1746
Jan 20
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[Charles Jennens in Gopsall to Edward Holdsworth] Dear Sir, Tis impossible for such a Wretch as I am, surrounded with so many circumstances of inconvenience, which stare me in the face which way soever I take my prospect, to determine with any certainty upon any Action of my Life. I can only say that my intention is at present, as it has been some time, not to come to Town till towards the end of March or the beginning of April. As well as I love Mr. Handel’s Musick, I think Health ought to be preferr’d to Pleasure; besides that pleasure is often the occasion of Pain, this in particular has occasion’d me so much uneasiness, that I am the less eager in pursuit of it: & if I could take Horace’s advice, nil admirari, I am satisfy’d I should be much happier for it. Yet I will not be positive that I shall not come up a Month sooner. My Sister talks of being in Town about [1v] the middle or end of February: possibly by that time I may have enough of this melancholy way of living, & be glad to change my situation at any rate, harasd my Health one way to avoid the destraction of it another: for the only choice left me is of lesser Evils. […][1] |
We hear, that Mr. Handel proposed to exhibit some Musical Entertainments on Wednesdays or Fridays the ensuing Lent, with Intent to make good to the Subscribers (that favoured him last Season) the Number of Performances he was not then able to complete, in order thereto he is preparing a New Occasional Oratorio, which is design’d to be perform’d at the Theatre-Royal in Covent-Garden.[2]
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[Charles Jennens in Gopsall to Edward Holdsworth] The Oratorio, as you call it,
contrary to custom, raises no inclination in me to hear it. I am weary of
nonsense & impertinence; & by the Account Ld. Guernsey
gives me of this Piece I am to expect nothing else. ’Tis a triumph for a
Victory not yet gain’d, & if the Duke does not make hast, it
may not be gain’d at the time of performance. ’Tis an
inconceivable jumble of Milton & Spencer, a Chaos extracted from Order by
the most absurd of all Blockheads, who like the Devil takes delight in defacing
the Beauties of Creation. The difference is, that one does it from Malice,
the other [Hamilton] from pure Stupidity. I would have given you a Specimen
of this [1v] Author’s incomprehensible way of writing, but that I am
told the Letter-Carrier must set out earlier then [sic] usual, being
oblig’d to go to Atherstone on foot on account of the badness of the Road,
spoil’d from bad to worse by the Snow & Frost. […] N.B. Semele was call’d an Oratorio by many: but says the great Critick Thomas Rouneius, lege meo periculo Bawdatorio.[3] |
We hear, that Mr. Handel proposed
to exhibit some Musical Entertainments on Wednesdays or Fridays the ensuing Lent,
with Intent to make good to the Subscribers (that favoured him last Season) the
Number of Performances he was not then able to compleat; in order thereto he is
preparing a New Occasional Oratorio, which is design’d to be perform’d at the
Theatre-Royal in Covent Garden. G. A. [=General Advertiser] If we must have public Entertainments at this season, we hope the Merit
of the Composers will be no Objection to them.
