1757

 

 

January

[Mrs. Delany’s correspondence in January 1757 alludes to The Triumph of Time and Truth][1]

 

 

 

Feb 8

[4th Earl of Shaftesbury to James Harris, 8 February 1757]

 

Mr Handel is better than he has been for some years: and finds he

can compose chorus’s as well as other music, to his own (and

consequently to the hearers) satisfaction.  His memory is strengthened of

late to an astonishing degree.  This intelligence must give you

pleasure.[2]

 

 

 

Feb 13

[Thomas Harris to James Harris, 13 February 1757]

 

I desired Sir Wyndham, who dined with his sisters to day, to send to Mr Martyn

to know Handel’s scheme of performances which I could not recollect exactly.  Sir

W[yndham] has just now brought me the enclosed.[3]

 

 

 

[February]

John Upton to James Harris, [February 1757]

 

I have just parted from our friend Dr Warner — I told him I should write to you

this even, & desired him to furnish me with some talk of the town.  He says

Handel will have oratorios, & one new — viz the Triumph of Time & Truth.

Won’t you come & hear & see your old friend?[4]

 

 

 

Feb 25

AT the Theatre Royal in Covent-Garden,

This Day will be presented an Oratorio call’d

ESTHER.

With new ADDITIONS.

Pit and Boxes to be put together.  No Persons 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 at Half an Hour after Six

o’Clock.[5]

 

 

 

 

Mar 2

AT the Theatre Royal in Covent-Garden,

This Day will be presented an Oratorio call’d

ESTHER.

With new ADDITIONS.

Pit and Boxes to be put together.  No Persons 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 at Half an Hour after Six

o’Clock.[6]

 

 

 

 

Mar 2-3

[…] Another musical festival took place in the building [The New Musick Room] on the 2nd and 3rd March, 1757, “at the opening of the new organ,” when “Judas Maccabaeus” and “The Messiah” were produced.[7]

 

 

 

Mar 3

[auction scheduled for Thursday 3 March]

 

92      Il Trionfo del Tempo, Oratorio, di Cesarini  — Rom. 1725[8]

 

 

 

Mar 4

AT the Theatre Royal in Covent-Garden,

This Day will be presented an Oratorio call’d

ISRAEL in EGYPT.

Pit and Boxes to be put together.  No Persons 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 at Half an Hour after Six

o’Clock.[9]

 

 

 

 

Mar 9

AT the Theatre Royal in Covent-Garden,

This Day will be presented an Oratorio call’d

JOSEPH and HIS BRETHREN.

Pit and Boxes to be put together.  No Persons 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 at Half an Hour after Six

o’Clock.[10]

 

 

 

[George Harris’s Diary, 9-30 March 1757]

 

March 9th Wednesday Covent Garden.  Joseph & his Brethren oratorio, /

Handel. / Browne, 1st fiddle. / Pasqualini, violoncello / Smith, organ. /

Iford, hautboy. / Voices, Frasi, Young, & Peralta — men[:] Beard &

Champneys.[11]

 

 

 

Mar 11

AT the Theatre Royal in Covent-Garden,

This Day will be presented an Oratorio call’d

The TRIUMPH of TIME and TRUTH.

Altered from the Italian, with several new Additions.

Pit and Boxes to be put together.  No Persons 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 at Half an Hour after Six

o’Clock.[12]

 

 

 

[George Harris’s Diary, 9-30 March 1757]

 

Friday 11th March[,] Wednesday 16th & Friday 18th Triumph of Time &

Beauty, oratorio. / D[it]to March 23rd Wednesday[13]

 

 

 

Mar 14

For the Benefit of Signora FRASI.

AT the Great Room in Dean-street, Soho,

This Day March 14, will be performed an Oratorio called

SAMSON.  By Mr. Handel.

With a Concerto on the Organ by Mr. Stanley.  F Tickets half a

Guinea each; to be had of Signora Frasi, at her House in Gerrard-

street, Soho, and at the Place of Performance; Gallery 5 s.

To begin exactly at Half an Hour after Six.[14]

 

 

 

Mar 16

AT the Theatre Royal in Covent-Garden,

This Day will be presented an Oratorio call’d

The TRIUMPH of TIME and TRUTH.

Altered from the Italian, with several new Additions.

Pit and Boxes to be put together.  No Persons 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 at Half an Hour after Six

o’Clock.[15]

 

 

 

 

Mar 18

AT the Theatre Royal in Covent-Garden,

This Day will be presented an Oratorio call’d

The TRIUMPH of TIME and TRUTH.

Altered from the Italian, with several new Additions.

Pit and Boxes to be put together.  No Persons 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 at Half an Hour after Six.[16]

 

 

 

 

Mar 22

I George Frideric Handel do make this farther Codicil

to my Will.

