1744
Jan 9
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By Particular DESIRE, MR. HANDEL proposes to Perform, by Subscription, Twelve Times during next Lent, and engages to play two New Performances (and some of his former Oratorios, if Time will permit.) Each Subscriber is to pay Four
Guineas at the Time he subscribes, which entitles him to one Box Ticket for
each Performance. Subscriptions are taken in
at Mr. Handel’s House in Brook-street, near Hanover square; and at Mr. Walsh’s,
in Catherine-street in the Strand. Those Gentlemen and Ladies
who have already favour’d Mr. Handel in the Subscription are desired to send for
their Tickets, at his House in Brook-street, where
A[t]tendance will be given every Day (Sunday excepted) from Nine o’Clock in the Morning untill Three in the Afternoon.[1] |
Jan 11, Dublin
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Charitable Infirmary on the Inns-quay, 11 Jan. 1743[-4]. The Trustees of the Charitable Infirmary on the Inns-quay, in the last Account they published, informed the Publick, that by rebuilding and new furnishing the House, they were considerably indebted to their Treasurer; and are sorry now to let them know, that their Receipts last Year fell so short of their Disbursements, that they must be obliged to break into a small-Capital of 500 l. the whole Fund which the Frugality of many Years has produced, to discharge an increasing Debt to him; and had it not been for the seasonable Bounty of the Gentlemen of the County of Meath Jury, their Circumstances had been more deplorable. If this Charity be not better supported, the Trustees must be obliged to reduce the Number of Patients in the House, or entirely to shut it up. —— From a short View of their Receipts and Disbursements, the Publick will see what additional Supplies are necessary. |
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Debr. CHARITABLE INFIRMARY. Credr. |
|||||||
|
Balance due to the Treasurer, 1 Jan. 1742. |
l. 216 |
s. 2 |
d. 6 |
Annual Subscriptions received this Year. — — — Interest of Money, and |
l. 84 |
s. 6 |
d. 4 |
|
The Support of the House, Servants Wages, Medicints &c. — — |
513 |
14 |
6½ |
accidental Contributions, of which 50 l. was from one Person who desired to be unknown, and a Legacy of |
179 |
2 |
6¾ |
|
Paid for Building & Furniture, since the last Account was published, — |
58 |
2 |
0 |
50 l. — — — — By the Performances of Alexander’s Feast, — — — From the County of Meath |
155 |
3 |
7 |
|
Besides a small Balance still due to the Undertaker. |
Jury, — — — — Balance due to the Treasurer, |
76 292 |
9 17 |
0 6¾ |
|||
|
787 |
19 |
0½ |
787 |
19 |
0½ |
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Such Subscribers as are in Arrear, and such Gentlemen as had Tickets for Alexander’s Feast, or other former Performances, and have not accounted for them, are requested immediately to pay what Money is thus due from them. From 40 to 56 Patients have this Year been constantly entertained in the Infirmary, 118 Patients have been discharged cured, 15 died, 8 discharged incurable, 2 irregular, in all ———— 143 Besides Externs, who have been attended at the Infirmary, and supplied with Medicines, — — — — 1402 Patients in the Infirmary, — — — — 43[2] |
Jan 14, Dublin
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From the Charitable Musical Society. The said Society think themselves obliged to give the Publick an Account, that, in the Year 1742, they released out of the several Marshalseas in and about this City, 142 Prisoners, whose principal Debts and Fees amounted to the Sum of 1225 l. 17 s. 1 d. besides 33 l. 16 s. given in Charity to poor Creditors and out-going Prisoners: And they take this Occasion to return their humble Thanks to their kind Benefactors at their last Year’s Entertainment of Acis and Galatea, and hope for the Continuance of their Favour for their ensuing Entertainment of the sacred Oratorio, call’d the MESSIAH, and set by Mr. Handell, in the Performance whereof, at the usual Season, they were, by an Artifice (as is now well known to the Town) unhappily disappointed; with this Advantage, however, to the Audience, that the same will, upon the 1st and 3d of February next, be rehearsed, and executed to greater Perfection, under the Direction of Mr. Dubourg. NB. The Tickets given out for the 12th and 16th of December last, will be taken on the 1st and 3d of February next.[3] |
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[Lord Chamberlain’s Records] These are &c. to Mr. Christian Smith the Sum of Twenty five pounds four shillings & five pence / Office Fees incl[uded] being money disburst for writing in scores and parts for the different Performers the New Te Deum and Anthem composed by Mr Handel on His Ma[jes]ty’s safe Arrival from beyond Sea in November 1743 as appears by the annext Bill attested by Mr Handel. And &c. Given &c. this 17th Day of Jan[ua]ry 1743/4 in the Seventeenth Year of His Ma[jes]ty’s Reign To the Lord Hobart &c. Grafton Marginal entry: Mr Christian Smith for writing the scores & parts of the Te Deum &c.upon his Ma[jes]ty’s safe arrival from abroad s £22. 7. 6d 2.16.11 ¯¯¯¯¯¯¯¯ 25. 4. 5 ======== These are &c. to Mr. Christian Smith the Sum of Ninety one pounds four shillings & six pence / office fees inc[lude]d / being mony disburst for the Hire of ext[r{a}ordina]ry Performers for the New Te Deum and Anthem composed by Mr Handel on His Ma[jest]ty’s safe Arrival from beyond Sea in November 1743 according to the annext List attested by Mr Handel. And &c. Given &c. this 17th Day of Jan[ua]ry 1743/4 in the Seventeenth Year of His Ma[jes]tys Reign To the Lord Hobart &c. Grafton Marginal entry: Mr. Christian Smith for the Hire of ext[raordina]ry Performers for the Te Deum &c. &c. s d £80.17.0 10.17.6 ¯¯¯¯¯¯¯¯ 91. 4.6 ¯¯¯¯¯¯¯¯[4] |
Jan 21
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[Earl of Egmont’s Diary, Saturday 21 January 1743-4] [...] In the evening went to the Opera.[5] |
Jan 24
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[Mrs. Delany to Mrs. Dewes, 24 January 1743-4] I was yesterday morning at Mr. Handel’s to hear the rehearsal of Semele. It is a delightful piece of music, quite new and different from anything he has done: but I am afraid I shall hear no more music this year, and that will be a loss to me, — but the harmony of friendship must make up that loss. As we have a prospect of meeting soon I defer a particular account of it till we meet. Francescina is improved, and sings the principal part in it.[6] |
[Jan 28/] Feb 8
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[Edward Holdsworth in Rome to Charles Jennens] […] I assure you I had not quarrel to yr County, except on yr account, as I fear’d it might detain you there too long to ye prejudice of yr health, and deprieve yr friends in other places of their share of the pleasure of yr company. Since I find it agrees with you, and yt you can be in as good spirits there as at an Opera, I am perfectly reconcil’d to it, and if you please will allow it to be as good a County as any in England; but I hope still yt you will not insist upon my saying ’tis the cleanest. […][7] |
Jan 30, Dublin
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We hear that the Oratorio called the MESSIAH was privately rehearsed last Night in the Presence of some of the best Judges, [2] who expressed the utmost Satisfaction on that Occasion. This fine Piece is to be publickly rehearsed on Wednesday next at Noon, for the Benefit and Enlargement of Performers confined for Debt; and as the Audience will be very numerous, we hear, the Ladies have resolved to come without Hoops, as when the same was performed by Mr. Handel.[8] |
