1773

 

 

Jan 6

[John Hoadly to David Garrick, 6 January 1773]

 

                                    DEAR FRIEND DAVID,

                  I have got the scene of the Gods fairly written out by a trusty hand, and shall take the first opportunity of sending it to you.  I imagine it may be easily altered, by leaving out all that can personally be applied to Rich; and by introducing Momus at the end in the character of Harlequin.  The encouragement of so popular and true a friend among the Gods will be enough to raise the ladies’ spirits, without any mention of Mr. Shakspeare.  if the verses be spoken (without any recitative), it will be scarce enough for an entertainment after the play; and I thought a fine parody of the whole of “Alexander’s Feast” would make a noble addition to it, if well set to burlesque music; and finish with an éclat.  But I fear you will think Bon. Thornton has been beforehand with you in his exhibition of humstrums and salt-boxes at Ranelagh.  I think not; for I would have the Ode set to good music, but burlettick and fantastical, and performed with great gravity and oratorio-ick importance.  I have such an Ode, to be performed by beggars on a most solemn occasion, the anniversary of the birth-day, and the real marriage at coming of age, of the grandson of the beggar, author of the Opera so called.  The introduction shall introduce him very old, as taking this opportunity of the true and fine taste of the town, introduced by his own opera so many years ago, to bring these pieces into public, formerly played with such applause in a large cellar at St. Giles’s, for the honour of himself, Tipkin King of the Beggars.  This introduction may admit of good satire and wit; especially as “The Beggar’s Opera” has been so lately pecked at by our pseudo-reformers; and be a proper excuse for introducing some of the old ballad-tunes.

                  If you think the addition of the Ode in parody will have effect, I will write to the author for his leave—whom I have not seen for scores of years.  It may be called the Burletta Ode.

[…]

                                                                                                                                                                  J. HOADLY.[1]

 

 

 

Feb 25

[The Duchess of Portland to Mrs. Port, 25 February 1773]

 

                  The town, as usual, are full of entertainments.  Besides the constant plays, operas, and oratoria’s assemblys [sic], there are concerts, balls, and masquarades [sic].  The latter one hears so much of that I suppose the only method of not be tired of them is to frequent them.  The oratorias are [/497] to be much the fashion, as Miss Linleys are to perform.[2]

 

 

 

February

[February]

 

A regular List of the Plays continued.

DRURY-LANE.

[...]

Friday 26.

Judas Macchabaeus.

 

COVENT-GARDEN.

[...]

Friday 26.

Judith.[3]

 

 

 

Mar 9

A correspondent present at the Oratorio of the Prodigal Son, declares he could not help taking some notice of the person who spoke a few Recitatives, as a companion in the piece; he has long been known among the musical gentlemen as Honest Dick Randall of Dulwich; the earnest manner in which he pronounced the few lines is a convincing proof that the little man is hearty in the cause, and a well wisher to his friend Arnold.[4]

 

 

 

ORATORIO INTELLIGENCE.

 

                  Having promised our readers to lay before them a more full account of the Oratorio, called the Prodigal Son, set to music by Mr. Arnold, and performed, for the first time, at the Hay-Market on Friday last, we execute our promise as follows:

 

CHARACTERS.

Father,                                    Mr. Vernon.

Mother,                                   Mrs. Smith.

Daughter,                             Signora Galli.

Sister,                                       Miss Harper.

Prodigal Son,                    Mr. Meredith.

First Companion,           Mr. Randall.

