1749
Jan 3
A Description of the PUBLICK FIREWORKS, to be exhibited on Occasion of the General Peace, concluded at Aix-la-Chapelle, Oct. 7, 1748.
[...]
There are handsome Steps, which go up to a grand Area before the Middle Arch, where a Band of a Hundred Musicians are to play before the Fireworks begin, the Musick for which is to be compos’d by Mr. Handel.
[...][1]
Feb 10
|
AT the Theatre-Royal in Covent-Garden, This Day, Feb. 10, will be perform’d a New ORATORIO, call’d SUSANNA. With a CONCERTO. 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. Second Gallery 3 s. 6 d. Galleries to be Open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock.[2] |
Feb 15
|
AT the Theatre-Royal in Covent-Garden, This Day, will be perform’d a New ORATORIO, call’d SUSANNA. With a CONCERTO. 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. Second Gallery 3 s. 6 d. Galleries to be Open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock.[3] |
Feb 17
|
AT the Theatre-Royal in Covent-Garden, This Day, will be perform’d a New ORATORIO, call’d SUSANNA. With a CONCERTO. 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. Second Gallery 3 s. 6 d. Galleries to be Open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock.[4] |
Feb 22
|
AT the Theatre-Royal in Covent-Garden, This Day, will be perform’d a New ORATORIO, call’d SUSANNA. With a CONCERTO. 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. Second Gallery 3 s. 6 d. Galleries to be Open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock.[5] |
Feb 24
|
AT the Theatre-Royal in Covent-Garden, This Day, will be perform’d an ORATORIO, call’d HERCULES. With a CONCERTO. 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. Second Gallery 3 s. 6 d. Galleries to be Open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock.[6] |
Mar 1
|
AT the Theatre-Royal in Covent-Garden, This Day, will be perform’d HERCULES. With a CONCERTO. 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. Second Gallery 3 s. 6 d. Galleries to be Open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock.[7] |
Mar 3
|
AT the Theatre-Royal in Covent-Garden, This Day, will be perform’d an Oratorio, call’d SAMSON. With a CONCERTO. 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. Second Gallery 3 s. 6 d. Galleries to be Open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock.[8] |
Mar 8
|
AT the Theatre-Royal in Covent-Garden, This Day, will be perform’d an Oratorio, call’d SAMSON. With a CONCERTO. 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. Second Gallery 3 s. 6 d. Galleries to be Open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock.[9] |
Mar 9
We hear that Mr. Handel is composing two grand Pieces of Musick; one for the Thanksgiving Day, the other to be performed at the exhibiting the Fire-Works. The Band will consist of upwards of one hundred Musicians.[10]
Mar 10
|
AT the Theatre-Royal in Covent-Garden, This Day, will be perform’d an Oratorio, call’d SAMSON. With a CONCERTO. 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. Second Gallery 3 s. 6 d. Galleries to be Open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five.[11] |
Mar 15
|
AT the Theatre-Royal in Covent-Garden, This Day, will be perform’d an Oratorio, call’d SAMSON. With a CONCERTO. 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. Second Gallery 3 s. 6 d. Galleries to be Open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five.[12] |
Mar 17
|
AT the Theatre-Royal in Covent-Garden, This Day, will be perform’d an New Oratorio, call’d SOLOMON. With a CONCERTO. 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. Second Gallery 3 s. 6 d. Galleries to be Open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five.[13] |
Mar 18
On Thursday the 13th of April Dr. Radcliffe’s noble Library at Oxford is to be open’d by the Trustees, the Duke of Beaufort, Sir Watkin Williams Wynn, Bart. Edmund Smith, Esq; &c. when Academical Exercises will be perform’d in Prose and Verse, Orations made, Performances in Vocal and Instrumental Musick, attended, as it is said, with an Oratorio: Great Preparations are making to receive all Strangers with more Courtesy than they have met with themselves; and the Solemnity will be as grand and grateful as the Honour of that ever loyal University can shew. Let me add, notwithstanding all her Enemies, Father Paul’s Wish for the State of Venice, repeated by a learned Prelate going to Exile, ESTO PERPETUA.[14]
Mar 20
|
AT the Theatre-Royal in Covent-Garden, THIS DAY, will be perform’d an New Oratorio, call’d SOLOMON. With a CONCERTO. 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. Second Gallery 3 s. 6 d. Galleries to be Open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five.[15] |
Mar 20
We hear that last Monday Mr. Handell received Orders to compose a new Anthem, which is to be performed before his Majesty at the Chapel-Royal the Day of the Thanksgiving for the Peace.[16]
Tuesday [21st {March 1749}]. […] went to the Musick in ye Hay Market [i.e. concert for the support of a Fund for the Decayed Musicians and their Families, featuring Handel’s works] with Mrs. and Miss and Mr. Edwards, Miss Hambleton and Miss Harcourt.[17]
Mar 22
|
AT the Theatre-Royal in Covent-Garden, This Day, will be perform’d an New Oratorio, call’d SOLOMON. With a CONCERTO. 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. Second Gallery 3 s. 6 d. Galleries to be Open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five.[18] |
Mar 23
|
AT the Theatre-Royal in Covent-Garden, This Day, will be perform’d an Oratorio, call’d MESSIAH. With a CONCERTO. Pit and Boxes to be put together, and no Person to be [sic] without Tickets, which will be deliver’d this Day, at the Covent-Garden
Theatre, at Half a Guinea each. First Gallery 5 s. Second Gallery 3 s. 6 d. Galleries to be Open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five.[19] |
Mar 28
We here [sic] that in a few Days there will be a grand Rehearsal in Vaux-hall Gardens of the Musick composed by Mr Handel for the Fire-Works.[20]
Mar 30
We hear from Oxford, that at the Opening of Dr. Radcliffe’s Library, which is certainly fix’d for Thursday the 13th of April, and there will be Oratorio’s perform’d in the Theatre; a very numerous Band of Musicians being already engaged, and a Stage erecting for that Purpose.[21]
Apr 3
|
Oxford, April 3, 1749. ON Wednesday the 12th Instant (being the Day before Dr. Ratcliffe’s [sic] Library is to be open’d) will be perform’d in the Theatre, the Oratorio of ESTHER. In which are two of the Coronation Anthems. *** There will be Oratorios likewise on the two Days following.[22] |
Apr 6
III. ANTHEM.
Composed by Mr. Handel for the Coronation.
