1759
Jan 11
We are sorry to acquaint the Public, that the celebrated Mr. Handell has been so ill for some Time past, that it is greatly feared he’ll not get over it.[1]
The celebrated Mr. Handell has been so Ill for some Time past, that it is greatly feared he’ll not get over it.[2]
Jan 27, Delville
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[Mrs. Delany to Mrs. Dewes, 27 January 1759] [...] The death of the Princess of Orange has put us all in mourning. [...][3] |
Feb 24
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[John Upton to James Harris, 24 February 1759] I have been looking into my almanack & find Lent commences the 28 of this month; I take it for granted you will pay a visit to the old blind prophet.[4] |
Feb 27
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[Thomas Harris to James Harris, 27 February 1759] I am very glad to find for certain that you have some thoughts of coming to London. Handel was here last Saturday: he begins with Solomon, of which I find there is a great deal which is entirely new, the first act being omitted: this may probably be performed twice: then Susannah: then possibly Theodora, but I rather think Time & Truth; then Samson: then Judas: then the Messiah. The first performance is on Friday next. By this you will judge about your coming to town: I should think the first performances would be most agreeable to you. I dined today with Charles Jennens, who desired his compliments & that he thought these would be the last oratorios you would ever hear performed by Handel; which I am afraid is too likely to be the case.[5] |
Mar 2
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AT the Theatre Royal in Covent-Garden, This Day, March 2, will be perform’d an Oratorio call’d SOLOMON. With new Additions and Alterations. Pit and Boxes to be laid together, and no Person to be admitted without Tickets, which will be delivered this Day at the said Office in the Theatre at Half a Guinea each, First Gallery 5 s. Upper Gallery 3 s. 6 d. The Doors to be open at Half an Hour after Four o’Clock, Pit and Boxes at Five, to begin exactly at Half an Hour after Six.[6] |
Mar 2
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This Day is published, Price 1 s. SOLOMON, an Oratorio, with new Additions and Alterations: As it is performed at the Theatre-Royal, Covent Garden. Set to Music by GEORGE FREDERICK HANDEL, Esq; Printed for J. and R. Tonson, in the Strand.[7] |
Mar 7
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AT the Theatre Royal in Covent-Garden, This Day will be perform’d an Oratorio call’d SOLOMON. With new Additions and Alterations. Pit and Boxes to be laid together, and no Person to be admitted without Tickets, which will be delivered this Day at the said Office in the Theatre at Half a Guinea each, First Gallery 5 s. Upper Gallery 3 s. 6 d. The Doors to be open at Half an Hour after Four o’Clock, Pit and Boxes at Five, to begin exactly at Half an Hour after Six.[8] |
Mar 9
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AT the Theatre Royal in Covent-Garden, This Day will be perform’d an Oratorio call’d SUSANNA. With new Additions and Alterations. Pit and Boxes to be laid together, and no Person to be admitted without Tickets, which will be delivered this Day at the said Office in the Theatre at Half a Guinea each, First Gallery 5 s. Upper Gallery 3 s. 6 d. The Doors to be open at Half an Hour after Four o’Clock, Pit and Boxes at Five, to begin exactly at Half an Hour after Six.[9] |
Mar 9
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This Day is published, Price 1 s. SUSANNA, an Oratorio, with new Alterations and Additions: As it is performed at the Theatre-Royal, Covent Garden. Printed for J. and R. Tonson, in the Strand.[10] |
Mar 14
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AT the Theatre Royal in Covent-Garden, This Day will be perform’d an Oratorio call’d SAMSON. Pit and Boxes to be laid together, and no Person to be admitted without Tickets, which will be delivered this Day at the said Office in the Theatre at Half a Guinea each, First Gallery 5 s. Upper Gallery 3 s. 6 d. The Doors to be open at Half an Hour after Four o’Clock, Pit and Boxes at Five, to begin exactly at Half an Hour after Six.[11] |
Mar 14
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This Day is published, Price 1 s. SAMSON, an Oratorio; as it is performed at the Theatre Royal, Covent Garden. Printed for J. and R. Tonson, in the Strand.[12] |
Mar 16
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AT the Theatre Royal in Covent-Garden, This Day will be perform’d an Oratorio call’d SAMSON. Pit and Boxes to be laid together, and no Person to be admitted without Tickets, which will be delivered this Day at the said Office in the Theatre at Half a Guinea each, First Gallery 5 s. Upper Gallery 3 s. 6 d. The Doors to be open at Half an Hour after Four o’Clock, Pit and Boxes at Five, to begin exactly at Half an Hour after Six.[13] |
Mar 16
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This Day is published, Price 1 s. SAMSON, an Oratorio; as it is performed at the Theatre-Royal, Covent Garden. Printed for J. and R. Tonson, in the Strand.[14] |
Mar 21
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AT the Theatre Royal in Covent-Garden, This Day will be perform’d an Oratorio call’d SAMSON. Pit and Boxes to be laid together, and no Person to be admitted without Tickets, which will be delivered this Day at the said Office in the Theatre at Half a Guinea each, First Gallery 5 s. Upper Gallery, 3 s. 6 d. The Doors to be open at Half an Hour after Four o’Clock Pit and Boxes at Five, to begin exactly at Half an Hour after Six.[15] |
