1756
[The Rev. Samuel Davies at Hanover, Virginia to J. F., 2 March 1756]
For some time after this, the poor Slaves, whenever they could get an hour’s leisure from their masters, would hurry away to my house; and received the Charity with all the genuine indications of passionate gratitude, which unpolished nature could give; and which affectation and grimace would mimic in vain. The books were all very acceptable; but none more so than the Psalms and Hymns, which enabled them to gratify their peculiar taste for Psalmody. Sundry of them have lodged all night in my kitchen; and, sometimes, when I have awaked about two or three a-clock in the morning, a torrent of sacred harmony poured into my chamber, and carried my mind away to Heaven. In this seraphic exercise, some of them spend almost the whole night. I wish, Sir, you and their other Benefactors could hear one of these sacred concerts: I am persuaded it would please and surprize you more than an Oratorio, and a St. Caecilia’s Day.[1]
Mar 5
|
COVENT-GARDEN. AT the Theatre Royal in Covent-Garden, This Day, March 5, will be presented an Oratorio call’d ATHALIAH. Pit and Boxes to be put together. No Person to be admitted without Tickets, which will be deliver’d this Day at the Office in the 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 exactly at Six o’Clock.[2] |
Mar 10
|
AT the Theatre Royal in Covent-Garden, This Day, will be performed an Oratorio call’d ATHALIAH. Pit and Boxes to be put together. No Person to be admitted without Tickets, which will be deliver’d this Day at the Office in the 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 exactly at Half an Hour after Six o’Clock.[3] |
Mar 12
|
AT the Theatre Royal in Covent-Garden, This Day, will be performed an Oratorio call’d ATHALIAH. Pit and Boxes to be put together. No Person to be admitted without Tickets, which will be deliver’d this Day at the Office in the 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 exactly at Half an Hour after Six o’Clock.[4] |
Mar 17
|
AT the Theatre Royal in Covent-Garden, This Day, will be performed an Oratorio call’d ISRAEL in EGYPT. Pit and Boxes to be put together. No Person to be admitted without Tickets, which will be deliver’d this Day at the Office in the 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 exactly at Half an Hour after Six o’Clock.[5] |
Mar 18
AT the Little Theatre in the Hay-Market, this Day will be perform’d Mr. Barbandt’s first Subscription ORATORIO, the Universal Prayer, written by Mr. Pope, and set to the Violin by Signor Marella; a Solo upon the German Flute by Mr. Tacet; a Solo upon the Lute by Mr. Senel; a Solo upon the Hautboy by Mr. Barbandt; and a Great Concerto, with Clarinets, French Horns, and Kettle Drums, composed by Mr. Barbandt. To begin at Seven o’Clock precisely. Tickets, at One Guinea, to admit one Gentleman or Lady to the three Oratorios; or at Half a Guinea to one Oratorio; to be had of Mr. Barbandt, at Mr. White’s, in Marshall-Street, Carnaby-Market; or Mrs. Brown’s, Stationer, over-against the Opera-House in the Hay-Market, where the Books are sold. Price 1 s.[6]
Mar 19
|
AT the Theatre Royal in Covent-Garden, This Day, will be performed an Oratorio call’d DEBORAH. Pit and Boxes to be put together. No Person to be admitted without Tickets, which will be deliver’d this Day at the Office in the 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 exactly at Half an Hour after Six o’Clock.[7] |
Mar 24
|
AT the Theatre Royal in Covent-Garden, This Day, will be performed an Oratorio call’d ISRAEL in EGYPT. Pit and Boxes to be put together. No Person to be admitted without Tickets, which will be deliver’d this Day at the Office in the 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.[8] |
Mar 26
|
AT the Theatre Royal in Covent-Garden, This Day, will be performed an Oratorio call’d JUDAS MACCHABEUS. Pit and Boxes to be put together. No Person to be admitted without Tickets, which will be deliver’d this Day at the Office in the 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 exactly at Half an Hour after Six o’Clock.[9] |
Mar 27
|
