1753
Jan 30
|
Mr. Handel has at length unhappily quite lost his Sight. Upon his being couch’d some Time since, he saw so well that his Friends flattered themselves his Sight was restored for a Continuance; but a few Days have entirely put an End to their Hopes.[1] |
Feb 10
We hear the Oratorios will be continued this Season by the ingenious Mr. Smith, under the Direction of Mr. Handel, who will perform his Solo’s on the Organ.[2]
An Account of the Rise, Progress and State of the HOSPITAL, for relieving poor People afflicted with the SMALL-POX, and for INOCULATION.
THIS HOSPITAL was instituted in the Year 1746, supported by a Subscription then made by several Noblemen, Ladies, and Gentlemen, who were desirous that a Charity useful in itself, and so beneficial to the Public, might be begun near this Great Metropolis, there not being any HOSPITAL of this Kind in Europe.[3]
Mar 9
|
COVENT-GARDEN. AT the Theatre Royal in Covent Garden, This Day, will be performed ALEXANDER’s FEAST. With an Interlude, call’d The CHOICE of HERCULES. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be delivered this Day, at the Office in Covent Garden Theatre, at Half a Guinea each. First Gallery 5 s. Second Gallery 3 s. 6 d. Galleries to be open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock.[4] |
Mar 14
|
COVENT-GARDEN. AT the Theatre Royal in Covent Garden, This Day, will be performed ALEXANDER’s FEAST. With an Interlude, call’d The CHOICE of HERCULES. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be delivered this Day, at the Office in Covent Garden Theatre, at Half a Guinea each. First Gallery 5 s. Second Gallery 3 s. 6 d. Galleries to be open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock.[5] |
Mar 16
|
COVENT-GARDEN. AT the Theatre Royal in Covent Garden, This Day, will be performed an Oratorio, call’d JEPHTHA. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be delivered this Day, at the Office in Covent Garden Theatre, at Half a Guinea each. First Gallery 5 s. Second Gallery 3 s. 6 d. Galleries to be open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock.[6] |
Mar 21
|
COVENT-GARDEN. AT the Theatre Royal in Covent Garden, This Day, will be performed an Oratorio, call’d JEPHTHA. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be delivered this Day, at the Office in Covent Garden Theatre, at Half a Guinea each. First Gallery 5 s. Second Gallery 3 s. 6 d. Galleries to be open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock.[7] |
Mar 23
|
COVENT-GARDEN. AT the Theatre Royal in Covent Garden, This Day, will be performed an Oratorio, call’d JUDAS MACCHABAEUS. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be delivered this Day, at the Office in Covent Garden Theatre, at Half a Guinea each. First Gallery 5 s. Second Gallery 3 s. 6 d. Galleries to be open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock.[8] |
Mar 28
|
COVENT-GARDEN. AT the Theatre Royal in Covent Garden, This Day, will be performed an Oratorio, call’d JUDAS MACCHABAEUS. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be delivered this Day, at the Office in Covent Garden Theatre, at Half a Guinea each. First Gallery 5 s. Second Gallery 3 s. 6 d. Galleries to be open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock.[9] |
Mar 30
|
COVENT-GARDEN. AT the Theatre Royal in Covent Garden, This Day, will be performed an Oratorio, call’d JUDAS MACCHABAEUS. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be delivered this Day, at the Office in Covent Garden Theatre, at Half a Guinea each. First Gallery 5 s. Second Gallery 3 s. 6 d. Galleries to be open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock.[10] |
Apr 3
|
[4th Earl of Shaftesbury to James Harris, 3 April 1753] [P.S.] Handel’s
playing is beyond what even he ever did.[11] |
Apr 4
|
COVENT-GARDEN. AT the Theatre Royal in Covent Garden, This Day, will be performed an Oratorio, call’d SAMSON. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be delivered this Day, at the Office in Covent Garden Theatre, at Half a Guinea each. First Gallery 5 s. Second Gallery 3 s. 6 d. Galleries to be open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock.[12] |
Apr 6
|
AT the Theatre Royal in Covent Garden, This Day, will be performed an Oratorio, call’d SAMSON. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be delivered this Day, at the Office in Covent Garden Theatre, at Half a Guinea each. First Gallery 5 s. Second Gallery 3 s. 6 d. Galleries to be open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock.[13] |
April 11
|
COVENT-GARDEN. AT the Theatre Royal in Covent Garden, This Day, will be performed an Oratorio, call’d SAMSON. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be delivered this Day, at the Office in Covent Garden Theatre, at Half a Guinea each. First Gallery 5 s. Second Gallery 3 s. 6 d. Galleries to be open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock.[14] |
Apr 13
|
COVENT-GARDEN. AT the Theatre Royal in Covent Garden, This Day, will be performed an Oratorio, call’d MESSIAH. Being the Last this Season. Pit and Boxes to be put together, and no Person to be admitted without Tickets, which will be delivered this Day, at the Office in Covent Garden Theatre, at Half a Guinea each. First Gallery 5 s. Second Gallery 3 s. 6 d. Galleries to be open’d at Half an Hour after Four o’Clock. Pit and Boxes at Five. To begin at Half an Hour after Six o’Clock.[15] |
Apr 16
MONDAY, 16 [April].
