1740
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Signior Caristini continuing indispos’d, there will be no Opera this Evening at the Haymarket, as was advertis’d.[1] |
[James Harris in Salisbury to Charles Jennens, 6 January 1740]
I have this post transmitted to Lord Shaftesbury under two covers the Allegro & Penseroso of Milton, with a desire that they may be sent immediately to you. I have assigned the several singers to each song, a liberty which I hope Mr Handel will excuse. I beg you would tell him, twas only done by way of amusement to my self, as I was transcribing, & that I desire him to alter & invert in that respect just in what manner he thinks proper[.] There has been little done on my part but only endeavouring to make the omissions in the properest places I could, & of such things, as were least fitted to music, & would least interrupt the sense.— Additions or alterations of my own there are not above 3 or 4 in the whole peice, & those of never more than a word or two at a time.
[…]
I have only two things to beg—one is, that you your self would alter what you please[.]—Another is, that you would as far as you can prevent any of Handels minor poets by any retrenchments, transpositions, and above all by any presumptious additions to marr Milton. For in this case ’tis Milton only suffers […][2]
Jan 7
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Yesterday Mrs. Muscovita being taken suddenly ill with the Pleurity, the Concertos cannot be perform’d this Evening.[3] |
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THE ORATORIO, or Sacred Drama, call’d JUDITH. Design’d to be performed at the Crown and Anchor Tavern on Friday next, January the 18th, For the Benefit of Mr. DE FESCH, At the Desire of his Friends (on Account of the Severity of the Weather) will be deferr’d ’till further Notice.[4] |
[Charles Jennens at Queen Square, London to James Harris, 15 January 1740]
My intention was to defer writing till I could give you an account of Mr Handel’s final resolution upon the manner of setting the Allegro & Penseroso. But since this delay has occasion’d your suspicion of a miscarriage by the post, I shall immediately inform you how far we have proceeded. Your papers came in due time, & Lord Shaftesbury sent them to me on Thursday morning. In the evening I read them over, & by virtue of the power you gave me to alter, I inserted two songs which you had omitted; one in Penseroso, consisting of 8 lines: ‘Oft on a Plat of rising Ground’ &c: the other in the Allegro, the first line of which stands alter’d thus, ‘Or let the merry bells ring round’; & it goes on for 6 lines more. I have likewise made some omissions; one of 8 lines upon Zephyr & Aurora, another of 6 upon Saturn’s incestuous commerce with Vesta; and a 3[r]d of 6 upon Cambuscan & others, whom as I have not the honour to be in the least acquainted with (though I suppose they are to be met with in some books of the same stamp with the Seven Champions, & others, which I have formerly read,) so I see no great propriety they have for musick; though ’tis true Mr Handel can joyn ’em with very good notes, & so he can every line in the whole piece: but they may be spar’d as well as some others that are left out; & there is enough without ’em.
§With these additions & omissions, I took your papers to Mr Handel on Friday morning. He seem’d not perfectly satisfy’d with your division, as having too much of the Penseroso together, which would consequently occasion too much grave musick without intermission, & would tire the audience. He said, he had already resolv’d upon a more minute division, which therefore I left him to make with the assistance of your plan; & this morning he brought me the first part so divided, in which I made some corrections, chiefly of Smith’s blunders in writing; & he took it back with great satisfaction, & I dare say sat down to compose as soon as ever he came home. I believe he was tir’d of the first part, for having conferr’d with me about the 2nd, & told me his own thoughts of it, he left me to write it out: but I shall not altogether follow his directions; for the lazy fit is upon him, & he is for leaving out, I think, for no other reason but to save himself the trouble of setting. You have made a transposition in the 2nd part, which I believe upon a review you would scarce have insisted on; & since we have not time to reason the point, I intend to restore the lines to the order in which Milton wrote ’em: I mean 12 lines upon the musick sent by the Genius of the Wood, the bee singing, & the waters murmuring. I believe too, notwithstanding Mr Handel’s love of brevity, I shall restore the dream: but whether he will condescend to set it or no, is more than I can divine. You have given him a very good hint, to make two overtures; but I can’t prevail with him to make so much as one; instead of an overture he intends to perform one of his 12 new concertos.
So far I hope Milton has receiv’d no damage: but Mr Handel has his fits of hard labour as well as of idleness, & as he has a mind to shorten the 2nd part, so likewise to add a 3rd: for which purpose he show’d me Milton’s verses made At a Solemn Musick, & express’d a great desire that I would contrive to conclude the entertainment with part of that. As it stands, it has no sort of connection with the other; & to make a connection, it will be absolutely necessary to prefix some verses of anoth[er] hand. To say the truth, I am of Mr Handel[’s] opinion that the piece will be more perfect, if after the extremes of mirth & melancholy have been shown & fondly extoll’d by their admirers, a moderator should interpose, & reduce the disputants to reason. On this account, & in compliance with the needs of Mr Handel, to whom I can deny nothing but what’s nonsense; what you have forbid his minor poets, [this] minimus must presume to do; I mean[,] to add some verses to Milton’s. ’Tis true, the inequality of the poetry is a real objection to this; but Milton’s authority, which I know some will urge, is only a seeming one. It will be said, he thought the Allegro & Penseroso sufficient alone, & will you pretend to judge better than he? No: but he intended them only as two descriptive poems to be read in private: if he had made them into one piece for the stage, with or without musick, he would doubtless have added a 3rd part: at least, till the difference of the two designs is disprov’d, his judgment is not concern’d in the question.[5]
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LINCOLN’s-INN FIELDS. AT the Theatre-Royal in Lincoln’s-Inn Fields, Thursday next, will be perform’d ACIS and GALATEA, A [sic] SERENATA. With two new CONCERTO’s for several Instruments, never perform’d but twice. To which will be added, The last New ODE of Mr. DRYDEN’s, And a CONCERTO on the ORGAN. Boxes Half a Guinea. Pit 5 s. First Gallery 3 s. Upper Gallery 2 s. To begin at Six o’Clock.[6] |
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In consideration of the Weather continuing so cold, the Serenata called Acis and Galatea, that was to be performed To-morrow Night at the Theatre-Royal in Lincoln’s- Inn-Fields, will be put off for a few Nights further; of which Notice will be given in the General and Daily Advertisers.[7] |
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LINCOLN’s-INN FIELDS. AT the Theatre-Royal in Lincoln’s-Inn Fields, Thursday next, will be perform’d ACIS and GALATEA, A [sic] SERENATA. With two new CONCERTO’s for several Instruments, never perform’d but twice. To which will be added, The last New ODE of Mr. DRYDEN’s, And a CONCERTO on the ORGAN. Boxes Half a Guinea. Pit 5 s. First Gallery 3 s. Upper Gallery 2 s. To begin at Six o’Clock. Particular Care has been
taken to have the House survey’d and secur’d against the Cold, by having Curtains plac’d before
every Door, and constant Fires will be kept in the House ’till the Time of Performance.[8] |
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Two chief Singers being taken ill, the Serenata call’d Acis and Galatea, that was to be perform’d as [sic] this Day at the Theatre-Royal in Lincoln’s-Inn Fields, must therefore be put off performing a few Days longer, whereof Notice will be given in the London Daily Post, and Daily Advertiser.[9] |
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LINCOLN’s-INN FIELDS. AT the Theatre-Royal in Lincoln’s-Inn Fields, this Day, will be perform’d ACIS and GALATEA, A [sic] SERENATA. (Being the last
Time of performing it this Season.) With two new CONCERTO’s for several Instruments, never perform’d but twice. To which will be added, The last New ODE of Mr. DRYDEN’s, And a CONCERTO on the ORGAN. Boxes Half a Guinea. Pit 5 s. First Gallery 3 s. Upper Gallery 2 s. To begin at Six o’Clock. Particular Care has been
taken to have the House survey’d and secur’d against the Cold, by having Curtains plac’d before
every Door, and constant Fires will be kept in the House ’till the Time of Performance.[10] |
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We hear, that To-morrow will be performed an Oratorio call’d David’s Lamentation over Saul and Jonathan, at Hickford’s Great Room in Brewer-street; the Vocal Parts by Mrs. Arne, Mr. Beard, Mr. Russel, and Mr. Rheinhold.[11] |
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LINCOLN’s-INN FIELDS. Never perform’d before. AT the Theatre-Royal in Lincoln’s-Inn Fields, this Day, will be perform’d L’Allegro il Penseroso ed il Moderato. With two new CONCERTO’s for several Instruments, And a NEW CONCERTO on the ORGAN. Boxes Half a Guinea. Pit 5 s. First Gallery 3 s. Upper Gallery 2 s. Box Tickets will be sold on the Day of Performance at the Stage- Door, at Half a Guinea each. Pit and Galleries to be open’d at Four, and Boxes at Five. Particular Care is taken to
