1758
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[Thomas Harris to James Harris, 7 January 1758] About a fortnight ago Handel called upon me, and as I had not forgot what Mr Stevens had mentioned to me, I soon began a discourse about his oratorios. I askd him what singers he had got; he said he was very well provided[,] having Chamneys, Beard, Frasi, Frederica Cassandra & Miss Young; upon which I askd him if he was quite full so as to want no other assistance: he answered somewhat hastily, quite full, and that several had offered themselves to him but that he wanted no more voices. I had intended to have mentioned young Norris; but said that it would be to no purpose. {...}[1] |
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[Wyndham Knatchbull, Geneva, to James Harris, 18 January 1758] {...} the rest of my evening I spend in walking or in company though of the latter one has not to[o] much, for they are very cautious of strangers & in particular of English who formerly made great disturbances here[.] However we have houses enough to which we are welcome, among the rest that of Voltaire who lives just out of the town[.] There are two English families also whose houses are quite open to us, the one is Mr Pitt’s (brother to the great orator & favourite in England)[;] he has often concerts & is very fond of Handels musick[.] {...}[2] |
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[Earl of Cowper’s second wife to her husband] The Opera [Solimano] went off very well last night. I think all the Mattei’s songs were very pretty, & I never heard her sing better than she did last night. Signor Potenza was very often horribly out of tune, but
very few of ye audience were sensible of that. I thought Omfra cara suited his voice very well & ye accompaniment kept him in tune, & ye little Duetto of Handel’s. They sang in tune & it was encored by ye
English, but ye Foreign Princes & especially Midas seem’d to hold Handel’s Musick very cheap, & ye ingenious Mr Ward shook his heavy Head at it. It was ye best Tuesday, Vaneschi has had.[3] |
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AT the Theatre Royal in Covent Garden, This Day will be presented an Oratorio called The TRIUMPH of TIME and TRUTH. With several New ADDITIONS. 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 at Half an Hour after Six o’Clock.[4] |
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[Mrs. Delany to Mrs. Dewes, 11 February 1758] D. D. [Dr. Delany] treated Sally [Sarah Chapon] with the “Triumph of Time and [481] Truth” last night, and we went together, but it did not please me as usual; I believe the fault was in my own foolish spirits, that have been of late a good deal harassed, for the performers are the same as last year, only there is a new woman instead of Passarini, who was so frightened that I cannot say whether she sings well, or ill.[5] |
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AT the Theatre Royal in Covent Garden, This Day will be presented an Oratorio called The TRIUMPH of TIME and TRUTH. With several New ADDITIONS. 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 at Half an Hour after Six o’Clock.[6] |
On Monday March the 6th the Oratorio of Samson will be performed at the King’s Theatre in the Hay-market for the Benefit of Signora Frazi.[7]
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AT the Theatre Royal in Covent Garden, This Day will be presented an Oratorio called BELSHAZZAR. With new Additions and Alterations. 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 at Half an Hour after Six o’Clock.[8] |
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AT the Theatre Royal in Covent Garden, This Day will be presented an Oratorio called ISRAEL in EGYPT. With new Additions and Alterations. 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 at Half an Hour after Six o’Clock.[9] |
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AT the Theatre Royal in Covent Garden, This Day will be presented an Oratorio called JEPTHA. With new Additions and Alterations. 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 at Half an Hour after Six o’Clock.[10] |
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For the Benefit of Mr. ARNE. AT the Theatre Royal in Drury-Lane, This Day March 3, will be performed ELIZA. In the Manner of an ORATORIO. The Music compos’d by Mr. ARNE. End of Act I. (by particular Desire) a Concerto on the Violin to be performed by Mr. Hay. Boxes Half a Guinea, Pit 5 s. First Gallery 3 s. Upper Gallery 2 s. To begin exactly at Half an Hour after Six. Tickets to be had, and Places taken of Mr. Varney at the Stage- Door; and of Mr. Arne, next Door to the Passage, in Charles-street, Covent-Garden. F The Book is sold at R. Francklin’s in Covent-Garden, and at the Theatre the Night of Performance, Price 1 s.[11] |
