Jan 14

MUSIC. / Next Week will be ready to deliver to the Subscribers, / THE Complete Score of the Oratorio of / JUDAS MACCHABEUS. / Printed for William Randall, Successor to the late Mr. Walsh, in Catherine street, in the Strand. / N[.] B. Those Ladies and Gentlemen who have been so kind as to encourage this Work, are desired to send back their Receipts, with the second Subscription, when their Books will be delivered as above. / Where may be had, / The Complete Scores of Messiah, Samson, Alexander’s Feast, and Acis and Galatea.  Likewise all Mr. Handel’s Works.  With the greatest Variety of Music, of all Kinds, and of every Body’s Printing.[1]




Jan 26

Thursday there was a Rehearsal at the Princess Dowager of Wales’s, at Carlton-House, of the new Oratorio of Gideon, which is to be performed at Covent-Garden Theatre the ensuing Season.[2]




Jan 28

ORATORIOS / Will be performed / AT the King’s Theatre in the Haymarket, on the Wednesdays and Fridays in the Lent. / Boxes 5s.  Pit 3s.  First Gall. 2s.  Upper Gall. 1s. / Vivant Rex & Regina. / Places for the Boxes to be taken at Theatre.[3]





“SKETCH of a moral and Political MAP of EUROPE.  By Mr. MOSER, Envoy from the Elector Palatine to Hanover”



Its heroes, like Italian pictures, shew best at a distance; the rest parcel cut to desarts, petty tyrants, priests, pedigreed beggars, and pedants, and all her neighbours know Germany.  Yet this is the mother of Arminius and Frederic; of Leibnitz and Wolfe; of Handel and Graun; of Mengs and Donner; of Winkelman and Reimarus.[4]




Feb 1

The Oratorio of Judas Maccabaeus is to be performed the Day before, in Great St. Mary’s Church, for the Benefit of the new Hospital in that Town. [no context given][5]




Feb 20

[Thomas Twining to Charles Jenner, Fordham, 20 February 1769]


I left town before the Oratorios began; Mr. John Stanley took me to the Rehearsal of Gideon, the newly discover’d, posthumous oratorio of Handel, which I suppose you have heard of.  A great deal of the music of it was taken from some old things he had formerly composed in Italy.  I cannot say I was struck with many things in it; but there is scarce any judging of what one hears in such a miserable way.  I hear but one passage I thought very fine; which was a chorus towards the beginning of the last act, & in the grand, fuguing, learned style.  I know nothing of the words & heard it merely as instrumental music.[6]




Feb 23

VERSES presented to the late Mr. HANDEL, after hearing his Oratorio of Judas Maccabaeus, in 1744. / THE Doctrine taught us by the Samian Sage, * / [...] / Sweet Antepast of Harmony in Heav’n! / MUSIDORUS.[7]




Mar 1

On hearing Mr. HANDEL’s Oratorio of SAMPSON. / RAIS’D by his Theme, aloft great MILTON flew, / [...] / Must have no Heart—or all his Heart is Steel, / MUSIDORUS.[8]




Mar 15

This Day is published, in Quarto, Price 1s. / A new Edition, corrected by the Compiler, / MESSIAH an ORATORIO / Set to Music by Mr. HANDEL. / Printed (by Permission of the Compiler) for E. Johnson No. 12, in Avemary lane, Ludgate-street; and for W. Russel: Sold also by the Booksellers. / Though Editions of Oratorios upon a small Letter (too small for the Purpose in the huddled Manner the Readers sit) are sold at the Haymarket House at 6d. none but the large Letter Sorts of 1s. are sold at Covent Garden House.  Notwithstanding the Compiler’s Injunction against it, a spurious Edition of Messiah is persisted to be printed, and is even sold at Covent Garden Theatre: Those therefore who desire to have the genuine and correct Edition, and would discourage such a contumelious Proceeding, will be please to buy before they get to the House, as it is not to be had there, (an Instance of ill Treatment of an Author’s Edition of which there is no Example) and that they may do so conveniently, it is planted in various Places.  This only authorised Edition has E. Johnson’s and W. Russel’s Names in the Title.[9]




