Stair, Lovel, Cadogan, DeLawarr, & D. of Rutland. Sr John Buckworth. Henry Furnese Esq. Sr Micl. Newton; There seems great Unanimity, and Resolution to carry on the Undertaking comme il faut.[44] |
Jun 22
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Great Preparations are making for Mr Handel’s Journey to Oxford, in order to take his Degree of Doctor of Musick; a Favour that University intends to compliment him with, at the ensuing Publick Act. The Theatre there is fitting up for the Performance of his Musical Entertainments, the first of which begins on Friday Fortnight the 6th of July. We hear that the Oratorio’s of Esther and Deborah, and also a new one never perform’d before, called Athalia, are to be represented two Nights each; and the Serenetta of Acis and Galatea as often. That Gentleman’s Great Te Deum, Jubiliate, and Anthems, are to be vocally and instrumentally performed by the celebrated Powell, and others, as a solemn Entertainment for the Sunday[.] The Musick from the Opera is to attend Mr. Handel; and we are inform’d that the principal Parts in his Oratorio’s, &c. are to be by Signora Strada, Mrs Wright, Mr Salway, Mr Rochetti, and Mr Wartzs.[45] |
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We hear that Subscriptions are actually in great Forwardness for having two different Opera’s next Winter, one at the King’s Theatre in the Haymarket, under the Direction of Messrs. Handel and Heydegger, and the other to be at one of the Playhouses, under the Management of Directors chosen among the Subscribers. Signor Carastini, Signor Schaltzs, and Signora Durastanti, are engag’d by Mr. Handel to come over from Italy to perform in the former, as is likewise Signora Antonina from Portugal: the latter are to have Signor Senesino and Signora Cuzzoni, two Voices that were once the Delight of our Nobility, and the Envy of all Europe.[46] |
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SIR, HAving lately read a collection of entertaining and agreeable poems, I found a beautiful burlesque, or parody, of a very unmeaning copy of verses wrote by A. P——ps Esq; which I send you to publish in your Journal. I do not doubt but the public will be pleased with the humorous ridicule of such sort of poetical productions, as are only sound without sense. To S—RA CUZZONI. LITTLE Syren of the stage, Charmer of an idle age; Empty warbler, breathing lyre, Wanton gale of fond desire; Bane of ev’ry manly art, Sweet enfeebler of the heart: Oh, too pleasing is thy strain, Hence, to southern clime again: Tuneful mischief, vocal spell, To this island bid farewell, Leave us, as we ought to be, Leave the Britons, rough and free.[47] |
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“In a fair cherub’s room, some earthly peer “Succeeds, his form more lovely and more dear; “Devout at six, relapsing at seven, “Handel and Satan are too hard for heaven;[48] |
Jul 2
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Oxford, July 2. Our Publick Act opens next Thursday Afternoon about Five o’Clock: Almost all our Houses not only within the City, but without the Gates, are taken up for Nobility, Gentry, and others: many of the Heads of Houses and other Gentlemen of the University of Cambridge will be here on Wednesday Night; and we are so hurry’d about Lodging, that almost all the Villages within three or four Miles of this City, make a good Hand of disposing of their little neat Tenements on this great Occasion.[49] |
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[Dowager Duchess of Leeds to the Duke of Leeds] Londn. July ye 4th [...] I am at present in top spirits wth ye ye [sic] certainity [sic] of having a very good opera here next winter, in opposition to Handell, they are to be performd at Lincoln inn Play house, ye performers are Sinesini, Cozzona, & two other very good ones from Italy. & chelestina & a man yt is sent for, are to play a Commick part between ye acts; ye [217v] subscription for this is full, & Handel has not got 20 Subscribers yet, so most people think he will drop his opera, [...] I wish Camargo & Sally wou’d come & dance at our opera & yt I think we shou’d want nothing; [...][50] |
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[John Corry to the Earl of Essex in Turin, 4 July 1733] I suppose you’l gett as much of Musick as you can while you are on the other side [of] the Mountains, it seems to be at [an] end here. Senesino[,] Handle, & waggon Lo[ads] of performers are this week gon to Oxford to Sta[rt] at the oratorios, to divert ye Country folk, there will be sweat enough for 8 or 10 days.[51] |
Jul [5/]16
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[Edward Holdsworth in Antwerp to Charles Jennens] Dear Sr I receiv’d no orders or