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AT the Theatre Royal in Covent Garden, This Day will be presented an Oratorio called JUDAS MACCABAEUS. With NEW ADDITIONS and ALTERATIONS. 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 at Half an Hour after Six o’Clock.[12] |
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[John Upton to James Harris, 4 March 1758] I have been but at one oratorio; & am nursing myself up against the Messiah. Your old friend Handel looks plump, & large, & fat: I applauded his broad shoulders & spatious wigg. — Are you not well enough recovered & reinstated in your health to come up before the Bard is silenced?[13] |
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For the Benefit of Signora FRASI. AT the King’s Theatre in the Haymarket, This Day March 6, will be performed an Oratorio call’d SAMSON. By Mr. HANDEL. With a Concerto on the Organ by Mr. STANLEY. Tickets for the Pit and Boxes Half a Guinea each, to be had of Sig. Frasi at her House in Gerrard-street, Soho, and at the Place of Perfor- mance; 1st Gallery 5 s. 2d Gallery 3 s. 6 d. Galleries to be opened at Half an Hour after Four, Pit and Boxes at Five; to begin at Half an Hour after Six. F This is the only Opportunity the Public will have of hearing this favourite Oratorio, Mr. Handel being determined not to perform it this Season.[14] |
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AT the Theatre Royal in Covent Garden, This Day will be presented an Oratorio called JUDAS MACCABAEUS. With NEW ADDITIONS and ALTERATIONS. 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 at Half an Hour after Six o’Clock.[15] |
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AT the Theatre Royal in Covent Garden, This Day will be presented a sacred Oratorio called 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 at Half an Hour after Six o’Clock.[16] |
Friday evening the crowd was so great at the opening of the upper gallery at Covent Garden theatre for the Oratorio, that a young Lady had her arm broke, and several others were very much hurt in endeavouring to get in.[17]
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[Thomas Harris to James Harris, 11 March 1758] I saw Mr Grub and his lady and Nanny Hasket at the oratorio last Wednesday. Handel has had tolerable success; but I hear there was not a crowded house at the Messiah last night; he performs it twice more next week, which will conclude his performances this season. I think his new singer Frederica Cassandra is but a very moderate performess.[18] |
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AT the Theatre Royal in Covent Garden, This Day will be presented a sacred Oratorio called 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 at Half an Hour after Six o’Clock.[19] |
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AT the Theatre Royal in Covent Garden, This Day will be presented a sacred Oratorio called 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 at Half an Hour after Six o’Clock.[20] |
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TO the LOVERS of MUSIC, particularly those who admire the Compositions of GEO. FREDERICK HANDEL, Esq; F. BULL, at the White Horse on Ludgate Hill, London, having at a great Expence procured a fine Model of a Busto of Mr. Handel, proposes to sell by Subscription, thirty Casts in Plaister of Paris. The Subscription Money, which is to be paid at the Time of subscribing, and for which a Receipt will be given, is one Guinea; a[n]d the Cast[s], in the Order in which they are finished, will be deliver’d in the Order in which the Subscriptions are made. The Busto, which will make a rich and elegant Piece of Furniture, is to be twenty-three Inches and a half high, and eighteen Inches broad. The Model may be viewed till Monday next, at the Place abovementioned. Where may be had, a Metzotinto Print from an original Painting, of that learned Divine Daniel Waterland, D. D. late Master of Magdalen College, Cambridge, and Chaplain in Ordinary to his Majesty, Prince One Shilling and Six-pence.[21] |
Ye will remember the spiritual comforts derived from their fathers to the flock of Christ, perhaps to some of yourselves; [...] the goodness of God will never permit the ‡ teachers of righteousness in faith and verity [...] to be inflicted with the severest judgment that is denounced by the Prophet against the ungodly [...] Animated and raised to heaven by the noblest ‡‡ hymn of Christian devotion, ye will ║║ rejoice over them to relieve their distresses;
[...]