Mar 15

To the Manes of Mr. HANDEL, on hearing his MESSIAH. / To mourn o’er thee I not invoke the Nine, / [...] / And Heav’n’s high Arch with Hallelujahs rung.[10]




Jun 25

[Fanny Burney’s Journal, Sunday {25} June 1769]


At [Friday] Night [23 June], the oratorio of Athaliah was performed, & [Jane] Barsanti sung again, with amazing Success, in so much, that when the university , &c. [/75] understood that she did not perform in Acis & Galatea which was to be done on Friday night, they beg’d the favour of papa to let her sing an Italian song between the acts in which she was greatly applauded, & encored.  I wish I had been there.[11]




Sep 1

This Day is published, / (Price One Shilling) / JUDITH, a Sacred DRAMA, as performed in the CHURCH of STRATFORD upon AVON on Occasion of the JUBILEE held there, September 6, 1769, in Honour of the Memory of Shakespeare. / The Words by Mr. BICKERSTAFF, / The Music by Dr. ARNE. / Printed for W. Griffin, at Garrick’s Head, in Catherine-street; and sold by Mr. Keating, Bookseller, at Stratford upon Avon.[12]




Sep 5

Letter from Stratford upon Avon, Sept. 5. [...] Every Inn, House, and Hovel, now swarms with Company; and the very Stables are no longer confined to the Reception of Horses, or even Grooms and Postillions, the Haylofts over them being cleared for the Reception of Families of the first Credit, who, for want of better Accommodations are obliged to take up their lodgings there. [... ] Besides the Great Roscious and his Brother, Dr. Arne, Richards, Vernon, Dibdin, Champness, Angelo; Mrs. Baddely, Mrs. Bartholomeon, Mrs. Yates, Mrs. Barry, Miss Weller, Master Brown, &c. &c. are now arrived, with an incredible Number of Flutes, Hautboys, Trumpets, Clarinet, French-Horns, Fiddles, Guittars, Candle Snuffers, Scene Shifters, and a numerous Tribe of Attendants from both the Theatres, who are all to join in the Homage to be paid on this Occasion to the justly revered Memory of their immortal Master.[13]




Sep 6-7

[left side illustration of S’s monument with the inscription “We ne’er shall look upon his like again.”]


SHAKESPEARS JUBILEE, / the 6th. and 7th. of September, / at Stratford upon Avon. / This TICKET admits one on the 6th. to / The ORATORIO. / The DEDICATION ODE. / The BALL. / And to the Great Booth at the Fireworks[.] / One Guinea.[14]




Sep 6


Wednesday, the 6th of SEPTEMBER,

Shakespeare’s Jubilee.

The STEWARD of the JUBILEE begs Leave to inform the COMPANY, that at Nine o’Clock will be



Thence to proceed to the CHURCH to hear


Which will begin exactly at ELEVEN.

From Church will be a full CHORUS of VOCAL and INSTRUMENTAL MUSIC to the AMPHITHEATRE; where, at Three o’Clock, will be

An ORDINARY for Gentlemen and Ladies.

About Five o’Clock, a Collection of NEW SONGS, BALLADS, ROUNDELAYS, CATCHES, GLEES, &c. will be performed in the AMPHITHEATRE; after which the Company is desired to prepare for the BALL, which will begin exactly at Nine, with NEW MINUETS, (composed for the Occasion) and played by the whole Band.

The SECOND DAY’S ENTERTAINMENTS will be published To-morrow.

N.B.  As the PUBLIC BREAKFASTS and ORDINARIES are intended for those Ladies and Gentlemen who have taken the Guinea Tickets, no Person can be admitted without first shewing such Ticket.  Should there be Room for more than the Proprietors of those Tickets, Ladies and Gentlemen will be admitted to the ORATORIO and FIREWORKS, at Five Shillings each; and to the DEDICATION, ODE, and BALL, at Half a Guinea each.

[three asterisks] The STEWARD hopes that the Admirers of Shakespeare, will, upon this Occasion, wear the Favors which are called the Shakespeare Favors.