My Old Servant, Peter Le Blond being lately dead

I give to his Nephew John Duburk the Sum of

Five Hundred Pounds.

I give to my Servant Thomas Bramwell the

Sum of Thirty Pounds in case He shall be living

with me at the time of my Death and not otherways.

In Witness whereof I have hereunto set my hand

this Twenty Second day of March one thousand Seven

hundred and Fifty Seven.

 

George Frideric Handel

 

On 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[17]

 

 

 

Mar 23

AT the Theatre Royal in Covent-Garden,

This Day will be presented an Oratorio call’d

The TRIUMPH of TIME and TRUTH.

Altered from the Italian, with several new Additions.

Pit and Boxes to be put together.  No Persons to be admitted

without Tickets, which will be deliver’d that 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 at Half an Hour after Six.[18]

 

 

 

 

Mar 25

AT the Theatre Royal in Covent-Garden,

This Day will be presented an Oratorio call’d

JUDAS MACCABAEUS.

Pit and Boxes to be put together.  No Persons 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 at Half an Hour after Six.[19]

 

 

 

[George Harris’s Diary, 9-30 March 1757]

 

Friday 25th March  Judas Macchabaeus[20]

 

 

 

Mar 25

AT the Theatre Royal in Drury Lane,

This Day will be performed

I PELLEGRINI, an Oratorio.

Composed by Signor GIO. ADOL. HASSE.

With Additions by Signor Giardini.  The Vocal Parts by Signoras

Mingotti and Passerini, Signor Ricciarelli, Mr. Cox, and others.

The First Violin and a Solo by Signor Giardini.  At the End of the

First Act a Concerto on the Organ by Mr. Burton.  And in Act III.

a Hautboy Concerto by the two Signors Besozzi, lately arrived from

Abroad.  Pit and Boxes at Half a Guinea.  First Gallery 5 s.  Upper

Gallery 3 s. 6 d.  Servants will be allowed to keep Places in the Pit,

and are desired to be sent by Half past Three.  The Doors will be

open’d at Half past Four.  To begin precisely at Half past Six.

The Profits of this Performance will be given to a Public Charity.

F Books of the Oratorio may be had of Mr. Woodfall, Printer,

at Charing-cross, and at the Theatre, Price 1 s.[21]

 

 

 

 

Mar 25

         Yesterday was performed at the Theatre-Royal in Drury-Lane The Pilgrims, an Oratorio, set to Music by the celebrated Signor Gio. Adol. Hasse, with Additions by Signor Giardini, which (having the Advantage of the first Singers and Performers in Europe,) could not fail of giving the Satisfaction it so deservedly met with.[22]

 

 

 

Mar 30

AT the Theatre Royal in Covent-Garden,

This Day will be presented a Sacred Oratorio call’d

MESSIAH.

Pit and Boxes to be put together.  No Persons 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 at Half an Hour after Six.[23]

 

 

 

[George Harris’s Diary, 9-30 March 1757]

 

Wednesday 30th March  Messiah[24]

 

 

 

Apr 1

AT the Theatre Royal in Covent-Garden,

This Day will be presented a Sacred Oratorio call’d

MESSIAH.

Being the last Time this Season.

Pit and Boxes to be put together.  No Persons 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 at Half an Hour after Six.[25]

 

 

 

 

April

POETRY and ENTERTAINMENT.

[...]

67.  The Triumph of Time and Truth: An Oratorio.  Watts.[26]

 

 

 

Jun 2

SIGNORA M—— [Mingotti] begs leave to inform the nobility and

gentry that she has found out a method during the present

time of universal dearth and calamity, to render them

utterly insensible of either, and to prevent their timely

relief of the poor, by employing their superfluous money

in a subscription to operas the ensuing season.  She humbly

solicits an early payment, as it may be the means of visiting

her native kingdom, and enable her to return

next winter with a new band of singers and dancers,

worthy of her audience, and equal to her wishes.

SUBSCRIBERS continue to be taken in by mess. D——

and co. at Charing-cross.[27]

 

 

 

Jul 9

[Saturday 9 July 1757]

 

SIR,

         I Cannot help expressing my concern to you on account of the little encouragement given to the sons and daughters of Harmony, who, at this melancholy period of national disaster, kindly exert their melodious talents to banish care and anxiety from the foreboding thoughts of gloomy Britons.

[... 144]

         I own that it grieves me to reflect that an excellence of such use and antiquity should, in our days, be so much slighted and disregarded: and it brings tears into my eyes whenever I read the humiliant advertisement of the incomparable MINGOTTI.*

         What a disgrace it is to the present times that a lady of her exquisite merit should publicly complain for the want of that indulgence which she tells you has been always shewn to her predecessors?  what [sic] a mark of British ingratitude to put her to the blush of solicitation, instead of being forward to anticipate her wishes?