Mar 23
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DRURY-LANE. For the Benefit of Mr. ARNE, sen. and jun. AT the Theatre Royal in Drury-Lane, This Day March 23, will be performed ALFRED the GREAT. After the first Act a Concerto on the Hautboy, by Mr. Vincent. End of Act II. a Concerto on the Organ by Mr. Arne, junior. Boxes Half a Guinea. Pit 5 s. First Gallery 3 s. Upper Gallery 2 s. To begin exactly at Half an Hour after Six o’Clock. E Tickets to be had of Mr. Arne, senior, next Door to the Passage in Charles-street, Covent-garden; and of Mr. Arne, junior, at his Chambers, No. 4, in Garden-court, Temple.[16] |
Mar 23
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COVENT-GARDEN. AT the Theatre Royal in Covent-Garden, This Day will be presented an Oratorio call’d JUDAS MACCABAEUS. Pit and Boxes to be laid together, and no Person to be admitted without Tickets, which will be delivered this Day at the said Office in the Theatre at Half a Guinea each, First Gallery 5 s. Upper Gallery, 3 s. 6 d. Galleries to be open at Half an Hour after Four o’Clock, Pit and Boxes at Five, to begin at Half an Hour after Six.[17] |
Mar 27
Friday next will be performed, under the particular conduct of Mr. Arne, at the theatre in Drury-lane, the Oratorio of Alfred the Great, for the use of the Marine Society. —— As this is the only entertainment exhibited this season for this most beneficial undertaking, by which so many distressed persons, as well as vagabonds, have been preserved and rendered useful in the highest degree, it is hoped the politic, the brave and humane of both sexes, will shew their approbation of the design, by interesting themselves in the promotion of it.[18]
Mar 28
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AT the Theatre Royal in Covent-Garden, This Day will be presented an Oratorio call’d JUDAS MACCABAEUS. Pit and Boxes to be laid together, and no Person to be admitted without Tickets, which will be delivered this Day at the said Office in the Theatre at Half a Guinea each, First Gallery 5 s. Upper Gallery, 3 s. 6 d. Galleries to be open at Half an Hour after Four o’Clock, Pit and Boxes at Five, to begin at Half an Hour after Six.[19] |
Mar 30
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For the USE of the MARINE SOCIETY, Towards Collecting, Cloathing and Equipping the Distressed (both Men and Boys) who are inclined to serve in the Navy. AT the Theatre Royal in Drury Lane, on This Day, March 30, will be performed an Oratorio called ALFRED the GREAT. Composed by Mr. ARNE. After the first Act a Concerto on the Violin by Mr. Pinto. In the second Act, a Concerto on the Hoboy by Mr. Tho. Vincent. End of the second Act a Concerto on the Organ by Mr. Arne, jun. Boxes 10 s. 6 d. Pit 5 s. First Gallery 3 s. Upper Gallery 2 s. To begin exactly at half an Hour after Six o’Clock[.] Tickets to be had of Mr. John Stephens, Secretary to the Society, in Princes Street, near the Bank; at Tom’s Coffeehouse in Great Russel-street, Covent-garden; at the Smyrna Coffehouse in Pall-mall; Batson’s Coffehouse, Cornhill; and of Mr. Varney at the Stage-Door, where Places may be taken. As this is the only Entertainment exhibited this Season for this most beneficial Undertaking, by which so many distressed Persons as well as Vagabonds, have been preserved and rendered useful in the highest Degree; it is hoped the Politic, the Brave and Humane, of both Sexes, will shew their Approbation of this Design by interesting themselves in the Promotion of it.[20] |
Mar 30
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AT the Theatre Royal in Covent-Garden, This Day w[i]ll be presented a Sacred Oratorio call’d The MESSIAH. Pit and Boxes to be laid together, and no Person to be admitted without Tickets, which will be delivered this Day at the Office in the Theatre at Half a Guinea each, First Gallery 5 s. Upper 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.[21] |
Apr 3
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[Thomas Harris to James Harris, 3 April 1759] Handel had a full house at the Messiah last Friday, and performs the same tomorrow and Friday next, when he concludes.[22] |
Apr 4
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AT the Theatre Royal in Covent-Garden, This Day, will be presented a Sacred Oratorio call’d The MESSIAH. Pit and Boxes to be laid together, and no Person to be admitted without Tickets, which will be delivered this Day at the Office in the Theatre at Half a Guinea each, First Gallery 5 s. Upper 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.[23] |
Apr 6
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AT the Theatre Royal in Covent-Garden, This Day, will be presented a Sacred Oratorio call’d The MESSIAH. Being the last Time of performing IT this Season. Pit and Boxes to be laid together, and no Person to be admitted without Tickets, which will be delivered this Day at the Office in the Theatre at Half a Guinea each, First Gallery 5 s. Upper 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.[24] |
Last Night ended the celebrated Mr. Handel’s Oratorios for this Season, and the great Encouragement they have received is a sufficient Proof of their superior Merit. He began with Solomon, which was exhibited twice; Susanna once; Sampson three Times; Judas Maccabaeus twice; and the Messiah three Times.