have the House secur’d against the Cold, Constant Fires being order’d to be kept in the House
’till the Time of Performance.[12] |
Feb 29
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To the
Author SIR, In your Paper of the 19th instant [19 Feb, no 2830, ‘Letter from a Batchelor’, on masquerades] you give us the Censures of one,
who subscribes himself a Batchelor, on the Masquerades: — I send you here the Sentiments of a Widower on another Entertainment that is lately, God be praised, risen up among us, which I would beg leave to term, our sensible Musick, or, (a Thing long unheard of among us) Musick set to Sense. The unmarried Ladies, whose Influence is justly so extensive, will, I hope, have Respect to our Opinions, in condemning the one, and recommending the other, for the
Sake of our Condition, if not for the Justness of our Decision. I hope also, in Time, it will be seen, That we speak the Sense of our respective Fraternities; and if so, — let the married Men and
their Wives stand out if they dare. They have been long, more is the Pity, in an obsolete Way, and to concur with us will be found in the End to be the best Means they can make use of to get out of it. Publick
Diversions have a very
near Relation to the Manners of a People. They are the Effect of Manners, as well as the Occasion of them. And, I hope, the Light of rational Musick, that is seen, to our Honour, to be in its Dawn, will be as prevailing, as the Darkness of a Midnight Masquerade has been, to our great Disgrace: and which may truly be said, now, to be ashamed to see the Light, since, as your Correspondent well
observed, it was obliged to have Recourse to a Lye for a Repetition of it. Diversions, within the Limits of Vertue, are lawful, are honourable, they are our Duty to indulge. And the more Publick Concurrence there is in [5] them, under that Restriction, the greater is the Happiness and Honour of our Nature. Of all the Entertainments
allowed us, Musick has ever been held, by
the wisest of Men, to have the Pre-eminence. It has something in it, so nearly ally’d to the superior and more noble Part of us, that, tho’ the Entertainment it yields passes through the Organs of Sense, it can hardly be deem’d of a sensual Nature. — I mean, Sounds set to Sense, or expressive of it. What
Dignity has there not been given to it, to all reasonable Minds, since our Deborahs, our Esthers, our Sauls, and,
above all, our Israels in Egypt, have restored
its original Distinction; — may I be pardon’d, if I add, our Allegros and Penserosos? Foreign Words, these, which the Divine Author of the respective Poems (the most beautiful Compositions we have in our Language) chose to give to them, and which the as divine Composer of the Musick set to them, has out of Respect to the Author, and not (I dare say) out of Choice, to comply with the Barbarity of an expiring Taste, preserved: Il Penseroso and L’Allegro signifying no more than what may be sufficiently express’d in our own Language by the Thoughtful and the Gay Person. They being each a Collection of Images, most beautifully put together, relating to those two Frames of Mind, so alternately incident to Human Nature. The respective Delights of which we have Faculties given us to relish; and as we have the Faculties for both, it is a Homage paid to the Author of our Nature, rationally, to indulge the lighter Enjoyment of the one, as well as the severer, but to a Virtuous Mind and Ear, the much more transporting Entertainment of the other. Never was there
in any Language so beautiful a Collection of Images suited to each of those Tempers, as in the two original Poems; unfortunately shut
up from the World in a Book of the Author’s not much enquir’d after, — his Paradise Regained. But had they been printed entire, and annex’d to the Drama, in a small Character, it would have been an agreeable Compliment paid to the Audience, had heighten’d the Relish of the Musick, and been no Injustice done to the Fitter of them
for the Theatre; whose dramatic Moderato (or Mean between them) can very well bear being compared together. — This is as great a Compliment as it deserves, and nothing penn’d, on such an Occasion, needs a greater. I hope, however, we shall soon see them call’d for, and separately printed, since
the Town has, by the successful Boldness of the Musical Poet, been so unexpectedly and so agreeably let into the Beauties of them. The more they are read and relish’d, the greater will the Entertainment be, — to all, I mean, who have Souls for Sense, as well as Ears for Sounds. — As to those who have not, the Drama, by itself, is by much too good for them. If the pretty Fellows cannot help the Ladies to the
Meaning of some hard, but most beautiful Words, or explain the entertaining Allusions to antient Fable therein, they need not trouble the Doctor of the Parish to unfold it; an ordinary Curate or Reader, if requir’d, or Bailey’s Dictionary, will serve the Turn. I can’t help
observing the Risk the great Composer of the Musick has run for the Entertainment of his Audience, whilst, to show his Mastery in his Art, he has not only adapted his Sounds in the most exquisite Manner to the airy and solemn Parts in general, but has hazarded the Expression of a Laugh itself (the Propriety, if I may so call it, of human Nature) in his Musick. This he has executed in so masterly a Way, as must do the Greatness of his Skill as much Honour, as it will give Entertainment to the Hearers, if the Eclat it excites cou’d be at first restrain’d, and the Laughers repress the Loudness of their Sympathy till the Chorus was got into it. I shall conclude
by observing, that I had rather lend my Ear to the imperfectly harmonious Voice of an English Boy, who may live to defend and people his native Country, than
to the most perfect Expressions of his Art in a foreign Eunuch, who enervates
the Place he appears in, and is in himself so great a Disgrace to Man, and
ought, wherever he is seen, to be, in the most superlative Degree, the Detestation and the Horror of every Woman. I am, Sir, Your humble Servant, A Widower[13] |
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LINCOLN’s-INN FIELDS. Never perform’d but Once. AT the Theatre-Royal in Lincoln’s-Inn Fields, this Day, will be perform’d L’Allegro il Penseroso ed il Moderato. With two new CONCERTO’s for several Instruments, And a NEW CONCERTO on the ORGAN. Boxes Half a Guinea. Pit 5 s. First Gallery 3 s. Upper Gallery 2 s. Box Tickets will be sold on the Day of Performance at the Stage- Door, at Half a Guinea each. Pit and Galleries to be open’d at Four, and Boxes at Five. To begin at Half an Hour after Six o’Clock.[14] |
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LINCOLN’s-INN FIELDS. Never perform’d but Twice. AT the Theatre-Royal in Lincoln’s-Inn Fields, Monday next, will be perform’d L’Allegro il Penseroso ed il Moderato. With two new CONCERTO’s for several Instruments, And a NEW CONCERTO on the ORGAN. Boxes Half a Guinea. Pit 5 s. First Gallery 3 s. Upper Gallery 2 s. Box Tickets will be sold on the Day of Performance at the Stage- Door, at Half a Guinea each. To begin at Seven o’Clock.[15] |
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LINCOLN’s-INN FIELDS. AT the Theatre-Royal in Lincoln’s-Inn Fields, this Day, will be perform’d L’Allegro il Penseroso ed il Moderato. With two new CONCERTO’s for several Instruments, And a NEW CONCERTO on the ORGAN. Boxes Half a Guinea. Pit 5 s. First Gallery 3 s. Upper Gallery 2 s. Box Tickets will be sold this Day, at the Stage-Door, at Half a Guinea each. To begin at Seven o’Clock.[16] |
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LINCOLN’s-INN FIELDS. AT the Theatre-Royal in Lincoln’s-Inn Fields, this Day, will be perform’d an Oratorio, call’d SAUL. With a CONCERTO for several Instruments, never perform’d before. And a CONCERTO on the ORGAN. Boxes Half a Guinea. Pit 5 s. First Gallery 3 s. Upper Gallery 2 s. Box Tickets will be sold that [sic] Day, at the Stage-Door, at Half a Guinea each. To begin at Seven o’Clock.[17] |
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LINCOLN’s-INN FIELDS. AT the Theatre-Royal in Lincoln’s-Inn Fields, this Day, will be perform’d an Oratorio, call’d ESTHER. With a CONCERTO on the ORGAN. And a New Concerto for several Instruments, never perform’d but Once. Boxes Half a Guinea. Pit 5 s. First Gallery 3 s. Upper Gallery 2 s. Box Tickets will be sold this Day, at the Stage-Door, at Half a Guinea each. To begin at Half an Hour after Six o’Clock.[18] |
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LINCOLN’s-INN FIELDS. For the Benefit
and Increase of a Fund established for
the Support of Decayed Musicians and their Families. AT the Theatre-Royal in Lincoln’s-Inn Fields, this Day, will be performed ACIS and GALATEA, A SERENATA. With the two new Concertos, performed in the same this Season, for several Instruments. To which will be added, The last new Ode of Mr. Dryden’s, and the Concerto on the Organ, that was composed by Mr. Handel on the same Occasion this Season. Boxes half a Guinea. Pit 5 s. First Gallery 3 s. Upper Gallery 2 s. Box Tickets will be sold at the Stage Door on the Day of Performance. To begin at Half an Hour after Six o’Clock. N. B. Each Subscriber’s Ticket will admit one into the Boxes or Pit, or two into the Gallery.[19] |
