1777
Jan 1
[Charles Burney to Thomas Twining, ca 1 January 1777]
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[“New-year’s Ode for 1777. To the Revd Thos Twining.”] You music of
all kinds detest But what’s refin’d, and well express’d. The Masters of your youth respect, Yet all their errors can detect. Regard for those you’ve always nurs’d Who of their age & place were first; Yet think it no atrocious crime To travel with the present time. If genius is immortal, why Suppose he did with Handel die? Does he not his gifts diffuse Inconcert with the Heav’nly Muse, And all his glowing colours spread, Wherever Science lifts her head?—[1] |
“The lessons for the harpsichord of Mr. Handel, abounding with fugues of the finest contexture, and the most pathetic airs, are an inexhaustible fund of delight; those of the present time have no other tendency than to degrade an instrument invented for the elegant recreation of the youthful of the other sex, and to render it, what at best it now appears to be, and may as truly as emphatically be termed, a tinkling cymbal….It affords but small satisfaction to a lover of the art to reflect that the world is in possession of such instrumental compositions as those of Corelli, Bononcini, Geminiani, and Handel, when not one principal performer in ten has any relish of their excellencies, or can be prevailed on to execute them but with such a degree of unfeeling rapidity, as to destroy their effect, and utterly to defeat the intention of the author. In such kind of performance, wherein not the least regard is paid to harmony or expression, we seek in vain for that most excellent attribute of music, its power to move the passions, without which this divine science must be considered in no better a view than as the means of recreation to a gaping crowd, insensible of its charms, and ignorant of its worth.”[2]
SOCIETY of SACRED MUSIC. / THIS Evening will be a grand Rehearsal of SACRED MUSIC, Vocal and Instrumental, at St. George’s Lutheran Chapel, in Little Alie-street, Goodman’s-fields, from Seven to Nine; when the first Part out of the Messiah, with select Anthems, favourite Songs and Chorusses from Sacred Oratorios, and Overtures by Sachini, Vanmaldere, and Stamitz will be performed. The principal Vocal Parts by Mr. Friend, of the Chapel Royal, Master Harrison, and other eminent Performers. The First Violin by Mr. Cocklin. / Tickets to be had at Batson’s and Carolina Coffee-houses; and No[.] 26, next Door to the Chapel. A Gallery Ticket for one Evening Two Shillings, and for the Body One Shilling.[3]
The Lovers of the divine Handel will this Season be gratified with an Union of Excellence in the Performance of the Oratorios, at Covent-Garden Theatre, never known before. The Band is composed of every Performer of the first Eminence of their respective Instruments. Signor Tenducci’s admirable Powers in Handel’s Style of Composition can never be forgot; and Miss Harrup (at present only known by the first Amateurs of the Science of Music) is pronounced to be the most perfect Singer that ever adorned this Country.[4]
Covent Garden Theatre. / [...] The Oratorios for the ensuing Lent will commence on Friday the 14th Inst. under the Direction of Dr. Arnold. Among the principal Performers of the Band are Messrs. La Motte, Cervetto, De Champ, and Stamitx [sic]: The principal Vocal Performers are Signor Tenducci, Mr. Saville, Mr. Reinhold, Miss Storace, and Miss Harrup.[5]
Covent Garden Theatre. / On Friday the Oratorio of Judas Maccabaeus, in which Mr. Tenducci will make his first Appearance here these eight Years, and Miss Harrup, who never before appeared in public.[6]
A Musical Amateur and passionate Admirer of our late inimitable and justly regretted Composer, the Immortal Vento, is not a little surprized that the distressed, the cruelly-injured Widow of a Man who did Honour to his Profession, who was, to say the least of him, the Handel of his Day, should yet have had no Offers made to procure her a Benefit. Deprived of an affectionate Husband, and with him deprived in a manner of her All, shall such a Woman not find Favour from the Great? It were a Disgrace to our National Character to suppose it. The generous Public are not perhaps aware, that Mrs. Vento, from a State of Ease, Affluence, and Happiness, is reduced to a State which calls at once for Pity and for Protection.[7]
