1745
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HAY-MARKET. By SUBSCRIPTION. The Fifth Night. AT the KING’s THEATRE in
the HAY-MARKET,
this Day, [DA: “the 5th of January,”] will be perform’d HERCULES. A new Musical Drama. Compos’d by Mr. HANDEL. 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 to be open’d at Four o’Clock, Pit and Boxes at Five[.] To begin at Half an Hour after Six o’Clock.[1] |
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This Day is Publish’d, Price 1 s. HERCULES.
A Musical Drama. As it is perform’d at the King’s Theatre in the Hay-Market. The Musick by Mr. HANDEL. Printed for J. and R. Tonson, and S. Draper, in the Strand.[2] |
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NEW MUSICK. [...] Printed for J. Walsh, in Katherine-Street in the Strand. By whom will
speedily be publish’d by Subscription, at Half a Guinea, HERCULES, in Score, as it is perform’d at the King’s Theatre in the Hay-Market. Compos’d by Mr[.] Handel.[3] |
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By SUBSCRIPTION. The sixth Night. AT the KING’s THEATRE in
the Hay- Market,
this Day, being the 12th of January, will be perform’d a
new Musical Drama, call’d HERCULES, Compos’d by Mr. HANDEL. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be delivered this Day, at the Opera-Office in the Hay-Market, at Half a Guinea each. The Gallery Five Shillings. The Gallery to be opened at Four o’Clock, Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock. Mrs. CIBBER being
perfectly recover’d of her late Indisposition, will certainly perform on Saturday next, in Hercules.[4] |
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HAY-MARKET. By SUBSCRIPTION. The Sixth Night. AT the KING’s THEATRE in
the HAY-MARKET,
this Day, [DA: “being the 12th of January,”] will be perform’d A New Musical
Drama, call’d HERCULES. Compos’d by Mr. HANDEL. 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 to be open’d at Four o’Clock, Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock.[5] |
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[Earl of Egmont’s Diary, Saturday 12 January 1745] [...] Went in the evening to Hendel’s new oratorio called “Hercules.”[6] |
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SIR, HAVING for a Series of Years received the greatest Obligations from the Nobility and Gentry of this Nation, I have always retained a deep Impression of their Goodness. As I perceived, that joining good Sense and significant Words to Musick, was the best Method of recommending this to an English Audience; I have directed my Studies that way, and endeavour’d to shew, that the English Language, which is so expressive of the sublimest Sentiments, is the best adapted of any to the full and solemn Kind of Musick. I have the Mortification now to find, that my Labours to please are become ineffectual, when my Expences are considerably greater. To what Cause I must impute the Loss of the publick Favour, I am ignorant, but the Loss itself I shall always lament. In the mean time, I am assur’d that a Nation, whose Characteristick is Good Nature, would be affected with the Ruin of any Man, which was owing to his Endeavours to entertain them. I am likewise persuaded, that I shall have the Forgiveness of those noble Persons, who have honour’d me with their Patronage, and their Subscription this Winter, if I beg their Permission to stop short, before my Losses are too great to support, if I proceed no farther in my Undertaking; and if I intreat them to withdraw three Fourths of their Subscription, one Fourth Part only of my Proposal having been perform’d. I am, SIR, Your very humble Servant, G. F. HANDEL. Attendance will be given at Mr. Handel’s House in Brook’s Street, near Hanover-Square, from Nine in the Morning till Two in the Afternoon, on Monday, Tuesday, and Wednesday next, in Order to pay back the Subscription Money, on returning the Subscription Ticket.[7] |
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To the AUTHOR. SIR, UPON Reading Mr. HANDEL’s Letter in your Paper this Morning, I was sensibly touch’d with that great Master’s Misfortunes, failing in his Endeavours to entertain the Publick; whose Neglect in not attending his admirable Performances can no otherwise be made up with Justice to the Character of the Nation, and the Merit of the Man, than by the Subscribers generously declining to withdraw the Remainder of their Subscriptions. I would lament the Loss of the Publick in Mr.
Handel, in Strains equal to
his if I was able, but our Concern will be best express’d by our Generosity. We
are, SIR, Your obedient Servants, SUBSCRIBERS. St. James’s, Jan. 17, 1744-5.[8] |
Jan 17
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[Earl of Egmont’s Diary, Thursday 17 January 1744-5] [...] In the evening, went to the Royal Society and afterwards to the Vocal Academy of Music, where Henry Purcell’s music in the opera of “King Arthur” was well performed.[9] |
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To Mr. H A N D E L. Tu ne cede malis, sed contra audentior ito. WHILE you, Great Master of the Lyre, Our Breasts with various Passions fire; The Youth to Martial Glory move, Now melt to Pity, now to Love; While distant Realms thy Pow’r confess, Thy happy Compositions bless, And Musical Omnipotence In adding solemn Sounds to Sense; How hard thy Fate! that here alone, Where we can call thy Notes our own, Ingratitude shou’d be thy Lot, And all thy Harmony forgot! Cou’d Malice, or Revenge, take Place; Thou’dst feel, alas! the like Disgrace Thy Father Orpheus felt in Thrace. There, as dear Ovid does rehearse, (And who shall question Ovid’s Verse?) The Bard’s enchanting Harp and Voice Made all the Savage Herd rejoice, Grow tame, forget their Lust and Prey, And dance obsequious to his Lay. (a) The Thracian Women, ’tis well known, Despis’d all Musick, but their own; (b) But chiefly ONE, of envious Kind, (c) With Skin of Tyger capuchin’d, Was more implacable than all, And strait resolv’d poor Orpheus’ Fall; Whene’er he play’d, she’d make (d) a Drum, Invite her Neighbours all to come; At other Times wou’d send about, And dreg ’em to a Revel-Rout: Then she: (e) Behold, that Head and Hand Have brought to scorn the Thracian Band; Nor ever can our Band revive, While that Head, Hand, or Finger live. She said: (f) The wild and frantic Crew In Rage the sweet Musician slew: (g) The Strains, which charm’d the fiercest Beasts, Cou’d move no Pity in their Breasts. Here Ovid, to the Sex most civil, Says, in their Cups they did this Evil, When nightly met to sacrifice To Bacchus, as his Votaries: The Deed the God so much provokes, He turn’d the Wretches into Oaks. But HANDEL, lo! a happier Fate On thee, and on thy Lyre, shall wait; The Nation shall redress thy Wrong, And joy to hear thy Even Song: The Royal Pair shall deign to smile; The Beauties of the British Isle, The noble Youth, whom Virtue fires, And Martial Harmony inspires, Shall meet in crouded Audiences: Thy Foes shall blush; and HERCULES Avenge this National Disgrace, And vanquish ev’ry Fiend of Thrace. Ov. Met. L. 11. (a) Ecce Nurus Ciconum. ——— (b) E quibus una, levem jactato crine per auram. ——— (c) ——— Tectae
lymphata Ferinis Pectora velleribus. ——— (d) Tympanaque, plaususque, & Bacchei ululatus Obstrepuere
sono Citharae. ———
(e) En, ait, en, hic est nostri Contemptor. ——— (f) ——— Tum
denique Saxa Non exeuditi rubuerunt sanguine Vatis. (g) ——— Nec
quicquam voce moventem Sacrilegae
perimunt. ———
After reading Mr.