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THERE having been a greater Demand for the Paper in which the following
Letter was printed the last Year, than there
were Numbers to supply, the Writer
of it has been
prevailed on to suffer it to be re-publish’d at this Juncture. And as the Entertainment it refers to is to be represented this Evening,
’tis humbly hoped it will not be thought an improper Prelude
to it; having a Tendency [to] excite a due Solemnity of Mind and Behaviour, with which such Pieces of sacred Musick
ought to be heard perform’d, either to do Honour to an Audience, or Justice to the Performance. —— And, if the Effects of our late Humiliation did not go off with the Weather, it may be hoped, that what is therein said, on the supposal of a General Popish Alliance against us, may, if attended to, help us forward, in the right Way, to stand our Ground against those that have already, and as many more as shall hereafter, think fit to declare against us. Wednesday Morning, April 18, 1739. SIR, I Beg Leave, by your Paper, to congratulate, not Mr. Handel, but the Town, upon the Appearance there was last Night at Israel in Egypt. The Glory of one Man, on this Occasion, is but of small Importance, in Comparison with that of so numerous an Assembly. The having a Disposition to encourage, and Faculties to be entertain’d by such a truly-spiritual Entertainment, being very little inferior to the unrivall’d Superiority of first selecting the noble Thoughts contained in the Drama, and giving to each its proper Expression in that most noble and angelic Science of Musick. This, Sir, the inimitable Author has done in such a manner as far to excel himself, if compar’d with any other of his masterly Compositions: As, indeed, he must have infinitely sunk beneath himself, and done himself great Injustice, had he fallen short of doing so. —— But what a glorious Spectacle! to see a crowded Audience of the first Quality of a Nation, headed by the Heir apparent of their Sovereign’s Crown and Virtues, with his lovely and beloved Royal Consort by his Side, sitting enchanted (each receiving a superior Delight from the visible Satisfaction it gave the other) at Sounds, that at the same time express’d in so sublime a manner the Praises of the Deity itself, and did such Honour to the Faculties of human Nature, in first creating those Sounds, if I may so speak; and in the next Place, being able to be so highly delighted with them. Nothing shews the Worth of a People more, than their Taste for Publick Diversions: And could it be suppos’d, as I hope in Charity it may, or if this and such like Entertainments are often repeated, it will, that numerous and splendid Assemblies shall enter into the true Spirit of such an Entertainment, “Praising their Creator for the “Care he takes of the Righteous,” (see Oratorio, p. 6) and for the Delight he gives them: — Did such a Taste prevail universally in a
People, that People might expect on a like Occasion, if such Occasion should ever happen to them, the same Deliverance as those Praises celebrate; and Protestant, free,
virtuous, united, Christian England, need little
fear, at any time hereafter,
the whole Force of slavish, bigotted, united,
unchristian Popery, risen up against her, should such a Conjuncture ever
hereafter happen. If the Town is ever to be bless’d with this
Entertainment again, I would recommend to every one to take the Book of
the Drama with them: For tho’ the
Harmony be so unspeakably
great of itself, it is in an unmeasurable Proportion more
so, when seen to what Words it is adapted; especially,
if every one who could take with them the Book, would
do their best to carry a Heart for the Sense, as well as
an Ear for the Sound. The narrow Limits of your Paper forbids entering
into Particulars: But they know not what they fell short of
in the
Perfection of the Entertainment, who, when they hear the
Musick, were not acquainted with the Words it expresses; or,
if they have the Book, have not the proper Spirit to relish
them. The Whole of the first
Part, is entirely Devotional;
and tho’ the second Part be but Historical, yet as it
relates the great Acts of the Power of God, the Sense and
the Musick have a reciprocal Influence on each other. “He gave them Hailstones for Rain, Fire mingled with Hail
ran along the Ground:” And above all,
“But the Waters
overwhelm’d their Enemies, there was not one left.”
—— The Sublimity of the great Musical Poet’s Imagination
here, will not admit of Expression to any one who
considers the Sound and the Sense together. The same of, “He is my God, I will prepare him an Habitation; my Father[’]s God.” Page 13. in the third Part. Again, “Thou didst blow with the Wind; the Sea cover’d them; they sunk as Lead in the mighty
Waters;” —— and, to name no more, “The Lord shall reign for ever and ever;” and Miriam’s Song at the Conclusion. ’Tis a sort of separate Existence the Musick has in these Places apart from the Words; ’tis Soul and Body join’d [2] when heard and read together: And if People, before they went to hear it, would but retire a Moment, and read by themselves the Words of the Sacred Drama, it would tend very much to raise their Delight when at the Representation. The Theatre, on this Occasian, ought to be enter’d with more Solemnity than a Church; inasmuch, as the Entertainment you go to is really in itself the noblest Adoration and Homage paid to the Deity that ever was in one. So sublime an Act of Devotion as this Representation carries in it, to a Heart and Ear duly tuned for it, would consecrate even Hell itself. —–– It is the Action that is done in it, that hallows the Place, and not the Place the Action. And if any outward Circumstances foreign to me, can adulterate a good Action, I do not see where I can perform one, but in the most abstract Solitude. —— If this be going out of the way, on this Occasion, the stupid, senseless Exceptions that have been taken to so truly religious Representations, as this, in particular, and the other Oratorios are, from the Place they are exhibited in, and to the attending, and assisting at them, by Persons of Piety and real Virtue, must be my Apology. I have been told, the Words were selected out of the Sacred Writings by the Great Composer himself. If so, the Judiciousness of his Choice in this Respect, and his suiting so happily the
Magnificence of the Sounds in so exalted a Manner to the Grandeur
of the Subject, shew which Way his natural Genius,
had he but Encouragement, would incline him; and expresses,
in a very lively Manner, the Harmony of his Heart
to be as superlatively excellent, as the inimitable Sounds
do the Beauty and Force of his Imagination and Skill
in the noble Science itself. I can’t conclude, Sir, without great Concern at the Disadvantage so great a Master labours under, with respect to many of his Vocal Instruments, which fall so vastly short in being able to do due Justice to what they are to perform; and which, if executed in a manner worthy of it, would receive so great Advantage. This Consideration will make a humane Mind serious, where a lighter Mind would be otherwise affected. I shall conclude with this Maxim, “That in Publick Entertainments every one should come with a reasonable Desire of being entertain’d themselves, or with the polite Resolution, no ways to interrupt the Entertainment
of others[.] And that to have a Truce with
Dissipation, and noisy Discourse, and to forbear that silly
Affectation of beating Time aloud on such an Occasion,
is, indeed, in Appearance, a great Compliment paid
to the divine Author of so sacred an Entertainment, and
to the rest of the Company near them; but at the same
time, in reality, a much greater Respect paid to themselves.” I cannot but add this Word, since I am on
the Subject, “That I think a profound Silence a much more
proper Expression of Approbation to Musick, and to
deep Distress in Tragedy, than all the noisy Applause so
much in Vogue, however great the Authority of Custom may be for it. I am, Sir, &c. R. W.[20] |
[?1740]
ISRAEL / IN / EGYPT, / AN / ORATORIO. / By Mr. HANDEL. / [line] / OXFORD; / Printed and Sold by LEON. LICHFIELD, / near East-Gate; and by WILLIAM CROSS, / at his Musick-Shop, opposite the New-Inn. / (Price Six-pence.)
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LINCOLN’s-INN FIELDS. AT the Theatre-Royal in Lincoln’s-Inn Fields, this Day, will be perform’d an Oratorio, call’d ISRAEL in EGYPT. (For this Day
only in this Season.) With a New CONCERTO for several Instruments, And a CONCERTO on the ORGAN. Boxes Half a Guinea. Pit 5 s. First Gallery 3 s. Upper Gallery 2 s. Box Tickets will be sold this Day, at the Stage-Door, at Half a Guinea each. To begin at Half an Hour after Six o’Clock.[21] |
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LINCOLN’s-INN FIELDS. AT the Theatre-Royal in Lincoln’s-Inn Fields, this Day, will be perform’d L’Allegro il Penseroso ed il Moderato. With two New CONCERTOS on several Instruments, never perform’d before. And a CONCERTO on the ORGAN. Boxes Half a Guinea. Pit 5 s. First Gallery 3 s. Upper Gallery 2 s. Box Tickets will be sold this Day, at the Stage-Door, at Half a Guinea each. To begin at Half an Hour after Six o’Clock. (Being the last Time of performing this Season.)[22] |
To Mr. BEARD, upon hearing him sing, at Hickford’s great Room, in David’s Lamentation over Saul and Jonathan, an Oratorio, written by Mr. Lockman, and set to Music by Mr. Smith.