directions at Vienna, but I had the favour of yrs of May the 28th
at Amsterdam and according to yr instructions have bought you
Tartini’s Compositions, and have ventur’d without orders to buy a
work of Loccatelli’s just publish’d, wch was
recommended to me as one of the best performances of the age. Monsr
la Cene who has publish’d Vivaldi’s & Albinoni’s
works assur’d me yt if you have 12 of Vivaldi’s Op. and
9 of Albinoni, you have all. Let Vivaldi, he says, reckon as he pleases, He
has publish’d no more than 12; and must count several of them double to make
up the number 17. wch piece of vanity suits very well wth
his character. I shall direct this to Oxford where I hope ’twill find you in great joy. We propose to be in London in about 2 months. I doubt we shall not have the pleasure of meeting you there at that time, but I hope the rains will drive you out of Leicestershire before winter […][52] |
Jul 7
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Musica Sacra Dramatica, Sive Oratorium. Satis superque audivimus Orphea Pronos morantem fluminis impetus: Saltus et auritos ferasque Ducere carminibus peritum. Pellaee Princeps, omnipotens lyra Te vicit, Hosti cedere nefeium: Iras amoresque excitavit Timotheus variente dextra. Procul
profani cedite Musici, Non ficta rerum, non steriles soni, At sancta castas mulcet aures Materies sociata chordis. O Suada,
sacro digna silentio, Seu blanda saevi pectoris impetum Delinit, aut victrix triumphos Ingeminat graviore plectro. Auditis? O
qui consonus intonat Vocum tumultus! Tollitur altius Iucundus horror, proripitque Ad superos animam sequacem. Vicissitudo
lenior anxiam Suspendit aurem, dum sociabilis Sermo sonorus praeparabit Grande melos vice gratiori. Iam segniori
Musica murmurat Profunda pulsu: praescia dum canit Debora venturum triumphum, et Fausta Deo praeeunte bella. Ad arma
circum classica provocant Ad arma valles pulsaque littora: Iam refluo Baracus ingens Mergit equos equitesque fluxu. Audin minaci murmure cornua Laesa? En! tremendis fata tonitribus Remugit aura, et militaris Harmoniae fremit omnis horror. O surge victrix, surge potens Lyra. Debora, Tu, Barace, minacium Victor Tyrannorum per urbes I celebres agita triumphos. Sed
praeparatam iam ferit artifex Handelus aurem. Musa procax, tace. Victorias, pompas, triumphos Ille canet melior Poeta.[53] |
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[translation: C. H. Gifford] Musica Sacra Dramatica, sive Oratorium (Carmine Lyrico) Too often have we heard how Orpheus’ Art Would halt th’ impetuous Motion of the Stream: The list’ning Glades and Beasts Skilful to lead in Song. Great Pella’s Prine, the Lyre omnipotent Hath conquer’d thee, whom never Foe might quell: Timotheus[’] varied Touch Bade Love and Anger flow. Hence ye profane Musicians, be ye gone! No fancied Tales, no unavailing Sounds, But join’d to Strings, a Theme Holy doth woo pure Ears: [322] Persuasion, fittest heard in holy Calm, Or mildly when the Rage of savage Breast She soothes, or conqu’ring, hymns Triumph with ampler Sweep: But hark, the Voices how they thunder forth Harmonious Tumult! Higher yet is borne Glad Horror, and the Soul Obedient rapt to Heav’n. And now a softer Variance doth suspend The troubled Ear, till Speech in Unison Sonorous shall lead on The grand Song gratefully. Then doth the Musick Murm’rings make profound With Pulse more idle; and prophetick sings Deborah sure Triumph, and Blest Wars when GOD doth guide. To Arms around the Trumpets loud invoke, To Arms the Valleys and the echoing Coasts; Great Barak’s refluent Wave Rider and Steed doth whelm. Hark, how with threat’ning Murmur are the Horns Bruised! The Fates with dreadful Thunderings Now th’ Air resounds, and War Harmonious rolls around. Arise victorious, thou whose Lyre prevail’d Deborah! Whom threat’ning Tyrants own’d their Lord, Barak, thro’ all our Towns Thy populous Triumphs drive. But Handel’s Master Touch now comes to play On Ears expectant. Forward Muse, be still! For Vict’ries, Triumphs, Pomps No Bard can sing so well.[54] |
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COUNTRY NEWS. Oxford, July 10. Yesterday about One o’Clock, the Vice-Chancellor, accompany’d by the Heads of Houses, the Doctors in their Boots and Robes, and the other Members of the University properly habited, repair’d again to the Theatre, where was present a vast Concourse of Nobility, and other Persons of Distinction, of both Sexes. […] As the Solemnity in conferring the Degrees on the Gentlemen before mention’d, engag’d the Theatre to a very late Hour of that Afternoon, Mr. Handel’s new Oratorio, call’d Athalia, was defer’d till this Day, when it was perform’d with the utmost Applause, and is esteem’d equal to the most celebrated of that Gentleman’s Performances; there were 3700 Persons present. […] The Verses mentioned in my former to have been spoken by young Noblemen and others, on Friday last, at the Opening of the Act, were as follow[s]: […] Upon Oratorio’s, by Mr. Buckeridge, a Gent. Commoner of St. John’s: […] [among the verses presented at the Act’s opening were “On the King,” “On the Royal Family,” and “On the Illustrious House of Orange.”][55] |