Jan 31, Dublin
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At the Musick Hall in Crow-Street on Thursday Feb. the 9th will be performed a Concert of Vocal and Instrumental Musick, by Subscription, for the Benefit of Miss Davis, a Child of seven Years old, who will perform some of the most difficult and favourite Concerto[’]s of Mr. Handell’s and other Authors upon the Harpsichord, accompanyed with many other Instruments, and will accompany her Mother in a favourite Song of Mr. Handell’s compiled particularly for the Harpsichord. Single Tickets to be had at Mr. Davis’s in Patrick’s Well-Lane at a British Crown each. —— It is humbly hoped the Nobility and Gentry will encourage so early and surprizing a Genius, born, and educated in this Town.[9] |
Feb 4, Dublin
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From the Charitable Musical Society for the Relief of poor Prisoners. The Society beg Leave, respectfully to Address themselves to the Ladies, and to appeal to such of them as were at the publick Rehearsal last Wednesday, for the Necessity of this their Request, that had the Ladies laid aside their Hoops, the Musick hall wou’d contain an hundred Persons more with full ease: As this Entertainment is exhibited for a very Charitable Account, and that the chief Intent of the Assembly is Charity, they humbly hope the Ladies will not take amiss to be requested to lay aside a Mode (or one Evening) nowever Ornamental on other Occasions. NB. On Account of Lord Netterville’s Tryal, the Grand Performance of the sacred Oratorio of the MESSIAH is put off to Tuesday the 7th Inst. to begin at 6 o’Clock in the Evening precisely. It is requested that the Ladies for the more convenient getting in, may order their Coaches to come down Fishamble-street. We hear from all Hands of the great Satisfaction given last Wednesday to a crouded Audience at the Rehearsal of the sacred Oratorio of the Messiah; nothing can come up to the choice of the Subject, the Words are those of the sacred Text, the Musick extremely well adapted, and the Execution, under Mr. Dubourg’s Direction, by the most celebrated Band of Vocal and Instrumental Musick, was carried on thro’ all the Parts, with universal Applause. The Oratorio is being fix’d for Tuesday, Mr. Johnson will have his Assembly on Monday next, being the 6th Day of February.[10] |
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Mr. ARNE proposes to exhibit, at the Theatre-Royal in Aungier-street, FOUR PERFORMANCES, Disposed in the Manner of the Oratorios in London, viz. Two Performances of The Distresses and Conquests of King ALFRED. Composed by Command of his Royal Highness Frederick Prince of Wales, and performed at his Palace at Cliesdon; And two Performances of a new Oratorio, called The Death of ABEL. Both composed by Mr. Arne. The principal Characters to be performed by Mr. Lowe & Mrs. Arne. The first Performance to begin so soon as 100 Subscribers are obtained. Seventy Subscribers are already obtained, therefore Mr. Arne begs the Favour of those who intend to subscribe, to send to his House in Aungier-street, otherwise they will lose the Advantage of Subscribing, as but thirty more can be admitted. As the Tickets will be given out in a Week, those who have not paid, are desired to send their Money to Mr. Arne. SUBSCRIPTION Three Guineas. Every Subscriber to have 3 Tickets on each Night of Performance. No Person, not subscribing, will be admitted into Pit, Boxes, or Lattices, under half a Guinea, a single Ticket.[11] |
Feb 7
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[Mrs. Delany to Mrs. Dewes, 7 February 1743-4] [...] Semele is to be performed next Friday; D. D. subscribes for me, and I hope not to miss one of the charming oratorios, except when I give up my ticket to him.[12] |
Feb 10
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COVENT-GARDEN. By SUBSCRIPTION. AT the Theatre-Royal in Covent-Garden, this Day, will be perform’d SEMELE. After the Manner of an ORATORIO, Set to Musick by Mr. HANDEL. Tickets are deliver’d to Subscribers, on paying their Subscription- Money, at Mr. Handel’s House in Brook-street, near Hanover- Square, where Attendance is given from Nine o’Clock in the Morning until Three in the Afternoon. 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 Gallery will be open’d at Four o’Clock, and Pit and Boxes at Five. To begin at Six o’Clock.[13] |
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[Earl of Egmont’s Diary, Friday 10 February 1743-4] [...] in the evening went to Mr. Hendel’s Opera called “Semele.”[14] |
Feb 11
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[Mrs. Delany to Mrs. Dewes, 11 February 1743-4] [...] I was yesterday to hear Semele; it is a delightful piece of music. Mrs. Donnellan desires her particular compliments to all but to my brother; she bids me say “she loses half her pleasure in Handel’s music by his not being here to talk over the particular passages.” There is a four-part song that is delightfully pretty; Francesina is extremely improved, her notes are more distinct, and there is something in her running-divisions that is quite surprizing. She was much applauded, and the house full, though not crowded; I believe I wrote my brother word that Mr. Handel and the Prince had quarrelled, which I am sorry for. Handel says the Prince is quite out of his good graces! there was no disturbance at the play-house and the Goths were not so very absurd as to declare, in a public manner, their disapprobation of such a composer. [...][15] |
Feb 15
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COVENT-GARDEN. By SUBSCRIPTION. The Second
Night. AT the Theatre-Royal in Covent-Garden, this Day, will be perform’d SEMELE. After the Manner of an ORATORIO, Set to Musick by Mr. HANDEL. 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 Gallery will be open’d at Four o’Clock, and Pit and Boxes at Five. To begin at Six o’Clock.[16] |
Feb 15
|
[Mrs. Delany to Mrs. Dewes] Feby. 16, 1744. P.S. — Yesterday the King sent a message to the two houses to let them know the Pretender’s son was in France, and that they had undoubted intelligence the French design an invasion with the Brest fleet, and it is suspected a great many disaffected people here are ready to join them. [...][17] |
Feb 16
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[manuscript list of libretti] Messiah. A Sacred Oratorio set to Musick by Mr. Handel and performed by the Academy of Ancient Musick on Thursday, February 16th 1743 [O.S., i.e., 1744], etc.[18] |
Feb 17
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COVENT-GARDEN. By SUBSCRIPTION. The Third Night. AT the Theatre-Royal in Covent-Garden, this Day, [DA: “being the 17th instant,”] will be perform’d SEMELE. After the Manner of an ORATORIO, Set to Musick by Mr. HANDEL. 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 Gallery will be open’d at Four o’Clock, and Pit and Boxes at Five. To begin at Six o’Clock.[19] |
Feb 21
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[Mrs. Delany to Mrs. Dewes, 21 February 1744] Semele is charming; the more I hear it the better I like it, and as I am a subscriber I shall not fail one night. [267] But it being a profane story D. D. does not think it proper for him to go; but when Joseph or Samson is performed I shall persuade him to go — you know how much he delights in music. They say Samson is to be next Friday, for Semele has a strong party against it, viz. the fine ladies, petit maîtres, and ignoramus’s. All the opera people are enraged at Handel, but Lady Cobham, Lady Westmoreland, and Lady Chesterfield never fail it.[20] |
