1736

 

 

Jan 6

[Katherine Knatchbull to James Harris, 6 January ?1736]

 

[Sir Wyndham’s] eyes are so very weak, (from weakness in the nerves) that

the signing his name only gives him a great deal of pain[;] and it is very dull to

him not to read but he begins to play on the harpsicord, & had Dr Handel two

hours Sunday night for which he slept the better and has mended ever since.[1]

 

 

 

Jan 21

[Earl of Egmont’s Diary, Wednesday 21 January 1735-6]

 

[...] went to the Wednesday night’s music club.[2]

 

 

 

Jan 24

[4th Earl of Shaftesbury to James Harris, 24 January 1736]

 

You’l think I am grown a very frequent correspondent[,] though my writing at

present is to communicate to you a little of the pleasure I received this morning,

part of which I spent with Handel.  Dulces ante omnia musae was never more

truly apply’d than to this mornings entertainment.  Handel was in high spirits & I

think never play’d & sung so well[;] he play’d over almost his whole new peice

which is not yet transcrib’d from his own hand.  It is the most pleasing (I think) of

anything scarce he has yet made[,] much in the taste of the best part of Acis &

Galat[ea] or the Parnasso in Festo.  The instrumental part is charming.  And pray

when it is perform’d remember the chorus Happy Happy &c: I don’t believe it is

Drydens Ode but a feast of Alexander (I think) of Dryden’s.  If you can inform

me in what part of his works this is to be found pray do immediately[,] for Handel

was so eager to play over his peice to me I had hardly any discourse with him.  Tis

to be perform’d next month at Covent Garden[;] he tells me he has got a fine new

base voice.  There is a fine song of Strada’s with an ad libitum at the end for

Corporale which pray remember too.  I have bespoke the seven remaining songs

in Deborah together with the concerto’s on the organ.  Long live the cause of

Harmony[.][3]

 

 

 

Jan 25

[Lord Lovell to the Earl of Essex]

 

[“London Janry. 25th. O.S / 1735/6.”]

 

[...] Operas don’t do so well. I miss’t hearing

that of Veracini wch. the best judges say is squisitone. [...][4]

 

 

 

Jan 29

[Earl of Egmont’s Diary, Thursday 29 January 1735-6]

 

I dined at home, and in the evening went to the Vocal Club at

the Crown Tavern.[5]

 

 

 

Feb 6

[“FRIDAY.”]

We hear that the Feast of the Sons of the Clergy will be on Thursday Se’nnight; that a new Te Deum, composed by Dr. Green, will be performed at St. Paul’s on that Occasion, with Mr. Handel’s Jubilate and Coronation Anthem.  The Rehearsal will be the Tuesday preceding.[6]

 

 

 

Feb 12

[Earl of Egmont’s Diary, Wednesday 12 February 1735-6]

 

I returned home to dinner.  Mr. Arragoni, Madam Bertoldi and

Mr. Wolley dined with me. [...][7]

 

 

 

Feb 18

Yesterday a rehearsal of the musick, which is to be performed to-morrow before the sons of the Clergy, was made at S. Paul’s cathedral: there were 150 instruments and 50 voices.  P. G. [=Daily Post-Boy. Daily Gazetteer]——229 l. 1 s. 6 d. was collected from the ladies, for putting out the daughters of poor clergymen apprentices.  DA.———236 l. 6 s. 6 d. which is 62 l. 3 s. 6 d. less than what was collected last year.  LP.[8]

 

 

 

Feb 19

[“FRIDAY.”]

Yesterday the Sons of the Clergy held their Annual Feast with great Solemnity: They met at St. Paul’s, where an excellent Sermon was preach’d before them, and a new Te Deum compos’d by Dr. Green, as likewise Mr. Handel’s celebrated Jubilate and Coronation-Anthem, were perform’d by a vast Number of the best Hands and Voices; after which they proceeded to an elegant Entertainment at Merchant-Taylors Hall.  The Money collected in the Choir amounted to 84 l. 3 s. 6 d. and that in the Hall to 505 l. 3 s. 6 d. besides which several Sums were expected from Annual Benefactors, though not present at the Feast.[9]

 

 

 

Yesterday the rev. Dr. Barton preach’d before the Sons of the Clergy at S. Paul’s: after which a handsome collection was made.  DJ.——Upwards of 500 l. which is 200 l. less than the last year.  DP.——84 l. 3 s. 6 d. was collected in the choir: in the hall 505 l. 3 s. 6 d. besides which, several sums were hourly expected from annual benefactors, tho’ not present.  DA.——The company was not so great as expected, and the collection very different.  P.——There was collected at the choir at the feast, and at the rehearsal, upwards of 800 l.  LP.  Feb. 21.———By different, I suppose, my brother P. means indifferent.[10]

 

 

 

Feb 19

COVENT-GARDEN.

AT the Theatre-Royal in Covent-Garden,

this Day, February 19, will be presented an ODE, (never

perform’d before,) call’d

The FEAST of ALEXANDER.

Written by the late Mr. Dryden.

And Set to Musick by Mr. HANDEL.

Pit and Boxes to be laid together at Half a Guinea.

First Gallery 4 s.  Second Gallery 2 s. 6 d.

To begin exactly at Six o’Clock.

Tickets will be deliver’d at the Office of the said Theatre, this Day.

N.B. The Gallery Doors will be open’d at Four o’Clock, and the

Boxes at Five.[11]

 

 

 

[Earl of Egmont’s Diary, Thursday 19 February 1735-6]

 

[...] In the evening I went to Mr.

Hendel’s entertainment, who has set Dryden’s famous Ode on the

Cecilia Feast to very fine music.[12]

 

 

 

Feb 20

[...] In the mean while, let us turn our Conversation to something less serious——Here we fell into the usual Topics of general Discourse, Friends, News, Politics, Letters.  Amongst others, Hortensius, who had once been a slight performer in Music, and still retain’d his usual Fondness for it, inquir’d much after the State of the Opera this last Season, which, he said, must now, he suppos’d, be advanc’d to its highest Glory by the Arrival of the so much celebrated new Singer.

  THERE was nothing (I told him) now remaining to make the Entertainment complete, but that Mr. Handel’s Compositions should go along with the Hay-Market Voices: For want of which, there had been [8] but one Opera at that House during the Season, which had been thoroughly approved of by the Town.  The Opera I meant of Artaxerxes, which was originally composed in Italy.  For my own part, I had been a great admirer of it; particularly there was one Song of Senesino’s at the close of the second Act, which had charmed me beyond any thing of the kind I had ever heard.  It was a very passionate Song, admirably well set, and Senesino, whose manner was always excellent, did in this particular Instance, seem, as we say, even to excel himself; performing it with such a singular Justness, Grace, and Propriety, as made the Entertainment of it quite of the rational kind.  Senesino, (said I) was always a great Favourite of mine; besides the pleasure he gives me in Singing, I can never help looking upon him with some Esteem, as imagining him to be a Man of excellent Sense.  There is always something so peculiarly just and affecting in his manner of Singing, even tho’ the Matter of his Songs be never so trifling in itself, as gives one a strong Presumption in his favour on this behalf.  He has an Art of raising, even these Trifles into some degree of Sense and Significancy, by an uncommon Happiness in his Execution of them.[13]

 

 

 

Feb 23

[Earl of Egmont’s Diary, Monday 23 February 1735-6]

 

In the evening I went to the Monday’s Music Club.[14]

 

 

 

Feb 25

COVENT-GARDEN.

AT the Theatre-Royal in Covent-Garden,

this Day, February the 25th, will be presented an ODE,

(perform’d but once,) call’d

The FEAST of ALEXANDER.

Written by the late Mr. Dryden.

And Set to Musick by Mr. HANDEL.

For the better Reception of the Ladies, the Pit will be floor’d over,

and laid into the Boxes; and the Orchestra plac’d in a Manner more

commodious to the Audience.

Boxes Half a Guinea.  First Gallery 4 s.  Upper Gallery 2 s. 6 d.

N.B. The Gallery Doors will be open’d at Four o’Clock, and the

Boxes at Five.

Tickets will be deliver’d at the Office of the said Theatre, this Day.

To begin exactly at Six o’Clock.[15]

 

 

 

Feb 27

SATURDAY.

Yesterday the Right Hon. the Lord Delawar kiss’d

their Majesties Hands, on his being appointed Embassador

to his Most Serene Highness the Duke of Saxe-Gotha,

to demand the Princess Augusta his Sister in

Marriage for the Prince of Wales; and his Lordship

will embark for Holland on Wednesday next, in his

Way to the Court of Gotha.  His Lordship carries a

Letter from her Majesty to the said Princess.[16]

 

 

 

February

Alexander’s Feast; or, the Power of Musick.  An Ode, in Honour of St. Cecilia’s Day.

By Mr. Dryden: Lately set to Musick by Mr. Handel.

[...][17]

 

 

 

Mar 3

COVENT-GARDEN.

AT the Theatre-Royal in Covent-Garden,

this Day, being March the 3d, will be presented an ODE,

(perform’d but twice,) call’d

The FEAST of ALEXANDER.

Written by the late Mr. Dryden.

And Set to Musick by Mr. HANDEL.

The Pit will be floor’d over, and laid into the Boxes at Half a

Guinea.  First Gallery 4 s.  Upper Gallery 2 s. 6 d.

N.B. The Gallery Doors will be open’d at Four o’Clock, and the

Boxes at Five.

Tickets will be deliver’d at the Office of the said Theatre, this Day.

To begin exactly at Six o’Clock.[18]

 

 

 

Mar 5

[Earl of Egmont’s Diary, Friday 5 March 1735-6]

 

[...] Dined at home, and then went to Mr. Aragoni’s concert.[19]

 

 

 

Mar 6

To the AUTHOR of the DAILY POST.

            SIR,

THE following Verses, written by a Gentleman

(charm’d with the Performance of two such

great Masters) I desire may be inserted in your

Paper; which will oblige,

SIR,

Your Humble Servant,

S. B.

 

On the FEAST of ALEXANDER.

Written by Mr. Dryden, and set to Musick by Mr. Handel.

 

    Dryden for Macedon’s brave Prince design’d

This Godlike Treat, the Banquet of the Mind:

To move the Passions by alternate Sounds,

Like Seas to rage, and then to set them Bounds;

To sooth with Pity, soften with Distress;

To fire with Glory, heighten with Success;

With Wine to elevate supiner Hours,

And banish Cares with Thais in cool Bow’rs.

    To grace this Son of everlasting Fame,

And crown the Feast, Divine Cecilia came,

Goddess of tuneful Sound — Timotheus speaks —

Lo! from her Orb the fair Musician breaks,

Myriads of Angels her Retinue form’d,

By Musick vanquish’d, and Love’s Passion warm’d,

    When Handel touch’d at Dryden’s matchless Theme.

(And fond to raise himself, as Heav’n had him)

With wondrous Art attempts the mighty Song,

Distinguish’d by the Voice of Fame so long:

Improves ev’n Dryden — and with Strains divine

(Tho’ not Cecilia) draws a Caroline:

Himself (the great Timotheus) strikes the Strings,

And to a greater Alexander sings.[20]

 

 

 

Mar 8

[“MONDAY.”]

Lord Delawar embarks this Day for Holland; and is to repair upon his Landing to the Court of the Princess of Orange, to carry Letters from their Majesties to her Royal Highness, to invite her to come and pass the Summer in England.  His Lordship proceeds from thence to Gotha.[21]

 

 

 

Mar 9

[Henry Corry to the Earl of Essex]

 

[“9 March 1735.”]