Let thy Hand be strengthened,
[...][23]
Apr 11
The Rehearsal of the grand Musick composed for the Fire-works, by Mr. Handel, will be performed on Monday Morning next at Vauxhall.[24]
|
[E. C. Bentham, Prebend and Treasurer of Hereford] Oxford Apr. 14 1749 Dear Sir The celebrity of openning ye Ratclivian Library is now pretty well over. — It may be said to have begun on Monday when Diplomatick degreess were granted, one of LL.D. to Browne Willis; 3 Med. D. to Mr Conyers, Pitacain & Kennedy at ye instance of ye Trustees, tho’ not without some opposition, & grumbling of ye Faculty. On Tuesday ye D. of Beaufort, Ld Oxford & Mr Smith arrived time enough to dine with Mr Rowney. — The Poetry Lecture in ye afternoon. On Wednesday a solemn Convocation was held in ye Theatre; The D. of Beaufort, Ld Oxford, & Mr Smith present. Eight LL. DD. created & 2 M. A. the Oratorio of Esther in ye Afternoon. On Thursday ye Ceremonial observed wch You will see in ye printed paper wch I send herewith. — The Procession waited on ye Trustee’s at Allsouls; enter’d ye Library when ye D. of Beaufort deliverd ye Key of ye Library to ye Vice Can. who received it with a short speech. — Thence into ye Theatre; receivd with an overture of Mr Handels. & 7 LL.D created among whom Ld Westmorland, Ld Harley, Ld Burleigh. — Dr Lewis of Ch. Ch. in ye absence of ye Orator, undertook ye Panegyrick on Dr Ratcliffe & executed it in a handsome manner both for sentiment & elocution. — Dr King’s Province was to return ye thanks of ye University to ye Trustees: But the burthen of ye song was a [1v] detail of his own Politicks, in wch Your humble Servt was honoured with some small share of Reflexion for his famous Epistolae. — I fear his speaking will not do ye University much good in ye esteem of any but those who are in this reputed scheme. He spoke for near a full hour, memoriter; wth attitude & elocution extreamly proper & is in truth a fine speaker. — The consequence of wch was great applause to himself & to his supposed friends, & hisses to ye Rector of Exeter: My Fortune placed me in a Retired station where I attended as an occasional Proctor; so that I made my retreat unobserved; tho’ I find yt previous care had been taken to disperse ye Proposals
for printing ye Poetical Abridgmend &c in Theatre-Yard among ye Audience as they came out of ye Theatre. The Vice Can. concluded ye Latin performances wth a short Speech. — then follow’d one of Mr Handels Anthems wch closed ye morning entertainment: wch was grand & solemn; The Theatre in all parts of it extreamly crowded. The Evening Entertainment was ye Oratorio of Samson. This morning a Convocation was held in ye Theatre, open’d with a Concerto of Mr Handels. 16 degrees in Law, one in Musick & one in Arts; the names you have on ye back of ye printed paper. ending wth an anthem of Mr Handels, [2r] God save ye King &c out of Esther. The Drs of Law were all presented by Dr Brooke; who presented each of ye Drs on Wednesday & Thursday in a separate speech: on this he only us’d one general speech apologizing for not speaking to each person’s character particularly & carrying a sort of counterpart to the reflexion part of Dr King’s of yesterday. — This Evening concludes wth ye Musick an Oratorio of Mr Handel’s. — The whole I think has appeard wth much grandeur & solemnity; & if, as a prejudiced man I may except Dr King’s political reflexions, with great decorum. I’m obliged for Yr kind wishes express’d in Yr last. I have I believe sufficiently acted myself from all prospect of eventual successions in this place; but I have at least ye satisfaction to reflect yt it is owing to my doing, wch I am very well persuaded, is my own duty & is really calculated as well a sincerely intended for its’ benefit by Yr’s (in some hurry) wth all sincerity E Bentham.[25] |
Apr 12
We hear from Oxford, that on Wednesday Afternoon the Oratorio of Esther was performed there to a crouded Audience with great Applause; the Vocal Parts by the Gentlemen of the several Choirs in the University, and the Instrumental by near Fifty Hands from London, and other Places. There was a great Concourse of Gentlemen from all Parts, to see the Ceremony of opening Dr. Ratcliffe’s Library, which was done on Thursday, the Trustees being met there, to give the University Possession of the same.[26]
Apr 12-14
Ceremony of Opening the Ratcliffe Library at Oxford.
ON Wednesday, April
12, the duke of Beaufort, the earl of Oxford, Sir Walter
Wagstaff Bagot, and Sir Watkin Williams Wynn, barts. and Edward
Smith, Esq; member of parliament for Leicestershire, trustees of the
will of that celebrated physician, the late Dr. Ratcliffe, honoured the
university with their presence, in order to the opening of the library erected
there, in pursuance of the doctor’s will.
[...]
The trustees afterwards gave an entertainment to the vice-chancellor, heads of houses, the young noblemen, and the new created doctors. In the evening the oratorio of Esther was performed in the theatre, to the satisfaction of a crouded audience.
[...]
[Thursday:] in the evening, the oratorio of Sampson was performed in the theatre.
On Friday morning the vice-chancellor, the trustees, heads of houses, and doctors, met in their scarlet robes in the theatre, where an honorary degree of doctor in the civil law, was conferred on [...] after which the university professor in musick, Mr. Hayes, was created a doctor in that faculty [...] and then the ceremony was concluded with the coronation anthem: in the evening the sacred oratorio was performed with great appleause [sic] in the theatre.[27]
LONDON.
On Thursday last Dr. Radcliffe’s Library at Oxford was open’d, in the following Manner; At Ten o’Clock the Vice-Chancellor, Heads of Houses, Doctors and Masters of Arts, met at St. Mary’s Church, and went from thence to All-Souls College, where the Trustees were assembled, viz. His Grace the Duke of Beaufort, the Earl of Oxford, Sir Walter Wagstaff Bagor, and Sir Watkin Williams Wynn, Barts. and ———— Smith, Esq; From All-Souls College they proceeded to the Library, where the Honourable Trustees gave the University Possession of the same, by delivering the Key of it to the Vice-Chancellor: From the Library they went to the Theatre; and being seated therein, the Overture in the Occasional Oratorio was play’d; then the Convocation conferr’d the Honorary Degree of Doctor of Civil Law on the following Noblemen and Gentlemen, viz. The Earl of Westmorland, Lord Burleigh, Sir Lister Holt, Sir Charles Sedley, Sir Roger Newdigate, and Sir Francis Dashwood, Barts. and John Anstis, Esq; Garter Principal King at Arms. Then Dr. Lewis, in the Absence of the Publick Orator, made an excellent Speech in Praise of Physick, and of Dr. Radcliffe. After this an Organ Concerto was play’d. Then Dr. King, Principal of St. Mary’s Hall, made a most eloquent Speech, of near an Hour long; which met with great Applause. Then the following Anthem, compos’d by Mr. Handel, was vocally and instrumentally perform’d:
LET thy Hand be strengthen’d,
and thy Right Hand be exalted.