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On Wednesday last the Act ended at Oxford; at which was present a great Number of Nobility and Gentry. Mr. Handel’s Oratorio’s were exceedingly approved. [...][56] |
July
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[Bellus Homo et Academicus] ACAD. Et quae tanta Italos tibi causa videndi, Cui veneranda vetustatis miracula sordent? [5] BELL. Ridiculae potiùs nugae, sed non adeò omnis Effusus labor est, nec me mea cura fefellit. Quae sola in votis fuerant, juvenesque politos, Invitare solent delectamenta, canoris Fabellis Italûm Larvatorumque chorëis Intereram. ACAD. Egregiusque adeò pro Judice morum Formarum spectator adest! BELL. Ibi membra movere Molliùs, invideatque quod HANDELII concentus, Edidici, varia argutae modulamina vocis. Sed me prae reliquis dulci novitate tenebat Gallia, gnara dapum, & cultûs foecunda politi. O mores lepidos, lusus, coenasque Deorum! Suaviter hìc Talis, Cyathis, Choreisque vacanti O quàm blanda mihi, quàm mellea defluit aetas! Concinno hinc tunicam sectus de more, repexi Hinc refluas de fronte comas, hinc totus ad unguem Factus homo, Nymphas inter molli eliquo voce Versiculum fòrs dimidium, argutumve leporem. Muneris & totum est vestrî, ornatissima tellus, Quòd placeam, & centrum est me perplacuisse Puellis; Quòd me depereant, quas expugnare decenni Obsidio vobis haud concessere Camoenae, Haud Logicae technae, nodosae haud illius artes —— Quis fuit? O teneo Nomen——Py—Pythagogorae.[57] |
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Sch. In Italy what could you Fancy please Who slight such ancient Monuments as these? B. Mere Trifles all! – Yet I may justly boast My Aim not mist nor was my Labour lost. What all Well-bred wish and admire I had In Music, Opera’s and Masquerade. Sch. (Sweet judge of Manners this; whose Search might prove Forms, Faces, Fashions!) ———— B. ———— O how I could move My pliant Limbs! Then for a warbling Throat, Handel may envy me; not reach my Note. But France all other Parts doth far excel In Dyer, Dress; Living, and looking well. Sweet pleasing Course! Balls, Entertainments, Plays, Cups, and Quadrille! O how I spent my Days! Well shap’d Attire, and Locks which backward flow The Man complete, even to a <li>ttle Shew. Among the Nymphs comes forth in softer Tone, A Verse, half, or smart saying of my own. Accomplish’d Land! ’Tis owing to thine Air That I could please (and sure have pleas’d) the Fair. Hence ’tis that with a Glance I Conquest gain, While you a ten Years Siege attempt in vain. With Muses, Logic-Quirks; and think who ’twas With’s knotty Arts —— O Pythagogoras.[58] |
Jul 11
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[Viscount Percival’s Diary, Wednesday 11 July 1733] [...] I heard this day that the Prince has had a child by Mrs. Vane’s chambermaid, for whom he has bought a house in London, and is buying another in the country, which has fretted Mrs. Vane into a consumption; that he attempted to gain the favours of Mrs. Bartholdi, the Italian singer, and likewise of the Duchess of Ancaster’s daughter, but both in vain. I am extremely concerned at these accounts, which I have the best assurances to be true.[59] |
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Just published, MUSICK Engrav’d on Copper-Plates, […] 6. The Operas of Julius Caesar, Rodelinda, Scipio, Alexander, and the rest of Mr. HANDEL’s Opera’s in Score, and for the Flute. […] Engraved, Printed and sold by THOMAS COEB, at his Printing Office in Bow Church-Yard; and by B. CREAK, at the Red Bible in Ave-Maria Lane, new St. Paul’s.[60] |
Jul 26