If we cannot maintain the Virtue of Britons, it is hoped, we shall at
least shew that we have the Taste of Italians.[4]
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COVENT-GARDEN. AT the Theatre-Royal in Covent Garde[n] this Day, will be perform’d A New Occasional ORATORIO. With a New CONCERTO on the ORGAN. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be deliver’d this Day at the Office at Covent-Garden Theatre, at Half a Guinea each. First Gallery 5 s. Second Gallery 3 s. 6 d. Galleries to be open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock. *** The Subscribers, who favour’d Mr Handel last Season with their Subscription, are desired to send to the Office at Covent-Garden Theatre, on the Day of Performance, where Two Tickets shall be deliver’d to each Gratis, in Order to make good the Number of Performances subscrib’d to last Season.[5] |
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This Day is publish’d, Price 1 s. A New Occasional ORATORIO[.] As it is perform’d at the Theatre-Royal in Covent-Garden. The Words taken from Milton, Spenser, &c. And set to Musick by Mr. HANDEL. Printed for J. and R. Tonson and S. Draper in the Strand.[6] |
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COVENT-GARDEN. AT the Theatre-Royal in Covent-Garden, this Day, will be perform’d A New Occasional ORATORIO. With a New CONCERTO on the ORGAN. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be deliver’d this Day at the Office at Covent-Garden Theatre, at Half a Guinea each. First Gallery 5 s. Second Gallery 3 s. 6 d. Galleries to be open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock. *** The Subscribers, who favour’d Mr Handel last Season with their Subscription, are desired to send to the Office at Covent-Garden Theatre, this Day, where Two Tickets shall be deliver’d to each Gratis, in Order to make good the Number of Performances subscrib’d to last Season.[7] |
They write from Covent-Garden, that on Wednesday last [Feb. 19] there was at the Oratorio a great deal of excellent Music, and no Company; and from the Haymarket on Saturday we are advised, that there was a great deal of Company there present, and no Music.[8]
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[Charles Jennens in Gopsall to Edward Holdsworth] I can’t be so void of Curiosity as you are with regard to the thing call’d an Oratorio. Every thing that has been united with Handel’s Composition becomes sacred [1v] by such a union in my eyes; unless it be profane in it’s own nature, like Semele. As for a little Nonsense, if that be all, I generally endeavour to alter it to common Sense; & for Poetry, how little soever there may be in the words, I always find it amply supply’d by his Musick. So that I am oblig’d to you for sending me the Words of this new performance sooner than I should otherwise have seen ’em: for I had taken care not to be without ’em, by desiring my Friend Sr. Wyndham Knatchbull Wyndham (I suppose that is his name by this time) to reserve two copies for me. If you wonder at all this, give me leave to tell you, that if I understood Virgil as well as you do, or you Handel as well as I, we should both have a much larger field for admiration than we have at present. But considering consequences, perhaps ’tis much better as it is.[9] |
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COVENT-GARDEN. Being the Last Time of Performing this Season. AT the Theatre-Royal in Covent-Garden, this Day, will be perform’d A New Occasional ORATORIO. With a New CONCERTO on the ORGAN. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be deliver’d this Day at the Office at Covent-Garden Theatre, at Half a Guinea each. First Gallery 5 s. Second Gallery 3 s. 6 d. Galleries to be open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock. *** The Subscribers, who favour’d Mr Handel last Season with their Subscription, are desired to send to the Office at Covent-Garden Theatre, this Day, where Two Tickets shall be deliver’d to each Gratis, in Order to make good the Number of Performances subscrib’d to last Season.[10] |
I Was pleased the other Night with the ingenious Confession of a Gentleman, who sat by me at the Oratorio [Occasional Oratorio]; who, after having expressed a Dislike to the Composition, and declared that the Opera was in his Opinion greatly its Superior, very shortly assured us all, that he had not the least Taste or Judgment in Music.
It might be wished, that several pretended Connoisseurs in other Sciences had the Grace to follow so good an Example: But, on the contrary, the more ignorant and incapable these are, the more self-sufficient we generally find them; the worst Judges, in Cases of this Nature, being the most rigid Asserters of their own Jurisdiction.
This is a dreadful Discouragement to all Men of true Genius, who are often contented to bury their Talents under a Bushel, rather than by producing them in Public, to trust the Decision of their Merit to a Tribunal, where Numbers, Noise and Power, too often carry the Question against Sense and Reason.[11]
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[Charles Jennens in Gopsall to Edward Holdsworth] You are mistaken as to the
Occasional Oratorio, which is most of it transcrib’d from Milton
& Spencer, but chiefly from Milton, who in his Version of some of the
Psalms wrote so like Sternhold & Hopkins that there is not a pin to
choose betwixt ’em. But there are people in the world who fancy every thing
excellent which has Milton’s name to it. I believe Hamilton has done little
more than tack the passages together, which he has done with his usual
judgement & cook’d up an Oratorio of Shreds & patches. [2v]
There is perhaps but one piece of Nonsense in all Spenser’s Works, & that
Hamilton has pick’d out for his Oratorio: O who shall pour into my Swollen
Eyes A Sea of Tears—a brazen Voice— And iron Sides? or An iron
Frame as Hamilton has it. I thought he had left out Something necessary
to the connection, having observ’d some instances of the same kind
in his Samson; but to my great surprize I found it as I give it [to] you in
Spenser’s Tears of the Muses. How far this may be defended by a Figure I can’t
say, but at present I have no name for it but Nonsense. I think Mr.
