•
i
THE LIBRARY
OF
THE UNIVERSITY
OF CALIFORNIA
LOS ANGELES
Digitized by the Internet Archive
in 2008 with funding from
Microsoft Corporation
http://www.archive.org/details/drarnerulebritanOOcumm
Dr. Arne, by Dunkarton.
Frontispiece.
R.
RULi BRITANN.!
in
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DR. ARN E
AND
RULE, BRITANNIA
BY
WILLIAM HAYMAN CUMMINGS,
Mrs. Doc, F.S.A., Hon. R.A.M. Author of "The Origin and History of 'God Save the King.'"
London: NOVELLO AND COMPANY, Limited. New York: THE H. W. GRAY CO., Sole Agents for U.S.A.
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ilBfc.
PREFACE.
The glorious National Song, Rule, Britannia," is familiar to the whole British race; nevertheless \<r\ few men and women arc acquainted with the history of its birth and parentage.
In the following pages 1 have endeavoured to chronicle all the facts which arc discoverahle by
diligent research, and to present them in an attractive and entertaining manner.
The life of Dr. Arne. the composer of Rule, Britannia," offers to the reader and to the music student an interesting and instructive story, showing that natural ability, even when combined with genius, is not sufficient to ensure a triumphant and successful career. Morality and conscientious rectitude in the affairs of life are essential, and had Arne exercised these, his exceptional gifts might have enabled him to surpass his greal contemporary, Handel.
It only remains to be noted that many letters and documents are here printed for the first time, some of them copied from the original autographs in my possession. They illuminate much which has hitherto been obscure and uncertain in the career of a famous composer.
Willi lw II. Cummings.
?ro36i
ILLUSTRATIONS.
PAGE.
Akxe, by Dunkarton - -Frontispiece
Arne, by Gainsborough - - 7
Mrs. ClBBEB - -12
Cbrvetto — "Old Nosey" — By Zofpany - 16 Music Hall. Fishamble Street, Dublin - 1!»
A.RNE, BY BaRTOLOZZI - - 16
Covent < J arden Theatre. Rioting during Arne's " Artaxerxes " - - til
Facsimile of Autograph Letter by Arne - »i!» 4rne, by Zoppany !l I
View of Cliefden House - 111
lu simile of " Rule, Britannia" - L23
DR. ARN E.
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DR. ARNE.
Much confusion has arisen concerning the family of Arne; this is not surprising', seeing thai three generations of the same family were named Thomas, and that nil resided in the parish of St. Paul, Covent Garden. On the 14th of February, 1680, the Bishop of London granted a marriage licence to Thomas Arne, of St. Paul's, Covent Garden, Bachelor, 27 and upwards, and .Mary Thursfield, of St. Martin's-in-Fields, Spinster, 20, with her father- consent at St. Peter's, Cornhill, or elsewhere in Diocese." A son horn to this couple was baptized in St. Paul, Covent Garden, on the 3rd of December, 1682; the church register records Thomas, son of Thomas Arne by .Mary his wife." In due time, when twenty-live years of age, this second Thomas married Anne Wheeler in the Mercers' Chapel, Cheapside, April, 1707.* Three years later a son was horn, who also was named Thomas, and duly baptized in Si. Paul, Covent Garden. The ceremony is recorded in the church register on the 28th of May. 1710, "Thomas, son of Thomas Arne by Ann his wife." This was the future musician and composer; the date of his birth cannot he verified by documentary evidence, bul tradition has given the 12th of March, and this has generally been accepted as correct, [t is noteworthy that Arne received only one Christian name in baptism, and that in after life he added another,
The register does not specifj the da] of the month.
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DR. MINE.
Augustine. It has been suggested that at some period he was received into the Roman Catholic Church, and then took the additional name ; but diligent inquiry at the Sardinian Chapel, Lincoln's Inn Fields, a place of worship he frequented, has failed to discover any evidence of the alleged ceremony. A letter written by Dr. Burney (Arne's pupil) to Sir Joseph Banks in July, 1806, described ' Old Mrs. Arne, the mother of Dr. Arne and Mrs. Cibber, as a bigotted Roman Catholic." Surely natural affection would suffice to induce a mother to instruct her children in her own religious faith, and there was no reason why her son should not have been baptized with both names had the parents wished it. It seems quite clear that the adoption of the second name became a necessity to distinguish the composer from his father.
Thomas Arne, m. 1680, <h 1713.
Mary Thursfield.
Thomas Arne, b. 1682, m. 1707, d. 1736.
Anne Wheeler.
Thomas Arne, b. 1710, m. 1736, d. 1778.
Cecilia Young, b. 1711, d. 1789.
The last-named was born in his father's house, King Street, Covent Garden, now No. 34, but in 1710 distinguished by the sign of ' The Crown and Cushion." It was notable as the residence for a time
* The autograph in my possession. — W. H. C.
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DR. AKNE.
of the North American chieftains, who created a considerable sensation whilst iii London, and were popularly called the Indian Kings. Bancroft's United States" describes them: Five Sachems from the Iroquois sailed with Schayler for England. They appeared amidst the gaze of crowds, dressed in English small-clothes of black, with scarlet ingrain cloth mantles, edged with sold, for their blankets; they were conducted in coaches to an audience with Queen Anne, and giving her belts of wampum they avowed their readiness to take up the hatchet and aid her in the reduction of Canada."" Arne, senior, the father of the composer, carried on the business of an upholsterer, which included that of an undertaker. He paid for his house the considerable rental of £75 per annum, and for a time he tilled the responsible office of pa rish overseer. There is every indication that he was a prosperous tradesman, so well to do thai he was able to send his son at a suitable age to Eton College to he educated. Unfortunately the records of that ancient foundation afford no information as to the date of Arne's admission to the college, nor of the length of his residence there: he was not admitted as a foundation scholar, but as an Oppidan, and as such would live as a hoarder in one of the master-' houses.
Many errors have been printed respecting the Mainl- and career of Arne's father. Probably they all originated from the statements made in a Letter of
Addison's which appeared in the Tatter in 1710: a
certain Mr. Arne is there described as an Upholder of Covent Garden, a rabid politician, neglectful of home and family, ami in consequence ;i bankrupt. It is
DR. ARNE.
certain that the man thus described was the composer's grandfather, who died in the Marshalsea debtors' prison and was buried in the graveyard of St. Paul, Covent Garden, as is recorded in the church register, 24 December, 1713, Thomas Arne from the Marchelsea." Commentators on Addison's letter evolved a story that Arne's father died in prison under very cruel conditions ; but investigation shows that the Arne who was murdered in the Fleet prison was Edward Arne, probably an uncle of the composer. The House of Commons Reports published in 1729 states that it appeared to the Committee that in the year 1725, one Mr. Arne an Upholder was carried into a stable which stood where the Strong Room on the Master's side now is, and was there confined (being a place of cold restraint) till he died, and that he was in a good state of health before he was confined to that room." The Prison Committee further inquired into the case, and presented a detailed statement as follows : Mr. Arne, mentioned in the said former reports, whilst he was in the Tap-House of the said Fleet prison, during the wardership of John Huggins, Esq., and behaving himself quietly, was suddenly seized by James Barnes (agent for Huggins,) and without any reason given, was forced into the Strong- Room, or Dungeon on the Master's side ; which dungeon being then but lately built, and so damp that the drops hung upon the walls, was very nauseous and unwhole- some. In this place was the unfortunate man locked up, and never once permitted to go out ; But by an accident on a Sunday, the door being opened, he ran into the parlour adjoining- to the Chappell, during- the Time of Divine Service ; he had no covering upon his
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Body, but the Feathers of a Bed (which Bed was tlirown to him l>y a Prisoner,) into which he crept, t<> defend himself from the Cold, and the Feathers stuck
and were dotted upon him, l>y his own Excrements, and the dirt which covered his skin. He w;i- immediately seized and carried hack into the said dungeon, where thro' cold and the Restraint, and. for want of food, he lost his senses, languished and perished. Notwithstanding the miserable condition of
this man. and the applications were made to Mr. Huggins, the said Huggins had no compassion od him. hut caused the door to he closed upon him."'
The unhappy victim of tyrannic cruelty was buried in the precincts of St. Paul, Covent Garden, ;h i- recorded in the church register, l'\ of October, 1725, Edward Arae, from the Fleel Prison."
The most reliable account of Ame's early year- is
to be found in Dr. Burney's History of Music." Burney, when a youth, was sent to Chester to be
educated in the Free School. Jn 17 11 he was introduced to Mr. A.rne, who was passing through the City on his journey from Ireland to London. and this most popular of English vocal composers since the days of Purcell was so pleased with the talents of this nearly self-instructed performer, as i«> make an offer to Mr. Burney, senior, upon such conditions as are usual to such sort of patronage, to complete the
On (In- Report ill' this Committee, John Huggins, the Warden of the Fleet was tried for murder, but acquitted. James Barnes, hi- agent, l».\ whom this outrage was com- mitted, fled, .-mil was uever tried. However, Lord Chief Justice Raymond was of opinion, that bad he Ween on hi- trial, and the fact proved against him. he would undoubtedlj have been found guilt) of murder.
DR. ARNE.
education of this lively and aspiring- young- man ; and to bring him forth to the world as his favourite and most promising pupil. To the proposal Mr. Burney, senior, was induced to consent ; and at the age of seventeen, the eager young candidate for fame rapturously set off, in company with Dr. Arne, for the metropolis." Arne was a man of pleasure, and seems to have done little to further the serious studies of his articled pupil ; Burney's daughter said that the master constantly employed the pupil in copying music. It is therefore not surprising that the latter eagerly embraced an opportunity of emancipation from drudgery (which was afforded through the recom- mendation of Kirkman, the harpsichord maker), and accepted the appointment of performer and teacher to the fashionable Fulk Greville. The apprenticeship articles, however, presented a difficulty, and GreviHe called on Arne to inquire on what terms he would cancel the bond. "Arne at first would listen to no proposition, protesting that a youth of such promise was beyond all equivalent ; But no sooner was a round sum mentioned, than Arne, who, in common with all the dupes of extravagance, was evermore needy, could not disguise from himself that he was dolorously out of cash ; and the dazzling glare of three hundred pounds could not but play most temptingly in his sight. The articles, therefore, were cancelled. "
We now return to the early days of Arne. Burney writes, "Arne had a good school education, having been sent to Eton by his father, who intended him for the law. But I have been assured by several of his
* Mrs. Avne rode on a pillion, behind Burney, on horse- back, from Chester to London.
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Akne, by Gainsborough.
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school-fellows, thai his love for music operated upon him too powerfully, even while he was at Eton, for liis
own peace, or that of his c panions; for with a
miserable, cracked common-flute he used to torment
them aighl and day when not obliged to attend the
school.*' Burney's description of the flute must be regarded as somewhat exaggerated it' we may judge from the instrument depicted in the portrait of Arne painted by Gainsborough, and here reproduced. Burney's narrative continues. He told me himself that when he left Elton, such was his passion for Music, that he used to avail himself of the privilege of a servant, by borrowing a livery and going into the upper gallery of the Opera, which was then appropriated to domestics,'* Arne's father, having decided that the young man should he brought up to the profession of the law. articled him to an attorney for three years, hut this compulsory Legal study did not prevent him secretly and assiduously practising on a spinet, which he had smuggled into his bedroom; using a silk handkerchief, he contrived to inutile the sounds of the instrument, and could indulge in play when the other members of the household were asleep. This he did with fear and trembling, well-knowing that if discovered by his father, hoth he and the musical instrument ran the risk of violent expulsion through the window. He further managed to acquire some proficiency on the violin, and soon contrived to gel some lemons from the accomplished and eminent violinist. Michael Pesting. His natural talent enabled him to make rapid progress, and shortly after the expiry of bis articles, an incident occurred which happily determined
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DR. ARNE.
his future career. His father, one day calling1 at a gentleman's house in the neighbourhood upon business, found that he was engaged, hut sending in his name, Arne's father was invited upstairs, where there was a large company and a concert in progress, and, to his astonishment, his son in the very act of leading as first fiddle. This convincing proof that his son was more successful with music than law, caused him to relent, and he offered no further opposition to his adopting the former as a means of livelihood. Arne was now able to pursue his musical studies without restraint, and he soon bewitched all the family by his enthusiasm and ability. He discovered that his sister, Susanna, possessed a beautiful and sympathetic voice, which by his instruction rapidly developed. Festing still continued to give him lessons on the violin, and calling in King Street one day for this purpose, he found Arne diligently practising with his music supported on the lid of a coffin. Horrified with the sight, he declared he could not play under such circumstances, as he would be constantly imagining there might be a corpse in the coffin beneath. So there is," said Arne, and gave proof by removing the lid. In 1732, Arne's father dabbled in music as a business speculation ; induced to do so, perhaps, by the remarkable talent of his children. He and others, without permission, and without consulting Handel, announced performances of that composer's works at the theatre in the Haymarket. An advertisement of May the 10th reads: At the theatre in the Hay- market on Thursday the 12th inst. Acis and Galatea, a pastoral drama set by Mr. Handel will be performed, with all the choruses, songs, machines and other
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decorations: being- the firs! time it ever was performed in a theatrical way. The pari of Acis by Mr. Mountier, being the first time of liis appearing in character on any stage. Galatea by Miss Arne. I'it
and boxes at five shillings. Subscriptions an ly taken
in by Mr. Arne at the Crown and Cushion, King Street, Covent Garden."
For sonic reason the performance did not take place on the 1-th, but on the 17th. Dr. Burney says that the adventurers, or partners, in the speculation included Arne and his son, and the performers, Miss Arne and Miss Cecilia Young-, afterward young Arne's wife. Arne now resolved to essay his power- in composition, by setting to music the libretto of Rosamond, written by Addison. The music of the chief character he designed for his sister, and tin- part of the Page for his young brother Michael. The work when completed was presented to the public at the theatre in Lincoln's Inn Fields on the 7th of March, 17:5:!. In addition to his sister and brother, the performers were Mrs. Barbier; Leveridge, the veteran bass. Mr. Corfe. Mrs. Jones and Miss Chambers. The first performance proved a greai success and was followed by ten others; the lasl was announced for the benefit of "Mr. Arm. junior" evidently to distinguish the composer from the father. Thus encouraged \rue now determined to try his hand on a humorous composition, and selected for the purpose Fielding's Burletta "Tom Thumb'*; this had been played as a comedy, with great success, in 1731, under the title " The Tragedy of Tragedies ! " In it- new musical dress the composer called it The Opera of Operas," and it was submitted to the judgment of
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DR. ARNE.
the public at the new theatre in the Haymarket on the 31st of May, 1733. The principal character, Tom Thumb, was personated by the composer's brother Michael. The verdict of the audience was lug-lily favourable ; the piece attained great popularity, and a very long run. The Princess Amelia and the Duke of Cumberland attended the second performance; the Prince of Wales, the sixth, and the younger Princesses the eighth. Arne's next composition was an experiment in another branch of stage work; a Masque with Harlequinade entitled, "Dido and iEneas." He was now regularly employed at Drury Lane Theatre as composer. His sister, Susannah Maria, had acquired considerable fame both as singer and actress, and in April, 1734, she married Theophilus Cibber, who became notorious as an evil-doer. He was the son of Colley Cibber, and for about three years husband and wife lived together ; they had two children, who died in infancy- The profligate husband had a friend, a Mr. Sloper, who with ample means frequently relieved Cibber of pecuniary embarrassments, but in 1738 the latter absconded to France, and his wife placed herself under the protection of Mr. Sloper, who resided at Burnham in Buckinghamshire. On returning to England, Cibber brought an action for adultery, laying the damages at £5,000 ; the verdict in his favour gave him £10. He then brought a fresh action, claiming £10,000 for the loss of his wife's professional services, and obtained a verdict for £500. It appeared that Cibber* had forcibly broken into his wife's residence,
* In October, 1738, Cibber was crossing the sea to fulfil an engagement with Sheridan in Dublin, when the vessel was shipwrecked, and he with nearly all the passengers drowned.
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hi:. ARNE.
abstracted her jewellery, and carried her off to ili«' Bull's Head tavern, Clare Market, where he lia<l locked her in an apartment from w hich she was rescued by her brother, Thomas Arne.
In 17'H'. Arne, in the twenty-sixth year of liis age, married Cecilia Young, the charming singer who lia<l appeared with his sister at the performances in the new theatre in the Hayinarket, in 1 732. She w;i>
the daughter of Charles Young, a performer of good repute and organist of All Hallows* Church. Barking. Of three accomplished sisters she was the most gifted; her natural soprano voice had been well trained by Geminiani, and was of unusual compass and flexibility, ranging np to I-] in alt. She was also greatly admired on account of the accuracy and perfection with which she executed trills and shakes. Dr. Burney said, her style of singing was infinitely superior to that of any other English woman of her time."
Charles Young refused to sanction his daughter's marriage with Arne on account of the latter's religious principles. It is said he never forgave her. In the year of his marriage, Arne wrote the incidental music for Zara," a tragedy produced at Drury Lane Theatre, in which his sister Mrs. Cihher first gave proof of her extraordinary ability as a tragic actress as well as singer. She captivated everyone by her native sweetness of voice and powers of
expression; It was difficult to say which of the two received the greater applause, the actress lor her interesting person, pathetic voice and manner, or the musician (the composer Arne for his natural Air-. Arm- soon became a convert t<> the Roman Church. ( n )
DR. ARXK.
and pleasing- strains, particularly the March which was encored every night." Mrs. Cfbber's fame became pronounced. Handel thought so highly of her that he engaged her to sing the contralto part in " The Messiah " at its first performance, in Dublin- How well she merited his selection was proved at the conclusion of the Air He was despised " ; her singing was so natural and touching that the Dean of St. Patrick's, Dr. Delaney, arose from his seat and audibly exclaimed, Woman, for this thy sins be forgiven thee ! "
Mrs. Cibber was not only a great artist, but also a very accomplished and amiable woman, as is proved by her correspondence with David Garrick. When she died, in 1766, Garrick declared that tragedy expired with her."
She was buried in the North Cloister of Westminster Abbey.
The only other composition of Arne's which can be traced to the year of his marriage, 1736, is a Serenata, the words by Thomas Phillips, written to commemorate the marriage of the Prince of Wales with the beautiful Princess Augusta of Saxe Gotha, which took place in April. The Serenata was performed at Drury Lane Theatre. Arne's connection with the theatre provided him with a splendid opening for his talent as composer. Dr. John Dalton, a Prebendary of Worcester Cathedral and Rector of St. Mary-at-hill, London, prepared a stage version of Milton's Comus." He interpolated verses taken from other works of the poet, and added some songs of his own, all requiring music ; and, as the sequel proved, no composer could have carried out the task more efficiently than Arne, who entered upon his
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MRS. I 'li:i:u:.
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hi:. ARNE.
welcome labours with real enthusiasm, and easily earned the reputation of being the besl English composer of the day. His music combined graceful melody and expressive accent, needing no extraneous ornamentation to enhance its beauty. The soul:- Now Phoebus sinketh in the West," By dimpled brook," How gentle was my Damon's Airs," and " Sweet Echo," are amongst the gems. The various characters were well represented on the stage. Comus l>y Mr. < ^ 11 i 11 ; the Lady, Mrs. Cibber; the Brothers, Mr. Mil ward and Mr. Cibber; First Spirit. Mr. Mill>: Second Spirit, Mr. Hill; Euphrosyne, Mrs. Clive; Sabrina, Mrs. Arne; Attendant Spirit. Mr. Heard. The Masque is preceded l>y a sprightly Overture scored for strings, two flutes, two oboes, two trumpets, and bassoons. The instruments are never employed simultaneously, an orchestral feature peculiar to Arne. The song Sweet Echo " was sung behind the scenes" by Mrs. Arne, with an echo played on the flute, and proved very effective. Either from want of time, or some other cause, Arne did not compose chorus music, but adapted several pieces from Handel; the manuscript of these adaptations is in the British Museum. Produced at Drnry Lane Theatre in 17:'>s under the composer's direction, the piece had a long run and was frequently revived. A notable occasion was the performance at Drnry Lane on the 5th of April, 1750, when it was given tor the benefit of the grand-daughter of Milton, Mrs. Elizabeth Foster, who was living in extreme old age and poverty; for this notable event Dr. Johnson wrote a prologue which was spoken by Gfarrick. It is satisfactory to know that the substantial sum of one hundred and thirty pounds ( 13 )
DR. ARNE.
was handed over to the aged lady as a result of the united efforts of the artists who grave their services.
The popularity of Comus " induced Arne to publish a score of the music in 1740. The title-page of the volume reads : The Music in the Masque of Comus. Written by Milton. As it was Perform'd at the Theatre-Royal in Drury-Lane. Composed by Thomas Augustine Arne. Opera Prima. London. Printed by William Smith, at the musick shop in Middle Row, near Holborn Bars, and sold by the Author." The copies were signed by the composer ; we may therefore presume that the publication was his own venture, which may account for his calling it Opera Prima. It certainly was not the first work of his, either composed or printed. He afterwards sold the plates, and the score was published with a new title-page bearing the imprint London. Printed for and sold by J. Simpson in Sweetings Alley Royal Exchange." Comus" became so popular that the songs were sung all over the Kingdom, and gave rise to numerous convivial and musical associations which were convened under the title Comus's Court.
In 1739, a number of eminent musicians residing in London united in establishing a charitable society for the relief of indigent musicians and their families. The first steps were taken by Festing, Handel, Green, Weideman, and nine others ; it was then called The Society of Musicians," and since has become by Charter The Royal Society of Musicians." Among the first to join the Association and to sign the Declaration of Trust " were Thomas Arne and Handel. The former, after some years, neglected to pay his subscription, and ceased to be a member ; but the latter retained his membership to the end
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of his life, and by his Will i >« -< 1 1 1 « -; 1 1 1 1 « -< I one thousand
pounds to its funds.
17 1<> was a very busy and prosperous year for A riir. His composition of the *' Masque of Alfred " for the Prince of Wales will be found fully discussed in connection with Rule, Britannia"; the other Masque, which was performed at the same celebration, was "The Judgment of Paris," written by William Congreve. This author died in 1728, and it is not known who arranged the hook as set by Arm : it contained much more music than "Alfred.'* and, with the exception of Rule, Britannia," of greater importance. The Overture, composed on the con- ventional pattern of the day, beginning with a Largo, followed by a spirited fugue, concludes with a Minuet Andante and a Giga con spirito ; the only instruments employed are strings and oboes. The Recitative, 0 ravishing delight," sung by Mr. Beard in the character of Paris, it would he difficult to surpass. Accom- panied by the string quartett, it is full of variety and charm, and leads into an Allegro, with bravura passages well written for the voice. If revived to-day by a good tenor singer it would prove a great success. There is a remarkable Air for Venus. Gentle Swain," which was sung by Mrs. A rue. In the printed score the composer appends the note. This Air is composed for a Violoncello solo, and a double Bassto play with the Harpsichord."* The violoncello had quite recently been introduced into England by Cervetto (Giaeobbe liassevi), who joined the Drury Lane Theatre orchestra in 17'JS; by his skill he soon
* These are published by Novello & Co., Ltd.
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DR. ARNE.
made the instrument popular. Both Arne and Handel wrote special obbligato parts for him. His personality and manners were very marked, and he became a pet of the gods in the gallery of the theatre, who, when he appeared in the orchestra, would call out play up, Nosey." He became manager of Drury Lane Theatre, and died on the 14th of January, 1783, over one hundred years of age, leaving his son a fortune of .£20,000. He signed the admission book of the
Society of Musicians" on the 14th of April, 1742. An amusing story is told of an encounter Cervetto had with Garrick ; the latter had been absent from Drury Lane Theatre for two years, and on his return he prepared an address to speak previous to the play. When the applause which greeted him had subsided, the house became silent in expectation of the speech. At this crucial moment, Cervetto anticipated the first word by a tremendous yawn, which caused the audience to burst into convulsive laughter, and several minutes elapsed before quiet was restored. When the curtain dropped, Garrick rushed to the music-room and seized Cervetto by the shoulders, calling him a scoundrel, and a base- viol, and demanded what he meant by his conduct. The poor man could only reply that when he had a great rapture" he always did yawn that way."
The Air Gentle swain," sung by Mrs. Arne, in which Cervetto accompanied, is very melodious vocally and instrumentally : it was followed by a Trio for three soprano voices, sung by Mrs. Arne, Mrs. Clive, and Miss Edwards, representing Venus, Pallas, and Juno. The music is admirable, in spite of the words, which cannot be described as poetry.
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Cervetto, by Zoffany.
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Dl:. ARNE.
After an invitation from each of the three divinities:
Hither turn thee gentle -wain.
Hither turn to me again ; She will deceive thee,
I'll never leave thee
Paris, represented by Mr. Beard, replied:
Apart let me \ic\\ then each heav'nly fair,
Tor three at a time n<» mortal can bear;
And since a gay robe an ill shape maj disguise,
When each is undrest
['11 judge of the best,
For 'tis not a lace that must carry the prize.