Feb 22
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COVENT-GARDEN. By SUBSCRIPTION. The Fourth
Night. AT the Theatre-Royal in Covent-Garden, this Day, [DA: “the 22d instant,”] will be perform’d SEMELE. After the Manner of an ORATORIO, Set to Musick by Mr. HANDEL. With a CONCERTO on the ORGAN. 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 Gallery will be open’d at Four o’Clock, and Pit and Boxes at Five. To begin at Six o’Clock.[21] |
Feb 24
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COVENT-GARDEN. By SUBSCRIPTION. The Fifth Night. AT the Theatre-Royal in Covent-Garden, this Day, [DA: “the 24th instant,”] will be perform’d an ORATORIO, call’d SAMSON. With a CONCERTO on the ORGAN. 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 Gallery will be open’d at Four o’Clock, and Pit and Boxes at Five. To begin at Six o’Clock.[22] |
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[Mrs. Delany to Mrs. Dewes, 25 February 1743-4] Well, to change from discord to harmony I will shift my subject, and tell you I was last night to hear Samson. Francescina sings most of Mrs. Cibber’s part and some of Mrs. Clive’s: upon the whole it went off very well, but not better than last year. Joseph, I believe, will be next Friday, but Handel is mightily out of humour about it, for Sullivan, who is to sing Joseph, is a block with a very fine voice, and Beard has no voice at all. The part which Francescina is to have (of Joseph’s wife) will not admit of much variety; but I hope it will be well received; the houses have not been crowded, but pretty full every night. [...][23] |
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[Earl of Egmont’s Diary, Friday 24 February 1743-4] The Earl of Perth wrote also to Court that his brother was landed with divers French officers in Scotland. [...] And at 10 o’clock my Lady Deloraine wrote me from Court that since she came home from the Oratorio (where I was and sat by her) she heard that Sir Jo. Norris had met with the French fleet and made great havoc amongst them. But underneath she wrote “Apocryphal.”[24] |
Feb 29
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COVENT-GARDEN. By SUBSCRIPTION. The Sixth Night. AT the Theatre-Royal in Covent-Garden, this Day, will be perform’d an ORATORIO, call’d SAMSON. With a CONCERTO on the ORGAN. 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 Gallery will be open’d at Four o’Clock, and Pit and Boxes at Five. To begin at Six o’Clock.[25] |
Mar 2
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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 JOSEPH and his BRETHREN. With a CONCERTO on the ORGAN. 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 Gallery will be open’d at Four o’Clock, and Pit and Boxes at Five. To begin at Six o’Clock.[26] |
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[The Earl of Egmont’s Diary, Friday 2 March 1743-4] [...] In the evening, I went to Mr. Hendel’s Oratorio called “Joseph in Egypt,” an inimitable composition.[27] |
Mar 7
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COVENT-GARDEN. By SUBSCRIPTION. The Eighth
Night. AT the Theatre-Royal in Covent-Garden, this Day, will be perform’d a New ORATORIO, call’d JOSEPH and his BRETHREN. With a CONCERTO on the ORGAN. 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 Gallery will be open’d at Four o’Clock, and Pit and Boxes at Five. To begin at Six o’Clock.[28] |
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[The Earl of Egmont’s Diary, Wednesday 7 March 1743-4] In the evening went to Hendel’s Oratorio called “Joseph in Egypt.”[29] |
Mar 9
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COVENT-GARDEN. By SUBSCRIPTION. The Ninth Night. AT the Theatre-Royal in Covent-Garden, this Day, will be perform’d a New ORATORIO, call’d JOSEPH and his BRETHREN. With a CONCERTO on the ORGAN. 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 Gallery will be open’d at Four o’Clock, and Pit and Boxes at Five. To begin at Six o’Clock.[30] |
Mar 10
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[Mrs. Delany to Mrs. Dewes, 10 March 1743-4] The oratorios fill very well, notwithstanding the spite of the opera party: nine of the twelve are over. Joseph is to be performed (I hope) once more, then Saul, and the Messiah finishes; as they have taken very well, I [280] fancy Handel will have a second subscription; and how do you think I have lately been employed? Why, I have made a drama for an oratorio, out of Milton’s Paradise Lost, to give Mr. Handel to compose to; it has cost me a great deal of thought and contrivance; D. D. approves of my performance, and that gives me some reason to think it not bad, though all I have had to do has been collecting and making the connection between the fine parts. I begin with Satan’s threatenings to seduce the woman, her being seduced follows, and it ends with the man’s yielding to the temptation; I would not have a word or a thought of Milton’s altered; and I hope to prevail with Handel to set it without having any of the lines put into verse, for that will take from its dignity. This, and painting three pictures, have been my chief morning employment since I came to town. [...][31] |
Mar 14
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COVENT-GARDEN. By SUBSCRIPTION. The Tenth Night. AT the Theatre-Royal in Covent-Garden, this Day, will be perform’d a New ORATORIO, call’d JOSEPH and his BRETHREN. (Being the last Time of performing it this Season.) With a CONCERTO on the ORGAN. 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 Gallery will be open’d at Four o’Clock, and Pit and Boxes at Five. To begin at Six o’Clock.[32] |
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[Mrs. Delany to Mrs. Dewes, 15 March 1743-4] We [she and brother Bernard Granville] went together last night to Joseph. ’Twas the last night, and I think I prefer it to every thing he [Handel] has made, except the Messiah. I have collected the oratorio for him out of Milton’s Paradise Lost, which I hope will do. [...][33] |
Mar 16
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COVENT-GARDEN. By SUBSCRIPTION. The Eleventh
Night. AT the Theatre-Royal in Covent-Garden, this Day, will be perform’d an ORATORIO, call’d SAUL. With a CONCERTO on the ORGAN. 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 Gallery will be open’d at Four o’Clock, and Pit and Boxes at Five. [DA only:] To begin at Six o’Clock.[34] |
Mar 21
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COVENT-GARDEN. By SUBSCRIPTION. The Last Night. AT the Theatre-Royal in Covent-Garden, this Day, will be perform’d an ORATORIO, call’d SAUL. With a CONCERTO on the ORGAN. 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 Gallery will be open’d at Four o’Clock, and Pit and Boxes at Five. To begin at Six o’Clock.[35] |
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[The Earl of Egmont’s Diary, Wednesday 21arch 1743-4] Wednesday 21. — In the evening I went to Handel’s Oratorio called “Saul.”[36] |