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AT THE THEATRE-ROYAL In COVENT-GARDEN, This present FRIDAY, FEBRUARY 14, 1777, Will be performed an ORATORIO, called JUDAS MACCABAEUS. The Music composed by HANDEL. The Principal VOCAL PARTS, by Signor TENDUCCI, (Being his First Appearance there these Eight Years) Mr. SAVILLE, AND Mr. REINHOLD. Miss STORACE, AND Miss HARRUP, (Being her FIRST PUBLIC APPEARANCE.) After Part the First, a Solo on the Violoncello, by Mr. CERVETTO. After Part the Second, a Concerto on the Violin, by Mr. LE MOTTE. Boxes 10s. 6d. Pit 5s. First Gall. 3s. 6d. Second Gall. 2s. Places for the Boxes to be taken of Mr. SARJANT, (only[)] at the Stage-door. Books of the Oratorio to be had at the Theatre. The Doors to be opened at HALF after FIVE o’Clock, And to begin exactly at HALF after SIX. Vivant Rex & Regina.[8] |
Covent Garden Theatre. / [...] The Oratorio of Judas Maccabaeus was last Night received throughout the whole Performance with the warmest Marks of universal Approbation by a numerous and brilliant Audience: Proper Notice will be given of the second Time of performing it.—On Wednesday next Messiah.[9]
A Correspondent who attended the Performance of Judas Maccabaeus on Friday at Covent-Garden, congratulates the Public on the Acquisition of so very capital a Singer as Miss Harrup, from whom the Musical World may expect much future Entertainment. Before she had gone through her first Song, it must have been evident to all present, who are in any Degree conversant in Music, that she possesses the justest Taste, together with the most elegant Sensibility; Qualities rarely found in an Oratorio Singer. And in the subsequent Parts of the Performance, her Execution appeared to be in no Respect inferior to her Judgment. Her Voice besides being rich, sweet, and even, is also extremely interesting, and her Shake uncommonly brilliant and beautiful. In short, our Correspondent say, he does not remember to have heard a Singer in whom are united so many Perfections, and whose Judgment has been so little dazzled by the false Glare of vulgar Ornament. Our Correspondent observes, that if any Thing was wanting to render the Entertainment complete, it were to be wished she had sung a little louder: However, great Allowances ought to be made for that Diffidence which always accompanies modest Merit, which must have been greatly increased by the Apprehensions of a first Appearance before the Public.—But as a real Well-wisher to a Person who has entertained him so highly, he cannot help expressing his Hopes, that as her Fears subside, she will give Proofs that she is by no Means deficient in Power.[10]
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AT THE THEATRE-ROYAL In COVENT-GARDEN, This present WEDNESDAY, FEBRUARY 19, 1777, Will be performed a Sacred ORATORIO, called MESSIAH. The Music composed by HANDEL. The Principal VOCAL PARTS by Mr. TENDUCCI, Mr. SAVILLE, AND Mr. REINHOLD. Miss STORACE, AND Miss HARRUP, (Being her SECOND PUBLIC APPEARANCE.) After Part the First, a Duetto on the Tenor and Violin, by Mr. STAMITZ and Mr. LA MOTTE. After Part the Second, a Concerto on the Violin, by Mr. LA MOTTE. Boxes 10s. 6d, Pit 5s[.] First Gall. 3s. 6d. Second Gall. 2[s.] Places for the Boxes to be taken of Mr. SARJANT (only) at the Stage-door[.] Books of the Oratorio to be had at the Theatre. The Doors to be opened at HALF after FIVE o’Clock, And to begin exactly at HALF after SIX. Vivant Rex & Regina! [rule] Om [sic] Friday, SAMSON.[11] |
For the Public Advertiser. / INTELLIGENCE EXTRAORDINARY. / Covent-Garden. / THE Messiah was performed last Night to a very brilliant Audience. The masterly Manner in which Mr. Tenducci executed his Musical Task, engrossed all the Plaudits. His vocal Powers are so extensive, and his Taste so captivating, that we do not hesitate to pronounce him the most capital Singer that ever trod an English Stage, excepting only the late Miss Linley, now Mrs. Sheridan; for the bewitching Musical Abilities of this Lady, can only be rivalled [sic] by those harmonious Notes, with which Angels are thought to express their Happiness in Heaven.—Miss Harrup has the Advantage of a clear and melodious Voice, which indeed is the differentia specifica of a great Singer; but she must overcome many Difficulties ere she may be able to cut a splendid Figure in the Musical World. As to Miss Storace, we suspend giving our Opinion ’till she be recovered from her Indisposition, to which the Deficiencies of her Performance may be imputed. The Solo by Mr. La Motte was inimitable. The Connoisseurs in Italy have dubbed Signor Lolli Prince of the Fiddlers; after him they place Nardini, Pugnani, and Crammer; but should they hear Mr. La Motte, they would undoubtedly judge him equal if not to Lolli, at least to the others. We do not forget the Merit of Signor Giardini, who among us is deemed a very eminent Fiddler; but we mean only to relate the Opinion of the Professors of Music all over Italy.[12]