Addison somewhere makes Figurative ways of speaking to be originally nothing
more than slips (alias blunders) of great Authors defended afterwards by
Criticks & establish’d under specious names. I do not remember
a precedent for this of Spencer’s, nor can I assign it it’s proper
class. Perhaps you can help me out: but <missing folio>[12] |
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The BANQUET. WITH our Rosy Chaplets crown’d Let the sprightly Bowl go round. Let’s be debonnaire and gay, Brecknock gives the Feast to Day Barbarini’s to be there, Dancing to an Ideot Air. But her Minuet she denies, Lest our Hearts should curse our Eyes. Handle strikes the Genial String, Monticelli is to sing. [51] Come, my Monticelli, come, Sweet thy Breath as Saba’s Gum: But thy Voice more sweet and clear When it sings “non posso dire.” Gold-hair’d Cupid will be there, And young Bacchus ever fair. Venus too, he meant t’ invite, But mistook her in the Night. But his Error is our Gain, For he ask’d his Sally Lane.[13] |
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[Horace Walpole to Horace Mann] Arlington Street, March 28, 1746. [... 234 ...] The Countess [Orford], whose return you seem so much to dread, has entertained the town with an excellent vulgarism. She happened one night at the opera to sit by Peggy Banks, a celebrated beauty, and asked her several questions about the singers and dancers, which the other naturally answered, as one woman of fashion answers another. The next morning Sir Bouchier Wray sent Miss Banks an opera ticket, and my Lady sent her a card, to thank her for her civilities to her the night before, and that she intended to wait on her very soon. Do but think of Sir B. Wray’s paying a woman of fashion for being civil to my Lady O[rford]! Sure no apothecary’s wife in a market town could know less of the world than these two people! The operas flourish more than in any latter years; the composer is Gluck, a German: he is to have a benefit, at which he is to play on a set of drinking glasses, which he modulates with water: I think I have heard you speak of having seen some such thing.[14] |
On Tuesday last was held at St. Paul’s Cathedral, the Rehearsal of the Musick for the Feast of the Sons of the Clergy, when Mr. Handel’s new Te Deum, Jubilate, Coronation Anthems, and a new Anthem by Dr. Green, were vocally and instrumentally perform’d: There was a numerous and splendid Appearance of the Nobility and Gentry, and the Collection amounted to 363 l. which is upwards of 30 l. more than was collected last Year.[15]
Apr 22
[Thomas Harris in London to James Harris, 22 April 1746]
[P.S.] I saw Charles Jennens to day who thanks you much for the music you sent him.[16]
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[Mrs. Delany to Mrs. Dewes, 26 April 1746] [...] On Thursday [24 April] I went to the music for the benefit of the Hospital of Incurables, which was crowded — the piece performed was Alexander’s Feast; and yesterday went to see the Beggars’ Opera. [...][17] |
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This Day is published,
Price 6
d. ORPHEUS and HECATE. An ODE. Inscribed to the Patroness
of the Italian Opera. Tantum Odiis, Iraeque
dabat
------ ------- illa
Sorores Nocte vocat genitis ---- Met. Lib. 4 Printed for W. Webb near St. Paul’s.[18] |
Sunday his Majesty, the Prince and
Princess of Wales, and Princess Amelia, went to the Chapel Royal at St.
James’s, and heard Te Deum Sung for our Successes over the Rebels; also a fine
new Anthem composed on this Occasion.[19]
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THE SEQUEL, &c. I. YE Whigs sing Te Deum, ye Jacobites fret; There’s excellent News in the London Gazette: That stripling Invader, the young Chevalier, Is gone back to the North with a Flea in his Ear. [...][20] |
At RUCKHOLT HOUSE in Essex, this Day, June 9, will be a grand Concert of Vocal and Instrumental Musick, the Vocal Parts by Mr. Lowe. A Concerto on the Harpsicord by Mr. Worgan[.] Several favourite Airs on the Violoncello by Mr. Oswald; a Solo and Concerto on the German Flute by Mr. Lawson; a Concerto on the Bassoon by Mr. Hebden; a Concerto on the Hautboy by Mr. Eiffert. To conclude in the Hall with a new Song on the Victory over the Rebels by his Royal Highness the Duke of Cumberland, set by Mr. Handel, and sung by Mr. Lowe and Miss Reeve. Plenty of Carp, Tench, Perch, Crusors, &c. and the Best French Wines, particularly Champaign, now in the greatest Perfection. The Musick to begin in the Morning at half an Hour after 10 [o’]Clock.[21]
Aug
2
[Essay “On GOOD SENSE.”]