HANDEL’s Letter to the Public, in this Paper of Thursday last. An EPIGRAM. ROMANS, to shew they Genius’s wou’d Prize, Gave rich Support; and dead, bid Bustos rise: But wiser we, the kindred Arts to serve, First carve the Busts*; then bid the Charmers starve. * Mr. Handel’s elegant Marble Statue in Vaux-Hull Gardens.[10] |
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[Hon. James Noel to the 4th Earl of Shaftesbury] EXTON, January the 23rd, 1745. My dear Lord, I was made happy by your letter of the last post and have now taken the first opportunity of obeying your Lordship’s Commands. We had a Theatrical Entertainment here about a fortnight ago which was performed in Celebration of an Anniversary Festival. The piece was COMUS; but Dalton and Arne were judged not altogether equal to Handel and Milton in which opinion I am pretty sure your Lordship will concur. To do Mr. Dalton justice he has certainly done his part extremely well; but as we could not take him without admitting his Musical Companion too, we determined to stick as close as we could to the original Author [? and words]. We borrowed indeed the help of a second Spirit which was necessary to open the Drama more Theatrically than in the original; and [? took] in two speeches in that part of Mr. Dalton’s play where the Lady is set at liberty. [265] As Handel came to this place for Quiet and Retirement we were very loath to lay any task of Composition upon him. Selfishness however prevailed; but we determined at the same time to be very moderate in our requests. His readiness to oblidge soon took off all our apprehensions upon that account. A hint of what we wanted was sufficient and what should have been an act of Compliance he made a voluntary Deed. We laid our plan accordingly and reserved his Musick for an [?] at the close of this entertainment. We likewise intermix’d the Poem with several of his former Compositions, as your Lordship will see by the copy I have sent you, which I think gave it great life and beauty. The whole scheme was concerted and executed in five Days; and that I believe your Lordship will allow was good Dispatch. It was intended to have been performed in the Garden, but the weather would not favour that design. We contrived however to entertain the Company there afterwards with an imitation of Vaux Hall: and, in the style of a news-paper, the whole concluded with what variety of fireworks we could possibly get. I shall take care to have the Musick exactly transcribed, as I have my Brother Gainsborough’s Orders to get it done by the Musick-Master here. Mr. Handel left us about ten days ago. He is gone to Scarborough and will visit us again in his return back, which he believ’d would not be long. We propose to be Fellow-Travellers to St. Giles, where I long to have the pleasure of kissing your Hands. I heartily wish your Lordship Health and Happyness and am, with great Truth, my dear Lord, Your most affectionate Friend and Brother JA. NOEL.[11] |
233. Mr. Pasqualino the Musician, now in Dublin, informed me on the 8th of February 1745, that having played a Part in Mr. Handel’s grand Oratorio of Deborah, which was performed on Thursday, the 23d of January 1745, for the Support of the Charitable Infirmary on the Inns-quay, and being in a great Heat and Sweat, was after the Performance exposed to a very cold Air near half an Hour, by the Footmen breaking into the Room where he was; by which he was immediately struck with a cold shivering, and was so much out of Order that he could not sleep one Wink that Night. In the Morning, on Friday, he had a violent Head-ach, [124] Colic Pains, and great Heat all over his Body, which obliged him to keep his Bed. By four o’Clock in the Afternoon, his Fever grew so high and violent, that he became a little delirious; his Wife had a mind to send for a Physician, but as he had been cured of a Fever some Time before by drinking Tar water, he ordered, that Tar-water should be got for him in plenty, and nothing else; which he began to drink about five o’Clock Milk-warm, near half a Pint every Quarter of an Hour, and continued to drink at that Rate till eight o’Clock next Morning, on Saturday, bating some little Intermissions, when he got a little Sleep; though he had given Directions to his Servant, to awake him if he should happen to sleep, and make him drink the Water; and he computed, that in the said Space of Time, he drank eight Quarts: And the Effect was, that during the whole Night, he was in high Spirits, had a great Perspiration, and by eight o’Clock in the Morning, his Heat and Fever had quite left him, and he was perfectly easy, and very hungry. On Saturday he kept his Bed by way of Precaution against catching cold, free from all Symptoms of a Fever; and on Sunday, went abroad, and took the Air, being perfectly recovered.[12]
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SIR, THE new Proofs which I have receiv’d of the Generosity of my Subscribers, in refusing upon their own Motives to withdraw their Subscriptions, call upon me for the earliest Return, and the warmest Expressions of my Gratitude; but natural as it is to feel, proper as it is to have, I find this extremely difficult to express. Indeed I ought not to content myself with bare Expressions of it; therefore, though I am not able to fulfil the whole of my Engagement, I shall think it my Duty to perform what Part of it I can, and shall in some Time proceed with the Oratorios, let the Risque which I may run be what it will. I am, Sir, Your very humble Servant, G. F. HANDEL.[13] |
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The Performance of the Grand Oratorio of DEBORAH, which was intended to be at 12 o’Clock at Noon on Thursday next, is (at the Request of several Ladies) put off till 6 o’Clock the same Evening. The grand Rehearsal will be on Monday next at 12 at Noon. Tickets to be had at the Infirmary at half a Guinea each, as formerly advertised.[14] |
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Yesterday there was a Rehearsal of Deborah at the Great Musick Hall in Fishamble-street, which went off with universal Approbation. The Performance is to be on Thursday Morning next at 6 o’Clock, and as the Benefit arising from the Performance is the principal Support of the Infirmary, it is believed the Appearance will be very great, and therefore the Ladies are requested to come without Hoops, and to order their Coaches to come down Fishamble-street.[15] |
