The John Marsh Diaries
(Huntington Library, HM 54457, vols. 23–37)
September 1802 – August 1828
On Tuesday the 21st. [September 1802] (St. Matthew) I went to the Cathedral & played the concluding Chorus in the Dettingen Jubilate, for 2 Performers, with Target, after wch. we tried the Chorus in Esther “<gap> which I adapted at Nottingham in 1801. in ye same manner.
On Saturday ye 16th. [October 1802] Mr. Incledon from London, came & sung several Songs at the Theatre in the Theatre [sic], acompd. on ye Piano Forte by Mr. Davy of London, which produced a numerous audience, [...] on ye next Morng after Service heard Mr. Davy touch ye Cathedl Organ, which he seem’d to play in a capital style, who also accompd. Mr. Incledon there,  & on the Concert Room Organ afterwd. in some of Handel’s Songs, in which the Full Organ was in some parts hardly sufficiently powerful for Incledon’s stentorian Voice.
Wishing to have a little Concert at home whilst our young people were all with us, & Mrs. Pilkington being unluckily going to London on Monday ye 27th. we therefore had a kind of Concerto Spirituale on the Sunday Evening before [26 December 1802], to which they & the Miss Pilkingtons [sic] came [...] At this Concert ye Ladies sung [...] some of Handel’s Oratorio Songs [...]
[...] on ye Thursday after [6 January 1803] we all went to the 4th. public Concert, at wch. (it being Christmas time) some part of the Messiah was done [...]
The Subscription Concert [at Salisbury] being that Evening [Thursday 31 March 1803], John [his son] & I went to it, at ye Spread Eagle, where it was now [... p.92; finds the band of musicians weak because of absentees] to make matters worse, just as ye Concert was about to begin word was brought that 2 of the Choir Singers cod. not come, on which account as Clark the Leader of ye Band was obliged to sing Bass in the Chorus to “Happy pair” I then took ye 1st. fiddle, or they cod. not well have done it, after which I played during ye remainder of the Concert [...]
[...] For Voluntaries this Afternoon [Easter Sunday, 10 April 1803] I played a Trumpet one of Stanley’s & Hallelujah in ye Messiah.
On this Morning [Monday 9 May 1803, in London] I went to the Rehearsal of the Concert for the Royal Society of Musicians at the Opera Concert Room, consisting of the Messiah, by the same Band as that of the Kings Concert of Ancient Music [...]
[London, Tuesday 10 May 1803] [...] I walked to Chelsea College to dine at Mr. Lynn’s  whom I had met on ye Morning before at ye Rehearsal of the Messiah. [...]
Having promised my Ticket for ye Messiah for ye R[oyal] Society of Musicians Concert, to my Son Henry,  he on the next day (Wedy 11th.) came to Town & dined with me at Anderton’s Coffee House, after which he went to the Concert [...]
[Sunday 22 May 1803, London] [Mr R. Smith of St. Paul’s Church yard] was a great musical Antiquary, or collector of old & scarce MSS. & publications some of which he was so urgent with me to step in & see that as his house was so near, I (altho’ it was now 10 o’ clock & I had my Bill to pay & several of my things to pack up) went with him & staid a few minutes, during which he shew’d me 3 Bookcases full of bound Music Books & Treatises, including all Handel[’]s Works [...]
[before Sat 28 May 1803, considering whether the post of organist at Chichester should be filled by a less qualified candidate than Target] [...] Targett, besides being bred up in the Choir, & thus knowing the proper Time & style of all ye Services & Anthems in common use, also had studied Thorough Bass 3 or 4 Years before he was chosen Organist, & had also before that time practised Handel’s Chorusses in the Messiah, & Judas Macchabeus, from the Scores I lent him, which facilitated his subsequent performance of Services & Anthems, also from the Score [...]
[Friday 24 June 1803] [young Salmon playing on the church organ some voluntaries]
For the concluding Voluntary, he play’d the Chorus “How excellent” of Handel (by no means a difficult one [...]
[Monday 4 July 1803] [Mr Holland, a candidate for the organist position] also sung “Pious Orgies” of Handel, without much taste, or attempting any shake.
[Thursday 18 August 1803, Sarum] [...] The first Act of this Concert was miscellaneous & the 2d. a selection from the Allegro Penseroso, ye whole concluding with an animated Song & Chorus [...]
On the next morning [Friday 7 October 1803 in Wichester] we went to a  Selection from Handel & some old Italian composers at the Cathedral [...]
[...] on the next day [Thursday 8 December 1803], we went to the 2d. private Concert, at wch. we were again disappointed [several members were absent]  Mr. Michell took the principal Bass, with whom I joined in a Song of Handel “Lord in thee” which Mr. Bennett was so good as to sing [...]
[Thursday 22 December 1803] At the [3rd public] Concert[,] as Christmas was so near, we as usual did some of the 1st. part of ye Messiah, in ye Chorusses of wch. we had ye assistance of Mr Austen a Counter Tenor, from Portsmouth.
On Friday ye 20th. [January 1804] we all went to a Concert for the benefit of Mr. Bennett, our new Organist, when we perform’d Acis & Galatea in a very good style, having Mstr. Boles, ye celebrated Boy from Salisbury, from whence we had also our  Polypheme, Mr. Lacy, & principal Violoncello Mr. Lucas; besides whom we had Thomas from Portsea & a very good Band; so that the company (which was near 220) were all much pleased, it being our first attempt at any thing of a regular Oratorio at Chichester. But tho’ there were so many people & the tickets were upon this occasion s4. each, the expences came so high that not £18. remained clear for Mr. Bennett. We therefore[,] in order to set him going handsomely, & to encourage him in attending to ye improvement of the Boys, agreed to pay him 12 guineas out of the Concert Fund, which with 30s. for tuning the Piano Forte & ye money receiv’d at his concert, came to about 30 guineas in the whole; about half his annual Salary for the Cathedral.
[...] on the next day [Thursday 22 March 1804] [...] we all went to the last Concert, at which [...] Miss Russell from ye Portsmouth Theatre, was our principal Singer. At this concert, wch. open’d with the Overture to Atalanta (of wch. the Trumpet was played by Guy of the Marine Band) we perform’d [...] “When his loud  voice” Handel, & the Coronation Anthem, with which we concluded.
On Easter Day (April ye 1st.) I began taking the Organ again for Mr. Bennett [... 43 ...] For Voluntaries this day I played “The Trumpet shall sound” & “But thou didst not leave” from ye Messiah (as applicable to ye Season) [...]
Mr Steele having, in consequence of my having given him near a month’s notice of my coming to Town, procured me a ticket for the Concert of Ancient Music, I on the  evening of ye next day (Wednesdy ye 18th. [April 1804]) went to it, but was not quite so well entertain’d as I used to be, it being now at Hanover Square room, a much smaller one than the Opera Concert room, besides which, ye Orchestra, being placed over the entrance, was so high & ye Band so near the ceiling that the effect of the Chorusses in particular was not near so good as it used to be, & their Majesties &c. not going this season (owing to the King’s late illness, from wch. he was as yet hardly recovered) gave a flatness to the whole.
[April 1804: Corelli’s concertos were adapted for the pianoforte with accompaniments for violin and bass]
[Sunday 13 May 1804] Having[,] when in London lately[,] seen Haydn’s Creation arrang’d as Quartettos, it occur’d to me that the Messiah adapted in something of  the same kind of manner, might answer very well, & accordingly hinted to Mr. Hyde of Cheapside my attempting something of ye kind on my return home. On Monday ye 14th. therefore I began sketching out a score of ye 1st. Act in which I arranged the Recitatives & Airs as Trios, Quartettos or Quintettos & the Chorusses as Sestettos for 2 Vios. a Flute (or Hautboy), Tenor, Violoncello & under Bass, wch. employed me all that & the followg week.
Having finished the Score of the 1st. part of the Messiah, arranged as Quartettos,  Quintettos &c. I on the 1st. of June sent it to Messrs. Clementi & Co. for their inspection, of whom I asked, if they thought it wod. answer to print it, 10 guineas for ye Score of the 1st. Act & writing out all the parts for the engraver – the same for the 2d. Act, & 5 Gus. for ye 3d. as being much shorter than either of ye others.
[...] On ye next day [27 June 1804], Edwd. [his son] came home for ye long Vacation, in ye eveng of wch. day we had some music at home [...] & tried a small part of Haydn’s Creation adapted as Quartettos, a new March of mine  in D. & the 1st. Act of the Messiah arrang’d by me for from 3. to 6. Instruments, wch. however we cod. not make out very well, for want of a better Violoncello than Mr Michell [sic], tho’ Mr. Bennett assisted him at ye Organ.
On the next morning (Friday [24 August 1804]) [my wife didn’t attend] ye  Messiah at the [Salisbury] Cathedral, to which however John, Edwd. & I went, & which was nearly equally crowded with the preceeding morning’s performance, there being about 1100. people there.
[...] on the evening of the next day [Wednesday 10 October 1804] she [Miss Mortimer] sung 4 Songs at a Concert she & Mr. Reniagle had, to which we  went, & at which were about 114. people. Miss M. was however not quite the Singer we expected, as tho’ she seem’d to sing Italian very well (having been a pupil of Corri’s) she by no means excelled in Handel’s Songs, 2 of which she also sung.
[...] the next morning [2 November, following first private concert ...] I play’d [the organ] & accompanied Mrs. P[ilkington]. in “Pious Orgies.” [...] In the evening of this day we had a Concert at home [...] what seem’d  to please as much as any thing was “Pious Orgies” sung by Mrs. Pilkington, which I accompanied with the Dulciana of the Organ, which made so sweet an accompt. in ye sostenuto style, that Mr. Toghill afterwds. desired Mr. Bennett to accompany him on it, in “Shall I in Mamre’s fertile plain.”