And thus Good Sense is distinguish’d both from the lowest and the highest Characters of the Human Species: it must [364] therefore belong to a middle Rank of Men. But in Understandings, even of a middle Rank, it is very far from being constantly found. We observe many persons in different Arts and Professions of Life, whose Talents are really considerable in their own Way, who yet are neither great Geniuses, nor Men of Good Sense. Many able Mathematicians, not to be rank’d with Newton or Barrow; many Masters of Music, much inferior to Handel or Corelli; in short, many Professors of Arts and Sciences, neither of the highest or the lowest Order, are grievously deficient in the right Conduct of their private Affairs, and consequently far from being intitled to the Character of Good Sense.[22]
CUPER’s-GARDENS.
On the safe Return of his Royal Highness the Duke of CUMBERLAND, our ever-renowned Deliverer, amongst several favourite Pieces of Musick, will be performed Variety of Songs and grand Chorus’s, out of Mr. Handel’s late celebrated Oratorio’s; and on this happy Occasion great Additions will be in the Fireworks, particularly two Cohorns, which will make a delightful Appearance, bursting in the Air, in the most beautiful Colours; the whole will be perform’d this Evening. —— N. B. The Bowling-Greens are in exceeding good Order.[23]
CUPER’s-GARDENS.
On the safe Return of his Royal Highness the Duke of CUMBERLAND, our ever-renowned Deliverer, amongst several favourite Pieces of Musick, will be performed Variety of Songs and grand Chorus’s, out of Mr. Handel’s late celebrated Oratorio’s; the Song Part to be perform’d on the Hautboy; and on this happy Occasion great Additions are made in the Fireworks, particularly two Cohorns, which last Night gave a general Satisfaction to a numerous Audience, amongst whom was incog. a most eminent Person. The whole will be perform’d this Evening. N. B. The Bowling-Greens are in exceeding good Order.[24]
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[The Rev. John Nixon to Miss {Mary] Bacon] [“Towcester, Nov. 12th, 1746.”] [...] our evening’s ride landed us at Matlock, [...] The chief novelty we struck out was (a pleasure which the weather would not permit us to enjoy last season) the boating up the Derwent in the afternoons, and in our return drinking tea under some natural arbour formed by trees hanging down from the wild rocks on each side the river. On these occasions we were attended by music, which, if not quite equal to Mr. Handel’s Water-music, yet was so entirely suited to the romantic genius and whole turn of the place, that it had an effect which defies the power of description. You will smile after this, when I tell you, that it was our boat-man playing upon his fiddle, and his little boy accompanying him with his drum. This concert of instrumental music was intermixed with some of the vocal kind, several ladies of our company obliging us with singing in a very agreeable manner. In short, the whole enter- tainment, taken together, was in so high a goût, that it would be unjust to compare it to anything less than Cleopatra’s tour upon the river Cydnus to meet her Lord M. Anthony, of which Dryden (I think) gives so pompous a description in his All for Love, &c.[25] |
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[“A Modern VISIT.”] [...] Have you heard of the News that’s just come from Spain? They say the Queen’s dead;—and ’tis certain the King Will march back to his Convent;—and that till the Spring The Camp will not form.—I some way feel very odd— Do you know for a Truth that our King goes abroad?— And so Mrs. Cibber’s return’d to the Stage!— I wish the Directors wou’d Handel engage.— I’m quite in a Rapture with sweet Montichelli:— I wonder what’s come of poor, dear Farinelli!— He ne’er will return, I very much fear. Oh! pray have you ever seen Garrick play here? Pray give me Permission to mend up your Fire.—— [...][26] |
The Establishment of their Royal Highnesses, the Princess Amelia and the Princess Carolina.
[… 97 ...]