 

[...] The

Cry of Musick is Strong for and against Handell[.]

his performance of Drydens Ode calld Alexanders

Feast was fully crowded the first 2 days the last

about two third, it may stand once or twice more

you know w<e> are in a very uncertain Climate [236r]

that the sweetest Gergle of an Eunuck is soon

tyrsome. however Handel has gott 5 or 600

guineys clear wch is more then the Accadamy

have yet offerd him. & he letts on he intends a

New thing Soon fitt for the Tast at last of the

Wealthy Citizens. [...][22]

 

 

 

Mar 9

[Edward Holdsworth in Winton to Charles Jennens]

 

[…] I hope the Prodigious succeeded well with his Alexander’s feast. One of the Chaplains of the College here went to London on purpose to hear the performance at the feast of ye Sons of the Clergy, but to his great mortification cou’d not be at Mr Handel’s entertainment. He told me as his opinion that He thought no person in the world capable of setting the Ode except Mr Handel; for tho’ ’tis very musical to read, yet the words he says are very difficult to set; And He is esteem’d a very good judge of Musick. Perhaps those who encourag’d Mr Handel to undertake such a task, might do it wth the same design as made Mr Dryden put Creech upon translating Horace. But I hope his superior Genius has surmounted all difficulties. […1v…] We have here [Hampshire] 2 Organs, several musical Gentlemen, a pleasant country & excellent Air; […][23]

 

 

 

Mar 12

COVENT-GARDEN.

AT the Theatre-Royal in Covent-Garden,

this Day, March 12, will be perform’d an ODE, call’d

The FEAST of ALEXANDER.

Written by the late Mr. Dryden.

And Set to Musick by Mr. HANDEL.

The Pit will be floor’d over, and laid into the Boxes at Half a

Guinea.  First Gallery 4 s.  Upper Gallery 2 s. 6 d.

Tickets will be deliver’d at the Office of the said Theatre, this Day.

To begin exactly at Six o’Clock.[24]

 

 

 

Mar 13

[Earl of Egmont’s Diary, Saturday 13 March 1735-6]

 

I wrote a long account of the debates of yesterday to Dr. Coghill,

and then went to the opera called Orpheus.[25]

 

 

 

Mar 13

[Robert Warner to James Harris, 13 March 1736]

 

If Mr Handel’s musick be comparable to Mr Dryden’s words, together they

must be a Feast indeed; I complement you thereupon, & think these things

contribute much to real happyness[,] whatever jokers may pretend to the contrary.[26]

 

 

 

Mar 17

COVENT-GARDEN.

AT the Theatre-Royal in Covent-Garden,

this Day, March 17, will be perform’d an ODE, call’d

The FEAST of ALEXANDER.

Written by the late Mr. Dryden.

And Set to Musick by Mr. HANDEL.

The Pit will be floor’d over, and laid into the Boxes at Half a

Guinea.  First Gallery 4 s.  Upper Gallery 2 s. 6 d.

N[.]B. The Gallery Doors will be open’d at Four o’Clock, and the

Boxes at Five.

Tickets will be deliver’d at the Office of the said Theatre, this Day.[27]

 

 

 

Mar 18

[Thomas Bowen to the Earl of Essex]

 

[18th. March 1735/6]

 

[...] ’Tis Generally thought the Operas

will hardly last ’till the next Winter, the Spirit

which supported them Seems to flagg very much:

And indeed if, as it is thought it will the next Session,

the Interest of the Funds should be reduced to three

per Cent, the Reduction of the present unmeasured

way of Expence must follow it, or many people will [187r]

feel great Uneasinesses. Farinello has a Benefit next

Week, but I beleive he will find a vast difference between

the Profits of this and his Benefit last year. [...][28]

 

 

 

Mar 20

DUBLIN, March 20.

[...]

We hear that for the Benefit of Mercer’s Charitable

Hospital in Stephen street, towards the Maintenance and Support

of the distressed Sick Poor received therein, there will be a

solemn grand Performance of Church Musick at St. Michan’s

Church, on the 31st of this Instant, with the Church Service,

and a Charity Sermon.  Beside the best publick Performers

in this Kingdom, there will assist about forty Gentlemen,

skill’d in Musick on various Instruments.  The Musick

appointed is the celebrated Te Deum and Jubilate of the

famous Mr. Handel, with his Coronation Anthem made on the

King’s Accession to the Crown, never heard here before.

Tickets will be distributed at the said Hospital at Half a

Guinea each.[29]

 

 

 

Mar 24

COVENT-GARDEN.

AT the Theatre-Royal in Covent-Garden,

this Day, March 24, will be reviv’d a Serenata, call’d

ACIS and GALATEA

There will be no Action on the Stage, but the Scene will represent

a Rural Prospect of Rocks, Grotto’s, &c. amongst which will be

dispos’d a Chorus of Nymphs and Shepherds.

The Habits and other Decorations suited to the Subject.

The Pit and Boxes will be laid together at Half a Guinea.  First

Gallery 4 s.  Upper Gallery 2 s. 6 d.

N.B. The Gallery Doors will be open’d at Four o’Clock, and the

Pit and Boxes at Five.

Tickets will be deliver’d at the Office of the said Theatre, this Day.

By His Majesty’s Command no Persons whatever to be admitted

behind the Scenes.

To begin exactly at Six o’Clock.[30]

 

 

[Earl of Egmont’s Diary, Wednesday 24 March 1736]

 

[...] Dined at home, and in the evening went to hear

Handel’s mask of Acis and Galatea.[31]

 

 

This Day is publish’d, Price 1 s.

With several Additions and Alterations.

ACIS and GALATEA, a Serenata, as

it is perform’d at the Theatre-Royal in Covent Garden.

Set to Musick by Mr. HANDEL.

Printed and sold by Tho. Wood in Little-Britain, and at the Theatre

in Covent Garden.

 


Now publish’d, Price stitch’d 6 d.

As it will be perform’d this Evening at the Theatre in

Covent-Garden.

ACIS and GALATEA, an English

Pastoral Opera, in three Acts,

Set to Musick by Mr. HANDEL.

Printed for John Osborn, at the Golden Ball in Pater-noster Row.[32]

 

 

Acis and Galatea, a Serenata. As it

is performed at the Theatre Royal

in Covent-Garden.  The Third

Edition, with several Additions.

London: Printed by T. Wood in

Little-Britain, and are to be sold at

Covent-Garden.  MDCCXXXVI.

 

[cast-list]

Aci

Mr. Beard

Galatea

Signora Strada

Polifemo

Mr. Erard

Filli (‘Phillis’ in the main text)

Mrs. Young

Silvio

Mr. Savage[33]

 

 

 

Mar 25

When a young person first begins to take this unfortunate turn [i.e. becoming a professional actor], we generally hear of him making his first push at Panton-street, or York Buildings, or some or other of our Great Rooms about Town; where he exhibits to an Audience of Friends, Relations, and Acquaintance; and if either himself, or any of his Acquaintance happen to be acquainted with four or five persons of Quality, they are, if possible, to be drawn thither too; for by this, it commences in the next day’s Papers, an Audience composed of persons of the first distinction.——Here the young Hero shows away, and meets (who doubts it?) with universal applause!  prodigious!  There is action!  That’s a fine attitude!  Behold the tread of a BETTERTON, united with the posture of a SENISINO!  And then in an Antithesis between Despair and Hope, or Hell and Heaven, &c. he can mount up from MONTAQNANA to FARINELLI in Alt!  Let QUIN tremble! [...][34]

 

 

 

Mar 27

DUBLIN, March 27.

[...]

Whereas the Parish of St. Michan’s have refused the Use

of their Church for the Performance of Divine Service in

the Cathedral Way (and not of an Oratorio, as was fals[e]ly

advert[i]sed) for the Support of Mercer’s Charitable Hospital:

This is to inform the Publick, that the same Charitable

Intention will be pursu’d at St. Andrew’s Church, and a

Sermon preached suitable to the Occasion.[35]

 

 

 

Mar 27

MONDAY.

On Saturday last the Stepney Feast was held at the usual Place; and there was an extraordinary Appearance of Nobility and Gentry.

The Sermon was preached by the Rev. Mr. Rawlins, Chaplain to the Honourable Society of Lincoln’s-Inn.

There was an Anthem sung before and after Sermon, composed by Dr. Green, who play’d the Organ.

The Sum collected after Dinner amounted to 128 l. 12 s. 6 d.

[...]

The following Song, in Honour of the approaching Marriage of his Royal Highness the Prince of Wales, set to Musick by Dr. Green, was sung after Dinner.

 

AIR.

GREAT Ruler of the restless Waves,

Thy dear lov’d Albion’s Prayer attend;

From oozy Beds, and Coral Caves,

To thy more pleasing Task ascend.

AUGUSTA, born our Prince to bless,

AUGUSTA claims thy willing Care;

Let not thy Waves too rudely press,

For all that’s Good, and all that’s Fair,

The Hope of Britain claims thy Care.

 

RECITAT.

On the wide Beach Britannia’s Genius stood,

And thus address’d the Ruler of the Flood.

Instant the various God that loves the Main,

The God endu’d with deep prophetick Strain,

Proteus his pearly Crest uprears,

And thus the Nymph in happy Numbers cheers.

 

AIR.

Happy Britain, Heaven’s Care,

Happy in this happy Pair:

Heroes from this Couple born

Future Ages shall adorn;

In Battle brave, in Council free,

Friends, like their Sire, to Liberty;

Born to assert the Subject Main,

And GEORGE’s Deeds act o’er again.

 

RECITAT.

Neptune the Voice of Albion hears,

And to her Shores AUGUSTA bears.

 

CHORUS.

Strait all around

The Chalky Cliffs their Triumphs sound;

Neptune the Voice of Albion hears,

And to her Shores AUGUSTA bears.[36]

 

 

 

Mar 30, Dublin

Advertisements.

THE Performance of Handel’s Te Deum

and Jubilate, &c. for the Benefit of Mercer’s Hospital,

appointed for the 31st Instant, is put off for a few Days.[37]

 

 

 

Mar 31

COVENT-GARDEN.

AT the Theatre-Royal in Covent-Garden,

this Day, March 31, will be reviv’d a Serenata, call’d

ACIS and GALATEA.

There will be no Action on the Stage, but the Scene will represent

a Rural Prospect of Rocks, Grotto’s, &c. amongst which will be

dispos’d a Chorus of Nymphs and Shepherds.

The Habits and other Decorations suited to the Subject.

The Pit and Boxes will be laid together at Half a Guinea.  First

Gallery 4 s.  Upper Gallery 2 s. 6 d.

N.B. The Gallery Doors will be open’d at Four o’Clock, and the

Pit and Boxes at Five.

Tickets will be deliver’d at the Office of the said Theatre, this Day.

To begin exactly at Six o’Clock.[38]

 

 

[Earl of Egmont’s Diary, Wednesday 31 March 1736]

 

I dined at home, and then went to Handel’s music, Acis and Galatea.[39]

 

 

 

Apr 6

[Richard Fawcett to James Harris, 6 April 1736]

 

Tis some time since I sent orders that a copy of the anthem O Sing &c should

be prepared and sent to you at Salisbury, by this time I hope you have received it.

My stay in this place has been longer than I imagined it would have been when I

had the pleasure of seeing you last, but if nothing extraordinary happens I shall

be in Oxon by Friday next when I shall hasten the transcribing The Lord is my

light &c[,] & take care that you may have it as soon as possible.  If you send the

two anthems you promised me by the next weeks carrier they will certainly find

me at home, and if you would be so good as to send the other two Coronation

Anthems at the same time (if you can conveniently spare ’em) I shall take it as a

favour, and after having taken copies of them with expedition will take care that

they shall be safely return’d to you.  I shall be mighty glad to communicate any

thing in my possession, and hope you are sufficiently convinced that it would be

infinite pleasure to me to do it.