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On Thursday last the Oratorio of Deborah was performed with great Applause to a polite and numerous Audience, for the Support of the Charitable Infirmary on the Inn’s-Quay. The Trustees of that Infirmary return their Thanks to the Contributors to that Charity, and from the noble Appearance at that Performance, and by the Bounty of several who paid very generously for their Tickets, whose Examples it is not doubted will be followed by others; they hope to be soon able to restore that Charity to its former Extent, by augmenting the Number of Patients at present supported in the House.[16] |
Feb 5, Dublin
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The Trustees of the Charitable Infirmary on the Inns-quay, return their Thanks to all the Gentlemen who were so kind to perform in Deborah, for the Benefit of that Charity, and particularly to Mr. Dubourg, by whose great Care and Trouble this Grand Performance was so well executed.[17] |
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Last Thursday Mr. Handel’s New Te-Deum on the Victory at Dettingen, his Jubilate, and two Anthems, were perform’d at St. Michan’s Church, for the Support of Mercer’s Hospital; some Persons of Quality, and many Gentlemen, obliged the Governors with their Assistance in the Performance, for which they return them their Thanks: An excellent Sermon, suitable to the Occasion, was preach’d by the Right. Rev. the Lord Bishop of Raphoe: The whole Performance was conducted with the greatest Decency and Solemnity, and Five hundred Persons of the first Quality and Distinction were present thereat. —— All Persons requested to Account for them with the Persons from whom they received them, as soon as possibly they can <...>.[18] |
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[Earl of Egmont’s Diary, Saturday 16 February 1745] [...] went at night to Gemignani’s opera.[19] |
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[Charles Jennens in Gopsall to Edward Holdsworth] Handel has had worse success
than ever he had before, being forc’d to disist after performing but 6 of the
24 Entertainments he had contracted for, & to advertise that the
Subscribers might have 3 4ths of their money return’d. Most of them refus’d
to take back their Money, upon which he resolv’d to begin again in Lent. His
ill success is laid [1v] chiefly to the charge of the Ladies <…>
than a certain Anglo-Venetian Lady <…> you may have been acquainted
<in your> former Expeditions. But I believe it is in some measure owing
to his own imprudence in changing the profitable method he was in before for
a new & hazardous Experiment. For the two last years he had perform’d
Oratorios in Covent-Garden Playhouse on Wednesdays & Fridays in Lent
only, when there was no publick Entertainment of any consequence to interfere
with him: & his gains were considerable, 2100 £ one year, & 1600 £ the
other, for only 12 performances. Flush’d with this success, the Italian Opera
being drop’d, he takes the Opera-house in the Hay-market, for this Season at
the rent of 400 £, buys him a new organ, & instead of an Oratorio
produces an English Opera call’d Hercules, which he performs on Saturdays
during the run of Plays, Concerts, Assemblys, Drums, Routs, Hurricanes, &
all the madness of Town Diversions. His Opera, for want of the top Italian
voices, Action, Dresses, Scenes & Dances, which us’d to draw company,
& prevent the Undertakers losing above 3 or 4 thousand pounds, had scarce
half a house the first night, much less than half the second; & he has
been quiet ever since. I mention Hercules, because it was his first new
Piece, tho’ he had perform’d the Oratorio of Deborah [2r] <…>
which it may very easily be by its own merit, being a very hasty abortive
Birth, extorted out of due time by Handel’s importunate Dunning Letters;
& certainly would have been, if I had staid in the Country, on account of
the additional Nonsense he had loaded it with under pretence of shortening
it. I mean, if Nonsense can damn a musical performance, which I think I have
good reason to [qu]estion.[20] |
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HAY-MARKET. By SUBSCRIPTION, The Seventh Night. AT the KING’s THEATRE in
the HAY-MARKET, this Day, March 1, will be perform’d an Oratorio, call’d SAMSON. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be deliver’d this Day, at the Opera-Office in the Hay-Market, at Half a Guinea each. Gallery 5 s. The Gallery to be open’d at Five o’Clock. Pit and Boxes at Half an Hour after Five. To begin at Half an Hour after Six o’Clock. *** Proper Care will be taken to make the House warm.[21] |
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To Mr. HANDEL. SIR, IT
was with infinite Pleasure I read the Advertisement of your
Intention to perform the Oratorio of Samson, and waited
with Impatience till the Day came; but how great was
my Disappointment! to see the most delightful Songs in
the whole Oratorio took from one, who, by her Manner of
singing them charm’d all the Hearers:
Was she once reinstated
in the Part she always used to perform, your Samson
would shine with the greatest Lustre, and be justly admir’d
by all. I am, Sir, Your Friend and Well-Wisher, A. Z.[22] |
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[Earl of Egmont’s Diary, 5 March 1744-45] Tuesday 5. — Went in the evening to see an entertainment [the “Dutch Children”] at the Haymarket Playhouse.[23] |
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HAY-MARKET. By SUBSCRIPTION, The Eighth Night. AT the KING’s THEATRE in
the HAY-MARKET, this Day, March 8, will be perform’d an Oratorio, call’d SAMSON. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be deliver’d this Day, at the Opera-Office in the Hay-Market, at Half a Guinea each. Gallery 5 s. The Gallery to be open’d at Five o’Clock. Pit and Boxes at Half an Hour after Five. To begin at Half an Hour after Six o’Clock. *** Proper Care will be taken to make the House warm.[24] |
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[Earl of Egmont’s Diary, Friday 8 March 1745] [...] Went at night to Hendel’s Oratorio called “Sampson.”[25] |
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HAY-MARKET. By SUBSCRIPTION, The Ninth Night. AT the KING’s THEATRE in
the HAY-MARKET,
this Day, [DA: “being the 13th instant,”] will be perform’d an
Oratorio, call’d SAUL. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be deliver’d this Day, at the Opera-Office in the Hay-Market, at Half a Guinea each. Gallery 5 s. The Gallery to be open’d at Five o’Clock. Pit and Boxes at Half an Hour after Five. To begin at Half an Hour after Six o’Clock.[26] |
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HAY-MARKET. By SUBSCRIPTION, The Tenth Night. AT the KING’s THEATRE in
the HAY-MARKET,
this Day, [DA: “the 15th instant,”] will be perform’d an Oratorio,