[...]
Divine service was performed in the chapel at the Foundling hospital for the first time, when the Rt. Rev. the lord bishop of Worcester preached a sermon on the importance and usefulness of that great charity, instituted for the preservation of deserted infants, and the making them become profitable to the publick; and Te Deum, with an anthem peculiar to the occasion, composed by George Frederick Handel, Esq; that great benefactor to this charity, and also the coronation anthem, were vocally and instrumentally performed.[16]
May 1
[Thomas Harris in London to James Harris, 1 May 1753]
I write this from Charles Jennens’s after having been at the Foundling Hospital where the Messiah was performed to a great audience. […][17]
May 1
TUESDAY, May 1.
The sacred oratorio, called the Messiah, was performed at the chapel belonging to the Foundling-hospital, under the direction of George Frederick Handel, Esq; the composer of that solemn piece of musick, for the benefit of that noble charity; there were above 800 coaches and chairs, and the tickets amounted to 925 guineas.[18]
Jun 28
[Thursday 28 June 1753]
WHOEVER considers the latest importations of music and musicians from Italy, will be convinced that the modern masters of that country have lost that beautiful SIMPLICITY, which is generally the [139] ornament of every musical composition, and which really dignified those of their predecessors. They have introduced so many intricate divisions, wild variations, and useless repetitions, without any apparent necessity arising either from the words or from any other incident, that the chief ambition of the Composer seems to be rather to surprize the ear than to please the judgment; and that of the Performer to shew his execution rather than his expression. It is from these motives that the hearer is often confounded, but not delighted, with sudden and unnatural transitions from the key, and returns to it as unnatural as the transitions themselves; while Pathos, the soul of music, is either unknown or totally neglected. Those who have studied the works of Corelli among the modern-ancients, and Handel in the present age, know, that the most affecting passages of the former owe their excellence to SIMPLICITY alone, and that the latter understands it as well and attends to it as much, though he knows when to introduce with propriety those niceties and refinements, which, for want of that propriety, we condemn in others.[19]
July
Extract from a Book lately published, entitled, The CONDUCT of a MARRIED LIFE, in a Series of Letters, written by the Hon. Juliana-Susannah Seymour, to a young Lady her Relation, newly married.
I
HAVE named to you, my dear (says the supposed authoress) the principal of the
publick places, indeed almost the only one I would wish you to be at, [meaning
the Oratorio.] I cannot be fond of the
summer-evenings at Ranelagh or at Vauxhall.
There is something unnatural and mean in people of virtue and decency
mixing with the herd of common prostitutes, and abandoned rakes, who are seen
bare-faced there, and even make you the confidants of their appointments.[20]
July
[Charles Burney to Fulke Greville, July 1753]
|
Epistle. To Fulk Grevile Esqr Once more, for Love of Ryme & Grevile, I court the Nine in Speeches civil; [9] & much the Ears of them & Sun drum For pun, for Quibble, & Conundrum. No more Old Handel’s ample Page, Or sweet Scarlatti’s happy Rage, (wch well can draw or dry up Tears) My Hands employ, or fill my Ears: Neglecting Things within my Ken, The Bow I quit to Wield the Pen. [… 10 … 11 …] Great HANDEL, whose Extensive Soul Essay’d to comprehend the Whole Who ne’er to this or that confin’d His Genius try’d in ev’ry kind, Which was, (his works prove in Rehearsal) Of all Mankind’s most universal But if there’s ought his Fame can blast ’Tis want of Elegance & Taste & that, the Rabble’s Ear to touch He study’d & he writ too much Yet sure these wants are well supply’d By Beauties
Time can never hide As he of all the Wights before us [12] Supremely best can Swell the Chorus & when his Fugues the Organ fill Both Men & Gods revere his Skill.[21] |
October
|
WESTON-MUSES. A SONG. [...] Such taper,
white, bewitching singers, There’s no withstanding,—I’ll be sworn: Such lively, lovely syren singers Ulysses over-board had borne. They do strict justice, I can tell ye, In manner superfine and clever, To Handel, Felton, Arne, Corelli, And each composer pure whatever.[22] |
Oct 20-21
|
[Henley
Manuscripts, Saturday 20 – Sunday 21
October 1753, income 2-10] [...] Runner to Berlin! Kew, Geeup! Coronation-Weavers! Mr. H’s confounded Te Deum! [...][23] |
Nov 25
[printed: 25 November 1753]
[Manuscripts of the Analysis of Beauty: Supplementary Passages]
XII TEXT FOOTNOTES 65, 76
The
Analogy between Colours and Music (“Chap. 12 of Colours with reguard to
Beauty”). Draft A, BL. Eg. MS. 3012,
ff. 15-17
The knowledge of colours bears so strong an analogy with the science of Musick that some have been Induc’d to think that the Identical principles, for the compositions of musick would equally serve for those of colours.
