1741
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LINCOLN’s-INN-FIELDS. By HIS MAJESTY’s COMMAND, AT the Theatre-Royal in Lincoln’s-Inn Fields, this Day, January 10, will be perform’d a New OPERA, call’d DEIDAMIA. 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 Pit and Gallery Doors will be open’d at Four o’Clock. And the Boxes at Five. To begin at Half an Hour after Six o’Clock.[1] |
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LINCOLN’s-INN-FIELDS. AT the Theatre-Royal in Lincoln’s-Inn Fields, this Day, January 17, will be perform’d a New OPERA, call’d DEIDAMIA. 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 Pit and Gallery Doors will be open’d at Four o’Clock. And the Boxes at Five. To begin at Half an Hour after Six o’Clock.[2] |
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LINCOLN’s-INN-FIELDS. AT the Theatre-Royal in Lincoln’s-Inn Fields, this Day, January 31, will be perform’d L’Allegro, il Penseroso ed il Moderato. With several New ADDITIONS and CONCERTOS 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 Pit and Gallery Doors will be open’d at Four o’Clock. And the Boxes at Five. To begin at Half an Hour after Six o’Clock.[3] |
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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 several New ADDITIONS and CONCERTOS 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 Pit and Gallery Doors will be open’d at Four o’Clock. And the Boxes at Five. To begin at Half an Hour after Six o’Clock.[4] |
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[Earl of Egmont’s Diary, Tuesday 10 February 1740-1] Tuesday 10. — In the evening went to the Opera.[5] |
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LINCOLN’s-INN-FIELDS. By Command of their Royal Highnesses the Prince and Princess of WALES. AT the Theatre-Royal in Lincoln’s-Inn Fields, this Day, will be perform’d L’Allegro, il Penseroso ed il Moderato. With several New ADDITIONS and CONCERTOS 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 Pit and Gallery Doors will be open’d at Four o’Clock. And the Boxes at Five. To begin at Half an Hour after Six o’Clock.[6] |
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We are inform’d that Mr. Galliard is preparing a new English Opera; which is intended to be perform’d very soon at the New-Theatre in the Hay-Market. And that Mr. Handel’s Musick, compos’d for the Princess of Orange’s Wedding, will be perform’d some Day next Month at the Opera-House, for the Advantage of the Fund establish’d for the Support of decay’d Musicians, and their Families.[7] |
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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 GALLATEA [sic], A SERENATA. With CONCERTOS
on the ORGAN, and other INSTRUMENTS. And a CONCERTO by Signor VERACINI. 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 Pit and Gallery Doors will be open’d at Four o’Clock. And the Boxes at Five. To begin at Half an Hour after Six o’Clock.[8] |
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[Earl of Egmont’s Diary, Saturday 28 February 1740-1] [...] Went after dinner to hear Hendel’s mask of Acis and Galatea, with Dryden’s Ode.[9] |
Mar [4/]15
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[Edward Holdsworth in Rome to Charles Jennens] […] Mr Pitt is so well pleas’d with the place yt He seems determin’d to stay here near twelve months longer, wch will give me leisure to execute yr Commissions for Musick &c. and for any other commands you can have for me. Our Operas this year were not very extraordinary. The principal performer was Conti, who must not be named wth Farinelli or Senesino, tho’ I am told by those who have heard him in England that He is much improv’d. […][10] |
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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 GALLATEA [sic], A SERENATA. With CONCERTOS
on the ORGAN, and other INSTRUMENTS. To which will be added, Mr. DRYDEN’s Last NEW ODE. 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 Pit and Gallery Doors will be open’d at Half an Hour after Four o’Clock. And the Boxes at Five. To begin at Half an Hour after Six o’Clock.[11] |
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HAY-MARKET. For the Benefit
and Increase of a Fund establish’d
for the Support of Decay’d Musicians and their Families. AT the KING’s THEATRE in the Hay-market, this Day, will be perform’d (with the Original Scenes and Habits) PARNASSO IN FESTA. Compos’d by Mr. Handel for her Royal Highness the Princess of Orange’s Wedding. In which will be introduc’d, A Concerto on the Hautboy, by Signior St. Martini. A Concerto on the German Flute, by Mr. Weideman. A Solo on the Violin, by Mr. Clegg. A Solo on the Violoncello, by Signior Caporale. And a Concerto on the Bassoon, by Mr. Miller. Pit and Boxes to be put together, at Half a Guinea each. Gallery 5 s. Tickets will be deliver’d this Day at the Office. To begin at Half an Hour after Six o’Clock. N. B. The Tickets deliver’d out for Thursday the 12th, will be taken this Day the 14th.[12] |
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[Earl of Egmont’s Diary, Saturday 14 March 1740-1] Saturday 14. — Went to the Haymarket, to a music in favour of poor musicians’ widows.[13] |
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LINCOLN’s-INN-FIELDS. AT the Theatre-Royal in Lincoln’s-Inn Fields, this Day, March 18, will be perform’d an Oratorio, call’d SAUL. With CONCERTOS
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 Pit and Gallery Doors will be open’d at Half an Hour after Four. And the Boxes at Five. To begin at Half an Hour after Six o’Clock.[14] |
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[Thomas Dampier to William Windham in Geneva] 1741, April 4. Amsterdam. [...] “Mr. Tate says he won’t fail sending you next post an account of Locatelli. . . . Locatelli must surely be allowed by all to be a Terre moto. Tate adds the three other elements, Heavens and all. . . . He plays his ‘Labyrinthe’ and another piece which he has lately composed 50 times more difficult with more ease than I can humm the ‘Black Joke’ . . . for my part I look upon him to be as great a player as Handel, tho’ this latter be so much bigger and taller. He plays with so much fury upon his fiddle that in my humble opinion he must wear out some dozens of them in a year. Mr. Smith, the bookseller here, who is master of a great stock of learning in all the arts and sciences, told us that he (Locatelli) never was known to play one note out of tune, except once, when in performing the difficult piece he has lately composed, he thrust his little finger through the bridge of the fiddle and could not get it out again. . . .”[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, ED IL PENSEROSO. With CONCERTOS