[Mrs. Delany to Mrs. Dewes, 27 March 1756] Mary is now practising the clavicord, which I have got in the dining-room that I may hear her practise at [415] my leisure moments. [...] Her uncle Granville has given her a guinea to go to the oratorio; it is diverting to hear all her projects for laying it out. I think it will end in two plays instead of one oratorio. We are both invited to go to Lady Cowper’s next Wednesday to a concert; I shall carry her there, and give up the oratorio. [...] Wednesday, I spent with Mrs. Donnellan instead of going to Israel in Egypt; and how provoking! she had Mrs. Montagu, Mrs. Gosling, and two or three fiddle faddles, so that I might as well have been at the oratorio. [... 416 ... 417 ...] I was last night at “Judas Maccabeus,” it was charming and full. “Israel in Egypt” did not take, it is too solemn for common ears.[10] |
Mar 27
|
[Thomas Harris to James Harris, 27 March 1756] Handel has performed Athalia, Israel in Egypt (without the Funeral Anthem[,] in lieu of which he made up an act from other oratorios), Deborah and Judas Maccabaeus: his houses have been but indifferent especially in the pitt; but the performances very well, and his own on the organ as good as ever.[11] |
Mar 31
|
AT the Theatre Royal in Covent-Garden, This Day, will be performed an Oratorio call’d JUDAS MACCHABEUS. Pit and Boxes to be put together. No Person to be admitted without Tickets, which will be deliver’d this Day at the Office in the 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 exactly at Half an Hour after Six o’Clock.[12] |
Mar 31 – Apr 2
|
[Mrs. Delany to Mrs. Dewes, 1[-2] April 1756] The oratorio was charming last night and very full, notwithstanding a ball at Norfolk House given for the Duke of Cumberland’s entertainment, an assembly at Lady Townsend’s, and a concert at Lady Cowper’s. We are to have but three oratorios more; I hope to go to them all; I have only missed one, and that I gave up to spend the afternoon with Mrs. Donnellan. [... 419 ... Today] I dined at Whitehall, and went to the oratorio with the Duchess of Portland and Lady Margaret. [...] The oratorio last night was “Jephtha;” I never heard it before; I think it a very fine one, but very different from any of his others. On one side of me sat Lord Chief Justice Ryder, with whom I had much conversation between the acts, and was very courtly as a friend in our cause; on the other side the Attorney General, with whom also I was very courtly out of fear as an enemy, though I hope they have both such upright hearts as not to be biassed by any sort of prejudice.[13] |
Apr 2
|
AT the Theatre Royal in Covent-Garden, This Day, will be performed an Oratorio call’d JEPHTHA. Pit and Boxes to be put together. No Person to be admitted without Tickets, which will be deliver’d this Day at the Office in the 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 exactly at Half an Hour after Six o’Clock.[14] |
|
AT the Theatre Royal in Drury-Lane, This Day April 2, will be performed CONCERTO SPIRITUALE. The Vocal Parts by Signore Mingotti and Mondini, Signori Ricciarelli, and Champnes[.] The first Violin, and a new Overture compos’d by Sig. De Giardini. At the End of Act I. A Concerto on the Organ by Mr. Stanley. In Act II. The Stabat Mater of Pergolesi, by Signora Mingotti and Sig. Ricciarelli; and a Concerto for the Violin by Sig. De Giardini. Act III. To conclude with a Quartetto of Hasse, by Sig. Mingotti, Ricciarelli, Mondini, and Champness. Pit and Boxes Half a Guinea. First Gall. 5 s. Upper Gall. 3 s. 6 d. Tickets to be had at Arthur’s Chocolate-house and the St. James’s Coffee-house in St. James’s Street; the Mount Coffee-house, Grosvenor-street; the Bedford Coffee-house, Covent-Garden; and of Mr. Varney at the Stage-door, where Places may be taken. Tickets delivered out for the 24th of March will be taken. Ladies are desired to send their Servants by half an Hour after Three. The Doors will be opened at half an Hour after Four. And the Performance begin at half an Hour after Six. The Profits of this Performance will be given to a Public Charity.[15] |
Apr 6
|
[Mrs. Delany to Mr. Granville, 6 April 1756] Vanneschi has carried the opera against the Mingotti, and Mrs. Lane says she will have operas! “every night at her own house.” [...][16] |
Apr 7
|
AT the Theatre Royal in Covent-Garden, This Day, will be performed a Sacred Oratorio call’d MESSIAH. Pit and Boxes to be put together. No Person to be admitted without Tickets, which will be deliver’d this Day at the Office in the 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 exactly at Half an Hour after Six o’Clock.[17] |
Apr 8
|