[on Castel’s color-organ] [132 …]
It would not be surprising to hear of an Instrument invented in that nation of Tast [France] formd upon some such plan for Cookery which no doubt would soon be brought over into England where it would certainly meet with great encouragement. Would it not be pleasant to see Mounseiur l’Quisnier at his harpsicord in a Morning composing a grand festin for the entertainment of foreign ministers?
Such an Improvement of this Instrument could not but be very agreable [sic] to a certain eminent composer [Paulson: “Probably Georg Friedrich Handel, who in 1752 had launched Jephtha, with a libretto by Morell, who claimed the piece was his own favorite Handel oratorio.”], nor could he fail getting the hearts of all the court as well as of the citty [sic] by composing a banquet for an instalation of a lords mayors day.[24]
[“Their Royal Highnesses the Princess AMELIA, and the Princess CAROLINE’s Court.”]
George Fred. Handel, esq; musick master, 200l.[25]
The Establishment of their Royal Highnesses the Princess Amelia, and the Princess Caroline.
[…]
Musick Master,
Geo. Fred. Handel, Esq 200l[26]
Princesses Amelia and Caroline’s Officers, &c.
[…]
Musick-Mr.——Handel. 200l.[27]
late 1753
|
[Hogarth, The Analysis of Beauty, draft] Chap 12 of Colours with reguard to Beauty. The knowledge
of colours bears so strong an alalogy [analogy] with the science of Musick that some have been Induc’d to think that the Identical principles, for the composi tions of musick would equally serve for those of colours. So much was Pare Castle [i.e., Louis-Bertrand Castel] Dr: of the Surbon & a great projecter at Paris perswaded of this that at a great expence of time and trouble he contriv’d a harpsicord to play harmoni ous compositions of colours, and on which he wrote a pretty large Treatise [i.e., L’optique de coulours]. The Prism colours were his notes which the Keys of the Instru ment were to make appear at Pleasure. but sure he would [not] have been drawn into makeing [16r] this extraordinary experiment if he had not taken it for granted that colours and sound were of the same na ture and that the like dis positions, of them both would answere the same purpose ie that a jig in notes would be litterally a jig in Colours, It would not be surprising to hear of an Instrument invented in that nation of Tast [i.e., France] formd upon some such plan for Cookery which no doubt would soon be brought over into England where it would certainly meet with great encouragement. Would it not be pleasant to see Mounseiur l’Quisinier at his harpsicord in a Mor ning composing a grand festin for the entertainment of foreign ministers? Such an Improvement of this Instrument could not but be [17r] be very agreable to a cer tain eminent composer, nor could he fail getting the hearts of all the court as well as of the citty by composing a banquet for an instalation or [of] a lords mayors day.[28] |
December
|
[eulogy of a city] “Address to KIDDERMINSTER” How vain Hibernia’s boast? shall she Contend for rivalship with thee? Her poor potatoe-nourish’d race, Thy gen’rous artists quite surpass? To whom, without one word of scandal, They are not
fit to hold the candle, No more than Lewis* is to Handell [sic].[29] |
THE / NAMES / OF THE / SUBSCRIBERS.
Note, Those marked thus * are for Royal Paper.
[.../.../]
* George Frederick Handel, Esq; [...][30]
[“SUBSCRIBERS NAMES.”]
Handel, George, Frederick, Esq;[31]
A PLAY performed on the common stage, by persons of distinction, is an incident that our age has, perhaps, the honour of having first produced to the world.