 

                  The first Chorus was striking and full of business for the different instruments.  The Air, “To yonder summit stretch thine eye,” has an elegance in the composition, which cannot fail of bringing applause from the audience, and is highly finished by the manner in which it is sung by Mr. Vernon; the next Air by Mrs. Smith, is harmoniously simple and pleasing.  That which follows is set with boldness, the accompaniments are in the stile and manner of the immortal Handel, and without the least partiality, it may be said that Mr. Arnold in all his bass songs keeps that great man in his memory.  The different airs by Signora Galli are well set, and sung with taste and judgment, one of them accompanied by Mr. Mahoon on the Clarinet, cannot but give pleasure to the coarsest ear.  The crotchet-mongers in the pit highly applauded the air and choruss of the first act, as the stile was both new and agreeable.  Mrs. Smith, and Miss Harper, did credit to the few airs allotted them; and we sincerely wish those given to Mrs. Smith, could have been augmented; indeed it might have had a better effect if the cast had been entirely reversed.  Taking the whole of this piece together, it would be injustice to the composer were it not declared a capital performance.

                  It is impossible to omit taking notice of an air and chorus in the first part of the second act, sung by Mr. Meredith, which, though they abound with great musical merit, rather turn upon too jolly a subject for an oratorio, the very idea of the Goblet o’erflowing the table brings immediately to our mind, the song of Miss Catley, in the Golden Pippin, Let’s push about the jorum.  Considered as a literary production the Prodigal Son does Mr. Hull great credit, as a sample of the words we lay before our readers the following airs.

 

AIR.      Mr. VERNON,

To yonder summit stretch thine eye,

That young, aspiring Elm espy,

The victim of each angry sky,

   To ev’ry blast a prey!

As weak, defenceless, and oppress’d,

By stormy passions sore distress’d,

My pliant boy may sink depress’d

   In life’s uncertain day.

Like that too easily inclin’d

To change with ev’ry shifting wind,

Till rooting time mature his mind,

   And Reason’s shoots appear;

Then all the virtues bloom apace,

Then, comely in his ripen’d grace,

He stands, the glory of the chace,

   Majestically fair!

 

AIR.      Signora GALLI.

In vain alas! from shore to shore

   In search of bliss we roam,

And strange delights abroad explore,

   Our best reside at home;

Within the just and pious heart

   Our truest joys we find,

Which calm and sweet repose impart,

   And leave no sting behind.

 

AIR and CHORUS, Mr. MEREDITH.

With love and impatience I burn,

In our revels let love have his turn!

From pleasure to pleasure we range,

Say, say, what is life without change?

Away with the vintage, away with the bowl,

Till beauty hath pour’d her delights on my soul.

 

CHORUS.

Away with the Vintage, &c.

 

II.

Then again o’er the flagon we meet,

The Roof-rending chorus repeat;

As the goblet the table o’erflows,

Our fullness of transport it shews;

Thus, thus, let us revel in various delight,

Let wine crown the day, and let love crown the night.

 

CHORUS.

Thus, thus, let us revel, &c,

 

AIR.      Signora GALLI.

Within my dark, my troubled soul,

What sudden doubts tumultuous rowl!

Some awful pow’r usurps my heart.

Some awful voice, cries out, “Depart;”

“Th’ intemperate board, it’s riots shun,

“Destruction hastes---away!---begone!---

 

AIR.      Mrs. SMITH, &c.

Friends, who oft partook my care,

Now my rising pleasure share!

Share, and aid this grateful strain.

That tries to speak my bliss in vain;

Behold, behold, my new-born joy,

My late-restor’d, repentant boy!

 

GRAND CHORUS.

Begin---each tuneful voice employ,

   With ev’ry pow’r of music join’d,

To spread abroad, in sounds of joy,

   This welcome truth to all mankind:[5]

 

 

 

Mar 5

To the Printer of the MORNING CHRONICLE.

