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diff --git a/43214-8.txt b/43214-8.txt deleted file mode 100644 index 08dad13..0000000 --- a/43214-8.txt +++ /dev/null @@ -1,5073 +0,0 @@ -Project Gutenberg's Dr. Arne and Rule, Britannia, by William Hayman Cummings - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Dr. Arne and Rule, Britannia - -Author: William Hayman Cummings - -Release Date: July 14, 2013 [EBook #43214] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK DR. ARNE AND RULE, BRITANNIA *** - - - - -Produced by Charlene Taylor, Paul Clark and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - - - - - - - Transcriber's Note: - - Every effort has been made to replicate this text as faithfully as - possible. Some changes have been made. They are listed at the end of - the text. - - OE ligatures have been expanded. - Italic text has been marked with _underscores_. - Superscript text has been marked ^{so}. - - - - -[Illustration: DR. ARNE, BY DUNKARTON.] - - - - - DR. ARNE - AND - RULE, BRITANNIA - - BY - - WILLIAM HAYMAN CUMMINGS, - MUS. 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. - - 1912 - - - - -PREFACE. - - -The glorious National Song, "Rule, Britannia," is familiar to the whole -British race; nevertheless very few men and women are acquainted with -the history of its birth and parentage. - -In the following pages I have endeavoured to chronicle all the facts -which are discoverable 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 great 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. - - WILLIAM H. CUMMINGS. - - - - -ILLUSTRATIONS. - - - PAGE. - - ARNE, BY DUNKARTON _Frontispiece_ - - ARNE, BY GAINSBOROUGH 7 - - MRS. CIBBER 12 - - CERVETTO--"OLD NOSEY"--BY ZOFFANY 16 - - MUSIC HALL, FISHAMBLE STREET, DUBLIN 19 - - ARNE, BY BARTOLOZZI 46 - - COVENT GARDEN THEATRE. RIOTING DURING ARNE'S "ARTAXERXES" 61 - - FACSIMILE OF AUTOGRAPH LETTER BY ARNE 69 - - ARNE, BY ZOFFANY 94 - - VIEW OF CLIEFDEN HOUSE 111 - - FACSIMILE OF "RULE, BRITANNIA" 123 - - - - -DR. ARNE. - - -Much confusion has arisen concerning the family of Arne; this is not -surprising, seeing that three generations of the same family were named -Thomas, and that all 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's consent at St. Peter's, Cornhill, or elsewhere in -Diocese." A son born 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-five years of age, this second Thomas married Anne Wheeler in -the Mercers' Chapel, Cheapside, April, 1707.[1] Three years later a son -was born, who also was named Thomas, and duly baptized in St. 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 be -verified by documentary evidence, but tradition has given the 12th -of March, and this has generally been accepted as correct. It is -noteworthy that Arne received only one Christian name in baptism, and -that in after life he added another, 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[2] (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, ----+---- MARY THURSFIELD. - _d._ 1713. | - | - +---------------------+-------- - | - THOMAS ARNE, _b._ 1682, ----+---- ANNE WHEELER. - _m._ 1707, _d._ 1736. | - | - +---------------------+-------- - | - THOMAS ARNE, _b._ 1710, --------- CECILIA YOUNG, - _m._ 1736, _d._ 1778. _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 of the North -American chieftains, who created a considerable sensation whilst in -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 gold, 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 filled the responsible office of parish overseer. There is -every indication that he was a prosperous tradesman, so well to do that -he was able to send his son at a suitable age to Eton College to be -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 -boarder in one of the masters' houses. - -Many errors have been printed respecting the status and career of -Arne's father. Probably they all originated from the statements made -in a letter of Addison's which appeared in the _Tatler_ in 1710; a -certain Mr. Arne is there described as an Upholder of Covent Garden, a -rabid politician, neglectful of home and family, and in consequence a -bankrupt. It is 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 -unwholesome. 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 Body, -but the Feathers of a Bed (which Bed was thrown to him by a Prisoner,) -into which he crept, to defend himself from the Cold, and the Feathers -stuck and were clotted upon him, by his own Excrements, and the dirt -which covered his skin. He was immediately seized and carried back 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 on him, but caused the door -to be closed upon him."[3] - -The unhappy victim of tyrannic cruelty was buried in the precincts of -St. Paul, Covent Garden, as is recorded in the church register, "23 of -October, 1725, Edward Arne, from the Fleet Prison." - -The most reliable account of Arne's early years 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. In 1744 he was introduced -to Mr. Arne, 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 to make an offer to Mr. Burney, -senior, upon such conditions as are usual to such sort of patronage, -to complete the 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."[4] -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 recommendation 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 -Greville 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." - -[Illustration: ARNE, BY GAINSBOROUGH.] - -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 school-fellows, that his love for music operated upon him -too powerfully, even while he was at Eton, for his own peace, or -that of his companions; for with a miserable, cracked common-flute -he used to torment them night and day when not obliged to attend -the school." Burney's description of the flute must be regarded as -somewhat exaggerated if 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 -Eton, 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 be brought up -to the profession of the law, articled him to an attorney for three -years, but 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 muffle 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, both 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 get some lessons from the accomplished and -eminent violinist, Michael Festing. His natural talent enabled him to -make rapid progress, and shortly after the expiry of his articles, an -incident occurred which happily determined his future career. His -father, one day calling at a gentleman's house in the neighbourhood -upon business, found that he was engaged, but 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 Haymarket 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 decorations: being the first time it ever -was performed in a theatrical way. The part of Acis by Mr. Mountier, -being the first time of his appearing in character on any stage. -Galatea by Miss Arne. Pit and boxes at five shillings. Subscriptions -are only taken in by Mr. Arne at the Crown and Cushion, King Street, -Covent Garden." - -For some reason the performance did not take place on the 12th, 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 powers 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 the 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, 1733. 