on the ORGAN, and several INSTRUMENTS. To which will be added, Mr. DRYDEN’s last New ODE. F This being the last Time of performing,
many Persons of Quality and others, are pleas’d to make great Demands for Box Tickets, which encourages me (and hope will give no Offence) to put the Pit and Boxes together, at Half a Guinea each. First Gallery 5 s. Second Gallery 3 s. 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. To begin at Half an Hour after Six o’Clock.[16] |
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[Earl of Egmont’s Diary, Wednesday 8 April 1741] After dinner, I went to Lincolns Inn playhouse to hear Hendel’s music for the last time, he intending to go to Spa in Germany.[17] |
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[Mrs. Pendarves to Mrs. Dewes] Jermyn Street, 23d April, 1741. This will be the last letter I shall date from hence; for next Saturday I remove from dust, noise, and hurry, to sweet air, tranquillity, and leisure; all these delights Northend can give, and with them I choose to live! where the Penseroso and Allegro will be blended, and set off [150] each other so as to make it a life of perfect harmony—[18] |
Jun [6/]17
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[Edward Holdsworth in Rome to Charles Jennens] I have met wth 2
little volumes in wch are about 60 Cantatas of Baron D’Astorga, wch
I have purchas’d for you. and some other compositions by the same author. An
English Gentleman & friend of mine, who resides much at Florence, informs
me yt He cou’d get some of the Baron’s Cantatas copied
there, & has many of them himself; but I wou’d willingly have yr
approbation of these before I venture on more. This gentleman is a great
admirer of Hendal, and tho’ He lives in Italy has as great a contempt for
their present tast as yr self. And therefore I think I cannot
apply to a more proper person to be your Taster. The Compositions He prefers
are those of Sre. Marcello, Mancini, & Bencini. D’Astorga is
likewise one of his favourites. I will get you some pieces of each, and if
you like them, I can at any time write to him to procure you a larger supply.
Pray send me an answer to my last what Operas you wou’d have copied. […] I had spent so much time at Naples wth my good friend Mr Herbert, that I expected little to be seen there, but the great eruption of Mt Vesuvio in 37, and the discovery of [2r] a town underground, afforded me matter of great curiosity, the acct. of wch I shall reserve for a dish of Chocolate, or a bottle of Chateau Morg[au]x.[19] |
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[Charles Jennens in Gopsall to Edward Holdsworth] I thank you for your care of my Musical commissions. I should be glad if you would procure me all you can of the Baron d’ Astorga’s compositions, without deferring any to another time. If therefore your Friend can procure any at Florence different from those you have purchas’d, let him do his best: but he must be sure they are not duplicates. I am glad to hear that part of the Baron’s Compositions are Church Musick, which is a point extraordinary gain’d, for I have been glutted with the Italian Theatre, but have not yet had so much as a Tast of the Church. By all means let me have Latilla’s Siroes & Themistocles, & Jemmelli’s Astyanax; but insist on the whole Scores being copy’d, that if they deserve it we may have them perform’d on the English Stage. I must therefore have the Overtures, Songs, Symphonies & Recitatives entire in all their parts. I mention this so particularly, because some Songs of Por<por>a which you brought over with you the last time you was abroad were of no use to me the Symphonys being omitted, & nothing copy’d but the Voice-part & the Base. Handel says he will do nothing next Winter, but I hope I shall perswade him to set another Scripture Collection I have made for him, & perform it for his own Benefit in Passion Week. I hope he will lay out his whole Genius & Skill upon it, that the Composition may excell all his former Compositions, as the Subject excells every other Subject. The Subject is Messiah. [2v] Six extravagant young Gentlemen have subscrib’d 1000ll apiece for the Support of an Opera next Winter. The chief Castrato is to be Monticelli, the chief Woman Visconti; both of them, I suppose, your Acquaintance.[20] |
[Lord Guernsey in Powderham to [James Harris], 24 July 1741]
As soon as I can inform myself, who is Mr Jennens’s carrier, I shall beg the favour of you to give Roubillac directions how to send the bust; I shall write this post to London for a direction & order an answer to be sent to me at Salisbury […][21]
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[Thomas Dampier to friends in Geneva] 1741, July 30. Mitcham. [...] “Don’t you think it odd in him [Tate] to trust me with talking of musick and Handel? They have had several conferences together, and I observed [Gasparo] Fritz’s musick to lie before them, and that the great man frequently cried Bravo and sometimes bravissimo. He laughs very much at the opera which is preparing for next winter. He has refused to have anything to do in the matter. There are eight subscribers, each one 1,000 l. I can remember the names of some of them: Lord Middlesex, Lord Brooke, Lord Conway, Lord Holderness, Mr. Conway, Mr. Frederick, &c. Lord Middlesex it seems is the chief manager in the affair: the men of penetration give hints that his Lordship’s sole aim is to make his mistress, the Muscovita, appear to great advantage upon the stage. With this intent, say they, he has taken care to hire singers with voices inferior to hers; and her’s is not worth a farthing. Lord Brooke is quite easy in the matter. I believe he would pay a thousand pounds more rather than have anything to do in it in the character of manager.”[22] |
[Letter 154: “Diversions of Vaux-hall described”]
[...]