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AT THE THEATRE-ROYAL In COVENT-GARDEN, This present FRIDAY, FEBRUARY 21, 1777, Will be performed an ORATORIO, called SAMSON. The Music composed by HANDEL. The Principal VOCAL PARTS by Mr. TENDUCCI, Mr. SAVILLE, AND Mr. REINHOLD. Miss STORACE, AND Miss HARRUP, (Being her THIRD PUBLIC APPEARANCE.) After Part the First, a Solo on the Violoncello, by Mr. CERVETTO. After Part the Second, a Concerto on the Violin, by Mr. LA MOTTE. Boxes 10s. 6d, Pit 5s. First Gall. 3s. 6d. Second Gall. 2s. Places for the Boxes to be taken of Mr. SARJANT (only) at the Stage-door. Books of the Oratorio to be had at the Theatre. The Doors to be opened at HALF after FIVE o’Clock, And to begin exactly at HALF after SIX. Vivant Rex & Regina![13] |
As we [i.e. The Public Advertiser] wish not to encourage Cap-pulling, we shall not insert the Paragraph concerning Miss H[arrup]. of Covent-Garden Theatre, and Miss L[inley]. of Drury-Lane Theatre; and at the same Time would advise their respective Partizans to be silent on the Subject, as the most certain Way of proving themselves real and not pretended Friends.[14]
Feb 26 1777
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AT THE THEATRE-ROYAL In COVENT-GARDEN, This present WEDNESDAY, FEBRUARY 26, 1777, Will be performed a Sacred ORATORIO, called OMNIPOTENCE. The Music composed by HANDEL. The Principal VOCAL PARTS by Mr. TENDUCCI, Mr. SAVILLE, AND Mr. REINHOLD. Miss STORACE, AND Miss HARRUP, (Being her FOURTH PUBLIC APPEARANCE.) After Part the First, a Solo on the Pedal Harp, by Mr. RENAUDIN, Being his FIRST PUBLIC PERFORMANCE. After Part the Second, a Concerto on the Violin, by Mr. LA MOTTE. Boxes 10s. 6d, Pit 5s. First Gall. 3s. 6d. Second Gall. 2s. Places for the Boxes to be taken of Mr. SARJANT (only) at the Stage-door[.] Books of the Oratorio to be had at the Theatre. The Doors to be opened at HALF after FIVE o’Clock, And to begin exactly at HALF after SIX. Vivant Rex & Regina! [rule] On Friday, (By Particular Desire) The PRODIGAL SON[.][15] |
The favourite Oratorio of the Prodigal Son, composed by Dr. Arnold, will be performed To-morrow at the Theatre-Royal, Covent-Garden, when, by particular Desire, Mrs. Farrel will make her First Appearance in the Oratorios.[16]
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(BY PARTICULAR DESIRE.) [rule] AT THE THEATRE-ROYAL In COVENT-GARDEN, This present FRIDAY, FEBRUARY 28, 1777, Will be performed an ORATORIO, called THE PRODIGAL SON. With ADDITIONAL AIRS. (The Music composed by Dr. ARNOLD.) The Principal VOCAL PARTS by Mr. TENDUCCI, Mr. SAVILLE, AND Mr. REINHOLD. Mrs. FARREL, (Being her FIRST APPEARANCE in the ORATORIOS) Miss STORACE, AND Miss HARROP, After Part the First, a Solo on the German Flute, by Mr. DE CAMP, After Part the Second, a Concerto on the Violin, by Mr. LA MOTTE. Boxes 10s. 6d. Pit 5s. First Gall. 3s. 6d. Second Gall. 2s. Places for the Boxes to be taken of Mr. SARJANT, (only) at the Stage-door. Books of the Oratorio to be had at the Theatre. The Doors to be opened at HALF after FIVE o’Clock, And to begin exactly at HALF after SIX. Vivant Rex & Regina.[17] |
This Day is published, Price 1s. / THE PRODIGAL SON, an Oratorio: / Written by Mr. Hull, and set by Dr. Arnold; as it will be performed this Evening at Covent Garden Theatre. Being a new Edition embellished with an interesting Print, representing the Prodigal’s Return: Drawn by Edwards, and engraved by Walker. / Printed for John Bell, opposite Catherine-street, Strand.[18]
Several Persons of Distinction having expressed an Inclination to hear Mrs. Farrel in the Oratorial Style of Singing, that Lady is engaged at the Theatre Royal, Covent-Garden, for the Remainder of the Lent Season, and will appear To-night (for the first Time) in the Oratorio of the Prodigal Son.[19]
Memoirs and Anecdotes of the extraordinary Thomas Britton, the Musical Small-Coal-man: From Mr. Hearne, and Sir John Hawkins’s late History of Music.