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[Mrs. Delany to Mrs. Dewes, 22 March 1743-4] [...] Last night, alas! was the last night of the oratorio: it concluded with Saul: I was in hopes of the Messiah. I have been at ten oratorios, and wished you at every one most heartily. I have not seen Lady Sunderland this age: she is but indifferent, but the oratorios took up two days in the week, and I seldom go out on a Sunday. [...][37] |
Mar 22
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HAY-MARKET. AT the KING’s THEATRE in the HAY-MARKET, this Day, [DA: “being the 22d instant,”] will be perform’d a New ORATORIO, call’d L’ERRORE DI SOLOMONE. Set to Musick by Signor VERACINI. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d this Day, at the Office in the Hay-Market, at Half a Guinea each. Gallery 5 s. By HIS MAJESTY’s Command, No Persons whatever to be admitted behind the Scenes. The Gallery will be open at Four o’Clock. Pit and Boxes at Five. To begin at Six o’Clock.[38] |
Mar 28
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HAY-MARKET. For the Benefit and Increase of a FUND establish’d for the Support of Decay’d MUSICIANS, or their FAMILIES. AT the KING’s THEATRE in the HAY-MARKET, this Day, [DA: “being the 28th instant,”] will be perform’d a MUSICAL ENTERTAINMENT. The VOCAL Parts by
PARTICULARLY The SALVE REGINA, Sung by Signor MONTICELLI. WITH A Concerto on the German Flute by Mr. Weideman. A Concerto on the Violoncello by Signor Caporale. A Concerto on the Hautboy by Mr. T. Vincent. And a Concerto on the Bassoon by Mr. Miller. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d this Day, at the Office in the Hay-Market, at Half a Guinea each. Gallery 5 s. By HIS MAJESTY’s Command, No Persons whatever to be admitted behind the Scenes. The Gallery will be open at Four o’Clock. Pit and Boxes at Five. *** The Tickets deliver’d to the Subscribers to this Charity, will admit one Person into any Part of the House. The Tickets given out for the 21st, will be taken the 28th.[39] |
[Beatrice Fielding (?) to James Harris, Salisbury, 1 April 1744]
Thursday last was the Concert, and the Members, as Usual, lamenting the loss of their Head, were forced to have recourse to the Old Proverb, that two Heads were better than one, (or in the latest Edition better than None) but whether this Expedient had ye desired Effect We leave to the Judgment of the Company. Mr Blakes Affairs indispensably calling him to Oxford, We had the Honour of Appointing the Musick, as well as sharing the Laurels, by each presiding over an Act; the Overtrs. were Otho & Alcina, ye Concerto’s Geminiani, & Geminiani Corelli, the Songs out of Samson & this was the first Time of Mr Lakes singing since you went; Sigr. Fleming play’d a Solo, & the famous Mr Parry gave us a voluntary on the Welsh Harp, in hopes of inclining the Company to be at his Benefit next Tuesday Night [3 April].[40]
Apr 3
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[Mrs. Delany to Mrs. Dewes, 3 April 1744] To-day I shall have a treat that I shall most ardently wish you and my mother your share of. Handel, my brother, and Donnellan dine here, and we are to be entertained with Handel’s playing over Joseph to us. How often and how tenderly shall I think of my Benjamin! [...][41] |
Apr 16
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[Mrs. Delany to Mrs. Dewes, 17 April 1744] We all dined yesterday at the Duke of Portland’s, and went together to Sullivan’s benefit; a most stupid entertainment on the whole, but there was one scene of tolerable humour, which made us laugh, of the King and Queen of Spain and Farinelli. [...][42] |
May 7
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[Charles Jennens in London to Edward Holdsworth] Handel has promis’d to revise the Oratorio of Messiah, & He & I are very good Friends again. The reason is, he has lately lost his Poet Miller, & wants to set me at work for him again. Religion & Morality, Gratitude, Good Nature & Good Sense had been better Principles of Action than this single point of Interest; but I must take him as I find him, & make the best use I can of him. […][43] |
May
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On viewing Mr
Handel’s Statue. THe stones obey’d when sweet Amphion sung, And to his soft persuasion mov’d along. Could his own statue hear his Handel’s strain, The life infus’d would beat in ev’ry vein And the dead stone appear the very man.[44] |
Jun 2
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[J. De Pesters to Isabella Countess of Denbigh] 1744, June 2. [...] “Madame Grenville me vint prendre hier dejeuner chez Lady Suffolk, qui nous accompagna a diner chez la Reine Blanche, d’ou nous fumes a Ranelagh. . . . Ce soir nous allons a l’opera, de la ils voudront peut etre aller a Vauxhall, mais ils iront certainement sans moy. . . . “Pope est enfin mort tout de bon. Il a fait quelques legs, et laisse la Blunt heritiere du reste. Le chevalier Stanhope aura sa maison. En accepterons nous l’augure? . . . “Je reviens de l’Opera, ou je n’ay rien appris que le mariage de Mr. Mackensey avec La Barberiny.”[45] |
Jun 9
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[Handel to Charles Jennens] London Juin 9th. 1744 Dear Sir. It gave me great Pleasure to hear Your safe arrival in the Country, and that Your Health was much improuved. I hope it is by this time firmly establishd, and I wish You with all my Heart the Continuation of it, and all the Prosperity. As You do me the Honour to encourage my Musicall undertakings, and even to promote them with a particular Kindness, I take the Liberty to trouble You with an account of what Engagements I have hithertho [sic] concluded. I have taken [1v] the Opera House in the Haymarketh. engaged, as Singers, Sigra Francesina, Mr. Robinson, Beard, Reinhold, Mr. Gates with his Boyes’s and several of the best Chorus Singers from the Choirs, and I have some hopes that Mrs Cibber will sing for me. She sent me word from Bath (where She is now) that She would perform for me next Winter with great pleasure if it did not interfere with her playing, but I think I can obtain Mr Riches’s permission (with whom She is engaged to play in Covent Garden House) since so obligingly he gave Leave to Mr Beard and Mr Reinhold. Now should I be extreamly glad to receive the first Act, or what is ready, of the new Oratorio [2r] with which
You intend to favour me, that I might employ all my attention and time, in order to answer in some measure the great Obligation I lay under. this new favour will greatly increase my Obligations. I remain with all possible Gratitude and Respect Sr Your most obliged and most humble Servant George Frideric Handel[46] |
Jun 19 [NS?]
|
[J. De Pesters to Isabella Countess of Denbigh] 1744, June 19. [...] “Savez vous Madame, que je suis en proces avec les directeurs de l’opera? Il nous ont fait assigner tous tant que nous sommes; c’est a dire les Chesterfields, les Bedfords et d’autres; nous voulons tenir bon, je ne sais si nous en serons bons marchands.”[47] |
These are &c. to Mr. Christ[opher] Smith the Sum of Fifty eight pounds one shill[ing] / Office fees incl[uded] / being mony disburst for writing in Scores & parts for the different performers, for the New Te Deum & Anthem composed by Mr Geo. Fred. Handell for the Thanksgiving Day 1749 also for the Hire of ext[raordinar]y Performers for the said Te Deum & Anthem as appears by the annext List certifyed by Mr Handell {616} And &c. Given &c. this 21st day of June 1749 in the Twenty third Year of His M[ajes]ty’s Reign.
To R[ichar]d Arundell Esq &c. Grafton
Marginal entry: Mr. Christ[opher] Smith for writing in Scores Mr Handels Te Deum &c. 1749
£58.1.0
£ s. d.