A LIST of the Annual Amount of this Charity, as compleat as could be procured, commencing with 1721. By which will be perceived, how much in general the Charity has encreased from the Approbation and Bounty of the Public, and which, it is hoped, it will continue to do, so as to equal the wants of those whom it was calculated to provide for.[22]
|
|
l. |
s. |
d. |
|
|
l. |
s. |
d. |
|
1721 |
330 |
1 |
|
|
1740 |
784 |
1 |
6 |
|
1722 |
328 |
16 |
|
|
1741 |
834 |
2 |
|
|
1723 |
382 |
6 |
|
|
1742 |
866 |
6 |
2 |
|
1724 |
566 |
10 |
|
|
1743 |
819 |
|
|
|
1725 |
630 |
5 |
|
|
1744 |
848 |
16 |
9 |
|
1726 |
575 |
4 |
|
|
1745 |
1044 |
|
|
|
1727 |
651 |
|
|
|
1746 |
922 |
10 |
16 |
|
1728 |
595 |
17 |
9 |
|
1747 |
1062 |
2 |
|
|
1729 |
523 |
6 |
11 |
|
1748 |
916 |
6 |
6 |
|
1730 |
722 |
6 |
4 |
|
1749 |
985 |
12 |
6 |
|
1731 |
840 |
1 |
|
|
1750 |
1134 |
14 |
|
|
1732 |
951 |
1 |
3 |
|
1751 |
1167 |
19 |
|
|
1733 |
909 |
6 |
|
|
1752 |
1101 |
18 |
6 |
|
1734 |
900 |
3 |
|
|
1753 |
1063 |
2 |
6 |
|
1735 |
850 |
5 |
3 |
|
1754 |
976 |
8 |
2 |
|
1736 |
837 |
7 |
|
|
1755 |
1096 |
3 |
6 |
|
1737 |
856 |
9 |
7 |
|
1756 |
973 |
18 |
3 |
|
1738 |
935 |
2 |
7 |
|
1757 |
912 |
7 |
6 |
|
1739 |
912 |
11 |
3 |
|
1758 |
1081 |
18 |
7 |
A List of NEW BOOKS, PAMPHLETS, &c. published the two last Weeks.
[…]
MUSICK.
Handel’s selected Songs from all his Oratorios.[23]
A
List of BOOKS, PAMPHLETS, &c. published this Week.
[…]
MUSICK.
[…]
Instrumental parts to Handel’s selected songs, vol. 4.[24]
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[Mrs. Delany to Mrs. Dewes, 8 August 1758] On Saturday we dined at Mr. Bayly’s [...] I was surprised there at meeting Mrs. Arne, (Miss Young that was); they have her in the house to teach Miss Bayly to sing; she was recommended to Mr. Bayly by Mrs. Berkeley as an object of compassion. She looks indeed much humbled, and I hope is as deserving as they think her to be; great allowances are to be made for the temptations those poor people fall under. She has been severely used by a bad husband, and suffered to starve, if she had not met with charitable people. She behaves herself very well, and though her voice has lost its bloom as well as her face, she sings well, and was well taught by Geminiani and Handel, and had she not been idle would have been a charming singer. Mr. Bayly plays on the violin, his curate on the German flute; Mrs. Arne and Miss Bayly sing, and a girl of nine years old accompanies them [503] on the harpsichord most surprisingly — she is a niece of Mrs. Arne’s; the race of the Youngs are born songsters and musicians. It is very agreeable to have such an entertainment in our power to go to whenever we please. Mr. Bayly’s house is not half-a-mile off, and a very pleasant walk.[25] |
Aug 15
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On the Recovery of the Sight of the Celebrated Mr. Handel, by the Chevalier Taylor. From the hill of Parnassus adjourning in state, On its rival, Mount Pleasant, the Muses were sate; When Euterpe, soft pity inciting her breast, Ere the Concert begun, thus Apollo address’d: “Great Father of Music and every Science, In all our distresses, on thee our reliance; Know then in yon villa, from pleasures confin’d Lies our favourite, Handel, afflicted and blind. “For him who hath travers’d the cycle of sound, And spread thy harmonious strains the world round, Thy son AEsculapius’ art we implore, The blessing of sight with a touch to restore.” Strait Apollo replied: “He already is there; By mortals call’d, Taylor, and dubb’d Chevalier: Who to Handel (and thousands besides him) shall give All the blessings that sight in old age can receive. [129] “By day the sweet landscape shall play in the eye, And night her gay splendors reflect from the sky; Or behold a more brilliant Galaxy near, Where H——n, B——y, and P——t appear. “But far greater transports their moments beguile, Who now catch their infants reciprocal smile: While S——pe, for sweetness of temper ador’d, Partakes in the joy of each patient restor’d. “Hence the barking of Envy shall now be soon o’er, And Jealousy raise her false cavils no more; For the Wise will think facts, the most stubborn of things, When testify’d too, by dukes, princes, and kings. “And could he from one (far the best) meet regard, To experience his art and his merit reward; He again my sons altars with incense would crown, And to his own realms fix immortal renown.” This said: They their instruments tun’d; and begun A Cantata in praise of their president’s son: Then with Handel’s Concerto concluding the day, To Parnassus they took their aerial way. Tunbridge Wells, Aug. 15.[26] |