[Richard Phelps to James Harris, 8 April 1756] {...} I wish I could say the same for our musick, particularly in the opera, where I find that the absurdities which necessity has introduc’d this season, will be thoroughly establish’d under the notion of improvement, in the next. Giardini, [311] Ricciarelli, and Mingotti, are I find to have the conduct of your opera in the succeeding winter; when I do not doubt, but the pasticcios (a term so irreconcileable to the very genius of an opera) will be served up to our inexpressible delight with a greater variety of ingredients than the ablest pastry-cook in musick has yet been able to croud in. If I speak with less respect of this entertainment, than the publick voice seems to demand of me, I have this apology to offer, that it does not proceed from a selfish principle, as I shall not be within the reach of these elegant ambigues. Italy will afford me a repast suited much better to the simplicity and inelegance of my taste. Metastasio attended singly, by either Jomelli, Galuppi, or Perez, will satisfy me, and I will not let one envious reflection take place, when I consider how much higher relish my friends in London enjoy, who have the essence of every poet and every musician which Italy produces elegantly serv’d up in one dish. [P.S.] Since my writing this, I find a paper which I sent to the author of The World is publish’d this week. I have taken the liberty of sending it to you just as I sent it to the author: and the reason I trouble you with it, is upon no other account than that I may learn from you if my ideas of musick are at all just, and agreeable to truth[,] or whether they proceed only from the warmth of imagination.[18] |
Apr 9
|
AT the Theatre Royal in Covent-Garden, This Day, will be performed a Sacred Oratorio call’d MESSIAH. (Being the LAST this SEASON.) Pit and Boxes to be put together. No Person to be admitted without Tickets, which will be deliver’d this Day at the Office in the 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 exactly at Half an Hour after Six o’Clock.[19] |
Apr 9
|
[George Harris’s Diary, 9 April 1756] The Messiah. / Covent Garden. / Signora Frasi, Signora Curioni, Miss Young — Mesrs Beard & Walts. / Pasqualini, violoncello. / Brown, first fiddle. / Smith, organ. / Handel, a concerto.[20] |
Apr 10
|
[Thomas Harris to James Harris, 10 April 1756] Handel had another crowded house last night at the Messiah.[21] |
Apr 12
|
A Subscription (by Mr. Vanneschi) being this Day opened at Mess. Drummond, Bankers at Charing-Cross. The Subscribers, and others, who may please to encourage this Undertaking, are desired to pay their Subscriptions into the Hands of Mess. Drummond abovementioned, who will give proper Receipts for the same; in order to raise a Fund necessary for giving Security to Signora Astrua, and the other Singers, &c. already engaged.[22] |
Apr 22
It gives the greatest Satisfaction to Mr. Vanneschi that he can say he has the Protection and Patronage of the foreign Ministers residing in London, and also of many of the Nobility and Gentry of this Nation; and that he can also aver, that he never intends to make Use of any Protection whatsoever to evade the Laws of a Country in which he claims the Right and Privilege due to a legal Inhabitant, and from which he shall never deviate.[23]
May 10
SIGNORA PASSERINI’s Second Subscription Oratorio will be this Evening, at the Great Room in Dean-Street, Soho, when will be perform’d the Oratorio of
JUDAS MACCHABEUS.
The Vocal Parts by Signora Passerini, and others. After the first Part Mr. Arne, jun. will play a Concerto upon the Organ; after the second Part, Signor Passerini will play a Solo upon the Violin. To begin exactly at Six o’Clock. Tickets to be had at Signor Passerini’s, in Little James-Street, Golden-Square; and at Batson’s Coffee-House in Cornhill, at Half a Guinea each for the Pit, and Five Shillings for the Gallery. Each Ticket admits two Persons.[24]
May 18
Hospital
for the Maintenance and Education of exposed and deserted young Children.
THIS is to give Notice, that, under the Direction of GEORGE FREDERICK HANDEL, Esq; the Sacred Oratorio, called, MESSIAH, will be perform’d in the Chapel of this Hospital, for the Benefit of this Charity, Tomorrow, the 19th of this instant, at Twelve o’Clock at Noon precisely. To prevent the Chapel being crowded, the Gentlemen are desired to come without Swords, and the Ladies without Hoops. Tickets are delivered at Arthur’s Chocolate-House in St. James’s Street; at Batson’s Coffee-House in Cornhill; Tom’s in Devereux-Court; and at this Hospital, at Half a Guinea each. No more Tickets will be delivered than the Chapel can conveniently hold; and no Money taken at the Door.
By Order of the Committee.