[...]

         For my own part I cannot help considering the lovely MINGOTTI as something more than woman: when I hear the thrilling notes of this ravishing warbler I cannot persuade myself that the sounds are mortal; I can think of nothing less than a goddess in a romance; [... 145]

         But, to the great shame of Britons, not only the music of this quavering enchantress, but the instrumental melody of her brother in harmony, have been, though equally applauded, yet equally unrewarded.  For I do not find that their incomparable sir JOHN GIGARDINI,* the most renowned knight of the most noble order of the fiddle-string, with his matchless merit, is yet in a capacity to drive a set of bays, or that he is likely to obtain a patent of peerage; so that he still remains greater than peers, yet less.

         Now the Winter entertainments are at an end, thrice happy are those fortunate people of fashion whom these darlings of Apollo and the Muses will condescend to visit at their country seats, and help them to dissipate the tedium of the Summer season.  Blest with such company they may leave the wild notes of the feathered choiristers to vulgar ears, while, in the shady bower or cooling grott, they thrill with extacy at the more ravishing sounds of scientific harmony!

         The charms of Music are better felt than described.  ORPHEUS, the famous musician of old, by his commanding lyre made the beasts tame, and the trees dance before him; and where would be the wonder if the modern ORPHEUS should, by his enchanting solo, draw a woman of fashion into his arms, and, as the offspring [o]f a silent duet, bless posterity with an infant Handel?

         Bu to those who have not an opportunity of hearing these excelling Italian artists, it will be no small entertainment to listen to our own home-spun warblers and musicians who are perched up in the several orchestras of Ranelagh, Vauxhall and Marybone.  In these days of national calamity and ill success, when we have not so much as a bonfire or a single peal of bell-ringing for all the millions we pay; when, instead of one Englishman beating two Frenchmen, the monsieurs have drubbed us every where even-handed; in the midst of all these discouragements and disasters it is some comfort, however, to hear a good song for our money: and we are greatly obliged to Mr. LOWE for his kind advertisement, [146] acquainting the public that his voice still retains all its native sweetness.

         Though Music and Singing are undoubtedly more practised than they ever were in this nation, yet, from the little encouragement given to the artists, they are not so generally esteemed as it might be wished.  We use Music indeed in our churches and in the field of battle; and I do not see why they may not be made equally serviceable in all private and public assemblies.  One ARCHYTAS, a Grecian, invented a musical instrument which checked the irregular sallies of imagination and silenced impertinence.  An instrument of this kind would be highly useful at Westminster-hall, at political coffee-houses, and at all oratorial meetings.

         When a conceited rhetorician is hurried away by the impetuosity of verbose nonsense, what an agreeable triumph it would be to strike him dumb, and put him to the blush without saying a word! and what a vast deal of trouble it would save the chairman in all clubs and societies, if he could keep the members within the limits of sense and decency without fatiguing his lungs by calling them—to order! to order!  But I refer these hints to you consideration, and am,

                                                                                                                     SIR,

                           your constant reader

                                    and humble servant;

                                             PHILHARMONICOS.[28]

 

 

 

Jul 21

[Thomas Harris to James Harris, 21 July 1757]

 

Smith told me some days ago that he had wrote you word that Frazi asked 40

guineas & her expences, & said he should be glad to have your answer that he

might acquaint her with it: I see Handel frequently who is in good health.[29]

 

 

 

 

Aug 4

I George Frideric Handel do make this farther Codicil to my Will.

My Cousin Christian Gottlieb Handel being dead, I give to his Sister

Christiana Susanna Handelin at Goslar Three hundred pounds,

and to his Sister living at Pless near Teschen in Silesia Three hundred

pounds.

I give to John Rich Esquire my Great Organ that stands at the

Theatre Royal in Covent Garden.

I give to Charles Jennens Esquire two pictures the Old Man’s head

and the Old Woman’s head done by Denner.

I give to . . . . Granville Esquire of Holles Street the

Landskip, a view of the Rhine, done by Rembrandt, & another

Landskip said to be done by the same hand, which he made me

a Present of some time ago.

I give a fair copy of the Score and all the Parts of my

Oratorio called The Messiah to the Foundling Hospital.

In witness whereof I have hereunto Set my hand this fourth

day of August One thousand seven hundd. & fifty seven.

George Frideric Handel.

 

On the day & year above written

this Codicil was read over to the

said George Frideric Handel

and was by him signed and

published in our presence.