I suppose you have heard the news of the Town with regard to musick before

now, that Mr Handel intends to print his Ode in score with all the concerto’s

which were performed in it in their order, that he will have an opera very shortly

and that he has a voice called Dominico who is now at Paris in his rode to England

and is reckon’d a fine singer.  There will be no opera in the Haymarket next year,

the managers don’t think of raising a subscription[;] whether they will come to

Handel or no I have not heard.[40]

 

 

 

Apr 6

DUBLIN, April 6.

[...]

We hear that for the Benefit of Mercer’s

Charitable Hospital in Stephen-street, towards the

Maintenance and Support of the distressed Sick

Poor received therein, there will be a solemn

grand Performance of Church Musick at St.

Andrew’s Church on Thursday next the 8th of this

Instant at Eleven o’Clock, with the Church

Service, and a Charity Sermon.  Beside the best

publick Performers in this Kingdom, there will assist

above forty Gentlemen, skilled in Musick on

various Instruments.  The Musick appointed is the

celebrated Te Deum and Jubilate of the famous Mr.

Handel, with his Coronation Anthem made on the

King’s Accession to the Crown never heard here

before.  Tickets will be distributed at the said

Hospital at Half a Guinea each.[41]

 

 

 

Apr 7

AT the Theatre-Royal in Covent-Garden,

this Day, April 7, will be perform’d an Oratorio, call’d

ESTHER.

With Two Concerto’s on the Organ.

The Pit will be floor’d over and laid into the Boxes, at Half a

Guinea.  First Gallery 4 s.  Upper Gallery 2 s.

N.B. The Gallery Doors will be open’d at Four o’Clock, and the

Pit and Boxes at Five.

Tickets will be deliver’d at the Office of the said Theatre, this Day.[42]

 

 

 

Apr 8

His royal highness the Prince has presented the head of Mr. Rollo, the famous teacher of the Italian tongue, painted in Creons, to his Excellency Prince Cantemir.  LP.——Brother Bailey reads Crayons.[43]

 

 

 

Apr 8, Dublin

On Thursday last was preached a Charity Sermon at St. Andrew’s,

by the Rev. Dean Madden, for the benefit of Mercer’s Hospital: at the

same time was perform’d a Grand Te Deum, Jubilate, and an Anthem,

composed by the famous Mr. Handel.  Mr. Dubourg, play’d the first

Violin, Signor Pasqualini the first Bass. [37]

The principal Voices were, Mr. Church, Mr. Lamb, Mr. Baileys, and

Mr. Mason.

The Performers were upwards of 70 in Number, among whom were

several Noblemen and Gentlemen of Distinction, besides the best public

Hands in this Kingdom; ’twas the grandest Performance ever heard here;

the whole was conducted with the utmost Regularity and Decency.

There were present their Graces the Duke and Dutchess, and Lady

Caroline, attended by a vast number of the Nobility and Gentry of the first

rank.[44]

 

 

 

Apr 9

[“FRIDAY, Ap[.] 9.”]

’Tis now assured, that the Princess of Saxe-Gotha is to come to S. James’s the same day she lands, and that the marriage will certainly be performed that evening.  DA.——That only 100 of the nobility, &c. will be admitted into the chapel.  LP.——Mr. Handel has engaged several of the finest singers in Italy, who are expected next week, in order to perform 8 operas for the entertainment of her highness.  DA.[45]

 

 

 

[“FRIDAY.”]

We hear that Mr. Handel has engag’d several of the finest Singers in Italy, and that they are expected here next Week, in order to perform eight Operas, for the Entertainment of her Royal Highness the future Princess of Wales.[46]

 

 

 

Apr 13

[“TUESDAY, Ap. 13.”]

We hear that Signior Conti, who is esteemed the best singer in Italy, being sent for by Mr. Handel, is expected here in a few days.  LP.[47]

 

 

 

Apr 14

AT the Theatre-Royal in Covent-Garden,

this Day, April 14, will be perform’d an Oratorio, call’d

ESTHER.

With Two Concerto’s on the Organ.

The Pit will be floor’d over and laid into the Boxes, at Half a

Guinea.  First Gallery 4 s.  Upper Gallery 2 s.

N.B. The Gallery Doors will be open’d at Four o’Clock, and the

Pit and Boxes at Five.

Tickets will be deliver’d at the Office of the said Theatre, this Day.

To begin exactly at Six o’Clock.[48]

 

 

[Earl of Egmont’s Diary, Wednesday 14 April 1736]

 

I returned to dinner, and in the evening went to Hendel’s oratorio

called Hester.[49]

 

 

 

Apr 20

[Edward Holdsworth in Winton to Charles Jennens]

 

I don’t remember yt I ever heard of Sigr. Giacinto, but you’l not have the worse opinion of him on yt score. I am glad the Prodigious is going to undertake Operas again. I hope yt will raise your spirits another winter, as I fear his silence contributed to sink them this. […][50]

 

 

 

Apr 22

[Mrs. Pendarves to Dr. Swift, 22 April 1736]

 

When I went out of town last autumn, the reigning

madness was Farinelli; I find it now turned on

Pasquin, a dramatic satire on the times.  It has had

almost as long a run as the Beggars’ Opera; but, in

my opinion, not with equal merit, though it has humour.

Monstrous preparations are making for the royal

wedding.  Pearl, gold and silver, embroidered on gold and

silver tissues. [...][51]

 

 

 

Apr 22

[4th Earl of Shaftesbury to James Harris, 22 April 1736]

 

There is not much to say as to the head of news at present[;] the Town is very

busy in preparing for the grand wedding which will be certainly very soon, &

ingrosses all the conversation in it.  We are to hear Ariodante next Wednesday,

one of the singers (I think Negri) not being come yet, Alcina can-not be perform’d

till the week after & when it is, I hear, Conti the new voice, whom Handel

says exeeds the expectation he had of him before he came, will have a new part

excepting only Verdi Prati & La Bocca Vaga.  We are not to hope for the musick

I bespoke till the latter end of next month; for the Nuptial Anthem, & a new opera

Handel has just finished & some other things, have employ’d Smiths people

sufficiently, not to do any-thing else at this time.  I suppose you remember the

song ‘Tears such as tender fathers shed’ for me to send Lord Gainsborough & to

write it in the manner we agreed upon.[52]

 

 

 

Apr 22

[William Chetwynd to the Earl of Essex]

 

[“London. 22d. Apl. OS. 1736.”]

 

[...]

Egizziello, who sung last Carnival at Genoa,

is come over to Handel. I have not yet heard him,

but I think he is the person Swinny has put in

competition with Farinelli, and I hear the saxon

and Faustina are to be here next winter, if Handel

does not think fit to accept of the proposals the

directors have made. Senesino talks of going, but

Farinelli is engaged again for next winter. He

sent me the other day a formal message, tho’ I am

not yet known to him, for my leave to put into

the Opera of Orpheus one of the Faustina’s songs

I brought with me from Turin. Come pe<tusti> O Di<?o>

but I am afraid he has not action enough for i<t.>

Of such great consequence your Excellency will

observe I am grown in the musical world by

bringing over only a few songs from Italy. What

will therefore be the case, when Mr. Maynell returns

with his talents that way, if the town shou’d not [153r]

form ill grounded prejudices upon the other taste,

your Excellency says he still perseveres in?[53]

 

 

 

Apr 22

[Earl of Egmont’s Diary, Thursday 22 April 1736]

 

[...] I went to the Vocal Academy at the Crown

Tavern, and among other pieces of music heard performed the

famous Miserere of the Pope’s Chapel at Rome. [...][54]

 

 

 

Apr 27

[Earl of Egmont’s Diary, Tuesday 27 April 1736]

 

[...] On Monday he [the Prince of Wales] went again to her,

and they passed the evening on the water with music.

[... Tuesday ...]

After dinner I went again to Court, and was present at the wedding,

which ended about nine at night.

The Bishop of London, as Dean of the Chapel, performed it,

assisted by the Bishop of Hereford.  There was a prodigious crowd,

but lords, gentlemen, and ladies might fill the chapel as they came,

without order or distinction.  The Prince and Princess were married

in their robes, and she had on her coronet.  The chapel was finely

adorned with tapestry, velvet, and gold lace, all the pews taken

down, and benches raised one above another for the conveniency

and to make more room for spectators.  Over the altar was placed

the organ, and a gallery made for the musicians.  An anthem

composed by Hendel for the occasion was wretchedly sung by

Abbot, Gates, Lee, Bird and a boy.[55]

 

 

 

Apr 27

[last Tuesday]

When the Dean had finish’d the Divine Service, the married Pair rose, and retired back to their Stools upon the Hautpas; where they remained while an Anthem compos’d by Mr. Handel was sung by his Majesty’s Band of Musick, which was placed in a Gallery over the Communion Table.[56]

 

 

 

Apr 27

[Charles Jennens at Queen Square, London to Edward Holdsworth]

 

            Every body strives to excell in Finery at the Prince’s Wedding, which will be to night. I need not except my self, for you know I am no Courtier. Mr. Handel has made a new Opera for the occasion, but I don’t hear when he will produce it; for he does not begin before Wednesday May 5th & then with one of the last year’s Operas. I don’t [1v] wonder you have not heard of Signr. Conti, for they tell me he is but 19 years of Age, & perhaps had not appear’d upon the Stage when you was in Italy. Those who have heard him say He is the finest Soprano they ever heard: & what is something surprizing, he goes five notes higher than Farinelli with a true natural voice, & is sweet to the very top. You must have heard Domenico [Annibali], whom Mr. Handel expects next year, & very great things are said of his singing, too.[57]

 

 

 

May 4

[Earl of Egmont’s Diary, Wednesday 5 May 1736]

 

Last night the Queen, as she was in bed, was seized with a

deadness in her arm.  She was bled and her blood presently

turned black, as was her arm, insomuch that a mortification was

apprehended.  These things are kept secret at Court as long as

possible, but this morning, when the ladies went to pay their court

to her Majesty as usual, it came out, for the Queen not seeing

them, their inquisitiveness produced the knowledge of it.[58]

 

 

 

May 5

AT the Theatre-Royal in Covent-Garden,

this Day, May 5, will be perform’d an Opera, call’d

ARIODANTE.

The Pit and Boxes will be laid together at Half a Guinea each.

First Gallery 4 s.  Second Gallery 2 s. 6 d.

N.B. The Gallery Doors will be open’d at Four o’Clock, and the

Pit and Boxes at Five.

Tickets will be deliver’d at the Office of the said Theatre, this Day.

