1791
Handel’s greatest work [Messiah] was again performed in St. James’s church [in Bristol] in April, 1791.[1]
May 10
|
By COMMAND of THEIR MAJESTIES, And under the Direction of The Earl of UXBRIDGE, HONORARY PRESIDENT of the ROYAL SOCIETY of MUSICIANS HONORARY VICE-PRESIDENTS, The Duke of LEEDS, The Earl of EXETER, The Earl of SANDWICH, Lord Viscount FITZWILLIAM, Lord GREY DE WILTON, JOAH BATES, Esq. Will be performed in WESTMINSTER ABBEY, on MONDAY the 23d of MAY, 1791. PART I. The Coronation Anthem, Zadock the Priest. Overture, Esther. * Song, O Lord whose mercies numberless—Saul. Chorus, Immortal Lord of earth and skies—Deborah. * Song, Fell rage and black despair—Saul. Duetto and Chorus, Sion now her head shall raise—Jud. Mac. Song, O magnify the Lord—Anthems. Chorus, Gird on thy sword—Saul. PART II. FIRST GRAND CONCERTO. FIRST PART of ISRAEL in EGYPT. PART III. SECOND PART of ISRAEL in EGYPT. On THURSDAY the 26th of MAY. A GRAND SELECTION. PART I. Overture and Dead March in Saul. The Funeral Anthem, part of it never performed in the Abbey. Glory to the Father—Jubilate. PART II. Fifth Grand Concerto. Song, Every day will I give thanks—Anthems. * Chorus, Your harps and cymbals sound—Saul. * Song, Come divine inspirer—Joseph. Chorus, The mighty power in whom we trust—Athalia. * Song, His mighty arm with sudden blow—Jephtha. Duet and Chorus, O never bow we down—Judas Macch. * Song, Let the righteous be glad. * Chorus, Praised be the Lord, Hallelujah—Anthems. PART III. Second Hautboy Concerto. * Recit. It must be so } * Song, Pour forth no more } Jephtha. Chorus, No more to Ammon’s God } * Song, Awful pleasing Being say—Joshua. Chorus, When his loud voice in thunder spoke—Jephtha. Recit. Ye sacred Priests } Song, Farewell ye limpid springs } Jephtha. * My heart is inditing—Anthems. On SATURDAY the 28th of MAY. PART I. * Overture to the Occasional Oratorio. * Song, Waft her angels—Jephtha. * Chorus, Fall’n is the foe } * Song, Father of Heaven } Judas Macch. * Air and Chorus, In sweetest harmony } * Song, Sin not, O King } Saul. Chorus, Fix’d in his everlasting seat—Sampson. PART II. OVERTURE, JOSEPH. FIRST PART of ISRAEL in EGYPT. PART III. SECOND PART of ISRAEL in EGYPT. On WEDNESDAY the 1st of JUNE. THE MESSIAH. The Band will be as numerous, and the whole
conducted in the same Grand Scale as on preceding years. The following is a List of the principal Vocal Performers, who have generously offered their assistance at the several Performances: Madamé MARA, Mrs. CROUCH, and Signora STORACE. Signor PACCHIEROTTI, and Signor DAVID, Mr. KELLY, Mr. SAVILLE, Mr[.] SALE, Mr. NIELD, Mr. KNYVETT, Mr. CHAMPNESS, Mr. MATTHEWS, Mr. RENNOLDSON, Mr. GOSS, Mr. BELLAMY, Jun. &c. &c. In the List of Instrumental Performers are, Messrs. Cramer, Mara, Sarjant, Ashley and Sons,
Baumgarten, J. and W. Park, Holmes, Hogg, Lyon, Parkinson, Florio, Potter,
Foster, Dance, Blake, Mountain, Soderini, Boyce, Kotswara, Messrs. Gresbachs,
Howard, Franki, Leffir, Flack, Shaw, Ely, Hackwood, C. Evans, Scola.