SIR,

I Ought perhaps to profess myself, in the common stile of those who write on public performances, perfectly disinterested; but, on the contrary, I confess myself much interested from the natural byass of my mind, in the success of genius, though the possessor is unknown to me.  It has already been observed in your paper, that Mr. Stanley, satisfied with the pieces so often repeated, and now supported by a young lady, whose merit will secure her admiration when novelty abates, never attempts a new performance: I own myself unq[ua]lified to speak on the subject of composition, but have always been an enthusiastic admirer of Handel’s Oratorios; Yet variety is universally allowed to be one of the first pleasures of life; and the assiduity of Mr. Arnold, to supply the public with new performances, deserves high commendation and encouragement, and still more when we remember, if he had the fairest chance, his profits would fall very short of Mr. Stanley’s.  I saw with the greatest pleasure, the lavish and just applause he received last night, at the close of the Prodigal Son; but applause, Sir, however soothing, will not support so expensive an entertainment, and, if the public will not consider which is the most meritorious, with the higher countenance and protection, to indolently reap the fruits of another’s talents, or, depending on their candour, to engage performers, whose merit is universally known, and furnish, as Mr. Arnold has from his own genius and application, an entertainment, in which novelty, amusement and instruction, are blended, they may hereafter, remember with regret, that they have suffered an undertaking to fail, when the failure must confine them to the same pieces and persons, that before the rise of this, appeared tiresome and insipid.

                  The discernment of the public will prevent their over-rating their obligation to Mr. S[t]anley for bringing Miss Linley, as they are sensible, however high her terms are, he will be trebly repaid.

                  And now, Sir, I will assure you, I write as mere spectator, nor have I the least knowledge of the conductors of either Oratorio; but think, when the public do not take the only means of judging, ’tis a compliment we owe to me[r]it to recommen[d] it in the strongest terms.

March 6, 1773.                                                                       I am, Sir, Yours, &c.

MARIA[6]

 

 

 

March

[March]

 

ORATORIO INTELLIGENCE.

An Account of the Oratorio called the PRODIGAL SON, as it was performed (for the first time) at the HAY-MARKET, on Friday March 5, 1773.

 

Set to MUSIC by Mr. ARNOLD.

CHARACTERS.

Father,                                     Mr. Vernon.

Mother,                                                     Mrs. Smith.

Daughter,                              Signora Galli.

Sister,                                       Miss Harper.

Prodigal Son,                      Mr. Meredith.

First Companion,             Mr. Randall.

 

The first chorus was striking and full of business for the different instruments.  The Air, “To yonder summit stretch thine eye,” has an elegance in the composition, which cannot fail of bringing applause from the audience, and is highly finished by the manner in which it is sung by Mr. Vernon; the next air by Mrs. Smith, is harmoniously simple and pleasing.  That which follows is set [256] with boldness, the accompanyments are in the stile and manner of the immortal Handel; and without the least partiality, it may be said, that Mr. Arnold in all his bass songs keeps that great man in his memory.  The different airs by Signora Galli are well set, and sung with taste and judgement; one of them accompanied by Mr. Mahoon on the clarinet, cannot but give pleasure to the coarsest ear.  The crotchet-mongers in the pit highly applauded the air and chorus of the first act, as the stile was both new and agreeable.  Mrs. Smith, and Miss Harper, did credit to the few airs allotted them; and we sincerely with those given to Mrs. Smith, could have been augmented; indeed it might have had a better effect if the cast had been entirely reversed.  Taking the whole of this piece together, it would be injustice to the composer were it not declared a capital performance.

It is impossible to omit taking notice of an air and chorus in the first part of the second act, sung by Mr. Meredith, which, though they abound with great musical merit, rather turn upon too jolly a subject for an oratorio: the very idea of the Goblet overflowing the table, brings immediately to our mind, the song of Miss Catley, in the Golden Pippin, Let’s push about the jorum.  Considered as a literary production, the Prodigal Son does Mr. Hull great credit, as a sample of the words we lay before our readers the following airs. [...][7]

 

 

 

Mar 9

For the MORNING CHRONICLE.

On seeing Miss Linley at the Oratorio.

 

LET affectation musically vain

O’er its infatuated converts reign;

With well feign’d exstacy their voices raise,

Piercing the skies with sounding Linley’s praise.

Die at each air, at ev’ry note expire,

Their souls according to the trembling lyre.