To begin at Seven o’Clock.[59]

 

 

Last Night the Opera of Ariodante was performed at

the Theatre in Covent-Garden, in which Signior

Gieacchino Conti Ghizziello made his first Appearance, and met

with an uncommon Reception; and in Justice both as to

Voice and Judgment, he may truly be esteem’d one of the

best Performers in this Kingdom.[60]

 

 

 

May 8

[Katherine Knatchbull to James Harris, 8 May 1736]

 

Sir Wyndham is pure well & much your servant[.]  He desires the musick

books may be sent by my brother Tom Wensday or[,] if he is set forth[,] Miss

Kitty Wyndham has orders not to pack up a box without them which will set out

Saturday the 15th.  My sister Kitty is going to Hymens Feast which they say is sad

stuff but the new Conti is commended[.]  I heard the Duke say he deserved it but

he is but 19[.]  Atlanta comes out Wensday by Handel.[61]

 

 

 

May 8

[4th Earl of Shaftesbury to James Harris, 8 May 1736]

 

Now for a subject more agreable[.]  The new singer Conti I have heard twice

& will affirm he is all things consider’d the best singer I ever heard & they say in

the world[;] he will improve still very much for he is but nineteen years old is very

handsome[,] a good actor & very genteel[.]  His voice is perfectly clear[,] he swells

a noate as full as Farinelli[;] he does not yet go quite so low as he (Farinelli), but

his tone of voice is certainly sweeter & he has a greater command of it than

Farinelli.  Conti’s execution is inimitable & his voice goes the musicians tell me

thorowly sound & sweet, as far as A in Alte & he can reach B or C though not so

truely & distinct.  He has sung nothing of Handel’s yet but the last duet in

Ariodante[;] I really think between him and Strada I never was so delighted with

any duet I ever heard in my life & it quite charmed the audience.  Wednesday next

Handel’s new opera comes out.  That together with this new singer[,] Mr Jennens

& I are of opinion you cannot resist but must come up.  I have scarce time to read

over this hasty scribble but was unwilling to delay giving you the pleasing

intelligence.[62]

 

 

 

May 11

[Earl of Egmont’s Diary, 11 May 1736]

 

Tuesday, 11. — I went to town for a day or two, and after dinner

went to the opera at the Haymarket [The Feast of Hymen].[63]

 

 

 

[Thomas Harris to James Harris, 11 May 1736]

 

Handel has a new opera called Atalanta performed to morrow, which I have

heard nothing of but from Lord Shaftesbury who likes it very well, and says Sig.

Conti the new voice which Handel has is a better singer than Faranelli; you can

scarce want a greater inducement to make you take a trip hither, of which if you

do I hope you’ll let me know immediately.  Twill be no baulk to your journey to

lett you know I am told the Feast of Hymen at the Haymarket is good for nothing,

for great things are not to be expected from that quarter.[64]

 

 

 

[Earl of Egmont’s Diary, Wednesday 12 May 1736]

 

Yesterday the Prince came so late from Kensington that if he

stayed to dine he must have lost the opera [The Feast of Hymen], where, being expected,

he knew the audience must have been kept too long waiting for him.

He therefore went immediately thither out of consideration to the

audience, saying it was unreasonable his dinner should inconvenience

them.[65]

 

 

 

May 12

AT the Theatre-Royal in Covent-Garden,

this Day, May 12, will be perform’d a New Opera, call’d

ATALANTA.

In Honour of the Royal Nuptials of their Royal Highnesses the Prince

and Princess of WALES.

The Pit and Boxes will be laid together at Half a Guinea each.

First Gallery 4 s.  Second Gallery 2 s. 6 d.

N.B. The Gallery Doors will be open’d at Four o’Clock, and the

Pit and Boxes at Five.

By His Majesty’s Command no Persons whatever to be admitted

behind the Scenes.

Tickets will be deliver’d at the Office of the said Theatre, this Day.

To begin at Seven o’Clock.[66]

 

 

 

May 12

Last Night was perform’d at the Theatre Royal in

Covent-Garden, for the first Time, the Opera of

Atalanta, compos’d by Mr. Handel on the joyful Occasion

of the Nuptials of their Royal Highnesses the Prince

and Princess of Wales.  In which was a new Set of

Scenes painted in Honour to this Happy Union, which

took up the full Length of the Stage:  The fore Part

of the Scene represented an Avenue to the Temple

of Hymen, adorn’d with Figures of several Heathen

Deities.  Next was a triumphal Arch on the Top of

which were the Arms of their Royal Highnesses, over

which was placed a Princely Coronet.  Under the

Arch was the Figure of Fame, on a Cloud, founding

the Praises of this Happy Pair.  The Names Fredericus

and Augusta appear’d above in transparent Characters.

Thro’ the Arch was seen a Pediment supported by

four Columns, on which stood two Cupids embracing,

and supporting the Feathers, in a Princely Coronet,

the Royal Ensign of the Prince of Wales.  At the

farther End was a View of Hymen’s Temple, and the

Wings were adorn’d with the Loves and Graces

bearing Hymenael Torches, and putting Fire to Incense

in Urns, to be offer’d up upon this joyful Union.

The Opera concluded with a grand Chorus, during

which several beautiful Illuminations were display’d,

which gave an uncommon Delight and Satisfaction.

[DEP:] There were present their Majesties, the Duke, and the four Princesses

accompanied with a very splendid Audience, and the whole was

received with unusual Acclamations.[67]

 

 

Last Night their Majesties were at the Theatre Royal

in Covent Garden, to see the new Opera call’d Atalanta,

in Honour of the Nuptials of their Royal Highnesses

the Prince and Princess of Wales.[68]

 

 

 

May 13

[Sir John Buckworth to William Capel, 3rd Earl of Essex]

 

My Lord.

 

I have the honour of your Lordps. letter; and

should have acknowledged it sooner, but was willing

to wait, till I could acquaint your Lordp with some

of our Opera proceedings; we have engaged Farinello

who has generously abated his benefit night, which

we must look on as four hundred pounds saved to us

and three times as much given up by him; Senesino

is so extravagant that I beleive we can not agree, he

insists, that no one shall have more than him, which

is raising one hundred Guineas on his Sallary;

Every body is tired of Cuzzona, and I wrote to engage

Faustina & her husband to make two Opera’s at

fifteen hundred pounds the two; I hope this will

succeed, as I think the price reasonable, we were

told, they were engaged at Turin, but as yr

Lordp mentions nothing of it, I imagine it is [177v]

without foundation, if otherwise, we must desire

yr Lordps assistance, to exchange her for Cuzzona, and

the Saxon, may however make the Opera, I wrote to ym

a fortnight past, and am impatient for their answer;

I proposed the affair of Gray; which every body approves

and as soon as our Company is formed, shall take

the liberty to trouble your Lordp on that head; we are

at a loss for under singers, and think of sending Swiny

to Italy; Egizziello has a small party, much favour’d

by Lord Burlington, who, I beleive will not continue in

the direction with us any longer, we have had a Serenata

composed by Porpora for the Prince’s wedding, the musick

exceedingly fine, but the success not equal; Handel

opened his, last night, the Prince could not be persuaded

to go to it, but order’d a play at Drury Lane, which

carry’d away most of the Company, though the rest of

the Royal Family were at Covent Garden, by this you

will perceive, that our Theatrical Warr is as furious as

ever, we have much the advantage for next year, having

near a hundred Subscribers already, and the Subscription

in the Prince’s Hands, who labours hard for our Interest;

Handel has not begun his yet, and I question, whether

his vanity will permit him, to sollicit one, I made yr [178r]

Lordps. Compliments, as you directed, the persons are very

sensible of the honour yr Lorp does them as well as

My Lord

yr Lorps.

Most Obednt & Most Humble

Sert.

J Buckworth

London

may 13th 1736[69]

 

 

 

May 15

AT the Theatre-Royal in Covent-Garden,

this Day, May 15, will be perform’d a New Opera, call’d

ATALANTA.

In Honour of the Royal Nuptials of their Royal Highnesses the Prince

and Princess of WALES.

The Pit and Boxes will be laid together at Half a Guinea each.

First Gallery 4 s.  Second Gallery 2 s. 6 d.

N.B. The Gallery Doors will be open’d at Four o’Clock, and the

Pit and Boxes at Five.

Tickets will be deliver’d at the Office of the said Theatre, this Day.

By His Majesty’s Command no Persons whatever to be admitted

behind the Scenes.

To begin at Seven o’Clock.[70]

 

 

 

May 19

AT the Theatre-Royal in Covent-Garden,

this Day, May 19, will be perform’d a New Opera, call’d

ATALANTA.

In Honour of the Royal Nuptials of their Royal Highnesses the Prince

and Princess of WALES.

The Pit and Boxes will be laid together at Half a Guinea each.

First Gallery 4 s.  Second Gallery 2 s. 6 d.

N.B. The Gallery Doors will be open’d at Four o’Clock, and the

Pit and Boxes at Five.

By His Majesty’s Command no Persons whatever to be admitted

behind the Scenes.

Tickets will be deliver’d at the Office of the said Theatre, this Day.

To begin at Seven o’Clock.[71]

 

 

 

May 19

[Henry Pelham to the Earl of Essex]

 

[“London May ye 19- 1736.”]

 

[...] Operas continue

and the Rivalship of Hendal, is in a high way[.]

they say he has got a young fellow with a pro:

digious fine voice, but as yet very ignorant. What

you will bring over with you, may restore the

Royal Academy, but att present they seem in a

declining way. [...][72]

 

 

 

May 22

AT the Theatre-Royal in Covent-Garden,

this Day, May 22, will be perform’d a New Opera, call’d

ATALANTA.

In Honour of the Royal Nuptials of their Royal Highnesses the Prince

and Princess of WALES.

The Pit and Boxes will be laid together at Half a Guinea each.

First Gallery 4 s.  Second Gallery 2 s. 6 d.

N.B. The Gallery Doors will be open’d at Four o’Clock, and the

Pit and Boxes at Five.

By His Majesty’s Command no Persons whatever to be admitted

behind the Scenes.

To begin at Seven o’Clock.[73]

 

 

 

May 26

AT the Theatre-Royal in Covent-Garden,

this Day, May 26, will be perform’d a New Opera, call’d

ATALANTA.

In Honour of the Royal Nuptials of their Royal Highnesses the Prince

and Princess of WALES.

The Pit and Boxes will be laid together at Half a Guinea each.

First Gallery 4 s.  Second Gallery 2 s. 6 d.

N.B. The Gallery Doors will be open’d at Four o’Clock, and the

Pit and Boxes at Five.

By His Majesty’s Command no Persons whatever to be admitted

behind the Scenes.

To begin at Seven o’Clock.[74]

 

 

 

May 27

The same morning at 11, the Queen, the Duke and the Princesses removed from S. James’s to Kew.  LP.  DP.——Her royal highness the Princess of Wales being very much indisposed, their royal highnesses have put off their removal, &c.  DA.——She was better in the evening.  DJ.——Being a little indisposed was not at the Opera as expected.  LP.[75]

 

 

 

May 29

AT the Theatre-Royal in Covent-Garden,

this Day, May 29, will be perform’d a New Opera, call’d

ATALANTA.

In Honour of the Royal Nuptials of their Royal Highnesses the Prince

and Princess of WALES.

The Pit and Boxes will be laid together at Half a Guinea each.

First Gallery 4 s.  Second Gallery 2 s. 6 d.

N[.]B. The Gallery Doors will be open’d at Four o’Clock, and the

Pit and Boxes at Five.

By His Majesty’s Command no Persons whatever to be admitted

behind the Scenes.

To begin at Seven o’Clock.[76]

 

 

 

Jun 2

AT the Theatre-Royal in Covent-Garden,

this Day, June 2, will be perform’d a New Opera, call’d

ATALANTA.

In Honour of the Royal Nuptials of their Royal Highnesses the Prince

and Princess of WALES.

The Pit and Boxes will be laid together at Half a Guinea each.

First Gallery 4 s.  Second Gallery 2 s. 6 d.

N.B. The Gallery Doors will be open’d at Four o’Clock, and the

Pit and Boxes at Five.

By His Majesty’s Command no Persons whatever to be admitted

behind the Scenes.

To begin at Seven o’Clock.[77]

 

 

The same Evening [yesterday] her Majesty, their Royal

Highnesses the Princesses Amelia, Caroline, Mary, and

Louisa, came to St. James’s, and staid about two Hours

with the Princess of Wales [who had lately been indisposed], and afterwards went to the

Theatre Royal in Covent-Garden, and saw the Opera

Atalanta, being in Honour of the Nuptials of their

Royal Highnesses the Prince and Princesses of Wales.[78]

 

 

Last Night the Queen, Duke, and the Princesses

Amelia and Caroline were at the Theatre-Royal in

Covent-Garden, and saw the Opera of Atalanta, composed by

Mr. Handel, in honour of the Royal Nuptials.[79]

 

 

 

Jun 2

[“THURSDAY, June 3.”]