Some Gentlemen, long celebrated for their taste, and spirit in gallantry, were determined to give their friends and acquaintances an uncommon entertainment, and to do it in an uncommon manner: [...] They hired the theatre at Drury-lane for the night; they gave among their friends as many tickets as would fill it; and exhibited their performance with all the pomp and decoration of the most regularly concerted entertainment of the kind.
It is greatly to the honour of these gentlemen, that the tickets were so carefully disposed of, that the women of the town, who can very seldom be kept out of any place of entertainment; who find their way into the boxes at the opera, the pit at the oratorio, and [11] the private masquerades of the first nobility; and who had, at least, ten times as much mind to this, as they ever could have to any of those entertainments, yet found no possibility of admittance. The conductors of the plan knew that every part of the house would be full of persons of the first fashion; and they paid them the just and sensible compliment of keeping all improper people from among them.[32]
There are no Pleasures an unmarried Person educated as you have been, could give yourself Leave to enjoy, which will be improper for his Wife to continue; [...]
You have been accustomed to the Oratorio, I would have you be at least as often there as ever: The Play-house I would have you regulate on the same Plan; and I would have you seen, at least, at one of the Ridotto’s.[33]
I sometimes admire the zealous encomiums of people who know no part of the thing with which they are in such raptures: [..]
This kind of zeal, like most other species of it, is always the stronger in proportion to the ignorance in which it has its foundation; and when least [273] understood it is always most irrefragable. We have men who do not pretend to the slightest acquaintance with painting, who prefer an Hogarth to all the pompous names of antiquity; [...] To whatever ridicule this unfelt applause may expose the generality of those who bestow it; there is something in that honest warmth with which the masters in one science generally exalt to the clouds, those in another which they do not understand, but of whom such as are judges determine favourably, which, instead of disgusting, always gives me pleasure.
It has been a sensible delight to me to hear Roubillac extravagant on the applause of Harrison; and to see that real Genius who knows as much of statuary as the other does of the longitude, repay the tribute with accumulation. Mr. Handel always sleeps at Quin’s Cato, and Mr. Quin returns the compliment by taking his nap at Judas Maccabeus. Neither of them is ever absent at the other’s performances, and they mutually declare one another the greatest people in the world. I would except instances of this kind from the general censure; but for the rest nothing can give a man of merit greater pain than to be praised by the ignorant.[34]
51. Vauxhall and Ranelagh Gardens, being eight Views of the admired Buildings and Gardens of Vauxhall and Ranelagh. Pr. 1s. each black, 2s. coloured.
[...]
4. The Triumphal Arches, and Mr. Handel’s statue in the fourth grand walk of Vauxhall garden.[35]
[“THE LIFE OF JOHN DRYDEN, Esq;”]
Mr. Dryden’s Ode on St. Cecilia’s Day is perhaps one of the most perfect Pieces in any Language; and he observes in an original Letter of [xxxii] his that he was almost a Fortnight in composing and correcting it. It has been several times set to Music, and particularly in the Winter of the Year 1735 by Mr. Handel, and publickly exhibited on the Theatre in Covent-Garden with great success.[36]
[“AARON HILL, Esq;”]
[...] The following year, 1710, he was master of the Opera House in the Hay-Market; and then wrote an Opera called Rinaldo, which met with great success: It was the first which that admirable genius Mr. Handel compos’d, after he came to England; (this he dedicated to Queen Anne).[37]
[“X. ON THE ANALOGY BETWEEN PAINTING, POETRY, AND MUSIC.”]
The same fate is destined for music, as for painting and poetry; for, as they meet not with an equal veneration from all their devotees, neither does she share an equal warmth and affection from all her admirers. For, as they chance to suit the taste of their enamorati, they meet with a proportionable adoration and respect. Thus, if she chuses to adorn herself with the the [sic] rich brocade, and noble embroidery of HANDEL, she flaunts above the addresses of the vulgar, and meets only the embraces of the great and polite: or, if she rather pleases to glide with easy grace, simplex munditiis, in the neat dress of STANLEY, her ambition soars no higher than the middle region.[38]
|
John Armstrong. Taste: An Epistle to a young Critic. At Athens long ago, the Ladies—(married) Dreamt not they misbehav’d tho’ they miscarried, When a wild poet with licentious rage Turn’d fifty furies loose upon the stage. They were so tender and so easy mov’d, Heav’ns! how the Grecian ladies must have lov’d! For all the fine sensations still have dwelt, Perhaps, where one was exquisitely felt. Thus he who heavenly Maro truly feels Stands fix’d on Raphael, and at Handel thrills.[39] |
Mr. Greville, said Sir Hargrave, the town I understand is going to lose you.