We have no record how they managed the stage business at Clieveden, but it must have presented some difficulty. A Recitative tor Pallas is remarkable for the vigour of the instrumental accompaniment, and the Air "The glorious voice it was" is very spiritedly supported by strings, oboes, trumpets and drums. A fine Recitative, "Stay, lovely youth," sung by Mrs. Arne is also worthy of mention. At the elose of the year 1740. on the 20th of December, Shakespeare's " As you like it " was played at Drury Lane Theatre, the first time for forty years. Greal interest was excited by the revival, more especially on account of the fact that Arne had prepared new music for the songs. These included When daisies pied." sung by Kitty ('live. " Under the greenwood tree" and Blow, thou winter wind." sung by Mr. Thomas Lowe. They all captivated the public taste, who found Shakespeare's poetry admirably framed in A rue's melodies. The immediate popularity of the music attracted the attention of several unscrupulous publishers of the day. To protect himself againsl ( 17 )
DR. ARNE.
their nefarious depredations, Arne obtained a Royal license, dated 29th of January, 1741. George, the Second, by the Grace of God, Kino- of Great Britain, France, and Ireland, Defender of the Faith, etc. To all to whom these Presents shall come, Greeting-. Whereas Thomas Augustine Avne, of Craven Buildings, near Drury Lane, in our County of Middlesex, Gent. Hath humbly represented unto US, That he hath with great Study, Labour and Expence, composed several works, consisting of Vocal and Instrumental Musick, in order to be printed and published ; and hath Therefore humbly besought US to grant him Our Royal Privilege and License, for the sole printing and publishing thereof, for the term of Fourteen Years. We being willing to give all due" Encouragement to works of this Nature, are graciously pleased to condescend to his Request: and We do therefore, by these Presents, so far as may be agreeable to the Statute in that behalf made and provided, grant unto the said Thomas Augustine Arne, his Executors, Administrators and Assigns, Our License for the sole Printing and Publishing the said Works, for the Term of Fourteen Years, to be computed from the Date hereof ; strictly forbidding all our Subjects within our Kingdom and Dominions, to Reprint or Abridge the same, either in the like, or any other Volume or Volumes whatsoever ; or import, buy, vend, utter, or distribute any Copies thereof reprinted beyond the Seas, during the aforesaid Term of Fourteen years, without the Consent or Approbation of the said Thomas Augustine Arne, his Heirs, Executors, and Assigns, as they
will answer the contrary at their Peril. Whereof
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The Great Room, flshamble street, dublin.
Face, p. 19.
DR. ARNE.
the Commissioners, and other Officers of our Customs, the Master, Wardens ami Company of Stationers, are to take Notice, that due Obedience may be rendered to our Pleasure herein declared. Given at our Court St. James's, the Twenty-Ninth Day of January, 1740-1. in the Fourteenth Year of Our Reign. By His Majesty's Command.
" Hollis Newcastle."
In 1741, Arne and his wife made their first united visit to Ireland; from Faulkner's Dublin Journal of June 29-July 3, we learn that: Last Wednesday June 80th) the ingenious Mr. Arne, brother to .Mrs. Cibher, and Composer of the Musick of Conius, together with his Wife, (the celebrated Singer,) arrived here from London." Thisnotice is interesting as evidence that * Comus " had already been performed in Dublin : Mrs. Cibher and James Quin, the original exponents of the Lady, and Conius, were two of the actors engaged in the Dublin production: we may therefore reasonably suppose that they had introduced some of A rue's music. Mrs. Cibher had also won a high place in the estimation of the public by her exquisite singing in the first performance of the Messiah" Oratorio when conducted by Handel on the loth of April preceding. No time was lost by Arne and his wife in making a venture for public favour. Faulkner's Journal, July L3-17, exhibited the following advertisement: "At the particular Desire of several Persons of Quality, for the Benefit of Mrs. Arne. at the Great Room in Kishamble-street, on Wednesday, the 21sl fnst., will be performed a grand Entertainment of Musick, to
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hi;. ARXK.
be divided into three Interludes; wherein several favourite Songs and Duetto will be performed by Mrs. Arne and Mrs. Cibber. In the first Interlude (after an Overture of Mr. Handel's) a Scene from Mr. Arne's Opera of Rosamund, by Mrs. Arne; O beauteous Queen, from Mr. Handel's Oratorio Esther, by Mrs. Cibber; Non ehiainarmi, from an Opera of Signor Hasse's by Mrs. Arne ; and O fairest of ten thousand Fair, a Duetto, from Mr. Handel's Oratorio of Saul, by Mrs. Arne and Mrs. Cibber. In the second Interlude (after an Overture of Mr. Arne's) Lascia cadermi in Volto, a Song" of Farinelli's Singing, by Mrs. Arne ; Chi scherza colle Rose, from Mr. Handel's Opera of Hymen, by Mrs. Cibber ; Vo solcando, a song- of Signor Vinci's by Mrs. Arne ; and Vado e vido, a Duetto of Mr. Handel's in Faramond by Mrs. Arne and Mrs. Cibber. In the third Interlude (after an Overture of Mr. Arne's), 0 peace, thou fairest Child of Heaven, from Mr. Arne's Masque of Alfred, by Mrs. Arne ; Un Guardo Solo from Mr. Handel's Opera of Hymen, by Mrs. Cibber ; (by particular Desire) Sweet Bird, from Mr. Handel's Allegro, by Mrs. Arne ; and Per le Porte del Tormento, a favourite Duetto of Mr. Handel's in Sosarmes, by Mrs. Arne and Mrs. Cibber.— Mrs. Arne, being a Stranger in this Kingdom, humbly hopes the Nobility and Gentry will excuse her personal Application, and to prevent Their being detained at the Doors of the Hall, while Tickets are delivered them, that they will send for their Tickets to Mrs. Cibber's House in Aungier-street, where Places may be taken. — And, to prevent mistakes, they are desired to send their Servants to Keep Places before
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DR. ARNE.
five «)\-l<»ek. To begin exactly at 7 o'clock. N.H. This Performance (intended for the Theatre) is at the Request of several Gentlemen and Ladies altered to the Great Room above mentioned."
It will be noticed that the programme contains eight pieces composed by Handel, and only four by Arnc Handel was residing in Dublin, and it is quite likely that he extended his friendly patronage to .Mrs. Arne and attended tin; concert. In any case Handel's music was undoubtedly an attraction for the fashionable world of Dublin; and it is satisfactory to read that the concert was so great a success that At the particular Desire of several Persons of Quality" ;t repeat was granted on the following Wednesday, the 28th of July. Very soon after the latter performance, the Dublin musical season came to an end and the many artists who had been making hay in that city transferred their personalities to England. The celebrated Mr. Handel" left Dublin on the 1:5th of August, and on Monday, the 23rd of the same month, was followed by Mrs. Cibber, Mr. Arne and David Garrick. Mrs. Arne remained in Dublin; probably her husband only went to London to make preparations for an extended campaign in Dublin, lu a month's time he returned, ami resided with his wife at a house "over against the Ram in A.ungier-street " uear the Theatre. We obtain intelligence of their doings from an advertisement in Faulkner's Journal oi September -J.V-JS.— " The Charitable and Musical Society" announced the commencement of the season
by a concert to begiven on the Sth of October. Special attention is directed to the fact that "they have provided a Hue Organ, and have engaged the celebrated
21 i
DR. ARNE.
Mrs. Ame to sing-"; the day after the performance the Journal reported, " Last Night the Charitable and Musical Society opened their first Concert to a very numerousand polite Assembly of Ladies and Gentlemen, when Mrs. Arne (tho' extremely ill of a Cold) sang with universal applause." She speedily recovered and with her husband gave a concert in the following December. The Journal of November 27-30 contained the following announcement : We hear that on Friday next [Dec. 3] being particularly desir'd, at the Great Room in Fishamble Street, Mrs. Arne mil sing the Song Sweet Bird, accom- panied on the Violin by Mr. Arne. And that he intends between the Acts of his Serenatas, Operas, and other Musical Performances, to intermix Comic Interludes (after the Italian Manner), amongst which will be pei-form'd Tom Thumb, the Original Burlesque Opera compos'd by him, the Dragon of Wantley, Miss Lucy in Town, etc. Intended to give Relief to that grave Attention, necessary to be kept up in Serious Performances. Which he intends shall begin in January next." We learn from this the evident intention of Arne to make a lengthened stay in the city which had reeeived him and his wife with so much favour. It is likewise interesting to note that hitherto he had acted as harpsichord accompanist, and now proposed exhibiting his excellent skill as a solo violinist. The obbligato to the song " Sweet Bird," from Handel's " Allegro," was composed for a flute, by no means an easy task for a violin player at that time. The " Charitable Musical Society," evidently satisfied with Mrs. Ame's perfor- mance, on the 17th of December engaged her for
DR. ARNE.
another concert given forthe Benefit and Enlarge ment of Prisoners confined for Debt, in the Beveral Marshalseas in this City." An advertisement announced On Tuesday next, being the 11th of December, at 12 o'clock at Noon will be the Rehearsal of Acis and Galatea, with the celebrated Coronation Anthem called Zadokthe Priest, composed by Mr. Handel. Mr. Dubourg will perform a new Solo. The Performance will be on Friday the 17th. at <» in the Evening. The Gentlemen of the Choir of each Cathedral will assist, * with Mrs. Arne, Mrs. Storer, Mr. Colgan, and others. Tickets to be had at half a Guinea each, from Mr. Xeal. at the said Mustek Hall. A Rehearsal Ticket will he delivered with the Ticket for the Performance, as it was forthe Messiah." "There are great Numbers of Tickets already disposed of for the Musical Entertainment of Acis and Galatea; and it is not doubted but the Ladies of this Kingdom who so eminently distinguish themselves for their great Virtue and Charity, will, upon this Occasion, exert themselves by promoting
:: The Choir of Christ Church Cathedral, in 1 742, consisted
of si\ Vicars Choral, Messrs. John Warrall, Charles Taylor, William Jones, John Ensehins Smith, John Mason and Mr. John Church; there were also six Stipendiaries, Messrs. John Phipps, James Baily, William Lamb, Joseph Ward. Timothy Carter, John Hill: with six chorister hoys. Tin- Choir of St. Patrick's Cathedral at the same date included nine Vicars Choral, .Messrs. James Baily, William Tavernor, Robert Hall, Robert Wbffington, William Lambe, John Busebius Smith, Joseph Ward, John Hill, James Colgan. There were also six chorister hoys, five of these being the same in hoth Cathedrals. The organist of both Cathedral- tras Ralph Rosengrave.
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DR. A RNE.
this Charity, many of them, of great Quality and Distinction, having- come to a Resolution not to wear any Hoops next Friday, as it will be a Means of admitting more People into the Hall than usual."
In this month, December 11-14, the Journal made an announcement of considerable importance: ' Mr. Swan being desirous to entertain the Town in the best manner possible, has contracted with Mr. Arne, for Mrs. Arne, Mrs. Baildon, Mrs. Sybilla, and other singers belonging to him, to perform in the Masque of Comus, written by Milton, and set to Musick by Mr. Arne. The Choruses will be properly performed, and Mr. Arne will accompany the Performance, which will be exhibited on Monday next, being the 10th inst. Jan. N.B. The Orchestra will be doubled, and there will be a Row at the Pit enclosed for the Musick." The same Journal of the 4-8th January, 1743, gave more details: ' By His Majesty's Company of Comedians, at the Theatre Royal in Aungier-street, on Monday next, being the 10th inst. Jan. will be performed a Dramatick Masque called Comus, written by Milton. The Musick, vocal and instrumental, composed by Mr. Arne. The Part of Comus, by Mr. Swan ; a pastoral Nymph, and the Part of Sabrina, by Mrs. Arne ; the principal Bacchanal, by Mrs. Baildon, from London; the Lady's Song (Sweet Echo) by Mrs. Arne, accompany'd by Mr. Neal, from England, who performed it originally ; the second pastoral Nymph by Mrs. Sybilla, a Scholar of Mr. Arne's ; the Part of Euphrosyne to be performed by Miss Davis. With all the Choruses performed in Parts, as originally in England, and never done here before. The original Prologue to
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DR. ARNE.
he spoke by Mr. Swan, and the Epilogue by Mrs. Purnival. A Row of the Tit will be taken into the Orchestra, there being an extraordinary Band of Mnsick provided on tins occasion. The whole conducted by Mr. A inc. who accompanies the Performance on the Harpsichord. With new Habits, Scenes, Machines. Risings, Sinkings, Flyings, and other Decorations. It is hoped it will not he taken ill, that none can he admitted behind the Scenes. N.P>. This Performance being exhibited at a much greater Expense than any Theatrical Entertainment in this Kingdom, we are obliged to lay the I'it and Boxes together at 5s. 5d. Lattaces, 5s. 5d. Gallery, :2s. sd. halfp." The foregoing advertisement is brim full of interesting matter; we see that Mr. Arne was a tower of strength; that Mr. Neal was the solo flautist at the tirst performance of Comus," in Drury Lane Theatre ; the choruses, performed in parts, were taken from Handel, as in London: also that Mr. Arne conducted and accompanied, according to the fashion of the day. at the harpsichord. The artistic venture of Mr. Swan met with due reward; "Comus" was successfully repeated on the 13th, 20th, and 24th of January, and again on the 8th of February for the benefit of Mr. Swan: finally, on the 21st of April, My. Neal took a benefit at the Smock Alley Theatre on the 1st of February, when he exhibited his versatility ; the Journal announced "Between the Acts, Mr. Neale will perform a Solo and Concerte on the Hautboy, with a Piece on the German Flute. Mr. Charles and his Second will perform a Concerto on the French Horn, and Mr. Storer will sinjr a favourite Sony. Master Neale,
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DR. A RNE.
a child of ten Years old, will perform a Concerto on the Violin, and Elin a Roon, with all its Variations." This advertisement is of importance, showing- that Arne had excellent orchestral players. Mr. Charles* was a very skilful performer; possibly he had been one of the Drnry Lane orchestra. On the following 10th of February, Mrs. Arne had a benefit at the Theatre Royal, Aungier Street, when the programme consisted of ' A Grand Serenata, call'd Love and Glory ; composed by Mr. Arne, in Honour of the Nuptials of His Royal Highness Frederick Prince of Wales, with the Princess Augusta. After the Serenata, a new Farce call'd Miss Lucy in Town,t with all the songs composed by Mr. Arne, and performed at the Theatre-Royal in Drury Lane."
A concert was given at the Music Hall in Fishamble Street, on the 4th of May, for the benefit of the Charitable Infirmary, when Handel's "Alexander's Feast" was performed. Mr. Arne conducted and Mrs. Arne sang; 'the Gentlemen of the Choirs of both Cathedrals and several other voices" assisted. On Saturday, the 7th, three days afterwards, Mr. Arne had a benefit at the Theatre Royal in Aungier Street, when the bill consisted of "an Opera called Rosamond, Written by the celebrated Mr. Addison, and set to Musick by Mr. Arne: King Henry, Mr. Baildon ; Sir Trusty, Mr. Layfield ; Page, Master Pilkington ; being the first Time of his Appearance on any Stage; Rosamond, Mrs. Sybilla;
* " Twelve Duettos for Two French Horns, or Two German Flutes, composed by Mr. Charles." A rare publication.
f Written by Fielding, produced in 1 742.
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DR. ARNE.
Grideline, Miss I >a\ i> ; and the part of Queen Eleanor to be performed by Mrs. Arne, After which will be performed the original comic burlesque Opera called Tom Thumb. The Part of Tom Thumb by Master Pilkington; King, Mr. Baildon; Lord Grizzel, Mr. Layfield ; Queen Dollallolla, Miss Davis; Trine.—. Huncamunea, Mrs. Sybilla ; all the other characters, as Noodle, Doodle. Foodie, Giantess, Conjurer, etc., by a select Company of burlesque Opera Singers. To prevent Mistakes. Ladies are desired to take their Places in Time, and on the Day of Performance to send their Servants to keep Places before five o'clock." The above programme was announced for repetition on the 27th of May, for the benefit of Mr. Baildon and Mrs. Sybilla, but Mrs. Arne was attacked by one of her frequent illnesses, which on this occasion proved so serious, that her physician forbade her attempting to perform "at the Hazard of her Life." In June she had so far recovered that the deferred benefit was announced for the 11th of June, being positively the last time of Mr. Arne's exhibiting any Performance this Season."
Faulkner's Journal, Oct. 2-2-25. announced that "Mr. Dubourg* and Mr. Arne are to have six Oratorios of Mr. Handel's performed this Season by Subscrip- tion, in which Mr. Lowe, Mrs. Arne, Mr. Colgan, and Mrs. Storer will perforin the vocal Parts"; on the following Nov. 29-Dec. 3, an elaborate advertisement
* Dubourg- a fine violinist and pupil of (Jcininiani, was Doted for bis brilliant technique; on one occasion he indulged in a Cadenza of such length and diffaseness, thai
at its close Handel, who was conducting, called out u Welcome home, Mv. Dubourg."
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DR. arm:.
detailed Mr. Arne's plans : — ' Mr. Arne proposes
to exhibit, at the Theatre-royal in Aungier-street, Four Performances in the manner of the Oratorios in London, viz.: Two Performances of the Distresses and Conquest of King- Alfred, composed hy Command of His Royal Highness Frederick Prince of Wales, and performed at his Palace at Cliefden, hut never yet exhibited in Publiek, and two Performances of a New Oratorio called The Death of Abel: Both composed by Mr. Arne. Subscription Three Guineas, Every Subscriber to have three Tickets on each Night of Performance. No Person (not subscribing) will be admitted into Pit, Boxes, or Lattices, under half-a- Guinea a single Ticket. The first Performance to begin as soon as one hundred Subscribers shall be obtained, of which fifty have already subscribed. Subscriptions are taken in by Mr. Arne, at his House in Aungier-street, near the Theatre. Mr. Arne has a few Books of the Works he has published, which he will dispose of at the following Prices, viz. : The complete Score of the Overture, Songs and Duettos in the Masque of Comus, 7s. The Songs in As you like it, and Twelfth Night, with the favourite Duetto in the Rival Queens, and other select Airs, 4s. 4d. And the Songs in the Beggar of Bethnel Green, with several new favourite Ballads annexed, 6s. 6d. Likewise, a curious Harpsichord from London, made by Kirkman, TabelPs Foreman, which he will sell very reasonably." A writer in the Dublin Journal at this time (November, 1743), said, ''Mr. and Mrs. Arne are beyond comparison, in their way the most extraordinary Persons this Kingdom has seen. The Aungier Street Stage has now the very best Company
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/>/.'. .l/.'.VA.
of Players thai ever \\a> in thi> Kingdom, they are now better than any Company in London, and the Price* except <m very extraordinary Occasions are at the lowest Wato.'*
The Duke and Duchess of Devonshire commanded a performance of " The Beggar's Opera " on December the 8th, at the Theatre Royal in Aungier Street, when Arnc presided at the harpsichord, and also ;it seven representations which followed. At a benefit given for Mr. Lowe on the 17th, Comus " was performed, with .Mrs. Arnc in the parts of the Pastoral Nymph and Sabrina, singing also, as usual, the Lady's song, " Sweet Echo." She again appeared with Mr. Arnc at a benefit concerl given for Signor Barbatielli, who had broken his ley. The advertisement announced, Mr. Dubourg, is so kind as to perform, and will conduct the whole, assisted by Mr. Arnc and Mr. Pasqualino, the Vocal Parts by Mrs. Arnc. Mrs. Storer. Mr. Lowe, and Mr. Colgan. Tickets to he had at Mr. Barbatielli's Lodgings in George's Lane, opposite to Fade-street, and at the Mnsick hall, at 5s. 5d.— N.B. D is hoped that the Gentlemen and Ladies will he SO good as to excuse Mr. Barbatielli's personal Attendance, he lying under the Misfortune of a broken Leg. Ladies are requested to order their Coaches down Fishamble- street,forthe more easy going in, as at Mr. HandelTs."
Arne's " Comus" was again performed on the 22nd of December. In 1744, on the 2nd of January, at the Theatre Royal after *' Amphitryon." with singing and dancing between the acts, the farce "Miss Lucy in Town" with Arne's music was per- formed. Special attention was directed to Mr. Lowe's ( 29 )
hi:. ARNE.
singing- of the Part of Cantilencf" [a Burlesque upon the Italian Singers]. On the 12th of January Mrs. Arne made her first appearance in Lampe's burlesque Opera The Dragon of Wantley." The advertise- ment runs, The Part of Moor-Hall to be performed by Mr. Lowe. The Part of Margery to be performed by Mrs. Arne, being her first Appearance in any comic Character; and the Part of Mauxalinda to be performed by Madam Chateauneuf : dubbins by Mr. Worsdale; the Dragon by Mr. Layfield." Mr. Arne presided at the harpsichord.
We have become familiar with Arne's skill as composer, violinist, conductor, and harpsichord player ; we now find an interesting notice of his first essay, and probably his last, as an actor. The Journal' of Jan. 24-28 announced, * By the real and absolute Command of their Graces the Duke and Duchess of Devonshire, for the benefit of Mrs. Arne, at the Theatre-royal in Aungier-street, on Saturday, the 28th Instant, will be performed the Second Part of Henry IV. With the Humours of Sir John Falstaff. The Part of Henry Prince of Wales by Mr. Arne, being his First attempt of that Kind." The Shakespeare play was followed by some vocal music by Mrs. Arne and Mr. Lowe, and the whole concluded with Lampe's Dragon of Wantley."
We now come to an important event, the perform- ance of the Oratorio, The Death of Abel," which was first produced in Dublin, and not in London, as is generally stated. The following curious advertisement appeared in the Journal. Feb. 11-14, 1744: "By subscription. At the Theatre-royal in Smock Alley, on Saturday next, being the 18th of this Inst. Feb. ( 30 )
DR. .lA'.VA.
will be performed A new Oratorio, called The Death
of Abel. Set t usic by Mr. Arne. The Principal
Characters to be perfonned by Mr. Lowe, Mrs. Arne, and Mademoiselle Chateanneuf. The stage will be disposed in the same manner as at Mr. Handel's Oratorios in London. As but 12 more subscribers can be admitted, such gentlemen and ladies as intend to honour Mr. Arne l>y subscribing, arc greatly desired immediately to send their names to his house in Aungier-street, where tickets are ready to deliver to the subscribers. N . 1 5 . Attendance will he given at the Theatre on each Day of Performance, when Subscribers, on sending their Subscription Tickets, will have three delivered on each of the four Nights of Performance. Pit, Boxes, and Lattices, Half a Guinea. Firsl Gallery, :2s. 8d. halfp. Upper Gallery, "2s. 2d. Ladies are requested to sit in the Pit, as well as Boxes, as is the Custom at the Operas and Oratorios in London, for which purpose the Pit seats will be made thoroughly clean. To begin exactly half an Hour after Six. The Printer made a mistake in the last hills; hut the Subscribers may depend that according to Mr. Arne's proposal) no Person 'except Subscribers) will be admitted into Pit, Boxes, or Lattices under Half a Guinea. Mr. Arne begs Leave to acquaint the Public, that he has been credibly mform'd by several worthy Families that the Gentlewomen who keep the Saturday Nights Assembly, or some one concerned with, or commission'd by them, have made it their business to complain of lii- per- forming the Subscription Oratorios on that Night, alledging that it was done on purpose to prejudice
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DR. ARNE.
them. Now, so far was that from being- thought of, much less intended, that the Gentlemen Proprietors of the Theatre, as well as Mr. Arne, endeavoured their utmost to fix another Nig*ht, but could not, for the following- Reasons; The Mondays and Thursdays are taken up with Benefits for six Weeks. On Tuesdays are Vicars-street Consort, and the Bear on College green, which take up all the best Hands. On Wednesday are the Phil Harmonic Society, and Crow- street, where they are likewise engaged. And on Friday is Fishamble Consort, where they are obliged to perform ." " The Death of Abel ' ' was repeated on the 25th of February. This early oratorio of Arne's was never published, and no manuscript copy of it is known to exist. One song", however, became very popular, and was in great request — ' The Hymn of Eve " :
How cheerful along the gay mead, The daisy and cowslip appear, The Flocks as they carelessly feed, Rejoice in the Spring- of the year. The Myrtles that shade the gay how'rs, The Herbage that springs from the Sod ; Trees, plants, cooling fruits, and sweet flow'rs All rise to the praise of my God.
The music, very simple and melodious, but without striking- evidence of genius, has been frequently reprinted, and arranged in various forms.
A comedy, "The Rehearsal," with Arne's music, was played on the 1st of March, at the Theatre in Aungier Street, for the benefit of Mr. Basdin ; the sing-ing- parts were performed by Mr. Lowe and Mr. Worsdale. The Journal, Feb. 28-March 3, 1744, contained the advertisement announcing- the first
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DR. ARNE.
public performance of Alfred," and the Judgment of Paris,*5 which took place on the LOth of March: and on the 2!>th of the same month Comus" wa8
again performed, for the last time in the season. Mrs. Vine, as a matter of course, representing Sahrina and the Pastoral Nymph, and singing the sony 'Sweet Echo." Lowe was the Bacchanal and Attendant Spirit; and Miss Davis, Enphrosyne. This performance was given at the Theatre in Aungier Street, and shortly afterwards Rosamond" \\;is revived at the Theatre Royal in Smock Alley. It must have been well received, as there were five performances, on the 2nd, 5th, 9th, 10th, and 19th of April. Mrs. Arne represented Queen Eleanor; Lowe. King Henry; Layfield, Sir Trusty; Miss Davis, Grrideline: Madame Ghateauneuf, Rosamond. On the 2nd The Merchant of Venice " was also performed " with the songs proper to the Character," sung hy Mr. Lowe. Faulkner's Journal, 7-10 April, contained a Song", * The Scene a Bower," addressed to Mrs. Arne, which may be taken as evidence of her popularity. There are nine verses, commencing :
From yonder BowY, where blowing- sweets
Perfume the vernal Air, I hear (he music of a voice
Peculiar to the tuneful Fair.
On the 26th of April a performance was given of the tragedy Theodosius, or the Force of Love." This play, written by Lee, was printed in 1680 with five songs and two choruses composed by Henry Purcell. The libretto was revised for the Dublin performance. The announcement ran, " At the particular Desire of ( 33 )
DR. AllXK.
several Persons of Quality, for the Benefit of Mr. Barry, at the Theatre-royal in Smock-alley on Thursday the 26th Inst, will be acted a Tragedy called Theodosius or the Force of Love. The Part of Varanes to be performed by Mr. Barry, being- the first Time of his appearing- in that Character. Tickets to be had at Mr. Barry's in Skinner-Row. — As the original Songs, and Chorus's of the Play were never performed in this Kingdom, for want of Musick and Performances equal to such an Undertaking; Mr. Amelias been prevailed upon to set the same to new Musick."'' Purcell's music was published in 1680; copies of it are now very rare. It consisted of five songs and two choruses. Arne's music was never printed, and only one manuscript score of it is known.* An examination of that copy shows that Arne wrote music for nine pieces — four airs and five choruses, very short move- ments. The words are not those set by Purcell, excepting one air and one chorus. The solos are written for soprano and contralto voices ; the orchestration for strings, two oboes, and two horns.