call’d JOSEPH. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be deliver’d this Day, at the Opera-Office in the Hay-Market, at Half a Guinea each. Gallery 5 s. The Gallery to be open’d at Five o’Clock. Pit and Boxes at Half an Hour after Five. To begin at Half an Hour after Six o’Clock.[27] |
Mar 16
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[Earl of Egmont’s Diary, Saturday 16 March 1745] [...] Went in the evening to Gemignani’s opera.[28] |
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[Earl of Egmont’s Diary, Tuesday 19 – Wednesday 20 March 1745] [...]Went at night to Mr. Arn’s Oratorio at Drury Lane Playhouse.[29] |
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HAY-MARRKET. [sic] By SUBSCRIPTION, The Eleventh Night. AT the KING’s THEATRE in
the HAY-MARKET,
this Day, [DA: “being the 22d instant,”] will be perform’d an
Oratorio, call’d JOSEPH. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be deliver’d this Day, at the Opera-Office in the Hay-Market, at Half a Guinea each. Gallery 5 s. The Gallery to be open’d at Five o’Clock. Pit and Boxes at Half an Hour after Five. To begin at Half an Hour after Six o’Clock.[30] |
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HAY-MARKET. By SUBSCRIPTION, The Twelfth Night. AT the KING’s THEATRE in
the HAY-MARKET,
this Day, [DA: “being the 27th instant,”] will be perform’d a New Oratorio,
call’d BELSHAZZAR. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d this Day, at the Opera-Office in the Hay-Market, at Half a Guinea each. Gallery 5 s. The Gallery to be open’d at Five o’Clock. Pit and Boxes at Half an Hour after Five. To begin at Half an Hour after Six o’Clock.[31] |
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HAY-MARKET. By SUBSCRIPTION, The Thirteenth Night. AT the KING’s THEATRE in
the HAY-MARKET,
this Day, [DA: “being the 29th instant,”] will be perform’d a New Oratorio,
call’d BELSHAZZAR. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d this Day, at the Opera-Office in the Hay-Market, at Half a Guinea each. Gallery 5 s. The Gallery to be open’d at Five o’Clock. Pit and Boxes at Half an Hour after Five. To begin at Half an Hour after Six o’Clock.[32] |
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HAY-MARKET. By SUBSCRIPTION, The Fourteenth Night. AT the KING’s THEATRE in
the HAY-MARKET,
this Day, [DA: “the 9th instant,”] will be perform’d the SACRED ORATORIO. With a CONCERTO on the ORGAN. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d this Day, at the Opera-Office in the Hay-Market, at Half a Guinea each. Gallery 5 s. The Gallery to be open’d at Five o’Clock. Pit and Boxes at Half an Hour after Five. To begin at Half an Hour after Six o’Clock.[33] |
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HAY-MARKET. By SUBSCRIPTION, The Fifteenth Night. AT the KING’s THEATRE in
the HAY-MARKET,
this Day, [DA: “the 11th instant,”] will be perform’d the SACRED ORATORIO. With a CONCERTO on the ORGAN. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d this Day, at the Opera-Office in the Hay-Market, at Half a Guinea each. Gallery 5 s. The Gallery to be open’d at Five o’Clock. Pit and Boxes at Half an Hour after Five. To begin at Half an Hour after Six o’Clock.[34] |
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HAY-MARKET. (Being the last Time of Performing,) By SUBSCRIPTION, The Sixteenth Night. AT the KING’s THEATRE in
the HAY-MARKET,
this Day, [DA: “being the 23d instant,”] will be perform’d the new Oratorio,
call’d BELSHAZZAR. With a CONCERTO on the ORGAN. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d this Day, at the Opera-Office in the Hay-Market, at Half a Guinea each. Gallery 5 s. The Gallery to be open’d at Five o’Clock. Pit and Boxes at Half an Hour after Five. To begin at Half an Hour after Six o’Clock.[35] |
[letter signed by “Philo-Naturae,” 27 April 1745]
‘LONDON, Madam, is now growing a perfect Wilderness:—The Play,—the Opera,—the Masquerade, and Ball, no longer attract the Attention of the gay and polite World:—Scenes pencilled [sic] by Heaven’s own Hand begin, in this beauteous Month, to be displayed, and every one hastens to partake the Charms of a rural Life.
‘THOSE hurrying Pleasures that so lately seemed to monopolize our Time, and every busy Care, from which the Greatest are not wholly exempt, left all behind, what Advantages might not the Mind receive amidst that Variety of Amusements the Country affords, did we contemplate Nature as we ought! But if we cursorily pass them over, and enjoy, without Attention, the rich Regale prepared for every Sense, we deprive ourselves of the greatest, noblest, Satisfaction, and contradict the Purpose of the all-beneficent Bestower. [143]
‘IT is not enough that we behold those Fields, Meadows, and Pastures, which but a few Months past appear’d a dreary Waste, now plentifully stored with Food for Man and Beast:——Those Gardens so lately destitute of every Ornament, save only here and there a solitary Yew, perhaps, or Cypress, that stood nodding over the naked Plots, now clad in Colours which no Art can imitate, and even surpassing the celestial Bow;——nor that we smell the Odours of ten thousand different Flowers gently wasted to us by the ambient Air;——nor that the Taste is gratified with the luscious Strawberry, the blushing Cherry, the refreshing Sallad [sic], and all those early Products of the useful Olitory;——Nor that our ravished Ears are from every Grove saluted with Notes more melodious than those of Handel or Bononcini, though warbled through the Throat of Farinelli or Curzoni [sic]:—Nor even is it enough that we have Gratitude to acknowledge and be thankful for the Blessings which every where surround us:——There is still a Something wanting to render our Felicity compleat, a Something which is not in the Gift of Heaven, because we are furnished with the Means of enjoying it in ourselves, and therefore depends wholly on ourselves.
‘You will easily conceive, Madam, I mean the Study of Natural Philosophy;[36]
[?27 April—30 May 1745]
THE Love of Reading, like the Love of Virtue, is so laudable, that few are hardy enough to avow their Disgust to it.——I know Ladies who, though they never had Patience to go through a single Page of any thing, except an Opera or Oratorio, have always a Book of some [159] Estimation in the World lying near them, which, on hearing any Company coming into the Room, they will immediately snatch up, as though their Thoughts had been engaged on the Contents of that, when, perhaps, they had only been taken up in contriving some new Ornament for their Dress, or debating within themselves which of the various Assemblies, they frequented, should have the Honour of their Company that Night.[37]
ENTERTAINMENT and POETRY.