Waterhouse, Rowlings, Napier, Wagner, Shiled, Miller, Neibour, Patria,
Kellners, Cantelp, Leanders, Atbridge, &c. The Profits will be applied to the use of the Fund for Decayed Musicians, Sons of the Clergy, and the Middlesex Hospital. The Office at the St. Alban’s Tavern, St. Alban’s street, is open every day, from Ten in the Morning till Six in the Evening, for delivering Tickets, at One Guinea each; and at Messrs. Longman and Broderip’s Music Shops, in Cheapside and the Haymarket. N.B. The first rehearsal will be on Thursday the 19th, the second on Saturday the 21st, and the third on Tuesday the 24th of May. C Those marked thus (*) were never before performed in the Abbey. By Order of the Directors, JOHN ASHLEY.[2] |
The first performance before their MAJESTIES took place yesterday, and it was with regret that we observed that the Abbey was not so full as we have been wont to see it. The first day of the impeachment, no doubt, attracted some of the company who would otherwise have ben present; but we fear that the cold weather was a still greater prevention, for the galleries of the Abbey were most uncomfortably cold. About one thousand persons were present.
THEIR MAJESTIES, who are always punctual to the hour, came into their box soon after twelve, accompanied by the Princesses ROYAL, AUGUSTA, and ELIZABETH, and their several attendants. The King was dressed in scarlet and gold; the Queen in a green silk and silver tissue. The Princesses were all in striped silks; their head-dresses, as usual, very plain, with a small bunch of flowers in their caps. The King looked extremely well, and in high spirits.
Of the performance we shall speak in general terms, as it might appear invidious to speak of the merits of particular performers, where all were so superlatively excellent:--The grand chorus, perhaps the finest of all Handel’s compositions, of “He gave them hailstones for rain,” was twice repeated. The Abbey is peculiarly well adapted to this music, and the effect of it was beautifully sublime. The duet between Mrs. CROUCH and STORACE, of “The Lord is my strength and my salvation,” must likewise be mentioned with particular praise.
The familiar conversation between their MAJESTIES and the Duke of LEEDS was the best contradiction to the many idle reports that have been circulated of this Nobleman’s having retired from office in disgust.
The performance was over about 20 minutes after 3 o’clock.[3]
|
TO-MORROW. By COMMAND of THEIR MAJESTIES, And under the Direction of The Earl of UXBRIDGE, HONORARY PRESIDENT of the ROYAL SOCIETY of MUSICIANS HONORARY VICE-PRESIDENTS, The Duke of LEEDS, The Earl of EXETER, The Earl of SANDWICH, Lord Viscount FITZWILLIAM, Lord GREY DE WILTON, JOAH BATES, Esq. Will be performed in WESTMINSTER ABBEY, A GRAND SELECTION. PART I. Overture and Dead March in Saul. The Funeral Anthem, part of it never performed in the Abbey. Song, O come let us worship—Anthems. Glory to the Father—Jubilate. PART II. Fifth Grand Concerto. Song, Every day will I give thanks—Anthems. * Chorus, Your harps and cymbals sound—Solomon. * Song, Come divine inspirer—Joseph. Chorus, The mighty power in whom we trust—Athalia. * Song, His mighty arm with sudden blow—Jephtha. Duet and Chorus, O never bow we down—Judas Macch. * Song, Let the righteous be glad. * Chorus, Praised be the Lord, Hallelujah—Anthems. PART III. Second Hautboy Concerto. * Recit. It must be so * Song, Pour forth no more } Jephtha. Chorus, No more to Ammon’s God Recit. But who is he } * Song, Awful pleasing Being say } Joshua. Chorus, When his loud voice in thunder spoke—Jephtha. Recit. Ye sacred Priests } Song, Farewell ye limpid springs } Jephtha. * My heart is inditing—Anthems. C Those marked thus (*) were never before performed in the Abbey. By Order of the Directors JOHN ASHLEY.[4] |
[Horace Walpole to Mary Berry, Thursday 26 May 1791]
{...} one of the empress of fashion, the Duchess of Gordon, uses fifteen or sixteen hours of her four and twenty. I heard her journal of last Monday—She first went to Handel’s music in the Abbey; she then clambered over the benches and went to Hasting’s trial in the Hall—after dinner to the play, then to Lady Lucan’s assembly; after that to Ranelagh, and returned to Mrs Hobart’s faro table; gave a ball herself in the [274] evening of that morning into which she must have got a good way, and set out for Scotland the next day. Hercules could not have achieved a quarter of her labours in the same space of time.[5]
When Richter introduced among us this style of Music [symphonic], it was justly admired, being the first instance of attention to the different character of Instruments; a nicety unknown to Handel, or to any of his predecessors. Richter was very successfully followed by Abel, and many others. But later Composers, to be grand and original, have poured in such floods of nonsense, under the sublime idea of being inspired, that the present SYMPHONY bears the same relation to good Music, as the ravings of a Bedlamite do to sober sense. [16]
The performance of CHORUSSES is as perfect as that of Songs is deficient. The real Notes are heard without disguise; and, though the Composer is lost in the Song, he exists in the Chorus. [23]
The Performance at the ABBEY is so peculiar, that I shall keep it distinct by itself.