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 great success and was followed by ten others; the -last was announced for the benefit of "_Mr. Arne, junior,_" evidently -to distinguish the composer from the father. Thus encouraged Arne 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 its new musical dress the composer called it "The Opera -of Operas," and it was submitted to the judgment of 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 highly 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 Æneas." 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[5] had forcibly broken into his wife's -residence, abstracted her jewellery, and carried her off to the Bull's -Head tavern, Clare Market, where he had locked her in an apartment from -which she was rescued by her brother, Thomas Arne. - -In 1736, Arne, in the twenty-sixth year of his age, married Cecilia -Young, the charming singer who had appeared with his sister at the -performances in the new theatre in the Haymarket, in 1732. She was 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 up to -E 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.[6] 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. Cibber 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 for -her interesting person, pathetic voice and manner, or the musician (the -composer Arne) for his natural and pleasing strains, particularly -the March which was encored every night." Mrs. Cibber'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. - -[Illustration: MRS. CIBBER.] - -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 welcome labours with -real enthusiasm, and easily earned the reputation of being the best -English composer of the day. His music combined graceful melody and -expressive accent, needing no extraneous ornamentation to enhance its -beauty. The songs "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 by Mr. Quin; the Lady, Mrs. Cibber; the Brothers, Mr. -Milward and Mr. Cibber; First Spirit, Mr. Mills; Second Spirit, Mr. -Hill; Euphrosyne, Mrs. Clive; Sabrina, Mrs. Arne; Attendant Spirit, -Mr. Beard. The Masque is preceded by 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 -Drury Lane Theatre in 1738 under the composer's direction, the piece -had a long run and was frequently revived. A notable occasion was -the performance at Drury Lane on the 5th of April, 1750, when it was -given for 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 Garrick. It is -satisfactory to know that the substantial sum of one hundred and thirty -pounds was handed over to the aged lady as a result of the united -efforts of the artists who gave 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 of his life, -and by his Will bequeathed one thousand pounds to its funds. - -1740 was a very busy and prosperous year for Arne. 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 book as set by Arne; it contained -much more music than "Alfred," and, with the exception of "Rule, -Britannia," of greater importance. The Overture, composed on the -conventional 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, "O ravishing delight," sung by Mr. Beard in the character -of Paris, it would be difficult to surpass. Accompanied 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. Arne. -In the printed score the composer appends the note, "This Air is -composed for a _Violoncello_ solo, and a double Bass to play with the -Harpsichord."[7] The violoncello had quite recently been introduced -into England by Cervetto (Giacobbe Bassevi), who joined the Drury Lane -Theatre orchestra in 1738; by his skill he soon 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." - -[Illustration: CERVETTO, BY ZOFFANY.] - -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. After an invitation from each of the three divinities: - - Hither turn thee gentle swain, - Hither turn to me again: - She will deceive thee, - I'll never leave thee-- - -Paris, represented by Mr. Beard, replied: - - Apart let me view then each heav'nly fair, - For three at a time no mortal can bear; - And since a gay robe an ill shape may disguise, - When each is undrest - I'll judge of the best, - For 'tis not a face 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 for 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 close -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. Great 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 Clive, "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 Arne's melodies. The immediate popularity of the -music attracted the attention of several unscrupulous publishers of -the day. To protect himself against their nefarious depredations, -Arne obtained a Royal license, dated 29th of January, 1741. "George, -the Second, by the Grace of God, King of _Great Britain_, France, and -Ireland, Defender of the Faith, etc. To all to whom these Presents -shall come, Greeting. Whereas _Thomas Augustine Arne_, 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 the Commissioners and other Officers of our -Customs, the Master, Wardens and 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." - -[Illustration: THE GREAT ROOM, FISHAMBLE STREET, DUBLIN.] - -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 30th) the ingenious Mr. Arne, brother to Mrs. -Cibber, and Composer of the Musick of Comus, together with his Wife, -(the celebrated Singer,) arrived here from London." This notice is -interesting as evidence that "Comus" had already been performed in -Dublin; Mrs. Cibber and James Quin, the original exponents of the Lady, -and Comus, were two of the actors engaged in the Dublin production; -we may therefore reasonably suppose that they had introduced some of -Arne's music. Mrs. Cibber 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 13th of April -preceding. No time was lost by Arne and his wife in making a venture -for public favour. _Faulkner's Journal_, July 13-17, exhibited the -following advertisement: "At the particular Desire of several Persons -of Quality, for the Benefit of Mrs. Arne, at the Great Room in -Fishamble-street, on Wednesday, the 21st Inst., will be performed a -grand Entertainment of Musick, to 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 -chiamarmi, 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), O -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 five o'clock, To begin -exactly at 7 o'clock. N.B. 