1743
Jan 10
|
Janry. 10 1742-3 Sr. The ffollowing [sic] Oratorio of Samson is Intended to be Perform’d at the Theatre Royal in Covt. Garden with your Permission I am Sr. Yr. humble Servt. Jno. Rich George Frideric Handel To ——Chitwin Esqr. in Cork Street Absent[1] |
Jan 17
|
[Charles Jennens in London to Edward Holdsworth] Dear Sir, I came not to Town till the last day of the old year, &, had it not been for your Business, should have come up even then with reluctance, having in my own mind fix’d the beginning of February for my Journey, about a fortnight before the time of Handel’s Oratorios. […1v] [2r] I told you before that one of the Composers in my Box was good, I mean Scarlatti: & I shall not condemn the rest without a fair Trial. Handel has borrow’d a dozen of the Pieces, & I dare say I shall catch him stealing from them; as I have formerly, both from Scarlatti & Vinci. He has compos’d an exceeding fine Oratorio, being an alteration of Milton’s Samson Agonistes, with which he is to begin Lent. His Messiah has disappointed me, being set in great hast, tho’ he said he would be a year about it, & make it the best of all his Compositions. I shall put no more Sacred Words into his hands, to be thus abus’d. […] I am resolv’d
to have no more Operas or Cantatas from Italy, but if you can meet with any
more of Astorga’s church Musick,
or Marcello’s, or any that is much esteem’d,
I shall be oblig’d to you for them. […][2] |
Feb 3
|
For the Benefit of Mr. CLEGG, (Who has been in a bad State of Health for some Time past,) AT Hickford’s Great Room in Brewer’s- Street, near Golden-Square, this Day, Feb. 3, will be perform’d a CONCERT of Vocal and Instrumental MUSICK. The Vocal Part by Signora AVOLIO, (Being the first Time of her Singing in Publick in England;) The principal Instrumental Parts as follow[s], viz. A Solo on the Violoncello by Signor Caporale. A Concerto on the Harpsichord by Mr. James Vincent. A Concerto on the Hautboy by Mr. Thomas Vincent, jun. A Concerto on the Bassoon by Mr. Miller. And the First Violin by Mr. Feasting. Tickets to be had at the following Places, viz. Mrs. Clegg’s, at Mr. Fullford’s, a Brazier in New Bond-street; the Swan Tavern in Cornhill; Mr. Walmsley’s, a Musick-shop, the Corner of Picadilly; and at the Place of Performance. Each Ticket Five Shillings. To begin exactly at Seven o’Clock.[3] |
Feb [5/]16
|
[Edward Holdsworth in Angers to Charles Jennens] I have wrote to Mr Pitt by this post, and thank’d him for the 2 Drawings He gave you; and for sending your Books and box of Musick, tho’ the latter perhaps may not be worth thanks. However ’tis some credit to yr box that Handel borrows some of the pieces, and if He borrows from them, that will be still doing them more honour. […] I am sorry to hear yr friend Handel is such a jew.
His negligence, to say no worse, has been a great disappointment to others as
well as yr self, for I hear there was
great expectation of his composition. I hope the words, tho’
murther’d, are still to be seen, and yt I shall have that pleasure when I return.
And as I don’t understand the musick I shall be
better off than the rest of ye world.[4] |
Feb 7
|
By SUBSCRIPTION. AT the Theatre Royal in Covent-Garden, on Friday the 18th inst. will be perform’d a new ORATORIO, call’d SAMPSON. Tickets will be deliver’d to Subscribers (on paying their Subscription-Money) this Day, and every Day following, (Sunday excepted) at Mr. Handel’s House in Brooke-Street, near Hanover-Square. Attendance will be given from Nine o’ Clock in the Morning till Three in the Afternoon. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d that Day at the Office in Covent-Garden Theatre, at Half a Guinea each. First Gallery 5s. Upper Gallery 3s. 6d. Note, Each Subscriber is to pay Six Guineas upon taking out his Subscription Ticket, which entitles him to three Box-Tickets every Night of Mr. Handel’s first six Performances in Lent.[5] |
Feb 10
|
Lady
Hertford to her son Lord Beauchamp, 10 February 1743 Mr
Handel is getting a Subscription for an Opera next Year & is to have
Oratorio’s in Lent as usual.[6] |
Feb 12
|
By SUBSCRIPTION. AT the Theatre Royal in Covent-Garden, on Friday the 18th inst. will be perform’d a new ORATORIO, call’d SAMPSON. Tickets will be deliver’d to Subscribers (on paying their Subscription- Money) this Day, and every Day following, (Sunday excepted), at Mr. Handel’s House in Brooke-Street, near Hanover-Square. Attendance will be given from Nine o’Clock in the Morning till Three in the Afternoon. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d that Day at the Office in Covent-Garden Theatre, at Half a Guinea each. First Gallery 5 s. Upper Gallery 3 s. 6 d. Note, Each Subscriber is to pay Six Guineas upon taking out his Subscription Ticket, which entitles him to three Box-Tickets every Night of Mr. Handel’s first six Performances in Lent. And if Mr. Handel should have any more Performances after the six first Nights, each Subscriber may continue on the same Conditions.[7] |
Feb 18
|
By SUBSCRIPTION. AT the Theatre Royal in Covent-Garden, this Day, the 18th instant, will be perform’d a new ORATORIO, call’d SAMPSON. With a new CONCERTO on the ORGAN. Tickets will be deliver’d to Subscribers this Day, at the Office in Covent- Garden Theatre. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d this Day at the Office in Covent-Garden Theatre, at Half a Guinea each. First Gallery 5 s. Upper Gallery 3 s. 6 d. The Galleries will be open’d at Four, Pit and Boxes at Five. To begin at Six o’Clock.[8] |
Feb 18
|
This Day is publish’d, (Price 1 s.) SAMPSON. An Oratorio. As it is perform’d at the Theatre Royal in Covent-Garden. Alter’d and adapted to the Stage from the Sampson Agonistes of MILTON. Set to Musick by GEORGE FREDERICK HANDEL. Printed for J. and R. Tonson, in the Strand.[9] |
|
Sampson, an Oratorio, for Mess. Tonson, pr. 1 s.[10] |
Feb 19
|
Lady
Hertford, London, to her son Lord Beauchamp, Saturday 19 February 1743 Mr
Handel had a new Oratorio call’d Sampson last
Night, but I have seen no body who was there, so can give yu
no accout of it[11] |
Feb 21
|
[Charles Jennens in London to Edward Holdsworth] […] I am sorry I mention’d my Italian Musick to Handel, for I don’t like to have him borrow from them who has so much a better fund of his own. As to the Messiah, ’tis still in his power by retouching the weak parts to make it fit for a publick performance; & I have said a great deal to him on the Subject; but he is so lazy & so obstinate, that I much doubt the Effect. I have a copy, as it was printed in Ireland, full of Bulls; & if he does not print a correct one here, I shall do it my Self, & perhaps tell him a piece of my mind by way of Preface. I am a little out of humour, as you may perceive, & want to vent my Spleen for ease. What adds to my chagrin is, that if he makes his Oratorio ever so perfect, there is a clamour about Town, said to arise from the B[isho]ps, against performing it. This may occasion some enlargement of the Preface. […2r…] [postscript:] Last Friday Handel perform’d his Samson, a most exquisite
Entertainment, which tho’ I heard with infinite
Pleasure, yet it increas’d my resentment
for his neglect of the Messiah. You do him too much Honour
to call him a Jew! a Jew would have paid more respect to the Prophets. The
Name of Heathen will suit him better. yet a sensible Heathen would not have prefer’d the Nonsense, foisted by one Hamilton
into Milton’s Samson Agonistes, to the
sublime Sentiments & expressions of Isaiah & David, of the Apostles
& Evangelists; & of Jesus Christ.[12] |
Feb 23
|
By SUBSCRIPTION. The Second Night. AT the Theatre Royal in Covent-Garden, this Day, will be perform’d a new ORATORIO, call’d SAMSON. Tickets will be deliver’d to Subscribers this Day, at the Office in Covent-Garden Theatre. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d this Day, at the Office in Covent-Garden Theatre, at Half a Guinea each. First Gallery 5 s. Upper Gallery 3 s. 6 d. The Galleries will be open’d at Four, Pit and Boxes at Five. To begin at Six o’Clock.[13] |
|