F As many Ladies have complained of the Fatigue they shall undergo, if the Ball and Masquerade are on two successive Nights, there will be only the FIREWORKS on Thursday Night, and the MASQUERADE on Friday Night, the 8th Inst. which will conclude the Entertainments of the Jubilee.[15]




Sep 7

THE ORATORIOS for the Opening of the Elegant ORGAN, now erected in the Minster at Beverley, will be on the 20th, 21st, and 22d of this Instant September, viz. On Wednesday the 20th, the Sacred Oratorio of the MESSIAH.  On Thursday the 21st, the Oratorio of JUDAS MACCHABAEUS.  And on Friday the 22d, the Oratorio of SAMSON: Which Day being the Anniversary of the King’s Coronation, the Performance will conclude with Mr. HANDEL’S Grand CORONATION ANTHEM.

The First Violin by Mr. Giardini.

                  The principal Voices by Mrs. Hudson, of York; Miss Radcliffe, Mr. Norris, and Mr. Mathews, both of Oxford.

                  The Remainder of the Band will be numerous, and will consist of the best Performers, both Vocal and Instrumental, that can be procured.

                  Tickets for the Great Aisle at 5s. each, and Galleries 2s. 6d. to be had of Mr. Hawdon, Organist; of Mr. Norris, at the Bell; and of Mrs. Todd, at the Tyger, in Beverley; of Mr. Foster, Carver, in Salt-house-Lane; and of Mr. Farraby, Bookseller, in the Butchery in Hull.  Of whom may be had, Books of the Oratorios, with Mr. Handel’s Alterations and Additions, as they will be performed at Beverley, Price Fourpence each.  All Tickets transferable.  No Money to be taken at the Door.  The North Doors to be opened at Ten in the Morning, and the Performance to begin at Eleven.  The Great Ai[s]le will be filled with Benches.

                  N.B.  To add to the agreeable Solemnity of the Performance, the Chorus Singers will be drest in Surplices.

                  Mr. Giardini will oblige the Company with a Solo.  There will be likewise a Concerto on the Organ each Day.

                  F  An ASSEMBLY on Wednesday and Friday.[16]




Sep 6-7

INTELLIGENCE from STRATFORD. / ON Wednesday last, Sept. 6, about Five in the Morning, a Number of the Performers from Drury-Lane Theatre serenaded the Ladies through the Streets...and the Town being roused by these Performances, several Guns were fired, and the Magistrates assembled about Nine in one of the principal Streets.  A public Breakfast was to be in the Town-hall at Nine....A Party of Drums and Fifes performed several Pieces opposite the Town-Hall. / From the Town-Hall the Company retired to the Church, where the Oratorio of Judith was performed, conducted by Dr. Arne.  This Piece opened at Eleven.  The Singers were Mr. Vernon, Mr. Champness, Master Brown, Mrs. Barthelemon, a young Lady, Pupil to Dr. Arne, and Mrs. Baddeley; the Choruses were very full, and the Band was excellent.  When the Oratorio was finished, Mr. Garrick and the Performers waled in Procession to the Amphitheatre, Mr. Vernon and the rest singing the following Chorus, to an Accompanyment of proper Instruments:... / On Thursday Morning, Sept. 7, Breakfast was given in the same Manner as the preceding Day; after which the Company went to the Amphitheatre, where the Dedication Ode was performed, under the Direction of Dr. Arne.  The Recitative Parts were spoken by Mr. Garrick, and, perhaps, in all the Characters he ever played, he never shewed more Powers, more Judgment, or ever made a stronger Impression on the Minds of his Auditors.[17]





“A genuine Account of the late Jubilee”

I rose, early in the morning, though not in time for the serenading, and got to the breakfasting in the town-hall at nine...At eleven we adjourned to the church, where the oratorio of Judith was admirably performed, and met with universal applause...[after dinner, orchestral performance of catches and glees].  The whole closed with the old loyal song of ‘God save the king’, when every voice was exerted.