Tho: Harris

John Maxwell[30]

 

 

 

Aug 4

[Horace Walpole to Sir Horace Mann, Thursday 4 August 1757]

 

I laughed for an hour at this picture of myself {in a “letter written by my printer to a friend in Ireland”}, which is much more like to the studious magician in the enchanted opera of Rinaldo {...}[31]

 

 

 

Sep 7

The oratorio of “Samson” was performed in the Cathedral on the 7th September, by a “large band of the best vocal and instrumental performers.”  The price of admission was 5s.[32]

 

 

 

[“Officers and Servants of the PRINCESSES AMELIA and CAROLINA.”]

Musick Master, G. F. Handell 200 l.[33]

 

 

 

The Establishment of their Royal Highnesses the Princess Amelia, and the Princess Caroline.

[...]

Musick Master, Geo. Fred. Handel, Esq 200 l[34]

 

 

 

 

[“THE PRINCESSES AMELIA AND CAROLINA.”]

Musick-Master, George-Fred. Handel, Esq; 200 l.[35]

 

 

 

         No wonder, if these leading Characters of false Delicacy influence our other Entertainments, and be attended with a low and unmanly Taste in Music.  That divine [46] Art, capable of inspiring every thing that is great or excellent, of rousing every nobler Passion of the Soul, is at length dwindled into a Woman’s or an Eunuch’s effeminate Trill.  The chaste and solemn Airs of CORELLI, of GEMINIANI, and their best Disciples; the divine and lofty Flights of CALDARA and MARCELLO; the elegant Simplicity of BONONCINI; the manly, the pathetic, the astonishing Strains of HANDEL, are neglected and despised: While instead of these, our Concerts and Operas are disgraced with the lowest Insipidity of Composition, and unmeaning Sing-Song.  The Question now concerns not the Expression, the Grace, the Energy, or Dignity of the Musick: We go not to admire the Composition, but the Tricks of the Performer; who is then surest of our ignorant Applause, when he runs through the Compass of the Throat, [47] or traverses the Finger-board with the swiftest Dexterity.[36]

 

 

 

“The Strains of Handel are, you say, neglected and despised.  Shall I call in Messiah as an Instance twice this Year performed before the [22] greatest Assembly that ever honoured a Theatre; except at Mr. Delaval’s Othello.

’Tis owing to that great Composers Self, not to the Publick, that his Audiences are not always such; he trifles away the first Nights by inferior Performances; but when, indeed, the manly, the pathetic, the astonishing Strains are offered, were the House twice as large, it would not hold these who desire to hear them.”[37]

 

 

 

ART. VI.  The real character of the age, in a letter to the Rev. Dr. Brown; occasioned by his estimate of the manners and principles of the times.  8vo.  Pr. 1s.  Cooper.

[…]

Our author then descends to particulars, and endeavours to convince his readers that Dr. Brown has, in many parts of his work, produced assertions, instead of proofs; and, in others, affirm’d, what might with more truth be deny’d.  ‘Our taste in musick, (says he to the doctor) is according to you low, and unmanly.  But, sir, they laugh at operas who frequent them: they are supported, not by their merit, but by a pre-engaged subscription.

 

‘The strains of Handel are, you say, neglected and despised.  Shall I call in Messiah as an instance, twice this year performed before the greatest assembly that ever honoured a theatre; except at Mr. Delaval’s Othello.’[38]

 

 

 

Sep 18-20

[George Harris’s Diary, 18-20 September 1757]

 

Sunday September 18th  Abbey vesp. — Verse out of the Messiah.

September 20 Tuesday  Abb[ey] vesp. / Saul, chor[us].[39]

 

 

 

Sep 23

[4th Earl of Shaftesbury to James Harris, 23 September 1757]

 

By the bearer you receive the Dettingen Te Deum, and Joshua.

[...][40]

 

 

 

Oct 3

Mr. Cooke is appointed Master of the Singing

Boys of Westminster-Abbey, in the room of

Mr. Bernard Gates, who has resigned.[41]

 

 

 

Oct 3-4

[George Harris’s Diary, 3-4 October 1757]

 

Monday October 3rd  The Dean went with [me] to rehearsal of Allegro &

Penseroso.  Hasletine’s cellar in the cloyster.

Tuesday October 4th  Went with Dr Bland’s ticket (who I called on in the

morning) to the public concert in the Bailey — Penseroso & Allegro.[42]

 

 

 

Nov 22

[Tuesday 22 November 1757]

’Till rais’d from booths, to theatres, to court,

Her seat imperial Dulness shall support.

POPE.

THE severity of this prediction is felt now in all its force.  The managers of our theatres have long refined upon our poets; and the actors are now refining upon their refinements.  Writings, which we shall never imitate, are mangled from hand to hand; and every week sees some fresh play fitted for a booth, but represented on the theatres.  They understand the public taste: and people of fashion ought to return them their acknowledgements for having so carefully studied its decline.

[... 126 ... 128 ...]

