1783
January
[book review, January]
Anecdotes of Painting in England [...] L. F. ROUBILIAC [...]
[…] The statue of Handel, in the garden at Vauxhall, fixed Roubiliac’s fame. [...] Lord Chesterfield said, that Roubiliac only was a statuary, and all the rest were stone-cutters.[1]
Theatre Royal, Drury-Lane. / [...] / On Friday (by Command of their Majesties) L’Allegro il Penseroso, with Dryden’s Ode for St. Cecilia’s Day.[2]
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By COMMAND of Their MAJESTIES. ————————————— AT THE Theatre-Royal in Drury-Lane. On FRIDAY next, March 7, 1783, Will be perform’d L’Allegro il Penseroso. With DRYDEN’s ODE for ST. CECILIA’S DAY. Set to Music by Mr. HANDEL. The principal vocal Parts by Miss LINLEY, Miss PHILLIPS, Mr. NORRIS[,] AND Mr. REINHOLD. First Violin by Mr. RICHARDS. End of the Second Part a CONCERTO. F 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 to be opened at HALF past FIVE o’Clock, to be[gin] At HALF past SIX. Vivant Rex & Reg[ina][3] |
Theatre Royal, Drury-Lane. / The Oratorio announced for Representation this Evening cannot be performed, on account of the Indisposition of a principal Performer.[4]
For the Public Advertiser. / RHITORICAL [sic] PRELECTIONS. / THERE being no Oratorio last Night, and no other Spectacles but Dr. Graham’s, Breslaw, the Conjurer, and these Prelections—it fared, we suppose, the better with them all—the latter, at least, was more crowded than it otherwise would have been. / The Number of the People present, according to an unexaggerated Computation, might have been about a Thousand and Forty-three! / [...][5]
Miss Linley was the Performer whose Indisposition disappointed us for the Oratorio on Friday: And we are very sorry to find that this valuable Singer is yet extremely indisposed.[6]
Theatre Royal, Drury-Lane. / [...] / On Friday, by Command of their Majesties, Acis and Galatea, with the Coronation Anthem.[7]
By COMMAND of / THEIR MAJESTIES. / AT the Theatre Royal in Drury Lane, / To-morrow, March 14, will be performed / ACIS and GALATEA, / To which will be added / The CORONATION ANTHEMS. / Set to Music by Mr. HANDEL. / The principal Vocal Parts by / Mrs. BANNISTER, (late Miss HARPER) / Miss PHILLIPS, / Mr. NORRIS, / And Mr. REINHOLD. / End of the First Part, a Concerto on the Organ by / Mr. STANLEY. / Tickets to be had and Places 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 to be opened at Half past Five. / To begin at Half past Six o’Clock. / Vivant Rex & Regina. / F Miss LINLEY still continuing so ill as not to be able to perform To-morrow, Mrs. BANNISTER has been so kind to undertake to supply her Place that Evening.[8]
For the Public Advertiser.
ORATORIO INTELLIGENCE.
ACIS and GALATEA.
THIS, certainly the most pleasing of the music
performed in the Oratorio Season, was last Night very well performed.
Such an exquisite Singer as Miss Linley could not but be missed—however, Mrs. Bannister, late Miss Harper, made a much better Substitution than could have been expected.
The Simplicity, the plaintive Melody of Speech of Galatea, are well suited to the Turn and Temper of this Singer’s Talents.
Miss Phillips gave the Charming Air of, “Consider, fond Shepherd,” with much more Taste than we ever heard her sing before. It was not deficient in that first Requisite of the Art, Pathos.
Norris
is not improved since last Year—Reinhold is.
The Band was very full, and well appointed—Mr. Stanley, Mr. Linley, Parke, Richards, Paxton, Tacet, &c. &c.
Stanley’s Concerto was in his very best Manner.
In the Morning, and through the Course of the Day, it was buzz’d about that the King was so ruffled by something that had happened between him and a young Friend, that he would not be at Drury Lane. However, the Event falsified this Report; their Majesties and the Prince of Wales were both there.