S. MORGAN, Secretary.[25]
May 19
Yesterday the Oratorio of the Messiah was perform’d at the Foundling-Hospital, under the Direction of Mr. Handel, whose repeated Benefactions to that Charity, as well as to others, both in England and Ireland, deserve the highest Acknowledgments from the Publick.[26]
May 20
On Thursday last was preached at St. Ann’s Church, Westminster, by the Rev. Thomas Ashton, M. A. Rector of St. Botolph Bishopsgate, and Fellow of Eton-College, an excellent Anniversary Sermon in Support of the Middlesex Hospital for Sick and Lame, and for Lying-in married Women, in Windmill-Street, Tottenham-Court-Road, to a numerous and very polite Congregation, when Mr. Handel’s Te Deum and Coronation Anthem, with a new Anthem compos’d by Dr. Boyce, were vocally and instrumentally performed. The Musick was under the Direction of Dr. Boyce, and the Organ was play’d by Mr. Butler; to whom, and to Mr. Beard, the Governors, in Behalf of the many Poor supported and relieved by this Charity, desire to return their grateful Thanks for their several excellent Performances. After Sermon the Right Hon. the Earl of Northumberland, and the Right Hon[.] the Earl of Plymouth, Sir William Beauchamp Proctor, Bart. Mr. Archdeacon Yardley, and many other Gentlemen, were pleas’d to dine with the Governors of, and Subscribers to, that Hospital, at the great Concert-Room in Dean-Street, Soho. The Collections at Church and at Dinner, for the Benefit and Support of that Charity, amounted to the Sum of 210 l. 7 s. 11 d. and the new annual Subscriptions amounted to no less than 54 l. 12 s. The Whole was conducted with great Decency and good Order, and concluded with drinking many loyal Healths, with Success to Admiral Byng and General Blakeney, and Prosperity to the new Building now erecting between Cavendish-Square and Tottenham-Court-Road for the Middlesex Hospital.[27]
May 20
|
[4th Earl of Shaftesbury to James Harris, 20 May 1756] With regard to Dr Hayes’s request, the first part, viz the letting them have Judas and the Messiah oratorios; as these have already been frequently perform’d, can see no mateiral [sic] objection to doing this. As to Joshua, I believe Mr Handel will not chuse to have it perform’d at Oxford, or any where but by himself. However, I will speak to Smyth about it, though very well satisfied now, of Mr Handel’s desire to keep it for himself.[28] |
May 27
|
[4th Earl of Shaftesbury to James Harris, 27 May 1756] I did not write last post having waited for an answer from Mr Handel. Smyth has been with me just now to say, there is no objection to my lending the score of Joshua to Dr Hayes. Yet this is done under a confidence of Dr Hayes’s honour, that he will not suffer any copy to be taken or to get about from his having been in possession of this score. For otherwise both Handel and Smyth (his copiest) will be injur’d. Pray desire too, care may be taken not to spoil the book. I only mention this particular as a caution, because very often books and especially manuscripts, are much dirted by being thumbed about.[29] |
May 29
|
[George Harris’s Diary, 29 May 1756] Dined at Mr Jennings’s, Ormond Street. / The Master / Handel / Hetherington. / Handel quite blind, but pretty chearfull, & after dinner play’d finely on Mr J[ennens]’s piano forte. / Handel said, that Corelli was at the head of the orchestra at Rome when he first went thither; that twas a rule with Corelli’s band of music that when any one made a grace, he should forfeit a crown; & one poor fidler lost his whole salary before he could be cured of gracing. Handel was 2 years at Rome in Cardinal Ottoboni’s family. — Handel by birth a Saxon. When first he came over to England, he played on the fiddle; but this not succeeding, he then took to the harpsichord.[30] |
Jun 13
On Sunday last Mr. Handel’s pocket was picked of his gold watch coming out of St. George’s church, Hanover-Square.[31]
[Thursday 8 July 1756]
A FEW years ago business called me over to Italy; where this unfortunate woman [i.e. his wife] received the first touches of this disorder. She soon conceived a violent passion for Taste in general, which settled at last in an unquenchable rage after musical compositions. Solos, Sonatas, Operas, and Concertos, became her sole employment and delight, and singers and musicians her only company. At length full of Italian airs she returned to England, where also her whole happiness has been centered in the orchestra, and it has been her whole pride to be thought a Connoisseur in music. If there is an opera, oratorio, or concert, to be performed within the bills of mortality, I do not believe that the riches of the Indies could prevail on her to be absent. Two, and only two good consequences attend this madness, and those are, that she constantly attends St. James’s chapel for the sake of the anthem and the rest of the music: and out of the many pounds idly squandered on minums [sic] and semiquavers, some few are dedicated to charities, which are promoted by musical performances.