The last appearance of Mr. and Mrs. Arne in Dublin, during the year 1744, was at the Great Room in Fishamble Street on Wednesday, the 30th of May, when The Judgment of Paris " and Alfred " were performed for their joint benefits. Particulars respect- ing this event will be found on page 124. The season being ended, Arne and his wife returned to England, by way of Parkgate and Chester. During their stay in the last named city the youth Charles Burney was intro- duced to Arne, and having exhibited his skill as a
* In the King's Library, Buckingham Palace.
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I) 11. ARNE.
performer on the harpsichord became an articled pupil of the popular composer, with whom he journeyed i<» London. I poii his arrival in the Metropolis, \v\w resumed his connection with Drury Lane Theatre ;i> composer, and obtained an engagement there for his wife as "Serious Singer." The year 1715 was a prosperous one for both Arne and his wife — they were in constant employ at the Theatre and in concerts.
On the 20th of March, .Mrs. Arne had a benefit at Drury Lane Theatre, when Alfred" was performed for the first time in London. The details of this interesting and memorable occasion will he given in connection with Rule, Britannia."
On the deatli of Gordon, the leader of the orchestra at Drury Lane, Arne accepted the appoint- ment which was virtually that of conductor. This was a welcome addition to his importance and income.
A letter written by Mrs. fibber to Garrick, dated the 1st of May, 1745, gives interesting evidence iA' the amicable relations between Arne and Garrick at that time: "I am very glad to hear you are better, and if you dare venture out, shall he glad of your company at dinner. As you are an invalid, pray send me word what you can eat. and at what hour you will dine. 1 shall send Tom Arne] to meet you. and am Sir David. Your most faithful friend and servant, to command till death."'
On Saturday, the 28th of September, 1 745, occurred a memorable scene in the Theatre Royal, Drury Lane. The Daily Advertiser published on the Monday following describes it thus: "On Saturday nighl last, the audience of the Theatre Royal, Drury Lane, were agreeably surprised by the Gentlemen belonging
I 35 |
DR. ARXE.
to that House performing1 the Anthem of God save our noble King*. The universal Applause it met with, being1 encored with repeated Huzzas, sufficiently denoted in how just an Abhorrence they hold the arbitrary Schemes of our insidious Enemies, and detest the despotick Attempts of Papal power." The Anthem was repeated nightly till nearly the end of November, and the managers of Covent Garden Theatre followed suit. The arrangement of the Anthem for Drury Lane was made by Arne, who had for principal singers Mrs. Cibber, Mr. Beard, and Mr. Reinhold. Mrs. Cibber being a contralto, the music had to be sung in a low key. Aniens autograph manuscript written for the occasion is in the British Museum : it will be interesting to see the melody of God save the King" as then sung :
m
cr
-G>—e>—G> &-*-j
^m
I
feXXXD
BE
— I — m — I — I — \—*~?-m
ff
■ <■}■
-ri— JH— <9--
Arne's pupil Burney made the arrangement of God save the King" for Covent Garden Theatre; the enthusiasm excited at that theatre fully equalled that of Drury Lane. Benjamin Victor, in a letter he wrote to Garrick on the 10th of October, 1745, said " the stage, at both houses, is the most pious, as well as the most loyal place in the three kingdoms.
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Dll. ARNE.
Twenty men appear at the md of every play; and one, stepping forward from the rest, with uplifted hands and eyes, begins singing, to an old anthem time, the following words — God save the King."
In this year, 1745, Arne was appointed composer to \ auxhall Gardens, for which fashionable place <>t' amusement he wrote a considerable number of songs, ballads, and a dialogue "Colin and I'luebe," which was sunn- every evening throughout the season by Mrs. Arne and Mr. Lowe. Engagements of a similar character at .Marylehone Gardens and Ranelagh gave great scope for his talents, and must have kept him fully occupied.
In 1740, on the 17th of January, a farce, "Miss in her Teens." written by Garrick, with music by Arne, was produced at Covent Garden Theatre. On the 31st of January Shakespeare's Tempest " was revivedat Drury Lane Theatre. TheGcmnil Advertiser announced the performances, " Drury Lane. Never Acted there before. By His Majesty's Company of Comedians. At the Theatre Royal, Drury Lane, this Day will he presented a Play call'd The Tempest, as written by Shakespeare: with the original Decorations, particularly the Grand Masque, new set to music by Mr. Arne. The Part of Ariel with the proper songs) by Mrs. ('live." This was the birthday of the beautiful melody, " Where the bee sucks," a sony whose freshness and charm never tire, and a tuneful combination of poetry and music destined to endure so long as the concord of sweet sounds has the power of touching human hearts.
Another interesting letter from Mrs. Cibber to Garrick, dated 8th of April, 1746, contains several
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DR. ARNE.
references to her brother : — My brother is to thank you for my playing- for him .... Tom Arne sends his service: he is forced to put his pit and boxes together, which I reckon will be no advantage to him, ladies' hoops taking up more room than the difference of price."
In 1748, Mrs. Arne left Drury Lane Theatre, and went to Dublin with her sister, Mrs. Lampe, a singer of repute and wife of the composer of The Dragon of Wantley." Previous reference has been made to Mrs. Arne's frequent attacks of illness ; one of these prevented her undertaking work in the early part of the Dublin season; and it was not before the 11th of November that she was able to sing in public. On that day she took part in HandeTs
Esther," being recovered from her late illness." She next sang the part of Galatea in Handel's
Acis" on the 18th, and at a repetition performance on the 25th. Faulkner's Journal of Nov. 19-22, reported that Mrs. Arne (tho' but just recovered out of a violent Fever) gave entire satisfaction." In the following December (on the 16th) she sang in Handel's Solomon"; and on the 7th of February, 1749, had a benefit concert at the Fishamble Street Music Hall, when she took the part of Galatea in Handel's Acis," and she with her sister, Mrs. Lampe, introduced several favourite Songs and Duets."
Arne had a son, born in 1740 or 1741 (Dr. Burney says, he was a natural son"), who inherited some of his father's gifts for music. These were encouraged and developed, and we find, amongst Arne's compositions, songs composed for the youth,
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DR. ARNE.
who whs introduced to the public by his father ai Marylebone Gardens. Twoexcellenl printed examples are "ianthe and [phis, sung by Master 4rne, ai Marybon Gardens"— and "An thou werl mine own Thing, suiiu- by Master Arne af Marybon Gardens." The youth became well known as a composer and performer in London and Dublin. One of his songs, popular to-day, "The lass with a delicate air," is sometimes ascribed in error to his father.
In 1752 Ame composed music for Harlequin Sorcerer," an old pantomime in which Rich had many years before made a greai success. The per- formance took place at Covent Garden Theatre on the 11th of February, and there was an overwhelming demand for seals: the doors were therefore opened at three o'clock in the afternoon. The performers included .Mrs. Arne. Mrs. Lampe, Mr. Lowe, Mr. Legge, and a Chorus. The music was published by Walsh, who appears to have had a hnsiness contract with the composer. The following letter, by Arne. addressed to William Shenstone, the poet, throws light on the subject : " Nov. ye 30, 1 75 1, Si i;-liy the hands of Mr. Dodsley, I receiv'd your very obliging letter. and wou'd for my own Pleasure comply with your Request ; but Mr. Dodsley's interest in this Particular interferes with mine: tor if he prints my Music in his Publication, 1 shall lose the sale of it to Mr. Walsh I the King's Music-Printer who gives me 20 guineas for every Collection 1 compose— consisting of eight or nine Songs, and who wou'd not give a shilling for any Thing that another had first publish'd. Of this 1 acquainted Mr. Dodsley, who did not seem inclin'd to make any Gratuity for
( 3.» i
dr. Any/:.
the Loss. Any Song-, Cantata, or Dramatic Piece from so delicate a Pen, whereby I should not considerably lose to promote another's Gain, wou'd be the most welcome present I cou'd receive, stamp an additional Reputation on my Music, and highly oblige. Sr. your most obedt. servt. Thos. Augne. Arne, Charles Street, Covent Garden."
That Arne's music had obtained repute in Edinburgh, is shown by an advertisement in the Caledonian Mercury of the 6th of March, 1752: "New Musick. Now in the press and will be ready by the beginning of April next, and delivered to subscribers. All the Songs, Duettos, and Trios in the Masque of Comus composed by Thomas Augustine Arne, as adapted to the Harpsichord and Voice, and all the Songs, Duettos and Trios in the Burlesque Opera, called the Dragon of Wantley composed by the great John Frederick Lampe, likewise adapted to the Harpsichord and Voice. The above words may occasionally be accompanied with Violin or German Flute and Violoncello. This manner of reducting them to avoid the Perplexity of the different parts in a score which confound young practitioners was finished by Mr. Lampe in his lifetime," and the proofs of the Plates have been revised and corrected by Mr. Arne."
In May, 1754, Arne went to Edinburgh, possibly on business in connection with the publications announced in the above advertisement. Be that as it may, the Caledonian Mercury of the 23rd of May contained the following notice: — For the benefit of Mr. Arne. At the Assembly Hall on
* Lampe died at Edinburgh in 1751. His wife was sister to Mrs. Arne.
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hi;. ARNE.
Monday. 27th May, A Concert of Vocal and Instru- mental Musick. The Yrocal part to be performed by Miss Rodburn, and the [nstrumental l>y Mr. Pasquali, Mr. Arne and others. To begin Precisely at li. Tickets, 2/6. To be had at Mr. Arm's Lodgings, at Mr. Johnston's, Wigmaker, head of Chalmer's Close, and at the Old and John's Coffee houses."
In the autumn <>t' 17.V>. Arne and his wife again visited Dublin. They were accompanied by a dumber of capable vocalists, Miss Young, Mrs. Arne's sister. her six-year-old niece Miss Tolly Young, and Miss Charlotte IJrent ; they resided together in Pishamble Street, at the Passage Door next the Golden Scales. Arne advertised in Faulkner's Journal, Oct. 4-7: To the Public. Mr. Arne, who is arrived in this Kingdom, with several Vocal Performers, having agreed with Managers of the Theatre Royal, Proposes, by Subscription, to entertain the Town Ten Nights, with Three Operas in the English Language, \iz. I: A new Opera call'd Eliza, An Opera call'd Alfred, and. an Opera call'd the Fairies. The Subscription is, this Day. opened at the Office of the Theatre in Smock Alley, where Attendance will be given every Day from Twelve to Three. Ten Box Tickets for the ten Performances will he delivered to each Subscriber for two Guineas. — The first Performance will he in the Beginning of November. N.B. The Orchestra will he considerably enlarged, an Additional Number of the besl [nstrumental Performers engag'd, and Mr. Arne will accompany the Operas on the Harpsichord."
: .Miss Polly Young was the daughter of Charles Young, Mis. Arne's brother.
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DR. ARXK.
This advertisement was repeated several times, with the additional information that there would be "A fine Organ put up" and that "Places for the Boxes for the said Nights of Performance, to be taken at the Office of the Theatre from 12 to 3, or of Mr. Neil, at his House in Abbey-street." In consequence of the illness of Mrs. Arne, the Journal of 8-11 Nov. stated:— "The Opera of Eliza is obliged to be deferred to the 27th, on Account of the Indisposition of a principal Performer." The opera was again postponed to the 29th, when it was given "By Command of his Excellency the Marquis of Hartingtoii," and the "whole House was illuminated with Wax Lights." Printed books of the opera were "published and sold by Mr. Ho'ey, at the Mercury in Skinner-Row, and at the Theatre, at a British Sixpence each. The Journal gave a report of the performance: On Saturday last, at the Theatre-Royal in Smock-Alley, was perform'd Mr. Arne's new Opera call'd Eliza: The noble and splendid Appearance, and the great and just Applause throughout the whole Performance, were strong Indications of the good Taste reigning in this Kingdom, and a generous, though proper Compliment to that great Master of his Science, Mr. Arne, — Mrs. Arne, whose Excellence is well known, had the Misfortune of a violent Hoarseness, and rose from her Bed in a Fever to perform ; Mr. Sadler and Miss Brent, were greatly approv'd ; but Miss Polly Young, a Child of six Years of Age, pleased and astonished the whole Company, having a sweet melodious voice, accenting her Words with great Propriety, and Singing perfectly in Time and
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DR. ARNE.
Tune. The Poem is. by nil judges <>f good Writing, thought excellent; the Orchestra was full, and perform'd without a Fault; but the Judgement, Taste, Expression, and Variety of the Music would be injur'd in an Attempt to commend it." The perfor- mance was repeated on Thursday the 4th, and Saturday the 20th of December. Arne's opera Rosamond" was played on the 3.1st, with Mrs. Arne as Queen Eleanor; Miss Brent, Rosamond; Grrideline, Miss Young; Page, Miss Polly Young; King Henry, Mr. Sadler. Mr. Arne conducted. The opera was repeated with the same cast on the 9th of January, 1756; and on the 21st and 26th of the same month Comus" was performed under the com- poser's conductorship by Mrs. Arne. Miss Brent, Miss Spencer, Mr. Sadler and .Mr. Corry. Faulkner's Journal, 20-24 .Ian., 175(1, contained an "Ode to Apollo," without author's name. The following verses, if written by one of the public, show that Arne and his wife were held in the highest estimation by music-lovers :
Mark! hark! what notes enchant nij Bars, Sweet as the musick of (he Spheres? 'Tis ARNE (he Gods' Vicegerenl comes, Now vanish Backets, Routs, and Drums; And with him come the Muses Hand in Band, To see fulfilled Apollo's great command.
See Taste with Joj its Head aprears, Rais'd by A rue's heav'nlj Airs: Skill'd with equal Pow'r t' inspire Irene's youth with martial Fire, And lull to Rcsi, with Soul-delighting Sound-, The Pains of Grief, and heal Love's bleeding Wounds. i l::
DR. ARNK.
Not he that charm'd the Thracians' Plains, E'er tun'd his Lyre to softer strains : Nor does the warbling Bird of Night More than his sweet-song'd Spouse delight. 0 say ! what Price or (rifts can both engage Here to remain, to save a sinking age?
Iii the following February (24-28) the Journal announced : The Play called the Tempest, or the Inchanted Island (with all the original Musick) is now in Rehearsal at the Theatre Royal, and will be performed next Week. The Part of* Ariel by Miss Brent, being- her first Appearance in that Character, Neptune by Mr. Sadler, Amphitrite by Miss Spencer, and Mr. Arne will accompany the Musick on the Harpischord." Mrs. Arne, Miss Brent and Miss Spencer sang- at a concert given on the 17th March, in aid of the Meath Hospital, and three days later, the 20th, were engaged in a performance of Comus " for the benefit of Mr. Arne; the Masque of Comus" was followed by a Farce (never acted before) called, The Pincushion : Being a Manuscript of the celebrated Mr. Gay's. Author of the Beggar's Opera. The Songs adapted to favourite Ballad Airs of Mr. Arne's. The Characters by Mr. Sadler, Mrs. Pye, Miss E. Young1, and Miss Brent." The Journal informed the public that the Masque of Comus will be performed in a most elegant Manner on Mr. Arne's Benefit night next Saturday, that two Rows of the Pit will be taken in to inlarge the Orchestra, and Mr. Arne will accompany the musical Part. We are further assured that the new pastoral ballad Farce called The Pincushion, which will likewise
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then be performed, is n real Manuscripl of thai celebrated Poet Mr. Gay, Author of the Beggar's Opera, and that Song's arc adapted by .Mr. Arne. several of which arc New."
A benefit tor Mrs. Knowles, on the 2nd of April, was given tor which Arne composed music. The advertisement announced: "Act the 2nd. A Duetto between Mr. Sadler and Mr. Butler, accompanied
with French Morns, etc.. called The Death of the
Stag. The .Music composed by Mr. Arne!" At the end of the play by particular desire** Mis> limit sang, " Where the bee sucks." The duet with French horns was doubtless composed to exhibit the skill of "Mr. Charles and his Second.'" On the 5th of May, Miss Spencer had a benefit at the Theatre, when she introduced A new Ballad calPd Kitty, or the Female Phaeton ; the words by Prior, set by Mr. Arne." This song became a favourite at Ranelagh Gardens. Mrs. Arne contemplated giving a benefit concert and ball in May; the programme was to include music from Arne's "Alfred." but after several advertisements and postponements, it was announced that "Mrs. Arne is obliged to acquaint the Public that Mr. Arne (by Desire intending one capital Performance of Alfred before his Departure from this Kingdom, she will make no other Benefit on her own Account, and those Tickets which are disposed of among her Friends will be then taken, on paying the additional Price." Subsequent advertisement announced: By Special Command of their Excellencies the Lords Justices. — For the Benefit of Mr. and Mrs. Arne. At the Great Music-ball in Fishamble-street, on
DR. ARNE.
Tuesday, the 25th of this Inst., May, will be performed, in the Manner of an Oratorio, Alfred the Great, composed by Mr. Arne, at the special command of His late Royal Highness, Frederic, Prince of Wales, and originally performed in his Palace at Cliefdon. Mr. Arne will accompany the Performance on the Harpsichord, and Mr. Walsh will perform a Concerto on the Organ. The Vocal Parts to be performed by Mrs. Arne, Mr. Sadler, Miss Brent, Miss Spencer, Miss Young" and Miss Polly Young. Ticket, a British Crown. All out- standing Tickets, for the Opera of Eliza and the Tickets delivered by Mrs. Arne, will be taken. After the Performance (by Desire) will be a Ball, conducted in the most elegant Manner, on Account of which the Performance will begin at Seven. Tickets to be had only of Mr. Arne, at the Passage Door next the Golden Scales, in Fishamble-street." After this performance in 1756, Arne appears to have left Dublin, and probably never revisited that city. Mrs. Arne remained in Dublin with her niece, Miss Polly Young, who had a benefit at the Smock Alley Theatre on the 8th of July, and was assisted by Miss Young and Miss Brent. The Youngs sang also at a benefit concert given for Miss Polly Young, at Marborough Green, on the 7th of September. It seems pretty clear that Arne deserted his wife at this time, and that the fact soon became known to many in Dublin. An
Assembly" was announced for her benefit early in December, but was postponed from time to time ; finally, the Journal, March 5-8, 1767, announced :
Mrs. Arne, having opened the Music -Hall in
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A.KNE. i;v BaRTOLOZZI.
/ ". 16.
hi:. ARNE.
Fishamble-Street for her Benefit on Saturday the 12th of Feb., under greal Disadvantages, is advised by her Friends (who had Notice of thai Night, and are sensible of her Losses, to li\ on Thursday, the 10th of .March, for her Benefil and Miss Young's, when the Ladies and Gentlemen who will honour them with their Company, may depend they shall on no Account be disappointed. — X.IJ. The Tickets given out for the different Nights she has
advertised will he taken, and others had of Mrs. Arne, at her Lodgings in Annyier-st reet and ;it the Music-Hail. Price 5s. Cxi."' Later in the year (April 24th) Mrs. Arne and Miss Young gave ;i concert. Allusion has already been made to Mrs. Arne's frequent ;itt;icks of indisposition, and it is reasonable to think that her husband's conduct would have a grave effect on her health and spirits. She seems to have relinquished public performance for a time and retired into private life. A very interesting glimpse of her is to he found in The Autobiography and Correspondence of Mary Granville, Mrs. Delany." Writing to her sister, Mrs. Dewes. from Mount Panther, County Down, on the 8th of August, 1758, she said: On Saturday we dined at Mi-. Bayly's; Miss Bayly had "one on a party of pleasure. I was surprised there at meeting Mrs. Ante .Miss Young that was) : they have her in the house to teach Miss Bayly to sing : she w;is recommended to Mr. Bayly by Mrs. Berkeley as an object of compassion. She looks, indeed, much humbled, and 1 hope is ;i- deserving as they think her to be ; great allowances
are to he made for the temptations those poor people
fall under. She has been severely used by a bad
I 17 )
DR. ARNE.
husband, and suffered to starve, if she had not met with charitable people. She behaves herself very well, and though her voice has lost its bloom as well as her face, she sings well, and was well taught by Geminiani and Handel, and had she not been idle would have been a charming singer. Mr. Bayly plays on the violin, his curate on the German flute ; Mrs. Arne and Miss Bayly sing, and a girl of nine years old* accompanies them on the harpsichord most sur- prisingly ; she is a niece of Mrs. Arne's ; the race of the Young-s are bom songsters and musicians. It is very agreeable to have such an entertainment in our power to go to whenever we please." Poor Mrs. Arne! humbled, half-starved, deserted by her husband, losing- her good looks, and the bloom of her voice, sings well, and if she had not been idle would have been a charming singer! Mrs. Delany, a gifted and kind-hearted woman, was evidently ignorant of the fact that the lady she criticised was forty-seven years of age, and had been constantly before the public, as a vocalist, for twenty-six years. In the following January, 1759, Mrs. Arne and Miss Young were residing together in Dublin, at Mrs. Rowe's, in Drogheda Street. A Grand concert of Vocal and Instrumental Musick, followed by a Ball, was given for Mrs. Arne's Benefit at the Fishamble Street Music Hall on the 6th of March, when both appeared and sang; another benefit performance for Mrs. Arne was given on the 17th of April, when "Much ado about Nothing" was performed. Miss Young-, Mrs. Storer and
* Polly Young.
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DM ARNE.
Mr. Wilder were the vocalists. A benefit concert and ball, for Mrs. Arne, w;is given « > t ■ the 10th of December; she had then removed t<» Mrs. Lee's, in William-street." It is significant thai she did Dot siny on this occasion, nor is there any evidence of her appearing again before the Dublin public; a Grand Hall was announced for the Benefit of Mrs. Arne and Miss Young at the Fishamble Street Music Hall on the 25th of November, when it was stated: "Before the Minuets Miss Young- will sing some capital Sonus, accompanied by herself on the Harpsichord."
Mr. Arne had been fully engaged in the various gardens and theatres in London. At Covent Garden Cymbeline" was produced, with songs by him. His pupil. Miss Brent, had appeared at Drury Lane Theatre, in his opera "Eliza," on March the 3rd, 1758, and at Covent Garden on the 10th of October, 1751), as Holly, in the "Beggar's Opera." On the 6th of July. L759, the University of Oxford conferred upon Arne the degree of Doctor in Music." It is said that he composed an Ode which he submitted to the authorities; but no copy of it is known to exist.
In 1760, on the "isth of November, Dr. Arne's musical entertainment " Thomas and Sally," written by Bickerstaff, was produced at Covent Garden Theatre. Miss Brent made a great success both as singer and actress; the other vocalists included Mr. Beard, Mrs. Vernon, and Mr. Mattocks. The piece obtained immediate and lasting popularity.
* He had been Btudying (he Bcience of music under tin- learned Dr. IVpuseli.
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DR. arm:.