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Tunbridge, Aug. 21. The Success which the Chev. Taylor continues to have here with all he undertakes, brings to him a Concourse of People for his Aid. Yesterday one received Sight, who was born Blind; another by Means of an artificial Pupil of a new Invention; but no Instance has given more Satisfaction to the Nobility who are daily witnesses of these Events than the Recovery of Mr. Owen, the Bookseller of Temple Bar, who now sees to the greatest Perfection, without having suffered the least Uneasiness. The many of Distinction here under his Care, and others which arrive daily for his Assistance, as well from Town as from other Parts of England, prevent his fixing as yet the Time of his return to his House in Leicester Fields for a Continuance. Mr. Handel’s Sight mends daily. On Tuesday last the Chevelier gave at the Rooms a Lecture on his new Manner of restoring Sight, at which attended the Chief of the Nobility. — On a Child born blind, who received Yesterday his Sight; all the Nobility present, by the Chevelier Taylor. From Cure to Cure the Chevalier Quick as his Tongue does Wonders here: Beneath his Hands with hideous Cries Thro’ Fear, not Pain, an Infant lies; But in few Minutes blest with Sight, Now Starts astonished at the Light. The Light that as with Magic Pow’r, Presents a World unknown before; With painful Pleasure he sighs awhile, Then thanks the Doctor with a Smile.[27] |
REMARKS
UPON
Church Musick.
To which are added Several
OBSERVATIONS
Upon some of
Mr. HANDEL’S ORATORIO’S,
And other PARTS of his WORKS.
By WILLIAM HUGHES, A.M.
A Member of the CATHEDRAL-CHURCH,
And Vicar of St. PETER’S, in WORCESTER.
———“Non omnes eadem mirantur amantque”.
Hor.
[line]
The Second EDITION.
[line]
WORCESTER:
Printed and Sold by R. LEWIS, Bookseller at
the Bible and Crown, in High-Street. 1763.
(Price 6d.) [/]
[… 20]
Q. For what End or Purpose was Church-Musick first instituted?
Ans. To raise and animate our Devotions.
Q. How is this to be accomplish’d?
Ans. By making the Sound correspond with the Sense.
Q. Can any Harmony properly come under the Denomination and Title of Church-Musick unless it tends (in some Measure at least) to raise and animate our Devotions?
Ans. I should imagine the contrary.
Q. Is there a Variety in the [21] Words of the Te Deum or is there not?
Ans. An evident Variety.
Q. Should there not be a Variety of Sound to correspond with a Variety of Sense?
Ans. Most certainly.
Q. Have not many Composers in the general Cast and Formation of their Harmony suppos’d a Variety?
Ans. Doubtless.
Q. Who are they?
Ans. Mr. Handel, Mr. Purcel, Dr. Blow, Dr. Dean, and many other Composers. [22]
Q. How have they adapted the Words of the Te Deum?
Ans. One Verse into a Chorus ‡, another into a Duet, a third into a Solo, &c.
Q. Is not this the only proper and natural Method of doing Justice to the Words of the Te Deum?
Ans. I should presume so.
Q. Has any Composer a right to [23] adapt the Words in any other Method than this?
Ans. I should presume the contrary.
Q. Is not Mr. Tallis’s Harmony as opposite to this as any two extremes in the World?
Ans. Doubtless.
[… 24 … 38 …]
Why is Mr. Handel so justly admir’d for his Coronation Anthem, viz. Zadock the Priest? Because the Musick is truly Speaking. The Introductory Part is the finest Representation of a regular Procession that ever was convey’d to the Mind by the help of Sounds. The very Motions of the Feet are heard in the very Sound. The several breakings of the Word Hallelujah in the last Chorus (Hal-le-lu-jah) in order to represent the Shoutings and Acclamations of a People when labouring and panting for Breath, [39] is a Thought truly Handelian indeed!
To do justice in all Respects to the Character of that Celebrated Master of Harmony, to point out every respective Beauty contain’d in the numerous Works of that Great Composer, must be a Task reserv’d for a Pen far more able than mine. But, as I have often receiv’d the greatest Entertainment from some few of them, (and more particularly his Oratorios†, which are a strong Species of Church-Musick) it would commence a sort of Ingratitude not to mention them upon this Occasion. [40]
And here I must beg leave to be of an Opinion, that the Oratorio of Samson is a Work, (a Work! let me repeat it again) which must always stand foremost in the Compositions of that great Harmonist. There is such a constant glow of Ideas, such a noble and never failing Spirit of Invention preserv’d thro’ the whole; that never were heard in any Composition before. And this is still the more remarkable considering the great length of it.