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 Arne. Handel was residing in Dublin, -and it is quite likely that he extended his friendly patronage to -Mrs. Arne and attended the 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" a 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 13th 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. In a month's -time he returned, and resided with his wife at a house "over against -the Ram in Aungier-street" near the Theatre. We obtain intelligence -of their doings from an advertisement in _Faulkner's Journal_ of -September 25-28,--"The Charitable and Musical Society" announced the -commencement of the season by a concert to be given on the 8th of -October. Special attention is directed to the fact that "they have -provided a fine Organ, and have engaged the celebrated Mrs. Arne to -sing"; the day after the performance the _Journal_ reported, "Last -Night the Charitable and Musical Society opened their first Concert to -a very numerous and 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 will sing the -Song Sweet Bird, accompanied 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 perform'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 received 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. Arne's performance, on the 17th -of December engaged her for another concert given "for the Benefit and -Enlargement of Prisoners confined for Debt, in the several Marshalseas -in this City." An advertisement announced "On Tuesday next, being the -14th of December, at 12 o'clock at Noon will be the Rehearsal of Acis -and Galatea, with the celebrated Coronation Anthem called Zadok the -Priest, composed by Mr. Handel. Mr. Dubourg will perform a new Solo. -The Performance will be on Friday the 17th, at 6 in the Evening. The -Gentlemen of the Choir of each Cathedral will assist,[8] with Mrs. -Arne, Mrs. Storer, Mr. Colgan, and others. Tickets to be had at half a -Guinea each, from Mr. Neal, at the said Musick Hall. A Rehearsal Ticket -will be delivered with the Ticket for the Performance, as it was for -the 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 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 be spoke by Mr. Swan, and the -Epilogue by Mrs. Furnival. A Row of the Pit will be taken into the -Orchestra, there being an extraordinary Band of Musick provided on -this occasion. The whole conducted by Mr. Arne, who accompanies the -Performance on the Harpsichord. With new Habits, Scenes, Machines, -Risings, Sinkings, Flyings, and other Decorations. It is hoped it -will not be taken ill, that none can be admitted behind the Scenes. -N.B. This Performance being exhibited at a much greater Expense than -any Theatrical Entertainment in this Kingdom, we are obliged to lay -the Pit and Boxes together at 5s. 5d. Lattaces, 5s. 5d. Gallery, 2s. -8d. 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 first 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, Mr. 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 sing a favourite Song. -Master Neale, 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[9] was a very skilful performer; possibly he had been -one of the Drury 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,[10] 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; Grideline, -Miss Davis; 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; -Princess, Huncamunca, Mrs. Sybilla; all the other characters, as -Noodle, Doodle, Foodle, 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. 22-25, announced that "Mr. Dubourg[11] and -Mr. Arne are to have six Oratorios of Mr. Handel's performed this -Season by Subscription, in which Mr. Lowe, Mrs. Arne, Mr. Colgan, -and Mrs. Storer will perform the vocal Parts"; on the following Nov. -29-Dec. 3, an elaborate advertisement 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 by -Command of His Royal Highness Frederick Prince of Wales, and performed -at his Palace at Cliefden, but never yet exhibited in Publick, 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, Tabell's 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 of Players that ever was in this -Kingdom, they are now better than any Company in London, and the Prices -(except on very extraordinary Occasions) are at the lowest Rate." - -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 Arne presided at the harpsichord, and also at seven -representations which followed. At a benefit given for Mr. Lowe on -the 17th, "Comus" was performed, with Mrs. Arne in the parts of the -Pastoral Nymph and Sabrina, singing also, as usual, the Lady's song, -"Sweet Echo." She again appeared with Mr. Arne at a benefit concert -given for Signor Barbatielli, who had broken his leg. The advertisement -announced, "Mr. Dubourg, is so kind as to perform, and will conduct -the whole, assisted by Mr. Arne and Mr. Pasqualino, the Vocal Parts by -Mrs. Arne, Mrs. Storer, Mr. Lowe, and Mr. Colgan. Tickets to be had at -Mr. Barbatielli's Lodgings in George's Lane, opposite to Fade-street, -and at the Musick hall, at 5s. 5d.--N.B. It is hoped that the Gentlemen -and Ladies will be 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, for the more -easy going in, as at Mr. Handell's." - -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 performed. Special attention was directed to -Mr. Lowe's singing of "the Part of Cantileno" [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 -advertisement 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; Gubbins 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 performance 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. will be performed A new Oratorio, called _The Death -of Abel_. Set to music by Mr. Arne. The Principal Characters to be -performed by Mr. Lowe, Mrs. Arne, and Mademoiselle Chateauneuf. 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 by subscribing, are greatly -desired immediately to send their names to his house in Aungier-street. -where tickets are ready to deliver to the subscribers. N.B. Attendance -will be 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. First 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 bills; but -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 inform'd by several worthy Families -that the Gentlewomen who keep the Saturday Nights Assembly, or some one -concern'd with, or commission'd by them, have made it their business -to complain of his performing the Subscription Oratorios on that -Night, alledging that it was done on purpose to prejudice 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 Night, 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 bow'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 singing parts were performed by Mr. Lowe and Mr. Worsdale. -The _Journal_, Feb. 28-March 3, 1744, contained the advertisement -announcing the first public performance of "Alfred," and the "Judgment -of Paris," which took place on the 10th of March; and on the 29th -of the same month "Comus" was again performed, for the last time in -the season, Mrs. Arne, as a matter of course, representing Sabrina -and the Pastoral Nymph, and singing the song "Sweet Echo." Lowe was -the Bacchanal and Attendant Spirit; and Miss Davis, Euphrosyne. This -performance was given at the Theatre in Aungier Street, and shortly -afterwards "Rosamond" was 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, Grideline; -Madame Chateauneuf, Rosamond. On the 2nd "The Merchant of Venice" was -also performed "with the songs proper to the Character," sung by 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 Bow'r, where blowing sweets - Perfume the vernal Air, - I hear the 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 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. Arne has 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.[12] An examination of that copy shows that Arne -wrote music for nine pieces--four airs and five choruses, very short -movements. 