The music was published with the following- title : Thomas and Sally, or the Sailor's Return, a Dramatic Pastoral, with the Overture in score, songs, dialogues, duettos and dance tunes, as performed at the Theatre Royal in Covent Garden by Mr. Beard and Miss Brent, Mr. Mattocks, Mrs. Vernon, and chorus. The music compos'd by Doctr. Arne. London Printed for J. Walsh, in Catherine Street, in the Strand. Enter'd at Stationers' Hall." In 1761, on the 27th of February, at Drury Lane Theatre, Arne brought out his oratorio Judith," one of his most important compositions. The Public Advertiser of the above date, announced : " At the Theatre Royal in Drury-Lane, This Day, will be performed a new Sacred Oratorio call'd Judith. The Music composed by Dr. Arne, with a Concerto on the Organ. Pit and Boxes will be laid together at Half a Guinea. First Gallery 5s. Upper Gallery 3s. 6d. Tickets for the Pit and Boxes may be had of Mr. Varney, at the Stage-Door of the Theatre. To begin at half an hour after Six o'clock." The following- day a brief notice appeared in the same journal, which said: Last Night the new sacred Oratorio call'd Judith, was performed at the Theatre Royal in Drury Lane, to a most polite Audience, who g-ave it the greatest Approbation and Applause ever known, on the Occasion." Evidence of the success of the oratorio is the repetition of it on the 4th and 6th of March. It was also again performed in Lenten season of 1762 at the theatre. In 1764, on February 29th, it was performed at the Chapel of the Lock Hospital, Grosvenor Place, Pimlico, on behalf of the funds of the charity. A more notable
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repetition took place ai Co vent Garden Theatre on the 2()th of February 177:>. when for the tir-t time ladies formed a part of the chorus; before tins time the treble chorus was confined to boys' voices. This happy innovation of Dr. Arne's was well received; the Public Advertiser said: "The Oratorio of Judith, composed by Dr. Arne, which was performed at the Theatre Royal in Covenl Garden, yesterday evening, was received with uncommon Applause. The principal singers acquitted themselves to the utmost Satisfaction of the Audience. Mr. Barthelemon was greatly admired in his Solo on the Violin, and too much cannot he said of Signor Spandau's Concerto on the French Horn. as it surpassed any Performance on that Instrument hitherto heard in this Country. The striking Appearance of the Hand and Chorus, which were much more numerous than they usually have been, received a most pleasing Addition from the Female Singers, then first introduced." Ft is somewhat remarkable that the Pianoforte was first used in public as an accompaniment for the voice when a song from "Judith" was sung at Covent Garden Theatre by Miss Brickleron the 16th of May, 17<>7. The playbill announced that after the first Act of the Beggar's Opera," " Miss Bricklerwill sing a favourite song from Judith, accompanied by Mr. Dibdin, on a new instru- ment called Piano Forte.*' The published score of the music of " J udith " has for 1 if le, " J udith an ( Oratorio as it is IVrformM at the Theat re-Royal in Drury Fane. Compos'dby Dr. Arne, London. Printed for J. Walsh in Catherine Street in the Strand.*' This volume unfortunately does not contain a single chorus. The Overture is scored for Strings, Hautboys, Fa-soon
DR. ARNE.
and Horns. It opens with a spirited Allegro, followed by a short Andante movement for string's only ; the other instruments resume in the final Allegr< i)Ii ulerato. A solo, " Wake, my harp," which was sung by Mrs. Cornelys, is accompanied by strings, violins pizzicato, harp and harpsichord in a very effective manner. In an air, "Haste to the gardens of delight," sung by Mr. Tenducci, two flutes are added to the orchestration ; and in another air, With heroes and sages," also sung by Tenducci, we find the bassoons have parts independent of the basses, a somewhat novel departure at the period when Arne wrote. An air, "No more the Heathen shall blaspheme," sung by Mr. Fawcett, has the novel accompaniment of two violoncellos and bass; no other instruments until the last four bars of symphony, when the violins are introduced. Fortunately the composer's autograph score exists in the British Museum, and in that we find much of interest. It exemplifies in some degree the well-known haste and carelessness of the composer; there are sundry memoranda, such as "take care of the Instrumental parts where I have mistaken the lines," "Bassoons in semi- briefs," &c. The choruses are in this case his own ; there was no borrowing from Handel. The first, "Father of mercies," is short— only thirty-seven bars. The next, "When Israel wept," is also short and good. " Hear, angels, hear " extends to one hundred and twenty-six bars; Hail, immortal Bacchus," eighty- five bars; "Prepare the genial bower," eighty-seven bars ; and the next, a very fine chorus, "Who can Jehovah's wrath abide," one hundred and eight bars; "Breathe the pipe," sixty-two
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DR. ARNE.
bars ; and the last chorus, "Here, sons of Jacob,"
written in five VOCal parts for soprano, alto. tenor
and bass, sixty-four bars. Dr. Arne was remark- able for liis deficient memory respecting things trifling- in themselves, yei sometimes of considerable
consequence as connected with other matters. If he made an appointment to meet a friend, whether for the purpose of business or amusement, he would probably mistake the day; if he wrote an order for the theatre, it was equally probable that the play would he misnamed, or thai the frank would hear a wrong- date. On one occasion, when he had prepared an elaborate Ode. he had it rehearsed, and announced the day for its public performance. The great room at t be Crown and Anchor* was crowded with company impatiently waiting for their expected gratifica- tion. Arne arrived at the tavern-door in a fiacre, leaped out with the score under his arm. ami left the parts behind him. When the doctor discovered his neglect, he was in the condition of a madman. Persons were dispatched in all directions in search of the coach, but it could not he found; and the band and company were subjected to the mortification of being dismissed — the first without performing-, and the latter without hearing, a note of the prepared Ode. Could this have been the Ode which, it is said, he composed as an exercise for his degree? Arne. by his connection with the theatres, had constant opportunities for cultivating the
* The Crown and Anchor, in the Strand, was a favourite resort Por concert-givers. In mj youthful dayB the "Abbej Glee Club " and other Musical Societies met there. W.H.C
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DR. ARNE.
acquaintance of Italian singers, and of keeping" up his knowledge of the Italian language ; he was evidently influenced in his later compositions by this familiarity. The simplicity of his melodies became disfigured by excessive ornamentation, and was the subject of adverse criticism. The scurrilous poet, Churchill, in 1761, published the Rosciad," a satire on actors, in which he violently attacked Arne :
Let Tommy Arne, with usual pomp of style, Whose chief, whose only merit 's to compile, Who, meanly pilfering' here and there a hit, Deals music out, as Murphy deals out wit ; Publish proposals, laws for taste prescrihe, And chaunt the praise of an Italian tribe ; Let him reverse Kind Nature's first decrees, And teach e'en Brent a method not to please : But never shall a truly British age Bear a vile race of eunuchs on the stage : The boasted Avork 's called national in vain, If one Italian voice pollute the strain. Where tyrants rule, and slaves with joy ohey, Let slavish minstrels pour th' enervate lay ; To Britons far more noble pleasures spring- In native note, while Beard and Vincent sing.
Arae's Italian proclivities induced him to translate Metastasio's drama Artaserse," and to transform it into an Opera on the accepted Italian mode, without dialogue. This he did successfully ; the recitatives, however, are long and dreary, and the poetry is by no means of a high order. For instance, a very favourite air reads :
Water parted from the sea,
May increase the river's tide ; To the bubbling fount may flee
Or thro' fertile valleys glide :
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hi:. ARNE. Yet in search of lost repo-e,
DoomM, like me, forlorn to roam, Still it murmurs as it How b, Till it reach its native home.
The music of Artaxerxes " has much charm, and presents excellent harmonization in the accom- paniments, which arc scored for string's, flutes, oboes, clarinets, bassoons, horns, trumpets, and drums. In two of the pieces the violetta is employed; there are also two violas obbligato, but as was usual with Arne there is no instance of a general ensemble of the instruments employed. In the Air () too lovely," sung by Tenducci, the violins and basses are marked " Sordini e Pizzicnli." The vocal music is quite overladen with ornament, and the compass required for the several voice parts is generally excessive. The opera was produced at Covent Garden Theatre on the 2nd of February, 1762; the principal performers were Miss Brent, Mr. Heard, .Mrs. Vernon, Miss Thomas. Mr. Mattocks, and Tenducci and I'esetti, both of whom came under the lash of Churchill's satire. The part of Mandane was composed to show oil' the compass and flexibility of the voices of the composer's celebrated pupil, Miss Brent, who therefore was the first exponent of the martial song, The soldier tired of war's alarms.*' which for many succeeding- years was the prescribed test for every new soprano who courted public favour on the stage or in the concert room. This bravura air with its trumpet obbligato still remains a favourite with competent vocalists and discriminating' audiences. Arne sold the copyright of his music for sixty guineas, and it was published with the following ( 55 )
DR. ARNE.
title : Artaxerxes An English Opera As it is per- formed at the Theatre Royal in Covent Garden Set to Music by Dr. Arne. London. Printed for John Johnson at the Harp and Crown opposite Bow Church Cheapside." Another edition of the full score was published from Johnson's plates, by Authority," by Mr. William Warrell, No. 35 Tavistock Street, Covent Garden. Price 12s. It is again worthy of note that Arne did not publish the music of the recitatives in Artaxerxes,'1 nor of the concluding- chorus, Live to us, to Empire live." Arne's libretto was published by Tonson in 1763, with a preface written by the composer. A short extract follows : Metastasio,in his Dialect, seems to affect Simplicity; and from his great Experience in writing for music, has given the following Plan for the Poetry of an Opera, viz., That the Fable, or Recitative, to which fixed Musical Sounds are adapted, should be simple Dialect; hard and dissonant Epithets (though ever so forcible in other Respects) being destructive to Music, and, when sung, for the chief Part, un- intelligible. That the similes be confm'd to the Songs ; and that the Words, which are to express them, be as smooth and sonorous as possible lest the Composer be cramp'd in his Fancy, and the Singers rendered incapable of shewing their Skill, which chiefly consists in openly displaying the Tones of their Voices or running executive Passages.
The Translator of this Opera has no Merit, but from his Endeavour to follow the Author in all these Particulars. He therefore submits this first Attempt of the Kind to the Favour and Indulgence of
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DR. ARNK.
the Publick, not doubting thai (if they consider the Difficulty of writing under such Restrictions, the Necessity of sometimes departing from the Author, on Account of the different [dioms of our Language; and of leaving out many Beauties in the Narrative Part of the Drama, for the sake of Brevity; they will rather peruse it with an Eye of Favour than Severity."
'Artaxerxes" was played twelve nights at Covent Garden Theatre during the season 1762-63, and twelve nights in the succeeding season, 1 7»>",-i> I. Seven nights in 1764-65, and nine nights, 1768-69. In this latter season, Drury Lane Theatre performed it for four nights with Mrs. Arne as Mandane. In 1791, the rival theatres competed: Covent Garden with the part of Mandane by Mrs. Billington as a star, and Drury Lane with Madame Mara in that character. On the 23rd of September, 1813, it was reproduced at Covent Garden, for the debut of Miss Stephens, afterwards Countess of Essex. The famous tenor, Braham, after a temporary alisence from the theatre stagre, generally selected Artaxerxes " for his reappearance. Artaxerxes" was performed at the Theatre Royal, Edinburgh, in 1769, with Mr. Rose as Artaxerxes; Mr. Phillips, Artabanes; Arbaces, Mr. Tenducci; Rimines, Mrs. Woodman; Semira, Miss Brown; and Mandane by Madame Tenducci.* The curious part of the per- formance was "the addition of three favourite Scot- Airs, the words by Mr. I\. Fergusson." The first of these was ''By lleav'n's displeasure," to the
* The aame of Madame Tenducci was noi publicly
announced.
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DR. ARSE.
tune Braes of Balansene"; the second What doubts oppress," to the tune Roslin Castle"; the third, 0 where shall I wander," to the tune
Lochaber no more." The first and last of these interpolations were sung- by Signor Tenducci.
On the 8th of December, 1762, Love in a village," by Bickerstaff, with music by Dr. Arne, and Beard in the principal character, was brought out at Covent Garden Theatre. Arne was at the time not on friendly terms with Garrick, the manager of Drury Lane, to whom he addressed the following letter :
" Sir — The occasion of my troubling you with this arises from a wicked report made by some busy Argus, who having an hundred eyes, and but one of them honest, had ninety-nine too many. Mrs. Cibber not a little amazed me, when she told me I was charged by you with hissing Master Norris, or, at least, with holding my head down, in an odd position, whenever he was hissed. — Sir, I cannot remember whether my head was up or down, or inclining to one side or the other, but take upon me positively to swear, that I never was so mean a rascal as to hiss the greatest enemy I ever had in the world, much less a young lad who never offended me ; who, I then thought, as I now think, deserved the
* Master Norris bad been a chorister in Salisbury Cathedral; he was born in 17H, and seems to have con- tinued singing soprano up to 1J'>-- His voice must have been in a transition state. He sang at the Gloucester Festival of 1766 as a tenor. He became organist of Christ Church Cathedral, Oxford ; a Mus. Bac, and1 a singer of good repute.
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DR. ARNE.
kindest treatment imaginable; being1 surprised, ns well as shocked, to hear and set- the best singer in your company (except Mr. Vernon), though with sonic material defects, treated in so base and undeserving a manner. I was so far from inclining to any such unbecoming behaviour that I was the only advocate he had, and kept all quiet about me. except a young boy of an officer, who said he did not care tor the lad's understanding music, that he squalled, and he would hiss him. 1 would not have gone to the per- formance, for fear of some scandal from these observing Pickthanks, had I not a friendship for Mr. Stevens, the lawyer, and an intention to serve the lad ; and was so unhappy, when I came home, that I could not eat my supper on his account. Whoever told you that I showed any signs of dis- approbation is a busy lying- scoundrel, which I am ready to assert to his face, and answer the consequence. Yet, though neither I, nor my small abilities in my profession, nor those of any person belonging to me, or in my interest, have ever received the smile of your favour, but, on the contrary, have been greatly overlooked and discouraged upon my account, 1 have never failed in my respect to yon, and still continue (in spite of ill-treatment! an admirer of your extra- ordinary talents, and, Sik.
Your real humble servant.
Thomas Augustine A km:. "'Nov. 10th, 17<;±"
(Wrick lost no time in replying. On the same day he wrote to Dr. Arne: "SlB,— There are many mistakes in your letter: and first 1 did not charge yon
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with hissing1 Master Norris ; btit when Mrs. Cibber spoke to me about that affair, I told her the truth, that you was charged with being- in the company of hissers, and though you might not hiss, the persons averred that you were pleased, and laughed at the malcontents about you. I thought this affair of so little consequence, and so little willing am I to hear Pickthanks, as you politely call them, that I never spoke to the person who accused you. Mr. Lacy did, and will inform you of the whole. When you know and see the person in question, you may deliver your own messages, for I have too much to do to trouble myself about these matters. Your assertion, that neither you nor your abilities, &c, have had a smile of favour from me, has no foundation ; for everybody who knows me, knows that I have always given you your due, as a man of genius, but at the same time I had no great reason to applaud your behaviour to me. I never ill-treated a man of genius in my life, and I was so far from returning ill-will towards you, that I agreed, contrary to my judgment, and against all rules of reason and policy, that you should make new prices at our theatre for your Oratorio. Therefore you will be much at a loss to particularise the ill-treatment you mentioned ; nor know I of any transactions between us, but your indulging us with an engagement with Mr. Fawcett, when you entered into articles with the other house for Miss Brent.
I am, Sib,
Your obedient servant,
' D. Gabbicr.1'
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DR. ARSE.
Iii 1759, Ame and Garrick had some negotiations in reference t<> Miss Brent. Arne was very anxious thai Garrick should engage her, but terms could nol be arranged. Garrick readily acquiesced in her superior merit alleged l>y Arne, l>ut he told the Doctor thai all his geese were swans." Tommy," said he, in his usual familiar way, you should consider that Music is at best hut Pickle to my Uoast Beef." —
By . . . Davy."' replied the Doctor, your Beef shall he well pickled before 1 have done.'* Accord- ingly he went to Coveut Garden Theatre, and concluded an engagement with the manager for Miss Brent, whose success as Polly in the " Beggar's < )pera " was so tremendous that Drury Lane Theatre was nearly deserted on the nights on which she performed. Ame, of course, transferred his services to Coveut Garden, and Comus" with his music was played on the 8th of October, 1 7<>2, with the celebrated Anne Catley in the part of the Pastoral Nymph. In 1763, on the •24th of February, Artaxerxes" was again brought forward at Coveut Garden, and it was advertised that " nothing under full price would he taken." This was observed by Fitzpatrick, the leader of the rioters who had compelled Garrick, at Drury Lane Theatre, to submit to the demand that the public should he admitted, as heretofore, to the theatre at half-price after the third act. Accordingly the same malcontents attended the performance of " Artaxerxes "' at Covenl Garden, and noisily endeavoured to brow heat the manager, Mr. Heard, lie. however, refused to return to the half-price custom, on the ground of the enormous expenses incurred in the splendid manner in which pieces were got up at Coveut Garden; he was reminded
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DR. ARNE.
that Garrick had submitted after a vain resistance and he was called on to say whether he would comply with the demand or no ; the answer must he Yes " or No." Beard boldly from the stage said, No." The benches, chandeliers, etc., were immediately demolished, and as much injury done as took four or five days to repair." Pitzpatrick and two others were summoned to appear before Lord Mansfield, with the result that the rioting" ceased ; but the actors on the stage were nightly disturbed by cat-calls and other noises, so that at last Beard was obliged to give way, and resume the long-established custom of half-price.
In 1764, on December 12th, the oratorio Judith" was repeated, and a new opera with Arne's music, ' The Guardian Outwitted," was produced at Covent Garden Theatre. The libretto was also the work of Arne. The music of this opera has disappeared, probably in the fire which consumed the theatre in 1808. His Arcadian Nuptials" — a Masque introduced into Perseus and Andromeda" — was also played, with Mr. Beard ami Miss Hallam in the principal parts. In 1765, on the 30th of October, Mr. William Mawhood, an intimate friend of Arne's, proposed him as a member of the Madrigal Society, founded in 1741, a worthy assembly of musicians and amateurs who met regularly to practise the best examples of old English and Italian madrigals. The books of the Society, which still exist, show that Arne paid six shillings and sixpence subscription, and that his son, Michael, was elected a member shortly after. In this year Arne composed an Italian opera,
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hi:, .i/.'.v/:.
Olimpiade," to a Libretto by Metastasio, with a special pari forthemale soprano Manzuoli. This was performed at the King's Theatre, in the Haymarket,
twice only; we may therefore conclude it was not a success. Anic composed a considerable
amount of music tor male voices, unacc panied,
chiefly Glees ami Catches. He obtained three prizes for pieces lie scut in competition to the Noblemen and Gentlemen's Catch Club (founded iu 1761). His Glee, Come, shepherds, we'll follow the hearse," was for many years sung after the announcement of the death of a member. The proceedings of the Society were frequently of a highly convivial nature, and it is to he feared that Arm- found them greatly to his liking ; in one instance he outraged good taste and becoming reverence by composing a burlesque on a most solemn religious rite, to the words " Poculum elevatum."
He deserves credit for his endeavours to popularise vocal concerted music in the theatre and at garden entertainments ; he took care not to present his musical programmes without due rehearsal. A letter of his, without date, probably written about 1766, is evidence of this. " Dr. Arne's compliments to W. Smith desiring him not to fail meeting the other gentlemen concern'd in the new Catches and Glees, at the Dr.'s house, on Thursday evening next, exactly at 7: having reason to hope for some continuance of them: if perform'd with a requisite spirit and humour; besides another material employment for him on the Anvil. .Ian. ye 2d.) West Street, near Litchfield street. Soho. Pray don't forget to briny the part."' It may be
DR. ARNE.
necessary to explain that the Mr. W. Smith to whom the above reminder was sent was not only a singrer, hut also the engraver of many of Arne's publications, and therefore familiar with the use of the anvil ; evidently the composer had music waiting- publication.
On the 4th of February, 1767, we learn from a note in a private diary kept by Mr. Mawhood that he call'd on Dr. Arne and Mic. Arne, and was at the Madrigal" ; probably the Arnes accompanied him. On the 4th of April Mr. Mawhood attended
Mrs. Arne's and Mr. Pemberton's Benefit : took 3 Pit tickets at 3s. each"; on the 9th of May he
was at Dr. Arne's and heard ye Catches per- form1"; on the 29th of December Perform'1 Dr. Arne's mass at Church.'"
On the 12th of May, 1767, Arne conducted a concert of Catches and Glees at Ranelag-h House, described in the Gentleman's Magazine as the first of the kind. In the following- year, 1768, a second vocal concert was g-iven by Arne at Drury Lane Theatre ; for the occasion a book of the words was published, with explanatory notes, probably the earliest example of an annotated programme book. The title is, The words of the favourite Catches and Glees which, with the eleg-ant and humorous music, composed by the most eminent masters of the last and present ag-e, will be performed at the Theatre Royal, Drury Lane, on Tuesday, the twenty-first of this instant June, by a considerable number of the best vocal and instrumental performers. The Choral and Instrumental parts are added, to give the Catches and Glees their proper effect, being- composed, for that purpose, by Dr. Arne. This
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performance (the second of the kind ever publicly exhibited in this or any Kingdom) is introduced at the desire of many persons of quality, lovers and encouragers of good harmony and inoffensive humour. London, printed in the year MDCCLXVin." There
is a preface to the hook explaining what is a Catch and what a Glee. Arne wrote, these kinds of entertainment (in the time of Mr. Henry Purcell were so much in fashion, that in most polite families, after dinner and supper, it was ;i custom to lay the choicest collections of Catches and Glees on the table, and thought a deficiency of education in those, who could not readily perform a part." The concert commenced with a New Grand Overture by Dr. Arne. and was succeeded by a Catch of his composition, "The family quarrel," which gained a golden prize-medal in the year L764." Next came a Clee composed by Mr. Norris. an Elegiac on the death of his late Royal Highness the Duke of Cumberland." The words of this are:
O'er William's tomb, with love and grief opprest, Britannia mourns her hero, aow at rest :
Not tears alone; bul praises too -lie <ri\e>. Due to the guardian of our laws and lives; Nor shall that laurel ever fade with years Whose leaves are water'd with a nation's tears.
Those who are acquainted with Braham's popular sono-, "The death of Nelson," will recognize the unacknowledged annexation of the above lines by Mr. S. J. Arnold, who is credited with the authorship of the words.
The next item in the programme is a Catch by Mr. Henry I'urcell. "The Soldier and his friend": ( <i-r. )
F
DR. MINE.
then a Catch by Mr. Giardini, "Beviamo tutti tre." The words are printed in Italian and English. A Glee by Mr. Baildon, " Prithee friend, fill t'other pipe," ends "The first Interlude." The second part opens with a Catch by Mr. Henry Purcell, Jack, thon'rt a toper," to which Arne has appended a note, "The words of this last Catch are said to be written by Mr. Henry Purcell, wherein, it is obvious, that he meant no elegance, with regard to the poetry ; but made it entirely subservient to his extream pretty design, in the music." The catch originally was a number in the Tragedy Bonduca," for which Purcell composed the music: it was first published in Deliccv Musicce, in 1696. Arne was probably correct in ascribing the words to Purcell. The next piece in the book is called a Glee, but should have been described as a Madrigal — The Nightingale," by Weelkes. Arne remarked that "The mastership and genius of this production may serve as a specimen of the state of music at that time, 1608." A Glee by Mr. Baildon, "When gay Bacchus fills my breast," which "gained a golden prize-medal in 1766," is followed by a Glee by Arne, On Chlce sleeping," the favourite song in Artaxerxes beginning, Water parted from the sea';
at the Earl of Eg t's particular desire, taken by
the doctor for the subject of this Glee, and set for different voices, the words being now written to the measure of the music." The Interlude" con- cluded with Dean Aldrich's Catch, " Hark, the bonny Christ-Church bells." The third part commenced with a Catch by Arne, "The street intrigue," the words of which are neither elegant nor decent. A
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DR. ARNE.
note informs us, "This lasl Catch was written and composed in the year 1703, sood after the invitation of the Catch-Club, and not put in for a prize-medal; hut witli humility, presented to the members." Next we find a Glee by Arne, "The love rapture"; then his Catch, " Which is the properest day to drink?" This gained a golden prize-medal in the year 1705," and is a clever composition, still occasionally performed. The last piece in the hook is a Glee and Grand Chorus by Arne, Punch, the medium of life."
In 170!) Arne composed an Ode for the Shakespeare Jubilee at Stratf brd-on-Avon ; the words of the Ode were written by Garrick, who paid the composer sixty guineas for the music, which was published with the following' title : An Ode upon dedicating a building to Shakespeare, which was erected by the subscription of the Noblemen and (Jentlemen in the neighbourhood of Stratford upon Avon, the music composed by Dr. Arne. London, Printed and Sold hy .John Johnston, at No. 11, York Street, Covent Garden." There are nine pieces of music; one Air became popular, "Thou soft flowing Avon," which was sung by Miss Weller; the other singers were Mrs. Barthelemon, Mr. Vernon, Mr. Chanipness, Mrs. Baddeley, and Master Brown. A semi-chorus in the work is entitled " A strict Fugefor4 voices. Chapel Time." This was evidently sung unaccompanied, and although short must have made a good effeet .
: The audience was much incommoded by (lie wet ; incessant September rain poured through the roof, and (•(inverted the floor into a swamp. Eventually the four hundred people who
were present, wet through, took refuge on the benches and
orchestra.
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DR. ARNE.
At the same Jubilee festival, Arne's oratorio Judith " was performed at the Church. In 1770, Garrick determined on reviving' Dryden's King- Arthur" at Drury Lane Theatre, and engaged Arne to superin- tend the musical part of the performance, who seems to have suffered at the time from an overdose of self- importance, and addressed the following letter to :
David Garrick, Esq. Sir, — A due attention to your Commission having gone hand in hand with what fancy and judgment I may be thought to possess in my profession, I thought it necessary to lay before you a true state of the merits and demerits of the Musical Performance, you are about to exhibit in King Arthur. To attain a certain rectitude, in judging of this matter, I have not only, with the utmost care and candor, inspected the Score of PurcelFs composition; but attended two rehearsals of it ; the result of which, is, as follows :
' The long Scene of the Sacrifice, in the 1st Act, necessary to be deliver'd in, as being written for Music, may have a solemn and noble effect, provided that the last Air and Chorus — I call you all to Woden-hall ' — be perform'd as I have new compos'd it ; the introductory Air to be sung by Champness, which being highly spirited, will carry off with an eclat, an, (otherwise) dull, tedious, antiquated suite of Chorus : Besides which, that Song, as set by Purcell, is intirely out of Mrs. Baddeley's compass, very indifferent, and no way proper for a woman, where a troop of warriors are assembled, to bribe their idols for a success in battle.
The following Song and Chorus, Come, if you dare, our Trumpets sound,' is in Purcell tolerable;
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DR. ARNE.
Imt bo very short of thai [ntrepity and Spirited defiance pointed at by Dryden's words and senti- ments, that, I think, you have only to hear what I have compos'd on the occasion, to make you immediately reject the other. The Air Lei not a Moon-born Elf mislead you,5 is, after the two firsl bars of PurceU, very bad, and out of Mr. Champnes' compass of voice. — Hear mine. All the other Solo Songs of Purcell are infamously had; so very bad, that they are privately the objects of sneer and ridicule to the musicians, but, I have not meddled with any, that are not to come from the months of your principal Performers. 1 wish you wou'd only give me leave to l><><h>r this performance, I would certainly make it pleasing to the Public, which, otherwise, may have an obstruction to the success of the Revival. It is not now my intention to new set many things, mention'd in our original plan ; hut to put it in the power of your principal performers to make a proper figure, by opening and adorning the mosl entertaining points of view, wherein they are to appear; consequently, the expence will he much short of the Siiine propos'd; all self-interest subsiding to the earnest desire I shall ever entertain, of proving my sincerity, when I stile myself SlB Your devoted humble serv . Tho8 Aug Vknk."
Happily Garrick did not accede to Arne's requests, and much of Purcell's music was left in the Masque.