The Figure of Mr. Handel, a great Master of Musick, stands on one Side the [Vauxhall] Gardens, and looks pretty enough: The Musick plays from Five to Ten, about three Tunes (I believe I should have said Pieces) in an Hour. They are all reported to be the best Performers who assist here: but my rough Ears cannot distinguish.[23]
[fall 1741]
Mr. Rubbilac Sculptor of Marble – besides several works in Marble – moddels in Clay. had Modelld from the Life several Busts or portraits extreamly like Mr. Pope. more like than any other Sculptor has done I think Mr. Hogarth very like. – Mr. Isaac Ware Architect Mr Handel – &c and several others. being very exact Imitations of Nature –[24]
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We hear from Italy, that the famous Singer, Mrs. C—z—ni, is under Sentence of Death, to be beheaded, for poisoning her Husband.[25] |
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[Horace Walpole to Horace Mann] Downing Street, Oct. 8, 1741 OS. [... 165 ...] The opera begins the day after the King’s birthday: the singers are not permitted to sing till on the stage, so no one has heard them, nor have I seen Amorevoli to give him the letter. The opera is to be [166] on the French system of dancers, scenes and dresses. The directors have already laid out great sums. They talk of a mob to silence the operas as they did the French players; but it will be more difficult, for here half the young noblemen in town are engaged, and they will not be so easily persuaded to humour the taste of the mobility: in short, they have already retained several eminent lawyers from the Bear Garden, to plead their defence. [...][26] |
[Oct 21/] Nov 1
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[Edward Holdsworth in Rome to Charles Jennens] […] When I was packing up I design’d to have found place for yr books with Mr Pitt’s; but our journey being now defer’d for so long a time, and imagining that you wou’d be willing to have ye Operas before the winter is over, I have therefore already sent off yr books in a box by themselves, directed to Vaillant Bookseller &c. that you may not have the plague of going to the Customhouse your self. He is better acquainted wth those affairs than you are, and is often oblig’d to go thither on his own acct. The Box is mark’d C. J. and the books contain’d, are Vindiciae Script. Canon. 3. Vol. fol. bound. 2 books of Baron D’Astorga’s Cantatas bound. A Cantata, & a Piece of Church musick by ditto. in sheets. Latilla’s Siroè. & Jummelli’s Astianatte, <…>, in the <…> Several pieces by Sigre. Marcello. fogli. 56 1/2. in sheets. As soon as I have the bills of Lading return’d from Leghorn I will forward them to you. I hope yr Musick will escape the Spaniards. Latilla’s Themistocles is not yet copied, but now I have time, I will get that too, & send it wth Mr Pitt’s collection, wch will not be small. As He is very musical, He may perhaps shew you some things worth copying. He began to learn on the Violoncello on his first arrival in Italy and I’m told that he plays a very bold one. Wch I hope will introduce him the better to yr acquaintance.[27] |
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[Horace Walpole to Horace Mann] London, Nov. 2, 1741. YOU shall not hear a word but of balls and public places: this one week has seen Sir T. Robinson’s ball, my Lord Mayor’s, the Birthday and the opera. [... 184 ... 185] The opera will not tell so well as the two other shows, for they were obliged to omit the part of Amorevoli, who has a fever. The audience was excessive, without the least disturbance, and almost as little applause; I cannot conceive why, for Monticelli * * * * * * be able to sing tomorrow. [... 186 ...] I forgot to tell you that the Prince was not at the opera; I believe it has been settled that he shall go thither on Tuesdays, and Majesty on Saturdays that they may not meet.[28] |
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[Horace Walpole to Horace Mann] Downing Street, Nov. 5, 1741, OS. [...] Here is another letter which I am entreated to send you from poor Amorevoli; he has a continued fever, though not a high one. Yesterday Monticelli was taken ill, so there will be no opera on Saturday; nor was on Tuesday. Monticello is infinitely admired; next to Farinelli. The Viscontina is admired more than liked. The music displeases everybody, and the dances. I am quite uneasy about the opera, for Mr Conway is one of the directors, and I fear they will lose considerably, [191] which he cannot afford. There are eight; Lord Middlesex, Lord Holderness, Mr Frederick, Lord Conway, Mr Conway, Mr Damer, Lord Brook and Mr Brand. The five last are directed by the three first; they by the first, and he by the Abbé Vanneschi, who will make a pretty sum. I will give you some instances; not to mention the improbability of eight young thoughtless men of fashion understanding economy; it is usual to give the poet fifty guineas for composing the books — Vanneschi and Rolli are allowed three hundred. Three hundred more Vanneschi had for his journey to Italy to pick up dancers and performers, which was always as well transacted by bankers there. He has additionally brought over an Italian tailor — because there are none here! They have already given this Taylorini four hundred pounds and he has already taken a house of £30 a year. Monticelli and the Visconti are to have a thousand guineas apiece; Amorevoli 850: this at the rate of the great singers is not so extravagant: but to the Muscovita (though the second woman never had above 400) they give six — that is for secret services. By this you may judge of their frugality! I am quite uneasy for poor Harry, who will thus be to pay for Lord Middlesex’s pleasures! Good night! I have not time now to write more. Yours ever.[29] |