[attendance up to 2000, but both evenings closed with masquerades][18]




early September

Last Week the annual Musical Festival was celebrated at Winchester, when the Oratorios of Rebecca and Alexander Balus, and the Masque of Acis and Galatea, were admirably performed by a select and complete Band under the Conduct of Dr. Hayes.  The Company on this Occasion was very numerous and brilliant, among which were the Duke and Duchess of Bolton, the Duke and Duchess of Chandois, Lord Carnarvon, Lord Palmerston, Lord Dunkellan, Lady Mary Paulett, Lady Augusta Bridges, Ladies Anne and Jane Henley, &c. &c.  In the Course of the Performances, which were received with general Satisfaction, Mrs. Weichsell’s elegant and expressive Style of Singing, and [?the] masterly Execution of Signor Soldorini [?with] Messrs. Paxton and Munro on their respective Instruments, were deservedly distinguished [?with] particular and uncommon Applause.  The [?many] Decorations and other Improvements in the Concert Room, now the largest in England, were much approved, and added not a little [?to] the Elegance of the Entertainment, and Splendor of the Company.[19]





Th’ Oratorio being done,

We scuddle and run,

To the BOOTH hamper-scamper to dinner;

Were, ’twas catch that catch can,

With the Maid and the Man,

With the good Man of God, and the Sinner.





[satirical attack on Garrick’s Ode signed by “Anti-Gnatho”]


“Prepare!  Prepare!  Prepare! / And Fame expanding all her Wings, / With all her Trumpet-Tongues proclaims / Shakespeare!  Shakespeare!  Shakespeare!” / This Passage, like the Firing of Cannon in Handel’s divine Oratorio, stuns with it’s [sic] Magnificence.  What a beautiful Figure is the Tongue of Fame turned into a brazen Trumpet!  And what a happy harmonious Effect has the placing of the Accent on the last Syllable of the Name Shakespeare![21]




[...] I am persuaded [the Jubilee] will engage the Attention not only of all Ranks in this Island, but of the Learned and Ingenious in every part of [/{2}] Europe.  For what was the Stratford Jubilee,...but an elegant and truly classical Celebration of the Memory of Shakespeare, that illustrious Poet whom all Ages will admire as the World has hitherto done.  It was truly an antique Idea, a Grecian Thought, to institute a splendid Festival in Honour of a Bard.  My Bosom glowed with Joy when I beheld a numerous and brilliant Company of Nobility and Gentry, the Rich, the Brave, the Witty, and the Fair assembled to pay their Tribute of Praise to Shakespeare; nor could I help thinking that they at the same Time paid a very just Compliment to Mr. Garrick, the Steward of the Jubilee, who has done so much to make our Nation acquainted with the inestimable Riches of their own Stage in possessing so illustrious a dramatic Author with such amazing Variety and wonderful Excellence as Shakespeare.  Garrick may be called the Colourist of Shakespeare’s Soul.... / The Morning of the first Day was ushered in with a pleasing Serenade by the best Musicians from London in Disguise.  The Jubilee began with an Oratorio in the great Church at Stratford; the Subject the Story of Judith; the Words by Mr. Bickerstaff; the Music by Dr. Arne.  It was a grand and admirable Performance.  But I could have wished that Prayers had been read, and a short Sermon preached.  It would have consecrated our Jubilee to begin it with Devotion, with gratefully adoring the Supreme Father of all Spirits, from whom cometh every Good and perfect Gift.  The Procession with Music from the Church to the Amphitheatre, led on by Mr. Garrick, had a very good Effect. [...] / The Performance of the Dedication Ode was noble and affecting: It was like an Exhibition in Athens or Rome.  The whole Audience were fixed in the most earnest Attention, and I do believe that if any one had attempted to disturn the Performance, he would have been in Danger of his Life.  Garrick in the Front of the Orchestra, filled with the firs Musicians of the Nation, with Dr. Arne at their Head, and inspired with an aweful [sic] Elevation of Soul, while he looked from Time to Time at the venerable Statue of Shakespeare, appeared more than himself.  While he repeated the Ode, and saw the various Passions and Feelings which it contains fully transfused into all around him. [sic] he seemed in Extacy, and gave us the Idea of a Mortal transformed into a Demi-god as we read in the Pagan Mythology. [...] I do say it is a Work of superior Merit, well suited to the Occasion by the Variety of it’s Subjects, and containing both poetical Force and Elegance.  It would be unpardon[able] should I omit acknowledging the Pleasure which I received from Dr. Arne’s Music, which was truly fine; nor must I neglect thanking the whole Orchestra for their Execution. [...] Much Noise has been made about the high Prices of every Thing at Stratford.  I own I cannot agree that such Censures are just: It was reasonable that Shakespeare’s Townsmen should partake of the Jubilee as well as we Strangers did; they as a Jubilee of Profit, we of Pleasure.  As it lasted but for a few Nights, a Guinea a Night for a Bed was not Imposition.  Nobody was understood to come there who had not Plenty of Money. [...] [letter signed by “J. B.”][22]