[To be continued.] [sic][9]
Theatre Royal, Drury-Lane. / [...] / On Wednesday an Oratorio.[10]
SUNDAY 16 MARCH [1783]. (Writing the 24.) [In Carlisle Boswell was a guest of his friend Dr. Thomas Percy, at the time Bishop of Dromore. [71] Dinner discussion:]…Our conversation turned chiefly on the strange state of politics. The Bishop however enlivened it with literary anecdote. He told us that Morell, S.T.P., who is an excellent Greek scholar and is supposed to have helped Dr. Gregory Sharpe, who was very ambitious to appear a scholar, used to compose words for Handel’s music, and Handel used to carry him down with him to ------, where he entertained him.5 Morell could not live without his wife. So he had her conveyed down and lodged in a garret, the window of which looked [72] into the room where Handel and he dined. Handel had always a good dinner; and as he was blind, Morell used to make signs to his wife most significantly, pointing to a fowl or veal or whatever dishes were upon the table, that she might choose what she liked, which she did by a nod; and Morell, having a waiter in his confidence, had it carried to her.[11]
[Dublin Castle, 17 March.]
“The Ceremonial of the Installation of the Knights of St. Patrick”
[...] The Esquires, three abreast, made their reverence to the altar when they came opposite to the stall of their Knight, and then wheeled off to their respective places: the Knights then entered two and two, and after the same reverences proceeded to their stalls, where they remained standing till his Excellency [Lord Lieutenant] was seated, when they bowed all together, and seated themselves. The choir then performed the coronation-anthem [...][12]
Theatre Royal, Drury-Lane. / [...] / On Wednesday the Oratorio of Judas Maccabeus.[13]
For the Public Advertiser.
PUBLIC AMUSEMENTS.
ORATORIO INTELLIGENCE.
HAVING seen Miss Linley airing in her Chariot a Day or two ago, we took it for granted she would sing in the Oratorio next ensuing.—All we fear is, that she may resume her Professional Duty too soon; and yet her principal Song, in Judas Maccabaeus, was executed in a Stile that by no Means indicated any Thing like the Remains of Sickness and Debility.
Norris was better than on the former, and it would be yet better if he would look less on the Book and more at the Audience.—He may depend on it that in the same Proportion as he becomes more disengaged, he will become more animated in his Expression.
Reinhold could not easily be better than on the preceeding [sic] Evening, it may satisfy him that he was as well.
Miss Phillips does her Master Credit, she is already a good Performer—She last Night executed very brilliantly two or three difficult Passages—And when she has caught from her Master the Pathos of the Art—and from Experience it appears her Master has the Knack of better communicating it to his Scholars—When she has for that, certainly the best Accomplishment of the Art, she will be a very capital Singer indeed.
Parkes [sic] Concerto went off with Applause, and if mere Execution be alone attended to, much Applause it deserved.
[To be continued.] [sic][14]
The Death of Miss Prudom is a material Loss to the Musical World. Besides her Performances at the Opera, an English Audience will long remember, with Pleasure, her Annette, in the Lord of the Manor, and her admirable Manner of singing in the Oratorios. There was in her Voice an undescribable [sic] Sweetness, which was superior both to Execution and Strength. Mrs. Martyr has a Portion of the same, and Mrs. Kennedy not a little.[15]
Theatre Royal, Drury-Lane. / To-morrow (by Command of their Majesties) L’Allegro il Penseroso, with Dryden’s Ode for for [sic] St. Cecilia’s Day.[16]
MESS. LOWNDES, the Owners of HANDEL’s ORATORIOS, to be performed this Lent, having lowered the Price of these Musical Pieces, take the Liberty of addressing the Nobility and Gentry, requesting that they will not buy pirated Editions, which are generally erroneous; but use those Oratorios printed by Assignment from the Heirs of Mess. Tonson and Watts, and now published under the Direction of Dr. Stanley, and Mr. Linley, by T. and W. Lowndes.[17]
For the Public Advertiser.