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Chester, Nov. 5.—Yesterday arrived here in his Way to Dublin, Mr. Maclaine, who was invited to play on our Cathedral Organ, this day, on which he performed so well, to the entire Satisfaction of the whole Congregation, that some of the best Judges in Musick said, They never heard that Organ truly played on before; and his Performance was allowed to be very masterly and in the finest Taste.[30] |
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DUBLIN, November 21. [...] Wednesday last arriv’d here from London the celebrated Dr. Handell, Universally known by his excellent compositions in all kinds of Musick, he is to perform here this Winter, and has brought over several of the best performers in the Musical Way.[31] |
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And last Wednesday, the celebrated Dr. Handell arrived here in the Packet-boat from Holyhead, a Gentleman universally known by his excellent Compositions in all kinds of Musick, and particularly for his Te Deum, Jubilate, Anthems, and other Compositions in Church Musick, (of which for some years past have principally consisted the Entertainments in the Round Church, which have so greatly contributed to support the Charity of Mercer’s Hospital) to perform his Oratorios, for which Purpose he hath engaged the above Mr. Maclaine, his Wife, and several others of the best Performers in the Musical Way.[32] |
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[Minute-Book, Mercer’s Hospital] At a meeting of the Trustees of Mercer’s Hospital, Nov. 21st, 1741. Present,—John Putland Esq. Deane Owen. Dr. Wynne. Ld. Bpp. of Corck. Ordered that Messrs. Putland, Owen, and Wynne, be and are desired to wait on Mr. Handel to ask the favour of him to play on the Organ at the Musical Performance at St. Andrew’s Church. E. J. MATURIN, Secretary.[33] |
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Last Tuesday arrived in the Yatcht from Park-gate, Signiora Avolio, an excellent Singer, who comes to this Kingdom to perform in Mr. Handel’s Musical Entertainment.[34] |
Nov 21
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[Earl of Egmont’s Diary, Saturday 21 November 1741] [...] Dined and passed the evening at the new opera.[35] |
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Mr. Handel is set out for Ireland, in order to have Oratorios, &c at Dublin.[36] |
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The Governors of Mercer’s Hospital give this publick Notice, that there will be a Sermon preached at St. Andrew’s Church by the Rev. Dr. Delany, on Thursday the 10th of December next, for the Support of that Charity. Divine Service will be performed as formerly, after the Cathedral Manner, with Mr. Handel’s Te Deum, Jubilate, and two new Anthems. The Favour of the Town having been formerly experienced upon the like Occasion, it is hoped the same good and charitable Disposition will be still continued. Tickets to be had at the said Hospital, at Half a Guinea each.[37] |
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We hear that the Expence of Mercer’s Hospital for the last Year has exceeded 550 l. the Number of Patients of the House having been very much enlarged since the additional Buildings there have been finished.[38] |
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Mr. Handel the famous Musician is arriv’d at Dublin, with several of the best Performers in his Science.[39] |
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[Charles Jennens, Queens Square, London to Edward Holdsworth] I heard with great pleasure at my arrival in Town, that Handel had set the Oratorio of Messiah; but it was some mortification to me to hear that instead of performing it here he was gone into Ireland with it. However, I hope we shall hear it when he comes back. We have an expensive Opera, with only one good Voice, Monticelli, a good Singer without a Voice, Amorevoli; & the worst Musick I ever heard.[40] |
Dec 3, Dublin
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[announcement of Mrs Cibber’s arrival last Thursday[41]] |
[Thomas Harris in London to James Harris, 5 December 1741]
[…] Sir W[yndham] Knat[chbull,] Ch[arles] Jennens and I say the present opera is abominably bad, but Dr Green says its in the new taste which the English have not genius enough to comprehend.
Mr Handel is gott to Ireland, but when the last letter came thence his organ was not arrived, so he had not given them any performance. He has with him 2 new peices, The Messiah, scripture words put together by Ch[arles] Jennens[;] the other we believe is Sampson Agonistes altered from Milton, but are not certain of this, & Ch[arles] Jennens had no hand in this.[42]
Dec 5
[Charles Jennens at Queen Square, London to James Harris, 5 December 1741]
Being inform’d that Lord Radnor has given you his collection of musick, I am oblig’d to apply to you for a favour I intended to have ask’d of him; I mean, to borrow that volume which contains some songs in the opera of Agrippina, which are all I want to compleat my collection of the great Handel’s compositions.
§As soon as I came to town, I heard to my great satisfaction, that he had set Messiah, but this receiv’d some allay from the account given me at the same time, that he had carry’d it into Ireland; where it seems there is a subscription for him of 500 guineas.
I hope, we shall see you in town after Christmas, & before you leave it we shall hear the Messiah, as well as another oratorio which he almost finish’d before he went, call’d Samson, (I suppose, Milton’s Samson Agonistes alter’d) by Mr Hamilton.