Horace § has observ’d, that
——opere in longo fas est obrepere Somnum.
But Mr. Handel desires no such Indulgence. Mr. Handel sleep! Where does he sleep? So far [41] from Sleeping, that he never seems to take a gentle Nod.
If we consider the Airs in this Composition, we shall find them not only pleasing but Spirituoso. To mention a few of them. Honour and Arms &c. is certainly one of the finest Songs in the World. Return O God of Hosts &c. is the very Spirit of Church-Musick. With plaintive Notes &c. is Nature it self. My Faith and Truth &c. is an inimitable Duet. As for the whole of the Chorus’s, they are so finely adapted to the Words, that to determine in favour of one would be doing a sort of Injustice to all the rest. They touch! they strike! they animate! they warm † ! [42]
The Beauties in this single Oratorio are so very numerous, that to specify them all with a proper Degree of Accuracy, would swell this Pamphlet into a Volume.
“There are certain happy Moments for Genius’s, when the Soul as if fill’d with Fire divine, takes in all Nature, and spreads upon all Objects, that heavenly Life that animates them, those engaging Strokes that warm and ravish us. In short Mr. Handel in this Oratorio seems (according to the Language of the Roman Orator) mentis viribus excitari, divino Spiritu afflari”.
But before I conclude these [43] imperfect Observations upon this great display of Mr. Handel’s, it may be prudent to make some small Matter of Inquiry in Order to know, whether the Chorus of Israelites is exact Counter-Point?
If Mr[.] Handel has excell’d this Work in the Oratorio of the Messiah (as many are inclin’d to think) I must confess that I have neither Judgment or Abilities sufficient to discern it. No one will pretend to say that it is not a great Composition, but then it does not exactly follow that the Oratorio of Samson is not greater.
Not to pass by some few of the principal Beauties in the Oratorio of the Messiah. He was despised and rejected of Men, &c. is a Strain truly mournful. It is almost impossible to hear it without shedding [44] of Tears. The Accompanyments in the Song, viz. Why do the Nations so furiously rage together, &c. are kept up with a great Spirit of Invention, The Lord God Omnipotent reigneth, &c. is a most elevated Chorus. The Trumpet shall sound, &c. has a charming Effect. The Pastoral Strain is truly pleasing. With regard to both these Oratorios, I shall only say, that every One has an undoubted Right to hear and to judge for himself.
Most of the Chorus’s in his Alexander’s Feast are compos’d with great Energy. The accompany’d Recitatives † are the very Portrait of a Handel.
The Mask of Acis and Galatea [45] which was compos’d in the more early Part of his Life, was a great Proof of what the World might expect from that Genius. The Airs have a great deal of Nature in them, the Chorus’s are finely imag’d, and The Flocks shall leave the Mountains, &c. is a Trio which must always redound to his Character.
Numerous and various are the Beauties which are still contain’d in the Works of that incomparable Composer, and which must be unnotic’d here. Numerous and Various I say!
In short what the great Master of ║ Tragedy has said upon another Occasion, may with a little seasonable Alteration be said of many Composers (and that without any [46] singular Reflection) when compar’d with Mr Handel;
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Why
Man! He does bestride the
Musick World Like a Colossus;
and We poor, petty Composers, Walk under his huge Legs, and pick up aCrotchet
to deck our humble Thoughts. |
FINIS.
[ornament][28]
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[Thomas Harris to James Harris, 23 September 1758] Lord Shaftesbury has received your letter this morning. He will attend on the performance of Saul, but I believe certainly not on Judas {...}[29] |
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[Thomas Harris to James Harris, 21 November 1758] Handel was with me yesterday: he says he has workd hard, and has made a considerable part of a new oratorio. He will have Richirelli, Frasi, Beard, Miss Young & Chamneys, & seems in good spirits to go on with his design. Taylor did something to his eye at Turnbridge, but has not been of any real service to him.[30] |
?Autumn
[…] “The Messiah” was given [in the Cathedral] in 1758 and 1759, after which the performances, which were for the benefit of the families of poor clergymen, were discontinued.[31]
Except HANDEL’s Oratorio one seldom goes to a musical Entertainment where the great Bulk of Pieces is not insipid. They have Plenty of good Music, but the [79] Performers are most provokingly frugal of the best. The Reason I plainly take to be this: Almost every Scraper upon the Violin has perhaps composed more or less Musick himself; and, instead of the Works of the great Masters, they entertain you with their own. If Reading was a public Entertainment; if Authors were the only Readers, and the Choice were left to them, I suppose the great Writers of former Ages would soon be forgotten.[32]
MUSICAL EXPRESSION.