         These are the days POPE prophesied should come: Days in which Britain neither produces genius to pursue the steps of her former poets, nor understanding to comprehend their excellences.

[... 129]

         The Oratorios are too grave, too long, too solemn, for the present taste; beside, there is a general distaste for the words upon which they are formed; “we have enough of this at church,” says my lady ——, who never went thither.  But under the same regulation another year they may succeed.  Those who neglected the blind HANDEL will patronize some trifler, who knows the present fancy: those who had not taste to comprehend the thunder of his Aegyptian chorus, to see “the fire mingled with hail run along upon the ground,” or hearts to feel the march in Maccabaeus, will be ravished at a Catch, or expire at a pretty Duetto.

         If the present scheme be put in execution of selecting the words for the new pieces of this name, from the poems of one who used his wit to disgrace his quality, no composer can fail of succeeding.  An Oratorio with double entendres, a sacred drama with the words from the poems of lord ROCHESTER, can never fail of a subscription, unless the still more ravishing veneration for what is unintelligible, give it in favor of the Italian Opera.[43]

 

 

 

Nov 25

[Friday 25 November 1757]

 

AMONG the many modern expedients to civilize the present age, Coffee-house Subscriptions and Circulating Libraries have been of most general utility: but the advantage of the former is solely confined to the gentlemen, whereas the latter is more peculiarly appropriated to the benefit of the ladies.

[... 139 ...] the glutt of romantic fustian, which swarms from the Circulating Libraries, has turned all the women into coquettes. [...]

         The modish ladies appear in many instances to frame their manners after the model of Spanish Romance.  The harmony of the harpsichord and spinnet [sic] is no longer fashionable; we are no longer enchanted with the pleasing variety of those instruments, accompanied with the melody of the female voice.  The antique guitar is now all the mode; our belles languish at the sounds of novelty, and put on a die-away air like a lovesick DONNA MARIA: they are quite ravished with this musical innovation, and Mr. ALEXANDER is become the reigning HANDEL with the fair.[44]

 

 

 

Dec 8

[dedication: 8 December 1757.]

 

[…]

Oh who can paint their [=the Righteous] raptures when the voice

Of love divine shall, with mellifluous tone,

Greet their glad ears, and silence every fear

Which swells the bosom ‘midst that solemn scene!

“Come, O ye blessed of my Father, come,

“Come and receive the kingdom of bright bliss,

“And joy immortal for yourselves prepar’d

“Before the world’s foundation: enter in

“The everlasting mansions, and rejoice

“With joy unspeakable.”  At once the sound

Innumerable of all the heavenly choir [13]

In concert sweet shall welcome the blest sons

Of immortality: voices divine

With instruments of tone celestial, tun’d

In dulcet harmony: such as, to compare

Great things with small—from the full choir resounds

Of Handel’s master-strains, to the high fame

Of conquering MESSIAH dedicate:

The rapt heart bounds with gladness.—Crowns inwove

With amaranth and gold on every head

Shall shine resplendent: robes of radient [sic] white

Fair beaming as the morning star, shall glow

On each illustrious body, glorified,

And beauteous in the lustre of their God.

Palms of unfading verdure in each hand

At once shall speak their victory, and express

Their triumph everlasting: golden harps

For ever tun’d, shall glitter at their sides.

On every brow celestial peace shall smile,

And happiness unruffled; from each eye,

Sparkling with joy immortal, shall be wip’d

All tears for ever: for, the cause of tears,

Foul sin and greedy death shall be no more! [14]

Celestial love shall every heart o’erflow,

Celestial love shall every heart inspire,

And tune unceasing to seraphic praise!—

[…][45]

 

 

 

 

Dec 31

[4th Earl of Shaftesbury to James Harris, 31 December 1757]

 

I will give directions for sending the score of Joshua to you at

Salisbury:  but desire when you deliver it, that Mr. Brodripp may be

requested to take care not to dirty or hurt the book; and further, that

on no account, he suffer any copy to be taken of the chorus’s &c lest

it should be performed else where.  For this in justice to Mr Handel,

I ought to insist on. 

I saw Mr Handel the other day, who is pretty

well and has just finished the composing of several new songs for

Frederica his new singer, from whom he has great expectations.  She

is the girl who was celebrated a few years since for playing on

the harpsicord at eight years old.[46]

 

 

 

 

Other Books, which have been written by the Rev. Dr. FREE, and sold by William Sandby, at the Ship, opposite St. Dunstan’s Church in Fleet-Street.