It being known on Wednesday that his Majesty and the rest of the Royal Family were to be at the Oratorio at Covent-Garden Playhouse, and Intelligence being given that a large Gang of Pickpockets were preparing to give their Attendance upon that Occasion, Mr. Holden Bowker, High Constable for the City and Liberty of Westminster, with several of the petty Constables likewise, attended there to take them, and three of the most notorious of that pernicious Gang were taken, and brought before Col. De Veil, where they were under Examination for a considerable Time, and they prov’d to be John Price, much better known by the Nickname of Pidgeon, having been the Captain of the Pickpockets for Years past; the next, William Cole, another famous Person in the Mystery of picking Pockets, also better known by the Nickname of Stink and End; and the third, one William Meredith, a Bulk to the Pickpockets. They were all committed to Clerkenwell-Bridewell to hard Labour, so that their Trade will be at an End for this Season.[14] |
Feb 24
|
Lord
Hertford to his son Lord Beauchamp, 24 February 1743 Last Tuesday I was at the Opera [Temistocle,] tis I think the
best we have had this year [.] tis one of Porpora
& I believe it will please, for tis chiefly light Musick
& that You know is what is best liked in this Country, Handel has an
Oratorio every Friday which is very much crowded & the Musick much admired, tho the
singers are Mrs Clive & Ciber, Mr Beard, Low
& Miss Edwards, & he has begun a subscription for an Opera next year
which I hope will succeed.[15] |
Feb 24
|
[Horace Walpole to Horace Mann] Arlington Street, Feb. 24. [...] But to come to more real contests; Handel has set up an oratorio against the operas; and succeeds. He has hired all the goddesses from farces and the singers of Roast Beef from between the acts at both theatres, with a man with one note in his voice [Beard], and a girl [Cibber?] without ever an one; and so they sing, and make brave hallelujahs; and the good company encore the recitative, if it happens to have any cadence like what they call a tune. I was much diverted t’other night at the opera; two gentlewomen sat before my sister, and not knowing her, discoursed at their ease. Says one, ‘Lord! how fine Mr W[alpole] is!’ ‘Yes,’ replied t’other [181] (with a tone of saying sentences) ‘some men love to be particularly so, your petit maîtres — but they are not always the brightest of their sex.’[16] |
|
For the Benefit of JAMES JACOBSON. AT the Angel and Crown Tavern in White-chapel, Tomorrow, being the 25th instant, will be perform’d a Grand CONCERT of Vocal and Instrumental MUSICK: With Mr. Handel’s Coronation-Anthem, a new Organ Concerto by Mr. Jacobson on the Harpsichord, and a Solo on the Viola d’Amore by Mr. Grosman; to conclude with the Water-Piece. To begin at Six o’Clock. Tickets at 2s. 6d. each, to be had at Mrs. Hare’s Musick-Shop, in Birchin-Lane; at Mr. Hill’s Musick-Shop, in the Minories; at Mr. Morton’s, Watchmaker, in Tower-Street; and at the Bar at the Place of Performance.[17] |
Feb 25
|
By SUBSCRIPTION. The Third Night. AT the Theatre Royal in Covent-Garden, this Day, will be perform’d a new ORATORIO, call’d SAMSON. With a new CONCERTO on the ORGAN. Tickets will be deliver’d to Subscribers this Day, at the Office in Covent-Garden Theatre. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d this Day, at the Office in Covent-Garden Theatre, at Half a Guinea each. First Gallery 5 s. Upper Gallery 3 s. 6 d. The Galleries will be open’d at Four, Pit and Boxes at Five. To begin at Six o’Clock.[18] |
late February
|
Lord
Beauchamp, in Lyon, to [his family], late February (NS) 1742/3 I fancy M.r Handel’s
Oratorios with such Performers must be sad stuff, for how M.rs
Cibber sings God knows for I never heard her, but as to all the rest I have
heard them often & never desire to have the pleasure of hearing them
again[19] |
Feb 26
|
Lady
Hertford to her son Lord Beauchamp, 26 February 1743 The Oratorio has answer’d much better,
being fill’d with all the People [of] Quality in Town;
& they say Handel has exerted himself to make it the finest piece of Musick he ever composed.[20] |
|
For the Benefit of Mr. BROWN. AT the Castle Tavern in Pater-noster-Row, on Friday next, the 4th of March, will be perform’d a CONCERT of Vocal and Instrumental MUSICK. The Vocal Parts by Signor Palma and Mr. Beard. A Concerto on the Organ by an eminent Master, a Solo on the German Flute by Mr. Balicourt, a Concerto on the Bassoon by Mr. Hebden, and a Solo and several Concertos on the Violin by Mr. Brown. Note, Mr. Brown begs Leave to acquaint the Publick, that there will be no Oratorio on that Night. […][21] |
ENTERTAINMENT and POETRY.
[...]
5. Sampson. An Oratorio. Printed for Mess. Tonson, price 1s[.][22]
Mar 2
|
By SUBSCRIPTION. The Fourth Night. AT the Theatre Royal in Covent-Garden, this Day, will be perform’d a new ORATORIO, call’d SAMSON. With a new CONCERTO on the ORGAN. And a Solo on the Violin by Mr. DUBOURG. Tickets will be deliver’d to Subscribers this Day, at the Office in Covent-Garden Theatre. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d this Day, at the Office in Covent-Garden Theatre, at Half a Guinea each. First Gallery 5 s. Upper Gallery 3 s. 6 d. The Galleries will be open’d at Four, Pit and Boxes at Five. To begin at Six o’Clock.[23] |
Mar 3
|
[Horace Walpole to Horace Mann] March 3d 1743. [... 185 ... 186 ...] The oratorios thrive abundantly — for my part, they give me an idea of heaven, where everybody is to sing whether they have voices or not.[24] |
Mar [5/]16
|
[Edward Holdsworth in Angers to Charles Jennens] As soon as I get to Italy, where I hope to be by Midsummer, I shall remember your instructions, about Astorga’s or Marcello’s Church Musick. But for fear of mistakes I shou’d be glad to know wt you have of that sort already, that I may not blunder & send you Duplicates, as for Operas & Cantatas I am very safe, I shall meddle with none. If I mistake not Mr Sandford has only one Vol. of Blanchini. and you 3. or rather one of Blanchini and 2 by another author, wch I was impos’d upon, and took as his; for more security I shall be glad to know particularly the titles of what you have, that I may not send you the same again; for you find by experience that I can blunder. I am not at all surpris’d at the clamour rais’d against Messiah, since I remember a R[igh]t. R[everend]. took offence at Exodus. I hope this will not engage you in a Quarrel with the bench. They are a terrible body. […][25] |
Mar 9
|
By SUBSCRIPTION. The Fifth Night. AT the Theatre Royal in Covent-Garden, this Day, will be perform’d a new ORATORIO, call’d SAMSON. With a new CONCERTO on the ORGAN. And a Solo on the Violin by Mr. DUBOURG. Tickets will be deliver’d to Subscribers this Day, at the Office in Covent-Garden Theatre. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d this Day, at the Office in Covent-Garden Theatre, at Half a Guinea each. First Gallery 5 s. Upper Gallery 3 s. 6 d. The Galleries will be open’d at Four, Pit and Boxes at Five. To begin at Six o’Clock.[26] |
Mar 9
|
Lord
Hertford to his son Lord Beauchamp, 9 March 1742/3 but as long as the Opera lasts I shall come to London once every
week[27] |
Mar 11
|
By SUBSCRIPTION. The Sixth Night. AT the Theatre Royal in Covent-Garden, this Day, will be perform’d a new ORATORIO, call’d SAMSON. With a new CONCERTO on the ORGAN. And a Solo on the Violin by Mr. DUBOURG. Tickets will be deliver’d to Subscribers this Day, at the Office in Covent-Garden Theatre. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d this Day, at the Office in Covent-Garden Theatre, at Half a Guinea each. First Gallery 5 s. Upper Gallery 3 s. 6 d. The Galleries will be open’d at Four, Pit and Boxes at Five. To begin at Six o’Clock.[28] |
Mar 16
|
COVENT-GARDEN. By SUBSCRIPTION. The Seventh Night. AT the Theatre-Royal in Covent-Garden, this Day, will be perform’d a New ORATORIO, call’d SAMPSON. (Being the last Time of performing it this Season.) With a CONCERTO on the ORGAN. And a Solo on the Violin by Mr. DUBOURG. Tickets will be deliver’d to Subscribers this Day, at the Office in Covent-Garden Theatre. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be deliver’d this Day, at the Office in Covent-Garden Theatre, at Half a Guinea each. First Gallery 5 s. Upper Gallery 3 s. 6 d. The Galleries will be open’d at Four o’Clock. Pit and Boxes at Five. [DA only:] To begin at Six o’Clock. *** The Subscribers to Mr[.] Handel’s six former Performances, who intend to continue their Subscription on the same Conditions for six Entertainments more, are desired to send their Subscription-Money to the Office in Covent-Garden Theatre.[29] |
Mar 18
|