[...]
2. Belshazzar. An Oratorio. Printed for J. Watts, price 1s.[38]
May 10
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For the Benefit of Miss DAVIS, A Child of eight Years of Age, lately
arriv’d from Ireland. AT Mr. Hickford’s Room in Brewer-Street, this Day,
the 10th instant, will be perform’d a CONCERT of Vocal and
Instrumental MUSICK. Several favourite Organ Concertos and Overtures of Mr. Handel’s, and Concertos of
some of the best Italian Authors; acommpanied with many Instruments,
by the best Performers; with two remarkable Songs, composed by Mr.
Handel, entirely for the Harpsichord, accompanied by Miss Davis; with
some select Songs to be perform’d by Mrs. Davis, a Scholar of
Bononcini’s; and some favourite Songs to be perform’d by Signor Palma. Note, Miss Davis is to perform on a Harpsichord of Mr. Rutgerus Plenius’s
Making, Inventor of the new deserv’d famous Lyrichord. To begin exactly at Seven o’Clock. Tickets to be had at Mr. Davis’s Lodgings, at Mr. Raper’s, in Broad- Street,
facing Poland-Street, at Five Shillings each.[39] |
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[Horace Walpole to George Montagu] Arlington Street, May 25, 1745. Dear George, [...] You propose making a visit at Englefield Green, and ask me if I think it right. [... 14 ...] The master of the House [Edward Walpole] plays extremely well on the bass-viol, and has generally other musical people with him. He knows a good deal of the private history of a late ministry, and my dear George, you love memoirs — Indeed as to personal Acquaintance with any of the court beauties, I can’t say you will find your account in him; but to make amends he is perfectly master of all the quarrels that have been fashionably on foot about Handel; and can give you a very perfect account of all the modern rival painters. In short you may pass a very agreeable day with him, [...][40] |
Jun 18
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[Benjamin Martyn to the 4th Earl of
Shaftesbury] London. June 18th, 1745. ... Not having
heard from Mr. Noel I have had no account of the proceedings
at EXTON but from the Ladies in George Street and as I cannot
make Mr. Handel’s Maid hear me I hear nothing of his [265] coming to
Town. As he’s promised however to call
on me at his coming I
hope I shall see him before I go to Longford which I propose about the
middle of next month and then I’ll endeavour to turn his
Face Westward and will give your Lordship some account of what he
has been doing and intends to do. ...[41] |
Jul 7
[John Henley on
George II]
|
he cannot well carry on ye
War, nor leave it off — the Topicks for his speeches are worn thread-bare; his Great
Hats begin to be out of fashion; [his] his favourite, Handel,
last season — was almost thrown out of ye [season] \Consert of Music/ &
packing up his Pipes.[42] |
|
[Charles Jennens in Gopsall to Edward Holdsworth] In your last letter but one you
talk’d something of reading a foolish hasty performance of mine,
but ’tis not fit for your perusal, therefore think no more of it: but I shall
show you a collection I gave Handel, call’d Messiah, which I value
highly, & he has made a fine Entertainment of it, tho’ not near so good
as he might & ought to have done. I have with great difficulty made him
correct some of the grossest faults in the composition, but he retain’d
his Overture obstinately, in which there are some passages far unworthy of [2r]
Handel, but much more unworthy of the Messiah. […] [postscript] I had almost forgot the Commissions you have been so kind to execute for me. When you have receiv’d the Musick or any thing else you may have purchas’d for me abroad, let them be committed to the care of Mr. Hetherington, who will send them down to me. Mr. Sanford’s Books should be sent to him at Oxford. I heard the other day that Mr. Crynes was dying, & I believe is dead by this time: if so, I shall take his books upon my self. You may deliver your bill of the whole to Mr. Hetherington, & he will pay it. […][43] |
[Charles Jennens to Edward Holdsworth, 5 September 1745.]
[...] In your last letter but one you talk’d something of reading a foolish hasty performance of mine, but ’tis not fit for your perusal; therefore think no more of it. but I shall show you a collection I gave Handel, call’d Messiah, which I value highly, & he has made a fine Entertainment of it, tho’ not near so good as he might & ought to have done. I have with great difficulty made him correct some of the grossest faults in the composition, but he retain’d his Overture obstinately, in which there are some passages far unworthy of Handel, but much more unworthy of the Messiah [...][44]
|
MUSIC IN GOOD TIME. A New BALLAD. [woodcut] LONDON: Printed for G. Lyon, near St. Paul’s. 1745. [Price Sixpence.] [2] [blank page, 3] [double rule] MUSIC in Good Time. A New BALLAD. [ornamental line] I. WHILE threaten’d with Ruin at Home and Abroad, By French and by Spaniards bang’d, bully’d, and aw’d; No Hopes of Assistance from Russians or Dutch, To keep up our Spirits, we can’t sing too much. Derry down, &c. II. Ye Fiddlers, and Pipers, ---- and Poets unite, The first to set Music, to what the last write; For e’er we to Business more serious advance, We’ll have (as Bayes has it) --- a Song and a Dance. Derry down, &c. [4] III. Oh L--c----n, oh C---ke, and each Belman appear, With your Songs and your Sonnets to charm ev’ry Ear; To spin Catches and Odes, and your Past’rals fine, Assist them Grub-Phoebus, assist Bunters Nine. Derry down, &c. IV. That Vaux-Hall, and Ruckholt, and Ranelagh too, And Hoxton and Sadler’s, both Old and the New, My Lord Cobham’s Head, and the Dulwich Green-Man, May make as much Pastime as ever they can. Derry down, &c. V. Not Hockley in th’ Hole shall a Past’ral ’scape, But Solomon’s Cantic set Folks all a-gape; And the Laureats of Tyres, shall make the Grovering With Odes dull and loyal, in Praise of the King. Derry down, &c. [5] VI. Leave Guns, Drums and Trumpets, that Music of Hell, To the Frenchmen so bold, and the Spaniards so fell; Our Great Men (God bless them) to lulling incline, And manage Affairs to a Tune ---- very fine. Derry down, &c. VII. The French King and Tencin may torture their Pates, How to plague and distress all the Neighb’ring States: No Matter, brave Boys, --- for, hark in your Ear, We’ve hir’d fresh Singers, --- there’s an Op’ra this Year. Derry down, &c. VIII. Most nobly we’ve