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[Baron Romney to the Duke of Leeds in Paris] July 26 [OS] 1733 My Lord If I had not the pleasure of hearing from your Grace I beleive [sic] I should [not] have sent you an account of [the] Act; but now I have your word that you shall like it, I do it with a great deal more pleasure. It began on the thursday night [5 July] with the Oratorio of Esther, not perform’d as we have heard it in the Christ Church box, as you will easily beleive when I tell you that Powell, Mrs Wright [page] & Mr. Salway sang instead of Senesini[,] Bertoldi, & scelestini, & that the Musicians were few, where of which Mr Mattis was one, who by the way I hear is going to leave Oxford in order to be in the Orchestre next winter at Senesini[’s] Passo Tempo (the new name for an opera). there was a great deal of Company, tho not near so many as there were the next day [Friday, 6 July] at the Exercises when the Theatre was full[,] there being about three thousand people ... Saturday [7 July] ... at night we had Esther for the second time when it was much better perform’d than before. Sunday [8 July] we had Handels Te Deum & two exceeding good Sermon[s.] ... The next day [Tuesday, 10 July] ... at night the new Oratorio of Athaliah was perform[’d.] which by what I could hear of it (for we were very much crowded) seem’d to be very pretty but I must defer [g]iving you a better a[cc]ount of that till Winter. ... Yours sincerely Romney[61] |
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[Compendio della vita di G. F. Handel] The author of this narrative having forgotten a circumstance of about the year 1738, which helped not a little to reestablish Handel’s credit and to put his affairs in order again, I may be allowed to mention it, as it brought both honour and gain to Handel, and among a very numerous company of Strangers I was present there. Having decided to celebrate the Public Art [=Act] with great solemnity, and thinking there would be a much greater number of people if it were accompanied by some popular entertainment suited to the ladies and others who would be little pleased with the usual scientific proceedings, the University of Oxford invited Handel to come and give a performance of an Oratorio or some solemn music on that occasion for a very generous fee though not pretending to say generally what it should be. But they say it was sufficient for the transport of the whole orchestra there and back, as well as the pay of all the musicians, who were little short of 100, for all the time they were away from London, which was about a fortnight. They say the lowest player received a pound a day, and the singers much more according to the pay they require. Handel was so scrupulous in his choice of virtuosi for this performance that there was not a single poor performer; and for their part they competed so to shew their respect for the Master for being chosen on this occasion according to their merit and not by their engagements, that everyone of them appeared so well dressed that it looked an orchestra of cavaliers. The success of the Oratorio matched completely the work of the virtuosi and the splendour of the performance, and it was said that Handel took back to London £4,000 clear of all expense.[62] |
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OPERAS after the ITALIAN manner. DEBORAH. An ORATORIO: Or, Sacred Drama. As it is Perform’d at the King’s Theatre in
the Hay-Market. The Musick Compos’d by
Mr. HANDEL. The Words by Mr.
HUMPHREYS. ATHALIA. An ORATORIO: or SACRED DRAMA. As Perform’d at the Theatre in Oxford. At the Time of the Publick Act. The Musick Compos’d by Mr. HANDEL. The Drama by Mr. HUMPHREYS. ACIS and GALATEA: An English Pastoral OPERA in Three Acts. Set to Musick by Mr. HANDEL. ULYSSES. An OPERA. As it is Perform’d at the Theatre Royal in Lincoln’s-Inn Fields. The Musick Compos’d by Mr. JOHN CHRISTOPHER SMITH, Junior. The Words by Mr. HUMPHREYS. AMELIA. A
New English OPERA. As it is Perform’d
at the New Theatre in the Hay-Market.
Set to Musick by Mr. John Frederick Lampe.[63] |
Aug 10/21
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[Handel to Michael Dietrich Michaelsen] London den 21/10 Augusti 1733. Monsieur et tres Hon[n]oré Frere Ich empfing deßen HochgeEhrtestes vom verwichenen Monath mit der Innlage von unsern liebwehrtesten Anverwandten in Gotha, worauf mit dieser Post geantwortet. Ich freue mich von Herzen deßelben und sämptlichen Wehrtesten Famille gutes Wohlseyn zu vernehmen, als deßen beharrliche Continuation ich allstets anerwünsche. Sonsten sehe die große Mühewaltung so sich mein HochgeEhrtester Herr Brüder abermahl genom[m]en wegen der Einnahme und Ausgabe vom vergangenen Jahre vom ersten July 1732 bis dreysigsten July 1733, wegen meiner Seeligen Fr. Mutter hinterlaßenen Hauses, und muß mier meine schuldige Dankbarkeit deßfalls vorbehalten. Es erwehnet mein HochgeEhrter Herr Bruder daß es wohl nöthig wäre daß ich solches selbsten in Augenschein nähmen möchte, aber, wie sehr ich auch verlange denenselbigen Ihriges Orths eine Visite zu machen so wollen den[n]och der mier bevorstehende unvermeidliche Verrichtungen, so mich [1v] gewiss sehr überhäuffen solches Vergnügen mier nicht vergönnen, will aber bedacht sein meine Sentiments deßfalls schrifftlich zu senden. Es hat mein HochgeEhrter Herr Bruder sehr wohl gethan sich zu erinnern meiner lieben Seeligen