COVENT-GARDEN. By SUBSCRIPTION. The Eighth Night. AT the Theatre-Royal in Covent-Garden, this Day, will be perform’d L’ALLEGRO ED IL PENSEROSO. With ADDITIONS. AND DRYDEN’s ODE on CAECILIA’s DAY. A CONCERTO on the ORGAN, And a Solo on the Violin by Mr. DUBOURG. Tickets will be deliver’d to Subscribers this Day, at the Office in Covent-Garden Theatre. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be deliver’d this Day, at the Office in Covent-Garden Theatre, at Half a Guinea each. First Gallery 5 s. Upper Gallery 3 s. 6 d. The Galleries will be open’d at Four o’Clock. Pit and Boxes at Five. [DA only:] To begin at Six o’Clock.[30] |
Mar 19
|
From my CHAMBERS, Lincoln’s-Inn. THE following Letter may to many of my Readers, especially those of a gay and polite Taste, seem too rigid a Censure on a Performance, which is so universally approv’d: However, I could not suppress it, as there is so well- intended a Design and pious Zeal runs through the whole, and nothing derogatory said of Mr. Handel’s Merit. Of what good Consequences it will produce, I can only say — Valeat Quantum valere potest. To the AUTHOR of the UNIVERSAL SPECTATOR. SIR, WHEN Prophaneness and Immorality flow in like a Flood, it becomes every one to lend a helping Hand to stop the Torrent, and not supinely and negligently let them swell till they deluge the Land. Altho’ I fear my weak Endeavours will have but little Effect, yet I shall have the Satisfaction to think I did what I could to prevent it: With this Intention, and in Hopes I may, by this Hint, set some more able Pen to Work, I send you the following Sentiments, desiring you to clothe my Thoughts with better Language, that is, good Sir, make what Alterations you think proper, and then give them a Place in your Paper, and let not me, but the urgent Necessity of the present Juncture, engage you to do it immediately, in which you will very highly oblige, Sir, Your unknown Correspondent. IF Zeal for God’s Honour, and a sincere Regard for the Happiness of our Fellow Creatures, are not only allowable, but laudable Sentiments, I hope they will excuse my attempting to assert the one, and endeavour the other. That Diversions are arriv’d at this Time to such an extravagant Height, as can scarce be parallel’d in any Time or Nation, every Body sees, whose Reason is not quite enervated and blinded by Pleasure. As in the Days of Noah they eat, they drank, and rose up to play, so now also, Eating, Drinking and Play, seem all the Business and End of Life. If Christ should at this Time call us to Judgment, his Prophecy would be compleatly verified, That so should it be when he came. Whoever looks back into History, whether Sacred or Prophane, will find that Luxury and Prophaneness are generally the Forerunners of Judgment and Destruction to particular Cities and Nations. But my Design, at present, is to speak to one particular Diversion, appropriated to this Season or Time of Lent; a Season design’d for every one to humble their Souls: But if one was to judge by the busy Crowd, and many Diversions, one should rather imagine it was a Carnival. But to my present Purpose, which is to consider, and, if possible, induce others to consider, the Impropriety of Oratorios, as they are now perform’d. Before I speak against them (that I may not be thought to do it out of Prejudice or Party) it may not be improper to declare, that I am a profess’d Lover of Musick, and in particular all Mr. Handel’s Performances, being one of the few who never deserted him. I am also a great Admirer of Church Musick, and think no other equal to it, nor any Person so capable to compose it, as Mr. Handel. To return: An Oratorio either is an Act of Religion, or it is not; if it is, I ask if the Playhouse is a fit Temple to perform it in, or a Company of Players fit Ministers of God’s Word, for in that Case such they are made. Under the Jewish Dispensation, the Levites only might come near to do the Service of the Tabernacle, and no common Person might so much as touch the Ark of God: Is God’s Service less holy now? In the other Case, if it is not perform’d as an Act of Religion, but for Diversion and Amusement only, (and indeed I believe few or none go to an Oratorio out of Devotion) what a Prophanation of God’s Name and Word is this, to make so light Use of them? I wish every one would consider, whether, at the same Time they are diverting themselves, they are not accessary [sic] to the breaking the Third Commandment. I am sure it is not following the Advice of the Psalmist, Serve the Lord with Fear, and rejoice unto him with Reverence: How must it offend a devout Jew, to hear the great Jehovah, the proper and most sacred Name of God, (a Name a Jew, if not a Priest, hardly dare pronounce) sung, I won’t say to a light Air, (for as Mr. Handel compos’d it, I dare say it is not) but by a Set of People very unfit to perform so solemn a Service. David said, How can we sing the Lord’s Song in a strange Land; but sure he would have thought it much stranger to have heard it sung in a Playhouse. But it seems the Old Testament is not to be prophan’d alone, nor God by the Name of Jehovah only, but the New must be join’d with it, and God by the most sacred the most merciful Name of Messias; for I’m inform’d that an Oratorio call’d by that Name has already been perform’d in Ireland, and is soon to be perform’d here: What the Piece itself is, I know not, and therefore shall say nothing about it; but I must again ask, If the Place and Performers are fit? As to the Pretence that there are many Persons who will say their Prayers there who will not go to Church, I believe I may venture to say, that the Assertion is false, without Exception; for I can never believe that Persons who have so little Regard for Religion, as to think it not worth their while to go to Church for it, will have any Devotion on hearing a religious Performance in a Playhouse. On the contrary, I’m more apt to fear it gives great Opportunity to prophane Persons to ridicule Religion at least, if not to blaspheme it; and, indeed, every Degree of Ridicule on what is sacred, is a Degree of Blasphemy: But if the Assertion was true, are the most sacred Things, Religion and the Holy Bible, which is the Word of God, to be prostituted to the perverse Humour of a Set of obstinate People, on a Supposition that they may be forc’d thereby once in their Lives to attend to what is serious. How will this appear to After-Ages, when it shall be read in History, that in such an Age the People of England were arriv’d to such a Height of Impiety and Prophaneness, that the most sacred Things were suffer’d to be us’d as publick Diversions, and that in a Place, and by Persons appropriated to the Performance not only of light and vain, but too often prophane and dissolute Pieces? What would a Mahometan think of this, who with so much Care and Veneration keep their Alcoran? What must they think of us and our Religion? Will they not be confirm’d in their Errors? Will not they be apt to say, that surely we ourselves believe it no better than a Fable, by the Use we make of it; and may not the Gospel, by this Means, (as well as by the wicked Lives of Christians) be hinder’d from spreading? A Thing of no small Consequence, and which ought to be consider’d by us who have the lively Oracles committed to us, and are bound by all the Ties of Gratitude and Humanity, as well as Honour and Conscience, to endeavour to enlarge that Kingdom of Christ, which we pray should come. PHILALETHES.[31] |
Mar 20
|
[Elizabeth Harris Sr to James Harris, 20 March [1743]] Lady Shaftesbury writes me word she believes Mr Handle will get at least £2,000 by these subscriptions of his, which I rejoice to hear of.[32] |
Mar 22 /Apr 2
|
[Horace Mann to Horace Walpole] Florence, April 2d 1743 NS. [... 198 ...] À propos to dead folks we hear Vanneschi is of the number. Bonducci heard he had succeeded well in England, made operas, cheated Lord M[iddlese]x, changed his religion, and married a dama. He desires me to recommend him to you as his successor. I fancy he would turn his hand to all, and he depends much on your recommendation. [...][33] |
Mar 23
|
COVENT-GARDEN. By SUBSCRIPTION. The Ninth Night. AT the Theatre-Royal in Covent-Garden, this Day, will be perform’d A NEW SACRED ORATORIO. A CONCERTO on the ORGAN, And a Solo on the Violin by Mr. DUBOURG. Tickets will be deliver’d to Subscribers this Day, at the Office in Covent-Garden Theatre. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be deliver’d this Day, at the Office in Covent-Garden Theatre, at Half a Guinea each. First Gallery 5 s. Upper Gallery 3 s. 6 d. The Galleries will be open’d at Four o’Clock. Pit and Boxes at Five. [DA only:] To begin at Six o’Clock.[34] |