Musick-master,
Mr. Handel, Sal. 200 l. a Y[ear].[27]
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Come wildly rove thro’ desart [sic] dales, To listen how lone nightingales In liquid lays complain; Adieu the tender, thrilling note, That pants in MONTICELLI’s throat, And HANDEL’s stronger strain.[28] |
The reader may have some notion of what a Grecian play was, if ever he heard the famous Italian Senesino, in recitative music, pronounce any of Mr. Handel’s finest operas; for queen Jocasta had exactly his tone and accent. But the voice of Oedipus was fuller and more masculine:[29]
[...] we have indeed fewer Stars than we had just now, yet methinks our Hemisphere shines not the less bright.——That is, because too many obstruct each other’s Influence, reply’d Lucillius; it makes however a Confusion of Light, which is no disagreeable to the Eye: Therefore, I think the Comparison would be more just to say, The Musick of our Spheres has been for a good while interrupted, and Discord usurp’d its Place.——Not at all, cry’d Bellimante, for to make your’s good, we must all hold our Tongues at least if it be true, as the Philosophers tell us, That the Musick of the Spheres consists in a profound Silence.—That is a Truth which I believe no Body disputes, Madam, said Aristo; but then we must lose the Faculty of Speech ourselves, before we can be able to taste it: When we become all Soul, and every Sense absorb’d in Contemplation, Stilness [sic] will be Harmony more ravishing than Handel’s Notes are to his fair Admirers.[30]
late 1746 or 1747
Mémoires d’un Musicien qui
s’est instruit dans toutes les Ecoles de l’Europe; où l’on trouvera des
Observations historiques & critiques sur la Musique Italienne &
Françoise, sur l’Opera des deux Nations, & sur Zoroastre, Opera
François, représenté à Paris le 5. Décembre 1749. & repris
par l’Academie Roiale de Musique le 20. Janvier 1756. avec trois
Actes nouveaux.
[...
45 ...]
Pendant mon sejour à Londres je liai
une connoissance assés étroite avec le fameux Hendel. Il avoit la direction de l’Opera, le suffrage
de l’Angleterre, & [46] l’estime de l’Europe. Je ne me suis montré dans mes différens
voiages que comme un amateur zelé des beaux Arts, & sur-tout de la Musique.
Ce célebre Musicien me reçut en
cette qualité, & m’engagea par son bon accueil à le voir autant qu’il me
fut possible.
Quatre mots feront le resultat de
plusieurs conversations que nous eumes sur l’Art. Nous étions dans sa biblioteque; elle étoit
peu considérable; mais choisie dans tous les genres. La partie la plus rare & la plus utile
pour son Maitre, étoit une Collection en bon ordre de tous les Opera
représentés en Italie, écrits à la main.
A la tête du premier de chacun des Compositeurs, on lisoit les traits
les plus marqués de sa vie, l’école dont il étoit sorti, le nombre de ses
Ouvrages, le tems, & le lieu de leurs représentations, leurs succès, &
une appréciation juste de leur merite.
Plus loin & dans un des angles, on voioit des tablettes à moitié
vuides. J’y trouvai tous les Opera de Lully
&
ceux de Campra;
à côté étoient ceux de Rameau,
à leur suite ses piéces de Clavecin en bon ordre & ses differens Traités
sur [47] l’Art. Un peu plus loin,
& après un vuide assez grand, on voioit les Simphonies de Le
Clair,
& son Opera de Scylla. Je ne le connoissois pas, je le parcourus,
& je vis les indices du plus grand talent, qui n’auroit eu besoin pour
arriver peut-être aux plus brillans effets, que d’un peu d’encouragement. Je demandai pourquoi ce vuide que j’avois
d’abord remarqué. J’attens, me dit le
bon homme Hendel,
en souriant, pour le bien remplir, les beaux motets de votre Mondonville.
Mlle. Sallé,
Danseuse Françoise, qui sçavoit unir les moeurs les plus respectables aux plus
rares talens, faisoit assez admirer sur le Théatre de Londres des graces que
les Anglois n’avoient pas encore connues, & qui ne naissent, & ne
peuvent s’acquerir qu’en France. Je l’y
avois connue, elle parut fort aise de me voir, & je fus témoin du sacrifice
qu’elle n’hésita point de faire de plus de mille Louis qui auroient dû lui
revenir de son engagement avec Hendel,
quoique sollicitée par les plus grands Seigneurs de Londre de le rompre, pour
en prendre un nouveau avec un [48] Entrepreneur qu’un caprice leur
faisoit esperer plus agréable.[31]
[...]