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TO hear thee in a sweetly-solemn strain, Describe fall’n Israel on the crimson’d plain, Such
wond’rous force the mournful lines receive: Each sees the bleeding king, and hears him griev: Sees him, fast flying from the treacherous foe, (His soul a prey to inexpressive woe;) Sees David and his bands, with weeping eye, Hang o’er his urn, and hears them sadly sigh. Say whence this magic that inspires thy tongue, To speak each word as tho’ a seraph sung! Let those who think verse loses all its fire, When tun’d to music’s animating lyre, Suspend their judgment, and their censure spare, Till first they hear thee:—nor till then declare. Had the rash YOUTH *, who gave the fatal wound, Spoke with thy energy; the melting sound, Charming the monarch’s mind, had brought relief; Kept back his sword, and sooth’d his piercing grief.[23] |
[Thomas Harris in London to James Harris, 10 May 1740]
[…] I was yesterday with Mr Jennens at Handels, who has left off performing for this season […] Lord Guernsey & Mr Jennenes talk of paying you a visitt soon, but its not quite settled […] if they come[,] it will be about the Whitson-week or the latter end of the week before. […][24]
[Thomas Harris in London to James Harris, 17 May 1740]
I received your last letter just as I was going to dine with Mr Jennens, where I mett Lord Guernsey: they have resolved on paying you a visitt this next week and have taken me in for one of the party, which they were pleased to make a necessary ingredient, and it will be quite a leisure time for me. Their design is to dine with you on Thursday next, and that day I propose to come down in the flying coach, and should be glad if Harry (or, if he can’t be spared, T. Brown) were to meet me with your Kentish horse, so far that I may gett in early enough to have part of Acis & Galatea that evening: this I leave to your discretion.[25]
May 29
[Katherine Knatchbull in Hatch to James Harris, 29 [May 1740]]
I would not be a fiddle string in your house this past week for the world[;] I suppose you have rose the price of catgut, though Whitsun bells in spite of you bore part of the consort[.] Such a collection as the 2 lords & you 3 common[er]s is enough to celebrate Handel worthy his merit […][26]
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[Lord Chamberlain’s Records] These are &c. to Mr Christopher Smith the Summ of Ninety Six Pounds Fifteen Shillings & Ten Pence halfpenny, Office Fees inc[lude]d, for Ext[raordinar]y p[er]formers of Music, and for Writing the Anthem for the Marriage of Her Royal Highness the Princess Mary, as appears by the Anext Bill. And &c. Given &c. this 2d of June 1740 in the Thirteenth Year of His Majesty’s Reign. To the L[or]d Hobart Grafton Marginal entry: Mr. C. Smith for Ext[raordina]ry P[er]formers & for writing the Anthem for the Marriage of P[rince]ss Mary Ł[sum not entered][27] |
[Lord Guerney at Queen Square, London to [James Harris], 7 June 1740]
Mr Jennens & I left Bath last Monday, one for Worcestershire the other for London. He was very well in health […][28]
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BIBLIOTHEQUE BRITANNIQUE, OU HISTOIRE DES OUVRAGES DES SÇAVANS DE LA
GRANDE-BRETAGNE: Pour les Mois D’AVRIL, MAI ET JUIN. M DCC XL. TOME QUINZIEME, PREMIERE PARTIE. [woodcut] A LA HATE, Chez PIERRE DE HONDT. M. DCC. XL. [...] ARTICLE PREMIER. ROSALINDA: A Musical Drama, as it is performed at Hickford’s Great Room in Brewer’s Street; By Mr. LOCKMAN. Set to Music by Mr. John Christopher SMITH. To which is prefixed, An Enquiry into the Rise and Progress of Operas and Oratorios, with [2] some Reflections on Lyric Poetry and Music: &c. [... 53 ...] III. Il en faudroit quelques-uns, en troisičme & dernier lieu, sur les Suites de cette Introduction, ou sur ce que Mr. Lockman appelle les Vicissitudes de l’Opéra Italien en Angleterre. Le Lecteur se contentera des Remarques suivantes. Premičre Remarque. Mr. Lockman dit qu’on a vű dans les Opéras de Londres une bigarrure d’Italien & d’Anglois, semblance ŕ celle des Opéras de Hambourg, oů les Récitatifs sont en Allemand, & les Ariettes communément en Italien. Ou je suis fort trompé, ou l’on ne doit point conclure de-lŕ (quoique la conclusion semble d’abord fort naturelle) que l’on ait jamais eu ŕ Londres des [54] Opéras dont les Ariettes se chantassent en Italien & les Récitatifs en Anglois. La Bigarrure dont Mr. Lockman a voulu parler, est la męme dont j’ai parlé d’aprčs Mr. Addison, & qui a sans contredit quelque chose de beaucoup plus bizarre que celle des Opéras de Hambourg. Deuxičme Remarque. Notre Auteur dit que cette bizarrerie succeda ŕ celle de donner des Piéces entieres en langue inconnue. The Operas being FIRST performed in an unknown Tongue, and AFTERWARDS both in Italian and English &c. Je suis presque assuré qu’il y a lŕ quelque inadvertence. Au moins paroît-il par l’exposé de Mr. Addison, que l’on a eu des Opéras bigarrez d’Italien & d’Anglois, avant que d’avoir des Opéras tout Italiens. Troisičme Remarque. Mr. Lockman dit, qu’on donna ensuite des TRADUCTIONS des Piéces Italiennes. Cela ne doit point s’entendre des Traductions chantées, comme étoit celle de Camille. Cela regarde les Traductions imprimées ŕ l’opposite du Texte Italien qui se chantoit, & destinées uniquement ŕ mettre au fait les Spectateurs qui n’entendoient pas l’Italien. Traductions, au rest, dont je crois que l’usage a commencé avec celui des Piéces Italiennes, & subsiste jusqu’ŕ ce jour. Quatričme Remarque. Mr. Lockman semble parler de Mr. ADDISON & de [55] Mr. GAY, comme si ces Messieurs avoient travaillé tous deux ŕ-peu-prčs dans le męme tems, ŕ composer quelque bon Opéra Anglois; ou du moins, comme s’ils y avoient travaillé l’un & l’autre depuis l’introduction de l’Opéra Italien. Mr. Gay l’a fait depuis cette époque; on le verra tout-ŕ-l’heure: mais Mr. Addison l’avoit fait auparavant, puisque l’Opéra de Rosemonde, son unique ouvrage en ce genre, est, ainsi qu’on l’a vű, de l’an MDCCVII. Cinquičme Remarque. Ce que Mr. Lockman nous dit du succčs distingué de la Piéce Angloise qui a pour titre ACIS ET GALATÉE, peut faire souhaiter d’en sçavoir quelque chose de plus. C’est une Pastorale Héroďque que je trouve citée comme une Mascarade, mais dont j’ai une Edition oů elle est qualifiée Opéra Pastoral: & je tiens de bon lieu, qu’elle fut composée originairement pour contribuer aux plaisirs du magnifique Duc de Chandos dans sa maison de Canons, oů elle fut représentée en MDCCXVI, long-tems avant que d’ętre exposée sur un Théâtre public. Le nom de l’Auteur, je ne sçais comment, a été plusieurs années une énigme qui s’expliquoit diversement. Le Poetical Register, imprimé en MDCCXXIII, attribue positivement la Piéce ŕ Mr. Le Motteux: mais on ne paroît plus douter aujourd’hui qu’elle ne soit de feu Mr. Jean GAY, le bon ami de l’illustre Mr. Pope, [56] le męme dont il s’agit dans la Remarque précedente, l’un des plus agréables Počtes de l’Angleterre, & qui entre autres Poésies a écrit quelques Piéces de Théâtre, parmi lesquelles au reste il y a plus d’un Opéra, sans en compter une ŕ laquelle le nom d’Opéra ne doit peut-ętre pas se donner sérieusement, & cela pour une raison qui va se découvrir d’elle-męme. Sixičme Remarque. Mr. Lockman dit, que si quelque chose sembla rompre le charme de l’Opéra Italien, ce fut la représentation de l’OPÉRA DU GUEUX: en Anglois, The Beggar’s Opera. Cet Opéra du Gueux, aussi-bien qu’ Acis & Galatée, est de la façon de Mr. Gay, bien que Messieurs Pope & Swift (ŕ ce qu’on dit) y ayent fourni quelques traits; mais ce n’est point un Opéra qui soit proprement ni sérieusement ainsi nommé: c’est plutôt une Parodie de l’Opéra, assez semblable pour la forme aux Opéras Comiques de Paris. Les Personnages n’en sont rien moins que nobles. Ils parlent en prose, & chantent sur des airs de Vaudevilles. Cette Piéce fut mise sur le Théâtre en MDCCXXVIII, par Mr. Rich, Maître du Théâtre de Covent-Garden, ou du Commun- Jardin (s’il faut prononcer comme la plupart des François:) & elle y fut tellement courue deux ans de suite, que les avantages qui en revinrent, & ŕ Mr. Rich & ŕ l’Auteur, firent dire ŕ quelqu’un, [57] en jouant sur la signification grammaticale de leurs deux noms: Par l’Opéra du Gueux, RICHE est gay, & GAY est riche. Il est bon d’observer toutefois, que je n’ai écrit Riche que pour faire sentir en François le jeu de mots; car selon la régle qui veut qu’on n’altčre pas les noms propres, il falloit écrire Rich, sans e ŕ la fin. Septičme Remarque. Mr. Lockman ne dit pas en quel tems la Piéce d’ACIS & GALATÉE a commencé ŕ se jouer publiquement: & j’ai différé [sic] jusqu’ici de le dire, afin d’éviter toute confusion dans le peu de dates que je puis placer de distance en distance pour éclairer notre route. Mr. Handel, qui avoit mis la Piéce en Musique, ne la produisit sur le Théâtre qu’en MDCCXXXII, s’il en faut juger par la date de l’Edition qu’on en a faite pour la Représentation. Cette Piéce au rest a été exécutée de plus d’une maničre. On avoit vű dans des Opéras précedens, comme je l’ai rapporté, une bigarrure d’Italien & d’Anglois, qui n’étoit fondée & réglée que sur la nécessité que l’on s’imposoit de distribuer les rôles d’une męme Piéce ŕ des Acteurs de différente Nation: les uns Italiens, qui ne pouvoient bien chanter que dans leur langue: les autres Anglois, ŕ qui il convenoit aussi de chanter dans la leur. Cette nécessité avoit abouti ŕ faire admettre des paroles Angloises dans des Opéras [58] Italiens. Elle forma dans celui d’Acis & Galatée en MDCCXXXVI (ŕ ce que m’ont assuré plusieurs témoins du fait) une bigarrure plus originale encore. Elle fit admettre en Angleterre, dans un Opéra Anglois, des paroles Italiennes, des rôles traduits & jouez en Italien. Huitičme Remarque. Aprčs Acis