This [Thursday 27 December 1804] being the day of the 3d. private concert, at which (on account of the season) we perform’d a small part of the Messiah, with 3. of ye chorusses, including that of “Break forth into joy” which we had never done before, I (not knowing what time the inspection wod. be over) had our rehearsal at 10. in the morning, so that I was pretty constantly employed throughout ye day.
The most prominent events of ye year 1804. [... 143 ...] 4 Acis & Galatea 1st. perform’d at Chichester, for Mr. Bennett’s 1st. benefit. [... 144 ...] 22. Arranged ye 2 first parts of the Messiah for instruments.
My 2 Sons being now both at home, I on the evening of ye next day [Wednesday 16 January 1805] had some music with them [and other guests ...] in the course of wch. we played [...] some of ye Messiah arranged by me for instruments.
Thursday ye 14th. [March 1805] being ye day of ye last concert  Master Kinleside dined & went with us to it, at which we performed some of the 1st. part of Saul [...]
On the next morning [Tuesday 25 June 1805 at Oxford] we all went to St. Mary’s at which church were prayers & a Sermon for ye Radcliffe Infirmary, upon wch. occasion the Band attended [...] Part of Handel’s Funeral Anthem “When the ear heard” was also done, ye Solo parts in which were sung by Storace, Braham Knyvett junr. & Welch. [...]
On this evening was perform’d the Messiah, but as ye tickets to all ye performances were ½ a guinea each, we found it expedient  to oeconomize, & therefore contended ourselves with going to the 2 remaining performances. We were the more induced to give up ye Messiah from having no great opinion of Braham’s excellence in those Songs, & from thinking we shod. much miss Bartleman in ye Bass Songs, who was only to come to the last performance. Had it indeed been perform’d with Mozart’s additional accompaniments I shod. probably, from curiosity, have been tempted to go to it. [...]
On ye next morning (Wedy ye26th.) we all went to ye Theatre at 11. to hear ye public Orations, recitations &c. & see the conferring of Degrees &c. by the VChancellor; [...] At ye intervals between ye speaking &c. were perform’d by ye band, wch. attended upon ye occasion, some select short pieces, or movements of Handel, which was a great relief,  & had a very good effect. [...] we at 4 went to the Theatre again, in order to get good places for the music which was to begin at 5. & were so lucky as to seat ourselves in ye Doctor’s chairs fronting the Orchestra. The Music consisted principally of a grand selection from Handel, with “Come if you dare” (Purcell) sung by Braham & Concertos by Cramer & Lindley, & one on ye Organ of his own by Dr. Crotch, all of which was very well perform’d. As the Music began at 5. in order to end before dark (the Theatre being never lighted) it was so late before it ended, owing to 2 encores, that they cod. hardly see to get thro’ the concluding Chorus “The horse & his rider” wch. however did not go amiss.
At 5 [on Friday 28 June 1805...] we went to Christ church, where Dr. Crotch was so good as to play to us for ye concluding voluntary the Overture of Rodelinda, with ye chorus “He gave them hailstones.”
On this day [30 June 1805, at Oxford] I borrow’d the score of the Messiah with Mozart’s  additional accompts. of Dr. Crotch, which I perused in the evening.
Mr. Sibly having a Music Meeting at Portsmouth upon a grand scale on ye 14th. 15. & 16th. of August (which 3 of our choristers & all the Men of the choir attended) I on Thursday ye 15th. [...] at 11. went to a grand selection mostly from Handel at St. John’s Chapel, & was much pleased, there being a very good & compleat band (led by Sibly) & above 60 chorus singers. [...] The performance was however so long that having a head-ache come on, I was so tired & jaded by the time it was over, that [he returned to his lodgings and slept]
On Thursday the 2d. of January  we all went to Mr. Bennett’s Concert, at wch. Mr. Knileside & my Son Henry took ye principal bass together, & which was very well attended, there being above 230 people present. His receipts were also increased by Mr. Thomas not chusing to come, who only sent an excuse that day, which Mr. Bennett did not receive ’till after One, saying simply that a cold prevented his coming, & adding immediately ye words “Why was not my name inserted in the public prints.”? —— It was clear therefore that ye latter was ye reason of his not coming; the fact being that in ye advertisement in the Portsmouth Paper, the particulars of the first act of which were given (in which Mr. Thomas was not to have sung) the second being expressed in general terms, as a grand Selection from the Messiah, without any particulars.——Mr. B. therefore came to me in much trouble about 2 o’ clock to ask my advice as to what was to be done, when we agreed that every thing shod. go on just the same, as if Thomas had come, only having  out ye Recit. “Comfort ye” & followg air, instead of which Bartlett, of Havant afterwards sung “The people that washed in darkness.” the [sic] Selection consisting of the Overture & much of the 1st. act of the Messiah, with ye air by young Brown “How beautiful are” & concluding with ye grand Hallelujah, all of wch. went off very well tho’ without Mr. Thomas, Mr. Bennett singing the Tenor points & Solos in ye Chorus “For unto us” from ye Organ, with Broadbridge, who sung very steadily & accurately.
As it was necessary for Mr. Bennett to shew Mr. Thomas’s laconic letter, to account to the audience for their [there] being no principal Singer, such a spirit of indignation was excited in ye room by ye style of ye letter, that it was universal[l]y desired that Mr. Thomas might not enter ye room any more, at least ’till he had made an ample apology, or given some satisfactory explanation of his conduct.
[Friday 7 March 1806. 8th and last concert for the season] this was one of the best concerts we ever had at Chichester [first part concluded with] Chorus “Lift up your heads” Messiah.
[Friday 14 March 1806 ...] In the evening I went to ye Oratorio at Covent Garden Theatre, wch. consisted of ye Dettingen Te Deum & 2 miscellaneous acts, & was well entertained, the principal Singers being Storace & Braham[,] Mrs. Dickens (late Miss Poole) Mrs. Bland, Mrs. Salmon (wife of ye young Candidate for Organist at Chichr. in 1803) & a Mr. Doyley from Bath, ye princl. Bass. But tho’ ye principals were thus well supported, the Chorusses were but very indifferently so, & seemed intirely led by & to depend upon ye Organ.
[...] in the evening [Wednesday 26 March 1806] went to the Oratorio, a Selection of Sacred Music at Covent Garden, where being rather too late, I cod. only get into the common Orchestra, which was cleared out for the purpose.
[Friday 28 March 1806; went with his son Edward] to the last Oratorio, the Messiah [...] as we went rather earlier than  I had done the last time I went, we got very good places quite at ye back of ye Pit.
[Sunday 8 June 1806; Chichester cathedral organ used again] By way of  exhibiting the utmost force of ye new Chorus of the Organ, Mr. Bennett & I after service in the afternoon, played ye Coronation Anthem, as adapted by me for 2 performers. [25:pp.123-24]
On Sunday ye 15th. I played ye Organ twice at the Cathedral [...] For Voluntaries I played [...] in ye afternoon, the Pastoral in Corelli’s Natale, with the Chorus “How excellent” in Saul & Hallelujah, following it, at going out.
On the next morning [Sunday 31 August 1806] we all went to Seven-oaks church [where Marsh was asked to play 2 voluntaries, the one being] ye Chorus “How excellent.” [... 163 ...] In ye evening I amused them with some of Handel’s Music upon the Pia: Forte.
[...] on ye next day [Thursday 23 October 1806] my Son Henry came from Battle between 3 & 4. & went with us all to the 1st. concert, in the evening, which was a very good one [...] At this Concert young Brown sung “Ye Men of Gaza” [...] & we ended with “See the conqu’ring Hero comes” & the March in Judas Macchabeus, accompanied with a Side Drum of ye Monmouth Militia, of which band, we had ye Master & 5 others at ye Concert.
On ye next day (the 6th. [November 1806]) we went [...] to the 1st. private concert [... 2 ...] Young Brown also sung “Praise the Lord” in Esther, accompd. on ye Organ &c. by Mr. Bennett.
[at the 2nd public concert Thursday 20 November 1806 Miss Harington] sung “Ye Sacred Preists” of Handel [...]
On ye day after (Thursday ye 18th. [December 1806]) we all went to the 3d. public concert, which [...] was more thinly attended than usual. [...] young Brown was our principal Singer, who sung [...] “He shall feed his flock[”] & ye Recit. “There were Shepherds” in ye Messiah.
[...January 1807] Mr. Bennett wth. 5. of the choristers went to an Oratorio at the Chapel at Brighton in Decemr. [...] merely for the expences being paid [...]
[Th 22 jan 1807 Mrs Kindwarth participated in bennett’s benefit; among others she sung] one of Handel’s “Where’er you walk” both very well.
On Thursday ye 19th. was our last Concert for ye Season [... 30 ...] & ended with ye Chorus “He gave them hailstones.”
[Easter Sunday 29 March 1807 played the organ] For Voluntaries I played [...] “I know that my Redeemer liveth” & the Hallelujah at ye Messiah in ye afternoon.
[tuesday 7 aprl 1807]In ye course of the afternoon Mr Moore proposing to have “God save ye King” with ye Organ, I sent for ye Keys & accompanied it & also “Rule Britannia” besides which I played Handel’s Water Music &c. with which some of ye Officers there expressed themselves as much pleased.
[Friday 8 May 1807 London] I next called at Mr. Wilkinson’s in ye Haymarket [...] & shewed him a Selection I had made for the organ from ye works of Handel, in the same form as that from Corelli they had published in ye preceding year [...]
[attends opera in London sat 9 may 1807...] Mrs. Billington wod. appear to equal advantage, from singing in a greater variety  of styles, as in Handel’s Music, Glees &c.
[Friday 26 June 1807 at concert] The Songs she [Miss Wilson] sung were “Angels ever bright” of Handel [...]
[Sunday 2 August 1807 ...] After service I played the Chorus “He gave them hailstones”  with Mr. Bennett [...]
[13 August 1807; among his forthcoming musical publications were] ye Selection from Handel to be printed by Wilkinson [...]