52: 0: 6
6: 0: 6
______________
58: 1: 0[48]
Jun 22
|
[E. Lady Townshend to the Countess of Denbigh] [“1744, June 22.”] “Monticelli and all the singers and dancers of the opera go away next week, there being no more of these entertainments next winter, Mr. Hendell having taken the House at the Hay Market to perform his Oratorios in all the next season. [...][49] |
Jul 19
|
[Handel to Charles Jennens] July 19. 1744 Dear Sir At my arrival in London, which was yesterday, I immediately perused the Act of the Oratorio with which you favour’d me, and, the little time only I had it, gives me great Pleasure. Your reasons for the Lenght [sic] of the first act are intirely Satisfactory to me, and it is likewise my Opinion to have the following Acts short. I shall be very glad and much obliged to you, if you will soon favour me with the remaining Acts. Be pleased to point out these passages in t[h]e Messiah which you think require altering — I desire my humble Respects and thanks to My Lord Guernsey for his many Civility’s to me. and believe me to be with the greatest Respect Sr Your most obedient and most humble Servant George Frideric Handel[50] |
Aug 16
|
[Horace Walpole to Horace Mann] London, Aug. 16, 1744. [... 499 ... 501] Lord Middlesex’s match is determined, and the writings signed. She proves an immense fortune; they pretend a hundred and thirty thousand pounds — what a fund for making operas![51] |
Aug 21
|
[Handel to Charles Jennens] Dear Sir The Second Act of the Oratorio I have received Safe, and own my self highly obliged to You for it. I am greatly pleased with it, and shall use my best endeavours to do it Justice. I can only Say that I impatiently wait for the third Act and desire to believe me to be with great Respect Sr Your most obliged and most humble Servant George Frideric Handel. London Agost ye 21. 1744.[52] |
Sep 4
[4th Earl of Shaftesbury in St Giles’s to James Harris, 4 September 1744]
Pray did you settle the oratorio of Paradis Lost &c whilst at Packington? Has Mr Jennens finished his, and sent it to Handel yet? and what musical news is stirring[?] […][53]
Sep 13
|
[Handel to Charles Jennens] Dear Sr Your most excellent Oratorio has given me great Delight in setting it to Musick and still engages me warmly. It is indeed a Noble Piece, very grand and uncommon; it has furnished me with Expressions, and has given me Opportunity to some very particular Ideas, besides so many great Choru’s. I intreat You heartily to favour me soon with the last Act, which I expect with anxiety, that I may [verso] regulate my Self the better as to the Lenght [sic]of it. I profess my Self highly obliged to you, for so generous a Present, and desire you to believe me to be with great Esteem and Respect Sr Your most obliged and most humble Servant George Frideric Handel London Septbr 13. 1744[54] |
Sep 26
|
[Charles Jennens in Gopsall to Edward Holdsworth] Dear Sir, I have been prevail’d
with once more to expose my self to the Criticks, to oblige the Man [Handel] who
made me but a scurvy return for former obligations: the truth is, I had a
farther view in it; but if he does not mend his manners, I am resolv’d
to have no more to do with him. But the reason of my mentioning this was to
excuse my delay of answering your Letter dated almost 4 months ago. For my
Muse is such a Jade, & Handel hurry’d her so, that I could not
find time for writing Letters. Our Operas are at an end, & He has taken
the Opera House to perform Oratorios in this next Season. In your Letter of
May 16 you suppose him in Ireland, where indeed he met with Encouragement,
but has had so much better since in England, that I believe he has had no
inclination yet to go into Ireland again. […1v] We have lately lost the famous Pope; who has left all his Mss. to Ld. Bolingbroke, to publish or suppress as he shall think proper. Not long after follow’d his Corrector Theobald; whom Pope depos’d last year from his Duncical Kingdom, & exalted Cibber the Laureate in his Room. The World will find out some consideration to alleviate their Sorrow for these two losses: for now they will neither be so much abus’d, nor so much cheated as formerly. We have lost, in my opinion, a much more valuable man than either of them; I mean Mr Harbin […][55] |
Oct 2
|
[Handel to Charles Jennens] Dear Sr I received the 3d Act, with a great deal of pleasure, as You can imagine, and You may believe that I think it a very fine and sublime Oratorio, only it is realy too long, if I should extend the Musick, it would last 4 Hours and more. I retrench’d already a great deal of the Musick, that I might preserve the Poetry as much as I could, yet still it may be shortned. The Anthems come in very proprely [sic]. but would not the Words (tell it out among the Heathen that the Lord is King.) sufficient for one Chorus? T[h]e Anthem (I will magnify thee O God my King, and I will praise thy name for ever and ever, vers). the Lord preserveth all them that love him, but scattreth abroad all the ungodly. (vers and Chorus) my Mouth shall speak the Praise of the Lord and let all flesh give thanks unto His holy name for ever and ever Amen) concludes well the Oratorio. I hope You will make a Visit to London next Winter. I have a good Set of Singers. Sr. Francesina performs Nitocris, Miss Robinson, Cyrus, Mrs. Cibber. Daniel, Mr Beard, (who is recoverd) Belshazzar, Mr Reinhold, Gobrias, and a good Number of Choir Singers for the Chorus’s. I propose [verso] 24 Nights to perform this Season on <Sat>turdays but in Lent on Wednesday’s or fryday’s. I shall open Ye 3d of Novembr next with <Debo>rah. I wish you heartily the continuation of Your health, and professing my gra<titude and?> acknowledgments for your generous favours, and am with great Esteem and Res<pect> Sr. Your most obliged and most humble Servant George Frideric Handel London Octobr 2 1744[56] |
|
By particular DESIRE. MR. HANDEL proposes to perfor<m, by> Subscription Twenty-four Times during the Winter <Season,> at the KING’s THEATRE in the Haymarket, and engages to exhibit Two new Performances, and several of his former Oratorio’s. The first Performance will be on Saturday the 3d of November, and will continue every Saturday ’till LENT, and then on Wednesdays, and Fridays. Each Subscriber is to pay Eight Guineas at the Time he subscribes, which entitles him to One Box Ticket for each Performance. Subscriptions are taken in at Mr. Handel’s House
in Brook-street, near
Hanover-Square; at Mr. Walsh’s in Catherine-street in the Strand;
and at White’s Chocolate-House in St. James’s-street. Those Gentlemen and Ladies who have already
favour’d Mr. Handel in
the Subscription, are desir’d to send for their Tickets at his House
in Brook-street, where Attendance will be given every Day (Sundays
excepted) from Nine o’Clock in the Morning until Three in the
Afternoon.[57] |
Nov 3
|
HAY-MARKET. By SUBSCRIPTION. The First Night. AT the KING’s THEATRE in the, HAY-MARKET, this Day, [DA: “being the 3d of November,”] will be perform’d an Oratorio, call’d DEBORAH. With a CONCERTO on the ORGAN. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be delivered this Day, at the Opera- Office in the Haymarket, at Half a Guinea each. Gallery 5 s. The Gallery will be open’d at Four o’Clock, Pit and Boxes at Five. To begin at Six o’Clock. [DA only:] Tickets delivered to Subscribers at Mr. Handel’s House in Brooke-Street, near Hanover-Square; at Mr. Walsh’s, in Katherine-Street in the Strand; and at White’s Chocolate-House in St. James’s Street.[58] |
Nov 5
|
AS the greatest Part of Mr. HANDEL’s Subscribers are not in Town, he is requested not to perform till Saturday the 24th Instant; but the Subscription is still continued to be taken in at Mr. Handel’s House in Brook-Street, near Hanover-Square; at Mr. Walsh’s in Catherine-street in the Strand; and at White’s Chocolate-House in St. James’s-street.[59] |
[“EPISTLES ON VARIOUS SUBJECTS. / November 20, 1744.”]