Fr. Mutter letzten Willen wegen Ihres Leichensteines zu beobachten, und hoffe daß derselbe wird selbigen vollfüllen. Ich ersehe aus der überschickten Rechnung daß die Fr. Händelin so im Hause wohnet sechs reichsthaler des Jahres Stubenzinß gibet, ich könte wünschen daß solcher ins künfftige Ihr erlaßen werden möchte so lange als Sie beliebet darinnen zu wohnen. Ich übersende hierbey verlangter maaßen die überschickte Rechnung von mier unterschrieben, meine obligation desfals werde gewiß nicht in vergeßenheit stellen. Ich mache meine ergebenste Empfehlung an dero HochgeEhrteste Fr. Liebste. grüße zum schönsten die wehrte Täustische Famille und alle gute Freunde. Ich werde bald wiederum meinem HochgeEhrtesten Herrn Bruder beschwehrlich fallen, hoffe aber, da ich deßelben Gutheit [2r sideways] kenne, deßfalls deßen pardon zu erhalten, ich bitte zu glauben daß ich lebenslang mit aller auffrichtigen Ergebenheit verbleiben werde Meines Insonders HochgeEhrtesten Herrn Bruders bereitwilligst gehorsamster Diener George Friedrich Händel. [2v sideways] A Monsieur Monsieur Michael Dietrich Michaëlsen Conseiller de Guerre de Sa Majesté Prussienne à Halle en Saxe. franco Emmerih[64] |
Aug 20
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[P.P.P. to the Duke of Newcastle, Secretary
of State, 20 August 1733] My concern for the
safety of the persons of theyr sacred Majesties and of theyr Royal children,
obliges me to give your Grace the trouble, to acquaint you, that there are
two persons having immediate imployment about the persons of the whole Royal
family at certain times, who may become instruments of some detestable and
desperate attempts, if the Encouragement which may be taken from theyr being
in those imployments be not timely prevented; My Lord there are two brothers
both papists, whose place it is the one; to let in the King and Queen, into
theyr lodge or box at the opera in the haymarket, and the other to let in
theyr Royal highnesses into theyr box or lodge at the same playhouse; they
were in actual possession of those trusts, I may call em [sic] such; last
winter; and in all likelyhood will be next winter also:[65] |
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[Duke of Newcastle to the Earl of Essex] [“Hampton Court / Sepr. 24th 1733”] Cuzzoni they say don’t come, so yt if Hendel avail his Manieres, He might gett the better of his enemies, for he will have the advantage in performers.[66] |
Nov 3
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The Musick to be
perform’d in the Royal Chapel at the Solemnity of the Princess Royal’s Marriage,
is now composing by Mr. Handel. [this is followed by the text of “The
NUPTIAL ANTHEM. / By Dr. GREEN.”][67] |
Nov 5
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On Monday the Musick composed by Mr. Handell, to be perfom’d at
the Nuptials of the Princess Royal with the
Prince of Orange, was perform’d before the Royal
Family at St. James’s. Several Additions having been made to the Nuptial Anthem,
the Words are now as follow[s] [...][68] |
Nov 12
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ON Monday the 12th
Instant, at a Meeting held at the Bedford-Head-Tavern
in Covent- Garden, of Nobility, Gentry, and Clergy, all true Lovers of
Musick, It was unanimously agreed, to desire
Seignor S———o to sing this Winter at the
Theatre in Lincoln’s-Inn-Fields, on THE COUNTRY
INTEREST, in Opposition to Seignor H——l,
who, as we are credibly inform’d, designs
to perform in the Hay-market on THE COURT INTEREST.[69] |
Nov 20
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[R Powys to unknown recipient] [...] Handel’s Opera is very bad as possibly can be, Senesino’s wont begin this fortnight yet we are certainly to have Cuzzoni, I hope that will soon entice you up [...] Novr: 20 [1733][70] |
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Last Night their Majesties, the Prince, and the three eldest Princesses were at the King’s Theatre in the Hay-Market, and saw the Opera called Otho.[71] |
Dec 2
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[Earl of Egmont’s Diary, Sunday 2 December 1733] [...] the breach between him [Prince] and the King being so great that he has not spoken this twelvemonth to his sister the Princess Royal, which must be supposed the order of the King. [...][72] |
Dec 13
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[Charles Jennens, Queen Square, to John Ludford, 13 December 1733] [postscript:] How two Opera Houses will subsist after Christmas, I can’t tell; but at present we are at some difficulty for the Support of One; & Mr. Handel has been forc’d to drop his Opera three nights for want of company.[73] |