ORATORIO INTELLIGENCE.
L’ALLEGRO ED IL PENSEROSO.
WHAT with Milton, Handel, and Rex Meus, the House last Night was very tolerably filled.
The Penseroso Part, but particularly the divine Air of “Sweet Bird,” Miss Linley sung divinely;——and yet the sprightly Songs of the Allegro Part, though not near so well sung, were received with more Applause, apparently more heart-felt;——the Reason of which must be in the Thing itself, and the Constitution of Human Nature,—which, take Milton’s Pluto, prefers, as more powerful, pleasing Music to that which is pensive!
On Dryden’s Ode, the other Entertainment of last Night, Opinion is also uniform: All who hear it, hear it with Pleasure. The Band, both of Singers and Instrumental Performers, did it great Justice.
We had more than once Occasion to note the Taste and Accuracy of Richards, Mr. Stanley, and Parke.
Mahon’s Concerto was received with much Applause.
In mentioning the Song of “Sweet Bird,” it should have been said, how exquisitely Mr. Stanley was in his Organ Accompaniment.—This great Master got, as he deserves, much specific Applause.
The Princesses were present, as well as the King and Queen; and the Prince of Wales, attended by Lord Lewisham.—Lady Essex, Lady Westmorland, Lady Darnley, were the principal Persons present—Lord Derby and Miss Farren were also in their old Box up Stairs.
[To be continued.] [sic][18]
The Anniversary of the Trustees of the Westminster Hospital, is fixed for Tuesday the 6th of May, when the Sacred Oratorio Messiah will be performed at St. Margaret’s Church, for the Benefit of that Charity.[19]
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THEATRICAL REGISTER. DRURY-LANE. [...] [March] 7[.] L’Allegro il Penseroso. [...] 14. Acis and Galatea. [...] 19. Judas Maccabaeus. [...] 21. L’Allegro il Penseroso.[20] |
Theatre Royal, Drury-Lane. / [...] / On Wednesday an Oratorio.[21]
Theatre Royal, Drury-Lane. / To-morrow the Oratorio of Sampson.[22]
Theatre Royal, Drury-Lane. / To-morrow (by Command of their Majesties) Alexander’s Feast, with the Coronation Anthems.[23]
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By COMMAND of Their MAJESTIES. AT THE Theatre-Royal in Drury-Lane, To-morrow, FRIDAY, March 28, 1783, Will be performed Alexander’s Feast. To which will be added The CORONATION ANTHEMS. Set to Music by Mr. HANDEL. The Principal vocal Parts by Miss LINLEY, Miss PHILLIPS, Mr. NORRIS, AND Mr. REINHOLD. First Violin by Mr. RICHARDS. End of the First Part, a Concerto on the Hautboy, By Mr. PARKE. F 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 to be opened at HALF past FIVE
o’Clock, to begin HALF past SIX. Vivant
Rex & Regina[.][24] |
For the Public Advertiser.
ORATORIO INTELLIGENCE.
ASSISTED by their Majesties, and their Suite, and undiverted [sic] by no other simultaneous Diversion than the little Abrams in Tottenham-street, who by the bye we hear had a better Benefit than could have been expected—most of the Subscribers to the Ancient Music, &c. &c.—Thus circumstanced, the Oratorio last Night was very well attended.—The Oratorio, Alexander’s Feast, being of the more sprightly Kind, is therefore the more agreeable to most Hearers.—Miss Linley, as better recovered, sung proportionably [sic] better, and in her principal Song she warbled like a Nightingale.—Miss Phillips, more accustomed to Handel’s Stile, improves in her Manner of giving it.
Stanley’s Accompanyment was in two or three Passages divine. Richards, and the Violoncello, whoever he is, deserve Praise.[25]
Theatre Royal, Drury-Lane. / [...] / On Wednesday an Oratorio.[26]
Theatre Royal, Drury-Lane. / [...] / On Wednesday the sacred Oratorio of the Messiah.[27]
[March: Deaths.]