The town, Sir Hargrave, cannot be said to have found me.
How can a man of your gallantry and fortune find himself employment in the country, in the winter, I wonder?— [146]
Very easily, when he has used himself to it, Sir Hargrave, and has seen abroad in greater perfection than you can have them here, the kind of diversions you all run after with so keen an appetite.
In greater perfection! I question that, Mr. Greville: And I have been abroad; tho’ too early, I own, to make critical observations.
You may question it, Sir Hargrave; but I don’t.
Have we not from Italy the most famous singers, Mr. Greville, and from thence and from France, for our money, the most famous dancers in the world?
No, Sir. They set too great a value in Italy, let me tell you, upon their finest voices, and upon their finest composers too, to let them turn strollers.
Strollers do you call them? Ha, ha, ha, hah!—Princely strollers, as we reward them!—and as to composers, have we not Handel?
There you say something, Sir Hargrave. But you have but one Handel in England. They have several in Italy.
Is it possible? said every one.
Let me die, said the baronet, with a forced laugh, if I am not ready to think that Mr. Greville has run into the fault of people of less genius than himself. He has got such a taste for foreign diversions, that he cannot think tolerably of those of his own country, be they ever so excellent.
Handel, Sir Hargrave, is not an Englishman. But I must say, that of every person present, I least expected from Sir Hargrave Pollexfen this observation.
[He then returned the baronet’s laugh, and not without an air of mingled anger and contempt.]
Nor I this taste for foreign performances and compositions from Mr. Greville; for so long time as thou hast been a downright country gentleman.
[Indeed, thought I to myself, you seem both to have changed characters. But I know how it comes about: Let one advance what he will, in the present humour [147] of both, the other will contradict it. Mr. Greville knows nothing of music: What he said was from hearsay: And Sir Hargrave is no better grounded in it.]
[1:145-47]
I was asked to give them a lesson on the harpsichord after tea. Miss Grandison said, Come, come, to prevent all excuses, I will shew you the way.
Let it then be, said Mr. Grandison, Shakespeare’s Cuckow. You have made me enter with so much comparative shame into myself, that I must have something lively to raise my spirits.
Well, so it shall, replied Miss Grandison. Our poor cousin does not know what to do with himself when you are got a little out of his reach.
That is not fair, Charlotte, said Sir Charles. It is not that graceful manner of obliging, in which you generally excel. Compliance and Reflexion are not to be coupled.
Well, well, but I will give the good man his Cuckow, to make him amends.
Accordingly she sung that ballad from Shakespeare; and with so much spirit and humour, as delighted every-body.
Sir Charles being a judge of music, I looked a little sillier than usual, when I was again called upon.
Come, my dear, said the kind Countess, I will prepare you a little further. When you see your two elder Sisters go before you, you will have more courage. [337]
She sat down, and played one of Scarlatti’s lessons; which, you know, are made to shew a fine hand. And surely, for the swiftness of her fingers, and the elegance of her manner, she could not be equalled. [sic]
It is referred to you, my third Sister, said Sir Charles [who had been taken aside by Mr. Reeves; some whispering talk having passed between them] to favour us with some of Handel’s music: Mrs. Reeves says, she has heard you sing several songs out of the Pastoral, and out of some of his finest Oratorio’s.
Come hither, come hither, my sweet Harriet—Here’s his Alexander’s Feast: My brother admires that, I know; and says it is the noblest composition that ever was produced by man; and is as finely set, as written.
She made me sit down to the instrument.
As you know, said I, that great part of the beauty of this performance arises from the proper transitions from one different strain to another, any one song must lose greatly, by being taken out of its place; and I fear—
Fear nothing, Miss Byron, said Sir Charles: Your obligingness, as well as your observation, entitle you to all allowances.
I then turned to that fine piece of accompanied recitative:
Softly sweet, in Lydian measures,
Soon he sooth’d his soul to pleasures.
Which not being set so full with accompanying symphonies, as most of Mr. Handel’s are, I performed with the more ease to myself, tho’ I had never but once before played it over.
They all, with more compliments than I dare repeat, requested me to play and sing it once more.
[1:336-37]
And then it was, as Mr. Reeves tells me, that Sir Charles turned from him, to encourage me to give the company a lesson from Dryden’s Alexander’s Feast, as set by Handel; which I chose to be in the lines, Softly sweet, &c.