[Salisbury Music meetings Th 27 August 1807] On the next morning I went with my Son (the Ladies reserving themselves for ye evening) to the Messiah at ye Cathedral, which was as finely performed as ever I heard it since the Abbey Meetings, & the audience was nearly as numerous as on the morning before [... 110 anxious that young Brown might not be allowed to sing by various excuses of mr Corfe] “Consider fond Shepherd” being then named [...] the books of Acis & Galatea having been used at ye first concert [... 111 ...]
[attendance: 1st evening 400; 2nd about 500; 3 ca 650; 1st morning ca 1050 2nd 1000; tickets 7s.; Corfe cleared at least 600 (including 150 from a benefaction)]
On Friday ye 25th. [September 1807] I sent the copies of my Selection from Handel for ye Organ to Mr. Wilkinson [...] to be engraved.
The new things done at this concert [1st subscription concert Thursday 12 November 1807] were [...] & also ye Chorus “Let their celestial Concerts all unite” from Sampson, which I copied at Salisbury, at  the end of August, & which concluded ye Concert
On Monday ye 7th. [had music concert at home with his sons and friends] with whom I played some of Handel’s Chorusses adapted for instruments, with other things.
[2nd public concert Thursday 10 dec 1807] ye young Brown sung the Song “To Song & dance” from Sampson, wch. was followed by ye chorus to ye same words
On ye evening of ye next day [Monday 14 Dec 1807] I received a Proof from Mr. Wilkinson, London, of my Selection for the Organ from the Oratorios &c. of Handel the examining & correcting which employed me for 5. or 6. days afterwards.
[Thursday 24 Dec 1807] ye 2d private Concert, which was ye fullest attended for a  private one I ever knew, & ye Concert went all very well. It being Christmas eve, we made the 2d. act a kind of Concerto Spirituale beginning with the Overture to ye Messiah & the air “He shall feed his flock” sung by Baxter & Brown & concluded with ye Portuguese Hymn Adeste fideles, in verse & Chorus. [the French were attacking Portugal at the time]
[Thursday 11 February 1808 Bennett’s annual benefit, which included] the Trio “The flocks shall leave the mountains” [Acis and Galatea...] Amongst the instrumental, Mr. B. played Handel[’]s 2d. Organ Concerto
[Sat 21 Feb 1808] In ye evening of this day I received by ye coach, 30 copies of my Selection for ye Organ from Handel, from Mr. Wilkinson.
[Tuesday 24 Feb 1808 Mr Randler an organist visited him at home...] I have him a copy of my Selection for ye Organ from Handel
[Th 24 Mar 1808 4th public concert] At this Concert young Brown sung the Song of “Hark ’tis ye Linnett” (Handel) for the 1st time
At this Concert [fr 1 Apr 1808 at his home] we performed the first part of Handel’s Funeral Anthem “When the ear heard.” the Chorus “For all these mercies” after “Shall I in Maure’s [?Manure’s] fertile plains” [...] the Chos. “Venus laughing”
[Th 7 Apr 1808 last public concert] Wishing to conclude the Season with eclát, I engaged Messrs. Malch & Kirchner both from Brighton, who, besides their separate Concertos, much improved the concert in other parts of it by their accompaniments on the Bassoon & Clarinet, particularly in the Song “Thou didst blew with the wind” from Israel in Egypt, sung by young Brown, the Bassoon accompt. of which Mr. Malch played delightfully [...] At this Concert we also performed Handel’s Funeral Anthem “When the ear heard” with the Chos. “He deliver’d &c.[”]
[Th 22 April 1808] we went to a musical party in ye evening at Mr. Toghill’s, for ye 2d. Act of which was done a selection, chiefly from ye 3d. part of the Messiah.
[May 1808 reports a piece by Beethoven performd ion the piano forte]
On ye next morning [Wednesday 7 Sept 1808] we went immediately after breakfast to the cathedral, to get  good places, which we fortunately obtained in some of the side seats, & at 11. the Service began, with ye Overture of Esther performed by the band, & afterwards were introduced ye Dettingen Te Deum, one of Dr. Boyce’s Charity Anthems & the Coronation Anthem [... in the evening] were at length much enterain’d with ye  Oratorio of Alexander’s Feast, finely performed, & tho’ there were about 600 people the room was so large as not to appear at all crowded.
On the next morning [Thursday 8 Sept 1808] we went to a grand selection at the Cathedral, of which the 1st. & 3d. parts were mostly from Handel & the 2d. consisted of the 1st. act of Haydn’s Creation, so that we had the works of the most celebrated ancient & modern author, both in ye greatest perfection.
We here took our leave of the Music at Glocester, as instead of going to the Messiah the next morning [Friday 9 Sept 1808] at ye Cathedral which we had so often heard (at which, by the bye, there were [?ca] 5,000 people) we devoted this, our last morning in Glocester to going to the new Gaol there [...]
[Thursday 3 Nov 1808 1st concert ...] We however had Kirchner from Brighton, & upon ye whole had a very good concert, in the 2d. part of which we did the Overture & a little of the 2d. act of Alexander’s Feast [...]
[2ns publi concert th 1 Dec 1808] At this concert Mr. Triggs sung a Song for ye 1st. time, “Arm, arm ye brave” & did very well.
At this Concert [3d. public concert Thursday 29 Dec 1808]we had the assistance of Mr. Kirchner from Brighton & ye Matsre & a horn player of Worcester Band from Portsmouth, & it being ye Christmas week, the 2d. act consisted of a selection from ye 1st. act of ye Messiah (including the Chos. “For unto us”) with ye Hallelujah, in which Mr Angel sung the opening “Comfort ye” &c & Mr. Triggs “The people that washed in darkness.”
[summary for 1808] Publications / 1. Select movements from the airs & chorusses of Handel, as Voluntaries for ye organ.
[W 4 Jan 1809 went ot a musical party] Mr. Ansty also sung a Song of Handel
[Th 23 Feb 1809 last subscription concert] we ended with ye Coronation Anthem.
On this evening [W 1 Mar 1809] I received my 30. copies of select movements for the Organ from the works of Geminiani & the other old masters, being the 3d. vol. of a series of Organ pieces printed by Wilkinson, of which the 2 first were [...] from ye works of Corelli & Handel.
[short visit to Oxford; M 15 May 1809] I in ye course of ye day took ye opportunity of leaving my Selections for ye Organ from Corelli; Handel & the other old masters & my sentences at opening ye Liturgy with [some organists at Oxford colleges]
[16 June 1809] Mr. Wilkinson of the Haymarket, London having in consequence of my having  arranged for him Selection of Organ pieces from Corelli, Handel & ye other old masters, in 3. vols. & agreed to continue the same kind of series from ye works of modern authors, in 2 more vols. [...]
[Th 28 sept 1809 in Lincoln...] I gave him [Mr. Whall] copies of [...] & my Selection of Organ pieces from Handel’s works.
On the next morning, Wednesdy ye 4th. [October 1809] I walked again to Nottingm. with my Sister, Rebecca & John, with whom I went to the Service & Charity Sermon for ye Infirmary at St. Mary’s, in which were interspersed the Overture in Esther, Dettingen Te Deum [...]
[...] the next morning [Th 5 Oct 09] my sisters, Lydia Rebecca & Sydney went to the Messiah at St. Mary’s [...] On the next morning I went with my Sister Lydia, John & Rebecca [...] to a selection of Sacred Music from Haydn’s Creation & Handel, when we set in the north gallery & were all much pleased [...]
[Northampton music festival, We 11 oct 09; he and his son Edward ] went to the Messiah at All Saints church where we were very well entertained the principals being the same as at Nottingham in ye preceding week [...]
[Oct 09 first concert ended ] with the Coronation Anthem.
Thursday the 21st. [Dec 1809] being the day of our 3d. public Concert [...] At this Concert Miss Kelly was our principal Singer, from Portsmouth, who it was thought attempted rather too much in ye Song “I know that my Redeemer liveth.”
[th 28 dec 09; at a music party] We began [...] with the Messiah of which we run thro’ great part of the 1st. act, from ye score [...]
[Monday 19 March 1810, music party at Mr Hollands] we went thro’ the Dettingn. Te Deum & a little of Judas Macchabeus, in which John & I played 1st. & 2d. fiddle, Mr Cooke the Tenor & Mr. Holmes the Bass,  who also sung, besides which we played one of Corelli’s Concertos.—On ye next day Messrs. Miller, Holland, Cooke & my Son John drank tea with us in ye music room, after which being joined by Mr Bennett, Cudmore & ye 2 Browns, we tried some of ye Chorusses in Acis & Galatea & Alexrs. Feast, with an Overture of Handel & Concerto of Corelli.
[last concert 22 March 1810; program included] Part 1st. / Overture Occasl. Oratorio [...] Chorus “We never will bow down” (from Judas Macchs.) / Part 2d / [...] Song, B Brown—“Holy, Holy” Handel [...]
The next morning, Sunday ye 27th. [May 1810] I went to church at half past 10. & opened the Organ [...] For the voluntary before ye 1st. Lesson I played [one of his own pieces] to which I added the minuet in Ariadne; & at going out [... 29 ...] the Hallelujah in ye Messiah on the full organ with the Trumpet.—In the afternoon I played for the 1st. voluntary, the opening of the Dettinn. Te Deum [...] & for ye concluding voluntary, played the chorus “How excellent” in Saul [...] & the Coronation Anthem. [...]
[Oxford installation 2 or 3 July 1810] At the entrance of the procession headed by the Chancellor [...] at 11. o’ clock, the band played the opening of the overture to the occasional oratorio [...] the band, in ye intervals between each speech, playing some select movements from Handel [...]
In ye eveng [Monday 28 January 1811] Mr. Holland came to tea & try over ye Dettingen Te Deum on the organ with young Brown, to which John, Henry & I played accompanimts. by way of rehearsal for the succeeding evengs performance [... 106 ...] [Tuesday 29 January private concert] the Dettingen Te Deum [...] formed our 2d. Act [...] the accompts. being 2 violins, tenor & violonco. & the organ [...] which besides supporting the voices, supplied the solo Trumpet & Hautboy parts, so that we  had altogether a grand crash.