The little edifice I inhabit is agreeably situated in the bosom of a grove upon the margin of a limpid stream, which by its manifold meanders seems unwilling to forsake the place. Through this grove are cut several vistas, which either soon terminate in pleasing objects, or open to the eye an extensive prospect into a delightful country. In these walks it is that I pass many of my leisure hours, either rapt in contemplation, anticipating social endearments, or lamenting the dreadful situation of our wounded country. Here while the Year is youthful and gay, I enjoy at the expence of nature an aviary, harmonious beyond the the [sic] divine CORELLI, or enchanting HANDEL, inhabited by the choiristers of air, who sing their gratitude to Heaven in artless strains, and warble their loves through undissembling throats: here it is too, when the [271] year grows old and infirm, that I draw lessons of morality, and emblems of life from the withered countenance of nature.[60]
Nov 24
|
HAY-MARKET. By SUBSCRIPTION. The Second
Night. AT the KING’s THEATRE in the<,> HAY-MARKET, this Day, [DA: “being the 24th instant,”] will be perform’d an Oratorio, call’d DEBORAH. With a CONCERTO on the ORGAN. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be delivered this Day, at the Opera- Office in the Haymarket, at Half a Guinea each. Gallery 5 s. The Gallery will be open’d at Four o’Clock, Pit and Boxes at Five. To begin at Six o’Clock. [DA: “Note,”] Subscriptions are taken in at Mr. Handel’s House in Brook-street, near Hanover-Square; at Mr. Walsh’s in Catherine-street in the Strand; and at White’s Chocolate-House in St. James’s-street.[61] |
Nov 24
|
[Horace Walpole to Horace Mann] Arlington Street, Nov. 26, 1744. [... 536 ... 537] Lord Granville resigned the seals; [...] he certainly sacrificed everything to please the King; [...] Who are mortified, are the fair Sophia and Queen Stanislaus [his mother-in-law]: however the
daughter carries it off heroically: the very night of her fall, she went to the oratorio [Deborah]. I talked to her much, and recollected all that had been said to me upon the like occasion three years ago: I succeeded; and am invited to her assembly next Tuesday. [...][62] |
Nov 30
[Charles Jennens in Gopsal to James Harris, 30 November 1744]
I am sorry to hear (for I have heard) that you are no further advanc’d in your Miltonicks. For shame[,] don’t be so lazy. For want of them we might have had another Semele: but it happens, (luckily, I hope,) that Mr Broughton of the Temple has given Handel a Hercules. I hope it is the Judgement of Hercules.
I sent [some]one to Mr Handel to subscribe for me to his entertainments, with an exception to Semele, upon which he refus’d to take my subscription. I have since given him a 2nd dose. Deborah has been perform’d twice to very thin audiences, & Semele comes forth to morrow, I hope to a thinner.[63]
The Establishment of their Royal Highnesses the Princess Amelia, and the Princess Caroline.
[…]
Musick-Master,
Mr. Handel[64]
Dec 1
|
[Impartial
Examen of the Present Contests between the Town and the Manager of the Theatre] * This Lady’s [Mrs. Cibber’s] Salary, I am credibly inform’d, is 600 Guineas for playing three times a Week only part of the Season with Mr. F——— [Fleetwood], besides a Benefit clear of Charges; and between 3 or 400 l. more for singing about twenty times with Mr. H—— [Handel]; so that her Income, (without reckoning any Presents, or Gratuities, from any Particular Friends, for her Extraordinary Performances) may, by a moderate Computation, be reckon’d at 1200 l. for less than six Months Labour; while her Husband (who made her an Actress) and his Daughters (her Children in Law) have yearly —— 0 l. 0 s. 0 d.[65] |
Dec 1
|
HAY-MARKET. By SUBSCRIPTION. The Third Night. AT the KING’s THEATRE in the HAY-MARKET, this Day, [DA: “being the 1st of December,”] will be perform’d SEMELE. With Additions and Alterations, and a CONCERTO on the ORGAN. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be delivered this Day, at the Opera- Office in the Haymarket, at Half a Guinea each. Gallery 5 s. The Gallery will be open’d at Four o’Clock, Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock. [DA: “Note,”] Subscriptions are taken in at Mr. Handel’s House in Brook-street, near Hanover-Square; at Mr. Walsh’s in Catherine-street in the Strand; and at White’s Chocolate-House in St. James’s-street.[66] |
[...] for I conclude * Mrs. Cibber’s Salary is too considerable an Income for her to live without, since she cannot draw any considerable Subsistence from her Husband [...]
* This Lady’s Salary, I am credibly inform’d, is 600 Guineas for playing three times a Week only part of the Season with Mr. F———, besides a Benefit clear of Charges; and between 3 or 400 l. more for singing about twenty times with Mr. H——; so that her Income, (without reckoning any Presents, or Gratuities, from any Particular Friends, for her Extraordinary Performances) may, by a moderate Computation, be reckon’d at 1200 l. for less than six Months Labour; while her Husband (who made her an Actress) and his Daughters (her Children in Law) have yearly —— 0 l. 0 s. 0 d.[67]
Dec 6
|
To Mr. Handel, on hearing his grand Orarorio,
called the MESSIAH, performed to
Cathedral Service in the Church of St. Finbarry’s, Cork, Thursday, Dec. 6, 1744. By Mr. DELACOURT. ‘ Great Son of Tubal! how thy Concords flow. ‘ Wing the soft Sight, and melt the Breast of Snow! ‘ More than Caecilia did, you made appear, ‘ She drew one Angel, but you Thousands, here. ‘ Here, in brisk Strains, young Cherubims rejoice; ‘ Or God apparent, in the small still Voice! ‘ Hark! his Trump sounds, and calls each neighb’ring Tomb ‘ To the last Audit, or the Day of Doom: ‘ Ne’er were my Passions shook, so rouz’d before, ‘ It thrill’d my Blood, my Pulses beat no more; ‘ Death seem’d attentive to th’ harmonious Sphere, ‘ And Silence Self, sat listning in my Ear. ‘ Thus Eastern Swains, that kept their Flocks by Night, ‘ Heard Songs Seraphic hymn’d by Sons of Light; ‘ Their Awe-struck Senses seem’d absorb’d and lost, ‘ Drown’d in the Chorus of the Heav’nly Host. ‘ Well might Men say with Jacob, in that Case, ‘ Of Barry’s Cell, how dreadful is this Place! ‘ Surely the Lord is here from Morn till Ev’n, ‘ This is the House of God, and this the Gate of Heav’n.’[68] |
Dec 8
|
HAY-MARKET. By SUBSCRIPTION. The Fourth Night. AT the KING’s THEATRE in
the HAY-MARKET,
this Day, [DA: “being the 8th of December,”] will be perform’d SEMELE. With Additions and Alterations, and a CONCERTO on the ORGAN. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be delivered this Day, at the Opera-Office in the Haymarket, at Half a Guinea each. Gallery 5 s. The Gallery will be open’d at Four o’Clock, Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock. [DA: “Note,”] Subscriptions are taken in at Mr. Handel’s House in Brook-street, near Hanover-Square; at Mr. Walsh’s in Catherine-street in the Strand; and at White’s Chocolate-House in St. James’s-street.[69] |
|
[Earl of Egmont’s Diary, Saturday 8 December 1744] In the evening, I went to the Oratorio called “ Semele.”[70] |
The Establishment of their Royal Highnesses, the Princess Amelia, and the Princess Carolina.
[… 26 …]
Musick-master,
Mr Handel 200l. a Year.[71]
Pieces writ by Mr. LOCKMAN, and sold by H. CHAPELLE, in Grosvenor-street.
I. ROSALINDA, (dedicated to the Dutchess of Newcastle) a musical Drama, perform’d by Mr. Beard, Mrs. Arne, &c. at Mr. Hickford’s Great Room in Brewer-street. Set to Music by Mr. John C. Smith. To which is prefix’d, an Enquiry into the Rise and Progress of Opera’s and Oratorio’s, with some Reflexions on Lyric Poetry and Music. Price 1 s.
II. David’s Lamentation over Saul and Jonathan: an Oratorio. Perform’d by Mr. Beard, Mrs. Arne, &c. at the above-mention’d Place. The Music by Mr. John C. Smith. Set to Music also by Mr. Boyce, Composer to his Majesty. Fifth Edition. Price 6 d.
III. VERSES to his Royal Highness the Duke of Cumberland; on his being wounded at the Repulse of the French, near Dettingen.