[...]
At these concerts, Dr. Pepusch, and frequently Mr. Handel, played the harpsichord;[20]
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(BY PARTICULAR DESIRE.) [rule] THEATRE-ROYAL In COVENT-GARDEN, This present WEDNESDAY, MARCH 5, 1777, Will be performed an ORATORIO, called THE PRODIGAL SON. (The Music composed by Dr. ARNOLD[.]) The Principal VOCAL PARTS by Mr. TENDUCCI, Mr. SAVILLE, AND Mr. REINHOLD. Mrs. FARREL, (Being her SECOND APPEARANCE in the ORATORIOS.) Miss STORACE, AND Miss HARROP, After Part the First, a Solo on the Violoncello, by Mr. CERVETTO. After Part the Second, a Concerto on the Violin, by Mr. LA MOTTE. Boxes 10s. 6d, Pit 5s. First Gall. 3s. 6d. Second Gall. 2s. Places for the Boxes to be taken of Mr. SARJANT (only) at the Stage-door[.] Books of the Oratorio to be had at the Theatre. The Doors to be opened at HALF after FIVE o’Clock, And to begin exactly at HALF after SIX. Vivant Rex & Regina! [rule] On Friday, JEPHTHA.[21] |
The Oratorio of The Prodigal Son was performed last Night (for the 2d Time this Season) to a numerous and brilliant Audience, and received with universal Applause and Approbation. It will be repeated on Wednesday next.[22]
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AT THE THEATRE-ROYAL In COVENT-GARDEN, This present FRIDAY, MARCH 7, 1777, Will be performed an ORATORIO, called JEPHTHA. (The Music composed by HANDEL.) The Principal VOCAL PARTS, by Mr. TENDUCCI, Mr. SAVILLE, AND Mr. REINHOLD. Mrs. FARREL, (Being her THIRD APPEARANCE in the ORATORIOS) Miss STORACE, AND Miss HARROP, After Part the First, a Duetto on the Viola and Violin, by Mr. STAMITZ and Mr. LA MOTTE. After Part the Second, a Concerto on the Violin, by Mr. LA MOTTE. Boxes 10s. 6d. Pit 5s. First Gall. 3s. 6d. Second Gall. 2s. Places for the Boxes to be taken of Mr. SARJANT, (only) at the Stage-door. Books of the Oratorio to be had at the Theatre. The Doors to be opened at HALF after FIVE o’Clock, And to begin exactly at HALF after SIX. Vivant Rex & Regina. [rule] On Wednesday, The PRODIGAL SON.[23] |
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AT THE THEATRE-ROYAL In COVENT-GARDEN, This present WEDNESDAY MARCH 12, 1777, Will be performed an ORATORIO, called THE PRODIGAL SON. (The Music composed by Dr. ARNOLD.) The Principal VOCAL PARTS by Mr. TENDUCCI, Mr. SAVILLE, AND Mr. REINHOLD. Mrs. FARREL, Miss STORACE, AND Miss HARROP, After Part the First, a Solo on the German Flute, by Mr. DE CAMP. After Part the Second, a Concerto on the Violin, by Mr. LA MOTTE. Boxes 10s. 6d, Pit 5s[.] First Gall. 3s. 6d. Second Gall. 2s. Places for the Boxes to be taken of Mr. SARJANT (only) at the Stage-door[.] Books of the Oratorio to be had at the Theatre. The Doors to be opened at HALF after FIVE o’Clock, And to begin exactly at HALF after SIX. Vivant Rex & Regina![24] |
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AT THE THEATRE-ROYAL In COVENT-GARDEN, This present FRIDAY, MARCH 14, 1777, Will be performed an ORATORIO, called JUDAS MACCABAEUS. (The Music composed by HANDEL.) The Principal VOCAL PARTS, by Mr. TENDUCCI, Mr. SAVILLE, AND Mr. REINHOLD. Miss STORACE, AND Miss HARROP, After Part the First, a SELECT SONG, by Mrs. FARREL, The MUSIC INTIRELY NEW. Composed by Dr. ARNE. After Part the Second, a Concerto on the Violin, by Mr. LA MOTTE. Boxes 10s. 6d. Pit 5s. First Gall. 3s. 6d. Second Gall. 2s. Places for the Boxes to be taken of Mr. SARJANT, (only[)] at the Stage-door. Books of the Oratorio to be had at the Theatre. The Doors to be opened at HALF after FIVE o’Clock, And to begin exactly at HALF after SIX. Vivant Rex & Regina![25] |
[performance of Chrononhotonthologos at Patagonian Theatre, Exeter ’Change] The Entertainment will conclude with the Display of the magnificent Perspective Architecture, during which will be sung, “Let the Bright Seraphim,” from the Oratorio of Sampson. [...][26]