If I had been at Handel’s Elbow when he set to Music that noble Ode, Alexander’s Feast, I should have advised him, when he came to “Revenge, Revenge, Timotheus cries,” to repeat the two first Words, with a particular Energy, and not to utter the last Word with a swelling Voice.—This is a great Defect in that admirable Composition, but easily pardonable, if we consider that the Composer, though a Foreigner, has not been excelled, for adapting musical Sounds to English Words, by any of our own Countrymen. His above-mentioned Performance, his l’Allegro and Il Penseroso, several of his Oratorios, but particularly his Messiah, sufficiently shew how well he understood Expression, and how well he knew to make the “Sound an Echo to the Sense.”[33]
CHAP. VII.
Miss Osmond to Lady Foster;
[...]
Tuesday Morning, 10 o’clock.
YEsterday’s [sic] entertainment [...] One
coach carried the Countess, Lady Bab, Mr. Mortimer, and me; my lord followed in
his post-chaise. We found a vast deal
of company at Vauxhall; and, to my fancy, who never saw any amusement of this
nature before, it gave an idea of some delightful scene raised by enchantment,
that I have found described in my puerile reading, and which I thought never
existed, but in the writer’s own imagination.
The artificial day at midnight, the triumphal arches, the glare of
jewels, the groups of fine people, walking in [/94] verdant alleys, or seated
in alcoves, amazed and pleased, and seemed like so many gods and goddesses, and
Handel’s statue appeared the genius presiding over this charming residence of
harmony and beauty. I was so absorbed
in attention to the concert, and the pleasing contemplation of the scenes around
me, that I never remarked any individual that appeared [...][34]
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The GOLDFINCH to CHLOE. Sung by Miss YOUNG at Ranelagh. A young Lady, remarkably fond of a Song of HANDEL’s, beginning with ’Tis Liberty, &c, had a tame
Goldfinch who used to hop about her Harpsichord while she sung it; which at last flying away, occasioned the following Words, by a Clergyman. I. Whilst to the distant Vale I wing, Nor wait the slow Return of Spring, Rather in leafless Groves to dwell, Than in my Chloe’s warmer Cell. Forgive me, Mistress, since by thee I first was taught sweet Liberty. Forgive me,
&c. II. There round me when the feather’d Choir, Attentive listen and admire, I’ll tell, upon the topmost Spray, Thy sweeter Notes improv’d my Lay; And in my Prison learn’d from thee To warble forth SWEET LIBERTY. And in my, &c. III. But in return for all thy Care, May Thyrsis soon the Loss repair; Like me, in gaudy Liv’ry dress’d, To Chloe a more welcome Guest, With deep Attention dwell on thee, And lose his own SWEET LIBERTY. With deep, &c.[35] |
|
VACATION. 1758. HENCE, sage, mysterious Law, That sitt’st with rugged brow and crabbed look O’er thy black-letter’d book, And the night-watching student strik’st with awe; Away with thy dull train, Slow-pac’d Advice, Surmise, and squint-ey’d Doubt; Dwell with the noisy rout Of busy men, ’mid cities and throng’d halls, Where Clamour ceaseless bawls, And Enmity and Strife thy state sustain. But on me thy blessings pour, Sweet Vacation. Thee, of yore, In all her youth and beauty’s prime, Summer bore to aged Time, [… 11 … 17 …] Homeward now my steps I guide Some rising grassy bank beside, Studded thick with sparks of light, Issuing from many a glow-worm bright; […] Then within doors let me meet The viol touch’d by finger neat; Or, soft symphonies among, Wrap me in the sacred song, Attun’d by Handel’s matchless skill, While
Attention, mute and still, Fixes all my soul to hear The voice harmonious, sweet and clear. [… 18 …] These delights, Vacation, give, And I with thee will choose to live.[36] |
On the site where Crow-street Theatre was built, once stood a fabric, called the Music Hall. I recollect seeing this building: the front, with great gates, faced the end of [29] Crow-street: and here Handel had his sublime oratorios performed, he in person presiding. I well remember seeing the bill of Handel’s concert on the gate of this hall, in 1758. This circumstance was many years previous [!] to his even composing his beautiful “Water Music,” and having it played in the barge, to the surprise and delight of George the Second [the First!]; which noble device replaced him in the full favour of his royal master. His talents, so cherished in Dublin, made me exult in seeing him in his exalted niche, and marble organ, in Westminster Abbey, when I went first to London [on August 12, 1762].[37]