Miss Prudom, a principal singer at Drury-lane theatre and the Opera-house last season. Besides her performance at the opera, an English audience will long remember with pleasure her Annette in the Lord of the Manor, and her admirable manner of singing in the oratorios. There was in her voice an undescribable sweetness, which was superior both to execution and strength.[28]
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AT THE Theatre Royal in
Drury-Lane, To-morrow, WEDNESDAY April
2, 1783, Will be performed MESSIAH. A Sacred ORATORIO. Set to Music by Mr.
HANDEL. The Principal vocal Parts
by Miss LINLEY, Miss PHILLIPS, Mr. NORRIS, AND Mr. REINHOLD First Violin by Mr.
RICHARDS. End of the First Part, a
Concerto on the Organ, By Mr. STANLEY 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 to be opened at
HALF past FIVE o’Clock, to begin at HALF past SIX. Vivant Rex & Regina[.] No Money to be returned
after the Curtain is drawn up[.][29] |
Theatre Royal, Drury-Lane. / To-morrow (by Command of their Majesties) Alexander’s Feast; with Dryden’s Ode for St. Cecilia’s Day.[30]
For the Public Advertiser.
PUBLIC AMUSEMENTS.
ORATORIO INTELLIGENCE.
DRURY Lane, beyond almost every other Individual Spot in the King’s Dominions—Drury Lane, during the Oratorio Season especially, ought to continue instant in Prayer that their Leige Lord, “in Health, &c. long may live.”
Last
Night, their Majesties, &c. being present, the House was tolerably good.
The Entertainment indeed was among the best that the Oratorio Season offers—Alexander’s Feast—A Combination of Dryden and Handel—both in their best Manner.
Miss Linley and Reinhold both received the Applause they so well deserved.
Of the Band—Richards, the Trumpet, and Violoncello, whoever they are, both merited much Approbation.
Mahon’s Clarinet is as well as a Clarinet can be—it would be much aided by combining it with the Hautboy and Bassoon.[31]
Theatre Royal, Drury-Lane. / To-morrow Messiah, a sacred Oratorio.[32]
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The last Time but one of performing this Season AT THE Theatre-Royal in Drury-Lane, On WEDNESDAY next, April 9, 1783, Will be performed MESSIAH. A Sacred ORATORIO. Set to Music by Mr. HANDEL. The principal vocal Parts by Miss LINLEY, Miss PHILLIPS, Mr. NORRIS, AND Mr. REINHOLD. First Violin by Mr. RICHARDS. End of the First Part, a Concerto on the Hautboy. By Mr. PARKE. F 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 to be opened at HALF past FIVE o’Clock, to begin at HALF past SIX. Vivant Rex & Regina. No Money to be returned after the Curtain is drawn up.[33] |
Theatre Royal, Drury-Lane. / To-morrow (by Command of their Majesties) Messiah, a sacred Oratorio, being the last this Season.[34]
ORATORIO INTELLIGENCE.
THE just Preference with which John Bull has never failed to receive that best of all Handel’s Music, The Messiah, is to be added to the Catalogue of Instances in which he proves the Rectitude of his Discernment, and that his Voice, however occasionally odd, is sometimes in its Authority divine.
The House on Friday Night was a fresh Instance of this just Preference of the Messiah in all its Plenitude—Both in Number and Value the Audience was like a Siddon’s Audience—Their Majesties—the Prince of Wales—the two Princesses—almost all the ancient Music, which of course is synonimous to saying many of the ancient Nobility, and many of the new.
Miss Linley sung divinely—Miss Phillips, also, was far better than usual.
The Airs—“Come unto me all ye that travel”—and—“He was a Man of Sorrows”—were sung most exquisitely.
The Solo Passage in Stanley’s Concerto, which was very large, deserved, if possible, more Applause than it received.