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 respecting 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 introduced to Arne, and -having exhibited his skill as a performer on the harpsichord became -an articled pupil of the popular composer, with whom he journeyed to -London. Upon his arrival in the Metropolis, Arne resumed his connection -with Drury Lane Theatre as composer, and obtained an engagement there -for his wife as "Serious Singer." The year 1745 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 be given in connection -with "Rule, Britannia." - -On the death of Gordon, the leader of the orchestra at Drury Lane, Arne -accepted the appointment which was virtually that of conductor. This -was a welcome addition to his importance and income. - -A letter written by Mrs. Cibber to Garrick, dated the 1st of May, 1745, -gives interesting evidence of 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 be 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. I 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, 1745, occurred a memorable scene -in the Theatre Royal, Drury Lane. The _Daily Advertiser_ published on -the Monday following describes it thus: "On Saturday night last, the -audience of the Theatre Royal, Drury Lane, were agreeably surprised by -the Gentlemen belonging to that House performing the Anthem of God -save our noble King. The universal Applause it met with, being 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. Arne's 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: - -[Music] - -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. Twenty men appear at the end of every play; and one, -stepping forward from the rest, with uplifted hands and eyes, begins -singing, to an old anthem tune, the following words--God save the King." - -In this year, 1745, Arne was appointed composer to Vauxhall Gardens, -for which fashionable place of amusement he wrote a considerable number -of songs, ballads, and a dialogue "Colin and Phoebe," which was -sung every evening throughout the season by Mrs. Arne and Mr. Lowe. -Engagements of a similar character at Marylebone Gardens and Ranelagh -gave great scope for his talents, and must have kept him fully occupied. - -In 1746, 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 revived at Drury -Lane Theatre. The _General 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 be 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. Clive." This -was the birthday of the beautiful melody, "Where the bee sucks," a -song 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 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 Handel's "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, who was introduced to -the public by his father at Marylebone Gardens. Two excellent printed -examples are "Ianthe and Iphis, sung by Master Arne, at Marybon -Gardens"--and "An thou wert mine own Thing, sung by Master Arne at -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 Arne composed music for "Harlequin Sorcerer," an old -pantomime in which Rich had many years before made a great success. -The performance took place at Covent Garden Theatre on the 11th of -February, and there was an overwhelming demand for seats; 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 business -contract with the composer. The following letter, by Arne, addressed to -William Shenstone, the poet, throws light on the subject: "Nov. ye 30, -1754. SIR--By 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; for if -he prints my Music in his Publication, I shall lose the sale of it to -Mr. Walsh [the King's Music-Printer] who gives me 20 guineas for every -Collection I 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 I acquainted Mr. Dodsley, who did not seem inclin'd to make -any Gratuity for 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,[13] 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 Monday, 27th May, A Concert of Vocal and -Instrumental Musick. The Vocal part to be performed by Miss Rodburn, -and the Instrumental by Mr. Pasquali, Mr. Arne and others. To begin -Precisely at 6. Tickets, 2/6. To be had at Mr. Arne's Lodgings, at -Mr. Johnston's, Wigmaker, head of Chalmer's Close, and at the Old and -John's Coffee houses." - -In the autumn of 1755, Arne and his wife again visited Dublin. They -were accompanied by a number of capable vocalists, Miss Young, Mrs. -Arne's sister, her six-year-old niece Miss Polly Young,[14] and Miss -Charlotte Brent; they resided together in Fishamble 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, (viz.): 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 be delivered to -each Subscriber for two Guineas.--The first Performance will be in -the Beginning of November. N.B. The Orchestra will be considerably -enlarged, an Additional Number of the best Instrumental Performers -engag'd, and Mr. Arne will accompany the Operas on the Harpsichord." - -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 Hartington," and -the "whole House was illuminated with Wax Lights." Printed books of -the opera were "published and sold by Mr. Hoey, 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 Tune. The Poem is, by all judges -of 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 -performance was repeated on Thursday the 4th, and Saturday the 20th of -December. Arne's opera "Rosamond" was played on the 31st, with Mrs. -Arne as Queen Eleanor; Miss Brent, Rosamond; Grideline, 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 -composer's conductorship by Mrs. Arne, Miss Brent, Miss Spencer, Mr. -Sadler and Mr. Corry. _Faulkner's Journal_, 20-24 Jan., 1756, 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: - - Hark! hark! what notes enchant my Ears, - Sweet as the musick of the Spheres? - 'Tis ARNE--the Gods' Vicegerent comes, - Now vanish Rackets, Routs, and Drums; - And with him come the Muses Hand in Hand, - To see fulfilled Apollo's great command. - - See Taste with Joy its Head uprears, - Rais'd by Arne's heav'nly Airs; - Skill'd with equal Pow'r t'inspire - Irene's youth with martial Fire, - And lull to Rest, with Soul-delighting Sounds, - The Pains of Grief, and heal Love's bleeding Wounds. - - 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. - O say! what Price or Gifts can both engage - Here to remain, to save a sinking age? - -In 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. Young, -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 then be performed, is a real -Manuscript of that celebrated Poet Mr. Gay, Author of the Beggar's -Opera, and that Songs are adapted by Mr. Arne. several of which are -New." - -A benefit for Mrs. Knowles, on the 2nd of April, was given for which -Arne composed music. The advertisement announced: "Act the 2nd. A -Duetto between Mr. Sadler and Mr. Butler, accompanied with French -Horns, etc., called The Death of the Stag. The Music composed by -Mr. Arne!" At the end of the play "by particular desire" Miss Brent -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 call'd 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-hall in Fishamble-street, on 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 -outstanding 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." - -[Illustration: ARNE, BY BARTOLOZZI.] - -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 Fishamble-Street for -her Benefit on Saturday the 12th of Feb., under great Disadvantages, -is advised by her Friends (who had Notice of that Night, _and are -sensible of her Losses_) to fix on Thursday, the 10th of March, for -her Benefit 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.