& Galatée Mr. Lockman cite le FESTIN D’ALEXANDRE. Qu’on ne s’imagine pourtant pas que ce soit, ni un Opéra, ni une Piéce nouvelle. C’est une Ode, ou pour mieux dire une Cantate de Dryden, qu’il avoit faite pour ętre chantée le jour de Saint-Cécile. Mais Mr. Handel a composé pour ce morceau de Poésie lyrique une Musique nouvelle, & au lieu que ces sortes de Piéces s’exécutoient autrefois solemnellement dans une Eglise, il a fait exécuter celle-ci sur le Théâtre. Et si ce n’est pas un ouvrage dramatique, le succčs qu’il a eu n’en prouve pas moins ce que Mr. Lockman vouloit prouver, qu’une excellente Poésie n’est point incompatible avec une excellent Musique. Le Festin d’Alexandre, si je ne me trompe, fut mis sur le Théâtre en MDCCXXXVI. Neuvičme Remarque. Le COMUS, que Mr. Lockman allegue immédiatement aprčs le Festin d’Alexandre, est originairement une Mascarade du célčbre Milton. Elle n’avoit été jouée qu’une seule fois en mil six-cens trente-quatre, & cela dans [59] la maison d’un Seigneur. Elle l’a été tres- [sic] souvent en public depuis deux ans ou environ qu’elle fut portée sur le Théâtre, ŕ la faveur des changemens dont Mr. Lockman dit un mot, & qui paroissent venir de bonne main. On les attribue ŕ un homme de mérite qu’on appelle Mr. Dalton, & qui est chargé de l’éducation de Mylord Beauchamp, fils du Comte de Hertford. L’ancienne Musique de la Piéce étoit de Henri Laws; la nouvelle est de Mr. Arne. Le nouveau Comus fut donné au Public, & par la représentation & par l’impression, en MDCCXXXVIII. Dixičme Remarque. Aprčs avoir parlé en général avec assez de mépris des OPÉRAS ITALIENS exécutez ŕ Londres jusqu’ŕ présent, Mr. Lockman fait une exception en faveur de quelques-uns de la façon d’un galant homme de sa connoissance. Cela regarde certainement Mr. Paul Rolli, Membre de la Societé Royale, & le męme dont j’ai eu occasion de dire un mot dans l’éloge du Paradis Perdu de Milton*. Au moins sçais-je de bonne part, & qu’il est des amis de Mr. Lockman, & que c’est Mr. Lockman qui a fait la Traduction Angloise de son Opéra Italien d’ORPHÉE. A propos de quoi il me sera permis de remarquer, * Biblioth. Brit. T[ome]. VIII. p. 183. [60] que si l’on admet une exception ŕ la censure générale des Opéras Italiens, on peut en admettre une aussi ŕ la censure générale des Traductions Angloises de ces Opéras. La Traduction de PHARNACE, par exemple, & celle de LOTHAIRE, non plus que celle d’Orphée, n’ont point été confondues dans la foule. Il s’est [sic] męme trouvé des gens qui ont cru reconnoître, ŕ certains traits de la Traduction de Pharnace, le stile d’un Počte célčbre, que je désignerois peut-ętre trop clairement, ŕ son gré, si je le qualifiois le premier de la premičre volée. La Traduction de Lothaire passe pour ętre de feu Mr. Samuel Humphreys, Ecrivain estimé, & le męme qui a traduit du François le premier Volume du Spectacle de la Nature de Mr. l’Abbé Peluche. Pharnace a été imprimé & représenté en MDCCXXIII, Lothaire en MDCCXXIX; & Orphée en MDCCXXXV. Derniere Remarque. Mr. Lockman dit, qu’il ne parlera point de diverses Piéces Angloises mises en Musique par d’habiles Compositeurs, lesquelles ont été exécutées moins publiquement que les précedentes. Parlons-en pour lui. Il s’agit de plusieurs Piéces, en différens genres, dont quelques-unes s’exécutent aujourd’hui dans des lieux publics oů l’on entre pour son argent, mais dont la plupart n’ont été exécutées jusqu’ici (au moins [61] avec éclat) que dans certaines Societez ou Académies de Musique, aux Concerts desquelles on n’est admis, ou qu’en qualité de Membre, ou qu’ŕ la faveur des billets que les Membres ont droit de donner ŕ leurs amis. Je connois deux de ces Sozietez, & je ne sçais s’il n’y en a pas davantage. L’une est celle qu’on appelle communément du Crown-and-Anchor: Elle a pour Directeur de ses Concerts le Docteur Pépush; elle est célčbre: mais je ne voudrois pourtant pas assurer que Mr. Lockman l’ait en vűë. Je ne sçais point de quelles Piéces on pourroit dire qu’elles n’ont été exécutées que dans cette Societé. Il y en a une autre qui est fort connue sous le titre qu’elle a pris de Societé d’Apollon: Mr. Lockman en est. On vient d’imprimer, pour l’usage de celle-ci, un Recueil des Piéces qui ont été mises en Musique pour ses Concerts; & parmi ces Piéces il y en a deux qui sont de la façon de Mr. Lockman. La plus nouvelle est une ODE pour la Fęte de Sainte- Cécile, chantée en grand concert, & imprimée pour la premičre fois separement, en MDCCXXXIX. La Musique est de Mr. Boyce, l’un des Compositeurs de la Chapelle du Roi. L’autre, mise en Musique par le męme, & intitulée, COMPLAINTE DE DAVID sur la Mort de Saül & de Jonathan, avoit été exécutée & imprimée d’abord en MDCCXXXVI. [62] J’aurai occasion de dire encore un mot de cette Piéce dans l’Article des Oratorios, auquel il est tems de venir. § IV. J’ai déja observé que l’ORATORIO est une espece d’Opéra qu’on pourroit définir l’Opéra Sacré ou l’Opéra Spirituel; & que ce n’est pourtant pas tellement un Opéra, qu’il ne puisse ętre envisagé aussi comme faisant un genre ŕ part. Mais pour mettre les Lecteurs au fait, il faut que je dise ŕ présent quelque chose de plus. Premičrement donc il est ŕ remarquer, que les Anglois n’ont pas toűjours donné ŕ leurs Opéras Sacrez le nom d’Oratorio. La Piéce que Dryden publia en MDCLXXVIII, intitulée l’Etat d’Innocence, & une autre qu’Edouard Eccleston publia en MDCLXXIX, ayant pour titre le Déluge de Noé, quoique les sujets soient tirez de l’Histoire Sainte, n’ont jamais été appellées que des Opéras. La plus ancienne Piéce connue en Angleterre sous le nom d’Oratorio, est celle d’ESTHER, composée (ŕ ce qu’on a dit) par Messieurs Pope & Arbuthnot, mise en Musique par Mr. Handel, & qui fut exécutée vers l’an MDCCXX, dans la Chapelle du Duc de Chandos ŕ Canons; lieu situé ŕ environ dix milles de Londres, & [63] oů ce Seigneur a une belle maison, dans laquelle il entretenoit autrefois un nombre considerable d’habiles Musiciens. Mr. Pepush, Docteur en Musique, & Docteur trčs-docte, en étoit un. Mr. Handel, aprčs avoir fait ajouter quelques paroles ŕ son Esther par Mr. Humphreys, & les avoir mises en Musique, porta la Piéce sur le Théâtre: mais ce ne fut qu’en MDCCXXXI, ou XXXII; & le Public n’avoit eu aucun Oratorio, que je sçache, avant ce tems-lŕ. Il en eut d’autres bientôt aprčs. Ceux d’ATHALIE, de DEBORAH & de JUDITH, sont de MDCCXXXIII. Observons, en second lieu, que comme l’Oratorio est particulierement destiné ŕ remplacer l’Opéra, & tout Spectacle profane, les Mercredis & Vendredis de Caręme; il s’exécute aussi d’une maničre qui lui est propre, & qui dans le fond est assez ridicule; mais qui ne tenant presque rien de la pompe ordinaire du Théâtre, ni de l’Action théâtrale, aura vraisemblablement paru la mieux séante pour des jours extraordinaires de devotion, & la moins incompatible peut-ętre avec certains Réglemens touchant les Spectacles. Quoi qu’il en soit, l’Oratorio n’admet ni Habillemens de Théâtre, ni Mahines, ni changemens de Décorations, ni Danses, ni allées & venues de la part des Acteurs. Le Théâtre entier n’est qu’un grand [64] Orquestre rempli par les Musiciens; & les Acteurs, ou Musiciens chantans, ne sont distinguez des autres qu’en ce qui’ils occupent le bord du Théâtre. Lŕ ils ont chacun leur place, & chantent chacun ŕ leur tour, selon la distribution de leurs rôles. Cela est imité de ce qui se pratique dans les Eglises d’Italie, oů l’on représente d’une maničre semblable certaines Piéces Sacrées, dont il