sped with Venetian Allies, What tho’ they refuse us all useful Supplies; Who shall dare banter our grave Negotiation, Since for Money with Songstress they’ll furnish the Nation. Derry down, &c. [6] IX. What tho’ our Troops, with their gallant Commanders, Have made such a pitiful Figure in Flanders; Our Ladies at Home, in a Campaign more glorious, Have routed poor Handel, and his Oratorio’s. Derry down, &c. X. Our serious Concerns, they’re safe, let me tell ye, Since ev’ry Hour we expect Monticelli: And what have we lost by our last Overthrow? Since, to pleasure the Mob, we have still Beard and Lowe. Derry down, &c. XI. The Nobles of France, who for Honour expose Their Persons, so gay and gallant, ’gainst their Foes; ’Midst Music and Dancing their Conquests advance, Nor will sell for a Song the Glory of France. Derry down, &c. [7] XII. Our Nobles of Britain, of Taste more refin’d, To ev’ry Pleasure devote all their Mind; ’Midst Music and Dancing their Moments they spin, But still with regard to a precious whole Skin. Derry down, &c. XIII. The Cits of the Court, and the Nobles of the City, The former grown foggy, the last sadly witty, With uniform Taste the Land shall confound, By damning all Sense, and preferring all Sound. Derry down, &c. XIV. Then, hey my dear Friends, since plainly we’re sinking, Still let us be gay, and damn all dull Thinking; And if we must go, we’ll still raise our Notes, And die, like the Swans, with our Songs in our Throats. Derry down, &c. [8] XV. The Scotch are in Arms, and the English quite poor, And Pop’ry waits, like the Wolf at the Door: The halloo, Boys, halloo, let’s laugh, dance and sing, Like Beggars so merry, ----- and God save the King. Derry down, &c. FINIS. [woodcut][45] |
|
[Charles Jennens in Gopsall to Edward Holdsworth] I am sorry to hear of Mr. Handel’s illness, & heartily wish his recovery: but he has acted so mad a part of late, I fear voluntarily, that I don’t at all wonder if it brings a real unavoidable madness upon him, of which I am inform’d he discover’d some very strong Symptoms in his travels about the Country this last Summer.[46] |
Nov 4
|
[Charles Jennens in Gopsall to Edward Holdsworth] Dear Sir, I have but just time to tell you that I have this day sent by the Carrier in a box directed to Mr Hetherington, the Key of the Book Cases in my Musick Room, which I am sorry I could not furnish you with at your first coming there. I assure you this disturb’d me before ever you mention’d them to me; & I was in doubt whether I should send orders to Mr Hetherington to have the cases open’d by a Smith, thinking then that I had left the key lock’d up in my Scritoire in Queen’s Square […][47] |
The following ANTHEM was sung by Mr. Sullivan, in
Mrs. Wiltshire’s Assembly-Room at BATH,
on
Wednesday last, being his Majesty’s Birth-Day.
|
GOD
save brave GEORGE our King, GOD
save our Nobly KING, GOD save the KING; Make
Him victorious, Happy
and Glorious, Long
to reign over us, GOD save the KING. O
LORD our GOD arise, Scatter
his Enemies, And make them fall: Confound
their Politicks, Frustrate
their knavish Tricks, On
Thee our Hopes we fix, GOD save us All. Thy
choicest Gifts in Store, On
GEORGE be pleas’d to pour, Long may he reign: May
he defend our Laws, And
ever give us Cause, With
Heart and Voice to sing, GOD save the KING.[48] |
The TRUE PATRIOT:
AND
The History of Our Own Times.
(To be Continued Every TUESDAY.)
[line]
TUESDAY, NOVEMBER 5, 1745.
[line]
[…]
FASHION is the great Governor of this World. It presides not only in matters of Dress and Amusement,
but in Law, Physics, Politics, Religion, and all other Things of the gravest
Kind: Indeed the wisest of Men would be puzzled to give any better Reason, why
particular Forms in all these have been, at certain times, universally
received, and at others universally rejected, than that they were in, or out of
Fashion.
Men as well as Things are in like manner indebted to the Favour of this Grand Monarque. It is a Phrase commonly used in the Polite World, that such a Person is in Fashion; nay, I myself have known an Individual in Fashion, and then out of Fashion, and then in Fashion again. Shakespeare hath shared both these Fates in Poetry, and so hath Mr. Handel in Music; so hath my Lord Coke in Law, and in Physic the great Sydenham: And as to Politics and Religion, I am sure every Man’s Memory will suggest to himself very great Masters in both, even in the present Age, who have been, in the highest Degree, both in and out of Fashion.
[...][49]
Nov 16
|
[Charles Jennens in Gopsall to Edward Holdsworth] Dear Sir, You are mistaken in supposing it
was any trouble to me to send up the key: on the contrary it eas’d me of the
trouble my mind suffer’d before that you, who are so great a love of Books
& understand them so well should be tantalis’d with the sight of them
through glass doors, without being able to look to them. [postscript:] If Marcello’s Psalms arrive before you leave the Town, I shall be glad to have them; & whatever Musick or other books or papers Mr. Hetherington has for me may come down with them. […][50] |
The Anthem of God save the King, &c. will be sung at Mr.
Love’s Benefit, at Mrs. Wiltshire’s, on Wednesday next.[51]
Dec 3
|
[Charles Jennens in Gopsall to Edward Holdsworth] […] I see in his [i.e. bookseller Vaillant’s] Catalogue Histoire de la Musique, which, if well executed, must be an entertaining & (if I thought you would not laugh at me, I would add a) useful work; & Des representations en Musique. Be so good as to look into them both, (Ex pede Herculem,) & as you like or dislike what you find upon a slight view, order them to be sent me, or not. […][52] |
366. There was a short Time
when Mr. Handel, notwithstanding his Merit, was deserted, and his Opera
at the Hay Market neglected almost by every body but his M[ajest]y, for
that of Porpora at Lincoln’s-Inn Fields; at this Time another
Nobleman asking the Earl of C[hesterfiel]d if he would go
one Night to the Opera? My Lord ask’d,
Which? Oh, to that in the Hay-Market,
answered the other. No, my Lord,
said the Earl, I have no Occasion for a private Audience of his M——y
To-Night.
[the anecdote does not appear in the 1739 edition.][53]
The Establishment of their Royal Highnesses the Princess Amelia, and the Princess Caroline.
[…]
Musick-Master,
Mr. Handel[54]
The Establishment of their Royal Highnesses, the Princess Amelia and the Princess Carolina.