Having lately been adapting the Dettingen Te Deum as a Sestetto, for a flute, 2 violins, Tenor & 2 Basses, I on Friday ye 22d. [February 1811] began writing out the parts.
On the next evening [Tuesday 19 March 1811] Mr. Clifton drank tea wth. us, after which we adjourned to the music room & tried over the Dettingen Te Deum, as just made by me into a Sestetto, with my Son John, Messrs. R Cudmore & ye 2 Michells, after  which we played 2 of Mozart[’]s Sestetto Symphonies.
On Thursday 18th. [April 1811] my bror. Henry came over again [...] & went with us in the eveng to Mr. Bennett[’]s concert, for which he this time performed Acis & Galatea, with a short miscellaneous act, in which he had the assistance of Mr. & Mrs. Goss & Mr. Elliott, from London, & Messrs. Malch, Kirchner & Spellerberg from Brighton, & the whole went off remarkably well, Mr. Goss declaring that he never heard chorusses go better, out of  London. Altho’ therefore, with all these performers, the expences were very great, yet there being above 300 persons in ye room, at s5. each, Mr. Bennett, after defraying them, cleared nearly £15.
On Sunday ye 5th. [May 1811] I went to St. Paul’s, Covt. Garden where I sat in the organ loft & at ye invitation of Mr. Slatter, played the 2 voluntaries, in the first of which I introduced the minuet in Ariadne.
[Sunday 22 Sept 1811] after dinner I went with Miss Gray into the organ loft at ye Cathedral, where we heard the anthem, & I played the  coronation anthem at going out, with Mr Bennett, it being ye anniversary of ye King’s coronation.
[Wednesday 2 October 1811] we went [...] to the service at St. Phillip’s, & a charity Sermon by the Bishop of Worcester for the Birmingham Infirmary, in which were introduced the Overture of Esther, Purcel’s Te Deum[,] one of Dr. Boyce’s anthems, Handel’s “When the ear heard” &c. by a very large band.
[...] On the following morning [Thursday 3 October 1811] the Messiah was performed at St. Phillip’s [...]
[Friday 4 October 1811] Edwd. & I went to St. Phillip’s church at ye opening of the doors at 9. in order to get good places [...] were just in time to get 3 good seats [...] facing the orchestra, at a very good distance from it. After waiting here till 11. we were highly gratified with the performance of a fine selection of sacred music, including Haydn’s storm, & one or 2 other chorusses I had never heard before by a band of about 200. vocal & instruml. performers led by Cramer & conducted by S. Wesley, who sat at the organ, to which a long movement had been attached.  As to the chorusses (the trebles of which were mostly females from Lancashire), I never since the abbey performances heard any so well supported, but in the airs we missed Bartleman, who being so ill to come, his part desolved upon Bellamy, & Catalani in Handel[’]s Songs & in ye recit. “Sing ye to the Lord,” we cod. not but think inferior to Billington.
[private music party 8 October 1811] I also joined with [one of his female guests playing the piano forte] in a duet or two from Handel’s chorusses [...]
[2nd public concert Tu 24 Dec 1811, 2d act ] consisted of a  selection from the Messiah.
Principal events of 1811. / [...] 2. Adapted the Dettingen Te Deum as a Sestetto.
In ye evening [We 8 Jan 1812] I had some music [with friends] when we tried over a proof copy of ye Dettingen Te Deum, arranged by me as a Sestetto for 2 violins, flute, tenor, violoncello & bass, which I this morning received from Mr. Preston who had agreed to give me 5. gus. & a dozen copies for ye copyright.
On this evening [Th 16 Jan 1812] I had a concert at home [...] when we performed [...] the Dettingen Te Deum.
[...] In the evening [friday 24 jan 1812] we all went to a musical party [some of the guests sung] some chorusses from Judas Macchabeus [...]
[Thursday 12 March 1812, last subscription concert] Young Brown therefore sung “What tho’ I trace” & Mr. Triggs “Shall I in Mamre” with ye chorus followg “For all these mercies,” besides which we did the chorusses of “Disdainful of danger” & “Venus laughing.”
On the next evening, Thursdy ye 19th I went to the 2d. public concert [...] young Brown sung “Softly rise” accompd. on the bassoon by Mr. Malsch [...]
[Th 17 dec 1812 private concert][...] young Brown sung “Hush ye pretty warbling choir” & we performed 3 Glees & 2 chorusses from Judas Macchabeus [...]
Musical publications [...] 3. The Dettingen Te Deum arranged as a Sestetto,—by Preston.
Instead of composing anything this year, I amused myself [with arrangements for instrumental music] [...117...] the concluding fugue of Handel’s anthem “O worship the Lord,[”] with another movement of his & the march in Deidamia, into an Overture [...]
[Sun 2 May 1813] called on my niece Rebecca Williams at Miss Blacks school in ye square [in Kensington], where she had been for nearly a twelvemonth, & heard her sing “Comfort ye my people” &c. in which she appeared greatly improved [...]
[...] In the evening [Tuesday 3 August 1813] I went in a chair to a rehearsal of the chorusses in the Messiah by our Chichester performers, at the concert room, during which I rested my [wounded] leg on a stool & looked over the Score.
[Thursday 12 August 1813, we] went to the Messiah at the Chapel, which was admirably performed & the chorusses went off remarkably well. We were however grievously disappointed in the number of our auditors, which did not much exceed 200. in the galleries, at s7. each, & not 40. below, at s5. tho’ the former wod  have contained 300. & the latter nearly 400. This was probably owing to a variety of untoward circumstances [explains them in detail] [... 171 ...] And lastly, to compleat ye whole, the Prince came to Brighton himself about 10. days before our meeting, which probably induced Madm Catalani to visit that place, where she sung at an Oratorio on Monday ye 9th. & the same evening at the Theatre at Worthing, which probably occasioned many between Chichester & those places to go & hear her, instead of coming to Chichester to hear Mrs. Vaughan &c.—But altho’ the chapel was so thinly attended, we expected it to be fuller on the next morning, & also  that the rooms in the evening [...] wod. be well filled, but here again we were disappointed, there not being 150. the first evening & only about 170. the second, besides which the chapel was thinner on the 2d. morning by 30. or 40. than on the first. We were now therefore convinced that it was not enough to provide a rich repast for musical amateurs (of whom all that were present were highly gratified, particularly with the fulness of ye chorusses) but to attract the multitude, some great name shod. be announced in ye advertisements as John Bull must be astonished as well as pleased. Had therefore catalani been engaged, & sung Rule Britannia & overpowered ye chorus with her wonderful voice, we might have attracted a large audience, but to pay ye expences of this, it wod. have been requisite to have filled the cathedral instead of our new chapel. [... 173 ... 174] On ye followg morning [Tu 17 Aug 1813] the gentn. of the musical committee met at my  house to examine the accounts of the meeting which I had now nearly settled, when it appeared that the expences of the meeting wod. come to nearly £390. whereas the receipts were but £264.10.0 so that there remained a deficiency of about £125. to be made up, of which £110. was paid by the other 11. gentn. of ye committee & the remaining £15. by me; so that, in addition to all the trouble I had taken in engaging a band, providing all the parts for the 2 orchestras & chorus singers, & arranging the whole, I was out of pocket (including the tickets I bought for myself & family, nearly £20.)
On Thursday, Feby 3d . [1814 had music party at home] when we performed ye Dettingn. Te Deum again [...]
On Thursday ye 14th. [April 1814] was the 6th. concert at each others houses, this time at Mr. Toghill’s [... 44 ...] at which we performed some of the 2d. & 3d. parts of ye Messiah in which John & I played the violoncello parts [...]
[...] In ye eveng of the second day [Tu 26 April 1814] Mrs. M. & I went to the concert & supper at Mr. Webbers, being the last for the season at each others houses, when we performed a few airs & chorusses from Judas Macchs. accompanied by Mr Kinleside, my Son & me.
On Thursday ye 20th. [october 1814] I had a much larger musical party, in the music room [...] during which [...] Lydia [his daughter] played Handel’s 4th. Concerto upon the organ.
On the followg evening [25 oct 1814] we [...] went to a musical party at ye Godmans [...] Lydia [his daughter] played a concerto of Handel [on the piano forte]
On the next day [th 29 dec 1814] we had our first subscription concert, for which we had like to have had but a thin band [... 115 ...] we went in the eveng to the concert, which was not very fully attended, there being but 81. subscribers [...] Our princl Singer was Mrs. Purvis from the Theatre, Portsmouth who sung 2 Songs, & “He shall feed his flock” from the Messiah, a selection from which (it being the Christmas week) formed our 2d. act.
[...] C. Brown sung a Song of Handel [at the first private concert on Friday 14 January 1815...]
[On the evening of Saturday 13 May 1815, I went] to the Oratorio at Drury lane theatre on Whitsun[.] eve, where I got a place in the middle of the pit, & heard Beethoven’s Mount of Olives, a selection from Handel, Haydn &c. the Liberation of Germany by Winter, & Beethoven’s famous Battle piece performed by nearly 200. performers, including 3 military bands, with all of which I was much pleased.
Sunday the 4th. [June 1815] being the King’s birth day I played the Coronatn. anthem at St. John’s chapel for the concluding voluntary.
On Tuesday the 27th. [June 1815 the 2 societies of freemason had service] In ye course of the service was introduced [...] the Hallelujah in the Messiah [...]
[Sun 6 August 1815 ...] I for the concludg voluntary played “He delivered the poor that cried.”
On Sunday the 24th. [December 1815] I went in the morning to St. Michael’s. & in the evening to St. James’s church at which latter was introduced by way of anthem the opening of the Messiah, sung & accompanied by Mr. Cole ye organist, with the chorus “And the Glory.”
On the next, Christmas, day, I went in the morning to the Abbey where the service was introduced with the Overture to the Messiah & great part of Corelli’s 8th. concerto for ye voluntary after the psalms [...] & before the sermon was sung the Hallelujah in the Messiah.