“Of Writing to the Taste of the Age”
[…]
But if you find it necessary to comply with the humour of your age; the writing best calculated to please a false taste is what has something of the air of good writing, without being really so. For to the vulgar eye the specious is more striking than the genuine. The best writing is apt to be too plain, too simple, too unaffected, and too delicate to stir the callous organs of the generality of critics, who see nothing but the tawdry glare of tinsel; and are deaf to every thing but what is shockingly noisy to a true ear. They are struck with the fierce glaring colours of old Frank; with attitudes and expressions violent, distorted, and unnatural: while the true, just and easy, the graceful, the moving, the sublime representations of Raphael have not the least power to attract them. The bullying, noisy march in Judas Macchabeus has perhaps more sincere admirers than that most pathetic one in Saul: and in conversation pertness and mere vivacity is more felt by the general run of company than easy unaffected wit; as flashy, bouncing, flatulent cyder boasts of more spirit than the still vigour of reserved Madeira.[38]
[Vincenzio Martinelli to Count Buckinghamshire]
[...] la massima difficoltà consiste nello imitare con grazia e facilità la natura, di modo che l’uditore so scordi che lo spettacolo è una burla, che è quello che si dice rapire. Bene intese questa verità Bononcini, e medesimamente Handel e Gemignani, a i quali deve l’Inghilterra lo avere adottato questo finissimo gusto, nel quale sta tutto il sublime e tutto il bello di qualunque Arte, ma della Musica massimamente. Ma la corrutella Musicale è proceduta tant’ oltre, che i Compositori sono stati obbligati di cedere in gran parte il loro magistrato di direzione a i Musici esecutori. Anno questi voluto imitare nel canto gli uccelli, anno voluto cantare a scacchi, come se pensassero di descrivere colle note un’ abito d’ Arlecchino? i poveri Compositori sono stati obbligati a uniformarsi a i loro capricci, anzi è questo uno de gli articoli principali del presente buon gusto.[39]
[1] 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), 328.
[2] 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), 329.
[3] Ian Woodfield, Opera and Drama in Eighteenth-Century London: The King’s Theatre, Garrick and the Business of Performance (Cambridge: Cambridge University Press, 2001), 19.
[4] The Public Advertiser, no. 7269, Friday 10 February 1758, [1].
[5] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 3:480-81.
[6] The Public Advertiser, no. 7273, Wednesday 15 February 1758, [1].
[7] The Public Advertiser, no. 7273, Wednesday 15 February 1758, [1].
[8] The Public Advertiser, no. 7279, Wednesday 22 February 1758, [1].
[9] The Public Advertiser, no. 7280 [correct: 7281], Friday 24 February 1758, [1].
[10] The Public Advertiser, no. 7279, Wednesday 22 February 1758, [1].
[11] The Public Advertiser, no. 7287, Friday 3 March 1758, [1].
[12] The Public Advertiser, no. 7287, Friday 3 March 1758, [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), 331.
[14] The Public Advertiser, no. 7289, Monday 6 March 1758, [1]
[15] The Public Advertiser, no. 7291, Wednesday 8 March 1758, [1].
[16] The Public Advertiser, no. 7293, Friday 10 March 1758, [1].
[17] Lloyd’s Evening Post, and British Chronicle, vol. II, no. 101, Friday 10 – Monday 13 March 1758, 244.
[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), 331.
[19] The Public Advertiser, no. 7297, Wednesday 15 March 1758, [1].
[20] The Public Advertiser, no. 9775 [incorrect number], Friday 17 March 1758, [1].
[21] The Public Advertiser, no. 7325, Wednesday 19 April 1758, [3]; repr., William C. Smith, A Handelian’s Notebook (London: Adam & Charles Black, 1965), 130.
‡ 1 Tim. ii. 7.
‡‡ The Te Deum set to Music by Mr. Handel.
║║ Deut. xxviii. 63.
[22] James Ibbetson, A Sermon preached before the Sons of the Clergy, in the Cathedral Church of St. Paul, on Thursday, April 20, 1758 ... To which is annexed, A List of the annual Amount of the Collection for this Charity, from the Year 1721 (London: John Whiston and Benjamin White, 1758), 20, [23]; Chrissochoidis, 867.