--N.B. The Tickets given out for the different Nights -she has advertised will be taken, and others had of Mrs. Arne, at her -Lodgings in Aungier-street and at the Music-Hall. Price 5s. 6d." Later -in the year (April 24th) Mrs. Arne and Miss Young gave a concert. -Allusion has already been made to Mrs. Arne's frequent attacks 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 be 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 Mr. -Bayly's; Miss Bayly had gone on a party of pleasure. I was surprised -there at meeting Mrs. Arne (Miss Young that was); they have her in the -house to teach Miss Bayly to sing; she was recommended to Mr. Bayly -by Mrs. Berkeley as an object of compassion. She looks, indeed, much -humbled, and I hope is as deserving as they think her to be; great -allowances are to be made for the temptations those poor people fall -under. She has been severely used by a bad 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[15] accompanies them -on the harpsichord most surprisingly; she is a niece of Mrs. Arne's; -the race of the Youngs are _born_ 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 Mr. Wilder -were the vocalists. A benefit concert and ball, for Mrs. Arne, was -given on the 10th of December; she had then removed to "Mrs. Lee's, -in William-street." It is significant that she did not sing on this -occasion, nor is there any evidence of her appearing again before the -Dublin public; a Grand Ball 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 Songs, 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, 1759, as Polly, in the "Beggar's Opera." On the 6th -of July, 1759, the University of Oxford conferred upon Arne the degree -of "Doctor in Music."[16] 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 28th 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. 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 gave 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 repetition took place at Covent Garden -Theatre on the 26th of February 1773, when for the first time ladies -formed a part of the chorus; before this 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 -Covent 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 be 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 Band -and Chorus, which were much more numerous than they usually have been, -received a most pleasing Addition from the Female Singers, then first -introduced." It 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 Brickler on the -16th of May, 1767. The playbill announced that after the first Act of -the "Beggar's Opera," "Miss Brickler will sing a favourite song from -Judith, accompanied by Mr. Dibdin, on a new instrument called Piano -Forte." The published score of the music of "Judith" has for title, -"Judith an Oratorio as it is Perform'd at the Theatre-Royal in Drury -Lane, Compos'd by 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, Bassoon -and Horns. It opens with a spirited Allegro, followed by a short -Andante movement for strings only; the other instruments resume in -the final Allegro Moderato. 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 semibriefs," &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 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 remarkable -for his deficient memory respecting things trifling in themselves, yet -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 be misnamed, or that the frank would bear 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 -the Crown and Anchor[17] was crowded with company impatiently waiting -for their expected gratification. Arne arrived at the tavern-door -in a fiacre, leaped out with the score under his arm, and 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 be 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 -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 bit, - Deals music out, as Murphy deals out wit; - Publish proposals, laws for taste prescribe, - 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 work's called national in vain, - If one Italian voice pollute the strain. - Where tyrants rule, and slaves with joy obey, - Let slavish minstrels pour th' enervate lay; - To Britons far more noble pleasures spring - In native note, while Beard and Vincent sing. - -Arne'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: - Yet in search of lost repose, - Doom'd, like me, forlorn to roam, - Still it murmurs as it flows, - Till it reach its native home. - -The music of "Artaxerxes" has much charm, and presents excellent -harmonization in the accompaniments, which are scored for strings, -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 "O too lovely," sung -by Tenducci, the violins and basses are marked "_Sordini e Pizzicati_." -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. Beard, Mrs. Vernon, Miss -Thomas, Mr. Mattocks, and Tenducci and Pesetti, both of whom came under -the lash of Churchill's satire. The part of Mandane was composed to -show off 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 -title: "Artaxerxes An English Opera As it is performed 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," 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, -unintelligible. That the similes be confin'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 the -Publick, not doubting that (if they consider the Difficulty of writing -under such Restrictions, the Necessity of sometimes departing from the -Author, on Account of the different Idioms 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, -1763-64. 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 début of Miss -Stephens, afterwards Countess of Essex. The famous tenor, Braham, -after a temporary absence from the theatre stage, 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.[18] The curious -part of the performance was "the addition of three favourite Scots -Airs, the words by Mr. R. Fergusson." The first of these was "By -Heav'n's displeasure," to the tune "Braes of Balansene"; the second -"What doubts oppress," to the tune "Roslin Castle"; the third, "O 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,[19] 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 kindest treatment imaginable; being surprised, as well as shocked, -to hear and see the best singer in your company (except Mr. Vernon), -though with some 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 for the -lad's understanding music, that he squalled, and he would hiss him. I -would not have gone to the performance, 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 disapprobation 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, I have -never failed in my respect to you, and still continue (in spite of -ill-treatment) an admirer of your extraordinary talents, and, SIR, - - "Your real humble servant, - "THOMAS AUGUSTINE ARNE. - -"Nov. 10th, 1762." - -Garrick lost no time in replying. On the same day he wrote to Dr. Arne: -"SIR,--There are many mistakes in your letter; and first I did not -charge you with hissing Master Norris; but 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, SIR, - "Your obedient servant, - "D. GARRICK." - -[Illustration: RIOT AT COVENT GARDEN THEATRE, DURING THE PERFORMANCE OF -"ARTAXERXES."] - -In 1759, Arne and Garrick had some negotiations in reference to Miss -Brent. Arne was very anxious that Garrick should engage her, but terms -could not be arranged. Garrick readily acquiesced in her superior -merit alleged by Arne, but he "told the Doctor that all his geese -were swans." "Tommy," said he, in his usual familiar way, "you should -consider that Music is at best but Pickle to my Roast Beef."