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The LAST PERFORMANCE BUT ONE. [rule] At the Theatre-Royal, Covent-Garden, This present WEDNESDAY, MARCH 19, 1777, ACIS and GALATEA. (The Music composed by HANDEL.) End of Part I. a SONG, by Mrs. FARREL, New composed by Dr. ARNE. With a Solo on the Violoncello, by Mr. CERVETTO, And a Concerto on the Violin, by Mr. LA MOTTE. After which will be a Miscellaneous Concert, Song, Mr. SAVILLE, Composed by Dr[.] ARNOLD. Song, Mr. REINHOLD, Composed by Signor GIORDANI. Song, Mrs. FARREL, Composed by Dr. ARNE. Song, Mr. TENDUCCI, Song, Miss HARROP. With a Violin Obligato, accompanied, by Mr. LA MOTTE. The Music intirely new, composed by Signor SACCHINI. To conclude with the Coronation Anthem, MY HEART IS INDITING. Boxes 10s. 6d. Pit 5s. First Gall. 3s. 6d. Second Gall. 2s. Places for the Boxes to be taken of Mr. SARJANT, (only) at the Stage-door. Books of the Oratorio to be had at the Theatre.[27] |
So many Ladies and Gentlemen having been disappointed of Places last Night at the Theatre Royal Covent-garden, for Acis and Galatea, the same Performance will be repeated To-morrow.[28]
The last Time of performing this Season. / AT THE / Theatre Royal in Drury-Lane, / To-morrow, FRIDAY, March 21, 1777, / Will be PERFORMED / MESSIAH. / A SACRED ORATORIO. / Composed by Mr. HANDEL. / The Principal Vocal Parts by / Miss LINLEY, / Miss M. LINLEY, / Miss DRAPER, / Mr. NORRIS, / Mr. CHAMPNES, / And Mr. EDWARDS. / End of the First Part, / A CONCERTO on the ORGAN, / By Mr. STANLEY. / End of the Second Part, / A CONCERTO on the VIOLIN, / By Mr. LINLEY, jun. / C Tickets to be had, and Places for the Boxes to be taken of Mr. FOSBROOK, at the Stage-Door of the Theatre, at HALF a GUINEA each. / Pit 5s. First Gallery 3s. 6d. Second Gallery 2s. / The Doors will be opened at SIX o’Clock. / To begin exactly at SEVEN o’Clock. Vivant Rex & Regina.[29]
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The LAST PERFORMANCE THIS SEASON. [rule] THEATRE-ROYAL, in Covent-Garden, This present FRIDAY, MARCH 21, 1777, ACIS and GALATEA. (The Music composed by HANDEL.[)] End of Part I. a SONG, by Mrs. FARREL, New composed by Dr. ARNE. With a Solo on the Violoncello, by Mr. CERVETTO, And a Concerto on the Violin, by Mr. LA MOTTE. After which will be a Miscellaneous Concert, Song, Mr. SAVILLE, Song, Miss STORACE, Song, Mr. REINHOLD, Composed by Signor GIORDANI. Song, Mrs. FARREL, Composed by Dr. ARNE. Song, Mr. TENDUCCI, Song, Miss HARROP. With a Violin Obligato, accompanied, by Mr. LA MOTTE. The Music intirely new, composed by Signor SACCHINI. To conclude with the Coronation Anthem, “ZADOCK THE PRIEST, &c.” Boxes 10s. 6d. Pit 5s. First Gall. 3s. 6d. Second Gall. 2s. Places for the Boxes to be taken of Mr. SARJANT, (only) at the Stage-door. Books of the Oratorio to be had at the Theatre.[30] |
For the Benefit of the CHARITY. / AT the Lock Hospital Chapel, near Hyde-park Corner, This Day the 26th Inst[.] will be performed / RUTH, / An ORATORIO, set to Music by Mr. Giardini. The Vocal Parts by Miss Linley, Miss M. Linley, Signor Rauzzini, Mr. Vernon, Mr. Champnes, and others. First Violin and Concerto by Mr[.] Giardini[.] FNo Persons to be admitted without Tickets, which may be had at the following Places at Half a Guinea each: St. James’s Coffee-house, St. James’s-street; the Mount Coffee-house, Grosvenor-street; George’s Coffee house, Temple-bar; Rainbow Coffee-house, Cornhill; and [a]t the Hospital. To begin at Twelve at Noon precisely[.][31]
The Cantata Spirituale, now called Oratorio, took its rise, no doubt, from the Opera, and is ascribed to St. Philip Neri.[32]