And this Day Mr. Handel proposed setting out for Bath, to try the Benefit of the Waters, having been for some Time past in a bad State of Health.[25]
Apr 11
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I George Friderick Handel make this farther Codicil I Give to the Governours or Trustees of the Society for the Support of decayed Musicians and their Families One Thousand pounds to be disposed of in the most beneficiall manner for the Objects of that Charity, I Give to George Amyand Esquire One of my Executors Two Hundred Pounds aditional to what I have before given him. I Give to Thomas Harris Esquire of Lincolns Inn Fields Three Hundred Pounds. I Give to Mr: John Hetherington of the First Fruits Office in the Middle Temple One Hundred pounds. I Give to Mr: James Smyth of Bond Street Perfumer Five Hundred Pounds. I Give to Mr: Matthew Dubourg Musician One Hundred Pounds. I Give to my Servant Thomas Bremwell Seventy Pounds aditional to what I have before given him. I Give to Benjamin Martyn Esquire of New Bond Street Fifty Guineas. I Give to Mr: John Belchier of Sun Court Threadneedle Street Surgeon Fifty Guineas. I Give all my wearing apparel to my Servant John Le Bourk. I Give to Mr: John Gowland of New Bond Street Apothecary Fifty Pounds. I hope to have the permission of the Dean and Chapter of Westminster to be buried in Westminster Abbey in a private manner at the discretion of my Executor Mr: Amyand and I desire that my said Executor may have leave to erect a Monument for me there and that any Sum not Exceeding Six [1v] Hundred Pounds be expended for that purpose at the discretion of my said Executor. I Give to Mrs: Palmer of Chelsea Widow of Mr: Palmer formerly of Chappel Street One Hundred Pounds. I Give to my two Maid Servants each One years Wages over and above what shall be due to them at the time of my death. I Give to Mrs: Mayne of Kensington Widow Sister of the late Mr: Batt Fifty Guineas. I Give to Mrs: Donnalan of Charles Street Berkley Square Fifty Guineas. I Give to Mr: Reiche Secretary for the affairs of Hanover Two Hundred Pounds. In Witness whereof I have hereunto set my hand and Seal this Eleventh day of April 1759. G F Handel This Codicil was read over to the said George Friderick Handel and by him Signed and Sealed in the Presence, on the day and year above written, of us. A. S. Rudd. J. Christopher Smith.[26] |
Apr 13
Yesterday morning died George Frederick Handel, Esq; greatly regretted.[27]
[List of Deaths for April]
[April] 12, George Frederick Handel, esq; as great a genius perhaps in music, as the late Mr. Pope was in poetry. The musical composition of the one being as expressive of the passions, as the happy versification of the other excelled in harmony.—Mr. Handel was born in the year 1685, in Germany; but had spent the greatest part of his time in England, where the encouragement given to his seraphic compositions, was a distinguishing instance of the delicacy of the English taste for the fine arts.[28]
[…] When Handel died, the news being brought to a society of musical people at a tavern in Pall Mall, among whom was the late Lord Kelly, an Epitaph was proposed, and among others Lord Kelly was applied to for composing one, when he immediately took a pen, and wrote that one line which is inscribed on the monument of Correlli in the Pantheon at Rome:
“He is gone to that place where only his harmony can be exceeded.”[29]
List of Deaths for the Year 1759.
[April] 12. Geo. Fred. Handel, Esq; a great musician. He was born in Germany in 1685, and has been in England 50 years.[30]
[Deaths in April]
14. George Frederick Handel, Esq; the celebrated musician, aged 77.[31]
Apr 17
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[Mr. Smyth to Bernard Granville, Esq.] London, April 17th, 1759. DEAR SIR, According to your request to me when you left London, that I would let you know when our good friend departed this life, on Saturday last at 8 o’clock in the morn died the great and good Mr. Handel. He was sensible to the last moment; made a codicil to his will on Tuesday, ordered to be buried privately in Westminster Abbey, and a monument not to exceed £600 for him. I had the pleasure to reconcile him to his old friends; he saw them and forgave them, and let all their legacies stand! In the codicil he left many legacies to his friends, and among the rest he left me £500, and has left to you the two pictures you formerly gave him. He took leave of all his friends on Friday morning, and desired to see nobody but the Doctor and Apothecary and myself. At 7 o’clock in the evening he took leave of me, and told me we “should meet again”; as [550] soon as I was gone he told his servant “not to let me come to him any more, for that he had now done with the world.” He died as he lived — a good Christian, with a true sense of his duty to God and man, and in perfect charity with all the world. If there is anything that I can be of further service to you please to let me know. I was to have set out for the Bath to-morrow, but must attend the funeral, and shall then go next week. I am, dear Sir, Your most obedient humble servant, JAMES SMYTH. He has left the Messiah to the Foundling Hospital, and one thousand pounds to the decayed musicians and their children, and the residue of his fortune to his niece and relations in Germany. He has died worth £20,000, and left legacies with his charities to nearly £6000. He has got by his Oratorios this year £1952 12s. 8d.[32] |
Apr 20
FRIDAY 20 [April]. The remains of the late Mr Handel were deposited at the foot of the Duke of Argyll’s monument in Westminster-Abbey; the bishop, prebends, and the whole choir attended, to pay the last honours due to his memory; and it is computed there were not fewer than 3000 persons present on this occasion.[33]
[April 1759. Deaths]
12 [April]. George Frederick Handel, Esq;[34]
[12 April]
Died, Geo. Fred. Handel, esq; a great musician. He was born in Germany in 1685, and had been in England 50 years.