To heavens of harmony give up their hearts,

Indifferent to the joys which love imparts;

I feel with rapture all her powerful charms,

But be my heaven the heaven of Linley’s arms.

W.[8]

 

 

 

39.  The Prodigal Son; an Oratorio, By Mr. Hull.  4to.  1s.  Bell.

This Oratorio contains an agreeable dramatic representation of the incident on which it is founded.  That part which describes the domestic happiness of the father and his family previous to the departure of the son, is calculated to excite the tenderest emotions of parental, filial, and conjugal affection.  The airs are also composed in a strain that merits approbation; but the author seems to have exerted his genius with the greatest energy where a regard to morality required that he should be the most sparing of the charms of poetry and music.  It must be acknowledged, however, in extenuation of this impropriety, that the objects of voluptuousness afford room for sentiments that inflame the fancy to a higher pitch of enthusiasm than the more serene beauties of virtue.[9]

 

 

 

Mar 9

[March]

 

THEATRICAL ANECDOTE.

On Tuesday night March 9, when the third act of Alonzo was to begin at Drury-lane Theatre,...Mr. Reddish, who was to perform the part of Alonzo, was not yet arrived...[his part finally performed by another actor] Before the play was over, Mr. Readish came to the theatre, and declared he had forgot the play was to be performed, and that he [273] really thought it was oratorio night.  This most of the performers believed to be true.—An absence of mind not to be equalled in the annals of the theatre.[10]

 

 

 

Mar 16

[Horace Walpole to Lady Ossory, Tuesday 16 March 1773]

 

{...} I was not at the ball last night, and have only been at the opera, where I was infinitely struck with the Carrara, who is the prettiest creature upon earth.  Mrs Hartley I am to find still handsomer, and Miss Linley is to be the superlative degree.  The King admires the last, and ogles her as much as he dares to do in so holy a place as an oratorio, and at so devout a service as Alexander’s Feast.[11]

 

 

 

Mar 17

[Fanny Burney’s Journal, 17 March 1773]

 

                  But, can I speak of music, & not mention Miss Linley?  The Town has Rung of no other Name this month.

                  Miss Linley is Daughter to a musician of Bath, a very sour, ill bred, severe & selfish man.  She is believed to be very romantic.  She has long been very celebrated for her singing, though never, till within this month, has she been in London. [not accurate] She has met with a great variety of adventures, and has had more lovers & Admirers than any Nymph of these Times.  She has been addressed by men of all Ranks—I dare not pretend to say honourably, which, however, is doubtful; but what is certain, [249] is, that whatever were their Designs, she has rejected them all.  She has long been attached to Mr Sheridan, a young man of [great talents,] & very well spoken of, who it is expected she will speedily marry.

                  She has performed, this Lent, at the Oratorio of Drury Lane, under Mr Stanley’s Direction.  The Applause and Admiration she has met with, can only be compared to what is given to Mr Garrick.  The whole Town seem distracted about her.  Every other Diversion is forsaken—Miss Linley Alone [sic] engrosses all Eyes, Ears, Hearts.

                  At Mrs Stanley’s Invitation, Mama, Susan & myself, sat in her Box at Alexander Balus [on 17 March], to see & hear this Syren.  Her Voice is soft, sweet, clear & affecting, she sings with good Expression, & has great fancy & even taste in her Cadences, though perhaps, a finished singer would give less way to the [250] former, & prefer few & select Notes.  She has an exceeding good shake, & the best & most critical Judges, all pronounce her to be infinitely superiour to all other English singers.  The Town in general give her the preference to any other.  To me, her singing was extremely pleasing.  Perhaps, except the divine Millico, I would rather hear her (if I also saw her) than I would any other.