[Wednesday 3 January 1816] This Organ [St. James’s at Bath] was put up, & opened [...] in the year 1782. as is given an account of, with ye performance of the Messiah on the occasion, in Book page [...]
[Tuesday 13 February 1816 Mr Bennett’s concert, very well attended ca 300 people] We therefore began the 2 acts with an Overture of Handel [...]
On the next day (Friday, March 1st. ) I went to the sale of Mr. Walond’s Music, which fetched upwards of £200. the scores of Handel’s Oratorios being all bought by Mr. C. Baker [...]
In the evening [Thursday 3 October 1816] I met my Son & Mr. Michell at Mr. Miller’s, where we played some quartettos & accompanied Miss Miller in a concerto of Handel & another piece on the piano-forte [...]
[Friday 8 October 1816 in the evening] I went to Mr. Miller’s to play quartettos with him, my Son & Mr. Palmer, when we also accompanied Miss M.— in 2 of Handel[’]s organ concertos [...]
On Wednesdy the 4th. [December 1816] I went to the first concert [...] By way of relief to the vocal part, we began each act with an overture, & finished the first with the Chorus “How excellent” & the second with the chorus “Tyrants wod. in vain”[,] the Duet “Joys in gentle train” & chorus “Around let acclamations ring,” from Athaliah.
[2nd subscription concert, Thursday 16 January 1817] was attended by upwards of 300. people [...] we performed Hallelujah in Saul [...]
[...] In the evening [Friday 25 April 1817] I went & played at a concert of amateurs & professors at Forster’s in the Strand [London], where we tried Beethoven’s pastoral Symphony, which we were puzzled to get through.
On the following morning [Saturday 26 April 1817] I went into ye City, & in the eveng. to the celebrated Opera of Don Juan then performing, but not being aware of its beginning earlier on Saturday evenings, I did not get there till ½ past 7. when instead of being half an hour beforehand, I found the opera was begun; I however having paid my ½ guinea, was going into the pit, when I met company coming back saying the pit was quite full, there not being even standing room, on which I applied to have my money returned, but no, that cod. not be done, neither cod. I be let into any of the boxes, as they were all let. I was therefore obliged to mount to the gallery, which not being above 2 thirds full, I had a distant view of the stage & heard the Singers tolerably well, but the band was so softened down (from ye distance) that it lost much of its effect.
[31:p.112] [he was 64 1/2 years old]
On Tuesday the 6th. [May 1817] I went into the City, & in the evening again to the opera of Don Juan, which, being determined to hear once in perfection, I went in good time, & got a seat in the middle of ye pit, but finding myself now too near the orchestra, I determined  the next time I shod. go to the opera, to sit either towards the back of the pit, or front of the gallery.
[...] in ye eveng [Monday 12 May 1817] went, thro’ ye introduction of Dr. Crotch, who had procured me a ticket, to the philharmonic concert, where I heard piece of Haydn, Mozart[,] Beethoven &c. played by the finest & most compleat band I suppose in the world, & heard also a new & surprizing piano-forte player of the name of Kalkbrenner [sic]. I, on this day therefore was gratified with hearing music in both the ancient & modern styles played in the utmost perfection. [he already had attended the rehearsal of the concert of ancient music at Hanover square]
[calls at some acquaintances at Bognor on Saturday 16 August 1817, who] shewed me the chapel & organ, which had 2 barrels for psalm tunes, & a spiral one for voluntaries, wch. played the Hallelujah in the Messiah, Dead march in Saul, & Coronation anthem, which I heard, & was much pleased with both the organ & the Chapel [...]
[...] Meeting with Nicholl the Organ builder at the church in the afternoon, I got him to ask Mr. Moore, the principal manager of the musical concerts, to permit me to attend the rehearsal on the next morning, to which I accordingly went, & was very highly entertained, the band being superior to any I had ever met with since the performances at Westminster Abbey. As I meant on Friday to go to Nuneham, I by attending this rehearsal [Birmingham music meeting, 31 September 1817], had an opportunity  of hearing Haydn’s Storm chorus, & some music of Mozart & Beethoven, to be performed in that morning’s selection, with which I was much pleased. Happening to sit in the temporary cha<uc or ue>el gallery, next to a gentn. who seemed to be an enthusiastical admirer of the modern composers, to whose performances alone he seemed to think one morning’s selections shod. be confined; I told him that he put me in mind of a gentln. I heard lately heard [sic] mentioned & been talking of, a Mr. Gardiner of Leicester, author of the Sacred melodies, & asked if he knew him & whether he thought he wod. be at this meeting, to which he replied, he did know him & that he probably wod. be there. Upon his afterwards saying that he thought the Messiah should be performed, at least every other time, with Mozart’s additional accompaniments, we discussed the effect of these, which I thought, upon the whole, broke in too much upon the simplicity, one of the grand beauties of that oratorio; some of the airs & even of ye chorusses being too much overloaded with unnecessary addenda; not but that I allowed in some parts he had certainly improved the general effect  by doing what Handel himself wod. probably have done, had wind instruments been brought into the use in his time that they afterwards were. He now was pleased to observe that I spoke with more candour& fairness than most people of my standing usually did; most of whom were disposed scarcely to allow any merit at all in the works of modern composers, & particularly in Mozart’s accompaniments to the Messiah, which they condemned in toto. To this, I replied that, so far from being biggotted [sic] to either the ancient or modern style of composition, I had in fact, some years ago, published an article in the monthly magazine, on the merits & demerits of b oth styles, which paper this gentln. said he remembered having read, & wod. now declare that he also had written upon the subject, & was in fact, the person I had enquired after, Mr. Gardiner of Leicester. He was also pleased to add, one hearing my name that, having seen many of my publications for the organ, he had intended, shod. any thing have brought him at any time within a few miles of Chichester, to have taken the opportunity of coming there & giving me a call, instead of which, as I now observed, Chance had jumbled us together,  without any contrivance at all– [...]
On the next morning, (Wednesday Octr. the 1st.) I went to the service & music at St. Phillip’s & sat in the chancel gallery. The music consisted of the Overture to Esther, Purcell’s Te Deum, the 100th. psalm, the Duet “Here shall soft Charity” <gap> & the Coronation anthem “The King shall rejoice,” [...] on the following morning I went at 9. to get a good place in the lower part of the church, where I luckily met again with Mr. Gardiner, who was in the adjoining pew; as having near 2 hours to wait before the performance began, we had an opportunity of discussing some musical points & particularly some of the subjects mentioned in his notes to the Lives of Haydn & Mozart lately published, which much lessened the tedium that otherwise wod. have taken place from waiting so long. 
The Messiah was now performed with such effect, & with so fine & compleat a band, as came the nearest to any I had ever yet met with, to that at the performances in Wemr. abbey; there being a double set of principal singers, namely Madme. Camporese, Mrs. Salmon, Mrs. Vaughan & Miss Stephens;--Knyvett & Evans, altos[,] Braham & Vaughan, tenors, & Bartleman & Bellamy basses; with above 100. voices in the chorusses, including near 30. females, from Lancashire &c..----Having no inclination after this fine performance to go to the music at the Theatre in the evening [spent the rest of the day walking and having intellectual pursuits]
On Sunday the 9th. [October 1817] Mr. Barbut, in his sermon, touched, with much judgment, on the great calamity that had befalled the royal family, ye nation at large [ie death of Princess Charlotte], after which I played the Dead March in Saul, for the concluding voluntary. [...]
On this day [caW/Th 10/11 December 1817] I sent the chorus “For unto us, a child is born,” arranged for the Apollonicon, to Messrs. Flight &Co. wit the parts written out for each set of keys.
[1st subscription concert Monday 22 December 1817] In allusion to the late melancholy events, we began with the Overture in Saul & dead march, & part of Handel’s funeral anthem, after which followed a selection from the first part of the Messiah, as appropriate to the season, which formed the first part; [...]
On Friday the 23d. [January 1818] I went to Mr. Bennett’s annual concert [...] In ye course of the concert Miss Goodall sung “In sweetest Harmony,” from Saul, which, with ye Chorus  “O fatal day,” had never before been done at our concerts [...]
On Sunday the 3d. [April 1818, in London] [...] I called at Mr. Nicholl’s, & on Mr. Gretorex, with whom I left the scores of some movements of Handel &c. for his inspection for the ancient music concert [...]
[...] In the evening [Wednesday 10 February 1819, in London] I went to the oratorio at Drury lane conducted by Sir G. Smart, where I heard the Mount of Olives by Beethoven, & a selection from ye opera of Zauberflotte &c.
[Friday 12 February 1819] in the evening went to the Oratorio at Covent garden theatre, where I heard Misses Stevens & Corri, & was much pleased with Jomelli’s celebrated Chaccone made into a sacred chorus.
[...] in the evening [Friday 26 March 1819] went to Dr. Crotch’s musical lecture at the Surrey institution, over Blackfriar’s bridge, which was on the Oratorio of Sampson [...]
In the eveng. [Monday 29 March 1819] I went to the Philharmonic concert, for which Mr. Attwood, the conductor for the night, had at the request of Dr. Crotch given me a ticket, & was much pleased with some grand pieces of  Mozart & Beethoven I had heard rehearsed on the Saturday before. The room being however very full, I remained mostly in the anti-room, the doors of which into ye great room being open, I heard very well.
Altho[’] this was packing up eveng [Wednesday 30 March 1819]yet I was tempted to go once more to hear ye 5 performers upon the Appolonicon, of which I staid the first  act, & was much pleased with the chorus “For unto us,” & particularly with some extempore playing of Ms Adams.
[music party at his house Friday 7 May 1819] Miss M—[played] Handel’s 2d. concerto on the Organ
[music party at his home Saturday 15 May 1819, where they played] 3 of Handels overtures with ye Organ & 2 violins.
[...] In the eveng [Tuesday 8 June 1819] I went to see the Opera of Zauberflotte, with which  I was much pleased, tho’ not so much so as I was with that of Don Giovanni.