I am sorry to hear of the loss of your manuscript & hope you will recover it. ’Tis enough to discourage you from lending out your books: perhaps when you come to town, you may pack up Agrippina with most safety among your other things: that will be soon enough for me, & I promise you I will take all possible care of it, & return it safe to you again.
If there is air, harmony, or sense in the opera of Alexander in Persia, ’tis more than I am able to find out. But Dr Green & his disciples have more sagacity. Penelope is to appear on Saturday, by Pescetti or Gualoupi, I don’t hear certainly which. The last is newly come over with the new set of singers. We have but one good voice in the opera, Monticelli, a soprano; and a good singer, Amorevoli, with a very bad tenor voice. Beard is come home again, & should have gone with Handel into Ireland, but Fleetwood said he should want him to sing in an English opera. Handel took only Miss Edwards & one Mrs Maclean with him; & for the rest depends on the Dublin choirs. Till he comes, this town will be a very dull place.[43]
Dec 6, Dublin
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[Dr Delany’s wife died last Sunday morning[44]] |
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On Monday next, being the 14th of December, (and every Day following) Attendance will be given at Mr. Handel’s House [48] in Abbey-street, near Lyffey-street, from 9 o’clock in the Morning till 2 in the Afternoon, in order to receive the Subscription Money for his Six Musical Entertainments in the New Musick Hall in Fishamble street, at which Time each Subscriber will have a Ticket delivered to him, which entitles him to three Tickets each Night, either for Ladies or Gentlemen. N.B. Subscriptions are likewise taken in at the same Place.[45] |
Dec 15, Dublin
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All Persons who have taken Tickets to be disposed of for the Benefit of Mercer’s Hospital, are desired to account for them with the Persons from whom they received them.—— There is great want of old Linen for the Use of the Hospital. [...] This Day, and every Day following, Attendance will be given at Mr. Handel’s House in Abbey-street, near Lyffey-street, from 9 o’clock in the Morning till 2 in the Afternoon, in order to receive the Subscription Money for his Six Musical Entertainments in the new Musick-Hall in Fishamble-street; at which Time each Subscriber will have a Ticket delivered to him, which entitles him to three Tickets each Night, either for Ladies or Gentlemen. —— NB. Subscriptions are likewise taken in at the same Place.[46] |
[dedication: December 18, 1746.]
The Second Epistle of the First Book of Horace imitated. First published in 1741-
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2. […] But we seem mortals of another race, The sons of luxury, contempt, disgrace; [223] Soft as Phoeacian fops, who turn’d their care To mend a feature, or adjust a hair: Mere pimps, and revellers of Comus’ court, Where beaux’
in muffs, fools, parasites resort; All the lewd tribe of prodigals undone, Who, steep’d in vice, sleep down a summer’s sun, And by soft music, languishingly slow, Detain the drowsy God from realms below. […] Still W——e’s conscience throbs beneath a star, And shakes his fabric with intestine war; [228] Our country’s wrongs sit heavy on his breast, And, like Macbeth, his guilt has murder’d rest; Exalted on the top of fortune’s wheel, He wants that peace, which men of virtue feel. Wealth is but vain, if gout, or stone annoy; ’Tis health alone that gives us to enjoy. Who live dependant slaves to hope or fear, To them life’s greatest blessings will appear As Kneller’s pictures to a German race, Or Ward’s specific in a gouty case! [229] To such Belinda’s melody of voice, With Handel’s music, seems a grating noise. […][47] |
Dec 19
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[Robert Price to Lord Haddington] 1741, Dec. 19. London. [...] “I hope we may be able to get Fritz a little money by it [the subscription to his published trios], but they are such abominable Goths here that I can answer for nothing. They cannot bear anything but Handel, Courelli [sic], and Geminiani, which they are eternally playing over and over again at all their concerts. I was at a concert at Lord Brooke’s where Carbonelli played the first fiddle; Tate brought with him some concertos of Locatelli without solo parts, which are extremely easy, but because there were some passages out of the common road, they looked upon them as the most extravagant things in the world and not to be played at sight. Tate and I are of a concert of gentlemen performers where Festing plays the first fiddle, we tried to bring in some of Locatelli’s musick there, but when we mentioned it to Festing he looked as if he had been condemned to be hanged. The only performers of note that I have yet heard are Caporali, Carbonelli, and Festing. . . . We have had a very good opera here, but a great many people have not liked it, the singers are Monticelli, a soprano, the finest singer I ever heard, Amorevoli the famous tenor, Visconti the first woman a very good singer, the Muscovinta an indifferent one, and two [206] or three great scrubs. The first opera was made up of songs of different authors, among which were some exceeding fine ones; the second opera is composed by Signor Galluppi; I have heard it but once and therefore will not pretend to decide about it, but it seems to be pretty good.”[48] |
Dec 19, Dublin