Mar 24
|
[Charles Jennens in London to Edward Holdsworth] I have no Italian Church Musick but Astorga’s Stabat Mater. Mr. Sanford & I have each the first volume (tome it is call’d) of Blanchini’s Vindiciae Scripturarum Canonicarum, which was all that was publish’d when you was last at Rome. We both desire as many volumes of the same work as have been publish’d since. Mr. Sanford sets a great value upon it, & says it will be of great service to the Christian Religion. I have the first part in two Tomes of the Works of Cardinal Thomasius publish’d by the same Blanchini: these Mr. Sanford would have; & if more volumes have been publish’d, you may buy them for both of us. Messiah was perform’d last night, & will be again to morrow, notwithstanding the clamour rais’d against it, which has only occasion’d it’s being advertis’d without it’s Name; a Farce, which gives me as much offence as any thing relating to the performance can give the B[ishop]s. & other squeamish People. ’Tis, after all, in the main, a fine Composition, notwithstanding some weak parts, which he was too idle & too obstinate [2v] to retouch, tho’ I us’d great importunity to perswade him to it. He & his Toad-eater Smith did all they could to murder the Words in print; but I hope I have restor’d them to Life, not without much difficulty. I am, Dear Sr., Your most Affectionate Friend & Servt. C. Jennens.[35] |
Mar 25
|
[Thomas Harris to James Harris, 25 March 1743] I am glad Handel mett success for 7 nights with his Sampson. Indeed I did not imagine that any other peice would go off so well, because none could suit the voices so well.[36] |
Mar 31
|
COVENT-GARDEN. By SUBSCRIPTION. The last Night this Season. AT the Theatre-Royal in Covent-Garden, this Day, will be perform’d an Oratorio, call’d SAMSON. A CONCERTO on the ORGAN, And a Solo on the Violin by Mr. DUBOURG. Tickets will be deliver’d to Subscribers this Day, at the Office in Covent-Garden Theatre. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be deliver’d this Day, at the Office in Covent-Garden Theatre, at Half a Guinea each. First Gallery 5 s. Upper Gallery 3 s. 6 d. The Galleries will be open’d at Four o’Clock. Pit and Boxes at Five. [DA only:] To begin at Six o’Clock.[37] Wrote extempore by a Gentleman, on reading the Universal Spectator. On Mr. HANDEL’s new ORATORIO, perform’d
at the Theatre Royal in Covent-Garden. Cease, Zealots, cease to blame these Heav’nly Lays, For Seraphs fit to sing Messiah’s Praise! Nor, for your trivial Argument, assign, “The Theatre not fit for Praise Divine.” These hallow’d Lays to Musick give new Grace, To Virtue Awe, and sanctify the Place; To Harmony, like his, Celestial Pow’r is giv’n, T’ exalt the Soul from Earth, and make, of Hell, a Heav’n.[38] |
Apr 8
|
We hear the Oratorio of Samson is to be perform’d at the Temple in Ranelagh-Gardens, as soon as the new Orchestra is completed. It is thought by the Connoisseurs, that this Temple would have met with the Fate of that of Gaza, had they trusted Samson in the old Orchestra; but as the Proprietors have changed its Situation, and by that means prevented a too powerful Reverberation of the Musick, they are of Opinion he will rather support than destroy it now, especially as no Philistines will be there to scoff, but Lovers of Harmony only to admire.[39] |
[Spring]
|
The New Calliope, or English Harmony in Taste. A Collection of Celebrated Songs and Cantatas. By the most approv’d Masters. Neatly Engraved with Transpositions for the Flute, and embellished with Designs adapted to each Song. In Two Volumes. Volume the First Containing one hundred Airs, Inscribed to Mr. Handel By his Humble Servant Henry Roberts. London. Sold by H. Roberts Engraver in New Turnstile opposite the Vine Tavern Holborn. MDCCXLIII. [dedicatory poem] Handel, had Milton hear’d Thy Heavenly Strain, And learn’d what Strength His Words from Music gain; That the Divinity, the active Fire, Which breath’d in Him, move also in Thy Lyre; Sweet as the Angel’s Voice in Adam’s Ear He pleas’d with Sense, had still stood fixt to hear: While by Thy Song enlighten’d, He had found; His Loss of Sight rewarded well with Sound.[40] |
Apr 9, Dublin
|
For the Benefit of the Charitable Infirmary on the Inns-quay, at the Great Musick-hall in Fishamble street, on Wednesday the 4th of May next, at 6 in the Evening, will be performed, the Oratorio of Alexander’s Feast. Composed by Mr. Dryden, and set to Musick by Mr. Handel. In which the Gentlemen of the Choirs of both Cathedrals, the celebrated Mrs. Arne, and several other Voices, will assist. There will be a Grand Rehearsal the Monday before, precisely at 12 o’clock. Tickets to be had at Half a Guinea each, at Mr. Neal’s in Christ-church-yard, and at the Infirmary. N.B. A Rehearsal Ticket is to be given with each Performance Ticket, and a Book will be given at the Rehearsal.[41] |
Apr 11
|
Mr Handel, who has been dangerously ill, is now recover’d.[42] |
Apr 14
|
[Horace Walpole to Horace Mann] Arlington Street, April 14th, 1743. [... 209 ... 210 ...] I really don’t know whether Vanneschi be dead; he married some low English woman, who is kept by Amorevoli — so the Abate turned the opera every way to his profit. As to Bonducci, I don’t think I could serve him; for I have no interest with the Lords Middlesex and Holderness, the two sole managers. Nor if I had, would I employ it, to bring over more ruin to the operas. Gentlemen directors, with favourite abbés and favourite mistresses, have almost overturned the [211] thing in England. You will plead my want of interest to Mr Smith too — besides, we had buffos here once, and from not understanding the language, people thought it a dull kind of dumb show. We are next Tuesday to have the Miserere of Rome [by Allegri] — it must be curious! The finest piece of vocal music in the world, to be performed by three good voices, and forty bad ones from Oxford, Canterbury, and the farces! There is a new subscription formed for an opera next year, to be carried on by the Dilettanti, a club, for which the nominal qualification is having been in Italy, and the real one, being drunk: the two chiefs are Lord Middlesex and Sir Francis Dashwood, who were seldom sober the whole time they were in Italy.[43] |
Apr 16
|
As I inserted a Letter of my following Correspondent’s, on Divine Subjects being exhibited in Theatres, under the Name of Oratorios, I think I am oblig’d, impartially, to give a Place to another Letter on this Subject. To the AUTHOR of the UNIVERSAL SPECTATOR. Mr. SPECTATOR, ACcidentally taking up the Daily Advertiser of Thursday March 31, at the End of the Advertisement of Mr. Handel’s Oratorio, I read the following Lines, said
to be wrote Extempore by a Gentleman, on reading the Universal Spectator of March 19. ‘ Cease, Zealots, cease to blame these heav’nly Lays, ‘ For Seraphs fit to sing Messiah’s Praise: ‘ Nor for your trivial Argument, assign, ‘ The Theatre not fit for Praise Divine.’ ‘ These hallow’d Lays to Musick give new Grace, ‘ To Virtue Awe, and Sanctify the Place: ‘ To Harmony like his, Coelestial Pow’r is giv’n ‘ T’exalt the Soul from Earth, and make of Hell a Heav’n. As I could not forbear endeavouring to answer this, I send what I wrote for that Purpose, desiring you to dispose of it as you think proper, either to the Flames, or publick Censure. Mistake me not, I blam’d * no heav’nly Lays; Nor Handel’s Art which strives a Zeal to raise, In every Soul to sing Messiah’s Praise: But if to Seraphs you the Task assign; Are Players fit for Ministry