Let Justice and Judgment be the Preparation of thy Seat; Mercy and Truth shall go before thy Face. Hallelujah.
And the Vice-Chancellor concluded the whole Solemnity with returning the University’s Compliments to the Trustees.
In the Afternoon the Oratorio of Samson was perform’d in the Theatre, with great Applause, to a crowded Audience, by the same Persons who perform’d Esther the Day before.
Yesterday the University conferr’d on the following Persons the Honorary Degree of Doctor of Laws in the Theatre, viz. Lord James Manners, Sir Robert Burdett, Sir Charles Chester, the Rev. Sir Philip Hoby, S[i]r Robert Jenkinson, Sir Richard Atkins, and Sir John Tyrrell, Barts. Nathaniel Curzon, William Meredith, Wrightson Munday, John Rolles Walter, George Lucy, John Robinson, John Moreton, James Dawkins, and Francis Page, Esqrs.
At the same Time Mr. William Hayes, Batchelor and Professor of Musick to the University, had the Honorary Degree of Doctor in Musick conferr’d on him; and Mr. John Hodges, a Master of Arts Degree.
There were present at the two Days Solemnity the greatest Number of Nobility, Gentry, and Members of the University, that was ever known on any Occasion.
In the Afternoon the Sacred Oratorio was perform’d in the Theatre to a full Audience. The Band of Musick was under the Direction of Dr. Hayes abovemention’d.
[...][28]
April
|
[Johann Mattheson’s annotation on a copy of Grundlage einer Ehren-Pforte (Hamburg, 1740)] In April 1749. Mr. Wm. Hayes, Batchelor and Professor of Musick to the University of Oxford, had the honorary Degree of Doctor in Musick conferred on him. In the afternoon the sacred Oratorio was perform’d in the Theatre to a full Audience. Mr. Handel being present. But the Band of Musick was under the Direction of Dr. Hayes, abovementioned. London Evening Post No. 3347.[29] |
Apr 12-14
|
[Benjamin Kennicott to unknown recipient] [Wednesday ...] In the Afternoon at four began the first Oratorio, which was Esther. The Management of the Musick was committed to Mr Hayes the University Professor, who had got together from London & other Places about forty Voices & fifty Instruments. This first Oratorio was performed to a Company of about 15000, & the only part anchored was the fine Coronation Anthem, God save the King. It was observed by some that this whole Line was remarkable Mercy to Jacob’s Race, God save the King. [... 170 ...] [Thursday morning] This Oration [by “Dr. William King, Principal of St. Mary Hall, and leader of the Jacobite party in Oxford”] being finished we had one of Handels Anthems, & then a Short Speech of Thanks to the Trustees from the Vice-Chancellor. [... 171 ...] in the afternoon we had the Oratorio of Sampson. Friday at 11 was held another Convocation at the Theatre, [...] Mr Hayes was made Dr of Musick, & was presented by our great Professor Doctor Bradley in an excellent Speech very oratorically delivered. [...] Then Musick—with God save the King. [...] in the Afternoon was the Oratorio of the Messiah, when Dr Hayes appear’d in his New Robes at the head of the Band of Musick.—Tis computed that our Musick professor has gott by these three days about £700. besides £300. or more paid the Performers, & laid out in the Scaffold erected on the Theatre for the Musick. Which Scaffold was hung round with Scarlet Cloth. I shall only add that tis computed there has been expended this Week in the place near £20,000.[30] |
Apr 12-14
|
[Theophilus Leigh to Lydia, Dowager Duchess of Chandos, 17 April 1749] Our Musick Professor went out Doctor in that Faculty; The Three Oratorios were for his entire Benefit; and it is reasonably suppos’d that He must have clear’d near 1000£ by the Three Days. He is a usefull and skilfull man in his way, and hath a Wife and large Family.[31] |
Apr 12-14
|
[Thomas Bray to unknown recipient] Driffield, April 24th, 1749. [...] On Wednesday at 10 o’Clock the University was Assembled in the Theatre. [...] At four in the afternoon we were entertained with the Oratorio of Esther. On Thursday was the Grand Hurly Burly. [... 166 ...] Dr Lewis from one of the Rostroms made an Incomparable Speech in praise of Dr Radcliffe of half an Hour long [...] When Dr Lewis ended a fine piece of Musick was play’d off. [... 167 ...] At the conclusion of his [Dr King’s] Speech was perform’d another piece of Musick. [...] At 4 in the Even’ the Oratorio of Sampson was performed. Friday the 14 at 11 in the morning met again in the Theatre made fifteen more Doctors of ye law one Master, & our Professor Hayes Doctor of Musick. [... 168 ...] In the Evening the Sacred Oratorio when Dr Hayes appeared in his White Satin Robe turned up with Crimson, concluded the Solemnity.[32] |
[Charles Jennens], The Sacred Oratorio. As performed at the Theatre in Oxford ([?Oxford: ?], 1749).
Apr 17
Yesterday the Musick compos’d by Mr. Handel for the Fireworks in the Green-Park, was rehearsed at his House in Brook-Street, Grosvenor-Square. The Band consists of upwards of a Hundred Trumpets, Bassons [sic], Hautboys, French-Horns, Kettle-Drums, and other Instruments.[33]
Monday the Musick compos’d by Mr. Handel for the Firework in the Green Park, was rehears’d at his House in Brook Street, Grosvenor Square. The Band consists of upwards of 100 Trumpets, Bassoons, Hautboys, French Horns, Kettle Drums, and other Instruments.[34]
Friday [21st {Apr. 1749}]. Morning went to Vauxhall with Mrs. Dorrill to the Rehearsal of the Musick for the Fireworks, but did not get there, then it was over, the crowd of coaches was so great.[35]
Apr 21
Yesterday there was the brightest and most numerous Assembly ever known at the Spring Garden, Vauxhall; on Occasion of the Rehearsal of Mr. Handel’s Music, for the Royal Fire Works.[36]
Craftsman, April 22, 1749.