                  As Mrs Stanley’s Box is very high, & I am very near-sighted, I could only perceive that Miss Linley’s figure was extremely genteel, & the form of her Face very elegant; I had heard from Miss [Margaret] Kinnaird, who is acquainted with Mrs Stanley, that she always went into the Green Room after the Oratorio; & I determined to make interest for the same favour, as it had been granted to Miss Kinnaird.  I had immediate success.  As soon as the Performance was over, we all went into that famous Apartment, which I was surprised to see, was lined with Red!  There was not a Creature there; but, at my request, Miss Arland, Mrs Stanley’s sister, went into another Room, & asked Miss Linley, & her sister, to favour us with her Company.  The rest of the family, Viz, Father, mother & Brother, were already in the Green Room.

                  Had I been, for my sins, Born [sic] of the male Race, I should certainly have added one more to Miss Linley’s Train;—she is really beautiful; her Complection [sic], a clear, lovely, Animated Brown, with a blooming colour on her Cheeks; her Nose that most elegant of shapes, Grecian; fine, luxurious, easy setting Hair, a charming Forehead, pretty mouth, & most bewitching Eyes.  With all this, her Carriage is modest & unassuming, [251] & her Countenance indicates diffidence, & a strong desire of pleasing; a desire in which she can never be disappointed.

                  I most sincerely & earnestly wish her well, safely, & happily settled.  I think that so young a Woman, Gifted with such enchanting talents, & surrounded with so many Admirers, who can preserve herself, unconscious of her charms, & diffident of her powers,—has merit that entitles her to the strongest approbation, &, I hope, to the greatest happiness:—a union from affection with a man who deserves her![12]

 

 

 

Mar 26

[Horace Walpole to Lady Ossory, Saturday 27 March 1773]

 

{...} I was to have gone to the oratorio next night {26 March} for Miss Linley’s sake, but being engaged to the French ambassador’s ball afterwards, I thought I was not [110] quite Hercules enough for so many labours, and declined the former.  The house was all arbours and bowers, but rather more approaching to Calcutta, where so many English were stewed to death; for as the Queen would not dismaid-of-honour herself of Miss Vernon till after the oratorio, the ballroom was not opened till she arrived, and we were penned together in the little hall, till we could not breathe.[13]

 

 

 

March

[March]

STATE of the ORATORIOS.

DRURY-LANE.

Vocal Performers.

 

Miss LINLEY,                                    of Bath.

Miss Mary LINLEY,    [ditto]

Mrs. WEISCHELL.

Mr. NORRIS.   Mr. PARRY.

 

Instrumental Performers.

Mr. STANLEY, on the ORGAN.

MR. LINLEY, on the VIOLIN.

 

Managers.

Messrs. STANLEY, and SMITH.

______________

 

COVENT-GARDEN.

Vocal Performers.

Miss CATELEY.

Mrs. MATTOCKS.

Miss VENABLES.

Signor RISTORINI.

Mr. REINHOLD.

 

Instrumental Performers.

Mr. ARNE, on the ORGAN.

Signot SPANDAU, on the FRENCH-HORN.

 

Managers.

Messrs. ARNE, and Co.

 

HAY-MARKET.

Vocal Performers.

Mr. SMITH.

Miss HARPER.

Signora GALLI.

Mr. VERNON.

Mr. MEREDITH.

 

Instrumental Performers.

Mr. AGUS, scholar of Signor Nardini—on the VIOLIN.

Mr. MAHOON, on the CLARINET.

 

The Ton of the public in respect to frequenting oratorios this year is with Drury-lane, on account of the extraordinary merit of the Linely family, who are engaged at no less a salary than 600l. for the season.—Covent-garden has met with but indifferent success, the Hay-market with scarcely any, which is an additional proof to many seasons probation, that extensive as London is, it cannot produce any more than one musical audience.[14]

 

 

 

In 1773 she [Anne Catley] sung at the oratorios at Covent-Garden, by which she added to her fortune more than her fame, for her natural vivacity was not well suited to the solemnity of such performances, and having to contend with the more chastised deportment of Mr. SHERIDAN, at the rival theatre.[15]

 

 

 

[March]

On hearing MISS LINLEY

in the

ORATORIOS.