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[Bünau in Dresden to Gio. Giacomo Zamboni, 22 December 1733] Please convey my greetings to all the friends who honour me with their remembrance, and give me a brief report of what is happening there. Don’t forget to tell me whether the contre-opéra has begun and how Handel has fared up to now.[74] |
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Last Night there was a Rehearsal of a new Opera at the Prince of Wales’s House in the Royal Gardens in Pall-Mall, where was present a great Concourse of the Nobility and Quality of both Sexes: Some of the choicest Voices and Hands assisted in the Performance.[75] |
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[Thomas Bowen to the Earl of Essex] 31. Decr. 1733 My Lord After mine of last week I trouble your Lordsp with this only to forward to you the inclosed from Mr: Correy. When all the world is in discord, and your Lordsp
so near a great part of the bustle of it, perhaps it may not be
unwelcome to you to hear how the State of Harmony (I mean the Operas) goes on here. On Saturday last Senesino Opened the New House in Lincoln’s Inn fields with an Opera of Ariadne; The whole Royal Family was there, and the House so Crowded that many of the Ladies could not get to their Coaches ’till eleven a Clock, and came home so late that some of their Husbands I beleive thought ’em otherwise Employed. [...][76] |
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More could not be said of one of Handel’s Opera’s, if the poetical part of those compositions were equal to his excellent music.[77] |
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[The Man of Taste] Without Italian, or without an ear, To Bononcini’s musick I adhere: Musick has charms to sooth a savage beast, And therefore proper at a Sheriffs feast. My soul has oft a secret pleasure found, In the harmonious Bagpipe’s lofty sound. Bagpipes for men, shrill German-flutes for boys, I’m English born, and love a grumbling noise. The Stage
should yield the solemn Organ’s note, And Scripture tremble in the Eunuch’s throat. Let Senesino sing, what David writ, And Hallelujahs charm the pious pit. Eager in throngs the town to Hester came, And * Oratorio was a lucky name. Thou, Heeideggre! the English taste has found, And rul’st the mob of quality with sound. In Lent, if Masquerades displease the town, Call ’em Ridotto’s, and they still go down: [14] Go on, Prince Phyz! to please the British nation, Call thy next Masquerade a Convocation.[78] |
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[“THE BEAU and ACADEMICK.”] [...] BEAU. In that dear Place [i.e. Italy], ’twas there, I learn’d to want great Handel’s easy Air; There was I taught Musick’s bewitching Charms, To form the Voice, and wave the pliant Ars.[79] |
[1] Read’s Weekly Journal, or, British Gazetteer, no. 409, Saturday 20 January 1733, [3]; repr., Chrissochoidis, 699.
[2] The Grub-street Journal, no. 161, Thursday 25 January 1733, [2]; repr., Chrissochoidis, 699.
[3] Parker’s Penny Post, no. 1214, Wednesday 31 January 1733, 3.
[4] The Grub-street Journal, no. 162, Thursday 1 February 1733, [2]; repr., Chrissochoidis, 699.
[5] Read’s Weekly Journal, or, British Gazetteer, no. 411, Saturday 3 February 1733, [3]; repr., Chrissochoidis, 699.
[6] The Grub-street Journal, no. 163, Thursday 8 February 1733, [2]; repr., Chrissochoidis, 699.
[7]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 1,” item 10, ff. 1–2r; 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: 91–92; (except last
two sentences) Autograph Letters of George Frideric Handel and Charles
Jennens (auction catalog, Christie, Manson & Woods, July 4, 1973), 20.
[8] The Grub-street Journal, no. 163, Thursday 8 February 1733, [1]; repr., Chrissochoidis, 699-700.
[9] The Twenty-Second Volume of the Walpole Society, 1933-1934: Vertue Note Books. Volume III (Oxford: Walpole Society, 1934), 67.
[10] The Daily Journal, no. 3777, Friday 9 February 1733, [2]; repr., Chrissochoidis, 700.
[11] 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), 325.
[12] The Daily Journal, no. 3782, Thursday, February 15, 1733, [1].
[13] The Daily Journal, no. 3783, Friday 16 February 1733, [2]; first advertised in DJ, no. 3780, Tuesday 13 February 1733, [2]; repr. (13 February), Chrissochoidis, 700-01.
[14] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 1:404.
[15] The Daily Journal, no. 3787, Wednesday 21 February 1733, [2]; repr., Chrissochoidis, 701.
[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), 337.
[17] The London Magazine: Or, Gentleman’s Monthly Intelligencer 2 (1733), 103; repr., Chrissochoidis, 701.
[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), 340.
[19] The Daily Journal, no. 3797, Monday 5 March 1733, [1]; repr., Chrissochoidis, 702.