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Copy of a LETTER, sent to Lady B——. My Lady, PASSING by your house, on Sunday evening last, the 13th instant; to my great surprize, I saw your ladyship, and others, engaged at the card table. A dreadfull precedent! especially in what is called a christian country! Lest the deceitfulness of your heart should lead you to think, that there is no guilt in such procedings; [sic] I beg leave to present you with one or two plain passages of holy scripture. Walk in the ways of thy heart, and in the sight of thine eyes: but know thou, that, for all
these things, God will bring thee into judgment. Eccles. xi. 9.— Revellings, and such like: of which I tell you
before, as I
also told you in time past, that they, who do such
things, shall not inherit the kingdom of God. Gal. v. 21. Awful declarations these! Consider, Madam, that it is appointed unto men once to die; and that period you ought to look for, every day, as your last sands are almost run, and you have nearly reached your eightieth year! when the messenger Death, is armed with commission from above, to arrest your soul; not all the riches you possess will bribe him to delay your fate. God have mercy on you while you are yet alive, by giving you evangelical repentance! but if you squander your few remaining hours in the mad career of carelessness and dissipation; you must, as your just [173] wages, reap the bitter pains of eternal death, at the hands of that God who will by no means clear the guilty. What could you do in heaven? there is card-playing there. It’s [sic] bright inhabitants are employed in singing, with united voices, Salvation to Him that sits upon the throne, and the Lamb forever! ’till you are awakened and renewed, by Converting Grace, you can no more be fit to associate with that glorifyed company, and to join in singing that song; than would be qualifyed, here on earth, to join in a party at quadrille, if you was totally ignorant of that game. Should God, in his sovereign mercy, convince your soul, of it’s lost condition; and compel you to cry out, from the deep of your heart, what must I do to be saved? In that
case, I can point your ladyship to a Physician who infallibly heals, though the spiritual disease be ever so desperate; and though the application be ever so late. Believe in the Lord JESUS CHRIST, and thou shalt be saved: saved from your sins, in the life which now is; and from God’s wrath and damnation, in that which is to come. Redemption is to be had, through the blood of Christ, even the forgiveness of all trespasses. If God vouchsafe to work effectually on your poor, sinful, aged soul; and lead you, by his SPIRIT, to JESUS and to heaven: you will endeavor, when arrived in the coelestial Canaan, to sing, loudest, the wonders of redeeming grace: and, while on your way thither, “——You’ll tell to sinners round, “What a dear SAVIOUR you have found; “And point to his atoning blood, “And say, Behold the way to God!” [174] That such may be your experience, and such your future practice; is the heart’s desire and prayer of London, April Your Ladyship’s 15. 1777. Well-wisher, R. W.[33] |
For the Benefit of / The MIDDLESEX HOSPITAL. / AT Free Masons Hall, Great Queen Street, Lincoln’s Inn Fields, This Day the 14th of May will be performed a new Oratorio called / PROVIDENCE. / The Music composed by Mr. Fisher. The principal Vocal Parts by Mr. Vernon and Mr. Reinhold, Miss Brown and Mrs. Farrel. Between Part I. and II. will be a Concerto on the Violoncello by Mr. Crosdill. Between Part II. and III a Concerto on the Violin by Mr. Fisher. F Tickets. 10s. 6d. each, to be had at the Hospital; at the Bar of Tom’s Coffee-house, Russell-street, Covent Garden; at Tom’s Coffee-house, Cornhill; at Mr. Ridley’s, Bookseller, St. James’s-street; and at Free Masons Hall.—The Doors to be opened at Eleven in the forenoon, and to begin at Twelve. Books of the Oratorio to be had at the Place of Performance.[34]