The idea of an Annual Exhibition of a great Composer’s Works is noble, and worthy of the Patronage with which it is protected; but, like most other things, it has it’s [sic] bright and it’s [sic] dark side. The assembling the largest and best Band in the world to perform some of the finest Music ever composed, must be considered as something sublime; but the employing such an army of Musicians in a bad selection of pieces, as if frequently the case, is making a poor use of such a glorious display of voices and instruments. [27]
It should be remembered, that as Homer and Milton have written many hundred verses beneath notice, so HANDEL has composed great numbers of pieces unworthy of his genius;, but, as there is no want of those which are excellent, the best things only should be selected.
There is a fashion in Music as well as in Dress; and, though the rich parliamentary robes of a Peers are above fashion, yet we expect, in common cloaths, the cut of the times. Now, there is much of Handel’s Music that is not grand enough to be in the upper class; nor good enough to engage the attention of a Connoisseur; nor fashionable enough to be performed before an Audience, who are at least knowing in modern style. [28] These pieces should be suffered to sleep quietly in oblivion; for, however we may covet variety, no one chuses to change for the worse.
With all my admiration of the Abbey Music, I think it has done a great deal of harm, and will do much more. The pieces which are performed there, have a mimic performance in almost every great town in the kingdom, which contributes to establish an exclusive taste for Handel’s Music only. Any thing that helps to fix art to a certain point is destructive to farther improvement. Of this we have the strongest instance in a neighbouring country.
In the last century, Lulli was thought as highly of in France as Handel is in England. [29] Little else but his Music was performed for many years. While the rest of the world was in a state of improvement, the French stood still; until they were left so far behind, that, perhaps, they may never get up their lost way, and be in the same rank with the other nations of Europe. This instance is the more remarkable, because, in the other Arts and Sciences, France has oftener been a leader than a follower.
The harm which Lulli did in France, Handel has done, and will continue to do, in England. I just observed, that the Abbey Performance contributed to establish a taste for Handel, to the exclusion of the works of other masters. Now, this is another thing to be much lamented. [30]
For ought we know, there are numbers of Composers in England who may be very worthy of notice, if they had the advantage of a public exhibition. These are prevented from shewing their abilities, by the idea that Handel alone can compose Oratorios, Anthems, &c. or that no one else can equal, much less excel, what he has done in that class of Music. But, by this prepossession, the public may be cheated out of much pleasure, and all possible improvement precluded.
Let us suppose, that such an exclusive taste had formerly prevailed for the Composers of the age of Charles the First, we then should have lost Purcel; and, if no Music but Purcel’s could have been hears in the reign of George the First, Handel himself would have continued unknown. [31]
To say that this principle is illiberal, and unworthy of the age or country in which we live, may be considered as intemperate declamation. That it directly impedes the progress of Art and Science, has been already remarked: but, if the public would consider that their entertainment and pleasure are connected with successful novelty, they would surely give all attempts a fair trial; for one new piece out of fifty, being approved, is adding something to the stock of good Music.
The first year of the Abbey Music was a Commemoration of Handel, and ought to consist of his works only; but it might, at this time, without any impropriety which I can perceive, be open for the works of other [32] Composers. Suppose that, each day, one new Instrumental Piece, and one for Voices, were permitted to be performed? Though I have not the least doubt, but that much good Music would, at times, be given to the public; yet, as my opinion may not pass for proof, the experiment might be tried for a year or two. In case of failure, the loss would not be great; but, if it should succeed, the gain might be immense.
And here let me just observe, the great advantage PAINTING has over MUSIC, in the ease by which it’s [sic] Professors may offer their works to the public attention.
The EXHIBITION is open to all; besides which, every Painter has an Exhibition at his [33] own House. On the contrary, every public Musical Performance, in London, may be said, in most respects, to be upon an exclusive principle.[6]
Observations on the present State of Music in London. By William Jackson of Exeter. 8vo. 1s. Harrison. 1791.