Yesterday Mr. Boyce was chose organist of S. Michael’s in Cornhill, in the room of M. Kellway, who has accepted of that of S. Martin in the fields.  DA.——The candidates were Mr. Boyce and Mr. Young, the former had 40, and the latter 32 votes.  DJ.[80]

 

 

 

Jun 4

To Mr. ROUBILIAC, on seeing a Bust made by

him of SENESINO.

By Mr. LOCKMAN.

 

When Senesino breathes in Vocal Strains,

We think Apollo’s left th’AEtherial Plains:

When we the Warbler view, by thee exprest,

He seems as by the Hand of Nature drest.

 

Thy Art so happily eludes the Eye;

His Voice such Sweetness boasts, and swells so high,

That which best imitates, ’twill doubtful be,

Thou, Senesino; or Apollo, he.[81]

 

 

 

Jun 9

COVENT-GARDEN.

By Her MAJESTY’s Command,

AT the Theatre-Royal in Covent-Garden,

this Day, June 9, will be perform’d a New Opera, call’d

ATALANTA.

In Honour of the Royal Nuptials of their Royal Highnesses the Prince

and Princess of WALES.

The Pit and Boxes will be laid together at Half a Guinea each[.]

First Gallery 4 s.  Second Gallery 2 s. 6 d.

N.B. The Gallery Doors will be open’d at Four o’Clock, and the

Pit and Boxes at Five.

By His Majesty’s Command no Persons whatever to be admitted

behind the Scenes.

To begin at Seven o’Clock.

(Being the last Time of performing this Season.)[82]

 

 

 

Jun 11

[Thomas Gray to Horace Walpole in Cambridge]

June 11, London.

 

Dear Sir,

IT was hardly worth while to trouble you with a letter till I had seen

somewhat in town; not that I have seen anything now but what you

have heard of before, that is, Atalanta.  There are only four men and

two women in it.  The first is a common scene of a wood, and does not

change at all till the end of the last act, when there appears the Temple

of Hymen with illuminations; there is a row of blue fires burning in

order along the ascent to the temple; a fountain of fire spouts up out of

the ground to the ceiling, and two more cross each other obliquely

from the sides of the stage; on the top is a wheel that whirls always

about, and throws out a shower of gold-colour, silver, and blue fiery

rain.  Conti I like excessively in everything but his mouth which is

thus, [drawing]; but this is hardly minded, when Strada stands by him.

Operas and plays, and all things else at present, are beat off the stage,

and are forced to yield to Spring Garden, where last night were above

fifteen hundred people.  I won’t say more of it till I have seen it myself,

but as the beauty of the place, when lighted up, and a little music are [103]

the only diversions of it, I don’t suppose it will be an<y> long time in

vogue.  I beg your excuse that I have not yet <execu>ted my commission

at Chenevix, but some time the next week I will take care to do

my duty.  I have also a commission for your man (with your leave),

that is, to call at Crow’s for me, and bid him send me Atalanta with

all the speed he possibly can, which I must owe him for till I come

down again, which won’t (I believe) be a vast while.  Pray, bid Ashton

write, and I hope you’ll write yourself.  Adieu!

 

Yours ever,

OROZMADES[83]

 

 

 

Jun 15

[Lord Wyndham to James Harris, 15 June 1736]

 

I have been so long absent from opera’s, & so much used to the discords of the

Bar, that I fear I have lost all tast for musick; though I believe I should[,] was I in

London, spend a guinea or two in hearing those voices; which by report have had

very extraordinary effects upon the ears & pockets of my countrymen.[84]

 

 

Last Night their Royal Highnesses the Prince and

Princess of Wales were at the King’s Theatre in the

Haymarket, and saw the Opera call’d Orpheus.[85]

 

 

 

Jun 18

FRIDAY, June 18.  Mr. Martin is appointed organist to his Majesty, in the room of Mr. Weldon.  G.——And Mr. Boyce composer.  DJ.[86]

 

 

 

Jun 24

[Richard Fawcett to James Harris, 24 June 1736]

{...}

My writer’s illness obliges me to desire leave to keep your Coronation

Musick a little while longer[;] as soon as I have done with it I shall take care to

return it by a safe hand.[87]

 

 

 

Jul 7

[Lord Chamberlain’s Records]

 

These are &c. to Mr: Christopher Smith the summ of Eighty Six Pounds Two

Shillings and six Pence Office Fees incl[uded], for extraordinary performers of Musick

and for writing the Anthem for the Marriage of His Royal Highness the Prince of

Wales, as appears in the annext Bills And for so doing this shall be your Lordsh[i]p’s

Warrant.  Given under my hand this 7th Day of July 1736 in the Tenth Year of His

Majesty’s Reign.

To the Lord Hobart &c.                                              Grafton

Marginal entry: Mr: Smith for Extraordinary P[er]formers of Musick for the Prince of

Wales’s Marriage

£76:  6:10

    9:15:  8 Fees

_________

  86:  2:  6[88]

 

 

 

Jul 10

FOREIGN NEWS.

TUESDAY, July 15.——Paris, July 21.  Mass is sung every day to musick in the King’s chapel at Compiegne, which was never done there before.  The Anthems are perform’d by the Queen’s female singers, with 9 other voices, and 7 instruments, besides 6 or 7 young Lords of the court.  DP.——’Tis a comfort, that the nobility of England have a more manly and becoming taste.  DJ.——Does my Brother mean in incouraging Operas and Italian Eunuchs?[89]

 

 

 

Jul 24

[Charles Jennens in Packington to Edward Holdsworth]

 

[…] at my return to Gopsal, I hope to find all your notes, & I’ll sit down to read Virgil with more pleasure than ever I did in my life. This, I hope, will keep off the Hyp[ochondria] till the end of October, when I suppose I shall go to London, & there Mr. Handel will do it for me. […][90]

 

 

 

Jul 24, 28

SATURDAY, July 24.  A project is actually on foot for building and endowing an Hospital for foundlings. [...]

WEDNESDAY, July 28. [...]

We are informed, that her Majesty has been pleas’d to declare her intention pf bestowing 5000 l. towards building an Hospital, &c. for foundling children.[91]

 

 

 

Aug 13

[“FRIDAY.”]

Private Letters from Paris mention, that the French Nobility are in the greatest Raptures with the celebrated Signior Farinello, and that he was offer’d fifty Louis d’Ors to Sing a single Song in the Oratorio, which was perform’d one Night last Week, in the Royal Palace of the Thuilleries, but he refus’d it.[92]

 

 

 

Aug 16

[“MONDAY.”]

Another young Woman had been there [i.e. Compeigne] [...] She being reckon’d the best Fidler in Paris, came to Court to get admitted into his Majesty’s Band of Musick, and knowing the Female Habit would be a Bar to her Ambition, she had assum’d the Appearance of a Man, and propos’d to wear the Habit for Life; but his Majesty gave her twenty Louis d’Ors, and sent her away.[93]

 

 

 

Aug 17/28

[Handel to Michael Dietrich Michaelsen]

 

à Londres le 28/17 d’Aoust. 1736.

 

Monsieur

et tres Honoré Frere

 

Comme il ne me reste personne de plus proche que

ma Chere Niece, et que je l’ay toujours parfaitement

aimée Vous ne pouviez pas m’aprendre une plus

agreable nouvelle que celle qu’ Elle doit epouser

une Personne d’un Caractere et d’un Merite si

distingué. Vôtre seule determination auroit

suffi pour La mettre au comble de son bonheur

ainsi je prens pour un Effet de Vôtre Politesse

la demande que Vous faitez de mon approbation

La bonne Education dont Elle Vous est redeva<ble>

assurerà non seulement sa felicité, mais tourn<erà>

aussi a Vôtre Consolation; a la quelle Vous n<e>

dautez pas que je ne prenne autant de part

qu’il se puisse.          J’ay pris la Liberté d’envoyer

à Monsieur Son Epoux pour un petit Present de

Nopces une Montre d’Or de Decharmes avec

une Chaine d’Or et deux Cachets un d’Amatiste

et l’autre d’Onyx. Agreez que j’envoye [1v]

dans cette même occasion pour un petit Present de

Nopces a mà chere Niece l’Epouse, une Bague de

Diamant d’une Pierre seule qui pese sept grains

et demi et quelque peu de chose de plus, de la

premiere Eau et de toute Perfection.

J’adresserai l’une et l’autre a Monsieur Sbüelen

à Hambourg pour Vous les faire tenir.

Les obligations envers Vous, Monsieur, et

Madame Vôtre Epouse, que je Vous prie d’assurer

de mes Respects, font un point apart, dont je

tacherai de m’acquitter à la premiere occasion.

Permettez qu’apres cela je Vous assure qu’on

ne scauroit etre avec plus de sincerité et

de passion invariable que j’ay l’hon[n]eur de l’être

Monsieur

et tres Hon[n]oré Frere

Vôtre

tres humble et tres obeissant

serviteur

George Frideric Handel. [2r]

 

[2v sideways]

A Monsieur

Monsieur Michael Dietrich Michäelsen

Conseiller de guerre de Sa Majesté Prussienne

à

Halle

en Saxe.

Franco

Emmerih[94]

 

 

 

Aug 19

Mons. Denoyer, the famous dancer at Drury-lane theatre, is gone to Paris, by order of Mr. Fletewood, to engage Mademoiselle Sallee to dance there the ensuing winter.  DA.——There?  What at Paris?[95]

 

 

 

early Sept

[“From THURSDAY’s Papers.”]

[Mail from France] Last Tuesday se’nnight Farinelli, the celebrated Singer, perform’d before the Cardinal de Fleury, the Duke de Fleury his nephew, and the Dutchess de Fleury, and on the Thursday following he sung to the Harpsichord in the Queen’s Closet, where the King was present.[96]

 

 

 

Sep 13

MONDAY, Sept. 13.  The king of France has made a present of a fine gold snuff box, with his picture in it set with diamonds of a great value, to Signor Farinelli.  DJ[.]  LP.[97]

 

 

 

Oct 4

[Prince Kantemir in London to Gesandten Sorba in Paris, 4 October 1736]

 

[...] Mr. Farinelli arriva hier au soir, gros et gras et fort satisfait de vos politesses. [...][98]

 

 

 

Oct 4

Last Night the famous Signora Strada arriv’d from

Holland, who is come on purpose to sing next Thursday

in a Concert of Musick at the Swan Tavern in

Exchange-Alley.

Sig. Dominico Anibaly, a famous Singer, is also

arriv’d from the Court of Saxony for Mr. Handel’s Opera.[99]

 

 

Last night the famous Signora Strada arrived from

Holland.———Sig. Dominico Anibaly, a famous singer, is

arrived from Saxony for Mr. Handel’s Opera.  DP.  DA.[100]

 

 

We have the Pleasure to acquaint our Readers,

that the celebrated Signora Strada is once more

returned to bless this happy Metropolis with her

Magic Strains; and that a new Singer from

Saxony, yeleped [sic] Signor Dominico Anibali, is also

arrived to add a Grace to our Opera.[101]

 

 

 

Oct 4

[“From THURSDAY’s Papers.”]