Norris, in the Openings of—“Comfort ye[”]—and Reinhold, in—“The Trumpet shall sound,” were both particularly happy.
The Chorusses, the Forte of this stupendous Oratorio were uncommonly full, accurate and pointed.[35]
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THEATRICAL REGISTER. DRURY-LANE. [...] [Mar] 26. Samson. [...] 28. Alexander’s Feast. [...] [April] 2. Messiah. [...] 4. Alexander’s Feast. [...] 9. Messiah. [...] 11. Messiah.[36] |
THEATRICAL REGISTER.
COVENT-GARDEN.
[...]
[May] 6. Belle’s Stratagem—Acis and Galatea.[37]
[Saturday 10 May.] The Most Rev. Dr. John Moore, Lord Archbishop of Canterbury, was installed and enthroned by proxy in his cathedral, by virtue of a mandate directed to the Rev. Dr. Backhouse, Archdeacon, from the Archbishop of York and the other Bishops named in his Majesty’s commission. The Rev. Dr. Dering, Vice-Dean, represented his Grace on this occasion. All the members of the church walked in procession from the west door of the choir, the organ playing, where, after first lesson, the proxy was placed successively by the Archdeacon in the Archiepiscopal throne, the Patriarchal chair, and the Dean’s stall, thereby taking possession of the diocese, province, and church. Te Deum was then sung, Handel’s Coronation anthem was performed in the course of the service; and after it all the members of the church made the usual profession of canonical obedience in the chapter-house.[38]
Wednesday 2 [July].
Was celebrated in the Sheldonian Theatre, the annual commemoration of the benefactors to the University of Oxford, according to the institution of Bp. Crewe, with the usual ceremonies.
The Creweian Oration was delivered by the Rev. Mr. John Randolph, B. D. Student of Christ-church, and Professor of Poetry. At the same time Sir John Read, Bart. of Magdalen college, and Mr. Wyndham, Gentleman Commoner, of Wadham college, were presented to the honorary degree of Master of Arts.
The compositions for the Chancellor’s prizes were then recited, viz. 1st. in English, an Essay on History, by Mr. Barker, Student of Christ Church; 2d. Latin Verses on the Siege of Gibraltar, by Mr. Bowles, Scholar of Trinity-college. And in the evening Handel’s Alexander’s Feast and other music was performed to a crouded audience as was the choral music for the Term.
Thursday 3 [July].
Being the anniversary of the Radcliffe Infirmary, the Governors went in procession to St. Mary’s church. In the Choir-service Handel’s Te Deum and other music was introduced; the charity-sermon was preached by the Rev. Dt. Horne, President of Magdalen-college, and Dean of Canterbury. A large collection for the benefit of the Infirmary was made at the church-doors, and the evening was concluded with a grand Miscellaneous Concert in the music-room.[39]
[August]
[it is very rare that a GM issue starts with a piece on the patroness of music]
LEGEND OF SAINT CECILIA.
(FROM SIR JOHN HAWKINS.)
[.../636...] Of the several poems written on
occasion of this solemnity, Dryden’s Alexander’s Feast has, unquestionably, the
preference...Without pretending to determine on their respective merits, here
follows a list of as many others of them as are to be found in Dryden’s
Miscellany:
A Song for St. Cecilia’s Day, 1687. By Mr. Dryden, part IV. page 331. Set to music by Mr. Handel many years after
it was written.[40]
[Mary Delany to Frances Hamilton, 10 October 1783]
On the Monday after [6 October] we were appointed to go to the Lodge at Windsor at two o’clock. We were first taken into the Duchess of Ancaster’s dressing-room; in a quarter of an hour after to the King and Queen in the drawing-room, who had nobody with them but Prince Alverstaden, the Hanoverian minister, [...]