[1:344]
Between dinner and tea, at Lady L’s motion, they made me play on the harpsichord; and after one lesson they besought Sir Charles to sing to my playing. He would not, he said, deny any request that was made him on that day [Miss Grandison’s wedding].
He sung. He has a mellow manly voice, and great command of it.
This introduced a little concert. Mr. Beauchamp took the violin; Lord L. the bass-viol; Lord G. the German-flute; Lord W. sung bass; Lady L. Lady G. and the earl, joined in the chorus. The song was from Alexander’s Feast: The words,
Happy, happy, happy pair!
None but the good deserves the fair;
Sir Charles, tho’ himself equally brave and good, preferring the latter word to the former.
[3:340]
Sir Charles, at and after dinner, urged the carrying into execution the latter part of his beneficent plan. He offered to attend them to the Drawing-room, to the Play, to the Oratorios (and took that opportunity to give the praises which every-body allows to be due to Mr. Handel); and to every place of Public Entertainment which was worthy the notice of Foreigners; and left it to their choice, whether they would go first to Grandison-hall, or satisfy their curiosity in and about town.
[6:197][40]
He met Jemmy at the appointed hour at the chocolate house, and about tea time went with him on their purposed visit; on his sending up his name they were immediately shew’d to the room where miss Chit was sitting; when he found, by the great care she had taken in her dress, and the exactness of every thing about her, that he had not flattered himself with a vain conjecture, but that she was indeed as desirous as he could wish of appearing lovely in the eyes of this new guest. [144]
Jemmy, being presented her by Bellpine, saluted her with the utmost gallantry; she received him with a becoming modesty, which, notwithstanding, had something of inviting in it: the conversation at first turn’d only on general topics; but Bellpine would not suffer it to continue so, and told her, in his usual free manner, that he should not think himself forgiven for the liberty he had taken, till she had obliged both him and his friend with a song and a touch of her harpsichord.
To this she replied, with a sprightly tone of voice and gesture, that whatever he might think of her, she had too much complaisance for a stranger, who seem’d so well to deserve it[,] not to do every thing in her power to render the visit he had favour’d her with agreeable to him.
In speaking these words she sat down to her instrument, and, without waiting for any more intreaties, began to sing one of the most favourite airs in mr. Handel’s last oratorio.
As she had in reality a very fine voice, great skill in music, and played [145] admirably well, there was no occasion that Jemmy should stretch truth to a pitch too high in expressing the pleasure he took in hearing her.
But it was not in mere words alone he testified the mighty influence that the well concerted notes had over him;—he languished,—he died,—his soul seem’d all absorb’d,—dissolv’d in extacy;—and he not only spoke, but look’d in such a manner as without being prepossess’d, as she was, with an opinion of his having a passion for her, might well make her believe she had other charms for him besides those of her voice and skill in music.
As
often as she gave over, Bellpine press’d het to renew the harmony; and
sometimes Jemmy assumed the boldness to second a petition, which he was very
sensible was made entirely on his account.
The lady was not refractory to their united intreaties, and continued
playing till her father came into her room.[41]
|
SONG XXXI. Col. LEE’s Hunting SONG. THE Morning is Charming all Nature is gay, Away my brave Boys to your Horses away; For the Prime of our pleasure and quest of the Hare We have not so much as a Moment to spare: Hark! the merry ton’d Horn, How melodious it sounds; To the musical Song, Of the merry mouth’d Hounds. [51] In yon stubble Field we shall find her below, So ho! cries the Huntsman, hark to him, so ho! See, see, where she goes, and the Hounds have a view, Such Harmony Handel himself never knew: Gates, Hedges and Ditches, To us are no bounds; For the World is our own, While we follow the Hounds.[42] |
|
[“An HYMN TO FANCY.”] In POPE’s immortal lay you shine, Give HANDEL harmony divine, And GARRICK mimic art; You bid such
strokes from HOGARTH rise, As ravish each beholder’s eyes, and pierce th’ enraptur’d heart.[43] |
Ver[se]. 605 [in the English translation]. Had this stag——This passage in the original, from cervus erat, down to ferebat, is all in Virgil’s true pastoral style; and most of the lines in it, run in his pastoral, rather than his epic versification. I will explain myself: If Handel was to set several poems, of different sorts, tho’ all in ten-syllable verse, to music; [sic] the general character of his composition for elegy, would be mournful; for an epithalamium, joyous; for a pastoral, sweet; for a didactic poem, sedate; and for an epic, majestic. A good poet should observe the same difference in the flow of his numbers, for such different subjects, as the other would in the air of his music.[44]
[“DISSERTATION.”]