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At the New Musick Hall in Fishamble-Street, on Wednesday next, being the 23d day of December, Mr. Handel’s Musical Entertainments will be opened, at which will be performed, L’Allegro il Penseroso, and il Moderato, with two Concertos for several Instruments, and a Concerto on the Organ. To begin at 7 o’clock. Tickets for that Night will be delivered to the Subscribers (by sending their Subscription Ticket) on Tuesday and Wednesday next at the Place of Performance, from 9 o’clock in the Morning till 3 in the Afternoon. Books will be sold at the said Place, Price a British Sixpence. And Attendance will be given this Day and on Monday next at Mr. Handel’s House, [...] [Dec 22:] And no body can be admitted without a Subscriber’s Ticket. The Subscribers that have not sent in their Subscription money, are humbly desired to send it To-day or To-morrow morning, in order to receive their Subscription Ticket.[49] |
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Last Wednesday, Mr. Handel had his first Oratorio at Mr. Neal’s Musick Hall in Fishamble street, which was crowded with a more numerous and polite Audience than ever was seen upon the like Occasion. The Performance was superior to any thing of the kind in this Kingdom before; and our Nobility and Gentry, to shew their Taste for all kinds of Genius, expressed their great Satisfaction, and have already given all imaginable Encouragement to this grand Musick.[50] |
Dec 24
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[Horace Walpole to Horace Mann] Christmas Eve, 1741. [...] T’other night at the opera Mr Worseley with his peevish face, half-smiling through ill nature, told me (only mind) by way of news, that he heard Mr Mann
was dead at Florence! How kind! To entertain one with the chit-chat of the town, a man comes and tells one, that one’s dearest friend is dead! [... 250 ... 253 ...] The Duchess of Buckingham who is more mad with pride than any [254] mercer’s wife in Bedlam came t’other night to the opera en princesse, literally in robes red velvet and ermine. I must tell you a story of her; last week she sent for Cori, to pay him for her opera ticket; he was not at home, but went in an hour afterwards. She said, did he treat her like a tradeswoman? She would teach him respect to women of her birth; said he was in league with Mr Sheffield to abuse her; and bad him come the next morning at nine. He came, and she made him wait till eight at night, only sending him an omelet and a bottle of wine, and said, as it was Friday, and he a Catholic, she supposed he did not eat meat. At last she received him in all the form of a princess giving audience to an ambassador: ‘Now,’ she said, ‘she had punished him.’ [... 254 ... 256...] We have got a new opera, not so good as the former; and we have got the famous Bettina to dance, but she is a most indifferent performer. The house is excessively full every Saturday, never on Tuesday: here, you know, we make everything a fashion.[51] |
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[Handel to Charles Jennens] Dublin December- 29. 1741. Sr it was with the greatest Pleasure I saw the Continuation of Your Kindness by the Lines You was pleased to send me, in Order to be prefix’d to Your Oratorio Messiah, which I set to Musick before I left England. I am emboldned, Sir, by the generous Concern You please to take in relation to my affairs, to give You an Account of the Success I have met here. The Nobility did me the Hon[n]our to make amongst themselves a Subscription for 6 Nights, which did fill a Room of 600 Persons, so that I needed not sell one single Ticket at the Door. and without Vanity the Performance was received with a general Approbation. Sigra. Avolio, which I brought with me from London pleases extraordinary, I have form’d an other Tenor Voice which gives great satisfaction, the Basses and Counter Tenors are very good, and the rest of the Chorus Singers (by my Direction) do exceeding well, as for the Instruments [verso] they are really excellent, Mr. Dubourgh being at the Head of them and the Musick sounds delightfully in this charming Room, which puts me in such spirits (and my Health being so good) that I exert my self on my Organ whit [sic] more then [sic] usual success. I opened with the Allegro, Penseroso, & Moderato, and I assure you that the Words of the Moderato are vastly admired. The Audience being composed (besides the Flower of Ladies of Distinction and other People of the greatest quality) of so many Bishops, Deans, Heads of the Colledge, the most eminents People in the Law as the Chancellor, Auditor general &tc. all which are very much taken with the Poëtry. So that I am desired to perform it again the next time. I cannot sufficiently express the kind treatment I receive here, but the Politeness of this generous Nation cannot be unknown to You, so I let you judge of the satisfaction I enjoy, passing my time with Honnour, profit, and pleasure. They propose already to have some more Performances, when the 6 Nights of the Subscription are over, and My Lord Duc the Lord Lieutenant (who is allways present with all His Family on those Nights) will easily obtain a longer Permission for me by His Majesty, so that I shall be obliged to make my stay here longer than I thought. One request I must make to you, which is that You would insinuate my most devoted Respects to My Lord and My Lady Shaftesbury, you know how much Their Kind Protection is precious to me. Sir Windham Knatchbull will find here my respectfull Compliments. You will encrease my obligations if by occasion you will present my humble service to some other Patrons and friends of mine. I expect with Impatience the Favour of your News concerning your Health and wellfare, of which I take a real share, as for the News of Your Opera’s, I need not trouble you for all this Town is full of their ill success, by a number of Letters from your quarters to the People of quality here, and I can’t help saying but that it furnishes great Diversion and laughter. The first Opera I heard my self before I left London, and it made me very merry all a long my journey, and of the second opera, called Penelope, a certain noble man writes very jocosly, il faut que je dise avec Harlequin: nôtre Penelôpe n’est qu’une Sallôpe. but I think I have trespassed too much on your Patience. I beg You to be persuaded of the sincere veneration and esteem with which I have the Honnour to be Sr Your most obliged and most humble Servant George Frideric Handel[52] |