[20 April]
The remains of the late Mr. Handel were deposited at the foot of the Duke of Argyll’s monument in Westminster-Abbey; the bishop, prebends, and the whole choir attended, to pay the last honours due to his memory: and it is computed there were not fewer than 3000 persons present on this occasion.[35]
Apr 28
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[James Harris to Louis de Visme, 28 April 1759] Our great genious Handel is dead, the Homer of music, of whose works it may be said, as Quintilian I think says of Cicero[’s] eloquence, that then a man may be said to have proficiency in the art when he has taste and skill enough to relish their superier merit. He left near £20,000 behind him, of which, half to a nephew & niece, the remainder in legaceys — £1,000 to the Musicians’ Fund[,] £300 to my brother Thomas &c. {...}[36] |
April
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“Verses intended to be sent to Miss Betsy N—ch—les, with a Ticket for the Concert.” Go, happy card, and tell my lovely fair, That thou, to musick sacred and to love, Bidd’st, for th’ ensuing year, each sprightly air, Each mournful note, her ev’ry passion move. Whether Martini all his tribute bring Of
pleasing harmony, to charm the soul: Or chaste Corelli wake each silent string, To sooth or animate without controul: Or whether Handel teach, in winding maze, The
sweetly-flowing notes to roll along: Or nobly studious of Messiah’s praise, Give the
full compass of expressive song. Go and invite this fairest of the fair; Bid her, with artless elegance attir’d, Each night to musick’s hallow’d dome repair, And fan the passion which herself inspir’d. There, when each pulse beats high to every strain Of choicest melody, shall I survey That faultless form, that air, that graceful mien, Those charms, which stole me from myself away.[37] |
[April]
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Spoken upon the Death of George Frederick Handel Esq To Melt the Soul to captivate the Ear (Angels his melody might deign to hear) T’anticipate on Earth the Joys of Heav’n Was Handel’s Task, to him the pow’r was given Ah! when he late attund Messiahs praise With Sounds Caelestial with Melodious Lays A last farwel [sic] his languid Looks exprest And thus methinks th’enraptur’d Crowd addrest ‘A dieu! my dearest Friends and allso you Joint sons of Sacred Harmony adieu! A wisp’ring Angel prompts me to retire Bids me prepare to meet th’immortal Choir O! for the glorious Change, great Handel cry’d, Messiah heard his Voice, and Handel Dy’d. Mr. Handel Perform’d the Messiah at Covent Ga Apr. 6th: 1759 – Playd a Concerto, upon the Harpsecord, and Dy’d, on the 14thy of the said April, in the 75th Year of His Age – Quite sensible to the Last[38] |
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On the Death of George-Frederick Handel, Esq. By Mr. H——y. To melt the soul, to captivate the ear, (Angels his melody might deign to hear) T’ anticipate on earth the joys of heaven, Was Handel’s task; to him the pow’r was given! Ah! when he * late attun’d Messiah’s praise, With sounds celestial, with melodious lays; A last farewel [sic] his languid looks express’d, And thus methinks th’enrapture’d crowd address’d: ‘Adieu, my dearest friends! and also you, ‘Joint sons of sacred harmony adieu! ‘Apollo, whisp’ring, prompts me to retire, ‘And bids me join the bright, seraphic choir! ‘O! for Elijah’s car,’ great Handel cry’d; Messiah heard his voice—and Handel dy’d.[39] |
May 1
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[rate-books, St. George’s parish, 1 May 1759] Geo. Frederick Handall, Rent £40[40] |
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May 1st: 1759 Recēd then of Mrr:
Merest the Sum of three Pounds for my Fees for the Funeral of George Frederick Handel Esqr:,
by me __________ 3 . . 0 . . 0 Zy Rochr. Dean ¯¯¯¯¯¯¯¯¯¯ [verso] Fees for the Funeral of George Frederick Handel Esqr:
in the South Cross of Westminster Abby.
April 21st: 1759 Recēd then of John Merest Esqr: the Sum of—Seventeen Pounds Seventeen Shillings & two pence,
for the Funeral of George Frederick Handel Esqr:, for my
self & others therein concerned—by me __________ £17 17. 2 Anselm Bayly[41] ¯¯¯¯¯¯¯¯¯¯ |
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May 4
[Benjamin Franklin to] Mary Stevenson
My dear Child, Craven Street, Friday, May 4, 1759.
Hearing that you was in the Park last Sunday, I hop’d for the Pleasure of seeing you yesterday at the Oratorio in the Foundling Hospital; but, tho’ I look’d with all the Eyes I had, not excepting [/339] even those I carry in my Pocket I could not find you; and this Morning your good Mama, has receiv’d a Line from you, by which we learn that you are return’d to Wanstead[42]
May 5, Delville
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[Mrs. Delany to Mrs. Dewes, 5 May 1759] I was very much pleased with Court’s lines on Mr. Handel; they are very pretty and very just. D. D. [Dr. Delany] likes them extremely. I could not help feeling a damp on my spirits, when I heard that great master of music was no more, and I shall now be less able to bear any other music than I used to be. I hear he has shewed his gratitude and his regard to my brother by leaving him some of his pictures; he had very good ones. I [551] believe when my brother wrote last to me, which was from Calwich, he had not had an account of his legacy; it was from Mrs. Donnellan I had it, to whom Handel has left 50 pounds. I want to know what the pictures are? I am sure you were pleased with the honours done him by the Chapter at Westminster.[43] |
May 17
There will certainly be a Piece of Sacred Musick performed at the Foundling-Hospital, in Memory of Mr. Handell, next Thursday, but we don’t apprehend it is the Dirge that has been so much talked of.[44]
May 24
SACRED MUSICK, / Composed by the late / GEORGE FREDERICK HANDEL, Esq; / And Performed at the / CHAPPEL / OF THE / HOSPITAL, / FOR THE / Maintenance and Education of Exposed and / Deserted Young Children; / On Thursday, the 24th May, 1759. / IN / GRATEFUL MEMORY / Of his many NOBLE / BENEFACTIONS / TO THAT / CHARITY. / [double line] / [Price Six-Pence.] [sic][45]
Jul 4
Wednesday 4 [July]. Being the day of Lord Crew’s commemoration, the procession was again repeated to the [Sheldonian] theatre; other noblemen and gentlemen were admitted to honorary degrees; the encaenia, or congratulatory exercises, were continued, and, in the evening, the Oratorio of Esther was performed in the Theatre.[46]
Jul 3-6
Oxford, July 7. [...]
In the Evening [of Tuesday] the Oratorio of Samson was performed in the Theatre by a select and numerous Band, conducted by Dr. Hays.
[...] In the Evening [of Wednesday] was performed the Oratorio of Esther.
[...]