[translation
by David Charlton and Sarah Hibberd]
During my stay in London I struck up quite a close
acquaintance with the famous Handel. He
had the directorship of the Opera, the approbation of all England and the
esteem of Europe. I presented myself on my various travels merely as an amateur
enthusiast of the fine arts, and above all of music. This celebrated musician
received me in this quality and encouraged me, by making me welcome, to see
him as often as I could. A brief report will furnish the result of the several
conversations that we had on the art of music. We were in his library; it was
hardly extensive, but carefully chosen in every genre. The
rarest and most useful part for its possessor was a well-ordered manuscript
collection of every opera performed in Italy. Heading the first opera by each
composer was an account of the most notable features of his life, the school in
which he was trained, the number of his works, the period and place of their
performance, their degree of success, and a fair appreciation of their merits.
Further away, in one of the corners, could be seen shelves which were half
empty. There I found all Lully’s operas, and those of Campra. Next to them were
those of Rameau, and after them his harpsichord pieces, kept in good order, and
his various treatises on the art. A little further on, after quite a large
space, one could see Le Clair’s symphonies and his opera Scylla
[et
Glaucus].
I did not know this work, but looked through it and saw signs of the greatest
talent, which would have required only a little encouragement, perhaps, to
attain the most brilliant effects. I asked why the space had been left. ‘In
order to fill it up,’ replied good Handel smiling, ‘I am waiting for the beautiful
motets by your Mondonville.’
Mlle Sallé, the French dancers in
whom the most respectable morals were united with the rarest talents, caused
admiration on the London stage for graceful qualities which the English had not
hitherto seen, and which are created and acquired only in France. I had known
her there, she seemed most content to receive me, and I was witness to her
unhesitating sacrifice of over a thousand louis which
ought to have accrued from her engagement with Handel, even though she was
solicited by the greatest lords in London to break it off, in order that she
might form a new one with a certain entrepreneur, which a caprice led them to
speculate would be more desirable.[32]
[1]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 2,” item 109, f. 1; repr. Amanda Babington and Ilias
Chrissochoidis, “Musical References in the Jennens–Holdsworth Correspondence
(1729–46),” Royal Musical Association
Research Chronicle, 45:1 (2014), 76–129: 124.
[2] The General Advertiser, no. 3515, Friday 31 January 1745-6, [1].
[3]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 2,” item 110, f. 1; repr. Amanda Babington and Ilias
Chrissochoidis, “Musical References in the Jennens–Holdsworth Correspondence
(1729–46),” Royal Musical Association
Research Chronicle, 45:1 (2014), 76–129: 124–125; (except last sentence of
first paragraph) Autograph Letters of George Frideric Handel and Charles
Jennens (auction catalog, Christie, Manson & Woods, July 4, 1973), 27; Händel Handbuch, 400.
[4] [Henry Fielding], The True Patriot: and The History of Our Own Times, Tuesday 28 January – Tuesday 4 February 1746, [3]; Chrissochoidis, 775.
[5] The General Advertiser, no. 3527, Friday 14 February 1745-6, [2]; repr., William C. Smith, “Handel’s Failure in 1745: New Letters of the Composer,” The Musical Times 77 ([no. 1121, July] 1936), 593-98: 598.
[6] The General Advertiser, no. 3527, Friday 14 February 1745-6, [3].
[7] The General Advertiser, no. 3531, Wednesday 19 February 1745-6, [2].
[8] [Henry Fielding], The True Patriot: and The History of Our Own Times, Tuesday 18 February – Tuesday 25 February 1746, [3]; Chrissochoidis, 775.
[9]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 2,” item 112, f. 1; repr. Amanda Babington and Ilias
Chrissochoidis, “Musical References in the Jennens–Holdsworth Correspondence
(1729–46),” Royal Musical Association
Research Chronicle, 45:1 (2014), 76–129: 125; (first sentence only) Händel Handbuch, 401.
[10] The General Advertiser, no. 3537, Wednesday 26 February 1745-6, [2].