There were two chairs brought in for the Duchess of Portland and myself to sit on, (by order of their Majesties,) which were easier chairs than those belonging to the room. We were seated near the door that opened to the concert-room. The King directed them to play Handel[’s] and Geminiani’s music, which he was graciously [150] pleased to say was to gratify me. These are flattering honours, and I should not indulge so much upon this subject, but that I depend upon your believing it proceeds more from gratitude than vanity. The 3 eldest Princesses came into the room in about half an hour after we were seated. All the royal family were dressed in a uniform for the demi-saison, of a violet blue armozine, with gauze aprons, &c., &c. The Queen had the addition of a great many fine pearls.
When the concert of music was over, the young Princess Amelia, nine weeks old, was sent for, and brought in by her nurse and attendants. The King took her in his arms and presented her to the Duchess of Portland and to me. Your affectionate heart would have been delighted with this royal domestic scene.[41]
Letters in behalf of Professors of Music, residing in the Country.
4to. 6.d. Wilkie.
These Letters, written by Mr. Edward Miller, organist of Doncaster, are addressed to the managers of the ensuing grand performance in commemoration of Handel; and to the directors of the fund for the benefit of decayed musicians and their families, resident in London. The author’s benevolent design is to recommend to a participation of the public munificence, the decayed musicians in the country. Mr. Miller pleads the cause of this neglected part of the profession with great energy; and his conduct is the more disinterested, that he positively disclaims any personal consideration to himself.[42]
[Charles Burney to Thomas Twining, 10–12 November 1783]
{comparison of Purcell with other composers:} Carissimi &
Stradella, more constantly elegant & polished than Purcell; but with less
feeling & variety. Handel more
grand, masterly, full, & flowing; but by no means so original, so
impassioned, so superior to Art & study, yet at times discovering effects
of the deepest labour & Meditation.
Purc[e]ll’s Expression of English words must I think frequently
make Englishmen feel what Handel with all his Harmonical resources cd
never arrive at. At least he frequently
shivers me: makes my hair creep, & gives me sensations beyond those
of the utmost elegance & refinement.[43]
LETTER VIII.
TRUE, my friend, musicians do commit strange absurdities by way of expression—but fanciful people make them commit others which they never thought of.
The most common mistake of composers is to express words and not ideas. This is generally the case with Purcel, and frequently with Handel. I believe there is not a single piece existing of the former, if it has a word to be played upon, but will prove my assertion; and the latter, if the [50] impetuosity of the musical subject will give him leave, will at any time quit it for a pun. There is no trap so likely to catch composers as the words high and low, down and up. “By G— (as Quin says) they must bite.” In what raptures was Purcel when he set “They that go down to the sea in ships.” How lucky a circumstance, that there was a singer at that time, who could go down to DD, and go up two Octaves above? for there is in other parts of the anthem a going up as well as down. The whole is a constellation of beauties of this kind. Handel had leisure, at the conclusion of an excellent movement, to endeavour at an imitation of the rocking of a cradle [51] (See the end of the anthem “My heart is inditing”), and has his ups and downs too in plenty. If many examples of this may be found in these great geniuses, it would be endless to enumerate the instances in those of the lower order. Let it suffice to observe, that all operas without exception, the greatest part of church-music, and particularly Marcello’s psalms, abound in this ridiculous imitative expression.
This is trifling with the words and neglecting the sentiment; but the fault is much increased when a word is expressed in contradiction to the sentiment. A most flagrant instance of this is in Boyce’s Solomon, in the song of “Arise, my [52] Fair-one come away.”—The hero of the piece is inviting his mistress to come to him, and to tempt her the more, in describing the beauty of the spring, he tells her that
“Stern winter’s gone, with all its train
“Of chilling frosts and dropping rain.”
but it is come in the music—the unlucky words of winter, frost, and rain, made the composer set the lover a shivering, when he was full of the feelings of the “genial ray!”