On Monday last Signior Farinello, the famous Italian Singer, arriv’d from France; about three Months ago he went thither with Prince Cantemir, the Russian Envoy, and during his stay, had the Honour to sing twice before the King, Queen, and all the Court, and had for his excellent Performance a Present from his most Christian Majesty of a fine Gold Snuff-Box, with his Picture set in Diamonds in the Lid, and also a Purse of Louis d’Ors.  The Princes of the Blood, even the old Cardinal de Fl[e]ury, and the other Nobility, before whom he sung several Times, made him likewise very generous Presents.[102]

 

 

 

Oct 5

On Tuesday last Signor Dominico Annibali, the

celebrated Italian Singer lately arrived from Dresden, to

perform in Mr. Handel’s Opera in Covent-Garden, was sent

for to Kensington, and had the Honour to sing several

Songs before her Majesty and the Princesses, who express’d

the highest Satisfaction at his excellent Voice, and the

judicious manner of his Performance.[103]

 

 

 

Oct 6

Last night the famous Signora Strada arrived from Holland.—Sig. Dominico Anibaly, a famous singer, is arrived from Saxony for Mr. Handel’s Opera.  DP.  DA.[104]

 

 

 

Oct 19

[Edward Holdsworth in Winton to Charles Jennens]

 

[…] I heartily wish you a good journey, and a great deal of pleasure wth the Prodigious and his new damsels. I hope one of them is the Peruchiera, Mr Herbert’s favourite. I believe her voice will please you. […][105]

 

 

 

Oct 23

[4th Earl of Shaftesbury to James Harris, 23 October 1736]

 

Having this morning receiv’d some intelligence concerning Mr Handel’s new

singer Annibale; I will not loose one post, but communicate to you directly what

I hear, as I know any account of a musical transaction (though ever so imperfect)

will[,] & especially when it relates to Mr Handel[,] be always agreable to you.

Annibale’s voice is it seems of that kind they call a mezzo soprano.  He sings very

much in Senesino’s manner[;] his voice is very tunefull; he is young & a very good

master of musick.  What I have said thus far I have very good reason to believe to

be just, at least not to exceed the truth for the person who sent me the character

of Annibale had it from Pardini who has play’d to him before the Queen at

Kensington & who is (as you know) dispos’d much more to censure rather than

commend any body who is with Handel.  I hear too, Mr Handel has declared

Annibale is a better singer than he expected him to be.  I do not hear of any new

woman or other new singer being to come, or when operas begin.  At the Hay

Markett they have a new woman whose only excellence lies in her person but they

say sings very indifferently.[106]

 

 

 

Nov 4

[Edward Holdsworth in Winton to Charles Jennens]

 

[…] I am glad to hear that the Prodigious is like to entertain you so well this winter. He will very much contribute, I don’t doubt, to keep up your spirits; but pray don’t let him engross all your time. Let your house have a share in you, and I don’t doubt but between them, they will prevent any return of your last year’s disorder. I beg you not to bestow any of your time, unless ’tis very bad weather, on ye Georgicks. The country about London, as bad as ’tis, will I am persuaded be of more service to you, to prevent the Hyp than Virgil’s Italy […][107]

 

 

 

Nov 6

This Day their Royal Highnesses the Prince and

Princess of Wales, will dine at their House in Pall

Mall, and in the Evening will be present at the

Opera call’d, Alcina, at the Theatre Royal in

Covent Garden.[108]

 

 

Their Royal Highnesses the Prince and

Princess of Wales will be this Evening at the Theatre

Royal in Covent Garden, to hear the Opera of

Alcina.[109]

 

 

The same Day [Saturday last] the Prince and Princess of

Wales came to Carleton-house, where an Entertainment

was prepared for them, and several other

Persons of Distinction, and in the Evening they

went to the Theatre Royal in Covent-garden

to hear the Opera of Alcina.[110]

 

 

 

Nov 10

To-morrow her Majesty, the Duke, and the

Princesses Amelia and Caroline, will be at the

Theatre Royal in Covent-Garden to hear the

Opera of Alcina.[111]

 

 

 

Nov 10

[Earl of Egmont’s Diary, Wednesday 10 November 1736]

 

Scandalous reports about the town on account of his Majesty’s

absence at Hanover and Mrs. Valmout, and which trouble me

much.  That lady, whose husband is alive, is said to be a Papist,

and that she insisted if she came over with him to have a Popish

chapel allowed her.  That the King did write thereupon to England

to know if that might be ventured upon, but had for answer that

it was not to be expected the people would bear it.

[...]

The Queen, I am told, has writ him a very pathetic letter,

acquainting him with the daily increase of disaffection, and if he

returns not she knows not what may be the issue; that since

nothing was agreeable to him in England, she wished he would

bring over that person who would make it so.[112]

 

 

 

Nov 13

[Earl of Egmont’s Diary, 13 November 1736]

 

Saturday, 13. — More popular reports come to my ears occasioned

by the King’s absence at Hanover, as that his Majesty kept Madame

Vormale’s birthday with great magnificence, and I find the same

maliciously spread in the Craftsman of this day.  Again, the people

will have it that the King has writ for 200,000 l. from England to [308]

give her; others say she has poxt him; others that he does not

design to come this winter; others talk almost treason.

A nobleman as he went to the King’s birthday, being stopped

by another coach, a fellow popped in his head and asked him when

will the King come, and then set up a hoarse laugh.  An advertisement

was given out that the Elector of Hanover intended to visit

his British dominions for two months, and then return to his German

estate.

In the meantime the Prince grows more popular, and her Majesty

endeavours more than usual to gain on him.  This is happy for

us, though I’m told the courtiers would not have his Highness

popular.  It is to be hoped they will not infuse jealousy into his

Majesty at his return, but whether jealous or not, I say it is happy

that in this general dissatisfaction and contempt for his Majesty

the people should still preserve a due regard for some of the Royal

family of Hanover.[113]

 

 

 

Nov 13

Last Saturday her Majesty, the Duke and

Princesses, were at the Opera of Alcina, at the Theatre

Royal in Covent Garden, and the same Night

returned to Kensington.[114]

 

 

 

Nov 13

[Edward Holdsworth in Winton to Charles Jennens]

 

Dear Sr

’Twas with very great concern yt I read your account of the bad reception you met with in Town after your escape from mire & dirt &c. I hope your cold was no more than the Tribute yt is usually paid to London at first coming, and that you will now be free as long as you stay. I wish your Sister’s disorder may go off as well. It wou’d be a sad thing to have so much affliction within doors, when you have no prospect of having any great pleasure without. But I am sure you will be contented to let Mr Handel’s Antagonists expose themselves for one year longer yt He may shine to greater advantage the next. And methinks with yt view you may go now & then to pass away an hour & laugh at them.[115]

 

 

 

Nov 13, 18

[Earl of Egmont’s Diary, 18 November 1736]

 

Thursday, 18. — The people continue to manifest their indignation

at the King’s absence.  Some say he has already drawn away

from England 200,000 l., others double that sum, insomuch that

he has drained the Treasury, so that the pensions can’t be paid,

which makes Sir Robert Walpole swear.

The last opera night [Alcina, Sat. 13 Nov.] the Queen was hissed when she came in,

upon which others clapped.  One who was present told it us.[116]

 

 

 

Nov 15

Next Monday being St. Caecilia’s Day, the new

Organ at Magdalen College is to be opened, and in

the Evening the Masque of Acis and Galatea,

composed by Mr. Handel, will be performed in the Hall

of the said College, for the Benefit of Mr. Hays the

Organist.[117]

 

 

 

Nov 15

Signora Merighi, Signora Chimenti, and The Francesina

(Three Singer lately come from Italy, for the Royal Academy

of Musick) had the Honour to sing before her Majesty,

the Duke, and Princesses, at Kensington, on Monday

Night last, and met with a most gracious Reception,

and her Majesty was pleased to approve their several

Performances: after which, The Francesina, performed several

Dances to the intire Satisfaction of the Court.[118]

 

 

 

Nov 18

[Prince Cantemir in London to Marchioness Monconseil in Paris, 18/29 November 1736]

 

[...] De quoi voulez-vous donc qu’on parle?  Je

puis bien vous dire que M. Hendel a déjà commencé à donner

ses opéras et que peu de monde y va.  L’autre théâtre s’ouvrira

mardi prochain, et j’ai peur qu’il sera peu fréquenté, car il n’y a

que Farinelli qui vaut la peine d’être entendu.  Comme vous

voyez, madame, cela se ressemble aux deux pièces de m. Voltaire.

Cet auteur-là m’a paru dans la plupart de ses ouvrages un

homme, qui se pique d’écrire sur les matières qu’il n’entend pas.

Son Histoire de Charles XII est un roman au lieu d’une histoire,

et ses Lettres sur les Anglois sont des discours qu’il a entendus

aux cafés de Londres.  Je lui conseillerois d’écrire des satires et

des épigrammes, mais qu’il n’y entre point de la philosophie.[119]

 

I can tell you that Hendel has already begun to present his operas [with Alcina at Covent Garden on November 6, 10 and 13], and that few people {...} are going to see them.  The other theatre will open next Tuesday [with Siroe by Johann Adolf Hasse on November 23], and I fear that it will be poorly attended {...}, because Farinelli is its only singer who deserves to be heard.

 

[… 166]

[Lindgren’s note:] {…} When he wrote to Monconseil on 29 April 1737, Cantemir once again mentioned the poor operatic season: ‘Both theatres have had little success; but that where Farinelli sings has been better attended’ (Maikov, 83).[120]

 

 

 

Nov 20

This Evening their Royal Highnesses the

Prince and Princess of Wales will be at the

Theatre Royal in Covent Garden at the Opera

of Atalanta, and to-morrow will return to

Kensington.[121]

 

 

 

Nov 20

[Thomas Harris to 4th Earl of Shaftesbury]

 

LINCOLN’S INN.

November 20th, 1736.

 

My Lord,

I am very much obliged to your Lordship for the favour of your

letter on Monday last.  The opera of Atalanta was performed

to night in order to give their Royall Highnesses a view of ye

Fire-Works which went off with great Applause, tho’ I don’t

think with that Splendour I have seen them formerly.  Porus

will be performed on Wednesday or Saturday next when I won’t

fail to let your Lordship know what success it meets with, and

particularly how Annibali (of whom there are great expectations,

which I wish don’t turn to his prejudice) is received.  Lady Cat. Noel

and Mr. and Mrs. Eure of Lime Street and Westminster were all

there and are very well.  I will not trouble yr. Lordship with any

thing of ye Birth-Night, as no doubt but Lady Shaftesbury will have [262]

a full account of all ye Finery from Lady Catherine who was there at

noon and in ye evening.

[...]

I ask your Lordship’s pardon for thus troubling you with a long

Westminster Hall affair, but as I have sometimes had ye Honour

to hear yr. Lordship mention some things relating to these matters,

I hope you will be so good as to exempt it, and I am satisfied nothing

yt in any respect tends to Liberty, be it in matters Ecclesiastical or

Civil, can be unacceptable to your Lordship.  I beg my humble

service to the Lady Shaftesbury’s and am, my Lord,

Your Lordship’s most obliged and obedient humble servant,

THO. HARRIS.