On Friday the Encaenia were resumed in the Theatre, when an Italian Ode in Praise of the Chancellor was performed by the whole Opera Band: [...] Mr. Thomas Augustine Arne was admitted to the Degree of Doctor in Music; [...] [From Jackson’s Oxford Journal.] [sic][47]
July 5-6
On Thursday last at the Theatre in Oxford, a new Ode, composed by Mr. Arne, on the Installation of the Earl of Westmorland, as Chancellor of the University, was performed with great Applause, where were present the Chancellor, the Heads of the several Colleges, Students, &c. to the amount of near 2000 Persons; and on Friday (by his Lordship Order) Mr. Arne was presented in Form by Dr. Mather, the public Orator, who spoke an elegant Latin Oration in his Favour; after which the Chancellor publicly conferred on him the Degree of Doctor of Music.[48]
Jul 23
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“Mr Burney to Mr Case about Musick.” [Charles Burney to Philip Case] Lynn, 23 July 1759 Sir, I fear I shall not be able to propose any useful hints as to the Furniture of the Barrel Organ you mentioned to me, unless I was informed what Stops it contained, what is its Compass, together with the Size & Number of its Barrels. However I will suppose it capable of performing the following Pieces, wch in the serious Way wd if well adapted to the Instrument afford great pleasure to the admirers of such Compositions. 1. Corelli’s 8th Concerto (or the favourite movemt in it). 2. He was despised & rejected—in Handel’s Messiah. 3. Powerful Guardian—set by Do. 4. Return O God of Hosts—in Samson. 5. Tis Liberty alone—in Judas Maccabeus. [396] 6. Handel’s Second Organ Concerto, or Part of it. 7. Geminiani’s 1st Concerto op 2da, or Do. 8. King of Prussia’s March. 9. March of the 3d Regiment of Guards. 10. Hasse’s 1st Concerto. 11. Rende me il Figlio mio, del Sigr Cocchi, nel Ciro riconosciuto. 12. The Simphony & last Movemt of Handel’s Coronation Anthem. If these Compositions or any Part of them should be approved & prac- ticable, it will be necessary to have them judiciously suited & adjusted to the Genius of the Organ & filled up with such Simphonies & accom- panymts as will best compensate for the Want of a Voice in the Songs or a Number of Instruments in the other Pieces.—I am, Sir,—Your Most Obedt & Most Humble Servant, CHAS. BURNEY.[49] |
Jul 27
FRIDAY, July 27.
We hear that the 26th of September is appointed for the Grand Meeting of the Trustees of the Rev. Mr. Hanbury’s charity, at Church Langton, near Market-Harborough in Leicestershire, when Handel’s Te Deum will be performed, and a Sermon preached upon the occasion: the ceremony will conclude the next day with the sacred oratorio of the Messiah. The capital performers will be procured from London, Oxford, &c. and nothing be omitted which can render this charitable design as agreeable, as it is noble, disinterested, and beneficial, conducive to the glory of God, and the good of mankind.”[50]
Her musical talents also were such as occasioned her to be eagerly sought after by those who were lovers of real harmony. Though totally uninstructed, her voice was so sweet and powerful, her natural taste so exquisite, and her ear so accurate, that without any scientific knowledge, she would give a force of expression to Handel’s compositions, that long practice, and professional skill, often failed to produce.[51]
Aug 27
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[Inventory of Handel’s Household Goods] An Inventory of the Household Goods of George Frederick Handel Esqr: Deceased taken at his Late Dwelling House in Great Brook Street St. Georges Hanover Square. & By Order of the Executor Sold to Mr. Jon Du Bourk this twenty Seventh of Augt. 1759 by the Appraisement of us whose names are Underwritten In the Garretts 4 Old Chairs 3 Old trunks a Wainscot Oval table a Bedsted wth Lincey fune: a feather bed bolster and 1 Pillow 3 blanketts & a Quilt an Old Table a Window Curtain & an Old Grate 2 pr Stairs Closset 2 Old Globes & frames & Chimney board 2 pr Stairs foreward a bedsted wth whole teaster Crimson haritten furniture a feather bed bolster & 2 pillows a White Mattress three blanketts & a Quilt 3 pr of Red Window Curtains & Rods a stove tongs & Poker. 6 Old Matted Chairs a Round Close Stool & white pann a Wicker fire Screen a Glass in Walle: frame 2 pr Stairs Backwards An Old bedsted wth Red half teaster furniture a feather bed a Bolster 2 Blanketts & an Old Quilt an Oval Wainst. table & 3 Old Chairs [line] Dineing Room An Iron Hearth wth Dogs Brass Mounted tongs & Shovell 2 Walle. Round Card tables 7 Walle. Matted Chairs & a Leather Stool 2 Sconces in Gilt frames a Chimney Glass in do & Broke. [line] [17v] In the one pr of Stairs Backwards A Stove Compleat bellows & Brush. 4 Matted Chairs a walle. Card table a pr of Old Green Silk window Curtains & a Window Seat a Chimney Glass in a Gilt frame & a Pier Glass in Ditto [line] In the Closset a Lincey Curtain an Old Stove & a small Cupboard On the Stairs & in ye Passage An Eight Day Clock in a Walle. frame & a Sqre. Lanthorn [line] In the Fore Parlor A Sqre: Stove Poker Shovel fender bellows & Brush a Wainscot Oval table a Square black table 6 Old Matted Chairs a Sconce in a Gilt frame a Chimney Glass in do an Old walle: Desk 2 pr of Haritten Window Curtains Vallsents Rods 5 Couler’d China Coffee Cups & 6 Saucers a Blue & white Spoon boat [line] In the Back Parlor an Easy Chair & Cushion an Old Stove Compt: a Wallnutren Desk a dressing Swing Glass in a black frame an Old Bason Stand a Wicker fire Screen a deal Chest & Bracketts & a Square deal box a Large Linnen Press a Small deal bookcase 2 Wig block fixt [line] In the Clossett A Large Nest of drawers & a Windw: Curtain [18r] In the Kitchin A large Rainge with Cheeks Keeper & Iron Back a