[…]

         5. POEMS upon several Occasions, the second Edition 1757, containing an ODE to the King of Prussia, an ODE of Consolation to his R. H. the DUKE.  Jephtha an Oratorio set to Musick by Mr. STANLEY.  Advice to the Fair Sex, &c.[47]

 

 

 

         AMONG all this Shew of Grandeur and Opulence [i.e. recent social developments], a great Wit has asserted, “that the very Idea of Wit, and all that can be called Taste, has been lost among the Great: Arts and Sciences are scarce alive: Luxury has been increased, but not refined: Corruption is [495] established, and is avowed.  When Governments are worn out, thus it is: The Decay appears in every Instance.  Public and private Virtue, public and private Spirit, Science, and Wit, decline all together.”  But if this should ever be found to be the lamentable Truth, the Great should shew an Example to the Mean, in restoring all these, and in preserving that Constitution, which is the Wonder and Envy of every other Nation.  If Wit was properly encouraged, it would soon revive: And the Sciences are ready to rear up their Head.  Wit seemed to expire with Pope: But Handel and Boyce; Hayman and Worlidge; Roubiliac and Taylor, are living Instances how far the Power of Music, Painting, and Sculpture, may be carried in England; which I sincerely pray, “God may for ever preserve in all its ancient Glory.”[48]

 

 

 

JEPHTHA; / AN / ORATORIO. / Set to MUSICK / By JOHN STANLEY, B. M. / Organist at the Temple, and St. Andrew’s Holbourn. [106]

ADVERTISEMENT.

         THERE is another Oratorio of the Name of Jephtha, the Musick of which was composed by Mr. Handel.  But as this has been written several Years, and that other was never seen by the Author; it is not likely, that the Conduct of the Drama should be much the same in Parts, that admitted of Variation.

         It is not necessary here to assign particular Reasons from Criticism in Support of the Opinion, that Jephtha’s Daughter was not sacrificed: It is sufficient to say, that this State of Things, if probable, affording a sudden Turn, and greater Variety of Passions, was much more suited to the Purpose of Poetry: Of which there is generally little enough in these Entertainments, being too much calculated to serve the Purpose of Musick only, and allowing little or no Indulgence to Fancy, which has so much discouraged real Poets from medling [sic] with these Compositions, that one scarce can find a sensible Song in any Oratorio.[49]

 

 

 

[...] Besides anthems in churches, which all the world admires, except a few who think music and heaven have no connection, you have heard old-fashioned people talk of spiritual songs.  In this very polite age, we hardly know what is meant by such songs; they are seldom mentioned but in ridicule: at the same time we must do justice to the votaries of modern politeness who have a taste for oratorios, [40] which are no other than spiritual songs.  When this entertainment gives place to loose or silly scenes, the cause of religion will still decline.  Tho’ immoral and unchaste representations are allowed on our theatres, we pay a veneration to an oratorio.  Who hears the Messiah unmoved?  In spite of the little taste which prevails among us, we have still a relish for religious music.  Many of the compositions of Handel will ever give us great pleasure; and ere long you may hear some of Marcello’s: the ingenious Mr. Garth of Durham has adapted several English psalms to the music of this Italian composer.  And those who have a relish for the sublime in music, will soon have an opportunity to purchase them.

         Music, as well as poetry, depends much on the imagination, and we often see men make strumpets of the muses, or being captivated out of measure, make fools or madmen of themselves.  Notwithstanding this, when we enter, with such assistances, into the true spirit of devotion, they become a means of pleasure far beyond what common mortals can enjoy.  It is not that we are afraid of the power of [41] music over the passions, with respect to the worship of GOD: we are rather inclined to employ our passions about every thing except religion.  And yet if 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: where there is concord in sounds, correspondent with our ideas, we tune and harmonize the soul.  When sublime poetry is joined to sublime music, and both these to devotion, they improve each other’s charms; they give auxiliary powers to the soul; and, if you will allow the similitude, convert the man into an angel.[50]

 

 

 

[“Commerce.  A Poem.”]

[…]

Lo!  Gresham’s noble Structure, Dome august!

Resort of Merchants! venerable Mart!

Where various Nations of the peopl’d Earth

The Business drive of the commercial Globe:

Here the furr’d Russian, and the turban’d Turk,

The trowser’d Dutchman, and the buskin’d Swede;

The plain, rough German, and the Italian soft;

The slow, grave Spaniard, and the Frenchman gay;

A World in Miniature! most pleasing Sight!

Nothing articulate thro’ the buzzing Crowd---

Babel of Melody! harmonious Discord!

Sweeter than Airs by Handel’s Genius sung.

[…][51]

 

 

 

 

SPRING;

A

Translation of ODE VERNALIS.

By the Reverend

Mr. TATTERSAL, late Fellow of Trinity Coll. Cambridge.

 

CARE flies the Raptures of the Bowl,

’Tis jolly Bacchus fills my Soul;

I feel within the genial Fire,

And from yon Myrtle snatch my golden Lyre.