Divine? Or Theatres for Seraphs there to sing, The holy Praises of their heav’nly King? Ah no! for Theatres let Temples rise, Thence sacred Harmony ascend the Skies; Let hallow’d Lays to Musick give new Grace; But when those Lays have sanctify’d the Place, To Use Prophane, oh! let it ne’er be given, Nor make that Place a Hell, which Those had made a Heav’n. I apprehend the Word Theatre to be of a great Latitude, and may be us’d in a figurative Sense for any Place, where an Action, or Oration, is made publick: Or, if confin’d to a particular Form of Building, there might be a sacred Theatre for sacred Uses: (And since so splendid a † Place has lately been erected for a mere trifling Entertainment, why can’t the Lovers of sacred Harmony build one for theirs, then might they also have fit Persons to perform it, and perform it as it ought, (if it be perform’d at all) as an Act of Religion. But since the Poet can here be understood to mean no other than those Places of Drollery and ludicrous Mirth, the Play-houses, I must again assert, that being such, they are for that Reason very unfit for sacred Performances. Nor can it be defended as Decent, to use the same Place one Week as a Temple to perform a sacred Oratorio in, and (when sanctify’d by those hallow’d Lays) the next as a Stage, to exhibit the Buffoonries of Harlequin. Sir, If you should think fit to savour these Sentiments with a Place in your Paper, it will confer an Obligation on one, who gratefully acknowledges your late Favour in the speedy Publication of my last, in yours of March 19, 1743. I am, Sir, Yours, much oblig’d, PHILALETHES. * Not the Poetry or Musick, the Place and Performers only, are found Fault with. See Universal Spectator, March 19, 1743. † The Amphitheatre in Ranelagh Gardens at Chelsea.[44] |
Apr 19
|
HAY-MARKET. AT the KING’s THEATRE in the Hay- Market, this Day, will be perform’d an ENTERTAINMENT of VOCAL and INSTRUMENTAL MUSICK. Consisting of various MOTETTS, CHORUS’s, CONCERTO’s, &c. to be divided into three Parts, after the Manner of an ORATORIO. The whole to Conclude with the celebrated PIECE of VOCAL MUSICK from ROME [Allegri’s Miserere]. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d this Day, at the Office in the Haymarket, at Half a Guinea each. Gallery 5 s. [LDP:] The Gallery will be open’d at Four o’Clock. Pit and Boxes at Five. [DA:] To begin at Six o’Clock.[45] |
Apr 29
|
[Charles Jennens in Gopsall to Edward Holdsworth] Mr. Crynes, having heard, I suppose, by Mr. Sandford of Blanchini’s Books, & by I know not who of my Vatican Virgil, sent me a message by Wat Powel when he came up to the Oratorio, & made him repeat it afterwards [1v] in a Letter, by which he begs the favour of you to buy him the Vindiciae, Card. Thomasius, & the Virgil; at the same time desiring his humble Service to you. […] I hear Handel has a return of his Paralytick Disorder, which affects his Head & Speech. He talks of spending a year abroad, so that we are to expect no Musick next year; & since [2r] the Town has lost it’s only Charm, I’ll stay in the Country as long as ever I can. I am, Dear Sir, Your most Affectionate Friend & Servt. C. Jennens.[46] |
May 1
|
Lady
Hertford to her son Lord Beauchamp, 1 May 1743 Yr
Papa Elopes from our Convent every Friday to London, where he is at present,
to see the Opera & pick up a little News[47] |
May 4
|
[Horace Walpole to Horace Mann] May 4th 1743. [... 225 ...] We are likely at last to have no opera next year: Handel has had a palsy and can’t compose; and the Duke of Dorset has set himself [226] strenuously to oppose it, as Lord Middlesex is the impresario, and must ruin the house of Sackville by a course of these follies. Besides what he will lose this year, he has not paid his share to the losses of the last, and yet is singly undertaking another for next season, with the almost certainty of losing between four or five thousand pounds, to which the deficiencies of the opera generally amount now. The Duke of Dorset has desired the King not to subscribe; but Lord Middlesex is so obstinate, that this will probably only make him lose a thousand pound more.[48] |
May 18
|
Lord
Hertford to his son Lord Beauchamp, 18 May 1743 In my last I told you that I was going to London to see the last
Opera for this Season, they are now over & I doubt whether we shall have any
next year or no, if we have not I shall be very sorry.[49] |
Jun 18
|
[Thomas Harris to James Harris, 18 June 1743] [...] We [Lord Radnor and I] mett Handel lately in the park, whose head does not seem so clear as I could wish it to be.[50] |
Jun 21
|
We hear from Oxford, that on the 12th of July, being Tuesday in Act Week, will be perform’d there the Oratorio of Israel in Egypt, by Mr. Handel.[51] |
|
Upon a Piece of Musick compos’d by Mr. HANDEL, and perform’d at Oxford, to raise Money for a Musick-Room building there. AMPHION well-skill’d By musick could build, Of whom poets miracles tell: But let us no more Boast wonders of yore, For Handel can work them as well.[52] |
Jul 28
|
[John Christopher Smith to the 4th Earl of Shaftesbury] LONDON. July 28th, 1743. My Lord, It is with your Lordship’s kind permission that I take the liberty to acquaint your Lordship with Mr. Handel’s health and what passes in musical affairs, which I should have done a month sooner if it had not been that I would stay to know what Resolution He would take in what I am going to relate to your Lordship. It seems that Mr. Handel promised my Lord Middlesex that if he would give him for two new operas 1000 guineas and his health would permit, He would compose for him next Season, after which He declined his promise and said that He could — or would do nothing for the Opera Directors, altho’ the Prince of Wales desired him at several times to accept of their offers, and compose for them, and said that by so doing He would not only oblige the King and the Royal Family but likewise all the Quality. When my Lord Middlesex saw that no persuasion would take place with Him, and seeing himself engaged in such an undertaking without a Composer He sent for one from Italy, of whom nobody has any great opinion. Nevertheless He would still make some fresh proposals to Mr. Handel, and let Him know how much regard He had for his composition, and that he would put it in his power to make it as easy to Himself as He pleased. I was charged with the Commission, and the offer was that He should have 1000 Guineas for two, or 500 Guineas for one new opera, and if his health would not permit Him to compose any new one at all, and would only adjust some of His old operas, that He should have 100 Guineas for each: But in case Mr. Handel should refuse all these offers, that my Lord would have some of his old operas performed without Him and to let the Publick know in an advertisement what offers was made to Mr. Handel and that there was no possibility to have anything from Him. I could not in Duty but let Him know My Lord’s new offers and proceedings, for fear things might be carry’d to far; I wrote the contents to Mr. Goupy with the desire to communicate it to Mr. Handel (for it seems he has taken an aversion to see me, for having been to much his friend) and to have his answer, which He said He would give to the Principale, but has given none since, and has been composing for himself this two months, and finished (as I hear) a piece of Music from Drydens words, the subject unknown to me, tho’ they tell me that I was to do for Him as I did before, but my Son is to see Him and take his instructions. He is now upon a new Grand Te Deum and Jubilate, to be performed at the King’s return from Germany (but He keeps this a great secret and I would not speak of it to any Body but to your Lordship) and by the Paper he had from me I can guess that it must be almost finished. This I think perfectly well Judg’d to appeace and oblige the Court and Town with such a grand Composition and Performance. [264] But how the Quality will take it that He can compose for Himself and not for them when they offered Him more than ever He had in His life, I am not a judge and could only wish that I had not been employed in it either Directly or Indirectly, for He is ill-advised and thinks that all I do now is wrong, tho’ I may say that He is persuaded in His heart to the contrary for He had too many proofs of my fidelity within this 24 years, and I shall never be wanting to do Him still all the Services that lies in my power, for I think it is better to suffer than to offend. I know I have trespassed too much upon your Lordship’s goodness and must beg humbly for pardon and I am with profound respect Your Lordship’s Most dutiful and most obliged humble servant CHRISTOPHER SMITH.[53] |
Aug 14
|
[Horace Walpole to Horace Mann] Arlington Street, Aug. 14, 1743. [... 292 ... 293 ...] I am sorry you are engaged in the opera: I have found it a most dear undertaking! I was not in the management: Lord Middlesex was chief: we were thirty subscribers, at two hundred pounds each, which was to last four years, and no other demands ever to be made. Instead of that, we have been made [294] to pay fifty-six pounds over and above the subscription in one winter. I told the secretary in a passion, that it was the last money I would ever pay for the follies of directors.[54] |