O bear those irksome viols far away,

Hush’d be the horns, and hush’d the hautboy’s lay;

Peace to the hoarser bass, and liquid flute,

And ev’n be thou majestic organ, mute;—

For, hist, ’tis LINLEY pours the plaintive song,

Fairest and sweetest of the tuneful throng: [281]

Hark, and well-pleas’d, that silence you’ll retain,

Which now you take by force, and keep with pain.

Can notes like these your softest aid require?

Ev’n in Giardini’s hand the string must tire.

Or should one note demand your transient aid,

Say, shall not music watch her fav’rite maid,

Herself with mystic singer touch the string,

Then check, as cloud, its faintest murmuring?

  But vain the thought, too true the numbers flow,

In all complete, above, between, below;

Nor ask the weak support of lab’ring art,

Content with nature’s instrument, the heart:

Which, when the notes in long vibrations die,

Heaves forth love’s genuine symphony, a sigh;

Then, hush’d as death, the rising song attends,

Swells as it swells, and skinks as it descends.

 

  Nor speeds her voice alone the venom’d joy;

But those her lips have spar’d, her eyes destroy,——

O force of features, where ev’n sounds like these,

Share but a secondary pow’r to please.—

O force of sound, in such a form enshrin’d,

Whose ev’ry beauteous atom teems with mind,

As crystal vases, touch’d with magic skill,

And fraught with water from the limpid rill;

At once transmit the lucid wave more clear,

And charm with softest melody the ear.[16]

 

 

 

Jul 8

[July] 8.  On Tuesday was held at Oxford the Anniversary meeting of the president and governors of the Radcliffe Infirmary, when a sermon was preached in the morning at St. Mary’s church, by the Lord Bishop of Chester; and in the service was introduced a grand Te Deum, Anthems, &c.  In the evening the favourite Oratorio of Judas Maccabaeus was performed in the Theatre, for the benefit of the Infirmary…

[according to a witness, writing on July 7,] “The celebrity of the Encoenia, took place in the Theatre here this day.  Nothing could surpass the splendour of the appearance made by the company when they were all assembled here.  The ladies exceeded the gentlemen in dress, as they did infinitely in number.”[17]

 

 

 

Jul 22

[Thomas Twining to Dr Burney, Fordham 22 July 1773]

 

As to Geminiani’s opinions of music & musicians, I fear they were often governed too much by caprice or prejudice; they evidently were [“so” in Careri] with regard to Handel, to whom he would allow no merit in any thing but his songs & his overtures.  His choruses, he insisted upon it, were all confusion.[18]

 

 

 

Aug 30

[Charles Burney to Thomas Twining, 30 August 1773]

 

{…} I am happy again in finding our Musical opinions congenial.  Corelli & Geminiani, I believe, hold the same rank in my List of favourite Composers as in yours. {…} But as a player, he {= Geminiani} was always deficient in Time; as a composer, laboured; & as a Critic, jamais de bonne Foi, changing his opinions according to his Interest, as often as Caprice.  One Day he wd set up French Music against all other—the next, English—Scots—Irish, anything but the best Compositions of Handel & Italy. {…}

 

                  I shall Boar you to death abt him {= Geminiani}.—He bothered poor Worgan so much formerly, that, after he had studied the Modulation of Palestrina; the organ playing of Handel, & the Scores of Geminiani, & shd have begun to think for himself; he tells him that the Spaniards were the only Composers in the world: {…}

 

                  The Knight’s {= Hawkins’} reasoning abt Musical Expression is curious.  For my part I think good Music well executed wants no words to explain its meaning to me—it says everything that the Musician pleases.—And Addison & others who make such a Fuss abt not understanding words, when People sing, say, perhaps, only that they Love Poetry better than Music.  Handel’s air, “Return o God of Hosts,” is a fine supplication, & whether it was first made to a Mistress or to the Divinity proves nothing against Music being capable of expressing the passions.[19]