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Amico caro, Dublin, December 29. 1741 I Don’t doubt but you have made terrible Reflections against me for not having writ sooner to you, but I hope to obtain your Pardon for this involuntary Delay, when I have told you that I was so much engag’d in this agreeable Town, that it was impossible to find any leisure time till my first performance was over. Now I have the Pleasure to acquaint you of the good success I have met here. The Nobility did me the Honour to make amongst themselves a Subscription for six Nights, which did fill a Room of 600 Persons, so that I needed not sell one single Ticket at the Door, and, without Vanity, the Performance was receiv’d with a general Approbation. Signora Avolio, whom I brought with me from London, pleases extraordinary, and gets a great many Presents amongst my Patrons and Friends, of which there is not a small Number. I have form’d another Tenor Voice, who gives great Satisfaction; the rest of the Chorus Singers are very good, and by my Direction do exceedingly well. As for the Instruments, they are really excellent, Mr. Dubourg being at the head of them, which puts me in such good Spirits, and my Health being so well, that I exert myself on my Organ more than usual. Add to this, that the Musick sounds most delightfully in this charming Room, which is fill’d on my Performances by the greatest Quality and People of Distinction. I let you judge of the Satisfaction I enjoy, passing my Time with Honour, Profit and Pleasure. They propose already to have some more Performances, when the first six Nights of the Subscription are over, so that I shall be oblig’d to make my Stay longer than I thought. I assure you of my constant Remembrance, and you are frequently the Subject of Conversation with your Friends. Here is arriv’d Mrs. Cibber, who meets with Approbation. I think I have made you amends, by writing so long an Epistle to you; in answer to it I desire no more than that you would acquaint me of your Health. No more now, but that I am sincerely, SIR, Your most obedient humble Servant, G. F. Handel[53] |
AIR, in music, signifies the melody, or the inflection of a musical composition. […]
The word is also used for a tune, or song it self [sic], […]
Thus we say an air of Lully: Handel’s airs, with their symphonies and accompanyments, are made into concertos for the violin, &c.[54]
The Establishment of their Royal Highnesses the Princess Amelia and the Princess Caroline.
[…]
Musick-Master, Mr. George-Frederick Handel, [per Annum] 200[l.] 0[s.] 0[d.][55]
[“THE NAMES OF THE SUBSCRIBERS.”]
George Frederick Handel, Esq;[56]
[1] The London Daily Post, and General Advertiser, no. 1940, Saturday 10 January 1740-1, [1]; partly repr., Deutsch, 509.
[2] The London Daily Post, and General Advertiser, no. 1946, Saturday 17 January 1740-1, [1].
[3] The London Daily Post, and General Advertiser, no. 1958, Saturday 31 January 1740-1, [1]; partly repr., Deutsch, 510.
[4] The London Daily Post, and General Advertiser, no. 1964, Saturday 7 February 1740-1, [1].
[5] Manuscripts of the Earl of Egmont. Diary of the First Earl of Egmont (Viscount Percival). Vol. III. 1739-1747 (London: His Majesty’s Stationery Office, 1923), 190.
[6] The London Daily Post, and General Advertiser, no. 1976, Saturday 21 February 1740-1, [1].
[7] The London Daily Post, and General Advertiser, no. 1977, Monday 23 February 1740-1, [2].
[8] The London Daily Post, and General Advertiser, no. 1982, Saturday 28 February 1740-1, [1]; partly repr. (“GALLATEA” is corrected without acknowledgment), Deutsch, 512.
[9] Manuscripts of the Earl of Egmont. Diary of the First Earl of Egmont (Viscount Percival). Vol. III. 1739-1747 (London: His Majesty’s Stationery Office, 1923), 196.
[10]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 2,” item 69, f. 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: 104.
[11] The London Daily Post, and General Advertiser, no. 1991, Wednesday 11 March 1740-1, [1].
[12] The London Daily Post, and General Advertiser, no. 1994, Saturday 14 March 1740-1, [1]; partly repr., Deutsch, 514.
[13] Manuscripts of the Earl of Egmont. Diary of the First Earl of Egmont (Viscount Percival). Vol. III. 1739-1747 (London: His Majesty’s Stationery Office, 1923), 199.
[14] The London Daily Post, and General Advertiser, no. 1997, Wednesday 18 March 1740-1, [1].
[15] The Manuscripts of the Duke of Beaufort, K.G., the Earl of Donoughmore, and others (London: Her Majesty’s Stationery Office, 1891), 202.
[16] The London Daily Post, and General Advertiser, no. 2015, Wednesday 8 April 1741, [1]; partly repr., Deutsch, 517-18.
[17] Manuscripts of the Earl of Egmont. Diary of the First Earl of Egmont (Viscount Percival). Vol. III. 1739-1747 (London: His Majesty’s Stationery Office, 1923), 210.
[18] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 2:149-50.
[19]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 2,” item 71, ff. 1v–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:
105.
[20]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 2,” item 72, f. 2; 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: 106–107; (last three sentences on
2r), Autograph Letters of George Frideric Handel and Charles
Jennens (auction catalog, Christie, Manson & Woods, July 4, 1973), 21;
(last five sentences) Händel Handbuch,
334.
[21] 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), 116.
[22] The Manuscripts of the Duke of Beaufort, K.G., the Earl of Donoughmore, and others (London: Her Majesty’s Stationery Office, 1891), 203.