GIVES us a Letter from the famous Mr. Painter to Mr. Handel, informing him of some Letters he had received, all giving an Account of an unexpected Catastrophe, no less (says he) than your impending Ruin; who are on the Day of Thanksgiving, (he means the Fire-Work cracking Day) to be blown up into the Skies. Even while the Choir Resounds with your Sublimest Musick, and the Chorus Swells with the Thunder of Cannons; while you strike the Organ with all your Hands; even then we shall behold a general Explosion; and you shall be scattered into a Thousand Atoms. Thus the Fire-Works are to terminate! Had I known what is to happen sooner, I should have been early in my Applications to the Ministry, and might have been placed before the Organ, and been blown up instead of you. But I expected only some innocent Diversion; I thought the German Drama might be introduced upon the Occasion, and longed to clap every Scene in the Congress of the Beasts; at the Conclusion, I believed Harry the Smugler [sic] might appear, and give Chocolate at the Desire of several Ladies of Quality. For though the Peace had given up the real Interests of England, why should our good Ministers neglect to amuse themselves and this very wise Nation with Fire-Works and Country Raree-Shows: Let Posterity enquire after the Utile, the present Age is contented with the Dulce.[37]
Disposition of the Fire-work.
After a grand overture of warlike [193] instruments, composed by Mr. Handel, a signal was given for the commencement of the fire-work, which opened by a royal salute of 101 brass ordnance, viz. 71 6 pounders, 20 12 pounders, and 10 24 pounders.[38]
Apr 25
This Day his Majesty and the Royal Family went to St. James’s Chapel, where a new Te Deum and Anthem, (the Musick whereof compos’d by Mr. Handel) were perform’d there.[39]
Yesterday being the Day appointed by Royal Proclamation, for a General Thanksgiving on account of the late Peace, his Majesty and the Royal Family went to the Chapel Royal, where a new Te Deum and Anthem, the Musick whereof was composed by Mr. Handel, was performed.[40]
Apr 27
[Gio. Giacomo Zamboni to Muratori in Modena, 5 May 1749]
[P.S.] Tomorrow they will sing the Te deum to render thanks for the peace [of Aix-la-Chapelle], and two days afterwards we will see the fireworks, which will cost about twenty thousand pounds sterling, but from many we have heard that this celebration will not terminate without some great disorder.[41]
[Gio. Giacomo Zamboni to Ludwig VIII in Darmstadt, 2/13 May 1749]
On May 6 [N.S.] they sang here the Te Deum in order to render thanks for the recently concluded peace, and on the 8th the fireworks followed. They would have been very fine if a thousand mistakes had not been committed during their execution.[42]
May 8
[Lady Jemima Grey to Lady Mary Gregory, Monday 8 May]
|
But now I think of it I forgot in my last to mention a great & extraordinary Event, one of those unexpected fortunate Events which may happen
perhaps once in a whole Life, & which help’d among other new & surprizing Things to make the last Thanks-giving Week so memorable. Guess it if
you can? Nothing less I assure you than the Hearing St.-Germain Play. This Party was made (I can’t imagine how) at Ld. Morton’s: an Invitation from him to the Family at Powis-House (brought about accidentally in Conversation) & to Us here, to dine with him & hear Monsr. le Comte. {?...} We went accordingly, met him at Dinner & spent the whole Evening together. After Tea, Coffee &c, his Violin, a Harpsichord & two or three other Instruments appeared & they began. But unfortunately he had a dress’d Coat on which confin’d his Arms, & makes him always very miserable, & there followed many Ceremonies & variety of Consultations about getting a Habit more to his Mind. At last a little Linen Bedgown of Ldy. Browne’s was proposed by her Ladyship (who was come in to be of the Party as well as Sr. Robert) a Messenger dispatch’d for it into the next Street, & le Comte when attir’d in it made as much the figure of a Harlequin as you ever saw. {?...} But his Play indeed is delightful! The Violin in his Hands has all the Softness & Sweetness of a Flute, & yet all the Strength of the loudest Strings: his Execution is not of that rapid prodigious kind as Veracini & Geminiani; but his Play is more easy & harmonious & his Excellence is Softness. He piques himself you know upon the Expression of the Passions in his Music especially the Tender Ones, & both his Composition & his Manner are almost all Affettuoso; for his Musick is entirely fitted to his own way of Performing & would be nothing I am convinced from anybody else. {?...} After he had Play’d a considerable time, Frasi who had been appointed to meet him arrived after the Opera. She is his Favourite Singer I find, he teaches her his Songs & sings Duetts with her & her Only: but he also sung some Songs alone & his Manner then is past all Description. {?... 42 ?...} I believe you was never honour’d with hearing him [Saint-Germain] though he visited at your House so often. He has absolutely no Voice, what he sings with is entirely Feign’d & so low that in a large Room it is quite lost, yet he will raise it sometimes to Thunder out a Song of Rage as much as he will Languish in One of Love: for his Action is still more Expressive than his Sounds. He Accompanies himself without Book, & addresses himself in all he has to express to the Company: he Frowns & Scowls & Threatens & looks like a Fury when he is to be in a Passion, & is so terribly soft & languishing in his Tender Fits that there is no supporting it. – Woe! be to the Person within the reach of his Eye! for he makes Love so violently they must have a most Inflexible Countenance to stand it. As he is wholly possess’d by the part he is Acting, I believe it would be address’d equally to an Old Man or a Young Woman who was his next Neighbour, but poor Miss Yorke who happened to be in that Situation, & not much used to be so address’d nor understanding what he was saying, would have been very glad to be out of it, & look’d so Embarrassée we were not a little diverted. – In short we stay’d there till Twelve o’Clock at Night, & were very much entertain’d either by him or at him the whole Time. – I mean the Oddness of his Manner which is impossible not to laugh at, otherwise you know he is very sensible & well-bred in Conversation.