[at York Sunday 1 August 1819] Dr. Camidge played the organ [at St. Michael’s]in a very good style, which he also afterwards did at the cathedral, where the anthem was “O thou that tellest” & Chos. from the Messiah.
[...] in the course of which service [Hereford music meeting, Tuesday 7 September 1819] were introduced the Overture to Esther[, the] Dettingn. Te Deum [...] & the coronation anthem, & the chanting performed by the 3 united choirs in a fine style.—In the evening I went to the first concert, consisting of part of the Allegro penseroso & a miscellaneous act [...]
On the following morng (Wedy 8th.) I went to the  Messiah at the Cathedral, which was fully attended & was admirably performed [...]
[Wednesday 14 June 1820, in Oxford] went all again to ye Theatre to hear a selection of sacred music, which was chiefly from Judas Macchabeus
[Friday 14 July 1820, private music party at his home...] we had a concert, wch. we began with the Overture in Atalanta on ye organ, accompd. with 2 violins & a bass [...]
[Sunday 27 August 1820 in Warwick...] I now returned with Mr. M[arshall, the organist] to his house to hear Miss M—sing 2. or 3. of Handel’s sacred songs [...]
[Thursday 8 February 1821, music party at Mr Goddard’s] As the General [Nicholls] was fond of ye ancient music, in which he used formerly to play ye Tenor we played 2 of Corelli’s concertos & one of his Sonatas, besides which Mrs. Teesdale played one of Handel’s concertos [...]
On Tuesdy 20th. [February 1821] I went to a musical party at Mr. Webbers [...] Miss Nicholl attempted a quartetto of Mozart’s on ye pia[no]forte with a violin, tenor & bass, but after 3 trials, was obliged to give up the first movement.
[music party at Mr Miller’s, ca 10/11 February 1821] performed the greatest part of Alexs. Feast
[Thursday 15 February 1821, music party at the Webbers] where we went thro’ great part of Judas Macchabeus.
[Wednesday 21 March 1821, went] to the oratorio at Drury lane, with which for this eveng. I was fair to console myself instead  of the concert of ancient music, tho’ I thought it but a poor substitute, the greatest part of the music being, not sacred, but select airs from the modern operas, the music in Macbeth &c. the novelty of the evening being an exhibition of 13. harpes by Mr. Booksa & his pupils, ranged in fours in front of the orchestra, Mr B—being a little elevated above them in the centre.
[Friday 27 April 1821] I had a pretty large musical party at home [... 107 ...] we performed the Dettingen Te Deum, which went off very well [...]
[Abingdon music meeting, Monday 21 May 1821] There being a pretty good band, mostly from Oxford, led by Marshall [...] the music (consisting principally of a selection from the Messiah, & from Haydn’s Creation) went off very well, & we were in general, well pleased.
[...] on the next morning went back to Worthing, taking with me the Coronation anthem arranged for 2 performers, which I took to Miss Morrah & practis’d it with her in the evening on the chapel Organ, preparatory to our playing it for the concluding voluntary the next morning, which I thought wod. be particularly appropriate now people seemed, as it were, to be coronation mad.——On the followg morning therefore (Sunday 22d. [July 1821]) we played it with the usual national anthem tacked to it, & it went off very well [...]
[Salisbury music meeting] On the followg. morning [Friday 24 August 1821] I went to ye Messiah from which I was obliged to come away before the end of the 2d. part, in order to get an early dinner [...] previous to my going by the coach to Southton, which I was told might pass thro’ between 2 & 3. instead of which it did not come in till near ½ past 3. so that I might have staid & heard Harper’s beautiful accompaniment of the Trumpet Song. —— On entering the coach [...] we were joined by the revd. Mr. Waine of Whiseparish, who had been over to hear ye Messiah
On the next morning [in Worcester, Wednesday 3 October 1821] I went to the cathedral service & Charity Sermon by the Dean, in which service was interspersed the Dettingen Te Deum [...] & Coronatn anthem, “Zadoc [sic] the priest,” all of which, particularly the Dettn. Te Deum, went off exceedingly well.  [...]
On the followg morning [Thursday 4 October] I went to the Messiah at the Cathedral, of which I had heard little more than half at Salisbury [...] which was performed in the best manner, the band, led by Cramer, being numerous & compleat having the advantage over that at Salisbury, by the treble in ye chorusses being supported by 12. of the Lancashire females.
On Wednesday the 19th. [December 1821, attended party at Mr Holland’s] after which we were regaled with a series of glees, in the course of which was introduced a Duet on the pia:forte of Handel, by Miss Nicholl & Mrs Goddard, which being the only relief to the vocal, much of which was was [sic] of a sombre cast, I seemed to have had enough at the end of the first act [...]
Musical publications [for 1821] [...] 2. Article on the Lent Oratorios in No. 9 of the Quarterly Musical Review.
[Friday 12 April 1822, music party at home, they performed among others] the chorus in Jeptha “When his loud voice”; the whole of which went off very well, accompanied with 2 violins & a bass, & alto my grandson’s bass in ye chorusses, [...] & the Organ, which gave a grandeur to the effect of the whole.
[London Friday 13 September 1822] I called at Burks & Kinnebrook’s, printers of the Quarterly Musical Review, where I was introduced to Mr. Bacon the editor, with whom I had a long conversation, who civilly expressed a wish for a continuance of my communications  to that work, to which I had sent articles, on the Lent Oratorios in London [...]
On the following morning [Wednesday 9 October 1822] went [...] to the Messiah at All Saints [in Derby musical meeting], wch. was performed in the grandest & most compleat manner; the band being led by Cramer, & consisting of bewteen 2 & 300 vocal & instrumental performers, [...] He [Mr Heathcoke his companion] was indeed, if possible, more gratified than I had been with ye mornings performance, having never heard the Messiah, or any oratorio before, except at the Theatre in London.
On the succeeding morning we went to a grand selection, including the first part of Haydn’s Creation, a Requiem & Benedictus of  Mozart & a Trio, Sestetto & Chorus from Mr Gardiner’s Oratorio of Judas, which, with several fine airs & chorusses of Handel, was performed in a most excellent style, the church being also particularly favorable for the purpose, & the whole being the grandest & compleatest performances I had ever heard, since the Commemoration of Handel, &c. in Westminster Abbey. [...] On the following day was performed Judas Macchabeus [...]
[music party at his home on Sat 1 March 1823 a disappointment because many of the guests could not come] As therefore we had so little of the piano-forte, we had the more of the Organ, on which A[lfred]. Bennett [son of the organist] played the Overture to Atalanta [...]
On Friday, April ye 4th. Mr. Bennett had his annual concert, which was attended by about 300. people including most of the genteel families in the neighbourhood; the principal singers being Mr. Bellamy from London, & his pupil Miss Venes, with whom also came Miss Sharp, an eminent performer upon the Harp. As the request of Mr. Bennett I led the first piece (the occasional overture) after which Mr. E Sibly led the remainder of the concert, in which I played in Beethoven’s Symphony “The Men of Prometheus”, which Mr Sibly chose to play as fast as if he were leading ye band of the Philharmonic.
On the eveng of the next day [18 April 1823] I had a musical party [...] At this little concert we performed some of the things in Latrobe’s selection of Sacred music, with some pieces of Handel & Corelli with 2 violins, tenor bass & the organ.
[Sunday 4 May 1823] I went [...] at 3. to King’s Coll: chapel [at Cambridge], where “I know that my Redeemer liveth” was very well sung, for ye anthem, by a boy, with the quartetto & chorus following “Since by man came death” &c.
[34:p.136 [second such number]]
On the following morning (Tuesday 23d. [September 1823, at the York musical meeting]) I went to the first grand Selection at the Minster, & a grand performance it was indeed, & the Spectacle equally so, the whole of the immense Nave being, long before 12 o’ clock, filled with well dressed company, with many persons also in the side aisles. Precisely at 12. the signal for commencement being given, by the Archbishop in front of the west gallery standing up & waving his hat, the immense band struck off, with the opening of the grand Dettingn. Te Deum which proceeded as far as the end of the chorus “To Thee Cherubim” after which a miscellaneous selection mostly from Handel succeeded. The Band consisted alltogether [sic] of near 490. performers, vocal & instrumental, led by Cramer, & conducted by Greatorex, principal violoncello by Lindley, Double bass, Dragonetti & the magnificent Organ by Dr. Camidge, who faced the audience at nearly 50. feet before the front of the Organ case. The principal singers were Madm. Catalani, Mrs. Salmon, Miss Stevens, Misses Goodall & Travis, Messrs. Vaughan, W Knyvett Bellamy, Sapio, Isherwood &c. [21 .,..]
On the next morning [Wednesday 24 September] as I was preparing to go in good time to the Messiah, my Landlady (Mrs. Chicken) told me a friend of hers was just come in from the country, who was much disappointed at not being able to get any ticket for that morning’s performance, except for the side aisles, whence he cod neither see Catalani or any of the orchestra. Having therefore so frequently heard this oratorio, I was induced to offer to spare him my ticket, of which he thankfully accepted, by which I escaped a great crowd & tremendous rush into the cathedral when the  doors were opened. [...] I heard there had been an immense crowd at the cathedral that morning, members of whom were <fain> to stand in the transept & choir, where indeed they cod. hear but see nothing. It was computed that, including the band, there were this day about 5000 persons within the Minster.—I also heard that Madm. Catalani chose to sing the opening of ye Messiah “Comfort ye” &c. in D. instead of g. which not only obliged the band to transpose the accompt. but to transpose the Overture also to D. minor, which Mr. Camidge said they did much better, than might have been expected; & she also sung “I know that my redeemer liveth,” in E flat[.]