[11] [Henry Fielding], The True Patriot: and The History of Our Own Times, Tuesday 25 February – Tuesday 4 March 1746, [1]; Chrissochoidis, 775.
[12]
Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens
Holdsworth Letters 2,” item 113, f. 2; repr. Amanda Babington and Ilias
Chrissochoidis, “Musical References in the Jennens–Holdsworth Correspondence
(1729–46),” Royal Musical Association
Research Chronicle, 45:1 (2014), 76–129: 125–126; (except last four
sentences) Autograph Letters of George Frideric Handel and Charles Jennens
(auction catalog, Christie, Manson & Woods, July 4, 1973), 27; Händel Handbuch, 401.
[13] T. B[recknock]., Poems and Odes, After the Manner of Anacreon (London: 1746), 50-51; advertised in The General Advertiser, no. 3543, Wednesday 5 March 1745-6, [4].
[14] Horace Walpole’s Correspondence with Sir Horace Mann III, ed. W. S. Lewis, Warren Hunting Smith, and George L. Lam (New Haven: Yale University Press / London: Geoffrey Cumberlege, Oxford University Press, 1954), 234.
[15] The London Evening-Post, no. 2878, Tuesday 15 –Thursday 17 April 1746, [1]; repr. The Westminster Journal: Or, New Weekly Miscellany, no. 229, Saturday 19 April 1746, [3].
[16] Donald Burrows and Rosemary Dunhill (eds.), Music and Theatre in Handel’s World: The Family Papers of James Harris (1732–1780) (Oxford and New York, 2002), 226.
[17] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 2:436.
[18] The General Advertiser, no. 3591, Wednesday 30 April 1746, [3].
[19] The Bath Journal 3 (no. 7, Monday 5 May 1746), 25.
[20] The Sequel of Arms and the Man: A New Historical Ballad (London: W. Webb, 1746), 5.
[21] The General Advertiser, no. 3625, Monday 9 June 1746, [2].
[22] The Museum: Or, The Literary and Historical Register 1 (no. 10, Saturday 2 August 1746): 363-64.
[23] The General Advertiser, no. 3675, Wednesday 6 August 1746, [2].
[24] The General Advertiser, no. 3676, Wednesday 7 August 1746, [2]; repr. several times in the following week.
[25] The Manuscripts of Rye and Hereford Corporations; Capt. Loder-Symonds, Mr. E. R. Wodehouse, M.P., and others (London: Her Majesty’s Stationery Office, 1892), 482.
[26] The Museum: Or, The Literary and Historical Register 2 (nr. 17, Saturday 8 November 1746): 131; Timothy Silence, The Foundling Hospital for Wit (London: W. Webb, 1746), 57; reprinted, The Sport of the Muses. Or a Minute’s Mirth for any Hour of the Day, 2 vols. (London, M. Cooper, 1752), 2:93; Chrissochoidis, 776; also in “Poems On Several Occasions. By Different Hands,” William Andrews Clark Memorial Library, UCLA, MS.1976.014, p. 34–35.
[27] The Court and City Register for the Year 1746 (London: R. Amey et al., 1746), 96-97; Chrissochoidis, 775.
[28] Joseph Warton, Odes on Various Subjects (London: R. Dodsley, 1746), 39; Chrissochoidis, 775-76.
[29] John Upton, Critical Observations on Shakespeare (London: G. Hawkins, 1746), 143; Chrissochoidis, 776.
[30] The Lady’s Drawing Room. Being a Faithful Picture of the Great World. In which the various Humours of both Sexes are display’d (Dublin: George and Alexander Ewing, 1746), 144; Chrissochoidis, 776.
[31] Journal Encyclopedique, par une Societé de Gens de Lettres, vol. 3:3 (1 May 1756), 31, 46-48; facs. repr. as Journal Encyclopédique, vol. 1 (January-June 1756) (Geneva: Slatkine Reprints / Nendeln, Liechtenstein: Kraus reprint, 1967), 316, 320; repr. David Charlton and Sarah Hibberd, “‘My father was a poor Parisian musician’: A Memoir (1756) concerning Rameau, Handel’s Library and Sallé,” Journal of the Royal Musical Association 128 (2003), 161-99: 169-70, 173-74.
[32] Charlton and Hibbert, “Memoir,” 197.