[… 54 … 55 …]

         The Season bids: A Friend or two,

Ingenious, affable, like you;

Happy at sudden Reparties,

Whose Answers bite, yet biting please,

To kindle Mirth: and let me join

Bacchus, the purple Sovereign of the Vine.

 

         May god-like Handel now inspire

The tuneful Pow’rs, and fill the Choir:

Ianthe, charming as she sings,

Wake with a nimble Touch th’ harmonious Strings.

 

         Listen, ye Heavens, to Strains, above

Whate’re the starry Court of Jove, [56]

Lost in melodious Raptures, hears

Amid the silver-sounding Spheres;

Where Orbs on Orbs in Concert rowl,

And musik trembles round from Pole to Pole.

                    

         O melting Sound! when Sleep unseen

Just steals upon the Cyprian Queen,

Indulging in th’ Idalian Shade,

Stretcht on a Couch, of Roses made,

The Lute soft-warbling, such the Air

That undulating Plays, and lulls th’ immortal Fair.

 

         The Flames that feed within my Breast!

I faint, I dye, with Charms opprest;

Her Voice, her Face, her sweet Spinnet,

The Neck of Iv’ry, and the Hair of Jet.[52]

 

 

 

 

The ADVICE.  Set by Mr. HANDEL.

[...]

SUSANNAH.  Set by Mr. HANDEL. / Sung by Mr. BRETT, at Ranelagh Gardens, at LIVERPOOL.

[...]

Happy Pair.  Set by Mr. HANDEL.

[...]

PHILLIS.  Set by Mr. HANDEL.[53]

 

 

 

AN ESSAY,

In VERSE and PROSE, &c.

[...]

II.

Shou’d they Wholesale be sent,

Cross the Founder’s Intent,

To the Mumpers, who crowd at the Door,

Tho’ great HANDEL should play

COLLEY’s best Roundelay,

In your Gizzard you’d grumble the more.[54]

 

 



[1] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 3:458.

[2] Betty Matthews, “Handel: More unpublished letters,” Music and Letters 42 (1961), 127-31: 130; 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), 321.

[3] 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), 321.

[4] 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), 322.

[5] The Public Advertiser, no. 6969, Friday 25 February 1757, [1].

[6] The Public Advertiser, no. 6973, Wednesday 2 March 1757, [1].

[7] John Latimer, The Annals of Bristol in the Eighteenth Century (Bristol: [the author], 1893; repr., Bath: Kingsmead Reprints, 1970), 308; Chrissochoidis, 856.

[8] Samuel Baker, A Catalogue of the Pamphlets, and remaining Part of the Books of the Late Richard Rawlinson, L.L.D. [London: ?, 1757], 18; Chrissochoidis, 856.

[9] The Public Advertiser, no. 6975, Friday 4 March 1757, [1].

[10] The Public Advertiser, no. 6979, Wednesday 9 March 1757, [1].

[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), 322.

[12] The Public Advertiser, no. 6981, Friday 11 March 1757, [1].

[13] 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), 322.

[14] The Public Advertiser, no. 6983, Monday 14 March 1757, [1].

[15] The Public Advertiser, no. 6985, Wednesday 16 March 1757, [1].

[16] The Public Advertiser, no. 6987, Friday 18 March 1757, [1].

[17] repr. Victor Schoelcher, The Life of Handel (London: Robert Cocks, [1857]), 342; facs. repr., Handel’s Will: Facsimiles and Commentary, ed. Donald Burrows (London: The Gerald Coke Handel Foundation, 2009), 41.

[18] The Public Advertiser, no. 6991, Wednesday 23 March 1757, [1].

[19] The Public Advertiser, no. 6993, Friday 25 March 1757, [1].

[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), 323.

[21] The Public Advertiser, no. 6993, Friday 25 March 1757, [1].

[22] The Public Advertiser, no. 6994, Saturday 26 March 1757, [1].

[23] The Public Advertiser, no. 6997, Wednesday 30 March 1757, [1].

[24] 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), 323.

[25] The Public Advertiser, no. 6999, Friday 1 April 1757, [1].

[26] The London Magazine: Or, Gentleman’s Monthly Intelligencer 26 (1757), 207; Chrissochoidis, 856.

[27] The Centinel, no. 22, Thursday 2 June 1757, 132.

* A singer in the Italian opera.

* A celebrated performer on the violin.

[28] The Centinel, 2nd edition, 2 vols. (Dublin: James Hoey, 1758), 1:143-46; Chrissochoidis, 858-59.

[29] 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), 326.

[30] repr. Victor Schoelcher, The Life of Handel (London: Robert Cocks, [1857]), 342-43; facs. repr., Handel’s Will: Facsimiles and Commentary, ed. Donald Burrows (London: The Gerald Coke Handel Foundation, 2009), 42.