Having thus received back my money for this morning’s ticket, I out of it exchanged my Nave ticket for the next morning for a gallery one by paying s6. more, that I might try the effect from thence, in which I however got as forward as I  could, & thought the effect very fine, ye chorus being, as it were purified at that immense distance, tho’ at the same time the band seemed diminished to a smaller scale, & some of ye soft accompaniments were scarcely audible. At the end of the 2d. part, I got quite back to ye end, which was the highest part of the gallery, whence I heard the chorus “How excellent,” in Saul & Luther’s hymn (sung by Catalani & afterwards repeated in fine chorus) with great effect, the Trombones, of which there was a strong phalanx at the back of the orchestra, being at that distance much subdued, & Harper’s Trumpet sounded very fine. I however then returned to my former place, which I preferred on ye whole, as being about 20. benches nearer to the orchestra. the selection for this morning comprized the 1st. part of Haydn’s Creation, part of Mozart’s Requiem &c.
[... 24 ...]
On the following morning I went to ye last performance, at which I set between the 2 pillars next but one to the orchestra [...] In this selection much of Haydn’s Seasons was performed, some of which however seemed to have wanted more rehearsal; & in the third part, a considerable  selection from Israel in Egypt, which went off very well & wod. have been much more enjoyed had it not been so very late, the whole performance not ending till nearly a quarter past 5. owing to the Directors chusing this morning to gratify every female singer with an encore, a very unusual thing in church performances.
On this morning [?2 October 1823] the Messiah was performed at St. Peter’s church, & on the next there was to be a grand selection there, including Beethoven’s Mount of Olives, which had not been done at York, I therefore procured a ticket for it, & as my landlord was learning to play on the german  flute, I concluded he wod. have no objection to accompany me, & therefore offered him a ticket [...] On the following morning therefore before 9 (as the church doors were absurdly opened at 8. tho’ ye music did not begin till 11.) we went to St. Peter’s, & tho’ there were then nearly 200. mostly ladies, in the church, we were enabled to get as good places, to my thinking, as any in the church. As to the performance itself, it was, of course, a great falling off after that at York, both the band & church being on a very reduced scale. As however the principals were the same except Catalani [...] the airs &c. went off very well, as did some of the chorusses, in which the  Trumpets & Trombones were omitted or were not too predominant, which not being so well covered & qualified with the multitude of other instruments as at York, were here sometimes harsh & noisy. I was however glad of the opportunity of hearing the Mount of olives, in which were some fine striking parts [...]
[Friday 26 March 1824, music party at his house] Miss Miller also played a concerto of Handel, as did A[lfred] Bennett another of them in a very good style, tho’ without any previous practice.
[Friday 9 April 1824 music party at his house] in the course  of it Mr A Bennett played Handel’s 1st Concerto upon the Organ.
[Friday 14 May 1824] I went [...] to Greenwich, where an Oratorio was to be performed at the church, in aid of ye funds for building a new church there. Arriving therefore there about 20 mints. after Eleven at which hour the doors had been opened, I was fortunate enough to get as good a place as any in ye church namely the Clerk’s desk, which fronted the centre of the orchestra. The performance consisted of a selection from the Messiah & a miscellaneous act, containing a selection from Haydn’s Creation, Handel, Mozart, Beethoven &c. & the whole went  off very well, the band, which was led by Cramer, being large & compleat; & the principal Singer Mrs. Salmon, Misses Stephens & Goodall, Messrs. Braham Vaughan, Terrail, Hawes & J B Sale. The Church was also admirably well calculated for ye purpose, having a fine Organ, to which a long movement had been added, & there being no pillars to intercept the view of ye orchestra, the whole of ye ceiling & roof being supported on ye walls of ye building.
[Tuesday 13 July 1824, visit to Dr Sanders, where] my niece [Mary] sung 2 or 3. of Handel’s songs [...]
[Friday 23 July 1824] arriving at Brighton before 11. I went immediately to hear the royal band practise at the pavillion [...] & was very highly gratified in hearing some fine symphonies, chorusses of Handel, Opera-airs with full, obligato accompaniments, exquisitely performed by one of the finest & most compleat bands in Europe, the music for which was all arranged & led by Kramer [sic].
[Sunday 1 August 1824 Crotch played to him and his son] some pieces of S. Bach
[Thursday 19 August 1824, in Salisbury musical meeting went ] to the Messiah, at which were near 1200. people [...]
With respect to the numbers that attended this meeting, there were 782. 1200 & 834 persons at the 3. morning performances, & 425. 482 & 642. at the 3 eveng ones, at ½ a guinea each, so that it was supposed that Catalani who was to have half the profits, & Mr Corfe shared about £600. each [...] As so many were thus collected together, it naturally excited  the attention of the light-fingered gentry, who were very successful in their depredations both at the rooms & at the cathedral, & amongst the sufferers were the Dean, who had a £5. note taken from his pocket book, the Bishop’s nephew, Coll. Fisher, Mr. c Baker of Semmiot & others. [...]
[St Paul’s Portsmouth, ca.Fr/Sat 27/28 August 1824] I hastened to the church [...] & did not reach it till the first part (from the Messiah) was more than half over, & cod. only stay till the end of the second [... 136 ...] The principal Singers a this performance were Catalani (who shouted away as usual) Miss Goodall, Messrs Harrington Foster & Rolle, & the band was led by Messrs. Sibly & son who, for want of a conductor [...] were obliged to stump away with all their might & flourish with their bows, to keep the choral band, which was large & <muei>ldy together. So much so did it seem that what was fine & grand in Salisbury cathedral, was in this compact church noisy & overpowering.—The Church was however a very handsome building & well calculated for the purpose, except that the orchestra being in the west gallery, most of the pews fronted the other way, so that those who wished to see as well as hear, were obliged to stand the greatest part of ye time.
[ca T/W 14/15 and before 19 September 1824 Worcester music meeting...] I went to the Cathedral, at which there was service this morning, chanted by the 3. choirs, & a sermon for the charity, in the course of which were interspersed the Dettn. Te Deum [...] with the whole band & singers. As I did not get there till the Dettn. Te Deum was just beginning, I was, as I passed up the nave towards the choir, saluted with as magnificent a crash as I ever heard, & the whole went off very well.—In the evening was the first grand Concert at the College hall [which he didn’t attend]
On the next morning I went to the Messiah at the Cathedral, with which I was as much gratified, as at any former performance of it whatever, the band being large & compleat, & the treble, which was the weakest part at Salisbury, being here supported by 17. or 18.  females, mostly from Lancashire, in addition to the select boys from the 3. Choirs. To be sure there was no Catalani; but exclusive of her there was nearly all the talents that cod. be procured, in Mrs. Salmon, Miss Stephens, Miss Travis Messrs. Knyvett, Braham, Vaughan & Bellamy, with alto Signr. & Madm. De Regnis for ye evening concerts, Cramer Leader, Lindley, Dragonetti &c. [...]
On the following morning I was again highly gratified with a fine selection of sacred music the first part of which comprized the cream of Judas Macchabeus, after which followed other selections from Handel, some Masses of Jomelli & Mozart & the first part of Haydn’s Creation. Hearing however that the College hall, where the evening concerts were, had been  enlarged & greatly improved & so well ventilated that there was no fear of suffocation, I was induced to go this eveng. & hear the first act, when, tho’ there were said to be about 1000. persons present the room was so lofty & so much air let in from the windows that I felt nothing oppressive, but yet thought it prudent to come away immediately after the Overture to the 2d. act [... 149 ...] [cathedral’s organist Clarke] seemed much pleased with my full approbation of the whole, it having, I believe, generally been accounted the compleatest band they had ever there had; the cathedral also being much better adapted for such a performance than that of Salisbury, the choir being not so very long, & a temporary gallery being erected in the chancel containing about 300. persons, in the front seats of which the stewards & grandees sat.
[Friday 17 December 1824] I had a musical party in the music-room [...] Alfred [Bennett] played the 4th. of Handel’s concertos on the Organ [...] on ye Tuesday after my Son, grandson & I went to a musical party at Mr. Archdeacon Webber’s [...] in which my Son & I played ye fiddle parts of 2 of Handel’s Overtures.
Principal occurrences of this year. [...] 10. Went to an Oratorio at Greenwich church. [... 5 ...] 19. [...] to an oratorio at ye new church at Southsea.
[...] on the followg evening [Friday 25 February 1825, had tea in his house with friends and] had some music, in which Mr. [Alfred] Bennett played the hautboy parts of the Overtures to Saul & Acis & Galatea on the little Organ
[Tuesday 17 May 1825, in London, attended] the Rehearsal for the Sons of the clergy & heard the Dettingn. Te Deum
[York music meeting Wednesday 14 September 1825]
Althou’ I had heard that temporary galleries were now erected over the side aisles, yet supposing, as at the last festival, that the whole of these aisles wod. be allotted to those who had s7. tickets, I thought I wod. be content with one of these for the next morning’s performance (the Messiah) but when I got in I found that full half the aisle was, by a line all along ye middle, parted off & annexed to the Nave, so that only the back seats were allotted to us, which caused many  to call out to the Stewards standing near, to ask if these were really s7. & not s5. places, which had been advertised for such as wod. be content with hearing only, without seeing; but these, it seemed, were in the north transept. The gallery too, which projected beyond the pillars, not only intercepted the sight of the orchestra, of which only the front, or lowest part was to be seen, but much of the sound also, the immense band, in the chorusses appearing diminished, in effect, to that of a common provincial meeting. Altho’ therefore the whole went off very well (except the omission, from some mistake, of the 2d. part (or sequel to) “He shall feed his flock”) I know not that I ever heard this sublime oratorio to a greater disadvantage.—As to Miss Wilkinson’s voice, which I had been so pleased with at Lord Arran’s in <gap> 1823. [...] & which had given such pleasure at the antient music in London, we cod. but just hear it, & many of ye soft accompaniments were inaudible to us, as was a pathetic cadence to “I know that my Redeemer [liveth]” by Miss Stephens, that seemed to excite a murmur of applause from all that were within hearing of it.