 

I beg yr. Lordship to let my Lady Dowager know I have sent ye

spinnet to Mr. Eure at Oxford, and hope to hear of its safe arrival

by to-morrow’s post.[122]

 

 

 

Nov 22

Mr. Joseph Goupy, a very ingenious Artist in Painting,

is made Painter and Surveyor of his Cabinet to his Royal

Highness the Prince of Wales.[123]

 

 

 

Nov 22

Last Monday, being St. Cecilia’s Day, a new Organ

was open’d at Magdalen College in Oxford, when

Mr. Purcell’s Te Deum, and abundance of the finest

Church Musick, was perform’d:  There were some of

the best Performers on the German Flute, French-

Horn and Violin from London; and the same

Evening there was a Concert of Musick in the College

Hall, when the Masque of Acis and Galatea was

perform’d to a very large Audience.[124]

 

 

 

Nov 23

[Prince Kantemir in London to Du Verger in Calais, 23 November/4 December 1736]

 

[...] J’étois charmé d’aprendre par votre lettre, que vous avés reçu les ouvertures de Händel, et je ne le serai pas moins, de pouvoir vous rendre quelque service par rapport à votre clavecin, pour pouvoir vous donner une petite marque de reconnoissance de toutes les politesses, que vous m’avés faites, dans mon passage à Calais. [...][125]

 

 

 

Nov 23

[Mrs. Pendarves to Mrs. Ann Granville, 27 November 1736]

 

[...] Tuesday [23 November] the

Wescombs dined here, and staid till seven.  I wrote

and read till ten; then Bunny came from the Haymarket

Opera, and supped with me comfortably.  They have Farinelli,

Merighi, with no sound in her voice, but thundering

action — a beauty with no other merit; and one Chimenti,

a tolerable good woman with a pretty voice, and

Montagnana, who roars as usual!  With this band of singers,

and dull Italian operas, such as you almost fall asleep

at, they presume to rival Handel — who has Strada, that

sings better than ever she did; Gizziello, who is much

improved since last year; and Annibali who has the best

part of Senesino’s voice and Caristini’s, with a prodigious

fine taste and good action!  We have had Alcina, [...][126]

 

 

 

Nov 24

[Earl of Egmont’s Diary, Wednesday 24 November 1736]

 

I learnt this day that when the Queen went last time to the

opera some persons hissed her as she took her place in the box,

also that when she took coach at St. James’s to return to Kensington

after her visit to the Princess of Wales on her birthday, the mob

insolently told her they did not desire to see her there again.

[...] the Prince acquainted the Queen

very lately that he was in great distress for money and wanted

urgently 20.000 l., to which she replied she had not even one thousand

to give him.  That he replied he must get it somewhere.  The

report of the town is that the King has sent orders to the Prince

not to leave Kensington till his mother returns from thence.[127]

 

 

 

Nov 27

We hear that Signor Domenico Anibali is to make his

first Appearance in the Opera of Porus on Wednesday next

at the Theatre Royal in Covent-Garden.[128]

 

 

 

Nov 27

[Mrs. Pendarves to Mrs. Ann Granville, 27 November 1736]

 

[...] We have had Alcina, and

Atalanta, which is acted to-night for the last night with

the fireworks, and I go to it with Mrs. Wingfield.  Next [579]

Wednesday is Porus, and Annibali sings Senesino’s part.

Mr. Handel has two new operas ready — Erminius and

Justino.  He was here two or three mornings ago and

played to me both the overtures, which are charming.

My brother has tied me down at last to learn of

Kellaway; he has paid him the entrance-money, which is two

guineas, and has made me a present of Handel’s Book of

Lessons.  I don’t find Kellaway’s method difficult at all,

and I believe a couple months’ learning will be of use to

me, at least ’twill make me practice. [...][129]

 

 

 

Dec 1

Last Night their Royal Highnesses were at the

Theatre Royal in Covent Garden, to see the Opera

call’d Porus.[130]

 

 

 

Dec 8

Last Night her Majesty, and their Royal Highnesses the

Duke and the two eldest Princesses, were at the Theatre-

Royal in Covent-Garden, and saw the Opera of PORUS.[131]

 

 

 

Dec 11

On Saturday Mr. Cole, one of his Majesty’s

Messengers, arriv’d at St. James’s, with Advice that last

Wednesday her Royal Highness the Princess of Orange

was deliver’d of a Daughter which died soon after,

and that her Royal Highness was dangerously ill,

whereupon her Majesty’s retir’d to her Chamber and

the Royal Family did not go to the Opera as was

intended.[132]

 

 

 

Dec 29

Last monday, being S. Cecilia’s day, a new organ was open’d at Magdalen-college in Oxford, when Mr. Purcell’s Te Deum, and abundance of the finest church musick was [2] performed: in the evening there was a concert of musick in the Hall, and the masque of Acis and Galatea.  DP.[133]

 

 

 

[“A LIST OF THE SUBSCRIBERS.”]

Mr. Handel.[134]

 

 

[“An EPISTLE To SENEX, against Satire.”]

 

If you must write——some Counsel I’ll impart,

The Skill of giving is no vulgar Art.

Small Thanks attend on a superfluous Gift.

Fables to Gay?  Satires to Pope or Swift?

Who Verses writes to his Poetick Friends,

To Handel Musick, Flowers to Miller sends?[135]

 

 

 

[...] I will allow that a Person, wholly ignorant of the Art of Physic, may be possessed of good Remedies, and that a Cure may sometimes ensue upon the casual Application of them; but notwithstanding this accidental Success, there can be constantly expected no better Performances in Physic from that Man’s unskilful [sic]Administration, than in Music, from a Hand altogether dull and injudicious, upon the well-tuned Instruments of a Corelli or a Handel.[136]

 

 

 

As pants the Hart for cooling Streams.

[…]

Mr. HANDELL.[137]

 



[1] 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), 10.

[2] Manuscripts of the Earl of Egmont: Diary of the First Earl of Egmont (Viscount Percival).  Vol. II. 1734-1738 (London: His Majesty’s Stationery Office, 1923), 226.

[3] 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), 12.

[4] British Library, Add. Ms. 27735, f. 67r; repr. Carole Mia Taylor, “Italian Operagoing in London, 1700-1745” (Ph.D. dissertation, Syracuse University, 1991), 227.

[5] Manuscripts of the Earl of Egmont: Diary of the First Earl of Egmont (Viscount Percival).  Vol. II. 1734-1738 (London: His Majesty’s Stationery Office, 1923), 227.

[6] The Old Whig: Or, The Consistent Protestant, no. 49, Thursday 12 February 1736, [2]; repr., The Grub-street Journal, no. 320, Thursday 12 February 1736, [2] (quoting Daily Advertiser, Friday 6 February).

[7] Manuscripts of the Earl of Egmont: Diary of the First Earl of Egmont (Viscount Percival).  Vol. II. 1734-1738 (London: His Majesty’s Stationery Office, 1923), 149.

[8] The Grub-street Journal, no. 321, Thursday 19 February 1736, [3].

[9] The Old Whig: Or, The Consistent Protestant, no. 51, Thursday 26 February 1736, [3].

[10] The Grub-street Journal, no. 322, Thursday 26 February 1736, [2].

[11] The London Daily Post, and General Advertiser, no. 406, Thursday 19 February 1736, [1].

[12] Manuscripts of the Earl of Egmont: Diary of the First Earl of Egmont (Viscount Percival).  Vol. II. 1734-1738 (London: His Majesty’s Stationery Office, 1923), 235.

[13] [Henry Coventry], Philemon to Hydaspes; Relating A Conversation with Hortensius, upon the Subject of False Religion (London: J. Roberts, 1736), 7-8; partly repr., Deutsch, 413; first advertised in The London Evening-Post, no. 1288, Tuesday 17 – Thursday 19 February 1736, [3].

[14] Manuscripts of the Earl of Egmont: Diary of the First Earl of Egmont (Viscount Percival).  Vol. II. 1734-1738 (London: His Majesty’s Stationery Office, 1923), 237.

[15] The London Daily Post, and General Advertiser, no. 411, Wednesday 25 February 1736, [1].

[16] The London Evening-Post, no. 1292, Thursday 26 – Saturday 28 February 1736, [1]; repr., The Old Whig: Or, The Consistent Protestant, no. 5[2], Thursday 4 March 1736, [3].

[17] The London Magazine: and Monthly Chronologer 5 (1736), 95; Chrissochoidis, 719.

[18] The London Daily Post, and General Advertiser, no. 417, Wednesday 3 March 1736, [1].

[19] Manuscripts of the Earl of Egmont: Diary of the First Earl of Egmont (Viscount Percival).  Vol. II. 1734-1738 (London: His Majesty’s Stationery Office, 1923), 240.

[20] The Daily Post, no. 5142, Saturday 6 March 1736, [2].

[21] The Old Whig: Or, The Consistent Protestant, no. 53, Thursday 11 March 1736, [3].

[22] British Library, Add. Ms. 27738, ff. 235v-236r; repr. Carole Mia Taylor, “Italian Operagoing in London, 1700-1745” (Ph.D. dissertation, Syracuse University, 1991), 222.

[23] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 1,” item 31, 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: 96; (except last sentence) Händel Handbuch, 260–261.

[24] The London Daily Post, and General Advertiser, no. 425, Friday 12 March 1736, [1].

[25] Manuscripts of the Earl of Egmont: Diary of the First Earl of Egmont (Viscount Percival).  Vol. II. 1734-1738 (London: His Majesty’s Stationery Office, 1923), 244.

[26] 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), 13.

[27] The London Daily Post, and General Advertiser, no. 429, Wednesday 17 March 1736, [1].

[28] British Library, Add. Ms. 27738, ff. 186v-187r; repr. Carole Mia Taylor, “Italian Operagoing in London, 1700-1745” (Ph.D. dissertation, Syracuse University, 1991), 227.

[29] The Dublin Gazeteer, no. 913, Tuesday 16 – Saturday 20 March 1736, [3]; repr., Horatio Townsend, The History of Mercer’s Charitable Hospital in Dublin, to the End of the Year 1742 (Dublin: George Herbert, 1860), 35.

[30] The London Daily Post, and General Advertiser, no. 435, Wednesday 24 March 1736, [1].

[31] Manuscripts of the Earl of Egmont: Diary of the First Earl of Egmont (Viscount Percival).  Vol. II. 1734-1738 (London: His Majesty’s Stationery Office, 1923), 248.

[32] The London Daily Post, and General Advertiser, no. 435, Wednesday 24 March 1736, [2]; repr. (only second ad), The Daily Gazetteer, no. 231, Wednesday 24 March 1736, [2].

[33] Anthony Hicks, “Acis and Galatea in 1736,” The Handel Institute Newsletter 15/1 (Spring 2004), [3-6]: [4-5].

[34] The Grub-street Journal, no. 326, Thursday 25 March 1736, [1].

[35] The Dublin Gazeteer, no. 915, Tuesday 23 – Saturday 27 March 1736, [3]; repr., Horatio Townsend, The History of Mercer’s Charitable Hospital in Dublin, to the End of the Year 1742 (Dublin: George Herbert, 1860), 35.

[36] The Old Whig: Or, The Consistent Protestant, no. 56, Thursday 1 April 1736, [3].

[37] The Dublin Gazeteer, no. 916, Saturday 27 – Tuesday 30 March 1736, [4]; repr., Horatio Townsend, The History of Mercer’s Charitable Hospital in Dublin, to the End of the Year 1742 (Dublin: George Herbert, 1860), 36.

[38] The London Daily Post, and General Advertiser, no. 441, Wednesday 31 March 1736, [1].

[39] Manuscripts of the Earl of Egmont: Diary of the First Earl of Egmont (Viscount Percival).  Vol. II. 1734-1738 (London: His Majesty’s Stationery Office, 1923), 253.

[40] 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), 14.

[41] The Dublin Gazeteer, no. 918, Saturday 3 – Tuesday 6 April 1736, [3].

[42] The London Daily Post, and General Advertiser, no. 447, Wednesday 7 April 1736, [1].

[43] The Grub-street Journal, no. 328, Thursday 8 April 1736, [2].

[44] Pue’s Occurrences, Tuesday 6 – Saturday 10 April 1736: Horatio Townsend, The History of Mercer’s Charitable Hospital in Dublin, to the End of the Year 1742 (Dublin: George Herbert, 1860), 36-37.

[45] The Grub-street Journal, no. 329, Thursday 15 April 1736, [2].

[46] The Old Whig: Or, The Consistent Protestant, no. 58, Thursday 15 April 1736, [2].