Quanta
moves funera Dardanae
Genti! Horat.
Price 3 d.[72]
THUS, in the Natural or Inanimate World, MUSIC may imitate the Glidings, Murmurings, Tossings, Roarings, and other Accidents of Water, as perceived in Fountains, Cataracts, Rivers, Seas, &c.——The same of Thunder—the same of Winds, as well the stormy as the gentle.——In the Animal World, it may imitate the Voice of some Animals, but chiefly that of singing Birds.——It may also faintly copy some of their Motions.—In the Human Kind, it can [67] also imitate some Motions (i) and Sounds (k); and of Sounds those most perfectly, which are expressive of Grief and Anguish (l).
AND thus much as to the Subjects, which Music imitates.
[...]
AND hence the genuine Charm of Music, and the Wonders which it works, thro’ its great Professors (b). A Power, which consists not in Imitations, and the raising Ideas; but in the raising Affections, to which Ideas may correspond. There are few to be found so insensible, I may even say so inhumane, as when GOOD POETRY IS JUSTLY SET TO MUSIC, not in some degree to feel the Force of so amiable an Union. But to the Muses Friends it is a Force irresistible, and [100] penetrates into the deepest Recesses of the Soul.
|
———— * Pectus
inaniter angit, Irritat, mulcet, falsis terroribus implet. |
§.2. NOW this is that Source, from whence Music was † said formerly to derive its greatest Efficacy. And here indeed, not in (c) Imitation, ought it to be chiefly cultivated. On this account also it has been called a ‡ powerful Ally to Poetry. And farther, ’tis by the help of this Reasoning, that the Objection is solved, which is raised against the Singing of Poetry (as in Opera’s, Oratorio’s, &c.) from the want [101] of Probability and Resemblance to Nature. [...][73]
|
[About the “RIGHT honourable Lord K—ld——?”] “And then, (to speak without Aspersion) For Musick, that sublime Diversion, Few Men of Station ever had A Taste so wretched, and so sad. When he should sit at Handell’s Band, Among the Nobles of the Land, He plods at home upon Decrees, To rob the Lawyers of their Fees; And from an Oratorio flies, To listen to the Widow’s Cries.”[74] |
The HISTORY
OF
ADRASTUS, SEMANTHE,
and APAMIA.
YOU all know, said she, that Adrastus is more indebted to the Gifts of Fortune than to those of Nature, for the Respect paid him by the World; yet some, who look on him with less distinguishing Eyes, allow him a fine Gentleman: It is certain he has a gay, polite Behaviour, can give his Opinion agreeably enough on the Amusements in vogue at present, goes often to Court, and can tell you what Dish the King eats oftenest on, and when his Majesty has a good or bad Night, as well as his Cook or Physician: Hunts with Lord Orford and, of late has the Honour of being intimate with Lord and Lady Bath: Besides this, he dances well, and can play some of Handel’s Tunes on the Harpsicord and Violin.[75]
[1] The London Daily Post, and General Advertiser, no. 2855, Monday 9 January 1743-4, [1]; The Daily Advertiser, no. 4049, Monday 9 January 1744, [2].
[2] George Faulkner. The Dublin Journal, no. 1830, Tuesday 10 – Saturday 14 January 1743[-4], [1].
[3] George Faulkner. The Dublin Journal, no. 1830, Tuesday 10 – Saturday 14 January 1743[-4], [1]; partly repr., Townsend, 115.
[4] Donald Burrows, Handel and the English Chapel Royal (Oxford and New York: Oxford University Press, 2005), 615.
[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), 283.
[6] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 2:254.
[7]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 2,” item 95, f. 1r; repr. Amanda Babington and
Ilias Chrissochoidis, “Musical References in the Jennens–Holdsworth
Correspondence (1729–46),” Royal Musical
Association Research Chronicle, 45:1 (2014), 76–129: 120.
[8] George Faulkner. The Dublin Journal, no. 1835, Saturday 28 – Tuesday 31 January 1743[-4], [1-2]; repr., Townsend, 115.
[9] George Faulkner. The Dublin Journal, no. 1835, Saturday 28 – Tuesday 31 January 1743[-4], [2].
[10] George Faulkner. The Dublin Journal, no. 1836, Tuesday 31 January – Saturday 4 February 1743[-4], [2]; partly repr., Townsend, 115-16.
[11] George Faulkner. The Dublin Journal, no. 1836, Tuesday 31 January – Saturday 4 February 1743[-4], [2].
[12] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 2:260.
[13] The London Daily Post, and General Advertiser, no. 2883, Friday 10 February 1743-4, [1]; The Daily Advertiser, no. 4077, Friday 10 February 1744, [2].
[14] 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), 284.
[15] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 2:262.
[16] The London Daily Post, and General Advertiser, no. 2887, Wednesday 15 February 1743-4, [2]; The Daily Advertiser, no. 4081, Wednesday 15 February 1744, [2].
[17] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 2:265.
[18] William C. Smith, “Handeliana,” Music & Letters 31 (1950), 125-32: 132.
[19] The London Daily Post, and General Advertiser, no. 2889, Friday 17 February 1743-4, [2]; The Daily Advertiser, no. 4083, Friday 17 February 1744, [2].
[20] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 2:266.
[21] The London Daily Post, and General Advertiser, no. 2893, Wednesday 22 February 1743-4, [1]; The Daily Advertiser, no. 4087, Wednesday 22 February 1744, [2].
[22] The London Daily Post, and General Advertiser, no. 2895, Friday 24 February 1743-4, [1]; The Daily Advertiser, no. 4089, Friday 24 February 1744, [2].
[23] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 2:271.
[24] 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), 288.
[25] The London Daily Post, and General Advertiser, no. 2899, Wednesday 29 February 1743-4, [2]; The Daily Advertiser, no. 4093, Wednesday 29 February 1744, [2].
[26] The London Daily Post, and General Advertiser, no. 2901, Friday 2 March 1743-4, [1]; The Daily Advertiser, no. 4095, Friday 2 March 1744, [2].
[27]
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), 290.
[28] The London Daily Post, and General Advertiser, no. 2905, Wednesday 7 March 1743-4, [1]; The Daily Advertiser, no. 4099, Wednesday 7 March 1744, [2].
[29]
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), 291
[30] The London Daily Post, and General Advertiser, no. 2907, Friday 9 March 1743-4, [1]; The Daily Advertiser, no. 4101, Friday 9 March 1744, [2].
[31] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 2:279-80.
[32] The General Advertiser, no. 2911, Wednesday 14 March 1743-4, [2]; The Daily Advertiser, no. 4105, Wednesday 14 March 1744, [1].
[33] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 2:282.
[34] The General Advertiser, no. 2913, Friday 16 March 1743-4, [1]; The Daily Advertiser, no. 4107, Friday 14 March 1744, [1].
[35] The General Advertiser, no. 2917, Wednesday 21 March 1743-4, [1]; The Daily Advertiser, no. 4111, Wednesday 21 March 1744, [1].
[36] 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), 293.
[37] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 2:284.
[38] The General Advertiser, no. 2918, Thursday 22 March 1743-4, [1]; The Daily Advertiser, no. 4112, Thursday 22 March 1744, [1].
[39] The General Advertiser, no. 2923, Wednesday 28 March 1744, [1]; The Daily Advertiser, no. 4117, Wednesday 28 March 1744, [2].