{?...} He
[Saint-Germain] was here at the Concert on Wednesday {3
May}, & as a great Favor staid late on purpose to
give us a Couple of Songs when most of the
Company were gone. It is vastly agreable as well as Odd
to hear him. His Skill is certainly very great, &
his Songs are as much suited to his Expression
in Singing as his Solos are to his Playing. I
had never heard Justice done them before, even
by his Other favorite Disciple. She fritters
them & makes them so fine that they are nothing: she
apes his Manner without having his Force. But I
have persuaded myself since I heard him to
wonder less at her being so Caught. No Fine Lady
can stand at his Elbow while he Sings, & fancy
herself a real Object of all that Languishment without its going to her Heart. – {?...} He is an Odd Creature, & the more I see him the more curious I am to know something about him. He is everything with everybody: he talks Ingeniously with Mr. Wray, Philosophy with Ld. Willoughby, & is gallant with Miss Yorke, Miss Carpenter & all the Young Ladies. But the Character of Philosopher is what he seems to pretend to, & to be a good deal conceited of: the Others are put on to comply with Les Manieres du Monde, but That you are to suppose his real Characteristick;
& I can’t but fancy he is a great Pretender in All kinds of Science, as well as that he really has acquired an uncommon Share in some. – Well! so much for Monsr. le Comte de St. Germain, whom neither you nor I have anything to do with, (though he inquir’d very kindly after you:)[43] |
May 27
We are assured, that their Royal Highnesses the Prince and Princess of Wales, and the young Princes and Princesses will Honour the Foundling Hospital with their Presence To-morrow, at the Grand Performance of Musick, composed by Mr. Handel, for the Benefit of that Charity; and that above One Hundred Voices and Performers have engaged to assist upon that Laudable and Charitable Occasion.[44]
The Chapel at the Foundling Hospital is sashed, and made very commodious for the Reception of the Company at Mr. Handel’s Musick, which was performed this Day. It is computed that one Thousand Persons were conveniently seated, allowing two Feet to each, the Governors thinking it incumbent on them to take Care that no greater Number of Persons be admitted, than may hear the Performance with Ease, without being crowded.[45]
Jun 21
|
[Lord Chamberlain’s Records] 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[46] |
Sep 12
We hear, that Mr. Handel is going to make a Present of an Organ to the Foundling Hospital, to be put up in the Chapel there.[47]
THE / TEMPLE of PEACE, / A / MASQUE / Of one ACT, / As it is perform’d at the THEATRE- / Royal in Dublin. / Occasioned by the present happy PEACE, / established over EUROPE. / In which are introduced several favourite SONGS of / Mr. HANDEL, Mr. PURCEL, Mr. GALLIARD, Mr. / ARNE, and Mr. BOYCE. / [line] / The rest of the Musick compos’d by / Signor PASQUALI. / [lines] / DUBLIN: / Printed by EDWARD BATE, in George’s-Lane, / M,DCC,XLIX.[48]
Sep 19-20
Salisbury, Sept. 25. The Festival of St. Caecilia was celebrated in this City, on Tuesday and Wednesday last, the 19th and 20th Instant, with all imaginable Splendor and Decorum; under the Direction of a Gentleman, who is the Life of every elegant Entertainment of this Sort, in these Parts. This grand Feast of Musick was assisted by Hands from Oxford, Bath, Gloucester, Winchester, &c. The Auditors were very numerous, especially on Wednesday, when the Weather proved fine. There were four Performances during these two Days: One each Morning at the Cathedral, and one each Evening at the Assembly-House. Two of Mr. Handel’s noble Te Deums, and four of his most famous Anthems, were performed on these Occasions, in the Cathedral; where were present his Lordship the Bishop of the Diocese, their Graces the Duke and Dutchess of Queensbery, Lord Feversham, Lord Duplin, and other Persons of Distinction. And on the two Evenings, the Company were entertained before the Ball, with Acis and Galatea, and one of Mr. Dryden’s Caecilian Odes, set to Musick by Mr. Handel; with Concertoes [sic] from that great Master Geminiani, &c. and some Songs. The Choir of this City, as well as the rest of the Gentlemen, who assisted them, performed greatly to the Satisfaction of the Auditors, who could not envy the musical Entertainments of London. Dr. Hayes of Oxford, distinguished himself more particularly by his easy, pathetic Manner in singing, and a little Boy of this Cathedral. The Company, which was exceedingly numerous each Night at the Assembly-House, were very brilliant, but less so from Art than Nature; an Advantage which this City has boasted from Time immemorial.[49]
Sep 26
|
II. The Pleasure which arises from the Practice of this heavenly Exercise, is capable of being heightened and improved by vocal and instrumental Harmony. The Usefulness [9] and Availableness of which, to enable us to discharge this and all other holy Offices, in the most acceptable manner, will appear from the great Influence it naturally has on the Mind of Man. There is such a wonderful Sympathy, such a mutual Relation between the Soul of Man and the Melody of Sounds, that some Philosophers have made its Essence to consist in Harmony; whose Power has been universally acknowledged to be so absolute and uncontrolable, that the Elements of that Man’s Composition must be very gross and undelicate, and the Faculties of his Soul of a very sluggish and lethargick Nature, that can be Proof against its Charms, and incapable of being awakened and enlivened by them. The prodigious Effects, and surprising Influence of Harmony over the human Mind, have lately been exemplified in a most remarkable Manner in our own Nation. The first Time that the ORATORIO, entitled the MESSIAH, was performed, some Persons of an airy and volatile Turn of Mind, who had cast off the Restraints of Religion, as inconsistent with the Gaiety and Politeness of the present Age, came to hear the sacred Performance with a Design to turn it into Ridicule; but the unrivalled Master of Harmony had made the Sound so expressive of the Sense, and adapted the Notes with such inimitable Skill to the mournful Nature of the Subject, that, like the quick Lightning, they pierced their obdurate Hearts; nay, the Tears were seen to gush from their Eyes, like the Waters from the Rock, when struck by the Rod of Moses.[50] |
Sep 30
|
[Handel to Charles Jennens] Sir Yesterday I received Your Letter, in answer to which I hereunder Specify my Opinion of an Organ which I think will answer the Ends you propose, being every thing that is necessary for a good and grand Organ, without Reed stops, which I have omitted, because they are continually wanting to be tuned, which in the Country is very inconvenient, and should it remain useless on that Account, it wou’d still be very expensive, altho’ that may not be your Consideration. I very well approve of Mr. Bridge who without any Objection is a very good Organ Builder, and I shall willingly (when He has finish’d it) give You my Opinion of it. I have referr’d you to the Flute stop in Mr. Freemans Organ being excellent in its Kind, but as I do not referr you in that Organ, The System of the Organ I advise is, (Vizt The Compass to be up to D and down to Gamut, full Octave, Church work, one Row of Keys, whole stops and none in halves. [verso] Stops An Open Diapason — of Metal throughout to be in Front. A Stopt Diapason — the Treble Metal and the Bass Wood. A Principal — of Metal throughout. A Twelfth — of Metal throughout. A Fifteenth — of Metal throughout. A great Tierce — of Metal throughout. A Flute Stop — Such a one as in Freemans Organ. I am glad of the Opportunity to show you my attention, wishing You all Health and Happiness, I remain with great Sincerity and Respect Sir Your most obedient and most humble Servant George Frideric Handel London. Sept. 30. 1749.[51] |
Nov 20
|
[Mrs. Delany to Mrs. Dewes, 20 November 1749] [...] Lent begins and oratorios in February; and what additional harmony your conversation will be I leave those to judge who know how well we accord.[52] |
Friday Dec. 1. 1749. By Adjournment from Yesterday.