--"By ... -Davy," replied the Doctor, "your Beef shall be well pickled before I -have done." Accordingly he went to Covent Garden Theatre, and concluded -an engagement with the manager for Miss Brent, whose success as Polly -in the "Beggar's Opera" was so tremendous that Drury Lane Theatre was -nearly deserted on the nights on which she performed. Arne, of course, -transferred his services to Covent Garden, and "Comus" with his music -was played on the 8th of October, 1762, 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 Covent Garden, and it was -advertised that "nothing under full price would be 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 be admitted, as heretofore, to the theatre at half-price -after the third act. Accordingly the same malcontents attended the -performance of "Artaxerxes" at Covent Garden, and noisily endeavoured -to browbeat the manager, Mr. Beard. He, 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 Covent Garden; -he was reminded 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 be "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." Fitzpatrick -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 and 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, -"Olimpiade," to a libretto by Metastasio, with a special part for -the male soprano Manzuoli. This was performed at the King's Theatre, -in the Haymarket, twice only; we may therefore conclude it was not a -success. Arne composed a considerable amount of music for male voices, -unaccompanied, chiefly Glees and Catches. He obtained three prizes for -pieces he sent in competition to the Noblemen and Gentlemen's Catch -Club (founded in 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 be feared that Arne 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. -(Jan. y^{e} 2d.) West Street, near Litchfield street, Soho. Pray don't -forget to bring the part." It may be necessary to explain that the Mr. -W. Smith to whom the above reminder was sent was not only a singer, -but 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 y^{e} Catches perform^{d}"; on the 29th of December -"Perform^{d} Dr. Arne's mass at Church." - -On the 12th of May, 1767, Arne conducted a concert of Catches and Glees -at Ranelagh House, described in the _Gentleman's Magazine_ as the first -of the kind. In the following year, 1768, a second vocal concert was -given 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 elegant and humorous -music, composed by the most eminent masters of the last and present -age, 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 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 MDCCLXVIII." There is a preface to the book 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 a 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 1764." Next came a Glee -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, now at rest; - Not tears alone; but praises too she gives, - 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 song, "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 Purcell, "The -Soldier and his friend"; 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, thou'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 _Delicæ Musicæ_, 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 Chloe 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" concluded 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 note informs us, "This last Catch was written and composed -in the year 1763, soon after the invitation of the Catch-Club, and not -put in for a prize-medal; but with 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 1765," and is a clever composition, still occasionally -performed. The last piece in the book is a Glee and Grand Chorus by -Arne, "Punch, the medium of life." - -In 1769 Arne composed an Ode for the Shakespeare Jubilee at -Stratford-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 Gentlemen -in the neighbourhood of Stratford upon Avon, the music composed by -Dr. Arne. London, Printed and Sold by 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. Champness, Mrs. -Baddeley, and Master Brown. A semi-chorus in the work is entitled -"A strict Fuge for 4 voices. Chapel Time." This was evidently sung -unaccompanied, and although short must have made a good effect.[20] -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 superintend 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 Purcell's 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; but so very short of that Intrepity -and Spirited defiance pointed at by Dryden's words and sentiments, -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 'Let not a -Moon-born Elf mislead you,' is, after the two first bars of Purcell, -very bad, and out of Mr. Champnes' compass of voice.--Hear mine. All -the other Solo Songs of Purcell are infamously bad; 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 mouths -of your principal Performers. I wish you wou'd only give me leave to -_Doctor_ this performance, I would certainly make it pleasing to the -Public, which otherwise, may prove 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; but to put it in the power of your -principal performers to make a proper figure, by opening and adorning -the most entertaining points of view, wherein _they_ are to appear; -consequently, the expence will be much short of the Sume propos'd; all -self-interest subsiding to the earnest desire I shall ever entertain, -of proving my sincerity, when I stile myself SIR Your devoted humble -serv^{t}. - - THO^{S.} AUG^{NE.} ARNE." - -[Illustration: Manuscript of last page of letter] - -Happily Garrick did not accede to Arne's requests, and much of -Purcell's music was left in the Masque. Arne 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 music 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, "O 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 Purcell'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"[21] diary referring to Dr. -Arne in 1770: "13 June, Call^{d}. on Dr. Arne who will compose some -music for Mr. Pemberton's Diurge." "23^{d}. Call^{d}. on D^{r}. Arne -had a small practtice of the Service, for Mr. Pemberton." "28{th}. Was -at Church, perform^{d} Dr. Arne and Webb's Burial for my poor friend -Franc^{s}. Pemberton." - -A manuscript copy of the Dirge is to be found in the British Museum. -It was presented in the year 1849 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 1781, became a chorister boy; 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 bass are in the handwriting of Vincent Novello; -there are also pencilled names of solo singers--Swiney, Fitz, Lanza, -Guich^{d}, Novello. The music is admirable, and opens with a chorus for -treble, alto, two tenors, and bass, to the words "Libera me, Domine, -de morte æterna." The pathos of this quintet, admirably expressive -of the text, cannot be praised too highly. The words "Tremens factus -sum ego" are set as a solo for a bass 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 for a tenor voice to the words -"Dies illa, Dies iræ," exhibits Arne's skill in writing vocal music, -and 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 æternam," in E major, a charming melody, with -Italian fiorituri. 