sera parlé plus amplement dans la suite. Or on juge bien que cette maničre d’exécuter des Piéces dramatiques influe, ou doit influer sur la composition męme de ces Piéces; & que les Opéras François de Jephté, par exemple, & de Samson, ne seroient pas fort propres ŕ faire des Oratorios. Aussi peut-on observer, en troisičme lieu, qu’il n’est point absolument nécessaire qu’un Oratorio soit une Piéce en Dialogue. LA COMPLAINTE DE DAVID sur la Mort de Saül & de Jonathan, porte le nom d’Oratorio sans qu’on y trouve ŕ redire; & elle n’est cependant ni dramatique ni dialoguée. C’est proprement ce que nous appellerions en François une Cantate Spirituelle, avec ces deux différences seulement, que cela n’est pas borné, comme semblent l’ętre nos Cantates, ŕ trois ou quatre Récitatifs, entremęlez d’un pareil nombre d’Airs; & que le Počme commence par un Choeur, qui [65] aprčs avoir invité le Počte ŕ chanter, chante avec lui dans les endroits convenables. Notez au reste, que quand je dis avec lui, cela doit s’entendre de ce qui paroît ŕ la lecture: car ŕ la représentation ce n’est pas la męme personne qui chante l’Action toute entiere. Peut-ętre seroit-ce trop pour une seule voix: peut-ętre aussi en faut-il plus d’une pour satisfaire les Auditeurs. Ce qu’il y a de certain, c’est que cette Piéce (avec une nouvelle Musique de Mr. Smith) s’exécute actuellement par plusieurs voix, dans la salle de Hickford, & que c’est ainsi qu’elle avoit été exécutée avec la Musique de Mr. Boyce, soit dans la Societé d’Apollon en MDCCXXXVI, soit dans un Concert public qui se fit ŕ Windsor en MDCCXXXVII. Il y a quelque chose de dramatique dans l’exécution. Mais la Piéce męme n’en est pas plus un ouvrage dramatique: ce qui est si vrai, que lorsqu’elle fut imprimée pour le Concert de la Sociéte en 1736, ce fut sous le nom de Počme Lyrique. Elle n’a paru sous celui d’Oratorio que dans les autres Editions; & il faut avouer au reste, que quelque droit qu’on ait de donner ce nom ŕ des Počmes qui ne sont pas du genre dramatique, il apartient ŕ ceux de ce genre par la premičre institution. Au moins cela est-il détermiuné par le titre de la Piéce d’Esther, [66] laquelle je regarde toűjours comme la premičre que les Anglois ayent euë sous le nom d’Oratorio. Les termes du titre sont: ESTHER: Oratorio, ou Drame Sacré. J’ai cru ces remarques nécessaires pour ceux qui ne sçavent pas d’ailleurs ce que c’est que l’Oratorio des Anglois. Sçavoir ŕ présent ce qui leur en a fourni le nom & l’idée, & quelle est l’origine de la chose męme, ce sont deux questions sur lesquelles je me contenterai presque de rapporter le précis de ce que je trouve dans le Discours de Mr. Lockman. I. Tout ce que j’y vois de rélatif ŕ la premičre question, est renfermé dans un assez long passage qu’il cite du deuxičme volume des Voyages de Mr. Wright, imprimez, come je l’ai déja dit, en MDCCXXX. Traduisons l’essentiel. “Les Italiens [dit Mr. Wright] ont dans leurs Eglises un Divertissement religieux qu’ils appellent l’ORATORIO. C’est un Drame en Musique, ŕ la façon des Opéras du Théâtre. Les Airs sont separez les uns des autres par des Récitatifs. La Piéce entiere est de deux Actes. Le sujet est tiré, ou de l’Histoire Sainte, ou de l’Histoire des Saints, & généralement de celle-ci. Entre les deux Actes il y a Sermon . . . . . Et le tout commence par un Discours (Discorso) déclamé d’une maničre un peu musicale par quelque petit Garçon. [67] Nous entendimes deux de ces jeunes Orateurs. Le premier étoit âgé d’environ six ans. Il parut sur la tribune avec la gravité d’un homme fait, salua l’Audience, retroussa son chapeau . . . & prononça un Silentio, accompagné d’un mouvement de bras qui imposoit silence d’un air important. Le second, autant qu’on en pouvoit juger par sa stature & par sa prononciation, bien qu’il fűt parvenu ŕ articuler distinctement ses paroles, n’avoit gueres que quatre ans. Il étoit habillé en Prętre, & fit des merveilles. . . . . On apprend ŕ ces petits Orateurs, non seulement ŕ donner le ton aux choses, mais ŕ y ajuster toute leur action; ils y réussissent extręmement bien”. [Ne seroit-ce pas des Discours ou Oraisons de ces petits Orateurs, que l’Oratorio auroit pris son nom? On appelle Déclamations en France, dans les Colleges des Jésuites, certaines petites Piéces dramatiques, qui ne sont appellées de la sorte, que parce qu’elles sont faites pour exercer les jeunes gens ŕ la Déclamation. Il ne seroit pas étonnant que celles qui portent le nom d’Oratorio sűssent ainsi nommées par quelque raison peu différente. Mais l’origine du nom nous intéresse moins que celle de la chose męme.] II. Le sentiment de Mr. Lockman sur [68] ce second point paroît ętre, en deux mots: Que les Oratorios des Italiens ont la męme origine que les Jeux & Mystčres des François; & que ce furent les Pélérinages qui introduisirent ces Spectacles de dévotion, comme en a jugé le Pere Menestrier, dans son Ouvrage Des Représentations en Musique, pp. 153, 154. “Ceux qui revenoient de Jerusalem & de la Terre Sainte, de Saint-Jaques de Compostelle . . . & de quelques autres lieux de pieté, composoient des Cantiques sur leurs voyages, y męloient le récit de la vie & de la mort du Fils de Dieu, ou du Jugement dernier, d’une maničre grossiere, mais que le chant & la simplicité de ces tems-lŕ sembloient rendre pathétique; chantoient les miracles des Saints, leur Martyre, & certaines Fables ŕ qui la créance du Peuple donnoit le nom de Visions & d’Apparitions. Ces Pélerins, qui alloient par troupes, & qui s’arrętoient dans les rues & dans les Places publiques, oů ils chantoient le bourdon ŕ la main, le chapeau & le mantelet chargez de coquilles & d’images peintes de diverses couleurs, faisoient une espece de Spectacle qui plut, & qui excita la pieté de quelques Bourgeois de Paris ŕ faire un fonds pour acheter un lieu propre ŕ élever un Théâtre, oů l’on représenteroit ces [69] mystčres les jours de fęte, autant pour l’instruction du Peuple, que pour son divertissement . . . .” [Ceci arriva sur la fin du quatorzičme siécle.] Le quinzičme & le suivant virent naître de toutes parts en Europe des Spectacles qui étoient ŕ-peu-prčs dans le męme goűt. Je remarquerai toutefois que l’Angleterre paroît avoir devancé la France męme ŕ cet égard, comme l’a fait voir Mr. Riccoboni, p. 154. de se Refléxions. Finissons. Mais que ce ne soit pourtant pas sans dire un mot de la Piéce de Mr. Lockman, ŕ l’occasion de laquelle nous avons parlé de tant d’autres choses. [...] |
[Lord Guernsey in Packington to James Harris, 23 July 1740]
[…] I have ad a great desire to know some particulars of your treatment by the gentlemen you met with on Bagshot Heath. Mr Jennens who is now with me is equally desirous of some information, in relation to this affair[,] so hope you will satisfie our curiosity.[29]
Aug 5
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[Proposals towards raising a Supplemental Provision for the Poor; and for the Encouragement and Increase of Seamen within the Bills of Mortality; and at several Towns and Villages bordering on the Thames. Which may be carried into Execution, by Associations of the like Nature, in other Maritime Cities and Ports throughout Great-Britain and Ireland] PROPOSAL XV. SOME Publick Hall in London may be hired for the Meetings of this Corporation, till by Consent of the Lord-Mayor and Commonalty, the Company of Mercers, and the Professors of Gresham-College, the Site of the said College shall be granted, for rebuilding the same in a magnificent [28] Manner, as well for the Use of the Professors, and Continuance of the several Lectures, as for the Assembly and Accommodations of the said Corporation (the Alms- folks there being provided for in the aforesaid Country Hospitals.) And the Professors continuing under the present Right of Nomination, may have additional Sallaries for their Service and Attendance out of Term as follows, viz. The Reader of Divinity as Chaplain, of the Civil Law as standing Council, of Physick as Physician to the Hospitals of this Corporation, of Astronomy and Geometry as Accomptants for Cash and Stores, and of Musick as Teacher of 400 or more Children in vocal and instrumental Musick, more especially in that peculiar to Churches: Each of which said Professors is to have a farther Stipend of 100 l. per Ann. payable by this Corporation, and 50 l. per Ann. may be allowed to so many Assistants, as shall be judged necessary. ONE thousand Pounds a Year may also be allotted to ten additional [29] Professors of Musick, and casual Allowances made to other Performers and Children of chosen Voices, for a monthly Exhibition at St. Paul’s under Mr. Handell, at an Appointment of 500 l. per Ann. as Director.[30] |