[...]
George Frederick Handel Brook-str. Esq; T[rentham].[53]
|
EPIGRAM on Mr. MASON. Who wou’d not sing in Mason’s praise? he knows Himself to sing, and build the lofty rhyme. MILTON’s Lycidas. SOFT harmony has Handel crown’d; Titian for painting is renown’d, And Dryden for poetick ease; These all with different beauties please: But Mason can at once inspire The pen, the pencil, and the lyre; And Dryden’s ease the nine impart, With Titian’s skill, and Handel’s art. Cambridge, Dec. 1 GRANTICOLA.[54] |
[“CHAP. IV. / Wherein consists the difference of antient and modern musick.”]
[...] the most excellent modern airs keep most to the laws of the rythmus [sic] in the bars, and every one is sensible of a superior pleasure arising from this cause, but the force of it will be best of all discovered in attending to the musick of Milton’s L’Allegro & Il Penseroso, Acis & Galatea, set by the ingenious Mr. Handel, as these pieces are, of all his others, the truest to the rythmus, and therefore afford more delight in general, than any thing else of the kind.[55]
We have scarce however materials enough at this distance, to form any tolerable judgment upon, of the hebrew drama, and can hardly therefore pronounce upon this with sufficient certainty. There is a treatise professedly on this subject, written by Father Menetriere, a jesuit, who appears to me a master of it, and treats the old drama upon the footing of musical representations, something in the nature of the italian opera; for besides their concerts in their several choirs for their holy ceremonies, he tells us they had a recitative musick for their representations which were either copied out of scripture story, or else composed upon some extraordinary occasions, that the voices were accompanied with musical instruments, and the performance exhibited by actorsd. [275]
Thus says he, David who first instituted the chanters in the choir of the temple, was a king, a prophet, a poet and a musician; the book of Kings informs us, that he sung hymns and canticles to God, as a thanksgiving for the victories he had obtained, and for the blessings he had received; his psalms are so many poems, which he accompanied with the musick of his harp. In some of them may be observed the characteristicks of the dramatic poetry, that is to say, of acting or representation; for the greek word denotes action, and is the same thing as the name opera, which the Italians have given to their musical representations, because what we now call actors, the antients gave the name to them of operantes or dramatis personae; so in the psalms, David speaks sometimes to God, and sometimes, it is God that speaks to him; he speaks to himself; he speaks to the Jews; he makes them speak to God; and one to another relates the miracles of God; lastly this prophet prays, threatens, commands, exhorts, bewails, demands, gives thanks, and expresses at different times, all the affections of the soul, which it is the business of dramatic poetry to represent.[56]
Fielding, Tom Jones
[Book 4, Chapter 2]
So charming may she [i.e. Sophia] now appear; and you the feather’d Choristers of Nature, whose sweetest Notes not even Handel can excel, tune your melodious Throats, to celebrate her Appearance. From Love proceeds your Music, and to Love it returns. Awaken therefore that gentle Passion in every Swain: for lo! adorned with all the Charms in which Nature can array her; bedecked with Beauty, Youth, Sprightliness, Innocence, Modesty, and Tenderness, breathing Sweetness from her rosy Lips, and darting Brightness from her sparkling Eyes, the lovely Sophia comes.
[2:8]
[Book 4, Chapter 5]
It was Mr. Western’s Custom every Afternoon, as soon as he was drunk, to hear his Daughter play on the Harpsichord: for he was a great Lover of Music, and perhaps, had he lived in Town, might have passed for a Connoisseur: for he always excepted against the finest Compositions of Mr. Handel. He never relished any Music but what was light and airy; and indeed his most favourite Tunes, were Old Sir Simon the King, St. George he was for England, Bobbing Joan, and some others. [35]
His Daughter, though she was a perfect Mistress of Music, and would never willingly have played any but Handel’s, was so devoted to her Father’s Pleasure, that she learnt all those Tunes to oblige him. However, she would now and then endeavour to lead him into her own Taste, and when he required the Repetition of his Ballads, would answer with a ‘Nay, dear Sir,’ and would often beg him to suffer her to play something else.
[2:34-35]
[Book 6, Chapter 2]
[...] though he [i.e. Western] was somewhat of a Politician, and had been twice a Candidate in the Country Interest at an Election, he was a Man of no great Observation. His Sister was a Lady of a different Turn. She had lived about the Court, and had seen the World. Hence she had acquired all that Knowledge which the said World usually communicates; and was a perfect Mistress of Manners, Customs, Ceremonies, and Fashions; nor did her [230] Erudition stop here. She had considerably improved her Mind by Study; she had not only read all the modern Plays, Operas, Oratorios, Poems and Romances; in all which she was a Critic; but had gone thro’ Rapin’s History of England, Eachard’s Roman History, and many French Memoires pour servir a l’Histoire; to these she had added most of the political Pamphlets and Journals, published within the last twenty Years. From which she had attained a very competent Skill in Politics, and could discourse very learnedly on the Affairs of Europe.
[2:229-30][57]
ENVY was one principal Ingredient in Pilkmenon’s Character, and he used his Wife ill, because she had a Genius for Writing; and could never endure Counsellor Smith, because he excelled him on the Harpsichord. This Gentleman happening one Evening to be at Pilkmenon’s House, he sung and played the Oratorio of Esther, so charmingly, and so delightful was his Musick to Pilkmena’s Ear, that he had no sooner finished it, but she sat down, and wrote the following Lines.
|
MUSICK once more her ancient Power displays, Resistless now, as in Timotheus’ Days; Our varied Passions change at thy Command, Our correspondent Hearts obey thy Hand. Who can untouch’d attend the awful Sound? When swelling Notes proclaim Jehovah crown’d, Borne on the hallow’d Strains our Soul arise, Till Heaven seems present to our ravish’d Eyes. When to its Source thy Soul shall wing its Flight, And with eternal Harmony unite, Thy skilful Hand shall heav’nly Joys improve, And add new Raptures to the Bliss above. |
THE Lines being wrote directly, and without any previous Meditation, Mr. Smith complimented Pilkmenon on his Happiness in having a Wife with a Genius superior to his own, not doubting but he was so much of a Lover, as to be pleased with the [100] Preference given to her. But alas! he did not know the Man; nor could it enter into his Thought, that for this Compliment, only, poor Pilkmena was to be twitted at every Turn with—Oh! my Dear! A Lady of your Accomplishments! Why, Mr. Smith says, you write better than I, and to be sure he is a great Judge![58]
PSAL. XLII.