[…]
WHAT method, Mr. TOWN, shall I persue to cure my wife of this musical phrenzy? I have some thoughts of holding weekly a burlesque Rorotorio, composed of mock-airs with grand accompanyments of the Jew’s Harp, Wooden Spoons, and Marrowbones and Cleavers on the same day with my wife’s concert; and have actually sent to two of Mrs. Midnight’s hands to teach me the art and mystery of playing on the Broomstick and Hurdy-Gurdy, at the same time that my wife learns on the bass-viol. I have also a strong rough voice, which will enable me to roar out Bumper Squire Jones, Roast Beef, or some other old English ballad, whenever she begins to trill forth her melodious airs in Italian. If this has no effect, I will learn to beat the drum, or wind the post-horn: and if I should still find it impossible for noise and clamour to overcome the sound of her voices and instruments, I have half-resolved peremptorily to shut my doors against singers and fidlers, and even to demolish her harpsichord and bass-viol.[32]
|
[George Montagu to Horace Walpole] [Greatworth, ca July 13, 1756]. [...] Lady Pomfret had a sort of box made up for her and her girls near the Vice-chancellor in the [Sheldonian] theatre. She was violently clapped as she came in, appeared sulky and ill-dressed and her attendants frightful. A parson played on the kettledrum at the oratorio. Parson [194] Fletcher — you may remember at Eton — had a beam from one of the windows fall on his head but he was brute enough to sit with a vast beaver on which preserved his brains. There were above three thousand6a people there.[33] |
[Saturday 17 July 1756]
About Five o’Clock, my Friend conducted me, at my particular request, into the Music Parlour, a Room so called because there is an Organ and an Harpsichord in it. Mrs. Worthy touched the Keys of the first, Miss Worthy entertained us with a melodious Voice, and my Friend and his Son accompanied them with their Violins. Their Music was from HANDEL.—After they had performed several Airs in L’ Allegro and Il Penseroso, I begg’d a few of my favourite ones in Messiah.—The Semichorusses in that inimitable Oratorio were joined by young Worthy and the little Fanny, who warbled like a rose-lip’d Cherub. I was lost in ecstacy, and after a considerable time spent in this coelestial employment, Mrs. Worthy was sent for to a sick Neighbour, when she left us; her Husband said she was the darling and support of the Poor.[34]
Aug 6
|
I, George Frideric Handel make this Codicil to my Will. I give unto my Servant Peter le Blond Two Hundred Pounds additional to the Legacy already given him in my Will. I give to Mr: Christopher Smith Fifteen Hundred Pounds additional to the Legacy already given him in my Will. I give to my Cousin Christian Gottlieb Handel of Coppenhagen Two Hundred Pounds additional to the Legacy already given him in my Will. My Cousin Magister Christian August Rotth being dead I give to his Widow Two Hundred Pounds and if she shall die before me I give the said Two Hundred Pounds to her Children. The Widow of George Taust and one of her Children being dead I give to her Five remaining Children Three Hundred Pounds apiece instead of the Legacy given to them by my Will. I give to Doctor Morell of Turnham Green Two Hundred Pounds. I give to Mr: Newburgh Hamilton of Old Bond Street who has assisted me in adjusting words for some of my Compositions One Hundred Pounds. I make George Amyand Esquire of Lawrence Pountney Hill London Merchant Coexecutor with [1v] my Niece mention’d in my Will and I give him Two Hundred Pounds which I desire him to accept for the Care and Trouble he shall take in my Affairs. In Witness whereof I have hereunto set my Hand this Sixth day of August One Thousand Seven Hundred and Fifty Six. George Frideric Handel One the day and year above written this Codicil was read over to the said George Frideric Handel and was by him Sign’d and Publish’d in our Presence. Tho: Harris. John Hetherington.[35] |
Sep 22
|
[George Harris’s Diary, Durham, 22 September 1756] Spent the evening at the Deanery / Music. / Clark, Capt. Hargrave, Hasleden, & Hebden. / Oratorio. / Sir John D[olben] & family.[36] |
Dec 12
|
[Mrs. Delany to Mrs. Dewes, 12 December 1756] [...] Last Friday morning I had a visit from Mrs. Foley, who looks very well after her ninth lying-in! I promised Don[nellan]. to call on her and meet Mr. Handel, which I did; he was not in spirits any more than myself, but his playing is always delightful! It was indeed rather too much for me at that time.[37] |
[...] it is much more difficult to perceive the cadence, or rhythmus, of the English, than of the Latin verse. [...] it will require rather a more accurate knowledge of prosody, and more application and practice, to read or repeat English verses with propriety and grace, than the Latin. This will be sufficiently illustrated by considering how easy it is to beat time to any simple uniform movement that is generally known, such as that of a minuet, in comparison of the more complicated, and varied concertos. And, to carry on the allusion, it will require no great skill or pains to learn to play or sing tunes [308] whose equal and similar parts form an easy modulation, but to play or sing at sight those whose harmony is the result of diversity and inequality in their members, will demand a complete knowledge of the art, as well as much practice. When therefore we reflect, that notwithstanding the great ease and certainty with which the art of reading and repeating their poems might be acquired, the Romans took uncommon pains to arrive at the utmost accuracy in that respect; that to the knowledge of the rules constant practices was added; that they had persons regularly trained to be able to perform it with exactness and grace, as much as our singers now are in musick; and that the reciting fine passages out of Virgil and their other excellent poets, was a chief part of their entertainment, in the same manner as the singing select airs of Handel, or playing favourite solos of Geminiani, are with us; we need no longer wonder that skill and good taste in point of numbers so generally prevailed amongst them. And for reasons quite contrary, we can not [sic] be at a loss to know the cause [309] of the total ignorance, and universal bad taste, in that respect, amongst us. We neither know any thing of prosody, nor have any rules as yet settled in regard to it.
[...]