With regard to versification, a reader who hath a just musical ear, and attentively peruses twenty lines together in the Aeneid, will find and feel more true harmony and melodiousness in them, than in the most admired airs of a Corelli or a Handel. There is no tedious uniformity in Virgil’s numbers: his pauses in each line are perpetually varied; his ellisions [sic] are introduced with as good effect as the flats and sharps in music; and above all there is a certain majesty in his lines that approaches as near Homer’s versification as the patrii sermonis egestas would allow.[45]
[1] The London Evening-Post, no. 3940, Saturday 27 – Tuesday 30 January 1753, [4]; reported, William C. Smith, “Handeliana,” Music & Letters 31 (1950), 125-32: 127.
[2] Read’s Weekly Journal, Or British-Gazetteer, no. 1483, Saturday 10 February 1753, [3].
[3] Alexander’s Feast: Or, The Power of Musick. An Ode. Wrote in Honour of St. Cecilia. By Mr. Dryden. Perform’d on Friday the 2d of March, before the Presidents, Vice-Presidents, and Governors of the Smal-Pox Hospital. Set to Musick by Mr. Handel (London: J. and R. Tonson and S. Draper, 1753), 13-24; Chrissochoidis, 823.
[4] The Public Advertiser, no. 5729, Friday 9 March 1753, [1].
[5] The Public Advertiser, no. 5733, Wednesday 14 March 1753, [1].
[6] The Public Advertiser, no. 5735, Friday 16 March 1753, [1].
[7] The Public Advertiser, no. 5739, Wednesday 21 March 1753, [1].
[8] The Public Advertiser, no. 5741, Friday 23 March 1753, [1].
[9] The Public Advertiser, no. 5737 [duplicate number], Wednesday 28 March 1753, [1].
[10] The Public Advertiser, no. 5739 [duplicate number], Friday 30 March 1753, [1].
[11] Betty Matthews, “Handel – More Unpublished Letters,” Music and Letters 42 (1961), 127-31: 128-29; 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), 288.
[12] The Public Advertiser, no. 5751, Wednesday 4 April 1753, [1].
[13] The Public Advertiser, no. 5753, Friday 6 April 1753, [1].
[14] The Public Advertiser, no. 5757, Wednesday 11 April 1753, [1].
[15] The Public Advertiser, no. 5759, Friday 13 April 1753, [1].
[16] The London Magazine: Or, Gentleman’s Monthly Intelligencer 22 (1753), 194; Chrissochoidis, 823.
[17] 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), 290.
[18] The London Magazine: Or, Gentleman’s Monthly Intelligencer 22 (1753), 241; Chrissochoidis, 823.
[19] Adam Fitz-Adam [= Edward Moore, Lord Chesterfield, R. O. Cambridge, et al.], The World, 3 vols. (Dublin: George Faulkner, 1755), 1:138-39; Adam Fitz-Adam [= Edward Moore, Lord Chesterfield, R. O. Cambridge, et al.], The World, new edition, 6 vols. (London: J. Dodsley, 1767 [?1757]), 1:162-63; Chrissochoidis, 823-24.
[20] The London Magazine: Or, Gentleman’s Monthly Intelligencer 22 (1753), 327; Chrissochoidis, 824.
[21] The Letters of Dr Charles Burney. Volume I: 1751-1784, ed. Alvaro Ribeiro, SJ (Oxford: Clarendon Press, 1991), 8-12; Chrissochoidis, 826.
[22] The London Magazine: Or, Gentleman’s Monthly Intelligencer 22 (1753), 479; Chrissochoidis, 824.
[23] Houghton Library, Harvard University: MS Eng 1399, p. 5.
[24] William Hogarth, The Analysis of Beauty, ed. Ronald Paulson (New Haven and London: Yale University Press, 1997), 131-32; Chrissochoidis, 825.
[25] A Companion to the Almanack for the Year 1753 (London: T. Jefferys, and W. Clarke, [1753]), 85; Chrissochoidis, 825.
[26] The Court and City Register for the Year 1753 (London: J. Barnes, et al., [1753]), 103; Chrissochoidis, 825.
[27] Millan’s Universal Register, of Court and City-Offices … Twelfth Edition, to 1 Mar. 1753 (London: J. Millan, [1753]), 15; Chrissochoidis, 826.