[23] Payne’s Universal Chronicle, or Weekly Gazette, Saturday 10 – Saturday 17 June 1758, 88; Chrissochoidis, 867.
[24] Payne’s Universal Chronicle, or Weekly Gazette, Saturday 17 – Saturday 24 June 1758, 94; Chrissochoidis, 868.
[25] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 3:502-03.
[26] The London Chronicle: Or, Universal Evening Post, vol. 4, no. 258 (Tuesday 22 – Thursday 24 August 1758), 178; repr., William C. Smith, “Handeliana,” Music & Letters 31 (1950), 125-32: 128-29.
[27] The Public Advertiser, no. 7426, Thursday 24 August 1758, [2].
‡ Notwithstanding a well finish’d Chorus is certainly the greatest Proof of a Musical Genius; yet I believe it will be allow’d, that Choral Singing is more of an alarming than an affecting Nature to the generality of an Audience. There are very few (unless they are great Adepts indeed) that are capable of attending to such a Complication of Parts: Whereas on the contrary, when the Harmony is plain and simple, it is often observ’d to operate with greater Force and Efficacy. This is strongly exemplify’d in Mr. Purcel’s Vouchsafe O Lord, and in the Verse, I was Eyes to the Blind, in one of Dr. Boyce’s Anthems, &c.
† An Oratorio is a spiritual Opera, which consists of Dialogues, Duos, Trios, Ritornellos, Chorus’s. Oratorios are frequently perform’d at Rome. The Subject of them is taken out of the Scripture; The Life of some Saint or the like. The Words are frequently Latin, and sometimes Italian. (See Chamb. Dict.)
§ Verùm opere in longo fas est obrepere somnum.
And yet, perhaps a kind indulgent Sleep,
O’er Works of length allowably may creep.
† Corelli and Geminiani are remark’d for their chaste and solemn Airs, Caldara and Marcello for their divine and lofty Flights, [42] Bononcini for his elegant Simplicity; but Mr. Handel, is remark’d for his manly, pathetic, and astonishing Strains. (See an Estimate of the Manners and Principles of the Times)
† Recitative or Recitativo is a kind of tuneful Pronunciation more Musical than common Speech, and less than Song.
║ Shakespeare.
[28] Chrissochoidis, 868-71.
[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), 334.
[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), 335.
[31] John Latimer, The Annals of Bristol in the Eighteenth Century (Bristol: [the author], 1893; repr., Bath: Kingsmead Reprints, 1970), 327; Chrissochoidis, 871.
[32] Launcelot Temple [= John Armstrong], Sketches: Or Essays on Various Subjects, 2nd edition corrected (London: A. Millar, 1758), 78-79; Chrissochoidis, 871.
[33] Moral and Critical Reflections on Several Subjects. Among which (by way of Illustration) Various Characters are occasionally interspersed (London: F. Noble, and J. Noble, 1758), 175; Chrissochoidis, 871.
[34] [?] Smythies, The Brothers, 2 vols. (London: R. and J. Dodsley, 1758), 2:93-94; Chrissochoidis, 871-72.
[35] A Collection of all the New Songs, &c. Sung This Season at Vauxhall, Ranelagh, Marybone Gardens, The Theatres, Sadlers Wells, and by the Choice Spirits (London: J. Staples and R. Withy, 1758), 64; Chrissochoidis, 872.
[36] John Hall-Stevenson, The Works of John Hall-Stevenson, Esq., 3 vols. (London: J. Nichols, 1795), 1:10-18; repr., A Collection of Poems in Six Volumes. By Several Hands (London: R. and J. Dodsley, 1758), 6:148-54; Chrissochoidis, 872-73.
[37] John O’Keeffe, Recollections of the Life of John O’Keeffe, written by Himself, 2 vols. (London: H. Coburn, 1826), 1:28-29; Chrissochoidis, 873-74.
[38] John Armstrong, Miscellanies (1770); originally Sketches: or Essays on Various Subjects (1758), in Essays on Taste from John Gilbert Cooper Letters Concerning Taste. Third edition (1757). John Armstrong. Miscellanies (1770) (Los Angeles: William Andrews Clark Memorial Library, University of California, 1951), 171; Chrissochoidis, 874.
[39] Vincenzio Martinelli, Lettere Familiari e Critiche (Londra: Giovanni Nourse, 1758), 371; Chrissochoidis, 874.