As pants the hart for cooling streams: [...]
By Mr. GEORGE FREDERICK HANDELL, Composer to his Majesty. [193]
1 KINGS CHAP. I.
ZADOCK the priest, [...]
HANDEL.
Composed for, and Performed at the Coronation of H. George II.
PSAL. XLV.
MY heart is inditing of a good matter: [...]
[194]
ISAIAH XLIX. 25. Kings shall be thy nursing fathers: [...]
HANDEL.
Composed for, and Performed at the Princess of Orange’s Wedding.
PSAL. LXVIII.
SING unto GOD ye kingdoms of the earth: [...]
[195 ...]
HANDEL.
A Second Wedding Anthem for the Princess of Orange.
PSAL. LI.
HAVE mercy upon me, O GOD, [...]
[196 ...]
HANDEL.
LET thy hand be strengthened: [...]
HANDEL.
A Second Coronation Anthem for K. George II.
[197]
PSAL. XXI.
THE King shall rejoyce [sic] in thy strength, O LORD: [...]
HANDEL.
A Third Coronation Anthem for K. George II.
LAMENTATIONS I.
THE ways of Zion do mourn: [...]
[198 ... 199 ...]
HANDEL.
Composed for, and Performed at the Funeral of Queen Caroline.[59]
[The Marchioness De Lambert’s Letters to her Son and Daughter, On True Education
“SUBSCRIBERS NAMES.”]
George Frederick Handel, Esq;[60]
[“A LETTER To the AUTHOR, concerning the Music of the ANCIENTS.”]
THE INTRODUCING a succession of semitones hath, on proper occasions, a beautiful effect, as in Handel’s Incomparable Ombra Chara, in his Radamistus, an Opera abounding with the happiest union and mixture of Art and Invention.[61]
[1749 Index]
a Model of Clay baked done by Mr. Roubilliac of Mr. Handel Musician—.[62]
[1] The General Advertiser, no. 4427, Tuesday 3 January 1748-9, [1].
[2] The General Advertiser, no. 4461, Friday 10 February 1748-9, [1].
[3] The General Advertiser, no. 4465, Wednesday 15 February 1748-9, [2].
[4] The General Advertiser, no. 4467, Friday 17 February 1748-9, [2].
[5] The General Advertiser, no. 4471, Wednesday 22 February 1748-9, [1].
[6] The General Advertiser, no. 4473, Friday 24 February 1748-9, [2].
[7] The General Advertiser, no. 4477, Wednesday 1 March 1748-9, [2].
[8] The General Advertiser, no. 4479, Friday 3 March 1748-9, [2].
[9] The General Advertiser, no. 4482, Wednesday 8 March 1748-9, [2].
[10] The Whitehall Evening-Post: Or, London Intelligencer, no. 480, Tuesday 7 – Thursday 9 March 1749, [3]; The London Gazetteer, no. 83, Friday 10 March 1749, [1].
[11] The General Advertiser, no. 4484, Friday 10 March 1748-9, [2].
[12] The General Advertiser, no. 4488, Wednesday 15 March 1748-9, [2].
[13] The General Advertiser, no. 4488 [duplicate number], Friday 17 March 1748-9, [1].
[14] The London Evening-Post, no. 3335, Thursday 16 – Saturday 18 March 1749, [1].
[15] The General Advertiser, no. 4489, Monday 20 March 1748-9, [2].
[16] The Remembrancer, no. 68, Saturday 25 March 1749, [3].
[17] Stewart-Brown, Ronald, Isaac Greene: A Lancashire Lawyer of the 18th Century. With The Diary of Ireland Greene (Mrs. Ireland Blackburne of Hale), 1748-9 (Liverpool: The Ballantyne press, Spottiswoode Ballantyne & co, 1921), 54; Chrissochoidis, 792.
[18] The General Advertiser, no. 4491, Wednesday 22 March 1748-9, [1].
[19] The General Advertiser, no. 4492, Thursday 23 March 1748-9, [1].
[20] The Whitehall Evening-Post: Or, London Intelligencer, no. 487, Saturday 25 – Tuesday 28 March 1749, [3].
[21] The General Advertiser, no. 4498, Thursday 30 March 1749, [1]; also, The Whitehall Evening-Post: Or, London Intelligencer, no. 488, Tuesday 28 – Thursday 30 March 1749, [1].
[22] The London Evening-Post, no. 3342, Saturday 1 – Tuesday 4 April 1749, [4].
[23] Motets, and Other Pieces; performed by the Academy of Ancient Music, on Thursday, April 6, 1749 (London: [?], 1749), 5; Chrissochoidis, 792.
[24] The Whitehall Evening-Post: Or, London Intelligencer, no. 490, Saturday 8 – Tuesday 11 April 1749, [3].
[25] Foundling Museum, Gerald Coke Handel Collection, accession no. 2136; the letter is mentioned in David Vickers, Handel’s Performing Versions: A Study of Four Music Theatre Works from the ‘Second Academy’ Period, 2 vols. (Ph.D. dissertation, The Open University, 2007), 1:157-58.
[26] The General Advertiser, no. 4512, Saturday 15 April 1749, [1]; also, The Whitehall Evening-Post: Or, London Intelligencer, no. 492, Thursday 13 – Saturday 15 April 1749, [1].
[27] The London Magazine[.] Or Gentleman’s Monthly Intelligencer 18 (1749): 156; Chrissochoidis, 792.
[28] The London Evening-Post, no. 3347, Thursday 13 – Saturday 15 April 1749, [1].
[29] Händel Handbuch, 427; facs. in Donald Burrows, “Didn’t Handel go to Oxford in 1749?” The Musical Times 150 ([no. 1909, Winter] 2009), 31-38: 35.