A General History of the Science and Practice of Music. By Sir John Hawkins. In five Volumes. 4to. 6l. 6s. Payne.
[…]
But we cannot enlarge; and, passing [274] by Mattheson, once the competitor of Handel, both on the organ and with the sword, the family of Bach, a name well known to the musical world, and many others, we must hasten to Handel, justly the hero of this work. But of all the curious particulars with which his article abounds, none is more pleasing than the character which closes it, it being drawn with that glow, that pathos, which distinguishes portraits con amore, and does equal honour both to the painter and his subject. One instance we cannot help giving, and wish we had room for more: “The loss of his sight, and the prospect of his approaching dissolution, wrought a great change in his temper and general behaviour. He was a man of blameless morals, and throughout his life manifested a deep sense of religion. In conversation he would frequently declare the pleasure he felt in setting the Scriptures to music, and how much the contemplating the many sublime passages in the Psalms had contributed to his edification; and now that he thought himself near the end, these sentiments were improved into solid and rational piety, attended with a calm and even temper of mind. For the last two or three years of his life he was used to attend divine service in his own parish-church of St. George, Hanover-square, where, during the prayers, the eyes that at this instant are employed in a faint portrait of his excellencies, have seen him on his knees, expressing by his looks and gesticulations the utmost fervour of devotion.” And again: “Such as were but little acquainted with Handel are unable to characterize him otherwise than by his excellencies in his art, and certain foibles in his behaviour, which he was never studious to conceal: accordingly we are told, that he had a great appetite, and that when he was provoked, he would break out into profane expressions. These are facts that cannot be denied; but there are sundry particulars that tend to mark his character, but little known, and which may possibly be remembered when those that serve only to shew that he was subject to human passions are forgotten*.” In the course of this article the contest between him and Bononcini, and afterwards between him and Senesino, and the part which the nobility took against him, are particularly discussed. Contentions, in short, among the singers, male and female, that genus irritabile, too often discordant in the midst of harmony, fill many succeeding pages. Of these distinguished are the merits of Mrs. Robinson, afterwards Countess of Peterborough, Cuzzoni, and Faustina, among the women, and of Senesino and Farinelli among the men, if such they may be called. By the way, glad we are to find such a note of reprobation stamped by this judicious writer on the dangerous tendency and effects of the Beggar’s Opera, peculiarly becoming him as a magistrate, and long ago foretold by Archbp. Herring. Memoirs of Dr. Greene, his attachment to Bononcini, and his opposition to Handel, and the origin of the Madrigal Society founded by Dr. Pepusch, form an interesting part of this aera.[35]
[…] on the 23d May, 1776, a few enterprising persons opened another Vauxhall on an estate “formerly called the Red Cliff,” and promised,in return for a moderate subscription, to give a grand concert every Monday and Thursday evening during the summer season. “Admission to non-subscribers, one shilling.” Handel’s “Acis and Galatea” was performed in the following August [1777], when there was “a transparency on the bowling green.” The place was extensively patronised at the outset […][36]
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 njudgment deep!