Crain & Pott Hooks a fender Shovel tongs & Poker & Bellows a Salamander a Chaffing Dish 2 hanging Irons 3 flat Irons a Jack Compleat & Lead Weight 2 Standing Spitt racks and three Spitts a Gridiron & 2 Trivetts. a flesh fork and Iron Scure an Iron Plate warmer 8 Brass Candlesticks 2 Coffee Potts a Drudger & 2 Pepper boxes a Slice a Ladle & a Scimmer & a Basting Ladle a Copper Grater a Warming Pann a Copper Drinking Pott a tin driping Pann & Iron Stand a boyling Pot & Cover a dish kittle a fish kittle Compleat 2 Stue panns & Covers 2 frying Panns 5 Sause panns and 3 Covers a Copper watter Candlestick 12 Pewter Dishes & 26 Plates a tea kittle a Coffee Mill 2 wainst. tables 5 Old Chairs an Arm Easy Cheir a plate Rack a Chopping board a Spice Drawer a Pewter Shaveing basson about 30 pss of Earthen & Stone Ware & a towel Rowl a box wth 12 Knives & 12 forks 4 Glass Salts & Mustard Glass 2 Coal boxes a Meat Screen & a Clever a pr of Stepts &c. [line] In Back Kitchin An Old Stove & Shovell a Copper fixed & Iron work 2 formes & 5 Washing tubbs a Cloaths horse & a Horse to dust Cloaths on 2 Old Cheirs & a Wig block a bedsted & Curtains a feather bed bolster & 1 Pillow 1 Blankett & a Rugg an Old Chair [line] In the Area & Vault a Large Lead Cistern & Brass Cock & beer Stylion [18v] All the Before written Goods &c is Appraised & Valued to the Sum of Forty Eight Pounds the Day & year beforementioned
[inscription left sideways] Inventory of / Household Goods / appraised at / £48. – sold to John / De Bourke.[52] |
Aug 28
Salisbury, August 28, 1759.
[…]
“To speak seriously though, I am happier here than at Canterbury, by many degrees, and for many reasons. The place is, I believe, the most agreeable of country towns; the people, as far as I have seen, are polite and sociable; and music is the prevailing taste amongst them; a very pleasant circumstance to me. We are a numerous [/89] family, in a noble and cheerful house; and my two young friends enliven those hours when we can escape other company. But these, alas, are few! Our grand grievance is the frequency of formal company and formal dinners, which last are, I think, amongst the worst of those many deplorable disadvantages which attend on a large fortune.
“Your friend Edward is with us, and we make a pretty little concert at home pretty often, with the assistance of the organist, and the bishop’s sweet chorister, whom you heard in the Messiah, for I suppose you know we lent you our choir. Mrs. —— (who seems to be a well bred agreeable woman) inquires after you with much regard. I know little of Mr. —– yet, except in his musical capacity; but the simplicity and benevolence of his countenance and manner charm me.[53]
?Fall
[…] “The Messiah” was given [in the Cathedral] in 1758 and 1759, after which the performances, which were for the benefit of the families of poor clergymen, were discontinued.[54]
Nov 24
[Saturday 24 November 1759]
[“OF THE OPERA in ENGLAND.”]
Cornacini, on the other hand, is a very indifferent actor; has a most unmeaning face; seems not to feel his part; is infected with a passion of shewing his compass; but to recompence all these defects, his voice is melodious; his swell and shake are perfectly fine, unless that he continues the latter too long. In short, whatever the defects of his action may be, they are amply recompenced by his excellency as a singer; nor can I avoid fancying that he might make a much greater figure in an oratorio, than upon the stage.[55]
Dec 15
[Mrs Delany to Mrs Dewes, 15 December 1759]
Tuesday morning, went to the rehearsal of the Messiah,—Dubourg the leader; no very good voices, but altogether it gave me a great deal of pleasure.[56]
In 1759, he published “The Death of Adonis, a Pastoral Elegy from Bion;” and so prolific was his muse, that, in the course of the same year, he produced “The Tears of Music, a Poem, to the Memory of Mr. Handel,” with an “Ode to the River Eden.”[57]
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The SAME EPISTLE Imitated. By a FRIEND in IRELAND. To a Tutor at Trinity College, DUBLIN. [...] [...] but ’tis
as justly true, The Taste, the Relish must be first in you. Nor think, that Riches infinite can please The tortur’d Slave, who Fears and Hopes obeys: To him the Gems which either India brings, As useless prove, as dull and idle things; As in Change-Alley Tales of Love appear, Or Handel’s Music to a Lapland Ear.[58] |
I know not whether Handel’s Oratorios fall under the denomination of a Theatrical Entertainment; but as they are annually exhibited at a Theatre, it is but just to observe, that he is now allowed by all Europe to be the greatest Musical Genius that ever lived: he has the art of finely adapting sound to sense; of speaking to the heart with as much command as Timotheus: he at once touches the passions; and the grandeur of his chorusses, [77] the variety and number of instruments and voices to which he adapts them, are inimitable and astonishing.[59]
“Officers and Servants of the PRINCESS AMELIA”
[... 216]
Musick Master, G. F. Handell 200 l.[60]
[“THE PRINCESS AMELIA.”]
Musick-Master, George-Fred. Handel, Esq; 200l.[61]
[“THE / SECULAR ODE. / By WILLIAM DUNCOMBE, Esq;”]
[“POSTSCRIPT.”]
To illustrate this by a modern Example; let us suppose that the Reverend Dr. M——ll [= Morell] had addressed an elegant Ode to the Senesinos and Spinster-singers, exciting them to perform their Parts with Propriety and Spirit; and that he had promised the former a noble Present of Gold and Jewels, and that each of the latter should gain a wealthy Husband; nobody, sure, would call this an Epilogue to his Oratorio?[62]
I HAVE been sometimes tempted to imagine this Line of Virgil less exact in the Language, than is usual with that most accurate Writer [245]
[u] “Et sola in siccâ secum spatiatur arenâ.”