Arue composed a new Overture in which he introduced an imitation on the flute of the call of the Cuckow." The whole of the first Act, including the famous " Come, if you dare.*' was left with Purcell's musk
69 )
DR. ARNE.
untouched. In the second Act there were several changes; a new recitative, both words and music, "Alas, the horrors of this bloody field," was sung by Mrs. Baddeley. This, and a new air, 0 peace descend," were composed by Arne; the music ill match'd " that of Purcell. Before the chorus,
Come follow me," Arne introduced a solo on the subject of PurceH\s chorus, in which he took care to write a goodly number of runs to show off Mrs. Baddeley's execution." A new song- by Arne, "How blest are the shepherds," was substituted for Purcell's solo and chorus, and Mrs. Baddeley was provided with a recitative, We must work, we must haste," followed by an air, To virtue with rapture," and also "Thus I infuse these sov'reign dews." Mrs. Wrighten had new music composed for her, a recitative, Oh sight," and an air, 'Tis sweet the blushing morn to view." It may be noted that the words of these pieces were written by Garrick. The third Act, with Purcell's masterly * Frost Scene," was left intact. In the fourth Act Purcell's lovely duet, "Two daughters of this aged stream," also the solo and chorus, How happy the lover," were retained. The music of the fifth Act included Purcell's "Fairest Isle all Isles excelling." The final air and chorus, Saint George the Patron of our Isle," had new music by Arne.
There are some entries in the Mawhood"* diary
*Mr. William Mawhood, born in 1723, died in 17(-'7, was a merchant, residing in West Sinithiield, and an accom- plished musical amateur. An account of him will be found in the Musical Times of January, 1910, written by Mr. Barclay Squire.
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/>/:. ARNE.
referring to l>r. Arae in 1770: 13 June, Call . on Dr. Arne who will compose some music for Mr. Pemberton's Diurgre." "23''. Call', on Dr. A.rne had ;t small practtice of the Service for Mr. Pemberton."
"28l". Was at Church, perform1 Dr. Arnc and Webb's Burial for my poor friend Franc . Pemberton." A manuscript copy of the Dirge is to be found in the British .Museum. It was presented in the year 184!> by Vincent Novello to the Musical Antiquarian Society. His father, Giuseppe Novello. in 1770 resided in Oxford Road, and probably worshipped in the Sardinian Chapel, where Vincent, born in 17S1. became a chorister hoy; this may account for his possession of the manuscript of the Dirge. It is in the handwriting of a copyist, not an autograph, and has many errors. It is not complete; at the commencement there should have been ten bars of instrumental introduction, which are only indicated in the manuscript by rests. The pencil marks of figured hass are in the handwriting of Vincent Novello; there are also pencilled names of solo singers — Swiney, Fit/. Lanza, Guich, Novello. The music is admirable, and opens with a chorus for treble, alto, two tenors, and hass. to the words " Libera me, Domine, <le morte seterna." The pathos of this quintet, admirably expressive of the text, cannot he praised too highly. The words "Tremens fad us sum ego " are set as a solo tor a hass voice, in the style of many cathedral anthems of the period. The manuscript, evidently intended for the organist, gives the necessary organ-bass part ; this solo, in the key of A minor, leads into a short chorus in C major to the words Quando Coeli morendi sunt.'* A solo
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for a tenor voice to the words Dies ilia, Dies irae," exhibits Arne's skill in writing- vocal music, arid is a very touching- and effective piece of work ; it is followed without a break by a chorus, Dies Magna"; the next movement is a soprano solo. Requiem seternam," in E major, a charming melody, with Italian tiorituri. A short chorus, Requiescat in pace," concludes a composition which is a very fine example of Arne's genius, quite worthy of publication and performance. The British Museum possesses another manuscript of the composer to Latin words, 0 salutaris hostia," which looks like an exercise in fugue writing, not intended for Church performance. It may have been sent to the * Catch Club " in competition for a prize.
It has already been stated that Arne deserted his wife in 1756 ; what their relations were in the succeeding years can only be surmised. She was regarded by her contemporaries as a good and injured woman, and her husband was notoriously a profligate. Some few years ago a number of autograph manuscript documents came into the possession of the present writer, which throw a light on the unhappy condition of things as they existed in 1770. On the 22nd of November in that year, Mrs. Arne's Attorney sent the following letter to Dr. Arne :
Sir, — I am employed to institute a Suit in the Commons on the Complaint of your wife against you.
The small pittance you gave her for Maintenance falls greatly Short of Supplying her with Common Necessaries, and not only so but this Small allowance which is but =£40 a year is now =£10 in arrear. You must be sensible Mrs. Arne could not Subsist without
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Running' you in Debt, those Debts must be paid very suon by you. .Mrs. Arne has ;i right and expects to be maintained by you Suitable to your Circumstances. I musi request an explicit and immediate answer; Or I shall take the necessary Steps to procure Mrs. Arne that justice which she has an Undoubted Right to."
This called forth the following reply from Dr. Arne. It will he noted that Arne did not address the Attorney, but wrote direct to his wife :
\.d. 1 77(>.
Mrs. Awnk. — After the affectionate note I sent you yesterday, with 5 Guineas, which was from the first money 1 reciev'd, how great was my surprize, when I reciev'd in return a threatening letter from one Rennet t an Attorney, on your account!
Cou'd [possibly have suppos'dthat after my being so long in no way of earning a Guinea, which (till this Job of Mr. Colman's) was ever since the end of last March, and being involv'd in debts on that account that you — my Wife, shon'd he the only person who sought to distress me? If other people had been as inhuman, what must have become of a Man. who is a laborious Slave to support his necessary Dependants; insomuch that he does not enjoy three days' ease and pleasure the whole year round?
As peace and quiet are all the enjoyments which a man of my aye can hope for, if he is in his senses, which, in spite of base and wicked minded people. I thank God I have not yet lost, I shall not fly in a passion at your very ungenerous treatment; hnt with the temper of a Philosopher explain to yon the
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DR. ARNE.
consequences of your following- the ill advice, which may have been given you, and I know from whom.
"When Mr. Tyers refus'd to engage Polly Young, unless you cou'd produce a Bond sign'd by me, whereby we were both impower'd to live and act seperately, did not I directly on your express solicitation, enter into such Bond, impowering you to recieve her whole income? Did I ever desire a shilling of all she got before and after or wish otherwise than that it had been ten times as much for your sake?
"Well, after this, you having married your Niece to Mr. Bartelmon, which threw you out of a good income, having besides impoverish'd yourself, by lending your Money in large Sums to an extravagant, unprincipled Whore, and to others, who only meant to defraud you of that and other valuables, you applied to me by Mr. Forest, to pay you an annual allowance for your support : I, who was ever desirous and ready to do all within my power, ent'red imme- diately into an Agreement to pay you ,£40 a year, though I had no certain income of my own to do it with, and through years of distress, for want of something weekly coming in, made up my payments to you, in one week, fortnight, or month, whenever I cou'd scrape your money together, till lately, meeting with no employment for a considerable time, — encumber'd with an expensive house at Chelsea, which I have prudently quitted, and being robVd by an abandon'd infamous Whore and Thief of a Servant, my Necessities obliged me to be behindhand in my payments ; yet you very well know that whenever I had two, three, or five Guineas, I never fail'd to give
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DR. ARNE.
them t<> you, in pari of payment, and thai bul a trifle now remains due.
"Is this ;i .Man to recieve the treat nient yon now give me? Fie, fie, -Mrs. Arne! don't drive me to resentment, when I am willing to aci conformable to the laws of religion, peace and love; if you do. by Heaven you'll have terribly the worst of it ; for I can
prove that having no regular inc e. whenever I
recieve any money, it is always consum'd in debts, and that I am actualy not in ;i capacity to allow you <£20 a year.
"if, on the contrary, you chuse to continue in love and friendship, send a line immediately to Mr. Bennett, that the affair is amicably accom- modated, and though I may be never so distressed, I will cheerfuly pay your allowance, and remain,
" Your affect10 Husband,
"TlKt Arc" A.KNE. (Seal. " Saturday Morn8. One o'clock "Nov.-y-23d."
Evidently Mrs. Arne left the matter in the Attorney's hands; accordingly he wrote a reply as follows: — "Mrs. Arne is Extremely sorry to hear of any Distresses of Dr. Arne's and wishes 'twas in her power to Avoid calling on him. for a suhsistance. Her loss of Doctor Arne's affections has been a misfortune she has labour'd under too many years and that without doing him ye least injury hut on the Contrary behaved with that affection and Justice that will give her Satisfaction . :.-■ i
DR. ARNE.
in her last Moments. She hopes Doctor Arne has not so little humanity as to add to her Misery by refusing- her a Necessary Subsistance if not Equal to Dr. Arne's wife yet Sufficient to provide her with Common Necessaries which 'tis impossible f oi- lier to do for less than a Guinea a week. If that is paid into Mr. Rennett's hands Weekly who will have the Receipts ready Mrs. Arne must Content herself with wearing- out an Unhappy Life depriv'd of that Comfort which She had a right to expect from her Husband. Doctor Arne threatens to proceed to Extremities with his wife she is sorry to hear it But must be Contented with her fate and rely upon the justice of her case."
No further correspondence is available, nor is there any record of proceedings at common law; it is therefore reasonable to suppose that an arrangement was concluded. {See page 108.)
In 1772, on the 26th of February, the oratorio Judith " was performed at Covent Garden Theatre, with women in the chorus, for the first time, as has already been narrated. Shortly afterwards Arne had a performance at the Theatre in the Haymarket; the bill of announcement said, By desire, for one night only, under the Direction of Dr. Arne. At the Theatre Royal in the Hay-Market, this present Monday, March 16, 1772, will be performed the celebrated Catches and Glees. With a Concerto on the Violin by Mr. Fisher. After which (by permission) will be performed a New Burletta, called 'Squire Badger. Altered and planned for Music, from a favourite Piece. Written by Henry Fielding Esq.; the Music entirely New Composed by Dr. Arne
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& With a New Irish and Scutch Medley Overture. Fairlove by .Mr. Phillips, Sir Thomas Loveland by Mr. Fox, 'Squire Badger by Mr. Smith, Landlord by Mr. Hamilton, Clarinda by Mrs. Jewell, Perl by Mrs. Thompson. Boxes 5s. Pit :>>. Firsl Gallery :2s. Upper Gallery Is. To begin exactly ut Six o'clock. Books of both Performances may be had together at the Theatre at Is. 6d."
In 1775 Arne wrote the following letter t<> Garrick: Aug-. '21st, 1775. Dr. Arne presents his best compliments to Mr. Garrick, heartily returning thanks for his permission to several of his company to perform in the intended new comedy at the Opera-House, for the Doctor's advantage. He is unluckily, and indeed ungonteelly cut out of, at least, a clear £100, by Mrs. Greville's accepting and promising- to perform the principal comic character, and. after keeping it near three weeks when it was too late to substitute another, returning the part with frivolous excuses. The Doctor knows not whether he is rightly informed; but he has heard that Mr. Garrick discharged Mr. Dibdin. If (as he has likewise been told, Mr. Garrick has engaged Mr. Arne* in the other's place, the Doctor can better reconcile his being neglected: otherwise should have thought himself at least as capable of the business a-* any other person, and that his name and credit in the profession would have brought no disgrace on his friendly employer. Cannot help regretting likewise that, though he has ever maintained the most cordial respect and regard to Mr. Garrick for many signal
:; Michael Arne, lii> son. ( 77 )
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good qualities, as well as for his being- incontestably the first genius of this age in all that he professes,) any young person's belonging- to him, though ever so conspicuous for his abilities, is sufficient cause for his rejection. These unkind prejudices the Doctor can no otherwise account for, than as arising from an irresistible apathy, to which (though painfully) he submits ; but will never (notwithstanding) deviate a tittle from that respect, with which he has ever been Mr. Garrick's most obedient servant."
To this letter Garriek replied : Drury Lane Theatre, Aug. 24, 1775. Dear Sir,— I am very sorry that Mrs. Greville (to whom I gave free leave to assist you) should behave so ill to you, and more so, that your loss will be so great by her ill-behaviour. The managers of Drury-lane have no intention to employ a constant composer, but to engage with different gentlemen, as business may arise in the theatre. How can you imagine that I have an irresistible apathy to you? I suppose you mean antipathy, my dear Doctor, by the general turn of your letter. Be assured, as my nature is very little inclined to apathy, so it is as far from conceiving an antipathy to you or any genius in this or any other country. You ask me why I will not make use of your pupils? — Shall I tell you fairly? because I have not the opinion of them which you have. I tried Mrs. Bradford, Miss Weller, and I have now Mr. Fawcet : the two first (as I in a most friendly manner foretold) did no credit to you or myself by appearing in a piece which you obstinately insisted on bringing out, though you knew it would be the means of making a coolness
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between us. In short, dear sir. your heart and your genius scnn more Inclined to the theatre of Covent-Garden than that <>f Drury-Lane; and when
I consider flic additional iniisie to 'King Arthur.' and the music to Elfrida,' 1 trust that I am
justified in my opinion. Whether I mistaken
or not, I have not the least antipathy, I give you my honour I have not, to Doctor Arne; hut on the contrary, if I had a work of consequence. I should wish to employ him, notwithstanding that our theatrical connections have not yet been serviceable to either of us. I am, dear Sir. your very sincere well wisher, and humble Servant. David Gabbick." To this conciliatory epistle Dr. Arne replied in the following month: "Sept. 3rd 1775. Deab Sib.— I received the favour of your reply to my letter. which I could not doubt of, you never being deficient in politeness. Von are certainly in the right to suppose that, if 1 wrote the word apathy. I meant antipathy. Did J make the blunder or is it a joke, like Mrs. Cibber's asking you how you could possibly spell King with a QP I must beg your permission to assure you that you are greatly mistaken in two points. First, when you imagine that I have the least partiality either in favour of the other theatre or its patentees : next in saying that the music in Elfrida' is much superior to the music I composed for you in ' King Arthur.' The principal songs, which for air and mastership 1 have never excelled, have not been performed. They were written for the late Mrs. Arne. " and
;: .Mrs. Michael Arm-, the popular vocalist, Elizabeth Wright.
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fashioned to her sweet voice, and glaring- abilities. Mr. Arne expected, from the music and her performances of it, that they would be productive of the highest pleasure, that a judicious audience ever received from either of our endeavours, and several eminent masters thought as he did : but when those coups de maitre came out of the mouths of persons who could neither sing in time nor tune, nor turn out one jeu de la voix in them, the result was much the same as if an approved author had written a
fine part for . I was near hurting your delicacy,
in nominating a gentleman, with whose acquaintance I am honoured, and this part, through an unfortunate event, should be acted by Jemmy Raftor, or Dagger Marr. Champness's songs, the chorus in the first scene of Mr. Vernon's Come, if you dare,' and several other things that employed my utmost efforts, were laid aside, in favour of PurcelPs music, which (though excellent in its kind) was Cathedral, and not to the taste of a modern theatrical audience. But never was my surprise greater than when I perceived that a drama so fertile of invention and elegant in poetry, which brought so much to Harry Gifford, and lately in Dublin should (though strongly per- formed at a vast expense at Drury-lane) fail in making that impression on the public, which the managers had an undoubted right to expect. You frankly say that you have not engaged any of my pupils, because you have not the same opinion of them that I have. Be pleased to remember that I did not recommend Miss Weller as an accomplished singer ; but as a young girl, with a good person, who would be useful in musical pieces ; but whose talents ( 80 )
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in speaking and acting:, might, with your friendly
encouragement, in a little ti bring so pretty a
figure i<> be ;i shining object. Had you seen her play Mrs. Cadwallader in Foote's farce al Covenl Garden, your candour would induce you to think with thai company, who all declared thai no young actress ever did better. When I offered you this girl, you wanted an accomplished singer. When J recommended Miss Jameson as such. I was to whistle an angel from Heaven, or you were full ; though you brought out a raw nothing last year, and have taken Mrs. Jewell and a Jewess * this season. I hope you will, as you have kindly done, excuse this frankness in me, and give me leave to add that 1 will positively be1 a hundred pounds upon Miss Jameson, againsl any
singer you can name in either theatre — I might safely a hundred to one. I wish you would ponder on the contents — not now, because your cast is rather overloaded — hut hereafter, when it may not be so. And now. Sir, to the last matter I shall at present trouble you with. Bickerstaff added songs to the Oracle, and brought it out by the title of 'Daphne and Ainintor,' at I hairy Lane, which succeeded very well. I remember a piece of Mr. Lloyd's, called the Capricious Lovers.' when performed in Clive's time. Every body liked the Burletta, hut none were pleased with the music — which has induced me to reset it. Now, Sir, if you think it will (with the addition of my new music) till up a vacancy, till the town fills, the vocal, instrumental, and speaking parts, are ready drawn out: the
.\li-s A-brams.
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title may, and should be altered to 'The Country Girl at Court,' being the original one, viz.: La Contadina in Cort,' and (for a sixth night) I will attend the getting up of the musical part, and deliver up the composition to your use. If you don't want it, make no ceremony in saying so; for it will he of use to me, with my catches and glees. Have I been studying the longitude 9 Perhaps so; hut if I have tired you, it is more than you could do by me, were you to fill a ream of paper.
" This requires no other answer, than just whether you can, with advantage to your undertaking, make use of my new composition or not. I am, Sir, with due respects, ever your friend and humble servant, " Thomas Augustine Arne."
There is another letter from Arne to Garrick, without date; it reads as follows :
" Dear Sir,— Mr. Johnston informing me of your desire to receive my demand for the composition of the music in ' The Little Gipsy, ' I beg leave to expatiate a little thereon. I think a musician, with regard to theatrical employment, under an unfortunate predica- ment, if comparatively considered with the author of any little piece, for the following reason. They should both have learning, invention, and a perfect knowledge of effects ; but an author of a petite piece can instantaneously write down his thoughts as they arise, whereas, the poor musician, when he has conceived an air, in every respect suitable to the sense, and emphatically expressed in every part, has done but half his business; for he has all the instrumental accompaniments to study and write
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down; insomuch as, thai in a compositioi] of ten,
twelve, or more differeni parts, when he lias written
a whole side of music paper, he has the -tilication
to have composed bu1 one line; all. excepi the voice part, being requisite to that one line. Ami yet an author of a farce will frequently make upwards of £100 by his sixth night, besides £50 by the sale
of his copy to the printer; while the poor devil of
a crotchet monger is thought well paid with £50
for six times the study and labour. This last
observation, though strictly .just, is not. in me.
productive of a single complaint or grumble;
hut convictive that I have taken infinite pains
to he master of a scurvy profession. As to my
hill, it amounts, at my constant and reasonable
rule of charging, hut to £45 13 6: If you
should think I have employed extraordinary time
and care to make the composition proper and
perfect in its kind, you will not overpay me with
£50. But do as you please; I shall he satisfied.
and am. with true respects, Dear Sir, your most
obedient servant.
I iio\i \s Aumstim: Arne.
This letter is endorsed by Garrick, " Dr. Arne. about hill for May Day/ I gave him the £50 desired."
"May Day. or the Little (Jipsy." a musical farce in one act, by David Garrick, was produced at Drury Lane Theatre on the 28th of August. 177-V
There is much to he learned from the correspondence which passed between Arne and Garrick; the following letter, undated, is full of interest :
Deab Sik, — I was never so conceited of any abilities, as non cedere niajoribus : hut then I < 83 i
DR ARNE.
ever was above servility, and could not pay a compliment to the opinion of Socrates or Seneca, at the expense of my reason. Humanuvn est errare, therefore the main study of every wise man is to arrive at rectitude, which cannot possibly be accomplished by giving* an implicit concession to our first determinations. But shall Arne, a musician, have the hardiesse to dispute with Garrick, in his own way? — Yes, if Garrick, not giving" himself time to debate on the natural effects arising- from their causes, peremptorily gives his ego <li<vi to what does not (to Arne) appear natural. But where Garrick is pleased to exercise his judgment, as in his own parts, by a fair trial of his opinion pro and con ? No, Arne would as soon dispute with Sir Isaac Newton (if living) on his doctrine of colours, sed a<] propositum.
"When Miss Weller rehearsed part of Polly's character in the green-room, I knew it would be in vain to attempt a justification of her manner, at that juncture, and therefore reserved my sentiments for this occasion. I shall only particularize the soliloquy, Now I'm a wretch indeed,' which, in all the Polly's I ever saw, had no effect on the audience, except when Mrs. Cibber played the character, who spoke and acted in the same manner as Miss Weller does ; and Mr. Barry had the same idea of it. In you this position is glaringly illustrated. Now, in regard to Polly's situation, it is this. She has been soliciting her husband's life with her parents, which, instead of moving their obdurate hearts, has had no other effect, than her father's leaving her mother with a determination
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to prepare matters at the old Bailey for his death. Polly, overhearing1 1 1 1 i —. tonics on in an agony of grief, says, Now I'm a wretch indeed!' — thinks she sees him already in the Cast — that she hears vollies of >iirhs from the windows in Holhorn — then abruptly breaks out — I sec him at the tree — the whole circle are in tears — even butchers weep.5 Can it he natural that the sight of a beloved husband at the gallows should excite fainter emotions in a doting wife, than arise in butchers exercised in offices of cruelty? Would not an apple-woman, who should see so fine a youth, merely in the cast. naturally clap her hands together, through depth of concern, and exclaim Ah, poor soul ! God bless him and take him to his mercy!' — perhaps shed tears? Certainly; then Polly's emotion on figuring him at the fatal tree, where the whole circle, through mere humanity, are in fears, can he nothing short of distraction, and any action, short of the force she grave it, must appear trifling, faint, and unfeeling. ^ on are far from having seen the best of her in that character, which appears in her scenes of love, fondness, fears, and strokes of tenderness with Mackheath. But 1 was not willing to give yon too much trouble, and besides, T plainly saw that you could not divest yourself of prepossession : else, how was it possible that a fine voice both for speaking and singing; action (men. easy, and graceful; an unexceptionable person and figure, with a countenance free from the least distortion, could he productive of such faint approbation 9 You have often said yon regarded me — hut. as in the case of ^liss Brent, were T to produce an angel, her being ( 85 .
DR. ARNE.
ushered by me would create coolness and indifference. This observation, which I could more forcibly illustrate, I plainly see has put you out of humour, (live me leave to say, so it has me, who am not without my feeling- on so mortifying' an occasion. You are possessed both of fortune and merit ; the one considerable, the other supreme. I pay you no particular respect, on account of the former; but the highest imaginable on account of the latter. Providence, by placing you in this beneficial situation, meant you as the sun and rain, to cheer and water plants of (/cuius. Your own talents, and the just encouragement they have met with, demand, as a debt, those beneficent offices from you. The pay given to three nothings would be a suitable reward to a rising, promising genius, whose industry and advancement could never fail of repaying you ten fold in return. Having faithfully kept my promise to take no material step, without first acquainting you with my design, and therefore given you a fair offer of Miss Weller, I will trouble you with no more letters, or applications on her account ; so shall only add, that if you are inclined to encourage and cherish her, as you have done by many others, with much lesser talents and requisites, I am desirous, and immediately ready to give you the preference ; but if otherwise, as I have only my small merit and hard labour to subsist on, let it never be a matter of the least difference between us, that
I have acted like a man of honour, and you
overlooked a jewel. I am, Sir, as I ever was, your sincere friend, and most obedient servant,
"Thos Augne Aene."
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DR. ARN&
No reply to the above can be found. The following
letter from Arne to Garrick must have 1 n written
soon after the above: "Sept. 3rd. Deab Sir,— Having just received ;i letter from the ingenious author of the two operas, n ml Pennyworth of Wit,' under your kind inspection, wherein he begs concealmenl of his name, till the fate of one or other of his pieces is determined."
Arne enclosed a copy of his unnamed friend's
letter, which need not be produced here. He then finished his own as follows: "Now give me leave to wish you would consult your assured friend in the musical productions of your theatre, which (waving your own consequence, undeniably the lii-st with the public) might produce the best second dish at the feast. Though half a ghost myself, I have more honour than the whole ghost in * Hamlet .' He was forbid to tell the secrets of his prison
house I tell them not. through principle; hut
this I may say. in confidence, yon actually want strength tor the exhibition of musical performances —and why should you?— Mr. Garrick, though 1 wish him immortal, to the grief of the discerning world, is not so — sickness, pain, mortality may intervene. Let it not he said, that so greal a master of his art is deaf or blind to rising merit. I tell you homi fide, that the young woman and young girl I Miss Weller's sister whom 1 recommended, are real objects of your notice, as handsome women, complete figures, and promising actresses, abstracted from their utility as singers. Pray be so obliging as to let me hear from you a- soon as you come to town, and be assured that if my skill or connexions ( 87 )
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are of any value, they shall be exerted to the utmost, in testimony of the respect with which I am, Dear Sir, your faithful friend, and humble servant,
"Thos Augne Arne."
There is yet another letter from Arne to Garrick, and a characteristic reply, both undated, but which probably were written in 1775:
"Nov. 17. Sir, — As you have causelessly dropped the friend, I have sense enough to write at a becoming- distance. You will undoubtedly hear, by the freshest advice, the tete-a-tete alteration between your brother and me. How could it happen otherwise, when the first salutation I received was Dr. Arne, we have considered of the farce, and protest against iV ; which nearly led me into a mistake ; for how could I suppose he meant the farce you had first promised to do, and after the last rehearsal concluded on? But on his warm repititions, I found that I should have protested against the farce that has been so long acting ex-parte managers, and tragedy on the composer's part. I answered, I am not surprised, it tallies exactly with the treatment I have all along received,' (meaning not only on account of the farce, but the discharge of two young women," handsome, perfect figures, and possessed of better talents than most on either stage have set out with :) I scorn to retract my words, and think Mr. G. Garrick twill equally scorn to aggravate them. The young women brought three very good
* Miss Weller and her sister, f David Garrick's brother.