[28] British Library, Egerton Ms. 3012, ff. 15r-17r; repr. (with “l’Quisinier” transcribed as “l’Quisnier”) W. Hogarth, The Analysis of Beauty, ed. Ronald Paulson (New Haven and London, 1997), 131-32; see also, Ilias Chrissochoidis, “Handel, Hogarth, Goupy: Artistic intersections in Handelian biography,” Early Music 37 (2009), 577-96.
* A certain fiddler.
[29] The Gentleman’s Magazine 23 (1753), 583; Chrissochoidis, 824-25.
[30] The Works of the Late Aaron Hill, Esq, 4 vols. (London: printed for the benefit of the family, 1753), 1:list of subscribers is not paginated; Chrissochoidis, 826-27.
[31] Richard Rolt, Memoirs of the Life of the late Right Honourable John Lindesay, Earl of Craufurd and Lindesay; Lord Lindesay of Glenesk; and Lord Lindesay of the Byers. One of the Sixteen Peers for Scotland; Lieutenant-General of His Majesty’s Forces; And Colonel of the Royal North British Grey Dragoons (London: Henry Köpp, 1753), no pagination; Chrissochoidis, 827.
[32] [John Hill], The Inspector. Volume the First (London: R. Griffiths, et al., 1753), 10-11; Chrissochoidis, 827.
[33] [John Hill], The Conduct of a Married Life. Laid down in a Series of Letters, written by the Honourable Juliana-Susannah Seymour, to a Young Lady, her Relation, lately Married (London: R. Baldwin, 1753), 214; Chrissochoidis, 827.
[34] [John Hill], The Inspector, 2 vols. (London: R. Griffiths, et al., 1753), 2:272-73; Chrissochoidis, 827-28.
[35] A Catalogue of Maps, Prints, Copy-Books, &c. ([London: John Bowles and Son, 1753]), 46; Chrissochoidis, 828.
[36] John Dryden, Poems and Fables, 2 vols. (Dublin: William Smith, 1753), 1:xxxi-xxxii; Chrissochoidis, 828.
[37] [Robert Shiells (compiler)], The Lives of the Poets of Great-Britain and Ireland. By Mr. Cibber, and other Hands, 5 vols. (London: R. Griffiths, 1753), 5:256; repr., Thomas Flloyd, Bibliotheca Biographica: A Synopsis of Universal Biography, Ancient and Modern, 3 vols. (London: J. Hinton, et al., 1760), 2:no pagination; Chrissochoidis, 828.
[38] John Werge, A Collection of Original Poems, Essays and Epistles (Stamford: the author, 1753), 218; Chrissochoidis, 829.
[39] Essays on Taste from John Gilbert Cooper Letters Concerning Taste. Third edition (1757). John Armstrong. Miscellanies (1770) (Los Angeles: William Andrews Clark Memorial Library, University of California, 1951), 141; Chrissochoidis, 829.
[40] [Samuel Richardson], The History of Sir Charles Grandison, 2nd edn, 6 vols. (London: S. Richardson, 1754; Chrissochoidis, 829-31.
[41] [Elizabeth F. Haywood], The History of Jemmy and Jenny Jessamy, 3 vols. (London: T. Gardner, 1753), 1:144 (Chap. 13); Chrissochoidis, 832.
[42] The Merry Lad: Or, A Choice Collection of Songs; Sung by Mr. Warner Bennett, at Sheffield, Scarbrough, &c. (Sheffield: Francis Lister, 1753), 50-51; partially repr., The Bull-Finch. Being a choice Collection of the newest and most favourite Engish Songs which have been sett to Music and sung at the Public Theatres & Gardens (London: R. Baldwin, R. Horsfield, and J. Wilkie, [?1760]), 185; repr., The Muse’s Delight: Or, The Songster’s Jovial Companion (London: J. Pridden, et al., 1760), 92-93; The Musical Miscellany: Or Songster’s Pocket Companion (London: T. Caslon, 1760), 347-49; Chrissochoidis, 832-33.
[43] John Werge, A Collection of Original Poems, Essays and Epistles (Stamford: the author, 1753), 11; Chrissochoidis, 833.
[44] The Works of Virgil, in Latin and English ... The Aeneid translated by the Rev. Mr. Christopher Pitt ..., 4 vols. (London: R. Dodsley, 1753), 3:322; Chrissochoidis, 833.
[45] The Works of Virgil, in Latin and English, 2 vols. (London: R. Dodsley, 1753), xxi; Chrissochoidis, 833.