 

 

 

Nov 15

On Monday died, aged 87, at Northaston

in Oxfordshire, Bernard Gates, Esq; the

Senior Gentleman of his Majesty’s Chapels

Royal, Tuner of the Regals, and the oldest

Member of Westminster Abbey. He was

born at the Hague in Holland, April 23, 1686,

and came to England at the Revolution with

his Father, who was Page of the Back-Stairs

to King William. He was admitted one of

the Children of the Chapel in 1697, and

appointed Gentleman Extraordinary on the

Queen’s private Establishment in March 1708,

and succeeded Mr. Howel as Gentleman in

Ordinary the July following. 1710-11 he

jointly with George Laye held one of the

Choir of Lay Places, Westminster, and

succeeded to a full Place 1712. Nov. 4, 1714,

he was elected one of the Choir of Windsor,

but did not long stay there, as he became a

Supernumero at St. Paul’s Cathedral. In

Sept. 1727, was made Master of the Children

of his Majesty’s Chapel, in the room of Dr.

Croft, and was appointed Tuner of the Regals

at the same Time by the Lord Chamberlain;

and in 1734 was appointed to a second Place

of Gentleman in Ordinary, when he resigned

St. Paul’s. In 1740 he was made Master of

the Choristers of Westminster Abby, which he

held till Sept. 1757, when he resigned it on

account of his Age and Infirmities; after

which he was cut for the Stone, which

Operation he underwent with great Resolution,

and enjoyed from that Time, 1758, a good

State of Health to the Time of his Decease.

He resigned St. James’s Chapel in favour of

Dr. Nares, and the Abbey in favour of Mr.

Cook.[20]

 

 

 

Second FELLOW.

                  I loves to hear him sing, bekeays he never gives us nothing that’s low.

Third FELLOW.

                  O damn any thing that’s low, I cannot bear it.

Fourth FELLOW.

                  The genteel thing is the genteel thing at any time.  If so be that a gentleman bees in a concatenation accordingly.

Third FELLOW.

                  I like the maxum of it[,] Master Muggins.  What, tho’ I am obligated to dance a bear, a man may be a gentleman for all that.  May this be my poison if my bear ever dances but to the very genteelest of tunes.  Water Parted [from Arne’s Artaxerxes], or the minuet in Ariadne.[21]

 

 

 

[Charles Burney.  The present State of Music in Germany, the Netherlands, and the United Provinces...]

 

[...] it would be presumption in me to oppose my single judgment to that of so enlightened a prince [Frederick II]; if, luckily, mine were not the opinion of the greatest part of Europe; for, should it be allowed, that his Prussian majesty has fixed upon the Augustan age of music, it does not appear that he has placed his favour upon the best composers of that age.  Vinci, Pergolese, Leo, Feo, Handel, and many others, who flourished in the best times of Graun and Quantz, I think superior to them in taste and genius.  Of his majesty’s two favourites, the one is languid, and the other frequently common and insipid,—and yet, their names are religion at Berlin, and more sworn by, than those of Luther and Calvin.[22]

 

 

 

ODE

To be performed by Dr. Brettle, and a Chorus of Hales-owen CITIZENS.

[...]

SOLO by the DOCTOR.

Hear but this strain——’twas made by Handel,

A wight of skill, and judgment deep!

Zoonters they’re gone—Sal, bring a candle——

No, here is one, and he’s asleep.[23]

 

 

 

Our Reinhard Keiser was in his day an excellent and inexhaustible inventive composer.  Handel and Hasse, those famous masters, who have brought honor to Germany in Italy and England, have often, especially the former, made use of his inventions and greatly benefited thereby.  They understood, however, that art of making these inventions their own, so that they were transformed in their hands into new and original ideas.  Mattheson and Telemann assured me of this more than once, and in light of other reliable reports I cannot doubt it.[24]

 

 



[1] David Garrick, The Private Correspondence of David Garrick with the Most Celebrated Persons of his Time, 2 vols. (London: Henry Colburn and Richard Bentley, 1831), 1:511.