Oct 7

[first performance: 7 October 1769]


[at an Inn:]

LANDLADY. [...] We never were so full in our days—we’re almost hurried out of our lives—every house in the town just the same—all as busy as bees about the jubalo.

SECOND MAN PASSENGER.  Jubalo!  I have heard of nothing but jubilees, and Shakespeares, and mulberry-trees, for these three months.  What the devil is this jubilee?

LANDLADY.  Lack-a-day, Sir, I can hardly tell you myself; but it is one of the finest things that ever was seen—There is the great little gentleman from London [Garrick], and I don’t know how many painters, and carpenters, and musicianers, and actor-people, come down on purpose—Great doings, I promise you.

FIRST WOMAN PASSENGER.  Is there to be any dancing, pray?

LANDLADY.  Oh yes—abundance of dancing—but begun with going to church, and singing of antums and o-ra-to-ries, I think they call them—and then there is eating and drinking, and processioning, and masquerading, and horse-racing, and fireworks—So gay—and as merry as the day is long.

FIRST MAN PASSENGER.  And the night too, I warrant you, landlady. [/8]

LANDLADY.  Oh ay; a ball and entertainment, every night, your honour.


[Interlude: “The PAGEANT, Exhibiting the Characters of Shakespeare” on the streets of Stratford, each category with its own incidental music.]

Coronation Anthem.

Anne Bullen under Coronation Canopy.



Dead March in Saul.

Juliet’s Bier.  Attendants.[23]




[The following is a political satire attributed to actor and author Samuel Foote, and apparently celebrates (or satirizes) Wilkes’s birthday in the King’s Bench Prison.  The composer appears to be fictitious and no music survives, if written at all.  The text is a transcription of one of the few surviving copies, at the Houghton Library, Harvard University, made by Dr. Hugh Amory.]




As Performed at


Written by Mr. FOOTE

The MUSIC by

Signor Carlos Francesco Baritini.


Sold by F. Richards, in Bell-Savage Yard; and S. Woodgate,

No. 3, Paul’s Alley, St. Paul’s Church-Yard. [1769]

<Price Sixpence> [/2][24]




These imitations of musical ideas by articulate sounds have much the same effect with the imitations of the force of particular words by musical sounds.

Thus, Handel seldom fails to ascend with the word rise, and descend with the word fall.  Purcell goes still farther, and accompanies every idea of roundness with an endless rotation of notes.  But what shall we say to that musician, who disgraces the poet by realizing his metaphors, and, in downright earnest, makes the fields laugh, and the vallies sing.  In music, it is better to have no ideas at all than to have false ones, and it will be safer to trust to the simple effects of impression than to the idle conceits of a forced imitation.[25]




                  There are also several statues [at the Vauxhall Gardens], and in particular a very good one in marble, by the late Mr. Roubiliac, of the celebrated Mr. Handell, playing on a lyre, in the character of Orpheus.[26]




To an unknown LADY, who had honoured me with some attention at a public Musical Entertainment.