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DR. ARNE.
bouses for the opening of a season, and mel with more public applause than 1 have ever beard; ;ni<l though inexperience, mixed with sensibility, might intimidate Miss Weller so as sometimes to exceed
the exact sound, it was so little that the audience were not susceptible of it. If yon had no intention
to retain them, night's performance had surely
been sufficient for their condemnation ; hut they hud not then been supplanted by my son's application;— permit me to give you .joy of the acquisition. A.s to singing in tune, by my salvation! not above three in both theatres can do it, though several have had nearly twenty years' experience. I did not. as has been dour l<> you mine than oner, impose my young pupils on you as finished singers; why then should they he discharged for what you knew before their appearance, especially lifter three warm receptions'? Your public declaration this morning appeared as meant to complete the many shocks which I and mine have received— it was ineffectual: I shall think myself happy to he mistaken. If you are willing to show a friendship which I shall deem an honour to receive, it will not he sufficient that you perforin the piece: I shall have the presumption to hope that you will further its success: though I fear that the cold breath of the manager, like a wintry blast, has chilled the hearts of his dependents; it is a distemper as catching as the itch. There has been hut one decent rehearsal which was in
your presence; though, even then, two principals were absent ; nor can I expect any better, till the manager will either graciously appear, or at least send his general mandate: and. but for the respect
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DR. ARNE.
due to the author, I had long since withdrawn the prettiest music, in the light style, that I ever wrote ; hut I will not, uneompelled, incur the resentment of a gentleman, a man of fortune and a scholar, respected by the first personages of the University of Oxford, by assuring him, from your promise, that his piece will be performed with all possible expedition ; then, that it is in rehearsal, and now, by writing him word that you protest against it'? I once had a sparring of this kind with Mr. Rich; he generously acknowledged that he had not treated me kindly, and misunderstanding was the cement of our friendship ever after. May this candid explanation prove equally successful! It shall not be my fault if it does not, being ever desirous of proving myself, your real humble servant,
"Thos Atjgne Arne."
Garrick's reply is very short and sharp :
Dear Sir. — I have read your play and rode your horse, and do not approve of either. They both want particular spirit which alone can give pleasure to the reader and the rider. When the one wants wits, and the other the spur, they both jog on very heavily. I must keep the horse, but I have returned you the play. I pretend to some little knowledge of the last; but as I am no jockey, they cannot say that the knowing one is taken in. I am, Sir, your most obedient servant. D. G."
Endorsed Designed for Dr. Arne, who sold me a horse, a very dull one; and sent me a comic opera, ditto."
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DR. ARNE.
Iii 1776, early in the year, Miss Abrams, referred to in ;i letter from l>r. Arne to Garrick, made her lir>i appearance od the Drury Lane stage in Garrick and Arne's 'May-day, or the Little Gipsy." She possessed a sweel voice and good taste, which had been excellently cultivated under Arne's tuition. At the Inst rehearsal of the piece, which took place on the morning of the day of performance, Garrick suddenly conceived that a dance of rustics would improve the play, and told Dr. Arne of his idea. adding, 1 suppose it would be impossible for you
to compose a tune for it in timer1'" The Doctor. smiling and rubbing his (dhow, according to his usual practice, replied, We'll see what can lie done." and calling tor pen, ink. and music paper, sal down at the prompter's table, and in less than live minutes produced one of the prettiest daucing tunes ever heard, which, when played by the hand, astonished and delighted Garrick so much that, forgetting his age, he ran up to the Doctor, and embracing, took him by the hands and danced with him round the stage with much grace and animation, to the admiration of all who witnessed it.
In 177<>. Arne was engaged to compose music for the Rev. William Mason's drama. "Caractacus." The original libretto was written in 17">!>: bui considerably revised, altered, and adapted for stage purposes in 177<> by the author, and this amended version, with Arne's incidental music, was produced at Covent Garden Theatre on the 6th of December. That it was a complete success i> evident ; the X< it- Morning Post, <</■ General Advertiser, on the daj following the performance, congratulated the town ( 91
DR. ARNE
on the acquisition of so fine an entertainment as Caractacus' where poetry and music unite their fascinating- powers." Dr. Samuel Arnold, the composer, who was attached to Covent Garden Theatre when Caractacus" was produced, spoke in th highest terms of Arne's music. Unfortunately every vestige of this has disappeared; according to the testimony of Dr. Arnold and of Dr. Thomas Bushy, One of the latest and finest of Dr. Arne's theatrical compositions, was an Opera called
Caractacus," founded on a piece of that name written hy Mason. Every portion of the music, as the late Dr. Arnold, who had seen it, informed the compilor of this work, evinced a vigour and warmth of imagination worthy of the flower of early manhood. At Dr. Arne's decease, this production came into the possession of his son, Mr. Michael Arne, who unfortunately sold the manuscript to one Harrison, a bookseller in Paternoster-row, who becoming a bankrupt before the piece was published, it was publicly sold together with his other effects, to whom it is not now known, and never has been heard of since." Six years after Dr. Arne's death, in 1784, The Universal Magazine announced that Mr. Michael Arne was intending to publish his father's Death of Abel, Caractacus, and a Set of Concertos for the Harpsichord or Pianoforte with the Choruses in Judith." Michael Arne died in 1786, without having accomplished his desire; in 1793 the Concertos appeared, having been edited by Mr. Groombridge, and from the interesting preface to the volume we learn that this was the only piece which had been published. Quite recently
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DM. ARNE.
an anonymous publication oi music for Mason's Caractacus" has been attributed to Dr. Arne, bul the composition is so faulty and puerile that, even if other evidence were wanting, it would be impossible to suppose ii the work of ;ui experienced and accomplished musician like A inc. The booh in question has a water-mark in thepaper, 1794, which w;is sixteen years after Dr. Arne'sdeath. The author's preface to the publication w;is evidently written by some one alive at that date; it is therefore not necessary to waste more space in discussing it.
Dr. Arne had ;i very high opinion of his own talent as ;i poet, and some of his theatrical pieces are said to have suffered comparative failure in consequence of the poor quality of the words. Hut there was one piece of his. never performed nor ever published, which, while exhibiting his skill as a composer of music, shows also that he was at times wholly wanting in good taste and discretion. There are two copies of the libretto in existence. printed by Arne for publication, but never issued; the title-page is: Whittington's Feast, a new Parody on Alexander's Feast written by a College Wag. The Overture, Songs, &c, with all the grand chorusses, new composed by Thomas Augustine Arne, I doctor of .Music.
Kismii tencatis amici ?
0 what i^ y\ usic to (he ear that's deaf ;
Or a goose pye to him that has no taste?
London: Printed for the Author."
In the preface, Arne says: "The fairest apologies I can offer in excuse for this Parody on Alexander's Feast, which, by its ludicrous turn, may he thought
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an attempt to depreciate one of the noblest poems in the English, or perhaps any other language, are, First, that the impossibility, in any degree, to lessen the value of so perfect an ode was a capital motive. The second was an irresistible propensity (which perhaps I may have mistaken for genius) to the comic muse." The preface ends with an intimation that the author hopes the oddity of the attempt, with the intense application bestowed on the music, and the great expence at which it is performed, will compensate for any defects in the parody, and invite a g'ood-humoured audience to support it."
April the 10th, 1776. From my Garret, in Cat and Harp Alley."— "The Scribbler."
The libretto is printed in double columns, the left giving Dryden's text, the right the College Wag's parody. It may suffice to say that there are seventeen pages of vulgarity and sometimes indecency. The music, which extends to two hundred and fifty pages in the manuscript score, is superior to the poetry. There is no Overture ; the various songs and choruses are palpably meant to be in imitation of Handel, but like the words they fail to detract from the value of the originals they vainly burlesque. There is evidence that Arne intended to have a public performance of Whittington's Feast " ; but circumstances, probably indifferent health, prevented it.
In October, 1777, Arne and his wife met and became again a united and affectionate pair. This happy reconciliation was brought about by the intervention of their grand-niece, Cecilia Maria Barthelemon. A memorandum written by her, still
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/ , . 94.
DR. .l/,'.v/.
preserved by one of her descendants, is worth quoting verbatim: In former days the Doctor Arm- had taken great pleasure in hearing my mother sing the songs for Mandane in Ins Opera of Artaxerxes, ami latterly she used to visit him for the purpose
of receiving her Aunt's seperate maintenance] ley,
and the last time she called for this purpose, she took her little daughter with her, then about ten years old. The Doctor who was always kind to the child, had her seated on his knee all the time: and when her mother was about to leave, she ventured t<> say. that she began to he tired of calling for this purpose, and thought it would be tar better for him to be reconciled to his good wife, who had always been so irreproachable herself. He. however, answered her in a manner so violent and angry, that the child who both loved and revered her great- aunt, hurst into tears and cried aloud: and her mother at once rose to take leave, observing also that she would never take the trouble to call upon him again. A few days after, however, she received a letter from the Doctor, apologizing for his conduct, adding that the tears of the dear child had affected him more than could a host of men. and that if his dear old wife would be reconciled, he would he happy to see her and her niece and nephew Barthelemon, and the dear child also, to dine with him on the following Sunday. The good Mrs. Arne shed tears of joy. gave her ready consent, and lovingly embraced her little grand niece." The narrative continues: The Doctor and his wife lived happily together alas
Mary Barthelemon, net Yoxmg.
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DR. ARNE.
only for six months after this long- wished for reconciliation (after a separation of thirty years) — often expressing- the wish that it had taken place years, instead of only months hefore."
We learn from an entry made by Mawhood in his diary, dated the 6th of December, 1777, that he saw Dr. Arne, "who has conformed and is now very ill; he has made his will betwixt Mrs. Arne and Michael . ' ' Another entry in the diary, dated the 1 Oth, stated: "Mr. Paxton called, says Dr. Arne is now on the recovery." The improvement in his health, however, proved only temporary, and on the 5th of the following- March, 1778, the diarist wrote, "Dr. Arne died this evening at eight o'clock."
The grand-niece previously quoted says : Dr. Arne died a sincere penitent, and a firm Catholic. His confessor buried him according to the ceremony of his Church. A cross was put on his coffin, and he was interred in the burial ground of St. Paul's, Covent Garden, on the right hand side going in." There are two contemporary printed accounts of the last moments of the distinguished composer ; one from his intimate friend, the popular tenor singer, Vernon, who, at that time engaged in the neighbouring Drury Lane Theatre, was in the habit of visiting Arne daily at his residence in Bow Street. The morning after Arne's decease he told the company assembled in the music-room at the theatre that he "was talking on the subject of music with the Doctor, who suffered much from exhaustion, when, in attempting to illustrate what he had advanced, he in a very feeble and tremulous voice sung part of an air, during which he became
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DR. ARNE.
progressively more faint, until be breathed bis last, making as our i lortaJ Shakespeare expresses it, a
swan-like end fading in music.*"
The other account says A.me "died of a spasm
on his lungs, retaining his faculties to the last moment of his existence. Be had originally been instructed in the principles of the Romish Church: these however he had for many years wholly neglected, as inconsistent with a life <d' ease and gallantry, in which he indulged to the fullest extent of his purse and constitution. In his last stage, the dormant seeds of early maxims and prejudices, as is usnalh the case, revived in his bosom, too strong to be cheeked, or perhaps discriminated by sound reason. The complicated train of doubts, hopes, and fears, operated so forcibly on the Doctor's feelings at this awful period, that a priest was sent for, by whom he was awed into a state of most submissive repentance. In thus renewing the duties of a Christian, those of his professional line were not forgotten; for about an hour before bis death he sung an harmonious Halleluja. a flight of fancy, calculated as it were to usher him into tin- other world." These narratives, though not precisely similar in detail, leave no doubt in the mind of the reader that Arne died repentant, doubtless the happier for having been reconciled to his wife. Notwithstanding the number and excellence of bis publications, Dr. Arne left little or no property behind him; a circumstance which will not appear extraordinary to those who consider his real character and life. He was naturally fond of vicious pleasure, to which he sacrificed every other consideration.*" ( 97 ) H
DR. AJRNE.
The Will he made is at Somerset House, and recites as follows : — In the Name of God Amen — I Thomas Augustine Arne of Bow Street Covent Garden in the County of Middlesex doctor in Music being of sound mind memory and understanding- hereby make and pronounce this to be my last Will and Testament revoking- all former Wills made or pretended to be made whatever Whereas I am possessed of a small Personal Estate consisting of goods Chattels and Effects most of them now standing lying or being in the House I rent of Mrs. Woodeville in Bow Street aforesaid and particularized in the Schedule hereto annexed I leave give and bequeath them in manner and form following First to my beloved wife Cecilia and only son Michael I give and bequeath the sad remains of my once excellent Organ mangled trod to pieces and ruined by and through the Villainy of wicked Servants that they may dispose of the same to the best advantage and share the profits equally between them Secondly I give and bequeath to the said Cecilia and Michael all my Worldly Goods Chattels Estate Personal whatever and wherever to be found (except as hereafter excepted) Books musical and for reading Plate and every other thing now situate standing or lying in my house in Bow Street aforesaid or in any other place to be found As to all books Musical or Literary and all Manuscripts in either branch written or composed by me or other Persons My Will is that such as may by performance at any time or in any place produce any profit or Benefit to the said Cecilia and Michael The expenses attending such Performances being first paid and
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defrayed equally between them The Profiteer Bern -lit- arising from the Sale <»r Public Performance thereof shall be equally divided between them share and share alike And the said Property being liable to an exception before limited I shall make it here viz. That the share and proportion of the said Michael is only circumscribed or limited in this particular viz. that when by sale of the Goods or part of them or by Public Performance or Performances of any of my Works, have received to his share the sum of seventy Pounds that he shall pay or cause to be paid to his Daughter Jemima the sum of ten Guineas as a present from me to his said Daughter for her Love and Kindness to me It is therefore my last will that all my works in particular Shall he and remain in the Possession of my said wife Cecilia subject to their being called forth used and employed for the mutual benefit profit and emolument of my said son as well as my wife, for Security of which to the said Cecilia she has and shall have by virtue hereof (before the delivery of any work) an unquestionable right to he satisfied As to the Probability of Success in the undertaking and an equal right to elect a Trustee or Treasurer to sit in the Treasurers Office on all and every Night whereon any of my works are performed And after all the charges attending such performance or performances shall he duly deducted to take and receive for and to the use of the said Cecilia one clear half or Moiety of the Monies or Profits arising therefrom and then take the Score and Parts of such Work or Works and recoiivey it or them in Safety to the said Cecilia ( W |
DR. ARNE.
And this same just method of Proceeding- shall duly be observed for the said Cecilia's equal Security in Case that either of the said dramatic Productions shall by their mutual consent be disposed of for their mutual Profits or Advantage to either of the Patent Theatres And in case that the said Cecilia shall depart this Life before the Death of the said Michael in such case the whole Personal Estate and Property above mentioned shall devolve or come down in right to the said Michael as sole Successor by this my last Will and Testament And lastly I hereby nominate and appoint the said Cecilia and Michael my joint and sole Executors of this my last will and Testament hereby impowering them to sue for and recover all debts and Demands whatever due to me on any account whatever whether in Law or Equity As Witness my hand and Seal this sixth of December in the seventeenth year of the Reign of Our Sovereign Lord George the third and in the year of our Lord One thousand seven hundred and seventy-seven.
Thos- Augne Arne.
Sealed and delivered being first duly stamp'd in the presence of Stephen Paxton Maria Barthelemon.* On the 6th of March, 1778, the Morning Chronicle had a short paragraph : yesterday, died Dr. Arne, at his house in Bow-Street, whose musical talents were an honour to himself and this country."
* Proved. 16" March, 1778, by Cecilia Arne, widow, relict of the deceased, one of the executors with power reserved, 21 March, 1778, by Michael Arne, son of the deceased, the other executor named in the will.
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A me was interred in the burial ground on the north side of St. Paul's Church, Covenl Garden, on the loth of March, and the fact was noted in the Pariah Register, he being described simply as Thomas Arne." No memorial of him was elected, hut his son suggested a scheme for placing a monument in Westminster Abbey. This, like most of Michael Vine's projects, ended in talk ; indeed, he only survived his father eight years, and died in South Lambeth on the 14th of January, 1786, leaving a widow, his second wife, in destitute circumstances. His career had been a varied one. His aunt, Mrs. Cibber, taught him as a child how to act on the stage, and he appeared as the Page in Otway's tragedy "The Orphan." His father gave him singing lessons, and procured him engagements at the Marylebone Gardens in 1751 . He became a skilled harpsichord player, and made a good reputation as a composer of songs and ballads. His music to Garrick's romance.
Cymon," produced at Drury Lane in 1767, was veiy popular. He married one of his father's pupils. Elizabeth Wright, in 1766, who became a suc- cessful stage -vocalist ; she died in 1774-5. He inherited much of his father's talent, but, infatuated with the determination to discover the mystery of the philosopher's stone, he built a laboratory at Chelsea, and ruined himself. Removing to Ireland. he resumed his profession of music, and revived his fortune; but the old mania returned, and he retired to Clontarf to make experiments which he believed would enable him to manufacture gold, with the result that be again beggared himself, and was arrested and confined in a sponging-house in Dublin.
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DR. ARNK.
From this, by the exertions of friends, he was released. He returned to London, and again took up work as a teacher and composer, but with only moderate success.
Dr. Arne, as we have seen, died on the 5th of March, and on the 28th of the succeeding- month (April) a performance was given at the Theatre Royal in the Haymarket for the benefit of Mrs. Arne, which was attended by the old family friend Mr. Mawhood, and duly recorded in his diary. The programme included Dr. Arne's Elegy Glee, "Come, shepherds, we'll follow the hearse," specially instrumented for the occasion by Dr. Samuel Arnold.
Previous to the reconciliation with her husband, Mrs. Arne had resided with Barthelemon and his wife ; after Dr. Arne's death she again went to live with them at their house in Yauxhall. Here she enjoyed a few years of peaceful happiness, loving- and beloved. An extract from a letter addressed to Mrs. Barthelemon in 1788 by a near relative will be read with interest: "We rest in hope Mrs. Arne continues on the mending- hand, she has been a good woman, and has long- attended to the future rest of her soul, which becomes the most important of all charges, though many of us decline it to a late moment. Mrs. Scott desires to be kindly remembered to Mr. Barthelemon, Mrs. Lampe, Miss Lampe, and dear Mrs. Arne, Yours affectionately, John Scott."
"At the advanced age of seventy-nine Mrs. Arne continued to observe the hours of prayer, and the
* A nephew by marriage of Mrs. Arne.
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usual fast-days of her Church, with a rigour suitable to the austerity of primitive times, although thai Church's discipline excused such habits of severe self-denial in its members at her time <>t' life. Ber manners, her habits, and her person at that great age, were not only inoffensive and untroublesome, but edifying, affecting, and affection-moving to those around her."
'" When she was ill and supposed to be dying, notwithstanding their different Communions they [the Barthelemon family] read the I'salms and Lessons together in Mrs. Arne's bedroom, where, at her bed's head, was a Crucifix, at the foot of which was a little vase full of holy water." "One day. she was supposed to he dead, and the Doctor, whose name was ( 'arson, being present assured Mrs. Barthelemon that she was gone. She, however, could not resign herself to that belief, although ln- said he wished he could be as certain of going to heaven as he was that she was already there. Mrs. Barthelemon, however, tried to delay his departure, and accompanied him to the house door, when she implored him to look at her aunt once more, and to this he impatiently consented, and almost angrily applietl a flame to her month and nose to show that breathing had ceased, when he suddenly called out for the strongest cordial at hand, the result of which was the revival of the supposed deceased, who soon exclaimed — Oh! my dears, you have called me hack from the glories described in the Te Deum."3 This restoration took place nine months before she eventually expired, on the 6th of October, 1780. Her mortal remains were placed in the
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hi:. ARNE.
vaults of the church of St. Martin-in-the-Fields. Ten years later her loved niece, Mrs. Barthelemon, was buried in the same vault, the two coffins being- linked together by a chain."
The following interesting letter addressed to Mr. and Mrs. Bartheleinon, written by Dr. Burney on the 21st of October, 1789, throws a flood of light on the life and character of Mrs. Arne :
Dear Sir and Madam. — Having been in Norfolk a considerable time, the melancholy news of my old and worthy friend did not arrive at my knowledge till a few days ago, otherwise we should certainly have been more early in communicating our condolence. Except yourselves, whose anxious care and benevolence have been so uninterruptedly mani- fested for such a series of years, no one of the friends or acquaintances of the good Mrs. Arne could wish to be of some use to her more heartily than I have constantly done, ever since I first saw her at Chester, on her way from Ireland, in the Autumn of 1744; and it has of late years been a matter of real affliction to me that it has not been in my power to give more proofs of my zeal. I never had forgotten the good soul's kindness to me during my residence with Dr. Arne ; when, it is not too much to say, I profited more in my studies by the advantage of accompanying her in her vocal exercises than by any instructions which the Doctor had leisure to give me. She was indeed, not only desirous of my professional improvement, but had a parental attention to my morals and conduct. As long as I remained under the same roof, I tried everything in my power, and not unsuccessfully, to
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contribute to domestic harmony, sn necessary to the welfare of the whole family, as well a^ the comfort of individuals; and I did flatter myself, it I hud continued longer with them, the anion would have been of longer duration.
The Doctor, rest his soul ! with all his genius and abilities, whs too volage at every period of his life, to merit the title of a good family man; and soon after I quitted him, 1 heard with grief that our late dear worthy friend was no longer under the same roof. During a residence of nine years in Norfolk, I lost sight of her. hut never forgot the goodness of her heart, or the talents and professional merits of her younger years. There was a time when her voice, shake and manner of singing, were superior to those of any female performer in the country.
I always respected that benevolence of heart which inclined you both to afford the poor soul an asylum after age and infirmity had deprived her of those talents, and however inconvenient it may have sometimes been, I am certain you will always think of it with the pleasure which reflecting upon srood actions constantly affords to minds capable of performing them.
It gave me great satisfaction to hear that our well disposed and virtuous friend had the comfort of religion in her last moments. She was always attentive to the duties of <i sincere and worthy member of her church ; a disposition to be honoured and had in reverence among Christians of every denomina- tion. Mrs. Burney sincerely joins in condolence and best compliments, and 1 beg you will believe ( 105 )
DR. ARNE.
me to be with unfeigned regard, dear Sir and Madam, Your affectionate friend and faithful Servant,
" Chas. Burney.
(P.S.) I cannot help regarding- the loss of Mrs. Arne with a kind of filial sorrow; she was the last survivor among those to whom I attached the idea of a parent. I lost my poor mother about 12 years ago, at the great age of 86. This letter must not be sealed before I have added my compliments and good wishes for the health of Miss Cecilia, sincerely hoping she will continue a constant source of comfort to you to your lives' end ! "
The following is a chronological list of music composed by Dr. Arne.
1733 Rosamond. Tom Thumb. Dido and iEneas. 1736 Zara. Serenata, Love and Glory. The fall of Phaeton.
1738 Comus.
1739 An Hospital for fools.
1 740 Alfred. Rule, Britannia. Judgment of Paris.
As you like it.
1741 Twelfth Night. The Blind Beggar of Bethnal
Green.
1742 Miss Lucy in town. Merchant of Venice.
1 743 Britannia. Eliza.
1744 The death of Abel. Theodosius. The Rehearsal.
1745 The Temple of Dulness. King Pepin's
Campaign. Colin and Phoebe.
1746 The Tempest. Neptune and Amphitrite.
Capochio and Dorinna. Miss in her Teens.
1747 The Tender Husband. Love's Labour 's Lost.*
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DR. ARNE.
171!> Don Saverio. Much Ado aboul Nothing:.
The Provok'd Wife/ 17">o Dirge in Romeo and Juliet." Ode <>n
Cheerfulness. 1752 Harlequin Sorcerer. The Oracle. 1750 The Pincushion. The Sacrifice of Iphigrenia. 1750 The Prophetess. The Sultan. Exercise
,Mus. Doe. Cymbeline. The She Gallants.
1700 Thomas and Sally. The Desert Island.
1701 Judith.
1702 Artaxerxes. Love in a Village. 170:* The Birth of Hercules.
1701 The Guardian Outwitted. Olimpiade. Perseus
and Andromeda. Arcadian Nuptials. 1700 Shakespeare Ode. The Jovial Crew.
1770 Dirge. King Arthur. The Ladies' Frolic.
1771 The Fairy Prince*
1772 The Cooper. Trip to Portsmouth. Squire
Badger. Reffley Spring-. The Rose. Elfrida.
1773 Pasticcio. The Contest of Beauty and Virtue.
Achilles in Petticoats.
1774 The Rival Queens.
1775 Caraetacus.
1770 Little Gipsy. Whittington's Feast. Phcebe at Court. Phillis.
Arne composed many pieces for the Nobleman's Catch Club"; thirty-seven of these are printed in ''Warren's Collection" and in Vocal Harmony." Fifteen are English and Italian Catches, fourteen are Glees, and eight are Canons. There are published
The dale of production i> uncertain.
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DR. ARXE.
numerous songs, concertos, sonatas for harpsichord, and for violins and harpsichord. These are not dated in the foregoing list. In his orchestral compositions Arne employed piccolo, flutes, clarinets, bassoons, horns, trumpets and drums in addition to the usual strings, violins, violas, violetta, violoncelli, douhle-basses and harp. He used the device of pizzicato and of sordino; he also occasionally labelled imitative passages, for example, " The Owl," in Where the bee sucks." He used the abbreviation i* for J J J; possibly he introduced it.
Arne was the acknowledged author of the libretti of many stage-pieces and wrote the poetry of numerous songs. His known libretti included "Don Saverio," 1750; " Artaxerxes," 1762; "The Guardian Outwitted," 1764; "The Rose," 1772; "The Cooper," 1772; "The Contest of Beauty and Virtue," 1773; a " Pasticcio," 1773; "Phoebe at Court," 1776; and " Whittington's Feast," 1776.
NOTE TO PAGE 76.