Our author’s object is the general state of music in the metropolis, its excellencies and defects. ‘Music, and not musicians, is his subject.’ His observations appear to be dictated by professional knowledge as well as a refined and accurate taste. He laments with equal force and justice the loss of melody in modern compositions, adding some excellent remarks on the defects of vocal performances. We shall select, as a specimen, what he has said of the music at the Abbey, as it is a subject more generally understood, and consequently more interesting.
‘There is a fashion in music as well as in dress; and, though the rich parliamentary robes of a peer are above fashion, yet we expect, in common cloaths, the cut of the times. Now, there is much of Handel’s music that is not grand enough to be in the upper class; nor good enough to engage the attention of a connoisseur; nor fashionable enough to be performed before an audience, who are at least knowing in modern style. These pieces should be suffered to sleep quietly in oblivion; for, however we may cover variety, no one chuses to change for the worse.
‘With all my admiration of the Abbey music, I think it has done a great deal of harm, and will do much more. The pieces which are performed there, have a mimic performance in almost every great town in the kingdom which contributes to establish an exclusive taste for Handel’s music only. Any thing that helps to fix art to a certain point is destructive to further improvement.’
------
‘For ought we know, there are numbers of composers in England who may be very worthy of notice, if they had the advantage of a public exhibition. These are prevented from shewing their abilities, by the idea that Handel alone can compose Oratorios, Anthems, &c. or that no one else can equal, much less excel, what he has done in that class of music. But, by this prepossession, the public may be cheated out of much pleasure, and all possible improvement precluded.
‘Let us suppose, that such an exclusive taste had formerly prevailed for the composers of the taste of Charles the First, we then should have lost Purcel; and, if no music but Purcel’s could have been heard in the reign of George the First, Handel himself would have continued unknown.’
With these observations we entirely coincide, and can venture to recommend this little work to the attention of the profession, and musical readers in general.[7]
A Poem to the Memory of George Frederick Handel. 4to. 1s. 6d. Faulder. 1787.
The most remarkable circumstance in this performance is its price: eighteen pence for a poem of eleven pages; containing about 140 lines, is rather more than the generality of readers will allow to be reasonable, though a medallion print of Handel is prefixed: for its beauties, and indeed its faults, are not of a very superior kind. The general tenor of sentiment in the following lines will more than excuse any little defects:
‘Ere long, the heart, that heaves this sigh to thee,
Shall beat no more! ere long, on this fond lay
Which mourns at Handel’s tomb, insulting Time
Shall strew his cankering rust. Thy strain, perchance,
Thy sacred strain shall the hoar warrior spare;
For sounds like thine, at Nature’s early birth,
Arous’d him slumbering on the dead profound
Of dusky chaos; by the golden harps
Of choral angels summoned to his race;
And sounds like thine, when Nature is no more,
Shall call him weary from the lengthen’d toils
Of twice ten thousand years.—O would his hand
Yet spare some portion of this vital flame,
The trembling Muse, that now faint effort makes
On young and artless wing, should bear thy praise
Sublime, above the mortal bounds of earth,
With heavenly fire relume her feeble ray,
And, taught by Seraphs, frame her song for thee.
We are informed, in the concluding page, that this poem was written in the year 1760 by Dr. Langhorne.[8]
An Ode on the late celebrated Handel, on his playing on the Organ. Composed by Daniel Prat, M. A. formerly Rector of Harrietsham, Kent; and formerly Chaplain to his Majesty’s Houshold at Kensington. Printed partly on Occasion of the grand Musical Festival at Canterbury, 1791, being fixed for the 16th, 17th, and 18th of this Month (August), for three Morning Performances in the Sermon-House, (by permission of the Reverend the Dean and Chapter), and two Evening Performances in the Theatre, and for the Benefit of the Editors, the Rev. J. Prat, Vicar of Monkton and Birchington. 4to. 1s. Simmons, Canterbury. 1791.
In this performance on the same subject, the editor makes the most remarkable appearance. The title-page, and that at the conclusion, are equally singular….In the last place, we are told that “there are to be disposed of near one hundred original manuscript discourses by the author of the Ode,”…Mr. J. Prat, we think, must know, that should these discourses find a purchaser, it is infinitely more probable that they will again be delivered from the pulpit in the Queen’s Chapel, than from a printing-press. Of Mr. Daniel Prat’s predicating abilities, we can, however, say nothing. Of his poetical talents we, on the whole, think favourably. He appears to feel, and express his sentiment with boldness and animation. The supposed effect of Handel’s organ on an uninformed savage is happily conceived. He awhile “devours the sounds in fix’d amazement, entranc’d, mute, and immoveable:” at length,
‘His wakening soul begins to guess
Some God within that frame must dwell,
Now full convinc’d that nothing less
Cou’d speak so sweet, so wondrous well.’[9]
[Foundling Hospital]
In the chapel is an elegant altar-piece by an Italian painter of eminence, and an excellent organ given by Mr. Handel, besides benefactions of other artists. Here divine service is performed every Sunday, to a polite audience, whose contributions are considerable.