[...] I am far from thinking the present age so far enlightened as to be able to see, much less to admire, some of his [i.e. Milton’s] greatest beauties. [... 356 ... 357 ...] the cause why the Agonistes obtained such a disproportionate share of fame, and was known only to a few [... 358 ...] no other work of his [i.e. Milton’s] has made it’s [sic] way to publick knowledge without the assistance of some helping hand. The Allegro and Penseroso were confined to the closets of the judicious, ’till the celebrated Handel by the charms of his musick forced them into fame. And his Comus lay buried in obscurity, ’till the lustre of musick shewed it to the publick eye: and how little that was capable of perceiving it’s [sic] beauties, might be seen from the reception it met with. For whilst the musician’s skill was applauded to the skies, the poem itself was either not attended to, or only occasioned weariness and satiety. It will be allowed by all, that had it not been for the ornament of the songs, the dramatick part could not have lived to a second night: and the whole piece, since the musick has lost great part of it’s [sic] charms with it’s novelty, is now scarce able to hold up it’s head. His Lycidas, and some other pieces, for want of some such assistance, are still in the shade.
[...]
We find also, that amongst the masters in the several imitative arts, who chuse human nature for their object, there is a distinction of rank in proportion to the dignity and importance of their subjects. Thus the writer of epick poetry, who relates the actions of kings and heroes, and displays all the more elevated and sublime qualities of the human mind, together with the more exalted and noble passions, is placed at a great distance above the writers of pastorals and elegies. For the same reason the tragick poet is preferred to the comick. Thus the painter of famous and remarkable historical actions is in higher estimation, than he who is only employed about portraits, or conversation pieces in common life. And thus the composers of operas, masques, oratorio’s, &c. are of an higher order, than they who only set single songs, cantatas, or dialogues, to musick.
[...]
[...] we need no longer wonder at the amazing
effects which are recorded to have been produced by antient musick, nor the
extraordinary power which it had over the passions: a power [417] equal
(if we may believe the concurrent testimony of many historians, and other
writers) to the fancied description of it in Dryden’s ode. Nor shall we be at a loss to account for
this, when we consider the mighty force of oratorial expression alone: what
then must it be, when conveyed to the heart with all the superadded powers and
charms of musick? No person of
sensibility, who has had the good fortune to hear Mrs Cibber sing in the
oratorio of the Messiah, will find it very difficult to give credit to accounts
of the most wonderful effects produced from so powerful an union. And yet it was not to any extraordinary
powers of voice (whereof she has but a very moderate share) nor to a greater
degree of skill in musick (wherein many of the Italians must be allowed to
exceed her) that she owed her excellence, but to expression only; her
acknowledged superiority in which could proceed from nothing but skill in her
profession.[38]
Musick Master, G. F. Handell 200 l.[39]
Princesses Amelia and Caroline’s Officers. &c.
[...]
Music Mr. – Handel, 200l[40]
[“At SALISBURY; thoughts on church-music and oratorios.”]
Whenever
divines or poets attempt to give us a notion of celestial joys, how naturally
they recur to the idea of music! What
would the devotion of the vulgar be without singing? If we look into the world at large, we shall find that all
nations, of all religions, use singing of some kind or other. [... 26 ...]
And what would OUR common people say were they not permitted to sing
psalms? Indeed the TRUE spirit of
devotion is not always kept up in this manner of worshipping the ALMIGHTY; but
without it, we may question if our common people would EVER chuse to come to
the public worship of GOD.
Nor does this spirit predominate with the vulgar only. Besides anthems in churches, which all the world admires, except a few who think music and heaven have no connexion, you have heard old-fashioned people talk of spiritual songs. In this very polite age, we hardly know what is meant by SPIRITUAL SONGS; they are seldom mentioned but in ridicule. But let us do justice to the votaries of modern politeness, they have a taste for oratorio’s, perhaps from the same motives. When this entertainment gives place to loose, or silly scenes, I shall think the cause of religion still upon the decline. Tho’ immoral and unchaste representations are allowed on our theatres, still we pay a certain veneration to an oratorio. Who hears the MESSIAH unmoved? Who considers it as a mean entertainment? In spite of the little narrow taste which prevails amongst us, we still have a relish for the sublime compositions of HANDEL and some other masters in church music, and I hope we shall keep that taste alive.
MUSIC as well as POETRY depends much on the IMAGINATION, and the love of them lends some astray; they make strumpets of the muses, or by being captivated by them out of [27] measure, make fools or madmen of themselves: but when we enter, with such assistance, into the true spirit of DEVOTION, these give us a MEANS of pleasure beyond what common mortals can enjoy. It is not that we are afraid of the power of music in religious worship: alas! we are too much inclined to employ our PASSIONS about every thing EXCEPT RELIGION. Yet as the passions are essential parts of the human composition, why should they not be exercised in DEVOTION? In musical worship our very SENSES are employed: when there is CONCORD in sounds, correspondent with our IDEAS, we may the more easily raise and fall, or tune and harmonize the soul.