* Dr. Arue presents his love to Mrs. Arne, desiring to be inform'd of her health, which he sincerely hopes she enjoys. He con'd not possibly call upon her in the hurry of this new Piece ; but will take a speedy opportunity. Begs the favour of her signing the inclos'd receipt for the money he has paid, which he thinks was sixteen Guineas, and five more, sent herewith, make one and twenty.
Reciev'd Nov. ye 21st, of Dr. Arne, the sume of twenty-one Guineas, in part of the money due to me, at the rate of forty pounds a year, agreed to be paid for my board, lodging and maintenance.
Dr. Arne' Accot. of Arrears due to Mrs. Arne from the Allowance made to her of 16s. 8d. p. week, which from April 16th, 1771, to Novr. 26th following is Eight Months and two Days and which amounts to 26 18 10£
Reed, at Sundry times 16 16 0
Remaining due ... ... ... 10 2 10J
5 5 0 4 17 10i [* The autograph in my possession. — W. H. C]
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His Royal Highness Frederick Prince of Wales, son of King George the Second^ was opposed to his father not only in polities, hut also in his tastes and amusements. The King bad no liking for, or appreciation of, British men and things; the Prince, on the contrary, assiduously cultivated a knowledge of the English laws and constitution, and strove to assimilate his tastes and feelings to those of the people he expected one day to rule and govern. He zealously promoted such measures as be thought desirable for the public welfare, and patronized men of eminence connected with arts, science, and literature. His beautiful residence, Cliefden,* on the banks of the Thames, was the recognized resort of the most distinguished men of letters and art. The under-secret ary of the Prince was David Mallet, to whom be paid a stipend of
* Cliefden House, originally erected lor George Villiers, second Duke of Buckingham, was buili of red brick with stone dressings, having a( each end a square wing connected with the main building hy a colonnade, and fronted bj :i magnificent terrace four hundred and fortj feet long. The Duke expended large sums on the house and "rounds; for the latter, consisting of about one hundred and thirty-six acres, he procured, regardless ofcost, the choicest specimens of trees, shrubs and (lower-, native and foreign, and BO enhanced the natural beauties id' the site that it \\:is reputed to surpass all other estates in England. At the death of the Duke, Cliefden was purchased l>\ Lord George Hamilton, i 111
RULE. BRITANNIA.
two hundred pounds per annum ; Thomson the poet was also one of his proteges. A change of govern- ment deprived Thomson of a lucrative appointment, and being* introduced to the Prince of Wales the latter gaily interrogated him about the state of his affairs; the poet replied, ' they were in a more poetical posture than formerly," whereupon the Prince granted him a pension of one hundred pounds a year.
In 1740 the Prince of Wales resolved to celebrate in a special manner two important events — the Accession of the House of Hanover to the throne of England, and the anniversary of the birth of his little daughter, the Princess Augusta, born on the 31st of July, 1737. For the occasion the services of Mallet and Thomson were called into requisition. John Rich, the successful actor-manager, was also com- missioned to prepare various stage performances. Rich had become popular from his connection with Gay's
Beggar's Opera," which he had the good fortune to produce at the theatre in Lincoln's Inn Fields
afterwards Earl of Orkney ; he died without male issue, and the property and title passed to his daughter. She leased the estate to the Prince of Wales, who regularly resided there until his death in 1751. The splendid mansion was destroyed by fire on the 20th of May, 1795, owing to the carelessness of a maidservant, avIio, whilst reading in bed, was startled by the curtains bursting into flame. With the exception of the wings, the building was entirely burnt, together with valuable furniture, tapestry and paintings. Sir George Warrender bought the estate and rebuilt the house in 1830. At his death it was sold to the Duke of Sutherland, and on the 15th of March, 1849, fire again destroyed the building, which was afterwards rebuilt from designs by Barry. ( 112 )
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iii 172S, and thereby netted four thousand pounds. The author received six hundred and ninety- three pounds three shilling's and sixpence. Thi> remarkable success called forth the witty saying that the Beggar's Opera' made Gay rich, and Rich gay." Rieh was the founder of Coveni Garden Theatre, in 1731, and was doubtless on excellent terms with the aristocratic patrons of the stage, including the Prince of Wales. On the 5th of September, 1740, he piloted the Prince through the mazes of Bartholomew Fair, Smithfield. A witness of the scene has described it thus: The multitude behind was impelled violently forwards, a broad blaze of red light, issuing from a score of flambeaux, streamed into the air: several voices were loudly shouting ' Room there for Prince George! make way for the Prince!' Presently the pressure became much greater, the voices louder, the light stronger, and as the train came onward it might be seen that it consisted of a party of yeomen of the guard clearing the way; then several more of them bearing flambeaux and flanking the procession, while in the midst of all appeared a tall, fair and handsome young man, having something of a plump, foreign visage, seemingly about four-and-thirty years of age, dressed in a ruby-coloured frock coat, very richly guarded with gold lace, and having his long flowing hair curiously curled over his forehead and at the sides, and finished with a very Large bag and courtly queue behind. The air of dignity with which he walked, the blue ribbon and star and garter with which he was decorated, the small three-cornered silk hat which he wore, whilst all ( 118 I i
ATA/;, BRITANNIA.
around him were uncovered, the numerous suite, as well of gentlemen as of guards, which marshalled him along", the obsequious attention of a short, stout person, who by his flourishing manner seemed to be a player, — all these particulars indicated that the amiable Frederick Prince of Wales was visiting Bartholomew Fair by torchlight, and that Manager Rich was introducing his royal guest to all the entertainments of the place."
Great preparations were made at Cliefden, and on the 1st of August, the Prince of Wales received his guests. An interesting account of the proceedings was printed in the London Daily Post and General Advertiser of Saturday, the 2nd, in the following words : ' Last night was performed at the gardens of Cliefden, (in commemoration of the Accession of his late Majesty King George, and in Honour of the Birth of the Princess Augusta; their Royal Highnesses the Prince and Princess of Wales, with all their Court being present,) a new Masque of Two Acts, taken from the various Fortunes of Alfred the Great by Mr. Thomson; and performed by Mr. Quin, Mr. Milward, Mrs. Horton, and others from both Theatres ; — also a Masque of Music, call'd 'The Judgement of Paris' writ by Mr. Dryden ; * and concluded with several Scenes out of Mr. Rich's Pantomime Entertainment, perform M by himself, and others of his appointing particularly the Skeleton Scene in Merlin's Cave, and the Dwarf Scene in Orpheus and Euridice. Also the famous Le Barbarini (newly arriv'd with
* A mistake ; the " Judgement of Paris" was written by Congi'eve.
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Mr. Rich from Paris, performed several Dances, and so much to the satisfaction of their Royal Highnesses, that his Royal Highness was pleas'd to make her ;i very handsome Present, and the work was conducted with the utmost Magnificence and Decorum." The Pete was repeated on the following evening, hut unfortunately a violent rain- storm interrupted the proceedings, and the Masque of Alfred had to be performed in the house. The Daily Post, of August the 5th, reported thai "the whole was exhibited upon a Theatre in the Garden, composed of Vegetables and decorated with Festoons of Flowers, at the End of which was erected a Pavilion for Their Royal Highnesses the Prince of Wales, Prince George, and Princess Augusta."
It is remarkable that the newspaper report makes no mention of Thomas Arne, who composed the music for both Masques, whose work alone has rescued from oblivion the memory of the proceedings. One of the songs in Alfred " was " Rule, Britannia." The Masque is forgotten; poet and composer, ami they who first heard its thrilling hurst from chorus and orchestra are mouldering in their tombs : the halls through which the strain resounded have long since perished ; hut the enthusiasm then awakened still vibrates in the British heart to the sound of the words.
Rule, Britannia, Britannia rale the waves.
Thomas Arne resided at Cliefden before and during the Pete; his wife, who was one of the principal vocalists in both Masques, many years afterwards told her grand-niece, Cecilia .Maria Barthelemon, thai she witnessed a curious scene on
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one of the lawns : Two men were mowing', when the hinder man severely cut the calf of the leg* of the other, and the Prince of Wales immediately dipped a camhric handkerchief in some Arquebusade and himself wrapped it round the man's leg, which needed no other cure."
Very shortly after the performance, on the 19th of August, Millar, the bookseller and publisher, issued the libretto of Alfred " : the title of the book reads :
Alfred, a Masque Represented before Their Royal Highnesses the Prince and Princess of Wales, At Clifden, (sic) on the First of August, 1740. London Printed for A. Millar, over against St. Clement's Church in the Strand MDCCXL." A perusal of the publica- tion shows that Mr. Milward represented King Alfred ; Mrs. Horton, the King's wife, Eltruda ; Mr. Quin, a Hermit ; Mr. Mills, the Earl of Devon ; Mr. Salway, Corin, a Shepherd; Mrs. Clive, Emma, the Shepherd's wife. Two other characters, a Bard and a Spirit, have no names attached, but we know that the part of the Spirit was sung by Mrs. Arne. The Masque consists almost entirely of speaking parts ; the first introduction of music is a song for Emma, the Shepherd's wife, who has a delightful little ditty to the words:
O peace ! the fairest child of heaven,
To whom the sylvan reign was given,
The vale, the fountain and the grove,
With every softer scene of love.
Return, sweet peace, and cheer the weeping swain :
Return with ease and pleasure in thy train.
Arquebusade water was a concoction of spirits and herbs commonly applied to gunshot Avounds.
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This charming song was doubtless well sung by
Kitty ('live, who, a few years later, was the firsl to warble Arne's exquisite melody, Where the bee sucks."
The third scene opens with a stage direction — " Solemn music is heard at a distance. It comes nearer in full symphony: after which a single trumpet sounds a high and awakening air. Then the following stanzas an' sung by two aerial spirits unseen :
Hear, Alfred, father of the state
Thy genius heaven's high will declare!
What proves the hero truly great,
Is never, never to despair:
Thy hope awake, thy heart expand
With all its vigour, all its fires.
Arise ! and save a sinking laud —
Thy country calls, and heaven inspires.
If A rue composed music for the above, it was never published.
The next air is sung- by Eltruda, the Queen, represented by -Mrs. Morton. It was sung off the stage, and according to Arne's score was accompanied by harpsichord and flute, the latter instrument echoing the voice -part. The libretto has two \crses, but only the following was performed: Sweet valley, say, where, pensive lying, For me, our children, England, sighing,
The hest of mortals leans his head. Ye fountains, dimpled by my sorrow, Ye brooks that my complainings borrow, () lead me to his lonely bed : Or it' my lover, Deep woods, you cover, Ah, whisper where your shadows o'er him spread ! ( 117 )
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Iii the third scene, second Act, after a dialogue between Alfred, Eltrnda and the Hermit, the latter summons the 'Genius of England." Then the stage direction is Music grand and awful. The Genius descending sings the following song1':
From these eternal regions bright, Where suns, that never set in night,
Diffuse the golden day: Where spring unfading pours around, O'er all the dew-impearled ground,
Her thousand colors gay : 0 whether on the fountain's flowery side, Whence living waters glide,
Or in the fragrant grove
Whose shade embosoms peace and love, New pleasures all your hours employ, And rapture every sense with every joy ! Great heirs of empire ! yet unborn, Who shall this island late adorn; A monarch's drooping thought to chear, Appear! Appear! Appear!
Possibly this song may have been omitted at the performance. Music for it cannot be found. The spirits of Edward the Third, Philipa his Queen, and their son the Black Prince, arise together ; afterwards Queen Elizabeth, succeeded by William the Third— all are described by the Hermit. The next scene opens with a Symphony of Martial music." The last scene affords an opportunity for Emma, the Shepherd's wife, represented by Kitty Clive, to sing a bright and sprightly melody, ( 118 )
RULE, BRITANNIA.
accompanied l>y the string orchestra in gavotte time t<» the following words :
II" those, who live in Shepherd's bower, Press not the rich and Btatelj bed : The new-mow n hay and breathing flower
A softer conch beneath them spread. [f those, who sit at Shepherd's board, Soothe not their taste by wanton art : They take what Nature's gifts afford, And take it with a ehearl'ul heart. If those, who drain the Shepherd's bowl, No high and sparkling- wine- can boast, With wholesome cups they ehear the soul, And crown them with the village toast, [f those who join in Shepherd's sport. GJ-ay-dancing on the daizy'd ground. Have not the splendor of a court : Yel Love adorn- the merry round.
A short dialogue hot ween Alfred and Bltruda follows, and thou the HermH speaks, ' Behold, my Lord, our venerable Hard.
Aged ami blind, him whom the Muses favour.
You ere you go, in our lov'd country's praise,
Thai noblest theme, hear what his rapture breathes.
This is immediately succeeded by
AN ODE.
When Britain lir-t at heaven's command. Arose from out the azure main : This was the charter of the land. And guardian Angels sung this -train : " Rule, Britannia, rule the waves; Briton- never will be slaves." ( iv.' i
RULE, BRITANNIA.
The nations, not so blest as thee, Must in their turns, to tyrants fall: While thou shalt flourish great and free, The dread and envy of them all.
" Rule," etc.
Still more majestic shalt thou rise, More dreadful, from each foreign stroke : As the loud blast that tears the skies, Serves but to root thy native oak.
" Rule," etc.
Thee haughty <yrants ne'er shall tame: All their attempts to bend thee down, Will but arouse thy generous flame ; But work their woe, and thy renown.
"Rule," etc.
To thee belongs the rural reign ; Thy cities shall with commerce shine ; All thine shall be the subject main, And every shore it circles thine.
"Rule," etc.
The Muses, still with freedom found, Shall to thy happy coast repair : Blest isle ! with matchless beauty crown'd, And manly hearts to guard the fair. " Rule, Britannia, rule the waves, Britons never will be slaves."
Each of the foregoing- verses was sung" as a solo with the choral refrain Rule, Britannia." The venerable bard was represented by Mr. Thomas Lowe, * a favourite singer who was engaged at Clief den, and sang the tenor solos on that occasion in the Judgement of Paris." We know from the report in the Daily Post that there were "other performers from both
* Dr. Burney observes, "Lowe had (he finest tenor voice I ever heard in my life."
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ATA/.. BRITANNIA,
theatres," doubtless ;i good and efficienl chorus. The < Me would have made a splendid climax to the Masque,t hut the libretto shows thai the Hermit followed with
a speech which is worthy of reproduction; the last four lines are particularly deserving of attention :
Alfred, go lordi! lead on the radiant years,
To thee reveaPd in vision. Lo! they rise!
Lo ! patriots, heroes, sages, crowd to birth :
And bards to sing them in immortal rerse! I see thy commerce, Britain, grasp (lie world:
All nations serve thee; every foreign Hood, Subjected, pays its tribute to the Thames.
Thither the golden South obedient pours His sonny treasures : thither the soft Bast
Her spiees, delicacies, gentle gifts; And thither his rough trade the stormy North.
See, where beyond (he vast Atlantic surge, By boldest keels untoiichM, a dreadful space!
Shores, yet unfound, arise ! in youthful prime, With towering forests, mighty rivers crown'd !
These stoop to Britain's thunder. This new world. Shook to the centre, trembles at her name :
And there, her sons with aim exalted, sow The seeds of risiuo- empire, arts, and arms.
Britons proceed, the subject Deep command, Awe with your navies every hostile land. In vain their threats ; their armies all in vain: They rule the balanc'd world, who rule the main.
* "This day was rehears'd at Drury-Lane Theatre a Masque entitled 'Alfred,' in order to be represented before the Prince and Princess, at Cliefden House on the first of August." — Gent. Mini., duly 2Hth, 1740.)
t When "Alfred" was performed at Drury Lane Theatre, in 1 7 •"> 1 -. the part for the Hermit was deleted and the drama concluded with the Ode, which was cut down to four verses. The solos were sung alternately li\ Alfred and Idtiuda (Mr. Heard and Signora Prasi). i 1-21
RULE, BRITANNIA.
Although the libretto of Alfred " was published a few days after the performance at Cliefden, the music remained in manuscript ; possibly Arne did not consider the number of pieces, only five, sufficient to warrant the expense of publication ; it is certain however that the Rule, Britannia" Ode caught the public ear, and became celebrated. When therefore the Judgement of Paris " Masque was published, about 1741, the opportunity was taken of printing the score of Rule, Britannia." The volume consists of sixty-one pages, and the title-page reads : The music in the Judgement of Paris, consisting of All the Songs, Duettos and Trio, with the Overture in Score, as perform'd by Mr. Beard, Mr. Lowe, Mrs. Arne, Mrs. Clive, Miss Edwards and others at the Theatre Royal in Drury Lane. To which (by particular Desire of Several Encouragers of the Work) are added the Celebrated Ode, in Honour of Great-Britain ealVd Rule, Britannia, and Sawney and Jenney, a favourite Dialogue, in the Scotch Stile. The whole compos'd by Thomas Augustine Arne. Opera Sesta. London Printed for Henry Waylett, at the Black Lyon in Exeter Change in the Strand, and sold by him, and at all the music shops in London and Westminster, where may be had five other volumes of the Author's Works."
It was not before 1751 that the other music of
Alfred " was published. The title-page reads :
The Masque of Alfred compos'd by Mr. Arne.
London. Printed for I. Walsh in Catherine Street
in the Strand." The volume consists of eighty-three
pages; but the celebrated Ode" is conspicuous by its
( 12-2 )
/tf/yj/ Hjur^iAT .■.!/{'(£ |<rf0 | Kali J9jlLILf.v.vjLst .
Fao r. 122.
This«.ls*eOiii<e, The Charter of tr.eLa:,,!. ii dCuirdian An - - peli
The N»tion>, not (o blelt »>tht., Muft.rn thleir Turn>,tu T>r««t* fill : While thou Olilt Houriih ereit «nd free. The Dre*d and Envy of them jli, Rule }^c
Still more m*jeftic ih*lt thou rile.
More drejdful From e«.h foreien Stioke:
Ai the loud BUft thit tears the Slue*.
Serves but to root thj native Oak: HuK V-C
Theehaunhty Tyrants ne'er lhall tajue :
A'.l then Attempt, to bend th.t do. n
Will but arcule thy generous Flaiue :
But work their Woe and th) renown. 11 lie %■?■
To theebel<-njs the rural Rritfn; Thj CitiM fh"all »ith Commerce In.- el All thine Ihil'. he the subject Main, And ever) Shore it circlet thiut. B
The Mufei^til *iln Fieedom found. Shall to th) hijruj <• »ft rtpiir: El-It u> '. with ntchleU Beauty ci - And«unJyH«.rt»»Jvu.dth« Shir. B
RULE, BR1TANXIA.
absence. No doubt Waylett, the publisher of the Judgement of Paris," was unwilling to permit its
insertion without some adequate rec pense. In
what way the matter was adjusted we <l<> not know; but an arrangement was made, and a second edition of "Alfred'* issued which included the Celebrated Ode." The plates used were those from which the music was printed in the Judgement of Paris"; this is evident from the double-paging visible on the pages of "Alfred*': 62-84, 63-85, 64-86. The first set of numbers belong to the Judgement of
Paris," and the second set to Alfred."*
The first published score of " Rule, Britannia " enables us to note that both words and music have undergone considerable changes, some of them undoubtedly improvements and others the reverse. The elimination of the short ritornelles, or symphonies, which A rue wrote between the several lines of the rerses, brings the subject-matter closer together and makes it more adaptable for a national song. On the other hand, the alteration of the melody in the last bar of the solo cannot be commended, neither can the change of melody and harmony at the end of the first bar of the chorus. As originally composed it was very strong, virile, and characteristic of Arne. It would, however, be injudicious now to attempt to restore the original ; custom and the popular ear have stereotyped the prevailing version. It is noteworthy that Chappell's Popular Music of the Olden Time." and also the reprint of that work, give the erroneous version without comment. The Gentleman'' s Magazine of 17-V>. with the exception of some typographical errors, faithfully
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RULE, BRITANNIA.
follows the composer. It would be interesting- to ascertain who first tampered with the Ode. William Horsley published an edition about 1840, which is correct. The words have also been badly treated. The original says {t guardian angels sung this strain," and the command " Rule, Britannia, rule the waves " has been changed to an assertion that " Britannia rules the waves." This error may without difficulty be avoided in future.
After the performance of " Alfred " at Cliefden, we can trace no public representation of any of the music before the 21st July, 1742, when Mrs. Arne sang- the air, " 0 Peace, thou fairest child of Heaven/' at a concert in Dublin.
The work was advertised for performance in Dublin in 1743, but was not actually produced until the fol- lowing year. On the 28th of February and 3rd of March an advertisement appeared in Faulkner's Journal— " The Third Night of the Subscription, at the Theatre-royal in Smock Alley, on Saturday next, being the 10th of this Inst., March, will be performed the Judgement of Paris, written by Mr. Congreve and set to music by Mr. Arne, with all the Chorusses as performed at the Theatre Royal in Drury-Lane; after which will be performed a new Serenata, called Alfred, composed by Mr. Arne, at the special Command of his Royal Highness, Frederick Prince of Wales, and never performed but at his Palace at Cliefden, which concludes with a favourite Ode in Honour of Great Britain, beginning, When Britain first at Heav'ns command. N.B. Attendance will be given at the Theatre on each Day of Performance." In May and June, 1744, for the benefit of the
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RULE, BRITANNIA.
composer and his wife, two performances were given of "Alfred *' and the Judgement of Paris." The I) a hi in Journal announced h\ advertisement a> follows: Being particularly desired. For the benefit of Mr. and Mrs. Arne. At .Mr. Neale's great Room in Fishamble street, oil Wednesday the 30th of this Inst. May 1, will be performed the Judgement of Paris, written by Mr. Congreve, and now set to music by Mr. Arne, after which will be performed a Serenata, call'd Alfred, composed by Mr. Arne at the special Command of his Royal Highness Frederick Prince of Wales, and performed at his Palace at Cliefden, on the Birthday of the young Princess Augusta. To conclude with the celebrated Ode in Honour of Great Britain, beginning (When Britain first at Heaven's Command). The principal Parts to be sung by .Mr. Lowe. Mr. Cologan, and Mrs. Arne, being the last Time but one that Mr. Arne. Mrs. Arm- or Mr. Lowe will perform in Publick this Season. Mr. Arne will accompany the Performance on the Violin, Mr. Welch on the Organ, and Signior Pasqnalinoonthe Violoncello. N.B. This Performance will he done to great Advantage, on account of the Organ, and the assistance of Mr. Cologan, and several Gentlemen in the Chorusses, who could not perform at the Theatre. Ticket a British Crown. To begin precisely at half an Hour after 6 o'Clock. Vivat Rex. Tickets to he had at Mr. Arne's in Aungier street." The repeat performance took place on the 6th of June. Tt may he noted that Mr. Cologan (.lames Colgan was a vicar-choral of St. Patrick's Cathedral ; probably the several gentlemen in the chorus were also attached to St. Patrick's or Christ Church l 125 )
RULE, BRITANNIA.
Cathedrals, and thus precluded from assisting- in performances on the theatre stage. Mr. Welch was Mr. George Walsh, the organist of St. Ann's Church, Dublin. The next performance of Alfred "took place in London. The General Advertiser of 20th March, 1745, printed the following: for the benefit of Mrs. Arne, an Historical Musical Drama, call'd Alfred the Great, King of England. The Musick was composed by Command of His Royal Highness the Prince of Wales, and never performed in England, but at His Royal Highness's Palace at Cliefden. The music by Mr. Arne. To conclude with a celebrated Ode in Honour of Great Britain, in imitation of those formerly sung at the Banquets of Kings and Heroes : Boxes, 6s. ; Pit, 4s. ; First Gallery, 2s. 6d. ; and Upper Gallery, Is. 6d. Mr. Arne humbly hopes the Town will not be offended at the small advance of the Price, this Performance being exhibited at an Extra Expence, with regard to the Number of Hands, Chorus Singers, building the stage, and erecting an Organ ; besides all other incidents as usual. The Ladies are desir'd to send their Servants* by Four
* Commentary on the practice of securing1 seats at Drury Lane Theatre is to be found in the " Private correspondence " addressed to David Garrick : "Sir. — The many proofs you have given the town of your desire to oblige them, encourage me to propose to you a scheme no less advantageous than useful to the public, especially the polite part of it. Tlie alterations lately made in your theatre for the convenience of the spectators, naturally suggested to me an inconvenience arising from the servants Avho are sent to keep places. I have, with concern, seen a lady finely dressed forced to sit doAvn by a servant whose clothes and feet bave been very dirty, and behaviour extremely offensive; it has bappened, to my ( 126 )
RULE, BRITAXXIA.
o'clock. The above day is fix'd on to avoid interfering with .Mr. Handel." t
For this performance the Libretto had been considerably altered, re-written in fact, and Arne had composed the additional music required ; the title-page of the revised hook reads: "Alfred, an Opera. Alter'd from the Play, written by Mr. Thomson and Mr. Mallei, in Honour of the Birth-Day of Her Royal Highness, The Young Princess Augusta. The Musich was composed by Mr. Arne. and perform'd with the Play at Cliffden in Buckinghamshire at the Special Command of Uis Royal Highness, Frederic, Prince of Wales. London. Printed for A. Millar a1 Buchanan's Head, Opposite Catherine Street in the Strand. M.DCC.XLX."
The dramatis persome were all singers, Mr. Lowe, the tenor, represented Alfred. King of England; Master Connel, Prince Edward, son of Alfred: Mr. Baildon, Earl of Devon; Mr. Baker, Corin, ashepherd; Mrs. Arne. Eltruda, Queen of England; Miss Young, the First Spirit; Miss Syhilla, the Second Spirit : Miss Young, a Shepherdess, wife of Corin.
The first libretto (1740) of ** Alfred " was certainly written by Thomson. It contained many tine lines which are not to be found in the 1745 book. Two
knowledge, that some servants, in order to follow their own pleasures, have hired common porters of (lie street to keep their places, whose company better suited a prison than a place of polite entertainment."