Sep 7-8
|
On the 7th and 8th Instant, was held at Worcester, the Annual Meeting of the Choirs of Worcester, Gloucester and Hereford. Mr. Purcel’s, and Mr. Handel’s Services were perform’d as usual; the Anthem was entirely new; the Words suited to the Occasion, and set to Musick by Mr. Boyce. The whole Performance was much admir’d; and the Collection for Charity amounted to more than 95 Pounds.[55] |
Sep 15
|
[Charles Jennens in Gopsall to Edward Holdsworth] […] since you have a mind to pay me, you may only let me choose my coin: you shall pay me in notes upon Virgil […] he is not without some faults, of which obscurity is one. But whatever becomes of Virgil, the Bible is not affected by the same objections […] our maker had a right to speak to us in what language he pleased, & to humble our pride with things above our understanding, but I think our Fellow Creatures right to speak to us so as that we may understand them and that with ease […] I hear Handel is perfectly recover’d, & has compos’d
a new Te Deum & a new Anthem against the return
of his Master from Germany. I don’t yet despair of making him
retouch the Messiah, at least he shall suffer for his negligence; nay I am inform’d that he has suffer’d,
for he told Ld. Guernsey, that a letter I wrote him about it
contributed to the bringing of his last illness upon him; & it is
reported that being a little delirious with a Fever, he said he should be damn’d for preferring Dagon (a Gentleman he
was very complaisant to in the Oratorio of Samson) before the Messiah. This
shews that I gall’d him: but I have not
done with him yet.[56] |
|
Monday their Royal Highnesses the Princesses were at the Chapel Royal at St. James’s to hear the Rehearsal of Mr. Handel’s new Anthem and Te Deum, to be performed on his Majesty’s safe Arrival in his British Dominions.[57] |
Oct [17/]28
|
[Edward Holdsworth in Florence to Charles Jennens] […] But if you cannot relish Bath ’twou’d be better I shou’d think to take a lodging somewhere near London, so that you may go backward & forword, & change the scene as you think proper, rather than be buried in Leicestershire for ye whole winter. You don’t delight in any country diversions, and in the depth of winter, if I am not much mistaken, you cannot visit your neighbours, without running the risque of being buried in mud. Pardon my speaking so freely of Leicestershire; but in truth I am angry with it. You have staid too long there already; It has had an ill effect upon you, and made you quarrel with your best friends, Virgil & Handel. You have contributed, by yr. own confession, to give poor Handel a fever, and now He is pretty well recover’d, you seem resolv’d to attack him [1v] again; for you say you have not yet done with him. This is really ungenerous, & not like Mr Jennens. Pray be merciful; and don’t you turn Samson, & use him like a Philistine. […2r…] Since you are in earnest about N. Crynes’s books I will take care to buy what you have orderd. I have purchas’d for you Sire. Marcello’s Psalms, yt is, all that are printed, wch are ye first 35 Psalms, making 6 volumes in fol. ’Tis, I find, a work much esteem’d, and I believe I met with them cheap, having paid not above a Guinea & half. The friend who inform’d me yt there were some of Astorga’s compositions to be met with here is dead, and I can hear of none but Cantatas, wch you forbid me to buy.[58] |
Nov 10
|
[Mrs. Delany to Mrs. Dewes, 10 November 1743] That night [Tuesday] Mrs. Percival came to invite us to dine with her yesterday, and to go in the morning to Whitehall Chapel to hear Mr. Handel’s new Te Deum rehearsed, and an anthem. It is excessively fine, I was all rapture and so was your friend D. D. as you may imagine; everybody says it is the finest of his compositions; I am not well enough acquainted with it to pronounce that of it, but it is heavenly. [...][59] |
Nov 17
|
[Horace Walpole to Horace Mann] London, Nov. 17, 1743. [... 341 ... 342 ...] The opera is begun, but is not so well as last year. The Rosa Mancini, who is second woman, and whom I suppose you have heard, is now old. In the room of Amorevoli, they have got a dreadful bass, who, the Duke of Montagu says he believes, was organist at Aschaffenburgh.[60] |
Nov 18
|
[Mrs. Delany to Mrs. Dewes, 18 November 1743] I was at the opera of Alexander, which under the disguise it suffered, was infinitely better than any Italian opera; but it vexed me to hear some favourite songs mangled. [...][61] |
Nov 19, Dublin
|
By Appointment of the Charitable Musical Society, for the Benefit and Enlargement of Prisoners confined for Debt in the several Marshalseas in this City, at the great Musick-hall in Fishamble-street, on Friday the 16th Day of December next, in the Evening, will be performed, The MESSIAH, composed by Mr. HANDELL. And on Monday the 12th of December, at Noon, there will be a Rehearsal of the said Performance. —— Tickets to be had from Mr. Neale, Treasurer to the said Society, at the said Musick-Hall. A Ticket for the Rehearsal, and another for the Performance, half a Guinea.[62] |
Dec 5
|
[Charles Jennens in Gopsall to Edward Holdsworth] […] Winter is come, & does not affect me, nor is likely to do it, till I come into the Air of London, where I expect to be shook with coughs & chock’d with catarrhs, as usual. However, as I shall certainly stay in the Country till the Month of January is over, I am not without some hopes that the severity of the Winter may be in some measure abated, & I may bear the Town Air better than formerly. If not, I shall make hast back to my native Dirt, & Handel himself shall not drag me up again. […] It is not Leie.shire that has made me quarrel with Handel, but his own Folly, (to say no worse,) if that can be call’d a quarrel, where I only tell him the Truth; & he knows it to be Truth, yet is so obstinate, he will not submit to it. […][63] |
Dec 6, Dublin
|
From the Charitable Musical Society. The said Society having obtained from the celebrated Mr. Handell, a Copy of the Score of the Grand Musical Entertainment, called the MESSIAH, they intended to have it rehearsed on the 12th, and performed on the 16th of December Inst. for the Benefit and Enlargement of Prisoners confined for Debt, pursuant to their Advertisements; and in order to have it executed in the best Manner, they had prevailed on Mr. Dubourg to give them his Assistance, and also applyed by a Deputation of the Society to the Members of the Choirs of the two Cathedrals to assist therein (the necessary Approbation of their so doing being first obtained on due Applications) which several of them promised, and [a]t a Meeting for that Purpose chose, and received their Parts; but after Preparations had been made, at considerable Expence, to the Surprize of the Society, several of the Members of the said Choirs (some of whom had engaged as before mentioned) thought fit to decline performing, and returned their Parts, for Reasons that no way related to, or concerned the said Society; they are therefore obliged to postpone that Entertainment until Friday the 3d Day of February next, to the great Detriment and Delay of their Charitable Intentions, the good Effects whereof have been manifested for several Years past. By that Time the Society will provide such Performers as will do Justice to that Sublime Composition, and for the future will take such Measures as shall effectually free them from Apprehensions of a second D[i]sappointment to the Publick or themselves.[64] |
|
[“The
Establishment of their Royal Highness, the Princess
Amelia and the Princess Caroline.”] Musick-master Mr Handel, 200l. a Year.[65] |
|
[Tea, A Poem] Here Cleria mocks romantick Bowers and Shades, Grows old in Cards, and sighs for Masquerades. There fairer Roses breath a rich Perfume, And living Lillies never cease to Bloom [37] And then Spadill—submit ye Lawns, ye Glades, She finds more Beauty in the King of Spades. Next the dear Opera comes, delightful Theme! Who dares the sacred Opera blaspheme? The sober Audience sit compos’d and calm, While Farinelli sings the—Hundredth Psalm. The listening Belles with Candour Cleria hear, And snatch th’ unfinish’d Words with eager Ear.[66] |
|
Fran[kly]. But even admitting that Folly were
Happiness, are you under any Necessity of so often shewing your Folly? Auth[or]. Don’t plague me! for I will never be under