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WORCESTER MUSICK MEETING. THE Anniversary Meeting of the three Choirs of Worcester, Hereford and Gloucester, will be held at Worcester on Wednesday and Thursday, the 3d and 4th Days of September next; when Mr. Purcell[’]s and Mr. Handell’s Te Deums, with some select Anthems, will be perform’d with Instruments. There will be a Concert of Musick each Night, and Balls as usual. N. B. The Performers are desir’d to meet on Tuesday.[31] |
Sep 11
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[Charles Jennens in Wistow to Edward Holdsworth] I set out from London in May last, & with Ld. Guernsey, whom I call’d upon at Albury, went to Mr. Harris at Salisbury, where the 2d day in the midst of our Musical Entertainments the melancholy News came that Lady Aylesford was fallen ill of the small pox at Bath: […][32] |
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On our late TASTE in MUSICK. By a Gentleman of OXFORD. ----Quid vocis modulamen inune juvabit Verborum sensusqus vacans numerique loquacis? MILTON. Britons! away with the degenerate pack! Waft, western winds! the foreign spoiler back! Enough has been in wild amusements spent, Let British verse and harmony content! No musick once could charm you like your own, Then tuneful Robinson*, and Tofts were known; Then Purcell touch’d the strings, while numbers hung Attentive
to the sounds—and blest the song! Even gentle Weldon taught us many notes, Beyond th’ enervate thrills of Roman throats! 10 Notes, foreign luxury could ne’er inspire, That animate the soul, and swell the lyre! That mend, and not emasculate our hearts, And teach the love of freedom and of arts. Nor yet, while guardian Phoebus gilds our isle, Does heav’n
averse await the Muses toil; Cherish but once our worth of native race, The sister-arts shall soon display their face! Even half discourag’d thro’ the gloom they strive, Smile at neglect, and o’er oblivion live. 20 See Handel, careless of a foreign fame, Fix on our shore, and boast a Briton’s name: While, plac’d marmoric in the vocal grove†, He guides the measures listening throngs approve. Mark silence at the voice of Arne confess’d, Soft as the sweet inchantress rules the breast; As when transported Venice lent an ear, Camilla’s charms to view, and accent hear!§ So while she varies the impassion’d song, Alternate motions on the bosom throng! As heavenly Milton║ guides her magic voice, And virtue thus convey’d allures the choice. Discard soft nonsense in a slavish tongue, The strain insipid, and the thought unknown: From truth and nature form th’ unerring test; Be what is manly, chaste, and good the best! ’Tis not to ape the songsters of the groves, Thro’ all the quiverings of their wanton loves. ’Tis not th’ infeebled thrill, or warbled shake, The heart can strengthen, or the soul awake! 40 But where the force of energy is sound, When the sense rises on the wings of sound; When reason, with the charms of music twin’d, Thro’ the enraptur’d ear informs the mind; Bids generous love or soft compassion glow, And forms a tuneful paradise below! Oh Britons! if the honour still you boast, No longer purchase follies at such cost! No longer let unmeaning sounds invite To visionary scenes of false delight: When shame to sense we see the hero’s rage, Lisp’d on the tongue, and danc’d along the stage! Or hear in eunuch sounds a Hero squeak, While kingdoms rise or fall upon a shake! Let them at home to slavery’s painted train With Syren-art repeat the pleasing strain: While we, like wise Ulysses, close our ear To songs which Liberty forbids to hear! Keep guardian gales, th’ infectious guests away, To charm where priests direct, and slaves obey. 60 Madrid, or wanton Rome, be their delight; There they may warble as their Poets write. The temper of our isle, tho’ cold, is clear; And such our genius, noble tho’ severe. Our Shakespear scorn’d the trifling rules of art, But knew to conquer and surprize the heart! In magic chains the captive thought to hind, And fathom all the depths of human-kind! Too long, our shame, the prostituted herd Our sense have bubbled, and our wealth have shar’d. 70 Too long the favourites of our vulgar great. Have bask’d in luxury, and liv’d in state! In Tuscan wilds now let them villas rear†† Enobled by the charity we spare. There let them warble in the tainted breeze, Or sing like widow’d Orpheus to the trees: There let them chant their incoherent dreams, Where howls Charybdis, and where Scylla screams! Or where Avernus from his darksome round, May echo to the winds the blasted sound! 80 As fair Alcyone‡, with anguish press’d, Broods o’er the British main with tuneful breast, Beneath the white-brow’d cliff protected sings, Or skims the azure plain with painted wings! Grateful like her, to nature, and as just, In our domestick blessings let us trust. Keep for our sons fair learning’s honour’d prize, Till the world own the worth they now despise![33] |
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LINCOLN’s-INN-FIELDS. AT the Theatre-Royal in Lincoln’s-Inn Fields, this Day, will be perform’d a SERENATA, call’d PARNASSO IN FESTA. With CONCERTO’s on the ORGAN, and several Instruments. Boxes Half a Guinea. Pit 5 s. First Gall. 3 s. Second Gall. 2 s. Box-Tickets will be sold this Day at the Stage-Door, at Half a Guinea each. The Gallery Doors will be open’d at Four o’Clock. Pit and Boxes at Five. N. B. Particular Care has been taken to air the House well, and keep it warm. To begin at Six o’Clock.[34] |
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LINCOLN’s-INN-FIELDS. By HIS MAJESTY’s COMMAND, AT the Theatre-Royal in Lincoln’s-Inn Fields, this Day, November 22, will be perform’d a New OPERETTA, call’d HYMEN. Boxes Half a Guinea. Pit 5 s. First Gall. 3 s. Second Gall. 2 s. Box-Tickets will be sold that Day at the Stage-Door, at Half a Guinea each. The Pit and Gallery Doors will be open’d at Four o’Clock. And the Boxes at Five. To begin at Six o’Clock.[35] |
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Signora Francesina being taken ill, the Opera of Hymen, that was intended to be perform’d this Night, must be deferr’d till further Notice is given in the General and Daily Advertisers, for the Performance thereof.[36] |
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LINCOLN’s-INN-FIELDS. By Command of his Royal Highness the Prince of WALES AT the Theatre-Royal in Lincoln’s-Inn Fields, this Day, December 13, will be perform’d a New OPERETTA, call’d HYMEN. Boxes Half a Guinea. Pit 5 s. First Gall. 3 s. Second Gall. 2 s. Box-Tickets will be sold that Day at the Stage-Door, at Half a Guinea each. The Pit and Gallery Doors will be open’d at Four o’Clock. And the Boxes at Five. *** Strict Orders have been given for Fires to be kept in the House to make it warm. To begin at Half an Hour after Six o’Clock.[37] |
[Charles Jennens at Queen Square, London to James Harris, 29 December 1740]
As soon as I receiv’d your commands (which was on Christmas day) I sent for Rawlins, & gave him the first part of the Allegro in Mr Handel’s original score, which I had borrow’d to correct my own copy. He is now writing it out for you, & shall have the other parts in their return. I was glad to save my own score, because Dryden’s song, which I lent him, before, was return’d in a dirty condition. I have directed him to omitt for the present the song ‘Come, but keep thy wonted state’, & the chorus following, ‘Joyn with thee calm peace & quiet’, ‘Spare fast &c’ because Mr Handel has interpos’d the 4 lines left out, ‘There held in holy passion still &c’, made the two lines of the chorus a part of the air, & added the Muses singing about Jove’s altar; then chorus da capo as before: & I take it for granted, you will choose to have it writ with the additions in their order. There are 5 more songs added, for which I have order’d him to leave room in your copy: 1. The Landscape, the 4 first lines of which are air, the other 6 accomp. recit.[,] concluding with the air: 2. The Cricket & the Bellman: 3. Gorgeous Tragedy: 4. Orpheus hearing Lydian airs: 5. The Hermit. These are all charming, though I know you will wish some of them had been in chorus; but he was positive against more chorus’s, having three new singers to provide for, Andrioni, Sigra Monsa, & Miss Edwards. I am afraid this entertainment will not appear in the most advantageous light, by reason of the mixture of languages: for though he has set Milton’s English words, some of ’em must be translated by Rolli into Italian for Andrioni: Monsa will sing in English as well as she can.