Three successive Spondees, so many Words beginning with S, a Letter of difficult Pronunciation, and ending with ā, a long and open Vowel, express admirably slow and solitary Walking: But are not the Terms sola and secum the very same in Sense, and one superfluous?
So
difficult is it to keep the due Mean: Pass but the Limit, the greatest Beauties
become Faults: And I am apt to think, that the Refinement of an eminent
Musician, mentioned by Pope in this Line,
[w] “And Jove’s own Thunders follow Mars’s Drums,”
who employed Cannon to fill up his * Chorus in a rejoicing Anthem, was a Transgression
of the Kind now mentioned, an outrageous Imitation of Nature.[63]
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[“The RISE and PROGRESS of SCIENCE.”] As Orpheus rais’d his ever-tuneful tongue, Responding to his lyre, of virtue sung; Virtue the rocks, and vocal hills rebound, And cowards grew courageous at the sound. No more obdurate stood the flinty heart, Subdu’d to musick, mollify’d by art; E’en things inanimate began to move, And
all was sweetness, harmony, and love. Thus hearts concordant to Amphion’s rung, When the wild Thebans into order sprung; With holy raptures, panting after fame, Glow’d as they heard, and caught the sacred flame. Ev’n savages enamour’d seem’d to throng, Chant to his verse, and echo to his song. To kindred worth, responding virtues bow, And what Amphion was, is Handel now. No tuneful nonsense, in unmeaning lays, Ask’d aid from numbers, sigh’d for empty praise; Reason and rhime [sic] were plac’d in equal poise, Nor yet good sense, was sunk in empty noise.[64] |
I had now leisure to feast my eyes in contemplating the most elegant work of nature. She was in a most captivating dress, and appeared ten times more beautiful to my imagination every minute. She could not be more than eighteen years of age at the farthest; lovely in innocence, and fair beyond expression. I had not been seated ten minutes, before I had the pleasure to [113] observe her eye me with some attention; but my heart was dissolved in transports, when I heard one of the young ladies distinguish her by the endearing name of Sophy, a sound, ten thousand times more ravishing to my ears than the most exquisite strains of Handel.[65]
Such as at present you are taught by * PHRYNIS;[66]
[1] The Whitehall Evening-Post; Or, London Intelligencer, no. 1999, Tuesday 9 – Thursday 11 January 1759, [3]; repr. The Gazetteer and London Daily Advertiser, no. 5392, Friday 12 January 1759, [2].
[2] The London Evening-Post, no. 4866, Thursday 11 – Saturday 13 January 1759, [1].
[3] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 3:535.
[4] 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), 338.
[5] 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), 338.
[6] The Public Advertiser, no. 7589, Friday 2 March 1759, [1].
[7] The Public Advertiser, no. 7589, Friday 2 March 1759, [1].
[8] The Public Advertiser, no. 7593, Wednesday 7 March 1759, [1].
[9] The Public Advertiser, no. 7597 [incorrect number], Friday 9 March 1759, [1].
[10] The Public Advertiser, no. 7597 [incorrect number], Friday 9 March 1759, [1].
[11] The Public Advertiser, no. 7601, Wednesday 14 March 1759, [1].
[12] The Public Advertiser, no. 7601, Wednesday 14 March 1759, [1].
[13] The Public Advertiser, no. 0277 [incorrect number], Friday 16 March 1759, [1].
[14] The Public Advertiser, no. 0277 [incorrect number], Friday 16 March 1759, [1].
[15] The Public Advertiser, no. 7607, Wednesday 21 March 1759, [1].
[16] The Public Advertiser, no. 7609, Friday 23 March 1759, [1].
[17] The Public Advertiser, no. 7609, Friday 23 March 1759, [1].
[18] The Gazetteer and London Daily Advertiser, no. 5453, Tuesday 27 March 1759, [2].
[19] The Public Advertiser, no. 7609 [incorrect number], Wednesday 28 March 1759, [1].
[20] The Public Advertiser, no. 7611, Friday 30 March 1759, [1].
[21] The Public Advertiser, no. 7611, Friday 30 March 1759, [1].
[22] 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), 339.
[23] The Public Advertiser, no. 7615, Wednesday 4 April 1759, [1].
[24] The Public Advertiser, no. 7617, Friday 6 April 1759, [1].
[25] The Whitehall Evening-Post; Or, London Intelligencer, no. 2036, Thursday 5 – Saturday 7 April 1759, [3].
[26] repr. Victor Schoelcher, The Life of Handel (London: Robert Cocks, [1857]), 343-44; facs. repr., Handel’s Will: Facsimiles and Commentary, ed. Donald Burrows (London: The Gerald Coke Handel Foundation, 2009), 43-44.
[27] Payne’s Universal Chronicle, or Weekly Gazette, Saturday 7 April—Saturday 14 April 1759, 118; Chrissochoidis, 875.
[28] The Grand Magazine of Universal Intelligence, and Monthly Chronicle of Our Own Times 2 (1759): 222; Chrissochoidis, 875.
[29] The Gazetteer and New Daily Advertiser, Saturday 29 May 1784, [3]; Chrissochoidis, 876.
[30] The Gentleman’s Magazine 29 (1759), 194; Chrissochoidis, 876.
[31] The London Magazine: Or, Gentleman’s Monthly Intelligencer 28 (1759), 221; Chrissochoidis, 876.
[32] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 3:549-50.
[33] The Gentleman’s Magazine 29 (1759), 191-92; Chrissochoidis, 876.
[34] Miscellaneous Correspondence...Vol. III (London: W. Owen, and the author, 1764), 87; Chrissochoidis, 876.