[47] The Grub-street Journal, no. 329, Thursday 15 April 1736, [2].

[48] The London Daily Post, and General Advertiser, no. 453, Wednesday 14 April 1736, [1].

[49] Manuscripts of the Earl of Egmont: Diary of the First Earl of Egmont (Viscount Percival).  Vol. II. 1734-1738 (London: His Majesty’s Stationery Office, 1923), 260.

[50] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 1,” item 32, f. 1v; 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: 97; Händel Handbuch, 263.

[51] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 1:554.

[52] 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), 15.

[53] British Library, Add. Ms. 27735, ff. 152v-153r; repr. Carole Mia Taylor, “Italian Operagoing in London, 1700-1745” (Ph.D. dissertation, Syracuse University, 1991), 232-33.

[54] Manuscripts of the Earl of Egmont: Diary of the First Earl of Egmont (Viscount Percival).  Vol. II. 1734-1738 (London: His Majesty’s Stationery Office, 1923), 262.

[55] Manuscripts of the Earl of Egmont: Diary of the First Earl of Egmont (Viscount Percival).  Vol. II. 1734-1738 (London: His Majesty’s Stationery Office, 1923), 264.

[56] The Old Whig: Or, The Consistent Protestant, no. 60, Thursday 29 April 1736, [4].

[57] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 1,” item 33, 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: 97; (first three sentences) Autograph Letters of George Frideric Handel and Charles Jennens (auction catalog, Christie, Manson & Woods, July 4, 1973), 21; Händel Handbuch, 264.

[58] Manuscripts of the Earl of Egmont: Diary of the First Earl of Egmont (Viscount Percival).  Vol. II. 1734-1738 (London: His Majesty’s Stationery Office, 1923), 269.

[59] The London Daily Post, and General Advertiser, no. 471, Wednesday 5 May 1736, [1].

[60] The London Daily Post, and General Advertiser, no. 472, Thursday 6 May 1736, [1].

[61] 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), 16.

[62] 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), 17.

[63] Manuscripts of the Earl of Egmont: Diary of the First Earl of Egmont (Viscount Percival).  Vol. II. 1734-1738 (London: His Majesty’s Stationery Office, 1923), 272.

[64] 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), 18.

[65] Manuscripts of the Earl of Egmont: Diary of the First Earl of Egmont (Viscount Percival).  Vol. II. 1734-1738 (London: His Majesty’s Stationery Office, 1923), 272.

[66] The London Daily Post, and General Advertiser, no. 477, Wednesday 12 May 1736, [1].

[67] The London Evening-Post, no. 1324, Tuesday 11 – Thursday 13 May 1736, [1]; repr., The Old Whig[:] Or, The Consistent Protestant, no. 63, Thursday 20 May 1736, [2]; The Dublin Evening Post, vol. 4, no. 91, Tuesday 18 – Saturday 22 May 1736, [2-3].

[68] The Daily Gazetteer, no. 274, Thursday 13 May 1736, [2].

[69] British Library, Add. Ms. 27735, ff. 177r-178r; repr. (Swiney reference only) Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institution and Its Directors (New York and London: Garland, 1989), 353; (majority though not in order) Carole Mia Taylor, “Italian Operagoing in London, 1700-1745” (Ph.D. dissertation, Syracuse University, 1991), 217, 228, 229.

[70] The London Daily Post, and General Advertiser, no. 480, Saturday 15 May 1736, [1].

[71] The London Daily Post, and General Advertiser, no. 483, Wednesday 19 May 1736, [1].

[72] British Library, Add. Ms. 27735, f. 180r; repr., Carole Mia Taylor, “Italian Operagoing in London, 1700-1745” (Ph.D. dissertation, Syracuse University, 1991), 232.

[73] The London Daily Post, and General Advertiser, no. 486, Saturday 22 May 1736, [1].

[74] The London Daily Post, and General Advertiser, no. 489, Wednesday 26 May 1736, [1].

[75] The Grub-street Journal, no. 335, Thursday 27 May 1736, [2].

[76] The London Daily Post, and General Advertiser, no. 492, Saturday 29 May 1736, [1].

[77] The London Daily Post, and General Advertiser, no. 495, Wednesday 2 June 1736, [1].

[78] The Daily Gazetteer, no. 292, Thursday 3 June 1736, [2].

[79] The London Daily Post, and General Advertiser, no. 496, Thursday 3 June 1736, [1].

[80] The Grub-street Journal, no. 337, Thursday 10 June 1736, [2].

[81] The London Daily Post, and General Advertiser, no.497, Friday 4 June 1736, [1].

[82] The London Daily Post, and General Advertiser, no. 501, Wednesday 9 June 1736, [1].

[83] Horace Walpole’s Correspondence with Thomas Gray, Richard West and Thomas Ashton I, ed. W. S. Lewis, George L. Lam, and Charles H. Bennett (New Haven: Yale University Press / London: Geoffrey Cumberlege, Oxford University Press, 1948), 102-03.

[84] 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), 18.

[85] The Daily Gazetteer, no. 303, Wednesday 16 June 1736, [1].

[86] The Grub-street Journal, no. 339, Thursday 24 June 1736, [2].

[87] 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), 19.

[88] Donald Burrows, Handel and the English Chapel Royal (Oxford and New York: Oxford University Press, 2005), 612.

[89] The Grub-street Journal, no. 343, Thursday 22 July 1736, [3].

[90] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 1,” item 34, f. 1v; 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: 97–98.

[91] The Grub-street Journal, no. 344, Thursday 29 July 1736, [2].

[92] The Old Whig: Or, The Consistent Protestant, no. 76, Thursday 19 August 1736, [3].

[93] The Old Whig: Or, The Consistent Protestant, no. 76, Thursday 19 August 1736, [3].

[94] Foundling Museum, Gerald Coke Handel Collection, accession no. 4619 (facsimile); repr. The Letters and Writings of George Frideric Handel, ed. Erich H. Müller (London et al.: Cassell, 1935), 38-39.

[95] The Grub-street Journal, no. 347, Thursday 19 August 1736, [2].

[96] The Old Whig: Or, The Consistent Protestant, no. 80, Thursday 16 September 1736, [2].

[97] The Grub-street Journal, no. 351, Thursday 16 September 1736, [4].

[98] Helmut Grasshoff, Antioch Dmitrievič Kantemir und Westeuropa: Ein russischer Schriftsteller des 18. Jahrhunderts und seine Beziehungen zur westeuropäischen Literatur und Kunst (Berlin: Akademie-Verlag, 1966), 286.

[99] The London Evening-Post, no. 1386, Saturday 2 – Tuesday 5 October 1736, [3].

[100] The Grub-street Journal, no. 354, Thursday 7 October 1736, [2].

[101] The Weekly Miscellany [Richard Hooker], no. 198, Saturday 9 October 1736, [3].

[102] The Old Whig: Or, The Consistent Protestant, no. 84, Thursday 14 October 1736, [2].

[103] The London Daily Post, and General Advertiser, no. 604, Thursday 7 October 1736, [1]; repr., The Old Whig: Or, The Consistent Protestant, no. 84, Thursday 14 October 1736, [2].

[104] The Grub-street Journal, no. 354, Thursday 7 October 1736, [2].

[105] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 1,” item 39, f. 1v; 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: 98.

[106] 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), 19.

[107] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 1,” item 41, f. 1r; 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: 98; (except last three sentences) Händel Handbuch, 269.

[108] The Daily Gazetteer, no. 426, Saturday 6 November 1736, [2].

[109] The Daily Journal, no. [5]836, Saturday 6 November 1736, [1].

[110] The Daily Journal, no. 5837, Monday 8 November 1736, [2].

[111] The Daily Journal, no. 5838, Tuesday 9 November 1736, [2].

[112] Manuscripts of the Earl of Egmont: Diary of the First Earl of Egmont (Viscount Percival).  Vol. II. 1734-1738 (London: His Majesty’s Stationery Office, 1923), 307.

[113] Manuscripts of the Earl of Egmont: Diary of the First Earl of Egmont (Viscount Percival).  Vol. II. 1734-1738 (London: His Majesty’s Stationery Office, 1923), 307-08.

[114] The Daily Gazetteer, no. 433, Monday 15 November 1736, [1].

[115] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 1,” item 40, f. 1r; 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: 98.

[116] Manuscripts of the Earl of Egmont: Diary of the First Earl of Egmont (Viscount Percival).  Vol. II. 1734-1738 (London: His Majesty’s Stationery Office, 1923), 308.

[117] The Daily Gazetteer, no. 433, Monday 15 November 1736, [2].

[118] The London Daily Post, and General Advertiser, no. 640, Thursday 18 November 1736, [2]; repr. Burney, History, 4:399.

[119] Leonid N. Maikov, Materialy dlia biografii Kn. A. D. Kantemira, ed. V. N. Aleksandrenko (St. Petersburg, Imperatorskoi Akademii Nauk, 1903), 64.

[120] Lowell Lindgren, “Musicians and Librettists in the Correspondence of Gio. Giacomo Zamboni (Oxford, Bodleian Library, MSS Rawlinson Letters 116-138),” [Royal Musical Association] Research Chronicle 24 (1991), 1-194: 165-66.

[121] The Daily Journal, no. 5848, Saturday 20 November 1736, [2].

[122] Betty Matthews, “Unpublished Letters Concerning Handel,” Music and Letters 40 (1959), 261-68: 261-62; 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), 21.

[123] The London Daily Post, and General Advertiser, no. 643, Monday 22 November 1736, [1]; repr., The Grub-street Journal, no. 361, Thursday 25 November 1736, [2].

[124] The Daily Post, no. 5368, Thursday 25 November 1736, [1]; repr., Read’s Weekly Journal, Or, British-Gazetteer, no. 638, Saturday 27 November 1736, [4]; The Old Whig: Or, The Consistent Protestant, no. 91, Thursday 2 December 1736, [2].

[125] Helmut Grasshoff, Antioch Dmitrievič Kantemir und Westeuropa: Ein russischer Schriftsteller des 18. Jahrhunderts und seine Beziehungen zur westeuropäischen Literatur und Kunst (Berlin: Akademie-Verlag, 1966), 287.

[126] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 1:578.

[127] Manuscripts of the Earl of Egmont: Diary of the First Earl of Egmont (Viscount Percival).  Vol. II. 1734-1738 (London: His Majesty’s Stationery Office, 1923), 310.

[128] The London Daily Post, and General Advertiser, no. 648, Saturday 27 November 1736, [2].

[129] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 1:578-79.

[130] The Daily Gazetteer, no. 448, Thursday 2 December 1736, [2]; repr., The Grub-street Journal, no. 363, Thursday 9 December 1736, [2].

[131] The London Daily Post, and General Advertiser, no. 658, Thursday 9 December 1736, [2].

[132] The Daily Post, no. 5383, Monday 13 December 1736, [1].

[133] The Grub-street Journal, no. 362, Thursday 2 December 1736, [2-3].

[134] B[arnabas]. Gunn, Two Cantata’s, and Six Songs, set to Musick (Gloucester: R. Raikes, 1736), 3; Chrissochoidis, 719.

[135] R[obert]. Luck, A Miscellany of New Poems, On several Occasions (London: the author and subscribers, 1736), 63; Chrissochoidis, 719-20.

[136] Ward’s Pill Dissected and Examined, &c. with a full Confutation of Mr Clutton’s new Hypothesis of Arsenick, being a Part of its Composition (London: Osborne, 1736), 7; Chrissochoidis, 720.

[137] Thomas Ellway (compiler), Anthems: for Two, Three, Four, Five, Six, Seven, and Eight Voices (York: Thomas Gent, 1736), 113; Chrissochoidis, 720.