But when sublime poetry is joined to sublime music, and both these to devotion, they improve each others charms; they give auxiliary powers to the soul; and, if you will allow the similitude, convert the MAN into an ANGEL.[41]
SECT. IX.
Talkativeness and Taciturnity.
THERE are times for talking,
and times to be silent;—times when even nonsense is agreeable, and times when the
most elegant discourses are insipid:—it is the humour of the hearer that gives
the relish to all that is said,—as a friend of mine has happily enough
express’d it:
|
‘When the warm fluid briskly fills the veins, And gay emotions play about the heart, A jews-harp, or a bag-pipe will delight: But when the spleen prevails, and sadding thoughts Clog up the native vigour of the mind, Then Farinelli’s self would cease to please, And Handel’s notes grow painful to the ear.’ |
Certain,
indeed, it is, that the most skilful and exquisite touches of the best [58]
musician can afford no melody, when the instrument he attempts to play upon is
out of tune;—every one, therefore, who would please in conversation, should
endeavour to suit both his subject and manner of speaking according to the
present disposition of the person to whom he speaks, and not throw water upon
fire, nor fire upon mud.[42]
[The frontispiece on the title page depicts a lady,
presumably the composer, on the harpsichord.
A lyre-holding Appolo stands beside the instrument and Eros sits at her
feet. In the spines of the books which
stand in a pile at the right extreme we read the names of Corelli, Purcel,
Handel, and Boyce.]
A List of Subscribers.
[…]
Handel Geo. Fred. Esq;
[…][43]
[“WILLIAM CONGREVE, Esq;”]
[...] His Plays are,
[...]
VI. Semele, an Opera, not performed when it was first written; but was lately set to Musick by Mr. Handel.[44]
[1] Samuel Davies, Letters from the Rev. Samuel Davies, &c. shewing the State of Religion in Virginia, particularly among the Negroes, 2nd edition (London: R. Pardon, 1757), 16; Chrissochoidis, 851.
[2] The Public Advertiser, no. 6662, Friday 5 March 1756, [1]; The Daily Advertiser, no. 7845, Friday 5 March 1756, [2].
[3] The Public Advertiser, no. 6667, Wednesday 10 March 1756, [1]; The Daily Advertiser, no. 7849, Wednesday 10 March 1756, [2].
[4] The Public Advertiser, no. 6669, Friday 12 March 1756, [1]; The Daily Advertiser, no. 7851, Friday 12 March 1756, [2].
[5] The Public Advertiser, no. 6673, Wednesday 17 March 1756, [1]; The Daily Advertiser, no. 7855, Wednesday 17 March 1756, [2].
[6] The Daily Advertiser, no. 7856, Thursday 18 March 1756, [1].
[7] The Public Advertiser, no. 6675, Friday 19 March 1756, [1]; The Daily Advertiser, no. 7857, Friday 19 March 1756, [2].
[8] The Public Advertiser, no. 6683, Wednesday 24 March 1756, [1]; The Daily Advertiser, no. 7861, Wednesday 24 March 1756, [2].
[9] The Public Advertiser, no. 6685, Friday 26 March 1756, [1]; The Daily Advertiser, no. 7863, Friday 26 March 1756, [2].
[10] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 3:414-15, 417.
[11] Donald Burrows and Rosemary Dunhill (eds.), Music and Theatre in Handel’s World: The Family Papers of James Harris (1732–1780) (Oxford and New York, 2002), 310.
[12] The Public Advertiser, no. 6688 [correct: 6689], Wednesday 31 March 1756, [1]; The Daily Advertiser, no. 7867, Wednesday 31 March 1756, [2].
[13] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 3:418-19.
[14] The Public Advertiser, no. 6691, Friday 2 April 1756, [1]; The Daily Advertiser, no. 7869, Friday 2 April 1756, [2].
[15] The Public Advertiser, no. 6691, Friday 2 April1756, [1].
[16] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 3:421.
[17] The Public Advertiser, no. 6695, Wednesday 7 April 1756, [1]; The Daily Advertiser, no. 7873, Friday 7 April 1756, [2].
[18] Donald Burrows and Rosemary Dunhill (eds.), Music and Theatre in Handel’s World: The Family Papers of James Harris (1732–1780) (Oxford and New York, 2002), 310–11.
[19] The Public Advertiser, no. 6697, Friday 9 April 1756, [1]; The Daily Advertiser, no. 7875, Friday 9 April 1756, [2].
[20] Donald Burrows and Rosemary Dunhill (eds.), Music and Theatre in Handel’s World: The Family Papers of James Harris (1732–1780) (Oxford and New York, 2002), 311.