These temporary galleries were, I found divided in the same manner as the aisles under them,  the front seats being reserved for the s15. tickets & only the back part for those who had s7. ones, & these were but half furnished with benches. being however determined to try if I cod. not get a sight of this stupendous orchestra & hear one chorus with more effect than I had hitherto done, I ascended to it at the end nearest the orchestra, just before the chorus “Worthy is the Lamb,” where I had nearly a full view of it, & found myself close to the 100. bass voices, which led off the points “Blessing & Honour, Praise & Power” &c. & the Amen with wonderful force & effect; & so astonishingly was the sound augmented from this change of situation, that I cod. scarcely bring myself to believe it to be the identical band I had been hearing in a place below, not more than 10. or 12. yards from where I then stood, such was ye deadening effect of this gallery to all that sat in the lower s7. seats.—Having thus had a task of this magnificent band & a glimpse of the well filled Nave &c. I came away in better humour than I might otherwise have done; & at 5. I went to dine [...]
[evening concert] So crowded indeed was the room this eveng (as I afterwds. heard) that more than 100. persons cod. get no seats but in the adjoining assembly room.
On ye next morning (Thursday 15th. [September]) I presented myself at the south door of the Minster exactly at 10. o’ clock, amongst some hundreds of ladies & gentn. many of whom had been there ever since 9. The Stewards however had taken great care to prevent any great rush at ye opening of the doors, by having strong barriers erected forming different channels in which not more than 2 or 3. cod go abreast, with angles where constables were posted with their staves, to prevent too many from passing at once.—Here we stood patiently waiting for ye opening of ye doors at half past 10. when notwithstandg the care that had been taken there was much screaming from some of the Ladies, the pressure, from the  impatience of many, being tremendous; & ye worst of it was that after all this waiting & squeezing, the eligible seats were so soon occupied that I thought myself fortunate in obtaining one quite at the end of the 5th. row from the orchestra. Had I been in the centre of this row, ye situation wod. have been as favorable as I cod. have wished. As it was however I was highly gratified with the effect of the chorusses, which from ye bringing forward of the voices, was much superior to that of the last festival. The Solo voices too I heard to great advantage.—The music for this morning consisted of the Overture in Saul, a selection from Judas Macchabeus, & Haydn’s Creation. Of these, the parts that most sensibly affected me were the Chorus “Mourn ye” the Trio (sung by 6 voices) & chorus “Disdainful of danger” in which the words “thy pow’r O Jehovah,” accompanied with all ye wind instrumts. (arranged by Greatorex) were more strongly enforced than I ever heard before.—In the 2d. part, the sudden burst of the whole vocal & instrumental strength of the orchestra on the word “Light,” was stupendous; & the last chorus “The heavens are telling” was inconceivably grand; it having probably never  before been performed with such great effect. In the remainder of the Creation, which formed the 3d. part, there were also many beautiful things, admirably performed, but the music was in general more of the opera than of ye oratorio kind, & therefore not so suitable, as I thought, to the place in which we were assembled.
On the following morning (Friday 16.) I went to the last performance at the Minster, when I attempted to get a forward seat in the north side gallery, but not succeeding there, by the time I got down again all the seats within a reasonable distance of the orchestra were occupied, so that I cod. only get a place under the front of one of the galleries. Luckily however, Mr. Cramer happening to pass by I hailed him & we had a little chat, when he lamented ye indifferent place I had got, soon after which he returned to me, accompanied by Mr. Crofte, author of the Quarto history of the last York festival & other provincial meetings, we had lately got in our society  & I had since been reading at Bognor, whom he introduced to me, supposing, as he said, we shod. like to be known to each other. Having told him that I had been reading his book with much pleasure, & that I hoped he meant to add a Supplement to it, descriptive of the present festival, Mr Crofte now produced an old snufbox, which he said had been Handel’s own, out of which I of course made no hesitation at taking a pinch. Having now noticed the ineligibility of my situation, he was so good as to say he wod. speak to one of the Stewards & try if he cod. not procure me a better. Accordingly he soon afterwards returned with a gentn. bearing a white wand, who desiring me to follow them, they placed me near the centre of the front row, facing the orchestra, where thro’ their influence, a few gentn. by squeezing a little closer together, had kindly made an opening barely sufficient for me to occupy; so that I, at length, found myself prompted to one of the best places in the Minster. And here I found the advantage of there being no back to the orchestra (it being open behind to the choir) & of the lofty open tower about it, for want of which expansion of the sound, the force of this immense orchestra must have been too overpowering for this situation. 
The selection for this morning was miscellaneous & was performed throughout wth. wonderful effect. Luther’s hymn was magnificently executed except as to the variation Mr. Braham always chuses to shew his bad taste in making at the word soul in the last line, & the gradual dying away of the sound of Harper’s Trumpet at the end of each line was beautiful. the double orchestra chorusses in Israel in Egypt & the grand terrific chorus “Glory to God,” in Joshua were perhaps never before performed with such effect.—Altho there were no encores (as at the last festival) yet, owing to the anthem “O magnify the Lord” & the Song “Angels ever bright,” being introduced tho’ not in the printed books (& which it was certainly not necessary to go to York to hear) & also to the long intervals this morning between the parts, the performance did not end till more than half past 5.
[the daughter and grand daughter of his landlady at York] had been highly gratified at the Minster that morning [Fr 16 Sept 1825 at York music Festival] (to which I had given them s7. tickets) tho’ they had sat mostly where I had done at the Messiah; but as they cod. see the principal singers & the conductor they were satisfied.
[York Gazette Sat 17 sept announces numbers of present at the festival performances] At the ball on Monday night 700. at the Concerts Tuesday eveng. 1180. Wednesdy 1894 Thursday 1470. & at ye fancy ball on Friday 2200.—At the Minster the numbers were, on Tuesday  3400. Wednesday 5850. Thursday 6123 & on Friday 5500.
There being this morning service at ye [Gloucester] Cathedral with the Dettingn. Te Deum & other music interspersed with it [... 177 ...]
On the following morning (Thursday [14 September 1825]) we [he and his grandson] both went to a grand selection of sacred music from Handel, Haydn & Mozart &c. at ye cathedral, [... 178 ...]
On the following morning (Friday 15th.) we went to the Messiah, when we both sat in ye Stewards’ gallery & were much pleased, the choral part, in particular being done with as much effect as I ever before heard it.
On the day after (Thursdy 10. [May 1827]) I went to St. Paul’s soon after 12. it being the festival of the Sons of the clergy, where having staid to hear the Dettingn. Te Deum [...]
The next morning [Tuesday 26 June 1827] we all went to the service & sermon (by the Bishop) at St. Mary’s [at Oxford] for the benefit of the Radcliffe Infirmary, on which occasion a band attended, the service was chanted (the organ by Dr. Crotch) & part of Handel’s anthem “When the ear heard,” &c. was performed
[Wednesday 12 September 1827, Worcester Festival; having arrived late] I cod. not therefore at any rate have got to ye cathedral till after 12 & must have lost the first part of the Messiah, which began at 11. I therefore determined on giving up this [...]
In the afternoon [Sunday 16 September 1827 at Worcester] at 3. I went again [to the cathedral], when I met with the novelty of Handel’s “See the conqug. hero comes,” made  into a double chant, which I cod. not think too light & familiar an air for such a purpose; nor was it at all mended by the high note in every 2d. verse being shouted out fortisso. by one of the boys. The Organ seemed a very fine one & its double diapn. bass had a fine & dignified effect.
[Monday 7 July 1828, musical party at his house] we had some music, the first piece in which, the Overture to Atalanta, I led & Mr. Heathcoke took ye organ part.
[Salisbury Music Festival, Wednesday 20 August 1828]
As I wished to make some amends for my intruding upon them at this busy time [of the music festival], I thought of presenting some tickets to their young people, to enable them to go to a performance more than had been intended, & having found therefore that they had only meant to go to the last morning’s oratorio, but wod. like also to go to ye Messiah on the day before, which they shod. prefer to one of the evening concerts, I accordingly procured 3 tickets for the Son & 2 daughters, which were very thankfully accepted.—On the next morning therefore (Thursday 21st. [August 1828]) I went with them in a fly to the cathedl. where having procured a very good seat for myself under the pulpit, & sheltered from any draught of air, the 3. young people found it expedient, in order to get 3.  contiguous places, to go to a little farther down.—At the beginning of the second part however such a pinching of the bowels came on, that I soon found it necessary to go out & endeavour to get relief. I therefore requested a gentn. who sat near me, with whom I had been chatting to assist me in procuring a sedan chair, of which I had seen some waiting about, which he very readily doing, I, instead of going back to Mr. Whitmarsh’s, wch. was at a considerable distance, went to the revd. Mr. Benton’s in the close where, having introduced myself as an old friend of Mr. B—‘s (who, of course was then, with his Son, at the cathedral) I there met with every accom[m]odation I cod. wish, & in returning from the garden, met the elder Mr. B—who took me into his dining parlour where refreshment were provided for those of his friends who might happen to call & take something by way of luncheon between ye 2 & 3d. part of the oratorio, which now becoming a fashion that interval was now generally lengthened.—Having taken a biscuit & a little sherry & water, which seemed quick to restore me, I returned in the chair to the cathedral & found I had only lost about a third of the 2d. part.—Meeting with Mr. L Bowles, the poet, & new Canon of Salisbury [...] at the end of the 2d. part, he asked me to sit  in his closet, which I did during the third part. [...]
On the followg. morning I went in a fly with Mrs. & the Miss Whitmarshes, to ye Cathedral, where Mr. W. had been & got us very good places about when I sat on the preceding morning, where we were all much pleased with a fine selection from Handel, Haydn, Mozart &c. [...] I about 6. walked to Lucas’s music shop in Catherine street in order to get the numbers who had attended the different performances [...]
 The following excerpts were transcribed in March 2008 without knowledge that “A … volume, covering the period from June 1802 to Marsh’s death in 1828 … is currently being prepared [by Brian Robins]. It is scheduled for publication by Pendragon Press in 2012.” <http://www.earlymusicworld.com/id11.html>.