[35] The Annual Register, Or a View of the History, Politicks, and Literature, of the Year 1759 (London: R. and J. Dodsley, 1760), 84, 86; Chrissochoidis, 876-77; see also Deutsch, Handel, 821.
[36] 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), 339.
[37] The Gentleman’s Magazine 29 (1759), 178; Chrissochoidis, 875.
[38] British Library, Add. Ms. 33351, f. 24r.
* Alludes to Mr. Handel’s performing in his celebrated oratorio of Messiah in the last Lent season.
[39] The Universal Magazine 24 (January – June 1759), 211; Chrissochoidis, 877.
[40] William C. Smith, “Handeliana,” Music & Letters 31 (1950), 125-32: 125.
[41] repr. Handel: A Celebration of his Life and Times, 1685-1759, ed. Jacob Simon (London: National Portrait Gallery, 1985), 233.
[42] The Papers of Benjamin Franklin. Volume 8: April 1, 1758, through December 31, 1759, edited by Leonard W. Labaree (New Haven and London: Yale University Press, 1965), 338-39; repr. Chrissochoidis, 877.
[43] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 3:550-51.
[44] The Whitehall Evening-Post; Or, London Intelligencer, no. 2053, Tuesday 15 – Thursday 17 May 1759, [3].
[45] Chrissochoidis, 878.
[46] The Gentleman’s Magazine 29 (1759), 342; Chrissochoidis, 878.
[47] The Public Advertiser, no. 7693, Monday 9 July 1759, [2]; repr. The London Chronicle: Or, Universal Evening Post, vol. VI, no. 395, Saturday 7 – Tuesday 10 July 1759, 26-27; The London Evening-Post, no. 4942, Saturday 7 – Tuesday 10 July 1759, [1]; and Miscellaneous Correspondence … Vol. III (London: W. Owen and the author, 1764), 167; Chrissochoidis, 879.
[48] The Public Advertiser, no. 7694, Tuesday 10 July 1759, [2]
[49] The Manuscripts of the Marquess Townshend (London: Her Majesty’s Stationery Office, 1887), 395-96; The Letters of Dr Charles Burney. Volume I: 1751-1784, ed. Alvaro Ribeiro, SJ (Oxford: Clarendon Press, 1991), 27-28.
[50] The Grand Magazine of Universal Intelligence, and Monthly Chronicle of Our Own Times 2 (1759), 393; Chrissochoidis, 878-79.
[51] The Works of Mrs. Chapone, 4 vols. (Boston: W. Wells and T. B. Wait and Co., 1809), 1:9; Chrissochoidis, 879.
[52] British Library, Egerton Ms. 3009, ff.17-18; repr. (with mistakes) Schoelcher, 344-45; Deutsch, 829-31.
[53] The Works of Mrs. Chapone, 4 vols. (Boston: W. Wells and T. B. Wait and Co., 1809), 1:88-89; Chrissochoidis, 879.
[54] John Latimer, The Annals of Bristol in the Eighteenth Century (Bristol: [the author], 1893; reprinted, Bath: Kingsmead Reprints, 1970), 327; Chrissochoidis, 880.
[55] The Bee. Being Essays on the most Interesting Subjects (London: J. Wilkie, 1759), 251; Chrissochoidis, 880.
[56] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, edited by Lady Llanover, second series, 3 vols. (London: Richard Bentley, 1862), 3:579; Chrissochoidis, 880.
[57] The Poetical Works of John Langhorne, D. D. (London: C. Cooke, 1798), 6; Chrissochoidis, 880.
[58] The Works of Horace In English Verse. By Several Hands. [Collected and Published by Mr. Duncombe.] Illustrated with Notes Historical and Critical. Volume the Second and Last (London: R. and J. Dodsley, 1759), 337; Chrissochoidis, 880-81.
[59] Mr. Wilkes [=Samuel Derrick], A General View of the Stage (London: J. Coote, and W. Whetstone, 1759), 76-77; Chrissochoidis, 881.
[60] The Court and City Kalendar; or, Gentleman’s Register, for the Year 1759 (London: J. Fuller et al., 1759), 215-16; Chrissochoidis, 881.
[61] The English Registry, for the Year of our Lord, 1759; Or A Collection of English Lists (Dublin: John Exshaw, 1759), 50; Chrissochoidis, 881.
[62] The Works of Horace in English Verse. By Several Hands. Illustrated with Notes Historical and Critical, edited by [William] Duncombe, 2 vols. (London: R. and J. Dodsley, 1759), 2:67; Chrissochoidis, 881.
[u] And wanders by himself on the dry Strand Alone.
[w] Dunciad, Book iv. line 68.
* Mr. Handel.
[63] John Lawson, Lectures concerning Oratory, delivered in Trinity College, Dublin, 2nd edition (Dublin: George Faulkner, 1759), 244-45; Chrissochoidis, 882.
[64] [James], Fortescue, Dissertation, Essays, &c., 2 vols. (Oxford: William Jackson, 1759), 2:199; Chrissochoidis, 882.
[65] The Life and Real Adventures of Hamilton Murray. Written by Himself, 3 vols. (London: the author, 1759), 3:112-13; Chrissochoidis, 882-83.
* PHRYNIS, as the Scholiast relates, was a Musician. He was born at Mitylene, but practised his Art at Athens: and may, for what we know, have been as excellent in it, notwithstanding the invidious Insinuations of ARISTOPHANES, as the celebrated HANDEL is among us.
[66] Aristophanes, The Clouds: A Comedy. Written by Aristophans, the Wittiest Man of his Age, against Socrates, who was the Wisest and Best. Now first intirely translated into English, with the Principal Scholia, and Notes Critical and Explanatory (London: T. Payne, 1759), 119; Chrissochoidis, 883.