Zoonters they’re gone—SAL, bring a candle—
No, here is one, and he’s asleep.[37]
Handel George Frederic, of Hall in Saxony, the most celeb. music. and [/next page] composer of his time; his compositions are admired throughout Europe: England was the place of his residence, where he performed on the harpsichord and organ, and met with [e]ncouragement equal to his great abilities, both from the court and the public, b. 1684. d. 1759. Life of Handel, Lond. 1760.[38]
[1] The Letters of Dr Charles Burney. Volume I: 1751-1784, ed. Alvaro Ribeiro, SJ (Oxford: Clarendon Press, 1991), 223.
[2] The Gentleman’s Magazine 47 (1777): 30.
[3] The Public Advertiser, Wednesday 5 February 1777, [1].
[4] The Public Advertiser, Wednesday 5 February 1777, [3].
[5] The Public Advertiser, Thursday 6 February 1777, [3].
[6] The Public Advertiser, Wednesday 12 February 1777, [3].
[7] The Public Advertiser, Thursday, 13 February 1777, [3].
[8] “Playbills from the Harvard Theatre Collection,” TS Film 4, part 3.
[9] The Public Advertiser, Saturday 15 February 1777, [3].
[10] The Public Advertiser, Tuesday 18 February 1777, [2].
[11] “Playbills from the Harvard Theatre Collection,” TS Film 4, part 3.
[12] The Public Advertiser, Thursday 20 February 1777, [2].
[13] “Playbills from the Harvard Theatre Collection,” TS Film 4, part 3.
[14] The Public Advertiser, Saturday 22 February 1777, [2].
[15] “Playbills from the Harvard Theatre Collection,” TS Film 4, part 3.
[16] The Public Advertiser, Thursday 27 February 1777, [3].
[17] “Playbills from the Harvard Theatre Collection,” TS Film 4, part 3.
[18] The Public Advertiser, Friday 28 February 1777, [1].
[19] The Public Advertiser, Friday 28 February 1777, [3].
[20] The London Magazine. Or Gentleman’s Monthly Intelligencer 46 (1777): 59.
[21] “Playbills from the Harvard Theatre Collection,” TS Film 4, part 3.
[22] The Public Advertiser, Thursday 6 March 1777, [3].
[23] “Playbills from the Harvard Theatre Collection,” TS Film 4, part 3.
[24] “Playbills from the Harvard Theatre Collection,” TS Film 4, part 3.
[25] “Playbills from the Harvard Theatre Collection,” TS Film 4, part 3.
[26] The Public Advertiser, Tuesday 18 March 1777, [3].
[27] “Playbills from the Harvard Theatre Collection,” TS Film 4, part 3.
[28] The Public Advertiser, Thursday 20 March 1777, [3].
[29] Broadsheet: The Eighteenth Century microfilm collection.
[30] “Playbills from the Harvard Theatre Collection,” TS Film 4, part 3.
[31] The Public Advertiser, Wednesday 26 March 1777, [1].
[32] The Gentleman’s Magazine 47 (1777): 126.
[33] The Gospel Magazine, Or Treasury of Divine Knowledge. Designed to promote Experimental Religion 4 ([April] 1777), 172-74.
[34] The Public Advertiser, Wednesday 14 May 1777, [1].
* It is scarce necessary to remark, that in a pleasant story (related in a note) which Mr. Handel used to tell of the late Bp. Thomas, that Prelate is styled, by mistake, “Bp. Of Peterborough, and afterwards of Lincoln,” instead of “Bp. Of Lincoln, and afterwards of Salisbury.”
[35] The Gentleman’s Magazine 47 (1777): 273-74.
[36] John Latimer, The Annals of Bristol in the Eighteenth Century (Bristol: the author, 1893; repr., Bath: Kingsmead Reprints, 1970), 423.
[37] The Works in Verse and Prose of William Shenstone, Esq., 2 vols. (Dublin: G. Faulkner, 1777), 1:159.
[38] Thomas Mortimer, The Student’s Pocket Dictionary; or Compendium of Universal History, Chronology, and Biography (London: J. Johnson, 1777), no pagination.