But sometimes expression of the sentiment is blameable, if such expression is improper for the general subject of the piece. Religious solemnity should not appear at the theatre, nor theatrical levity at the church. In the Stabat Mater [53] of Pergolesi, and in the Messiah of Handel, there is an expression of whipping attempted, which, if it is understood at all, conveys either a ludicrous or prophane idea, according to the disposition of the hearer. Permit me to suspend my subject a moment just to observe, that there is sometimes mention made in plays, of providence, God, and other subjects, which are as incompatible with a place of public entertainment, as the common sentiments of plays are with the church. If we are disgusted at a theatrical preacher, we are not less offended when an actor heightens all these ill-placed sentiments—forcing them upon your notice by an affectation of a deep sense of [54] religion, and most solemnly preaching the sermon which the poet so improperly wrote.
All these, and many more, are faults which musicians really commit; but a connoisseur will make them guilty of others, by way of compliment, which the composers never dreamt of. The introduction of the Coronation anthem, Zadok the Priest, is an arpeggio, which Handel probably took from his own performance at the harpsichord; but a great judge says, it is to express the murmurs of the people assembled in the abbey. “All we like sheep are gone astray” in the Messiah is considered as most excellently expressing the breaking out of sheep from a field.—[55] But out of pity to the connoisseurs, virtuosi, and the most respectable Conoscenti, I will not increase my instances—God forbid I should rob any man of his criticism!
Lest I should encroach upon your premises, I will quit such dangerous ground, and leave you with more celerity than ceremony.
[... 72 ...]
As the catch in a manner owed its existence to a drunken club, of which some musicians were members; upon their dying, it languished for years, and was scarce known except among choir-men, who now and then kept up the spirit of their forefathers. As the age grew more polished, a better style of music appeared. Corelli gave a new turn to instrumental music, and was successfully followed by Geminiani and Handel; the last excelled in vocal as well as instrumental music.
There have been refinements and confessed improvements upon all these great men since; and no [73] doubt but at this time there are much better performers, and more elegant, tho’ less solid composers. This is the united effect of the labours of the whole together, for there is no one man to be compared with either of the above-mentioned.[44]
Lady P. who has a wonderful facility at ready wit, paid a visit to Westminster Abbey some time ago, in company with two other ladies; they were gazing about for some time, highly pleased, when one of the ladies turned her attention to Handel’s monument, on which is a scroll, where part of a piece of music and the following words appear, I know that my Redeemer liveth. The lady was so smitten with the aptitude of the thought, that she called Lady P. who was gazing with transport on the monument of Shakespeare, and asked her her opinion—“It is very fine indeed, (said her Ladyship) but I think Handel would look much better with his water-piece.” / Related by Mrs. Robinson.[45]
My proficiency in music seemed to [173]
recommend me to the favour of the ladies.
Mr. Selby plays on the violin, Mr. Franklin on the bass-viol: we played
several trio’s and quartetto’s in the evening, and sung many songs, chiefly out
of Handel’s compositions; every one seemed to enjoy the harmony, and not to
have a wish beyond the present circle.[46]
[1] The Gentleman’s Magazine 53/1 (January–June 1783): 54.
[2] The Public Advertiser, Tuesday 4 March 1783, [4]; reprinted, Wednesday 5 March 1783, [4].
[3] Broadsheet: The Eighteenth Century microfilm collection.
[4] The Public Advertiser, Friday 7 March 1783, [4].
[5] The Public Advertiser, Saturday 8 March 1783, [2].
[6] The Public Advertiser, Monday 10 March 1783, [3].
[7] The Public Advertiser, Tuesday 11 March 1783, [4]; reprinted, Wednesday 12 March 1783, [4]; with date adjustment, Thursday 13 March 1783, [4].
[8] The Public Advertiser, Thursday 13 March 1783, [1].
[9] The Public Advertiser, Saturday 15 March 1783, [2].
[10] The Public Advertiser, Saturday 15 March 1783, [4].
5 [editorial footnote] Thomas Morell, Sacrae Theologiae Professor (D.D.), supplied libretti for eight of Handel’s oratorios. The place-name Boswell failed to get is almost certainly Tunbridge Wells, Handel’s favourite spa in his later years, when Morell was his lone collaborator. He retired there up to the summer before his death, both for his general health and for a pointless eye operation and continued treatment by Dr. John (“the Chevalier”) Taylor, the itinerant oculist who also attended King George II, and unfortunately, Johann Sebastian Bach.