[…]
Musick-master,
Mr Handel, Sal. 200 l. a Year.[55]
|
[The Hampstead Congress] [...] Yet what is all your Rural Scene, And Rustick Sports, to those I mean, With which the Town in circling Joys Each Moment of our Time employs? [19] The City-Jaunt each Morning made, To view the Jar, or rich Brocade; The Chairs command the yielding Crowd, Th’ obliging Bow on Friends bestow’d. The Day’s yet emptier Hours to fill With Ombre, or at Dear Quadrille; At Night, the Opera’s splendid Throng, And charming Handel’s heav’nly Song: Round Vaux-Hall’s Galaxy to roam, Or Ranelagh’s stupendous Dome. The Court, the Park, the Ring, the Play, The Flambeaux blaze that rivals Day, Assemblies, Masquerades, Reviews, Balls, Marriages, Divorces, News Of ev’ry kind, (till out of Breath) The Life with these, without them Death: [...][56] |
...although he [i.e. Handel] very often developed not his own thoughts but those of others, especially the inventions of Reinhard Keiser.[57]
141
Why is Handel so much talk’d of?[58]
|
[Epilogue] [referring to an owl on his hand] Then for Voice!-----his Pipe’s so shrill, of such harmonious Ring; So sweet, he might in Handell’s Op’ra sing:[59] |
|
Sight, all-expressive! Tho’ the feeling sense Thrills from Ianthe’s hand; at Handel’s lyre Tingles the ear; tho’ smell from blossom’d beans Arabian
spirit gathers; and the draught, Sparkling from Burgundy’s exalted vine, Streams nectar on the palate: Yet, O Sight! [129] Weak their sensations, when compar’d with Thee. Without Thee, nature lies unmeaning gloom.[60] |
|
EPITHALAMIUM. By the same. [=a friend] […] Heard ye [=Nymphs] the Musick of the Groves around Warbling,
while Choirs of Gratulation rung, From ev’ry Spray; and Nightingales, soft tun’d, In Notes peculiar trill’d, the Nuptial Song! Such as in Neighb’ring Windsor’s fav’rite Shade They chaunt; and, if their Handel’s Ear be true, No where on Silence steal with Lay so sweet. […][61] |
[1] The General Advertiser, no. 1364, Saturday 5 January 1744-5, [1]; The Daily Advertiser, no. 4432, Saturday 5 January 1745, [1]; partly repr., Deutsch, 601.
[2] The General Advertiser, no. 1364, Saturday 5 January 1744-5, [1]; repr., William C. Smith, “Handel’s Failure in 1745: New Letters of the Composer,” The Musical Times 77 ([no. 1121, July] 1936), 593-98: 595.
[3] The Daily Advertiser, no. 4434, Tuesday 8 January 1745, [4].
[4] The Daily Advertiser, no. 4435, Wednesday 9 January 1745, [2]; partly repr., William C. Smith, “Handel’s Failure in 1745: New Letters of the Composer,” The Musical Times 77 ([no. 1121, July] 1936), 593-98: 595.
[5] The General Advertiser, no. 1370, Saturday 12 January 1744-5, [1]; The Daily Advertiser, no. 4438, Saturday 12 January 1745, [2].
[6] 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), 306.
[7] The Daily Advertiser, no. 4442, Thursday 17 January 1745, [1]; rep. William C. Smith, “Handel’s Failure in 1745: New Letters of the Composer,” The Musical Times 77 ([no. 1121, July] 1936), 593-98: 595-96.
[8] The Daily Advertiser, no. 4443, Friday 18 January 1745, [2]; repr., William C. Smith, “Handel’s Failure in 1745: New Letters of the Composer,” The Musical Times 77 ([no. 1121, July] 1936), 593-98: 596.
[9] Manuscripts of the Earl of Egmont. Diary of the First Earl of Egmont (Viscount Percival). Vol. III. 1739-1747 (London: His Majesty’s Stationery Office, 1923), 306.
[10] The Daily Advertiser, no. 4445, Monday 21 January 1745, [1]; repr. William C. Smith, “Handel’s Failure in 1745: New Letters of the Composer,” The Musical Times 77 ([no. 1121, July] 1936), 593-98: 596-97.
[11] Betty Matthews, “Unpublished Letters Concerning Handel,” Music and Letters 40 (1959), 261-68: 264-65.
[12] Thomas Prior, An Authentick Narrative of the Success of Tar-Water, in curing a great Number and Variety of Distempers (Dublin and London: W. Innys et al., 1746), 123-24; Chrissochoidis, 770.
[13] The Daily Advertiser, no. 4449; Friday 25 January 1745, [1]; repr., William C. Smith, “Handel’s Failure in 1745: New Letters of the Composer,” The Musical Times 77 ([no. 1121, July] 1936), 593-98: 595.
[14] George Faulkner. The Dublin Journal, no. 1867, Tuesday 22 – Saturday 26 January 1744[-5], [1].
[15] George Faulkner. The Dublin Journal, no. 1868, Saturday 26 – Tuesday 29 January 1744[-5], [1].
[16] George Faulkner. The Dublin Journal, no. 1869, Tuesday 29 January – Saturday 2 February 1744[-5], [1].
[17] George Faulkner. The Dublin Journal, no. 1870, Saturday 2 – Tuesday 5 February 1744[-5], [1].
[18] George Faulkner. The Dublin Journal, no. 1873, Tuesday 12 – Saturday 16 February 1744[-5], [2].
[19] 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), 308.
[20]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 2,” item 98, 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: 121–122; (incorrectly
dated ‘1744’) Autograph Letters of George Frideric Handel and Charles
Jennens (auction catalog, Christie, Manson & Woods, July 4, 1973), 25;
(correctly dated) Händel Handbuch,
386.
[21] The General Advertiser, no. 321[1], Friday 1 March 1745, [1]; The Daily Advertiser, no. 4407, Friday 1 March 1745, [1].
[22] The Daily Advertiser, no. 4409, Monday 4 March 1745, [1]; repr., William C. Smith, “Handel’s Failure in 1745: New Letters of the Composer,” The Musical Times 77 ([no. 1121, July] 1936), 593-98: 597.
[23] 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), 309.
[24] The General Advertiser, no. 3217, Friday 8 March 1744-5, [1]; The Daily Advertiser, no. 4413, Friday 8 March 1745, [2].
[25] 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), 309.