§We have had nothing new yet but the operetta of Hymen, in my opinion the worst of all Handel’s compositions, yet half the songs are good[.] He has a fine opera to come out on Saturday sev’nnight, called Deidamia, which might perhaps have tolerable success, but that it will be turn’d into farce by Miss Edwards[,] a little girl representing Achilles. After this follows the Allegro, then Saul & Israel in Egypt: & this is all I have heard of for this season, except that Walsh tells me Hymen will be reviv’d, with a new part in it for Monsa, who was not in it before. I wish you many happy New Years.
[P.S.] Service to your brother. My brother Hanmer desires his Service. I hope to see you both at Deidamia.[38]
ORATORIO, is a sort of spiritual opera full of dialogues, recitativos, duettos, trios, ritornellos, choruses, &c. the subject thereof is usually taken from the scripture, or is the life and actions of some saint, &c. The music for the Oratorio should be in the finest taste, and most chosen strains. The words hereof are often in Latin, sometimes in French and Italian, and among us even in English. These Oratorios are greatly used at Rome in time of Lent; here indeed they are used in no other season.
ORCHESTRA, is a part of the theatre between the scenes and the audience, wherein the musicians are disposed to play the overture, &c. of a play, be it tragedy or comedy, of the opera, oratorio, serenata, &c. See OPERA.[39]
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Written in YEAR 1740. I. WHEN Signior Tweedle ** tunes the strings, We seem surpriz’d, not glad; We gape,
indeed, to hear the man Run musically mad. II. But mark Dubourg’s soft, swelling notes, Where taste unites with art; He from the fiddle draws such sounds, As captivate the heart. [65] III. The tender passions of the soul, Are all at his command; Ye foreign tricksters now resign, To his superior hand. IV. In peace then let the laurel wreath, HANDEL, adorn thy head; Thy harmony shall make them sick, DUBOURG shall play them dead.[40] |
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A Dissertation on Italian, and Irish Musick. […] ADAGIO. Corelly’s, or Vivaldi’s Stile, Shall from Corinna force a Smile, Which does her Aspect more adorn, Than all her Cruelty and Scorn, Thus while you hold her by the Ear, She catches others in her Snare: The longer she is kept in Tune, The more her Charms have Power to ruin. Then Hendal’s Notes shall make her thrill, When Raffa warbles them with Skill, And if Dub—ge but touch the String, To hear him play, and Raffa sing, In Extasies—she sounds away, Revives again to hear him play.[41] |
[1] The London Daily Post, and General Advertiser, no. 1621, Saturday 5 January 1739-40, [2].
[2] Donald Burrows and Rosemary Dunhill (eds.), Music and Theatre in Handel’s World: The Family Papers of James Harris (1732–1780) (Oxford and New York, 2002), 85.
[3] The London Daily Post, and General Advertiser, no. 1622, Tuesday 8 January 1739-40, [1].
[4] The London Daily Post, and General Advertiser, no. 1625, Friday 11 January 1739-40, [1]; repr. (date reference: “Tomorrow”) no. 1632, Thursday 17 January 1739-40, [1].
[5] Donald Burrows and Rosemary Dunhill (eds.), Music and Theatre in Handel’s World: The Family Papers of James Harris (1732–1780) (Oxford and New York, 2002), 88–9.
[6] The London Daily Post, and General Advertiser, no. 1647, Monday 4 February 1739-40, [1].
[7] The London Daily Post, and General Advertiser, no. 1649, Wednesday 6 February 1739-40, [1]; repr., Deutsch, 494.
[8] The London Daily Post, and General Advertiser, no. 1653, Monday 11 February 1739-40, [1]; partly repr., Deutsch, 495.
[9] The London Daily Post, and General Advertiser, no. 1656, Thursday 14 February 1739-40, [1]; repr., Deutsch, 495.
[10] The London Daily Post, and General Advertiser, no. 1662, Thursday 21 February 1739-40, [1]; partly repr., Deutsch, 495.
[11] The London Daily Post, and General Advertiser, no. 1662, Thursday 21 February 1739-40, [1].
[12] The London Daily Post, and General Advertiser, no. 1667, Wednesday 27 February 1739-40, [1]; repr., Deutsch, 495-96.
[13] The Daily Advertiser, 29 February 1740: Ruth Smith, “Handel, Milton, and a New Document from their English Audience,” The Handel Institute Newsletter 14/2 (Autumn 2003), [1-5]: [4-5].
[14] The London Daily Post, and General Advertiser, no. 1674, Thursday 6 March 1739-40, [1].
[15] The London Daily Post, and General Advertiser, no. 1677, Saturday 8 March 1739-40, [1].
[16] The London Daily Post, and General Advertiser, no. 1681, Friday 14 March 1739-40, [1].
[17] The London Daily Post, and General Advertiser, no. 1687, Friday 21 March 1739-40, [1].
[18] The London Daily Post, and General Advertiser, no. 1691, Wednesday 26 March 1740, [1].
[19] The London Daily Post, and General Advertiser, no. 1693, Friday 28 March 1740, [1]; repr., Deutsch, 497.
[20] The London Daily Post, and General Advertiser, no. 1696, Tuesday 1 April 1740, [1-2].
[21] The London Daily Post, and General Advertiser, no. 1696, Tuesday 1 April 1740, [1].
[22] The London Daily Post, and General Advertiser, no. 1715, Wednesday 23 April 1740, [1]; partly repr., Deutsch, 499.
* The Amalekite.
[23] The London Magazine: and Monthly Chronologer 9 (1740), 188; Chrissochoidis, 749.
[24] Donald Burrows and Rosemary Dunhill (eds.), Music and Theatre in Handel’s World: The Family Papers of James Harris (1732–1780) (Oxford and New York, 2002), 97.
[25] Donald Burrows and Rosemary Dunhill (eds.), Music and Theatre in Handel’s World: The Family Papers of James Harris (1732–1780) (Oxford and New York, 2002), 98.
[26] Donald Burrows and Rosemary Dunhill (eds.), Music and Theatre in Handel’s World: The Family Papers of James Harris (1732–1780) (Oxford and New York, 2002), 99.
[27] Donald Burrows, Handel and the English Chapel Royal (Oxford and New York: Oxford University Press, 2005), 614.
[28] Donald Burrows and Rosemary Dunhill (eds.), Music and Theatre in Handel’s World: The Family Papers of James Harris (1732–1780) (Oxford and New York, 2002), 100.
[29] Donald Burrows and Rosemary Dunhill (eds.), Music and Theatre in Handel’s World: The Family Papers of James Harris (1732–1780) (Oxford and New York, 2002), 101.
[30] Proposals [...] (London: T. Cooper, 1740), 27-29; advertised [for the following Tuesday] in The Country Journal: Or, The Craftsman, no.735, Saturday 2 August 1740, [3].
[31] The London Evening-Post, no. 1987, Tuesday 5 – Thursday 7 August 1740, [3].
[32] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 2,” item 66, f. 1v; repr. Amanda Babington and Ilias Chrissochoidis, “Musical References in the Jennens–Holdsworth Correspondence (1729–46),” Royal Musical Association Research Chronicle, 45:1 (2014), 76–129: 104.
* Now Countess-dowager of Peterborough.
† Vaux-hall.
§ Vide the Spectator’s letter from Camilla, Vol. VI.
║ MILTON’s Comus lately revived.
††
Senesino has built a palace near
Sienna on an estate which carries the
title of a Marquisate, but purchased with English gold.
‡ The King-fisher.
[33] The Gentleman’s Magazine 10 (1740), 520; Chrissochoidis, 749-51.
[34] The London Daily Post, and General Advertiser, no. 1886, Saturday 8 November 1740, [1]; partly repr., Deutsch, 507.
[35] The London Daily Post, and General Advertiser, no. 1898, Saturday 22 November 1740, [1]; partly repr., Deutsch, 507.
[36] The London Daily Post, and General Advertiser, no. 1904, Saturday 29 November 1740, [1].
[37] The London Daily Post, and General Advertiser, no. 1916, Saturday 13 December 1740, [1]; partly repr., Deutsch, 508.
[38] Donald Burrows and Rosemary Dunhill (eds.), Music and Theatre in Handel’s World: The Family Papers of James Harris (1732–1780) (Oxford and New York, 2002), 110.
[39] James Grassineau, A Musical Dictionary; Being a Collection of Terms and Characters, as well Ancient as Modern; Including the Historical, Theoretical, and Practical Parts of Music ... (London: J. Wilcox, 1740), 168; “Oratorio” repr, in John Arnold, The Compleat Psalmodist. In Four Books, 3rd edition with large additions (London: Robert Brown, 1753), no pagination; Chrissochoidis, 751-52.
* Piantinada.
[40] Benjamin Victor, Original Letters, Dramatic Pieces, and Poems, 3 vols. (London: T. Becket, 1776), 3:64-65.
[41] Laurence Whyte, Poems on Various Subjects, Serious and Diverting, never before published (Dublin: S. Powell, 1740), 155; Chrissochoidis, 752.