[20] The London Evening-Post, no. 822, Tuesday 6 – Thursday 8 March 1733, [2]; repr. with corrections, no. 823, Thursday 8 – Saturday 10 March 1733, [2]; repr., Chrissochoidis, 702.
[21] The London Journal, no. 715, Saturday 10 March 1732-3, [2]; repr., Chrissochoidis, 702.
[22] The Daily Journal, no. 3804, Tuesday 13 March 1733, [1].
[23] The London Journal, no. 716, Saturday 17 March 1732-3, [4]; repr., Chrissochoidis, 702.
[24] [Samuel] Humphreys, Deborah. An Oratorio: Or Sacred Drama (London: John Watts, 1733); repr., Chrissochoidis, 702-03.
[25] The Daily Advertiser, Tuesday 20 March 1733; cited in The London Stage, 1660-1800, Part 3: 1729-1747, ed. Arthur H. Scouten, 2 vols. (Carbondale: Southern Illinois University Press, 1961), 1:279.
[26] 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), 345.
[27] The Daily Advertiser, Wednesday 28 March 1733; cited in The London Stage, 1660-1800, Part 3: 1729-1747, ed. Arthur H. Scouten, 2 vols. (Carbondale: Southern Illinois University Press, 1961), 1:281.
[28] The Bee: Or, Universal Weekly Pamphlet 1 (1733 [Saturday 31 March—Saturday 7 April]): 379; repr., Chrissochoidis, 704.
[29] The Daily Courant, no. 5297, Saturday 31 March 1733, [2].
[30] The Daily Journal, no. 3822, Tuesday 3 April 1733, [2].
[31] The Daily Journal, no. 3827, Monday 9 April 1733, [1]; repr., Chrissochoidis, 704.
[32] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 1:410.
[33] The Bee: Or, Universal Weekly Pamphlet 1 (1733 [Saturday 7 – Saturday 14 April]), 405; repr., Chrissochoidis, 704-05.
[34] The Daily Journal, no. 3835, Tuesday 17 April 1733, [2].
[35] The Daily Journal, no. 3835, Tuesday 17 April 1733, [2].
[36] Sir John Clerk of Penicuik diary, Handel: A Celebration of his Life and Times, 1685-1759, ed. Jacob Simon (London: National Portrait Gallery, 1985), 145.
[37] John [Durant] Breval, The Rape of Helen: A Mock-Opera (London: J. Wilford, 1737), 12; repr., Chrissochoidis, 705.
[38] Parker’s Penny Post, no. 1263, Friday 25 May 1733, 4.
[39] British Library, Add. Ms. 27732, f. 172; repr. Carole Mia Taylor, “Italian Operagoing in London, 1700-1745” (Ph.D. dissertation, Syracuse University, 1991), 279, n 60. Taylor’s identification of the sender as Thomas is corrected in Suzanne Elizabeth Aspden, “Opera and Nationalism in mid-Eighteenth-Century Britain” (D.Phil. dissertation, University of Oxford, 1999), 68.
[40] The Country Journal: Or, The Craftsman, no. 361, Saturday 2 June 1733, [2]; repr. (from the Bee), Deutsch, 315-16.
[41] The Daily Journal, no. 3875, Wednesday 30 May 1733, [1].
[42] Parker’s Penny Post, no. 12[68], Wednesday 6 June 1733, 2.
[43] The St. James’s Evening Post, no. 2811, Saturday 9 – Tuesday 12 June 1733, [2].
[44] Thomas McGeary, “Handel, Prince Frederick, and the Opera of the Nobility Reconsidered,” Göttinger Händel-Beiträge 7 (1998), 156-78: 157; first repr. (with erroneous date), [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:]234.
[45] Parker’s Penny Post, no. 1275, Friday 22 June 1733, [3].
[46] Read’s Weekly Journal, or, British Gazetteer, no. 431, Saturday 23 June 1733, [3]; repr., Chrissochoidis, 705.
[47] The Grub-street Journal, no. 183, Thursday 28 June 1733, [2]; repr., Chrissochoidis, 705-06.
[48] [Thomas Newcomb], The Manners of the Age: In Thirteen Moral Satires (London: Jer. Batley, 1733), 473; repr., Chrissochoidis, 706.
[49] Read’s Weekly Journal, or, British Gazetteer, no. 433, Saturday 7 July 1733, [2]; repr., Chrissochoidis, 706.
[50] British Library, Add. Ms. 28050, f. 217; partly repr. Carole Mia Taylor, “Italian Operagoing in London, 1700-1745” (Ph.D. dissertation, Syracuse University, 1991), 187; Thomas McGeary, “New Accounts of Handel and the Oxford Act,” The Handel Institute Newsletter 13/1 (Spring 2002), no pagination.