[40] The Correspondence of Henry and Sarah Fielding, edited by Martin C. Battestin and Clive T. Probyn (Oxford: Clarendon Press, 1993), 179; Chrissochoidis, 766.
[41] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 2:290.
[42] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 2:293.
[43]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 2,” item 96, 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: 120; (first two
sentences) Händel Handbuch, 376.
[44] The Scots Magazine 6 (1744): 224 [May].
[45] Report on the Manuscripts of the Earl of Denbigh. Preserved at Newnham Paddox. Warwickshire. (Part V.) (London: His Majesty’s Stationery Office, 1911), 179.
[46] Foundling Museum, Gerald Coke Handel Collection, accession no. 2394; repr. Autograph Letters of George Frideric Handel and Charles Jennens (auction catalog, Christie, Manson & Woods, July 4, 1973), 12.
[47] Report on the Manuscripts of the Earl of Denbigh. Preserved at Newnham Paddox. Warwickshire. (Part V.) (London: His Majesty’s Stationery Office, 1911), 179.
[48] Donald Burrows, Handel and the English Chapel Royal (Oxford and New York: Oxford University Press, 2005), 615-16.
[49] Report on the Manuscripts of the Earl of Denbigh, preserved at Newnham Paddox, Warwickshire. (Part V.) (London: His Majesty’s Stationery Office, 1911), 250.
[50] Autograph Letters of George Frideric Handel and Charles Jennens (auction catalog, Christie, Manson & Woods, July 4, 1973), 13; facsimile opposite p. [1].
[51] 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), 498-501.
[52] Autograph Letters of George Frideric Handel and Charles Jennens (auction catalog, Christie, Manson & Woods, July 4, 1973), 14; facsimile, pp. 14/15.
[53] 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), 198.
[54] Autograph Letters of George Frideric Handel and Charles Jennens (auction catalog, Christie, Manson & Woods, July 4, 1973), 15; facsimile of first page, pp. 14/15.
[55]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 2,” item 97, f. 1; 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: 120–121; (except last two full
sentences) Autograph Letters of George Frideric Handel and Charles Jennens
(auction catalog, Christie, Manson & Woods, July 4, 1973), 26; Händel Handbuch, 379.
[56] Autograph Letters of George Frideric Handel and Charles Jennens (auction catalog, Christie, Manson & Woods, July 4, 1973), 16; facsimile of first page, pp. 14/15.
[57] The General Advertiser, no. 3100, Saturday 20 October 1744, [1]; The Daily Advertiser, no. 4366, Saturday 20 October 1744, [2]; repr. (DA), William C. Smith, “Handel’s Failure in 1745: New Letters of the Composer,” The Musical Times 77 ([no. 1121, July] 1936), 593-98: 595.
[58] The General Advertiser, no. 3112, Saturday 3 November 1744, [1]; The Daily Advertiser, no. 4396, Saturday 3 November 1744, [2]; partly repr. (DA), William C. Smith, “Handel’s Failure in 1745: New Letters of the Composer,” The Musical Times 77 ([no. 1121, July] 1936), 593-98: 595.
[59] The General Advertiser, no. 3113, Monday 5 November 1744, [1]; The Daily Advertiser, no. 4379, Monday 5 November 1744, [2]; repr. (DA), William C. Smith, “Handel’s Failure in 1745: New Letters of the Composer,” The Musical Times 77 ([no. 1121, July] 1936), 593-98: 595.
[60] John Werge, A Collection of Original Poems, Essays and Epistles (Stamford: the author, 1753), 270-71; Chrissochoidis, 766.
[61] The General Advertiser, no. 3130, Saturday 24 November 1744, [1]; The Daily Advertiser, no. 4378, Saturday 3 November 1744, [2].
[62] 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), 535-37.
[63] 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), 208.
[64] The Court Kalendar Compleat, for the Year 1744, 2nd edition with great alterations (London: James Watson, 1744), 102; Chrissochoidis, 766-67.
[65] An Impartial Examen of the Present Contests between the Town and the Manager of the Theatre. With some Proposals for accommodating the present Misunderstandings between the Town and the Manager, offer’d to the Consideration of Both Parties. By Mr. Neither-Side (London: M. Cooper 1744), 9n; repr., Ilias Chrissochoidis, “Mrs. Cibber’s oratorio salary in 1744-45,” The Handel Institute Newsletter 20/1 (Spring 2009), [1-2]: [1].
[66] The General Advertiser, no. 3136, Saturday 1 December 1744, [1]; The Daily Advertiser, no. 4402, Saturday 1 December 1744, [2]; partly repr. (DA), Deutsch, 599.
[67] An Impartial Examen of the Present Contests between the Town and the Manager of the Theatre. With some Proposals for accommodating the present Misunderstandings between the Town and the Manager, offer’d to the Consideration of Both Parties. By Mr. Neither-Side (London: M. Cooper 1744), 9n; repr. Ilias Chrissochoidis, “Mrs. Cibber’s oratorio salary in 1744-45,” The Handel Institute Newsletter 20/1 (Spring 2009), [1-2].
[68] The Daily Gazetteer, no. 4021, Tuesday 1 January 1745, [1]; repr., David Hunter, “Messiah in Cork in 1744,” The Handel Institute Newsletter 12/1 (Spring 2001), n.p.
[69] The General Advertiser, no. 3142, Saturday 8 December 1744, [1]; The Daily Advertiser, no. 4408, Saturday 8 December 1744, [2].
[70] 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), 304.
[71] The Court Register (London: R. Amey, 1744), 25-26; Chrissochoidis, 767.
[72] [Jean de] La Fontaine, The Loves of Cupid and Psyche; In Verse and Prose. From the French of La Fontaine, translated from the French by [John] Lockman (London: H. Chapelle, 1744), no pagination; Chrissochoidis, 767.
(i) AS the Walk of the Giant Polypheme, in the Pastoral of Acis and Galatea.—See what ample Strides he takes, &c.
(k) AS the Shouts of a Multitude, in the Coronation Anthem of, God save the King, &c.
(l) THE Reason is, that this Species of Musical Imitation most nearly approaches Nature. For Grief, in most Animals, declares itself by Sounds, which are not unlike to long Notes in the Chromatic System. Of this kind is the Chorus of Baal’s Priests in the Oratorio of Deborah, Doleful Tidings, how ye wound, &c.
(b) [see Deutsch, Handel, 599-600.]
* Horat. Epist. 1. l. 2. v. 211.
† P. 69.
(c) FOR the narrow Extent and little Efficacy of MUSIC, considered as a MIMETIC or IMITATIVE ART, see Ch.II. §.3.
‡ P. 93.
[73] James Harris, Three Treatises[.] The First Concerning Art[.] The Second Concerning Music[,] Painting and Poetry[.] The Third Concerning Happiness, 2nd edition, revised and corrected (London: John Nourse and Paul Vaillant, 1765), 66-67, 99-101; Chrissochoidis, 767-68.
[74] William Dunkin, An Epistle to the Right Honourable James Lord Visct. Charlemont. With a Translation of the Sixth Satire of the Second Book of Horace (Dublin: George Faulkner, 1744), 20; Chrissochoidis, 768.
[75] The Lady’s drawing Room. Being a Faithfull Picture of the Great World. In which the various Humours of both Sexes are display’d. Drawn from the Life: and interspers’d with entertaining and affecting Novels (London: M. Cooper, and A. Dodd, 1744), 257; Chrissochoidis, 769.