[30] Bodleian Library, MS Top. Oxon. b.43, ff. 21-22: The Bodleian Quarterly Record 1 [no. 6, 2nd Quarter 1915] (Oxford: Bodleian Library, 1917), 169-71.
[31] Oxford, Balliol College Library, MS 403, f. 96v: Donald Burrows, “Didn’t Handel go to Oxford in 1749?” The Musical Times 150 ([no. 1909, Winter] 2009), 31-38: 33.
[32] The Bodleian Quarterly Record 1 [no. 6, 2nd Quarter 1915] (Oxford: Bodleian Library, 1917), 165-68.
[33] The London Evening Post, no. 3348, Saturday 15 – Tuesday 18 April 1749, [4].
[34] Old England, no. 260, Saturday 22 April 1749, [2].
[35] Stewart-Brown, Ronald, Isaac Greene: A Lancashire Lawyer of the 18th Century. With The Diary of Ireland Greene (Mrs. Ireland Blackburne of Hale), 1748-9 (Liverpool: The Ballantyne press, Spottiswoode Ballantyne & co, 1921), 57; Chrissochoidis, 792-93.
[36] The General Advertiser, no. 4524, Saturday 22 April 1749, [1].
[37] The Mitre and Crown; Or, Great Britain’s True Interest, 2 vols. (London: the author, 1748-49), 1:387; Chrissochoidis, 793.
[38] The London Magazine: Or, Gentleman’s Monthly Intelligencer 18 (1749): 192-93; Chrissochoidis, 793.
[39] The London Evening-Post, no. 3351, Saturday 22 – Tuesday 25 April 1749, [1].
[40] The General Advertiser, no. 4527, Wednesday 26 April 1749, [1].
[41] Lowell Lindgren, “Musicians and Librettists in the Correspondence of Gio. Giacomo Zamboni (Oxford, Bodleian Library, MSS Rawlinson Letters 116-138),” [Royal Musical Association] Research Chronicle 24 (1991), 1-194: 184.
[42] Lowell Lindgren, “Musicians and Librettists in the Correspondence of Gio. Giacomo Zamboni (Oxford, Bodleian Library, MSS Rawlinson Letters 116-138),” [Royal Musical Association] Research Chronicle 24 (1991), 1-194: 184.
[43] David Hunter, “Monsieur le Comte de Saint-Germain: The great pretender,” The Musical Times, vol. 144, no. 1885 (Winter 2003), 40-44: 41-42.
[44] The General Advertiser, no. 4551, Friday 26 May1749, [1].
[45] The Whitehall Evening-Post: Or, London Intelligencer, no. 510, Thursday 25 – Saturday 27 May 1749, [1].
[46] Donald Burrows, Handel and the English Chapel Royal (Oxford and New York: Oxford University Press, 2005), 615-16.
[47] The Whitehall Evening-Post: Or, London Intelligencer, no. 560, Saturday 9 – Tuesday 12 September 1749, [2].
[48] Chrissochoidis, 794.
[49] The Whitehall Evening-Post: Or, London Intelligencer, no. 568, Thursday 28 – Saturday 30 September 1749, [3].
[50] Edward Owen, A Sermon preached at the Opening of the Organ in the Parish Church of St. Neots in the County of Huntingdon, September 26, 1749 (London: R. Manby and H. S. Cox, 1749), 8-9.
[51] Autograph Letters of George Frideric Handel and Charles Jennens (auction catalog, Christie, Manson & Woods, July 4, 1973), 17; facsimile of last page, pp. 14/15.
[52] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 2:520.
[53] A Copy of the Poll for a Citizen for the City and Liberty of Westminster, Begun to be Taken at Covent-Garden, Upon Wednesday the Twenty-second Day of November; and Ending on Friday the Eighth Day of December 1749. Peter Leigh, Esq; High-Bailiff. Candidates, The Right Hon. Granville Levison Gower, Esq; commonly called Lord Trentham: and Sir George Vandeput, Bart. (London: J. Osborn, 1749), 54-55; Chrissochoidis, 794.
[54] The London Magazine. Or, Gentleman’s Monthly Intelligencer 18 (1749), 572; Chrissochoidis, 794-95.
[55] [Richard Brocklesby], Reflections on Antient and Modern Musick, with the Application to the Cure of Diseases. To which is subjoined, An Essay to solve the Question, wherein consisted the Difference of antient Musick, from that of modern Times (London: M. Cooper, 1749), 77; Chrissochoidis, 795.
d Des Representations en Musique anciennes et modernes. p. 8. I have sometimes thought, that the Oratorio, or sacred drama, as it is now performed upon the english stage, comes nearer the old scripture drama, than the opera upon the italian stages. [275] About three years ago, we had an Oratorio called Judas Machabeus, introduced, with great applause; it is of the allegorical species of sacred drama, and though the characters and history of it, are all of them jewish, yet it was thought no improper subject for a british audience at a very critical juncture, and was received accordingly as the best judged theatrical entertainment, that was exhibited upon the late rebellion.
[56] John Garnett, A Dissertation on the Book of Job[.] Its nature, Argument, Age and Author. Wherein the celebrated Text. ch. xix. 25. I know that my redeemer liveth, &c. is occasionally considered, and discussed (London: M. Cooper, 1749), 274-75; Chrissochoidis, 795-96.
[57] Henry Fielding, The History of Tom Jones, a Foundling, 6 vols. (London: A. Millar, 1749); Chrissochoidis, 796-97.
[58] The Ladies Advocate: or, Wit and Beauty a Match for Treachery and Inconstancy (London: C. Long, 1749), 99-100; Chrissochoidis, 797.
[59] A Collection of Anthems, as the same are now Perform’d in the Cathedral Church of Durham (Durham: Isaac Lane, 1749), 192-99; Chrissochoidis, 797-98.
[60] Anne Thérèse de Marguenat de Courcelles, marquise de Lambert, The Marchioness De Lambert’s Letters to her Son and Daughter, On True Education, trans. Mr. Rowell (London: M. Cooper, 1749), xiv; repr., Duncan Chisholm, “A Book in Handel’s Library,” The Handel Institute Newsletter 10/1 (Spring 1999), [4-7]: [4].
[61] [John Mason], An Essay on the Power of Numbers, and the Principles of Harmony in Poetical Compositions (London: M. Cooper, 1749), 12 (separate pagination); Chrissochoidis, 798.
[62] The Twenty-Second Volume of the Walpole Society, 1933-1934: Vertue Note Books. Volume III (Oxford: Walpole Society, 1934), 144; Deutsch, 678.