[51] Thomas McGeary, “New Accounts of Handel and the Oxford Act,” The Handel Institute Newsletter 13/1 (Spring 2002), no pagination.
[52]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 1,” item 11, 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: 92.
[53] Cyril. A. Eland, “HANDEL’S VISIT TO OXFORD. A.D. 1733. / compiled from the authorities with additional notes,” typescript, Foundling Museum, Gerald Coke Handel Collection, accession no. 1654, f. 24.
[54] Deutsch, 321-22; early version in Cyril. A. Eland, “HANDEL’S VISIT TO OXFORD. A.D. 1733. / compiled from the authorities with additional notes,” typescript, Foundling Museum, Gerald Coke Handel Collection, accession no. 1654, f. 11-12.
[55] The London Evening-Post, no. 876, Tuesday 10 – Thursday 12 July 1733, [1]; repr., Chrissochoidis, 707.
[56] The London Journal, no. 733, Saturday 14 July 1733, [3]; repr., Chrissochoidis, 707.
[57] William Hasledine, Bellus Homo et Academicus. Recitarunt in Theatro Sheldoniano apud Comitia Oxoniensia MDCCXXXIII, Lodovicus Langton, et Thomas Baber, Collegii Div. Magd. Commensales. Accedit Oratio Petri Francisci Courayer, S. T. P. habita in Iisdem Comitiis, Quint. Id. Julii (London: J. Wilford, 1733), 4-5
[58] [William Hasledine], Bellus Homo et Academicus: Or the Beau and the Scholar, trans. from Latin by the Rev. Mr Moises (Nottingham: Tho. Collyer, 1733), 11; repr., Chrissochoidis, 709.
[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), 390.
[60] The London Journal, no. 734, Saturday 21 July 1733, [3]; repr., Chrissochoidis, 707.
[61] Thomas McGeary, “New Accounts of Handel and the Oxford Act,” The Handel Institute Newsletter 13/1 (Spring 2002), no pagination.
[62] Library of the Liceo Musicale, Bologna; repr., Flower, 210.
[63] [John Watts], Books lately Publish’d, and Sold by the Booksellers both of Town and Country ([?London: 1733]), [7]; repr., Chrissochoidis, 707-08.
[64] Foundling Museum, Gerald Coke Handel Collection, accession no. 4617; repr. The Letters and Writings of George Frideric Handel, ed. Erich H. Müller (London et al.: Cassell, 1935), 29-31.
[65] Suzanne Elizabeth Aspden, “Opera and Nationalism in mid-Eighteenth-Century Britain” (D.Phil. dissertation, University of Oxford, 1999), 70.
[66] British Library, Add. Ms. 27732, f. 246r; repr. Carole Mia Taylor, “Italian Operagoing in London, 1700-1745” (Ph.D. dissertation, Syracuse University, 1991), 195.
[67] The London Journal, no. 749, Saturday 3 November 1733, [3].
[68] The London Journal, no. 750, Saturday 10 November 1733, [3].
[69] The London Journal, no. 751, Saturday 17 November 1733, [1].
[70] Foundling Museum, Gerald Coke Handel Collection, accession no. 4427.
[71] The Daily Journal, no. 4018, Wednesday 21 November 1733, [1].
[72] 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), 454.
[73] Anthony Hicks, “A New Letter of Charles Jennens,” Göttinger Händel-Beiträge 4 (1991), 254–57: 255.
[74] 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: 154.
[75] The Daily Post, no. 4455, Tuesday 25 December 1733, [2].
[76] British Library, Add. Ms. 27738, f. 95r; repr. Carole Mia Taylor, “Italian Operagoing in London, 1700-1745” (doctoral dissertation, Syracuse University, 1991), 204; (expanded) Suzanne Elizabeth Aspden, “Opera and Nationalism in mid-Eighteenth-Century Britain” (D.Phil. dissertation, University of Oxford, 1999), 67.
[77] L[ewis]. Crusius, The Lives of Poets, 2 vols. (London: W. Innys and R. Manby, et al., 1733), 2:178; repr., Chrissochoidis, 709.
* A new Name that Heeideggre [sic] the Master of the Opera House gave to the Opera of Hester.
[78] [James Bramston], The Man of Taste. Occasion’d by an Epistle of Mr. Pope’s on that Subject (London: Lawton Gilliver, 1733), 13-14; repr. Deutsch, 338. The footnote appears in the poem’s Dublin reprint (George Faulkner, 1733).
[79] Tipping Silvester, Original Poems and Translations (London: J. Wilford, 1733), 11; repr., Chrissochoidis, 709-10.