Sinned T. B. Nov. 2."). 17''-.
t Eandel gave a performance of his Oratorio "Joseph" at the King's Theatre, Eaymarket, on the 21si of March, 1 7 15 I 127 i
RULE, BRITANNIA.
examples will suffice. The Hermit, addressing- Alfred,
says :
A vision to my phantasy appear'd —
I liv'd thro' future ages; felt the virtue,
The great the glorious passions that will fire
Distant posterity : when guardian laws
Are by the patriot, in the glowing senate,
Won from corruption ; when th' impatient arm
Of liberty, invincible, shall scourge
The tyrants of mankind, — and when the Deep,
Through all her swelling waves, shall proudly joy
Beneath the boundless empire of thy sons.
Alfred the King speaks :
In thoughtless, gay prosperity, when all Attends our wish ; when nought is seen around us But kneeling flattery, and obedient fortune ; Then are blind mortals apt, within themselves To fix their stay, forgetful of the giver, But when thus humbled, Alfred, as thou art, When to their feeble natural powers redue'd, 'Tis then they feel this universal truth — That heaven is all — and man is nothing.
The 1745 hook doubtless owed its rearrangement and some of its lyrics to Mallet ; it provides twenty sets of words which require music, but if these were set by Arne, eight can no longer be traced. In 1754 a new version of the libretto was published with the title : Alfred the Great, an Oratorio, As it was Represented at the Theatre-Royal in Drury- Lane. The Musick was composed by Mr. Arne. London : Printed for A. Miller, in the Strand. MDCCLIV-" The advertisement, or preface, to the book reads: "This Oratorio is altered from Alfred,
{ 128 )
RULE, BRITANNIA.
a Masque, represented before their Royal Highnesses the Prince and Princess of Wales. at Clifedeu, Aiiuust 1, 17-1-0; being1 the Birth-Day of the Princess A.ugusta, written by the late Mr. Thomson and Mr. Mallet, and afterwards new written by Mr. .Mullet, and acted ;it the Theatre Royal in Drury Lane,* in 1751."' Thomson died in L748; Mallet had therefore a free hand, a liberty of which he availed himself very fully ; lines were altered, new ones introduced, and several verses added for song's and for chorus. The music for all the songs and solo music is contained in the volume published by Arne, hut the music for the choruses is not given ; probably it no longer exists. Amongst the additions made by Mallet is a Pastoral Invocation, or song, commencing :
Nymphs and shepherds, conic away,
and he makes the second Act end with ;i G-rand Chorus:
How sleep (lie Brave, who sink to Best, By all their Country's Wishes blest! When Spring, with dewy Pingerscold, Returns to deck their hallo w'd Mould, She then shall dress a sweeter Sod Than Fancy's Feet have ever trod. There Honour conies, a Pilgrimgrey, To Mess the Turf that wrap- their claj : And Freedom shah" a while repair, To dwell a weeping Hermit there. By Hands unseen the Knell is rung; Bj Fairj Forms their Dirge i- Bung.
The singers in I7-~»l were Mrs. A.rne, Signora G-alli' Signora Frasi, Miss £oung, Mr. Heard, Mr. Baker, Signor Gruadagni.
i 129
K
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These exquisite lines were written by William Collins in 1746; but when Mallet annexed and printed them, without acknowledgment, the unfortunate author was in a lunatic asylum, and therefore quite incapable of protecting" himself. When Mallet produced his version of Alfred " for Garrick in 1751, he endeavoured to make folk believe that he wrote the words of the Ode, Rule, Britannia." They had been printed in Edinburgh in a popular song-book, The Charmer," with Thomson's initials, J. T., and by the friends of the poet were generally known to be his. Mallet's literary honesty or dishonesty is now generally appreciated, but it must not be forgotten that for years he posed as the author of the ballad
William and Margaret," and unflinchingly accepted all the encomiums passed upon him in connection with it. In 1880 William Chappell called attention to a folio black-letter sheet in the British Museum, which, with the exception of the first two lines, was identical with Mallet's print. The date of the publication of the Museum copy was 1711, Mallet's 1724, and the ballad is believed to have been popular when quoted by Fletcher in the Knight of the Burning Pestle," in 1611.
The celebrity of Rule, Britannia " appears to have been immediate and general. Hanoverians and Jacobites adopted it as a popular ditty ; the latter party produced several parodies, amongst them the chorus :
Rule, Britannia, Britannia rise and fight, Restore your injured Monarch's right.
( 130 )
RULE, BRITANN1 I.
The following words in a collection <»t songs called
The True Ivoynlist " are directed to be sung- to tin
tune, When Britain first, at heav'n's command " :
Britannia, rouse at heav'n's command ' And crown <li.\ Dative Prince again; Then Pence shall bleas thj happy land. And Plenty pour in from the main : Then shalt thon he — Britannia, then shall be From heme and foreign tyrants free.
Behold great Charles! thy godlike son, With majesty and sweetness crow n'd ; Mis worth th' admiring world doth own.
And fame's Loud trump proclaims the sound.
Thy captain him, Britannia, him declare.
Of kings and heroes he's the heir.
The second hope young Hero claims, Th' extended empire of the main : IFis breast with lire and courage (lame-. With Nature's hounds to lix thy reign. lie (Neptune-like), Britannia will defj All hnt the thunder of the sky.
The happiest states must yield to thee. When {'v^v from dire corruption's thrall, Of land and sea, fchou'H Emp'ror he. Britannia, unite! Britannia must prevail. Her powerful hand must guide the scale.
Then Britons, rouse! with trumpets' sound
Proclaim this solemn, happy day!
Let mirth, with cheerful music crow n'd.
Drive sullen thoughts and cares away !
Come, Britons, sing ! Britannia, draw thy sword,
And use it for thj rightful lord.
I 131 )
IU I.E. BRITANNIA.
Another example will suffice :
When our great Prince, with his choice hand Arriv'd from o'er the azure main, Heav'n smil'd with pleasure on the land, And guardian angels sing this strain : Go, brave hero ; brave hero, boldly go, And wrest thy sceptre from thy foe.
A striking- proof of the general popularity of the music of the Ode is the quotation made from it by Handel in 1745-6, when he composed the Occasional Oratorio" to commemorate the suppression of the Rebellion. The words war shall cease, welcome peace " are set to music, evidently intentionally taken from the song of the day, Rule, Britannia":
war shall cease, . . . wel - come peace
We may note here that the music of the beautiful recitative, Ah me, what fears oppress my throbbing heart?" followed by the air, Guardian angels now descend," first printed in the 1754 Alfred'1 libretto, is modelled on Handel's recitative, 0 worse than death," and air, Angels ever bright and fair," composed in 1749 and performed in March, 1750.
No doubt Rule, Britannia" was heard in Germany very soon after its first performance at Cliefden. A copy of the Ode in vocal score, with harpsichord accompaniment, was published in Hanover with the brief-title Rule Britannia Frey Uebersetzt, Hanover, Gedruckt bey J. L. Lamminger Hofbuchdrucker."
( 132 )
RULE, BRITANNIA.
The German words, freely translated from the English, are as follow :
Britannia, ana dee Meerea Bohoos, si icy auf des Schopfers Wink horror. Dir zog hochahndend dein Genius <l:\> Loos, mid jnbelnd sang' ein Engfelclior: Herrsch u Britannia! der weite Ocean scy deinem Scepter untherthan.
There are five more verses which need nol be reproduced. The publication is undated, and gives no name of poet or composer. Subsequently the same publisher issued a more complete edition with the original English words and a German translation. The title-page is " Rule, Britannia am Hochster- freulichen Geburtsfeste Ihro Ma.jestat der Koniginn Charlotte den 18. Jannar 1799 auf dem Grosser Koniglichen Schlosstheater voni Herrn Schauspiel- Director Ignaz Walter nach der von I. (J. F. Brauer versuchten Uebersetzung gesungen."
Beethoven showed his appreciation of the Air of
Rule, Britannia " by using it not only for a pianoforte piece with variations in 1804, but also by incorporating- it in the Battle Symphony. "Wellingtons Sieg, oder Sehlaeht bei Vittoria," which was performed at a concert in Vienna, in 1813, given for the benefit of the soldiers wounded at Hanau, and again in 1814 during the Vienna Congress, conducted by the composer.
Wagner declared that the first eight notes of Rule, Britannia " embodied the whole character of the British people, and as a tribute to the English nation he set himself the task of composing an Overture with Arue's music as the motif. Tin' ( 133 )
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history of this interesting" composition of Wagner's has never heen accurately stated. The preliminary sketch of the music was made hy Wagner in 1836, and is still preserved at Bayrenth. The composition was completed and performed in March, 1837, at Kbnigsberg, and was again played at Riga, on each occasion under the direction of Wagner. He sent the score to the Philharmonic Society in London ; hnt its receipt was not acknowledged. Therefore, when in 1839 he made his first visit to London, he wrote to the secretary of the Society with the result recorded in the Philharmonic Society's minute-book, under date April 19, 1810. Present, Mr. Neate, in the Chair, Messrs. Potter, F. Cramer, Dance, Anderson, Calkin. Letter from Wagner. Resolved that the score of the Overture he returned, with an apology for having kept it so long, and explaining that written upon a theme which is here very commonplace, precludes the performance of it at the Philharmonic Concerts." Wagner resided in London at the King's Arms " boarding-house, Great Compton Street, Soho, only eight days, and then went to Paris. Presumably his removal was not known to the Philharmonic secretary, who sent the letter and score to Wagner's London address ; the proprietor of the hotel then forwarded it to Paris, but without defraying the carriage. Wagner in his autobiography wrote : One morning, when we had been anxiously consulting as to the possibility of raising our first quarter's rent, a carrier appeared with a parcel addressed to me from London. I thought it was an intervention of Providence, and broke open the seal. At the same moment a receipt- < 134 ;
RULE, BRITANNIA.
book was thrust into my face for signature, in which I at once saw that I had to pay seven francs for carriage. I recognised, moreover, that the parcel contained my overture. Rule, Britannia,9 returned to me from the London Philharmonic Society. In my fury I told the hearer that I would not take in the parcel, whereupon he remonstrated in the liveliest fashion, as T had already opened it. It was no use; I did not possess seven francs, and told him he should have presented the bill for the carriage hefore I had opened the parcel. So I made him return the only copy of my overture to Messrs. Lafitte & Galliard's firm, to do what they liked with it. and I never cared to inquire what became of that manuscript." Its recovery is a mystery; the conductor of the hand of the Leicester Opera House. .Mr. E. W. Thomas, a few years since disposed of his belong- ings, including a pile of manuscript music which was purchased by Mr. Cyrus Gamble, who. in May, 1904, looking through the collection, dis- covered the long-lost Wagner autograph, signed and dated "Richard Wagner 15 March 1837 Konigsberg in Prussia."1 Arne's orchestral score is limited to strings, two oboes, two trumpets, one bassoon, and kettle-drums; Wagner's score requires strings, two piccolos, two Hutes, two oboes, two clarinets, two bassoons, serpent, double-bassoon, four horns, four trumpets, three trombones, ophicleide, side-drum, triangle, grosse caisse, cymbals and kettle-drums.
Passing notice is all that is necessary of the gross want of reverence and good taste exhibited by the Rev. Rowland Hill, of Surrey Chapel, who wrote a
1 -V> )
RULE, BRITANNIA.
hymn for the music of " Rule, Britannia," which was sung- on the 4th of December, 1803, by a crowded congregation of Volunteers, and printed in a collection of hymns sung- at Surrey Chapel.
At the Coronation of William IV., the Sailor King-, at Westminster Abbey, September 8th, 1831, an anthem, 0 Lord, grant the King a long life," was sung, having been composed by Thomas Attwood. The introductory symphony and the concluding chorus have quotations from the melody of Rule, Britannia," introduced in a very ingenious and admirable manner.
Sir Alexander Mackenzie has also made masterly use of the tune in his brilliant " Britannia " Overture.
( 136 I
INDEX.
PAGE.
Abbey Glee Club ;,;; Abrams ••• 81> 91
Acis and Galatea 8,23,28
Addison ■■■ •'■ '■'■'
Ah nif. what fears ••■ '■_•-'
Alas, the horrors ... ... ■■• ■•• ••• '"
Aldrich a
Alexanders Feast
Alfred 15,20,33,41,46,114,116,122,124
Alfred, go forth 121
Allegro -"
Amelia. Princess '"
Amphitryon -'•'
Anderson ... •■•
Angela ever bright
Arcadian nuptials
Akxe — Actor
AtCliefden '"
At Eton 3> 6
At Strat ford-on- Avon ,;T Birth of composer
Burial lW
Conductor 35
Death •"''
Employs ladies in Choir ''
Father of composer ...
First composition
Flautist 7
Grandfather of composer '• '
Harpsichordist ...
His will 'K
In Dublin l9
In Edinburgh
Introduces P.F. accomp. ... 51
132
i -J
:;o
Leaves wife in Dublin
16
( 137 )
INDEX.
Arne (continued) — page.
Marriage ... 21
Member Soc. of Mus 14
Mother of composer 2. 11, 13, 15
Mus. Doc. Oxon. 49
Reunited to wife .94
Son Michael born 38
Violinist 8,22,125
Wife of composer
2, 11, 13, 15, 20, 22, 24, 46, 57, 72, 94, 102, 115, 125, 127
Arne, Edward 4
Arne, Michael, bro. of composer 9
Arne, Michael, Mrs 79
Arne, Michael, son of composer 38, (32, 77, 92, 97. 101
Arne, Susanna, sis. of composer 9
Arnold 92,102
Artaxerxes 54, 61
As you like it 17,28
Attwood ... ... 136
Augusta, Princess 12, 112
Baddely ... 67,70
Baildon ... 24. 27, 66, 127
Baker 127, 129
Banks 2
Barbarini ... 114
Barbatielli ...... 29
Barbier . . 9
Barnes ... ... 4
Barry .34,84
Barthelemon 50, 74
Barthelemon, Mrs 67,95,102
Barthelemon, Cecelia M 94,115
Bartholomew fair 113
Battle Symphony 133
Bayly 47
Beard 13,15,17,49,55,58,61,121,129
Beethoven ... 133
Beggar's Opera 29,49,61
Beviamo tutti tic QQ
Bickerstaff 49,58,81
Billington ... 57
Blow, thou winter wind ... ... 17
Bradford ... 73
Braham ... ... 57
Breathe the pipe 52
Brent 41,43,45,49,55,60,85
( 138 )
INDEX.
Brickler
Britannia, rouse, al heaven's command
Brown ...
Bushy
Butler
By dimpled brook
Calkin
( lapricious lovers
Caractacus
< latches and Glees
Cathedrals, Dublin
Catley
Cervetto
Chambers
Champness
Chappell
Charles
Chateauneuf
Chi scherza colle rose ...
Churchill ... ...
Cibber
Cliefden
Clive
Colgau
Colin and Pbcebe
Collins ...
Oilman
Come, follow me
Come, if you dare
Come, shepherds, we'll follow
Comus
Comus's Court ... ...
Concertos ...
Congreve
Connel
Corfe
Cornelys
Coronation Anthem
Corry
Country girl at court
Covent Garden Theatre riot
Cramer ... ...
Crown and Anchor ...
Cumberland, Duke of ...
( 'ymbeline ...
( 139 )
PAG] .
.".I
131
:.7. <•.? '.'•J i:. L3
134
81 91
64. 76
23
61
15 9
67. 80
... 130 25 30
20
54
10,13,19,35,58,79,84
Ill
13,16,37,81,116,118
2::. 27. 125
:;7 12!>
7::
To
68.80
«;:;. L02
12. 19, 24, 28,33, 40. 11. 61
II
92
15. 111. 1-M
... 127
9
52 23 13
82 61
i:;i .-,:;
10
19
INDEX.
Dalton
Dance
Daphne and Amintor
Davis
Death of Abel
Death of Nelson ...
Delany
Delicse Musicse ...
Dibdin
Dido and vEneas . . .
Dirge
Dodsley
Dragon of Wantley
Drur}- Lane Theatre
Dryden
Dubonrg
PAGE.
12
134
81
... 24,27
28, 31, 92
65
... 12,47
66
... 51,77
10
71
39
22, 30, 40
10, 35, 61
68
... 23,27
Edwards Elfrida Eliza Esther Eton College
16
79
41,49
20, 3S
3,6
Fairest Isle
Fairies
Faramond
Farinelli
Father of Mercies
Fawcett
Fergusson
Festing
Fielding
Fishamble Street room
Fisher
Fitzpatrick
Fleet prison
Foote
Forest
Foster
Fox
Frasi
Frederick, Prince of Wales From the eternal regions From yonder bower Frost scene
70
40
20
20
52
52, 60, 73
51
... 7, 14
... 9, 76
69
76
62
4
81
74
13
77
129
116
118
33
70
121 111
( 140 )
I.Xhl X.
Gainsborough -
Galli [29
Gamble I:;,-,
Garrick ... 12, 15, 21, 35, 58, 61, 67, 77. B2, L26
Garrick, ('•.
Gay
Geminiani ...
Gentle swain ].-,
Gentleman's Blag. [23
II. L12
Giardii
i;<;
Gilford 80
(Morions voice 17
God save the King ;;<;
Gordon ::.-,
Green ... 1 1 Grenville (, 77
Groombridge 92
Gnadagni 1 ■_>..,
Gnardian angels 132
Guardian outwitted 62
Hail, immortal Bacchus 52
Hallam (;j
Hamilton 77 Haudel 8, 12, 19, 23, 27. 31, 38, 127. L32
Hark! the bonny 66
Hark ! what notes enchant ... 43
Harlequin sorcerer ... 39
Basse ... ... ... ^0
Baste to the gardens ... ... 52
Baymarket Theatre 8. 11
He was despised ... ... ... ]•_>
Hear, Alfred 117
Hear, angels ... 52
Henry IV 30
Here, sons of Jacob 53
Km ... ;;: ::: i3, 135
Hither turn thee 17
Horsley 10.4.
Horton ... 114-116
How blest are the shepherds ... 70
How cheerful along the pay mead 32
Bow gentle was my Damon's air 13
Bow happy the lover 70
Bow sleep the brave [29
Buggins I
( 141 )
INDEX.
Hymen
Hymn of Eve
I call you all to Woden-hall ... If those, who live in Shepherd's In thoughtless gay prosperity lanthe and Ipliis ... Indian Kings
Jack, thou'rt a toper
Jameson
Jewell
Johnson ...
Jones
Joseph
Judgment of Paris
Judith
King Arthur Kirkman . . .
Kitty
Knight of the Burning Pestle Knowles
Lacy
Ladies' hoops Lafitte and Galliard
Lampe
Lampe, Mrs. ...
Lascia cadermi
Lass with the delicate air
Layfield
Legge
Let not a moonbeam
Leveridge
Lincoln's Inn Fields theatre
Little gipsy
Live to us, to empire
Lock hospital
Love in a village . . .
Love rapture
Lowe
Mackenzie
Madrigal Society
Mallet
Mansfield ...
17, 27, 30, 33, 39, 120, 125,
PAGE.
20
68
119
12S
39 3
66
SI
77,81
13,56,82
9
127
15, 114, 122, 124 50, 62, 68, 76
68, 79
5
45
130
45
(50
24
135
40
20 39
30
39
69
9
9
2-91
56
50
58
67
127
S2
... 136 62
111. 128 62
142
INDEX.
Bfanzuoli
.Mara
Ma-.oil
.Mattocks
Mawhood
May-da j
Merchant of Venice
Metastasio
Millar
Mills Milton
.Mil ward
Miss in her teens M iss Lucy in town
Mountain
Much Ado about Nothing
Neal
Xeal. Blaster
Neate
Neil
Nightingale
No 1 1 lore the heathen Noblemen's Catch Club
Non chiamarmi
Norris
Novello
Now Phoebus sinketh ...
( ) beauteous Queen
<) fairest
() Lord, grant the King
() peace
o peace, descend ... O ravishing delight
O sight ^
() too lovely
O'er Williams tomb
Olimpiade ...
On Chloe Bleeping
Orphan, The
< (rpheus and Euridice ...
Otway
|
:.7 |
|||
|
'.'1 |
|||
|
t: |
|||
|
62, 64, To. 96 |
102 |
||
|
83 |
|||
|
33 |
|||
|
."> |
. 63 |
||
|
L16, |
127 |
||
|
13, |
116 |
||
|
12 |
|||
|
13, 114, |
116 37 |
||
|
Jl'--_m.» |
|||
|
'.' |
|||
|
is |
|||
|
_': |
25 134 VI |
||
|
66 |
|||
|
■ *'l |
|||
|
63 |
|||
|
20 |
|||
|
58-65 |
|||
|
71 |
|||
|
13 |
|||
|
20 |
|||
|
20 |
|||
|
136 |
|||
|
20, |
116 7o 15 70 55 65 63 66 101 |
||
|
114, |
1-JI |
lol
Pasquali Pasqnalino
( 143 )
INDEX.
PAGE.
Paxton 96,100
Pembertou 64-71
Pennyworth of wit 87
Pepusch 49
Per le porte 20
Perseus and Andromeda 62
Pesetti 56
Philharmonic Society ... ... ... 134
Philharmonic Society, Dublin ... ... ... 32
Phillips 12. 57, 77
Pianoforte ... 51
Pilkington 27
Pincushion ... ... ... ... ... ... ... ... 44
Pocnlum elevatum 63
Potter 134
Prepare the genial bowers ... ... 52
Prince of Wales ... ... 12
Prior 45
Prithee, friend ... ... 66
Punch, the medium 67
Purcell ... 33,65,68
Pre ... 44
Quin 13, 19, 114
Rafter 80
Ranelagh ... ... 64
Redburn 41
Rehearsal ... ... 32
Rennett 73
Requiem 72
Rich ... 39,90,112
Rival Queens 28
Rosamond 9,20,43
Rose 57
Rosengrave ... ... ... ... ... ... ... ... 23
Royal license ... • •■ 18
Royal Society of Musicians 14
Rule, Britannia 15, 115, 119
Rule. Britannia, in Germany ... 132
Rule. Britannia, rise and fight 130
Sadler 42
Saint George the patron ... ... 70
Salway 116
( 144 )
is hi: v.
Sardinian Chapel
Saul
Scott
Serenata
Shakespeare jubilee
Shenstone
Sloper
Smith
Soldier and his friend
Soldier tired
Solomon
Sosarmes
Spandau
Spencer
Squire Badger
Stephens ...
Stevens
Storer
Street intrigue
Swan
Sweet bird
Sweet echo
Sweet valley
Sybilla
■2... 25
102 12 67
:;•.»
10
<<■:. 77
65
38 20 50
7''. ■"•7 59
27, 1^
66
2\
20
l::. 24
117
17. L27
Tempest
Tenducci
Theodosius
Thomas
Thomas and Sally
Thompson .
Thomson
Thou soft flowing Avon
Thursfield
Thus I infuse
'Tis sweet the blushing
To virtue with rapture ...
Tom Thumb
Tonson
Tragedy of tragedies
Twelfth night
Two daughters
Tyers
Uu guardo solo
I fader the greenwood tree
37, ii
i2, 55, 57
33
.">.">. 135
19
77. 130
112
67
I
7n
70
70
'.». -2-2. L>t;
56
9
28
( 145
INDEX.
Yado e vido
Vauxhall gardens
Vernon
Vernon, Mrs
Wagner
Wake, my harp
Walsh
Warrell
Water parted from the sea
Waylett
We must work
Weelkes
Weideman ...
Welch (Walsh) ...
Weller
Westminster Abbey
Wheeler ...
When Britain first
When daisies pied
When gay Bacchus
When Israel wept ...
When our great Prince
Where the bee sucks
Which is the properest day to drink ? Whittington's feast
William (King)
William and Margaret ... Who can Jehovah's wrath With heroes and sages ... Woodman ... Worsdale ...
Wright
Wrighten, Mrs. ...
Young, Cecilia
Young, Charles
Young, Miss
Young, E. ... Young, Polly
PAGE.
20
37
59-67
... 49-55
138
52
... 39,51.121 56
m
12
70
G6
14
46, 125 67, 73, 80, 84, -87, 89
12
1
119,124
17
m
52
... 132 37, 117
67 v
93
... 136 ... 130 52 52 57 30 79, 101 70
2,9.11 11,41
41,43
44
41, 43,46, 4S. 74. 127
( 14.; .
COMPOSITIONS BY DR. ARNK.
|
-. |
.1 |
|
1 |
6 |
|
2 |
0 |
|
1 1 |
SONGS.
Twenty Songs ...
Gentle Swain ...
Guardian Angels
o ravishing delight
When icicles i ,;
PART-SONGS. Blow, Mow Hit. ii wintry wind (Unison Song) Come away, death (s.a.t.b.)
Rule. Britannia (s.a.t.b.)
DO. (T.T.B.B.)
Do. (Solo with ad lib. Chorus)
Where the bee sucks (s.a.t.b.) ...
Do. (S.S.T.B.) ...
Do. (Two-part)
Which is the properesl day to sing (s.a.t.b.)
Do. x.
It o'er the cruel tyrant, hive ... ... ... folio
The Curfew (Round for torn- voices)
Under the greenwood tree (Unison Song) ... u [|
VIOLIN.
Trio -Sonata in E minor ... ;; (1
ORGAN.
By the rushy-fringed bank Air, from " Comus " i o
March. "Judith " ... ... I ,,
Largo < Overture to " Artaxerxes" ... 1 ,,
|
0 |
1'. |
|
0 |
2 |
|
0 |
1'. |
|
0 |
1 |
|
0 |
1'. |
|
0 0 |
• > |
|
0 |
1.'. |
|
0 |
•) |
|
o 0 |
9 |
|
II |
li |
London: XOVELLO AND COMPANY, Limited.
LONDON :
NOVELLO AND COMPANY, LIMITED,
PRINTERS.
UNIVERSITY OF CALIFORNIA LIBRARY
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