[21] Donald Burrows and Rosemary Dunhill (eds.), Music and Theatre in Handel’s World: The Family Papers of James Harris (1732–1780) (Oxford and New York, 2002), 312.
[22] The Daily Advertiser, no. 7877, Monday 12 April 1756, [1].
[23] The Daily Advertiser, no. 7886, Thursday 22 April 1756, [1].
[24] The Daily Advertiser, no. 7901, Monday 10 May 1756, [1].
[25] The Daily Advertiser, no. 7908, Tuesday 18 May 1756, [2].
[26] The Daily Advertiser, no. 7910, Thursday 20 May 1756, [1].
[27] The Daily Advertiser, no. 7912, Saturday 22 May 1756, [1].
[28] Betty Matthews, “Handel: More unpublished letters,” Music and Letters 42 (1961), 127-31: 129; Donald Burrows and Rosemary Dunhill (eds.), Music and Theatre in Handel’s World: The Family Papers of James Harris (1732–1780) (Oxford and New York, 2002), 313.
[29] Betty Matthews, “Handel: More unpublished letters,” Music and Letters 42 (1961), 127-31: 129; Donald Burrows and Rosemary Dunhill (eds.), Music and Theatre in Handel’s World: The Family Papers of James Harris (1732–1780) (Oxford and New York, 2002), 314.
[30] Donald Burrows and Rosemary Dunhill (eds.), Music and Theatre in Handel’s World: The Family Papers of James Harris (1732–1780) (Oxford and New York, 2002), 314.
[31] Read’s Weekly Journal, Or British-Gazetteer, no. 2368, Saturday 19 June 1756, [4].
[32] The Connoisseur. By Mr. Town, Critic, and Censor-General, 2 vols. (London: R. Baldwin, 1756), 2:770, 773; Chrissochoidis, 851. A French translation of the letter appears as “Lettre à l’Auteur d’une Feuille périodique de Londres,” in André Guillaume Contant d’Orville, Les Nuits Angloises, 4 vols. (Paris: J. P. Costard, 1771), 3:267-72, immediately followed by the reply titled “Lettre de la Dame Harmoniphile, Ou contre-partie de la précédente” signed “CECILE” (3:273-77; 2:781-86 in the original English). The term “oratorio” is footnoted as follows: “On exécute en Angleterre, comme en Italie, des Pseaumes, des Cantiques, ou des paroles pieuses, avec l’accompagnement complet d’une excellente orchestre, dans des salles particulieres, où le public entre en payant. Aucun instrument ni voix n’y exécute de morceaux détachés, comme au concert spirituel de Paris. Il n’est question que du Pseaume ou du Motet, qui est entremêlé d’arrietes & de récitatifs. Ces sortes de Concerts s’appellent Oratorio.” (2:268n)
6a Not more than one thousand could have been accommodated in the Sheldonian.
[33] 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), 193-94.
[34] Nicholas Babble [= Edward Long], The Prater, 2nd edition, corrected and improved (London: T. Lownds, 1757), 156; Chrissochoidis, 852.
[35] repr. Victor Schoelcher, The Life of Handel (London: Robert Cocks, [1857]), 341; facs. repr., Handel’s Will: Facsimiles and Commentary, ed. Donald Burrows (London: The Gerald Coke Handel Foundation, 2009), 39-40.
[36] Donald Burrows and Rosemary Dunhill (eds.), Music and Theatre in Handel’s World: The Family Papers of James Harris (1732–1780) (Oxford and New York, 2002), 319.
[37] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 3:454.
[38] Thomas Sheridan, British Education: Or, The Source of the Disorders of Great Britain (London: R. and J. Dodsley, 1756), 307-09, 355-58, 408, 416-17; Chrissochoidis, 852-53.
[39] The Court and City Kalendar; Or, Gentleman’s Register, for the Year 1756 (London: J. Fuller, et al., 1756), 136; Chrissochoidis, 853-54.
[40] Millan’s Universal Register, of Court and City-Offices (London: J. Millan, [1756]), 67; Chrissochoidis, 854.
[41] [Jonas Hanway], A Journal of Eight Days Journey from Portsmouth to Kingston upon Thames; through Southampton, Wiltshire, &c. with Miscellaneous Thoughts, Moral and Religious (London: H. Woodfall, 1756), 25-27; Chrissochoidis, 854.
[42] Mira [= Eliza Haywood], The Wife (London: T. Gardner, 1756), 57-58; Chrissochoidis, 855.
[43] Elizabeth Turner, A Collection of Songs with Symphonies and a Thorough Bass. With Six Lessons for the Harpsichord (London: the author, 1756), no pagination; Chrissochoidis, 855.
[44] Theatrical Records: Or, An Account of English Dramatic Authors, and Their Works (London: R. and J. Dodsley, 1756), 82; Chrissochoidis, 855.