[31] Horace Walpole’s Correspondence with Sir Horace Mann, V (“The Yale Edition of Horace Walpole’s Correspondence, Vol. 21”), ed. W. S. Lewis, Warren Hunting Smith, and George L. Lam (New Haven: Yale University Press / London: Oxford University Press, 1960), 121; Chrissochoidis, 856.

[32] John Latimer, The Annals of Bristol in the Eighteenth Century (Bristol: [the author], 1893; repr., Bath: Kingsmead Reprints, 1970), 327; Chrissochoidis, 856.

[33] The Court and City Kalendar; Or, Gentleman’s Register, for the Year 1757 (London: J. Fuller, et al., 1757), 141; Chrissochoidis, 856-57.

[34] The Third Edition of The Court and City Register.  For the Year 1757.  Corrected to the 18th of February (London: J. Barnes, et al., [1757]), 103; Chrissochoidis, 857.

[35] The English Registry, for the Year of our Lord, 1757; or a Collection of English Lists (Dublin: John Exshaw, 1757), 50; Chrissochoidis, 857.

[36] John Brown, An Estimate of the Manners and Principles of the Times, 2nd edition (London: L. Davis and C. Reymers, 1757), 45-47; Chrissochoidis, 857.

[37] The Real Character of the Age.  In a Letter to the Rev. Dr. Brown.  Occasioned by His Estimate of the Manners and Principles of the Times (London: M. Cooper, 1757), 21-22; Chrissochoidis, 857.

[38] The Critical Review 3 (January – June 1757), 532-33; Chrissochoidis, 858.

[39] 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), 326.

[40] Betty Matthews, “Handel: More unpublished letters,” Music and Letters 42 (1961), 127-31: 130; 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), 326.

[41] Lloyd’s Evening Post, and British Chronicle, no. 32, Friday 30 September – Monday 3 October 1757, 252.

[42] 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), 327.

[43] The Centinel, 2nd edition, 2 vols. (Dublin: James Hoey, 1758), 2:125-29; Chrissochoidis, 859-60.

[44] The Centinel, 2nd edition, 2 vols. (Dublin: James Hoey, 1758), 2:138-39; Chrissochoidis, 860.

[45] William Dodd, Thoughts on the Glorious Epiphany, of the Lord Jesus Christ.  A poetical Essay, written at Southampton in the Year MCCCLVII.  Sacred to Friendship, 3rd edition (London: Kearsly, 1777), 12-14; Chrissochoidis, 860-61.

[46] Betty Matthews, “Handel: More unpublished letters,” Music and Letters 42 (1961), 127-31: 130; 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), 327.

[47] John Free, Certain Articles proposed to the Serious Consideration, of the Court of Assistants, of the Worshipful Company of Salters in London, &c. (London: E. Owen, and the author, 1758), 24; repr., John Free, Rules for the Discovery of False Prophets: Or the Dangerous Impositions of the People called Methodists detected at the Bar of Scripture, and Reason.  A Sermon preach’d before the University at St. Mary’s in Oxford, on Whitsunday, 1758.  With a Preface in Vindication of Certain Articles proposed to the Serious Consideration of the Company of Salters in London: And an Appendix containing authentick Vouchers; from the Writings of the Methodists, &c. in Support of the Charge, which has been brought against them, 3rd edition (London: the author, 1759), [xviii]; Chrissochoidis, 861-62.

[48] A New History of England, from the Time of its First Invasion by the Romans ... to the Present Time, 4 vols. (London: J. Newbery, and W. Owen, 1757), 4:494-95; Chrissochoidis, 862.

[49] John Free, Poems on Several Occasions, 2nd edition (London: E. Owen, 1757), 105-06; Chrissochoidis, 863-64.

[50] [Jonas] H[anway]., A Journal of Eight Days Journey ... with Miscellaneous Thoughts, Moral and Religious, 2 vols. (London: H. Woodfall, and C. Henderson, 1757), 1:39-40; Chrissochoidis, 864.

[51] C[ornelius] Arnold, Poems on Several Occasions (London: [?], 1757), 132; Chrissochoidis, 864-65.

[52] William Thompson, Poems on Several Occasions (Oxford: printed at the Theatre, 1757), 53, 55-56; Chrissochoidis, 865-66.

[53] Apollo’s Cabinet: Or the Muses Delight.  An Accurate Collection of English and Italian Songs, Cantatas and Duetts ... , 2 vols. (Liverpool: John Sadler, 1757), 1:74, 105, 110, 158; Chrissochoidis, 866.

[54] Edward Cobden, Discourses and Essays, In Prose and Verse ... Published chiefly for the Use of his Parishioners (London: [?], 1757), no pagination; Chrissochoidis, 866.