the Trouble of hiding it. How can you teize me about it, when you know I have so utter an
Insensibility of being ridiculous, that in a Conversation upon Musick, you have heard me fifty times sing before Handel,
with as little Concern, as if I had been only squalling to myself? Fran. That’s true; and I confess, Sir, my Ears have as often been the painful Witnesses of it: Since then, you are resolved to secure your Happiness by being incorrigible, it would be barbarous in me to disturb it.[67] |
|
C. G. [...] Suppose
you and I make a Cartel; for instance, agree for every other Theatre, and oblige
ourselves by this Cartel to reduce by near one half the Salaries of our
principal Performers [... 12 ...] D. L. [...] but
these People [i.e. actors in both theatres] will be apt to publish their
Case, and I abhor Cases. C. G. No, no—they’ll be oblig’d to troop off to Ireland, and leave Great Britain entirely under Subjection to our Patron Goddess——They may have the hungry Fame indeed of being register’d in the next Edition of ’Squire Alexander’s Dunciad, with our Adversary, Mr. Handel, upon that Account——and much Good may do them with it.[68] |
[“OF TRUE GREATNESS. An EPISTLE to GEORGE DODINGTON, Esq;”]
|
Some Merit then is to the Muses due; But oh! their Smiles the Portion of how few! Tho’ Friends
may flatter much, and more ourselves, Few, Dodington, write worthy of your Shelves. Not to a Song which Caelia’s Smiles make fine, Nor Play which Booth had made esteem’d divine; To no rude Satyr from Ill-nature sprung, Nor Panegyrick for a Pension sung; Not to soft Lines that gently glide along, And vie in Sound and Sense with Handel’s Song; To none of these will Dodington bequeath, The Poet’s noble Name and laureate Wreath.[69] |
|
AIR, in Musick, is a Name given by some to any short Piece of Musick. Of these
there are Sets composed by Mr. Handel, Dr. Pepusch,
&c. MUSIC, is
one of the seven Sciences, commonly called Liberal, and comprehended
also among the Mathematical, as having for its Object discrete Quantity of
Number; but not considering it in the Abstract like Arithmetic; but with
relation to Time and Sound, in order to make a
delightful Hamorny. [… page …] It is very easy to conclude, from what we have upon Music from the Ancients, that it was very imperfect and deficient; and notwithstanding the fabulous Wonders, it is said to produce upon Men’s Passions in those times, yet now-a-days I believe, the most skilful of their Musicians would little or scarcely move one at all: [Greeks didn’t have harmony] Guido Aretinus is said to be the first who invented and brought Symphony or Concert into Music; but what Progress he made, and what were his Compositions, we do not know. In a word, one may venture to affirm from the whole of what we find wrote on the Subject, that Music did not begin to arrive at any tolerable Perfection, till towards the End of the last Century, when the great Purcel and prodigious Corelli oblig’d the World with their most agreeable and harmonical Compositions; then it was that Music began to advance apace, and receive great Improvements from many other ingenious Composers and Performers of several European Nations, especially the Italians and English, and now seems to be brought near its utmost Perfection; since all the agreeable Combinations of the various Continuance, Rising, Falling, and Mixtures of Tones, must be contain’d within certain Limits, whose Number may not be so great as is generally imagined; and because of the great Number of Persons who have for more than thirty Years last past, applied themselves to this Art. Among whom the excellent Mr. Handel himself, deservedly named the Prince of Musicians, both for his Composition and Execution upon the Organ and Harpsicord, has abundantly and wonderfully performed his part.[70] |
A New BALLAD; or, BRITONS Rejoice, &c.
To the Tune of Handell’s March in Scipio.
|
BRITONS rejoice, Your Honour’s now retriev’d, The French are beat, Our Joy’s compleat, [...][71] |
[1] The Huntington Library, LA 38; facs. repr., Handel: A Celebration of his Life and Times, 1685-1759, ed. Jacob Simon (London: National Portrait Gallery, 1985), 21.
[2] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 2,” item 86, ff. 1r, 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: 114–115; (second paragraph) Autograph Letters of George Frideric Handel and Charles Jennens (auction catalog, Christie, Manson & Woods, July 4, 1973), 23; Händel Handbuch, 356.
[3] The London Daily Post, and General Advertiser, no.2586, Thursday 3 February 1742-3, [2]; first advertised in The Daily Advertiser, Monday 3 January 1743: transcription in “Old Advertisements (Musical),” Foundling Museum, Gerald Coke Handel Collection, accession no. 6351, p. 81.
[4] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 2,” item 87, 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: 115; (second paragraph) Autograph Letters of George Frideric Handel and Charles Jennens (auction catalog, Christie, Manson & Woods, July 4, 1973), 23; Händel Handbuch, 356–57.
[5] The Daily Advertiser, no. 3761, Monday 7 February 1743, [2]; Chrissochoidis, 761.
[6] Archives of the Duke of Northumberland, Alnwick Castle, DNP Ms. 28 fol. 33v: Thomas McGeary, “The Earl of Hertford, Handel, and the 1742–1743 and 1743–1744 opera seasons,” Early Music 46 (2018), 123–130: 125.
[7] The Daily Advertiser, no. 3766, Saturday 12 February 1743, [2]; The London Daily Post, and General Advertiser, no. 2594, Saturday 12 February 1742-3, [1].
[8] The Daily Advertiser, no. 3771, Friday 18 February 1743, [1]; The London Daily Post, and General Advertiser, no. 2599, Friday 18 February 1742-3, [1].
[9] The Daily Advertiser, nr. 3771, Friday 18 February 1743, [4]; Chrissochoidis, 761.
[10]
The Annals of Europe for the Year 1743 (London: T. Astley, and George
Hawkins, 1745), 575; Chrissochoidis, 761.
[11] Archives
of the Duke of Northumberland, Alnwick Castle, DNP Ms. 28, fol. 41v:
Thomas McGeary, “The Earl of Hertford, Handel, and the 1742–1743 and 1743–1744
opera seasons,” Early Music 46
(2018), 123–130: 130, n. 29.
[12] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 2,” item 88, 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: 115–116; Autograph Letters of George Frideric Handel and Charles Jennens (auction catalog, Christie, Manson & Woods, July 4, 1973), 23; Händel Handbuch, 357.
[13] The Daily Advertiser, no. 3775, Wednesday 23 February 1743, [2]; The London Daily Post, and General Advertiser, no. 2603, Wednesday 23 February 1742-3, [2].
[14]
The Daily Advertiser, nr. 3777, Friday 25 February 1743, [1]; also, The
London Daily Post, and General Advertiser, Friday 25 February 1743, [1];
Chrissochoidis, 762.
[15] Archives of the Duke of Northumberland, Alnwick Castle, DNP Ms. 28 fol. 53v: Thomas McGeary, “The Earl of Hertford, Handel, and the 1742–1743 and 1743–1744 opera seasons,” Early Music 46 (2018), 123–130: 125–126.
[16] Horace Walpole’s Correspondence with Sir Horace Mann II, ed. W. S. Lewis, Warren Hunting Smith, and George L. Lam (New Haven: Yale University Press / London: Geoffrey Cumberlege, Oxford University Press, 1954), 179-81.
[17] The Daily Advertiser, nr. 3776, Thursday 24 February 1743, [2]; Chrissochoidis, 761.
[18] The Daily Advertiser, no. 3777, Friday 25 February 1743, [2]; The London Daily Post, and General Advertiser, no. 2605, Friday 25 February 1742-3, [1].
[19] Archives of the Duke of Northumberland, Alnwick Castle, DNP Ms. 28, fol. 28: Thomas McGeary, “The Earl of Hertford, Handel, and the 1742–1743 and 1743–1744 opera seasons,” Early Music 46 (2018), 123–130: 130, n. 30.
[20] Archives of the Duke of Northumberland, Alnwick Castle, DNP Ms. 28, fol. 53r: Thomas McGeary, “The Earl of Hertford, Handel, and the 1742–1743 and 1743–1744 opera seasons,” Early Music 46 (2018), 123–130: 127.
[21] The Daily Advertiser, nr. 3779, Monday 28 February 1743, [2]; reprinted daily Tuesday-Friday, 1-4 March 1743, on page [2]; Chrissochoidis, 762.
[22] The London Magazine: and Monthly Chronologer 12 (1743), 104; Chrissochoidis, 762.
[23] The Daily Advertiser, no. 3781, Wednesday 2 March 1743, [2]; The London Daily Post, and General Advertiser, no. 2609, Wednesday 2 March 1742-3, [1].
[24] Horace Walpole’s Correspondence with Sir Horace Mann II, ed. W. S. Lewis, Warren Hunting Smith, and George L. Lam (New Haven: Yale University Press / London: Geoffrey Cumberlege, Oxford University Press, 1954), 184-86.