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, "O 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 Running you in Debt, -those Debts must be paid very soon by you. Mrs. Arne has a right and -expects to be maintained by you Suitable to your Circumstances. I must -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 be noted -that Arne did not address the Attorney, but wrote direct to his wife: - - "A.D. 1770. - - "MRS. ARNE,--After the affectionate note I sent you yesterday, with - 5 Guineas, which was from the first money I reciev'd, how great was - my surprize, when I reciev'd in return a threatening letter from - one Rennett an Attorney, on your account! - - "Cou'd I possibly have suppos'd that 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, shou'd be 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 age - 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; but with the - temper of a Philosopher explain to you the 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 immediately - 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 robb'd by an abandon'd - infamous Whore and Thief of a Servant, my Necessities oblig'd 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 them to - you, in part of payment, and that but a trifle now remains due. - - "Is this a Man to recieve the treatment you now give me? Fie, fie, - Mrs. Arne! don't drive me to resentment, when I am willing to act - 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 income, whenever I recieve any money, it is - always consum'd in debts, and that I am actualy not in a 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. Rennett, that the affair is amicably - accommodated, and though I may be never so distress'd, I will - cheerfuly pay your allowance, and remain, - - Your affect^{te} Husband, - "THO^{S.} AUG^{NE.} ARNE. (Seal.) - - "Saturday Morn^{g}. - "One o'clock - "Nov^{r}.-y^{e}-23^{d}." - -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 subsistence. 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 but on the Contrary behaved -with that affection and Justice that will give her Satisfaction 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 for her 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 & With a New Irish and Scotch -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, Pert by Mrs. Thompson. Boxes 5s. Pit 3s. First Gallery -2s. Upper Gallery 1s. To begin exactly at Six o'clock. Books of both -Performances may be had together at the Theatre at 1s. 6d." - -In 1775 Arne wrote the following letter to 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 ungenteelly 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[22] -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 as 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 -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 Garrick 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 between us. In short, dear -sir, your heart and your genius seem more inclined to the theatre -of Covent-Garden than that of Drury-Lane; and when I consider the -additional music to 'King Arthur,' and the music to 'Elfrida,' I trust -that I am justified in my opinion. Whether I am mistaken or not, I have -not the least antipathy, I give you my honour I have not, to Doctor -Arne; but 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 GARRICK." - -To this conciliatory epistle Dr. Arne replied in the following month: -"Sept. 3rd 1775. DEAR SIR.--I received the favour of your reply to -my letter, which I could not doubt of, you never being deficient in -politeness. You are certainly in the right to suppose that, if I wrote -the word apathy, I meant antipathy. Did I make the blunder or is it a -joke, like Mrs. Cibber's asking you how you could possibly spell King -with a Q? 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 I have never excelled, have _not_ been performed. They -were written for the late Mrs. Arne,[23] and 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 maître_ 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 Purcell's 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 performed 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 in speaking -and acting, might, with your friendly encouragement, in a little time -bring so pretty a figure to be a shining object. Had you seen her -play Mrs. Cadwallader in Foote's farce at Covent Garden, your candour -would induce you to think with that company, who all declared that -no young actress ever did better. When I offered you this girl, you -wanted an accomplished singer. When I 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[24] this season. I hope you will, as you have kindly done, -excuse this frankness in me, and give me leave to add that I will -positively bet a hundred pounds upon Miss Jameson, against 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--but 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 Amintor,' at Drury 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, but 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) fill up a vacancy, till -the town fills, the vocal, instrumental, and speaking parts, are ready -drawn out: the 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 be of use to me, with my catches -and glees. Have I been studying the longitude? Perhaps so; but 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 predicament, -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 pièce_ 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 down; insomuch as, that in a composition of ten, -twelve, or more different parts, when he has written a whole side of -music paper, he has the mortification to have composed but one line; -all, except the voice part, being requisite to that one line. And 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; but -convictive that I have taken infinite pains to be master of a scurvy -profession. As to my bill, it amounts, at my constant and reasonable -rule of charging, but 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 be satisfied, and am, with true respects, Dear Sir, your most -obedient servant, - - "THOMAS AUGUSTINE ARNE." - -This letter is endorsed by Garrick, "Dr. Arne, about bill for 'May -Day.' I gave him the £50 desired." - -"May Day, or the Little Gipsy," a musical farce in one act, by David -Garrick, was produced at Drury Lane Theatre on the 28th of August, 1775. - -There is much to be learned from the correspondence which passed -between Arne and Garrick; the following letter, undated, is full of -interest: - -"DEAR SIR,--I was never so conceited of any abilities, as _non cedere -majoribus_; but then I ever was above servility, and could not pay a -compliment to the opinion of Socrates or Seneca, at the expense of my -reason. _Humanum 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 dixi_ 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 ad -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 to prepare matters at -the Old Bailey for his death. Polly, overhearing this, comes 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 sighs from the windows -in Holborn--then abruptly breaks out--'I see him at the tree--the -whole circle are in tears--even butchers weep.' Can it be 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 tears, can be nothing short of distraction, and any -action, short of the force she gave it, must appear trifling, faint, -and unfeeling. You 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 I was not willing to give -you too much trouble, and besides, I 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 open, easy, and graceful; -an unexceptionable person and figure, with a countenance free from -the least distortion, could be productive of such faint approbation? -You have often said you regarded me--but, as in the case of Miss -Brent, were I to produce an angel, her being 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. Give -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 _genius_. 