WHEN Handell’s notes my fancy rais’d to Heav’n,

         Thy lovely look recall’d me to earth;

But why such beauty to a mortal giv’n,

         Since all must fade that here below has birth?[27]




BY / Mr. GEORGE FREDERICK HANDELL. / [line] / PSAL. XLII. / [line] / Composed for Voices with Instruments, but adapted to Voices only by Dr. Boyce. / Treb. Con. Ten. Bass. / AS pants the hart [...][28]




596         Mr George Frederick Handell, by Wolffgang,                  1s[29]



[1] The Public Advertiser, Saturday 14 January 1769, [1].

[2] The Public Advertiser, Saturday 28 January 1769, [2].

[3] The Public Advertiser, Saturday 28 January 1769, [1].

[4] The Gentleman’s Magazine 39 (1769): 27.

[5] The Public Advertiser, Wednesday 1 February 1769, [2].

[6] A Selection of Thomas Twining’s Letters, 1734-1804: The Record of a Tranquil Life, ed. Ralph S. Walker, 2 vols. (Lewiston/Queenston/Lampeter: The Edwin Mellen Press, 1991), 1:70.

[7] The Public Advertiser, Thursday 23 February 1769, [2].

[8] The Public Advertiser, Wednesday 1 March 1769, [2].

[9] The Public Advertiser, Wednesday 15 March 1769, [1].

[10] The Public Advertiser, Wednesday 15 March 1769, [2].

[11] The Early Journals and Letters of Fanny Burney.  Volume I: 1768-1773, ed. Lars E. Troide (Kingston and Montreal: McGill-Queen’s University Press, 1988), 74-75.

[12] The Public Advertiser, Friday 1 September 1769, [1].

[13] The Public Advertiser, Friday 8 September 1769, [4].

[14] David Garrick, The Letters of David Garrick, ed. David M. Little and George M. Kahrl, 3 vols. (Cambridge, MA: Belknap-Harvard University Press, 1963), 2: facing p. 698.

[15] David Garrick, The Letters of David Garrick, ed. David M. Little and George M. Kahrl, 3 vols. (Cambridge, MA: Belknap-Harvard University Press, 1963), 2: facing p. 699.

[16] The Whitehall Evening-Post: Or, London Intelligencer, Tuesday 5 September—Thursday 7 September 1769, [3].

[17] The Public Advertiser, Monday 11 September 1769, [2].

[18] The Gentleman’s Magazine 39 (1769): 422.

[19] The Public Advertiser, Wednesday 13 September 1769, [2].

[20] [Edward Thompson], Trinculo’s Trip to the Jubilee (London: C. Moran, W. Flexney and R. Riddley, 1769), 14.

[21] The Public Advertiser, Wednesday 13 September 1769, [2].

[22] The Public Advertiser, Saturday 16 September 1769, [1-2].

[23] [George Colman], Man and Wife; Or, the Shakespeare Jubilee (London: T. Becket and R. Baldwin, 1770), 7-8, 39-40.

[24] Samuel Foote, “Wilkes: An Oratorio,” in The Plays of Samuel Foote, ed. Paula R. Backscheider and Douglas Howard, 3 vols. (New York and London: 1983), 2:[multiple pagination].

[25] [Daniel Webb], Observations on the Correspondence between Poetry and Music (London: J. Dodsley, 1769), 142-43.

[26] P. Russell and Owen Price, England displayed.  Being a New, Complete, and Accurate Survey and Description of the Kingdom of England, and Principality of Wales, 2 vols. (London: the authors, 1769), 1:212.

[27] [John Hope], Occasional Attempts at Sentimental Poetry, by a Man in Business: With some Miscellaneous Compositions of his Friends (London: T. Durham, 1769), 25.

[28] Anselm Bayly (ed.), A Collection of Anthems used in His Majesty’s Chapel Royal, and most Cathedral Churches in England and Ireland (London: J. and F. Rivington and W. Ginger, 1769), 91.

[29] Thomas Snelling, A Catalogue of a Large and Curious Collection of Prints, and Books of Prints, by the most eminent Masters...which will begin to be sold on Monday the First of January, 1770 (London: [?, 1769]), 14.