[2] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, second series, 3 vols. (London: Richard Bentley, 1862), 1:496-97.

[3] The Macaroni and Theatrical Magazine, or Monthly Register, of the Fashions and Diversions of the Times 1 (October 1772-September 1773): 228.

[4] The Morning Chronicle, and London Advertiser, Tuesday 9 March 1773, [2].

[5] The Morning Chronicle, and London Advertiser, Tuesday 9 March 1773, [2].

[6] The Morning Chronicle, and London Advertiser, Tuesday 9 March 1773, [4].

[7] The Macaroni and Theatrical Magazine, or Monthly Register, of the Fashions and Diversions of the Times 1 (October 1772-September 1773): 255-57.

[8] The Morning Chronicle, and London Advertiser, Tuesday 9 March 1773, [4].

[9] The Critical Review 35 (January-June 1773): 317.

[10] The Macaroni and Theatrical Magazine, or Monthly Register, of the Fashions and Diversions of the Times 1 (October 1772-September 1773): 272-73.

[11] Horace Walpole’s Correspondence with the Countess of Upper Ossory I (“The Yale Edition of Horace Walpole’s Correspondence, Vol. 32”), ed. W. S. Lewis and A. Dayle Wallace (New Haven: Yale University Press / London: Oxford University Press, 1965), 106.

[12] The Early Journals and Letters of Fanny Burney.  Volume I: 1768-1773, ed. Lars E. Troide (Kingston and Montreal: McGill-Queen’s University Press, 1988), 248-51.

[13] Horace Walpole’s Correspondence with the Countess of Upper Ossory I (“The Yale Edition of Horace Walpole’s Correspondence, Vol. 32”), ed. W. S. Lewis and A. Dayle Wallace (New Haven: Yale University Press / London: Oxford University Press, 1965), 109-10.

[14] The Macaroni and Theatrical Magazine, or Monthly Register, of the Fashions and Diversions of the Times 1 (October 1772-September 1773): 274.

[15] [Walley Chamberlain Oulton], The History of the Theatres of London, 2 vols. (London: Martin and Baines, 1796), 2:67.

[16] The Macaroni and Theatrical Magazine, or Monthly Register, of the Fashions and Diversions of the Times 1 (October 1772-September 1773): 280-81.

[17] The Macaroni and Theatrical Magazine, or Monthly Register, of the Fashions and Diversions of the Times 1 (October 1772-September 1773): 478.

[18] A Selection of Thomas Twining’s Letters, 1734-1804: The Record of a Tranquil Life, ed. Ralph S. Walker, 2 vols. (Lewiston/Queenston/Lampeter: The Edwin Mellen Press, 1991), 1:80; see also Enrico Careri, “The Correspondence between Burney and Twining about Corelli and Geminiani,” Music & Letters 72 (1991): 40.

[19] The Letters of Dr Charles Burney.  Volume I: 1751-1784, ed. Alvaro Ribeiro, SJ (Oxford: Clarendon Press, 1991), 144, 146, 148.

[20] The Public Advertiser, no. 12040, Saturday 20 November 1773, [3].

[21] [Oliver] Goldsmith, She Stoops to Conquer: Or, The Mistakes of a Night (London: F. Newbery, 1773), 11.

[22] The Annual Register, or a View of the History, Politics, and Literature, for the Year 1773 (London: J. Dodsley, 1774), 278.

[23] The Whole Poetical Works of William Shenstone, Esq, 2 vols. (Edinburgh: J. Robertson, 1773), 2:37.

[24] Ueber die musikalische Composition (Leipzig: 1773), liii; quoted in John H. Roberts, “Handel’s Borrowings from Keiser,” Göttinger Händel-Beiträge 2 (1986), 51-76: 51.