[25] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 2,” item 89, 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: 116; last paragraph excerpted in Ruth Smith, Handel’s Oratorios and Eighteenth-Century Thought (Cambridge: Cambridge University Press, 1995), 422, n.16.
[26] The Daily Advertiser, no. 3787, Wednesday 9 March 1743, [2]; The London Daily Post, and General Advertiser, no. 2615, Wednesday 9 March 1742-3, [1] (headline: “COVENT-GARDEN.”).
[27] Archives of the Duke of Northumberland, Alnwick Castle, DNP Ms. 28, fol. 63: Thomas McGeary, “The Earl of Hertford, Handel, and the 1742–1743 and 1743–1744 opera seasons,” Early Music 46 (2018), 123–130: 127.
[28] The Daily Advertiser, no. 3789, Friday 11 March 1743, [2]; The London Daily Post, and General Advertiser, no. 2617, Friday 11 March 1742-3, [1] (headline: “COVENT-GARDEN.”).
[29] The London Daily Post, and General Advertiser, no. 2621, Wednesday 16 March 1742-3, [1]; also, The Daily Advertiser, no. 3793, Wednesday 16 March 1743, [2].
[30] The London Daily Post, and General Advertiser, no. 2623, Friday 18 March 1742-3, [1]; also, The Daily Advertiser, no. 3795, Friday 18 March 1743, [2].
[31] The Universal Spectator, and Weekly Journal, no. 754, Saturday 19 March 1743, [1]; repr. (with minor omissions), Deutsch, 563-65.
[32] 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), 156.
[33] Horace Walpole’s Correspondence with Sir Horace Mann II, ed. W. S. Lewis, Warren Hunting Smith, and George L. Lam (New Haven: Yale University Press / London: Geoffrey Cumberlege, Oxford University Press, 1954), 197-98.
[34] The London Daily Post, and General Advertiser, no. 2627, Wednesday 23 March 1742-3, [1]; also, The Daily Advertiser, no. 3799, Wednesday 23 March 1743, [1].
[35] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 2,” item 90, 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: 117; (second paragraph) Autograph Letters of George Frideric Handel and Charles Jennens (auction catalog, Christie, Manson & Woods, July 4, 1973), 24; Händel Handbuch, 360–61.
[36] 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), 160
[37] The London Daily Post, and General Advertiser, no. 2634, Thursday 31 March 1743, [1]; also, The Daily Advertiser, no. 3806, Thursday 31 March 1743, [2].
[38] The Daily Advertiser, no. 3806, Thursday 31 March 1743, [2].
[39] The Daily Advertiser, no. 3813, Friday 8 April 1743, [1].
[40] Anthony Hicks, “Handel, Milton and The New Calliope,” The Handel Institute Newsletter 8/1 (Spring 1997), [3-5]: [3, 5].
[41] George Faulkner. The Dublin Journal, no. 1750, Tuesday 5 – Saturday 9 April 1743, [2].
[42] The Daily Advertiser, 11 April 1743: Donald Burrows, Handel: Messiah (Cambridge: Cambridge University Press, 1991), 32.
[43] Horace Walpole’s Correspondence with Sir Horace Mann II, ed. W. S. Lewis, Warren Hunting Smith, and George L. Lam (New Haven: Yale University Press / London: Geoffrey Cumberlege, Oxford University Press, 1954), 208-11.
[44] The Universal Spectator, and Weekly Journal, no. 758, Saturday 16 April 1743, [1]; repr. (with minor omissions), Deutsch, 567-68.
[45] The London Daily Post, and General Advertiser, no. 2650, Tuesday 19 April 1743, [1]; The Daily Advertiser, no. 3822, Tuesday 19 April 1743, [2].
[46] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 2,” item 91, ff. 1r–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: 117–118; (second paragraph) Autograph Letters of George Frideric Handel and Charles Jennens (auction catalog, Christie, Manson & Woods, July 4, 1973), 24; Händel Handbuch, 362–63.
[47] Archives of the Duke of Northumberland, Alnwick Castle, DNP Ms. 28, fol. 108: Thomas McGeary, “The Earl of Hertford, Handel, and the 1742–1743 and 1743–1744 opera seasons,” Early Music 46 (2018), 123–130: 130, n. 32.
[48] Horace Walpole’s Correspondence with Sir Horace Mann II, ed. W. S. Lewis, Warren Hunting Smith, and George L. Lam (New Haven: Yale University Press / London: Geoffrey Cumberlege, Oxford University Press, 1954), 224-26.
[49] Archives of the Duke of Northumberland, Alnwick Castle, DNP Ms. 28, fol. 126: Thomas McGeary, “The Earl of Hertford, Handel, and the 1742–1743 and 1743–1744 opera seasons,” Early Music 46 (2018), 123–130: 127.
[50] 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), 163.
[51] The General Evening Post, no. 1521, Saturday 18 – Tuesday 21 June 1743, [2]; repr., The London Evening-Post, no. 2437, Tuesday 21 – Thursday 23 June 1743, [2].
[52] The London Magazine: And Monthly Chronologer 12 (1743), 354; Chrissochoidis, 762-63.
[53] Betty Matthews, “Unpublished Letters Concerning Handel,” Music and Letters 40 (1959), 261-68: 263-64.
[54] Horace Walpole’s Correspondence with Sir Horace Mann II, ed. W. S. Lewis, Warren Hunting Smith, and George L. Lam (New Haven: Yale University Press / London: Geoffrey Cumberlege, Oxford University Press, 1954), 291-94.
[55] The London Daily Post, and General Advertiser, no. 2776, Thursday 15 September 1743, [1].
[56] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 2,” item 92, f. 3v; 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: 118; (second paragraph) Autograph Letters of George Frideric Handel and Charles Jennens (auction catalog, Christie, Manson & Woods, July 4, 1973), 24; (second paragraph) Händel Handbuch, 365.
[57]
The Universal London Morning Advertiser, Monday 26 September – Wednesday
28 September 1743, [3]; Chrissochoidis, 763.
[58] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 2,” item 93, ff. 1r–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: 119; (except first two sentences and last paragraph) Autograph Letters of George Frideric Handel and Charles Jennens (auction catalog, Christie, Manson & Woods, July 4, 1973), 25; Händel Handbuch, 366.
[59] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 2:222.
[60] Horace Walpole’s Correspondence with Sir Horace Mann II, ed. W. S. Lewis, Warren Hunting Smith, and George L. Lam (New Haven: Yale University Press / London: Geoffrey Cumberlege, Oxford University Press, 1954), 340-42.
[61] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 2:227.
[62] George Faulkner. The Dublin Journal, no. 1814, Tuesday 15 – Saturday 19 November 1743, [2].
[63] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 2,” item 94, 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: 119.
[64] George Faulkner. The Dublin Journal, no. 1819, Saturday 3 – Tuesday 6 December 1743, [2]; repr., Townsend, 114.
[65]
The Court [and City] Register [for the Year 1743]
([London: T. Cooper, 1743]), 26; Chrissochoidis, 763.
[66] Tea, A Poem, In Three Cantos (London: Aaron Ward, 1743), 36-37.
[67]
[Colley Cibber], The Egotist: Or, Colley upon Cibber, being His own Picture
retouch’d, to so plain a Likeness, that no One, now, would have the Face to own
it, but Himself (London: W. Lewis, 1743), 34; Chrissochoidis, 763.
[68]
The Case between the Managers of the Two Theatres, and their Principal
Actors, fairly stated, and submitted to the Town (London: J. Roberts,
1743), 11-12; Chrissochoidis, 763-64.
[69] Henry Fielding, Miscellanies, 3 vols. (London: the author, 1743), 1:11; Chrissochoidis, 764.
[70]
E[dmund]. Stone, A New Mathematical Dictionary: Wherein is contain’d, not
only the Explanation of the Bare Terms, but likewise an History of the Rise,
Progress, State, Properties, &c. of Things, both in Pure Mathematics, and
Natural Philosophy, so far as these last come under a Mathematical
Consideration, 2nd edition with large additions (London: W.
Innys, T. Woodward. T. Longman, and M. senex, 1743), not paginated;
Chrissochoidis, 764-65.
[71] Timothy Silence, The Foundling Hospital, for Wit. Number II. (London: J. Lyon, 1743), 11; Chrissochoidis, 765.