[82]
[Vauxhall Gardens]
and, receiving great encouragement, he set up an organ in the orchestra, and in a conspicuous part of the garden erected a fine statue of Mr. Handel, the work of Mr. Roubiliac.
[246]
Next is a semi-circle of pavilions, with a temple and dome at each end, and the space in front decorated with trees. In the middle, on a pedestal, is a beautiful marble statue of Handel, in the character of Orpheus playing on his lyre, by Roubiliac. This was the first great display of that sculptor’s abilities, at least for the public eye; and was approved of by Mr. Pope. A very rare instance of a [255] statue to living merit! It is not so large as life, though very like the original; for there was no block of marble large enough in England, at that time, for the purpose, as Pope somewhere expresses it, to
“Hew off the marble, and draw out the man.’[’]
[254–55]
Returning to the spot where once stood the statue of Handel, we may, by looking up the garden, behold a noble vista, which is called the grand south walk, of the same size as that seen at our first entrance, and running parallel with it.
[256]
[Westminster Abbey]
A monument to George Frederick Handell, an eminent musician. This is Roubiliac’s last performance. The figure is beautiful, and the face has a great likeness of Mr. Handell. His left arm rests upon a group of musical instruments. Over his head, in the clouds, is an angel playing on a harp; to whose harmony he appears to be very attentive. “I know that my Redeemer liveth!” in the celebrated Messiah, is placed before him. Died 1759.
[270][10]
|
[XXXVIII.] […] Oh! what a change hath now ensued! How dull, inanimate, and rude! With us, no Fauns, or Satyrs dance, No Gods upon our hills advance. No Nereids on our coasts appear, But cockle-scrapers dabble there. Our cattle press the fountain brim, But not a Naiad moves a limb. Tho Handel’s music may surprise, The devil a single barn will rise. [130] Our rocks
are fixt, our trees are local, And Mara cannot make them vocal. To adorn our mistress, we presume Haply to borrow Hebe’s bloom; But Venus, and her son squire Cupid Are either dead, or desperate stupid. Our Dians are no longer chaste, Nay, oft are tumid in the waiste. Euphrosyne is turn’d to stone, Or lives in Milton’s verse alone. Flora and Ops, and Proserpine Are banisht with the Sisters Nine. While Pallas is removed as far As Saturn’s ring, or Herschel’s star. […][11] |
Handell, proof Cipriani [l.]0 10 6[12]
[1] John Latimer, The Annals of Bristol in the Eighteenth Century (Bristol: the author, 1893; reprinted, Bath: Kingsmead Reprints, 1970), 480.
[2] The Times, Tuesday 10 May 1791, [1].
[3] The Times, Tuesday 24 May 1791, [no pagination].
[4] The Times, Wednesday 25 May 1791, [1].
[5] Horace Walpole’s Correspondence with Mary and Agnes Berry, and Cecilia Seton I (“The Yale Edition of Horace Walpole’s Correspondence, Vol. 11”), edited by W. S. Lewis and A. Dayle Wallace (New Haven: Yale University Press / London: Humphrey Milford, Oxford University Press, 1944), 273–74.
[6] William Jackson, Observations on the Present State of Music, in London (London: Harrison and Co., 1791), 26–33.
[7] The Critical Review 2 (series 2) (May–August 1791): 320–21.
[8] The Critical Review 3 (series 2) (September–December 1791): 470–71.
[9] The Critical Review 3 (series 2) (September–December 1791): 471–72.
[10] Kearsleys’ Stranger’s Guide, or Companion through London and Westminster, and the Country Round (London: C. and G. Kearsley, [1791]).
[11] [Hugh Downman], Poems to Thespia. To which are added, Sonnets, &c. (Exeter: R. Trewman, 1791), 129–30.
[12] William Richardson, Richardson’s Catalogue. A Large and Curious Collection of English and Foreign Portraits, Topography and Historical Prints, by Ancient and Modern Masters (London: [?], 1791), 96.