[26] The General Advertiser, no. 3221, Wednesday 13 March 1744-5, [1]; The Daily Advertiser, no. 4417, Wednesday 13 March 1745, [1].
[27] The General Advertiser, no. 3223, Friday 15 March 1744-5, [1]; The Daily Advertiser, no. 4419, Friday 15 March 1745, [2].
[28] 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), 309.
[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), 309.
[30] The General Advertiser, no. 3229, Friday 22 March 1744-5, [1]; The Daily Advertiser, nr. 4425, Friday 22 March 1745, [2].
[31] The General Advertiser, no. 3233, Wednesday 27 March 1745, [1]; The Daily Advertiser, no. 4429, Wednesday 27 March 1745, [2].
[32] The General Advertiser, no. 3235, Friday 29 March 1745, [1]; The Daily Advertiser, no. 4431, Friday 29 March 1745, [2].
[33] The General Advertiser, no. 3244, Tuesday 9 April 1745, [1]; The Daily Advertiser, no. 4440, Tuesday 9 April 1745, [1].
[34] The General Advertiser, no. 3246, Thursday 11 April 1745, [2]; The Daily Advertiser, no. 4442, Thursday 11 April 1745, [2].
[35] The General Advertiser, no. 3256, Tuesday 23 April 1745, [1]; The Daily Advertiser, no. 4452, Tuesday 23 April 1745, [1].
[36] [Eliza Haywood], The Female Spectator, 4 vols. (London: T. Gardner, 174[6]), 3:142-43; Chrissochoidis, 771.
[37] [Eliza Haywood], The Female Spectator, 4 vols. (London: T. Gardner, 174[6]), 3:158-59; Chrissochoidis, 771.
[38] The London Magazine: And Monthly Chronologer 14 (1745): 208; Chrissochoidis, 771-72.
[39] The Daily Advertiser, no. 4467, Friday 10 May 1745, [2]; repr. (with minor ommissions), William C. Smith, “Handel’s Failure in 1745: New Letters of the Composer,” The Musical Times 77 ([no. 1121, July] 1936), 593-98: 598.
[40] Horace Walpole’s Correspondence with George Montagu I, ed. W. S. Lewis, and Ralph S. Brown, Jr (New Haven: Yale University Press / London: Geoffrey Cumberlege, Oxford University Press, 1941), 13-14.
[41] Betty Matthews, “Unpublished letters concerning Handel,” Music and Letters 40 (1959), 261-68: 265-66.
[42] “Henley’s Lectures 1745-46, 7 July 1745”: Suzanne Elizabeth Aspden, “Opera and Nationalism in mid-Eighteenth-Century Britain” (D.Phil. dissertation, University of Oxford, 1999), 63.
[43]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 2,” item 99, 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: 122; first paragraph
repr. (without identification of recipient) Horatio Townsend, An Account of
the Visit of Handel to Dublin (Dublin: James McGlashan, 1852), 118–19;
(except first sentence) Deutsch, 622; (with Holdsworth identified as recipient)
Autograph Letters of George Frideric Handel and Charles Jennens (auction
catalog, Christie, Manson & Woods, July 4, 1973), 26; (except first
sentence, Holdsworth identified) Händel
Handbuch, 394.
[44] Autograph Letters of George Frideric Handel and Charles Jennens (auction catalog, Christie, Manson & Woods, July 4, 1973), 26; facsimile of last page, pp. 14/15.
[45] Reprinted in Ilias Chrissochoidis, “Music in Good Time and the Handelian discord in 1745,” Newsletter of The American Handel Society 24/2 (Summer 2009), 1–3.
[46]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 2,” item 101, 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: 122; Autograph Letters of
George Frideric Handel and Charles Jennens (auction catalog, Christie,
Manson & Woods, July 4, 1973), 27; repr. Händel Handbuch, 395.
[47]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 2,” item 102, 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: 122–123.
[48] The Bath Journal, 2 (no. 33, Monday 4 November 1745), 132.
[49] [Henry Fielding], The True Patriot: and The History of Our Own Times, Tuesday 5 November 1745, [1]; Chrissochoidis, 772.
[50]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 2,” item 103, 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: 123.
[51] The Bath Journal 2 (no. 35, Monday 18 November 1745), 139.
[52]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 2,” item 105, 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: 123.
[53] Joe Miller’s Jests; Or, The Wits Vade-Mecum, 8th edition with large additions (London: T. Read, 1745), 70; slightly paraphrased, Ferdinando Killigrew, The Universal Jester: Or, A Pocket Companion for the Wits (London: R. Whitworth, et al., 1754), 70-71; Chrissochoidis, 772.
[54] The Court Kalendar Compleat, for the Year 1745 (London: James Watson, 1745), 102; Chrissochoidis, 773.
[55] [The Court and City Register for the Year 1745] ([London: ?, 1745]), 96; Chrissochoidis, 773.
[56] The Hampstead Congress: Or, The Happy Pair (London: M. Cooper, A. Dodd, G. Woodfal, 1745), 18-19.
[57] Critischer Musikus. Neue, vermehrte und verbesserte Auflage (Leipzig: 1745): 763; quoted in John H. Roberts, “Handel’s Borrowings from Keiser,” Göttinger Händel-Beiträge 2 (1986), 51-76: 51.
[58] The Puzzle: Being a Collection of Conundrums (London: M. Cooper, 1745), 21; reprinted, The Statesman’s Court Puzzle; Being a Choice Collection of Conundrums (London: W. Web, [1745]), 7; as no. 96, The Wiling: Being a Compleat Collection of the most Celebrated Conundrums now in Vogue among People of High Taste ([?London]: C. Davis, 1749), 7; Chrissochoidis, 773.
[59] William Lyon, The Wrangling Lovers: Or, Like Master like Man. A Farce (Edinburgh: R. Drummond and Co., 1745), v; Chrissochoidis, 773.
[60] William Thompson, Sickness. A Poem (London: R. Dodsley, 1745), 128-29; reprinted, William Thompson, Poems on Several Occasions, To which is added Gondibert and Birtha, A Tragedy, 2 vols. (Oxford: printed at the Theatre, 1757), [Second volume with continuous pagination and print date 1751], 2:284; Chrissochoidis, 773-74.
[61] John Whaley, A Collection of Original Poems and Translations (London: the author, 1745), 242, reprinted, A Collection of Poems in Six Volumes. By Several Hands (London: R. and J. Dodsley, 1758), 5:102; Chrissochoidis, 774.