[23] [Samuel Richardson], Letters written to and for Particular Friends, on the most Important Occasions. Directing not only the Requisite Style and Forms to be observed in writing Familiar Letters; but how to think and act justly and prudently, in the Common Concerns of Human Life (London: C. Rivington, J. Osborn, and J. Leake at Bath, 1741), 224; Chrissochoidis, 753.
[24] The Twenty-Second Volume of the Walpole Society, 1933-1934: Vertue Note Books. Volume III (Oxford: Walpole Society, 1934), 105; Deutsch, 532.
[25] The London Daily Post, and General Advertiser, no. 2154, Thursday 17 September 1741, [1].
[26] Horace Walpole’s Correspondence with Sir Horace Mann I, ed. W. S. Lewis, Warren Hunting Smith, and George L. Lam (New Haven: Yale University Press / London: Geoffrey Cumberlege, Oxford University Press, 1954), 165-66.
[27]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 2,” item 73, f. 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: 107.
[28] Horace Walpole’s Correspondence with Sir Horace Mann I, ed. W. S. Lewis, Warren Hunting Smith, and George L. Lam (New Haven: Yale University Press / London: Geoffrey Cumberlege, Oxford University Press, 1954), 183-86.
[29] Horace Walpole’s Correspondence with Sir Horace Mann I, ed. W. S. Lewis, Warren Hunting Smith, and George L. Lam (New Haven: Yale University Press / London: Geoffrey Cumberlege, Oxford University Press, 1954), 190-91.
[30] George Faulkner. The Dublin Journal, Tuesday 17 – Saturday 21 November 1741: Townsend, 44.
[31] Pue’s Occurrences, vol. 38, no. 93, Tuesday 17 – Saturday 21 November 1741, [4]; repr., Townsend, 45.
[32] George Faulkner. The Dublin Journal, Tuesday 17 – Saturday 21 November 1741: Townsend, 45.
[33] Townsend, 46.
[34] George Faulkner. The Dublin Journal, 24-28 November 1741: Townsend, 47.
[35] Manuscripts of the Earl of Egmont. Diary of the First Earl of Egmont (Viscount Percival). Vol. III. 1739-1747 (London: His Majesty’s Stationery Office, 1923), 231.
[36] The London Morning Advertiser, no. 966, Monday 23 November 1741, [4].
[37] George Faulkner. The Dublin Journal, no. 1612, Saturday 21 – Tuesday 24 November 1741, [2].
[38] George Faulkner. The Dublin Journal, no. 1614, Saturday 28 November – Tuesday 1 December 1741, [2].
[39] The Daily Gazetteer, no. 2015, Wednesday 2 December 1741, [2]; repr., The London Morning Advertiser, no. 971, Friday 4 December 1741, [4].
[40]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 2,” item 74, f. 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: 107–108; (first two sentences) Autograph
Letters of George Frideric Handel and Charles Jennens (auction catalog,
Christie, Manson & Woods, July 4, 1973), 22; (except last paragraph) Händel Handbuch, 339.
[41] George Faulkner. The Dublin Journal, no. 1[6]15, Tuesday 1 – Saturday 5 December 1741, [2].
[42] 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), 128.
[43] 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), 129.
[44] George Faulkner. The Dublin Journal, no. 1616, Saturday 5 – Tuesday 8 December 1741, [2].
[45] George Faulkner. The Dublin Journal, 8-12 December 1741: Townsend, 47-48.
[46] George Faulkner. The Dublin Journal, no. 1618, Saturday 12 – Tuesday 15 December 1741, [3].
[47] Thomas Gilbert, Poems on Several Occasions (London: Charles Bathurst, 1747), 217, 222-23, 227-29; Chrissochoidis, 753.
[48] The Manuscripts of the Duke of Beaufort, K.G., the Earl of Donoughmore, and others (London: Her Majesty’s Stationery Office, 1891), 205-06.
[49] George Faulkner. The Dublin Journal, 15-19 December 1741, 19-22 December 1741: Townsend, 48.
[50] George Faulkner. The Dublin Journal, 26-29 December 1741: Townsend, 49.
[51] Horace Walpole’s Correspondence with Sir Horace Mann I, ed. W. S. Lewis, Warren Hunting Smith, and George L. Lam (New Haven: Yale University Press / London: Geoffrey Cumberlege, Oxford University Press, 1954), 249-56.
[52] Autograph Letters of George Frideric Handel and Charles Jennens (auction catalog, Christie, Manson & Woods, July 4, 1973), 10; facsimile of first page, pp. 14/15.
[53] The Daily Advertiser, 14 January 1742: Donald Burrows, “A New Handel Letter,” Newsletter of the Handel Institute 24/1 (Spring 2013), 1–2: 2.
[54] E[phraim]. Chambers, Cyclopaedia: Or, An Universal Dictionary of Arts and Sciences, 5th edition, 2 vols. (London:D. Midwinter et al., 1741), 1:unpaginated; Chrissochoidis, 754.
[55] John Chamberlayne, Magnae Britanniae Notitia: Or, The Present State of Great Britain (London: D. Midwinter et al., 1741), 265; Chrissochoidis, 754.
[56] [James] Miller, Miscellaneous Works in Verse and Prose…Volume the First (London: J. Watts, 1741), non-paginated; Chrissochoidis, 754.