[11] James Boswell, Boswell: The Applause of the Jury: 1782–1785, edited by Irma S. Lustig and Frederick A. Pottle (New York et al.: McGraw-Hill, 1981), 70–72; also in The Journal of James Boswell, 1781–1783 (“Private Papers of James Boswell from Malahide Castle, vol. 15”), edited by Geoffrey Scott and Frederick A. Pottle ([USA]: privately printed, 1932), 171.
[12] The Gentleman’s Magazine 53/1 (January–June 1783): 252.
[13] The Public Advertiser, Monday 17 March 1783, [3]; reprinted, Tuesday 18 March 1783, [3].
[14] The Public Advertiser, Thursday 20 March 1783, [2].
[15] The Public Advertiser, Thursday 20 March 1783, [3].
[16] The Public Advertiser, Thursday 20 March 1783, [4].
[17] The Public Advertiser, Friday 21 March 1783, [1].
[18] The Public Advertiser, Saturday 22 March 1783, [2–3].
[19] The Public Advertiser, Saturday 22 March 1783, [4].
[20] The Gentleman’s Magazine 53/1 (January–June 1783):192.
[21] The Public Advertiser, Saturday 22 March 1783, [4]; reprinted, Monday 24 March 1783, [4].
[22] The Public Advertiser, Tuesday 25 March 1783, [4].
[23] The Public Advertiser, Thursday 27 March 1783, [3].
[24] Broadsheet: The Eighteenth Century microfilm collection.
[25] The Public Advertiser, Saturday 29 March 1783, [2].
[26] The Public Advertiser, Saturday 29 March 1783, [4].
[27] The Public Advertiser, Monday 31 March 1783, [4]; reprinted, Tuesday 1 April 1783, [4].
[28] The Gentleman’s Magazine 53/1 (January–June 1783): 271.
[29] Broadsheet: The Eighteenth Century microfilm collection.
[30] The Public Advertiser, Thursday 3 April 1783, [4].
[31] The Public Advertiser, Saturday 5 April 1783, [3].
[32] The Public Advertiser, Tuesday 8 April 1783, [4].
[33] Broadsheet: The Eighteenth Century microfilm collection.
[34] The Public Advertiser, Thursday 10 April 1783, [4].
[35] The Public Advertiser, Monday 14 April 1783, [2].
[36] The Gentleman’s Magazine 53/1 (January–June 1783): 308.
[37] The Gentleman’s Magazine 53/1 (January–June 1783): 427.
[38] The Gentleman’s Magazine 53/1 (January–June 1783): 445.
[39] The Gentleman’s Magazine 53/2 (July–December 1783): 624.
[40] The Gentleman’s Magazine 53/2 (July–December 1783): 635–36.
[41] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, edited by Lady Llanover, second series, 3 vols. (London: Richard Bentley, 1862), 3:149–50; also in Mrs. Delany at Court and among the Wits, (London: Stanley Paul & Co., 1925), 272–73.
[42] The Critical Review 57 (January–June 1784; title page: “1783”): 399.
[43] The Letters of Dr Charles Burney. Volume I: 1751–1784, edited by Alvaro Ribeiro, SJ (Oxford: Clarendon Press, 1991), 393.
[44] William Jackson, Thirty Letters on Various Subjects, 2 vols. (London: T. Cadell and T. Evans, 1783), 1:49–55, 72.
[45] Hal’s Looking-Glass; Or, The R***l Exhibition. Presenting a Beautiful Display of the Sublime of Conversation. By the First Characters in Europe (London: George Babbler, [1783]), 91.
[46] [Clara Reeve], The Two Mentors: A Modern Story, 2 vols. (London: Charles Dilly, 1783), 1:172–73.