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, - - "THO^{S.} AUG^{NE.} ARNE." - -No reply to the above can be found. The following letter from Arne -to Garrick must have been written soon after the above: "Sept. 3rd. -DEAR SIR,--Having just received a letter from the ingenious author of -the two operas, and 'Pennyworth of Wit,' under your kind inspection, -wherein he begs concealment 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 first 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; but this I _may_ -say, _in confidence_, you actually want strength for the exhibition -of musical performances--and why should you?--Mr. Garrick, though -I wish him immortal, to the grief of the discerning world, is not -so--sickness, pain, mortality may intervene. Let it not be said, that -so great a master of his art is deaf or blind to rising merit. I tell -you _bona fide_, that the young woman and young girl [Miss Weller's -sister] whom I 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 as soon as you come to town, and be assured that if my skill -or connexions 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, - - "THO^{S} AUG^{NE.} 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 _tête-à-tête_ 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 IT'; 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,[25] 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[26] will -equally scorn to aggravate them. The young women brought three very -good houses for the opening of a season, and met with more public -applause than I have ever heard; and 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 you had no intention to retain them, one night's performance -had surely been sufficient for their condemnation; but they had not -then been supplanted by my son's application;--permit me to give you -joy of the acquisition. As 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 done to you more than -once_, impose my young pupils on you as finished singers; why then -should they be discharged for what you knew before their appearance, -especially after 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 be -mistaken. If you are willing to show a friendship which I shall deem -an honour to receive, it will not be sufficient that you perform 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 but 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 due to the author, I had long since withdrawn the -prettiest music, in the light style, that I ever wrote; but I will not, -uncompelled, 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, - - "THO^{S.} AUG^{NE.} 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." - -In 1776, early in the year, Miss Abrams, referred to in a letter from -Dr. Arne to Garrick, made her first appearance on the Drury Lane stage -in Garrick and Arne's "May-day, or the Little Gipsy." She possessed a -sweet voice and good taste, which had been excellently cultivated under -Arne's tuition. At the last 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, "I suppose it would be impossible for you to compose -a tune for it in time?" The Doctor, smiling and rubbing his elbow, -according to his usual practice, replied, "We'll see what can be done," -and calling for pen, ink, and music paper, sat down at the prompter's -table, and in less than five minutes produced one of the prettiest -dancing tunes ever heard, which, when played by the band, 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 1776, Arne was engaged to compose music for the Rev. William Mason's -drama, "Caractacus." The original libretto was written in 1759; but -considerably revised, altered, and adapted for stage purposes in 1776 -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 is evident; the _New Morning Post, or General -Advertiser_, on the day following the performance, congratulated the -town "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 the highest terms of Arne's -music. Unfortunately every vestige of this has disappeared; according -to the testimony of Dr. Arnold and of Dr. Thomas Busby, "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 -by 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 an anonymous publication of -music for Mason's "Caractacus" has been attributed to Dr. Arne, but -the composition is so faulty and puerile that, even if other evidence -were wanting, it would be impossible to suppose it the work of an -experienced and accomplished musician like Arne. The book in question -has a water-mark in the paper, 1794, which was sixteen years after Dr. -Arne's death. The author's preface to the publication was evidently -written by some one alive at that date; it is therefore not necessary -to waste more space in discussing it. - -Dr. Arne had a very high opinion of his own talent as a poet, and -some of his theatrical pieces are said to have suffered comparative -failure in consequence of the poor quality of the words. But 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. -Doctor of Music. - - Risum teneatis amici? - O what is Music to the 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 be thought 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 good-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. - -[Illustration: ARNE, BY ZOFFANY.] - -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 preserved by one of her descendants, -is worth quoting verbatim: "In former days the Doctor [Arne] had taken -great pleasure in hearing my mother[27] sing the songs for _Mandane_ -in his Opera of _Artaxerxes_, and latterly she used to visit him for -the purpose of receiving her Aunt's seperate maintenance money, 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 to say, that she began to be tired of -calling for this purpose, and thought it would be far 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, burst 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 be 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) 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 before." - -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 10th, 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 progressively more faint, until he -breathed his last, making as our immortal Shakespeare expresses it, a -swan-like end fading in music." - -The other account says Arne "died of a spasm on his lungs, retaining -his faculties to the last moment of his existence. He 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 -of 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 usually the case, revived in his -bosom, too strong to be checked, 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 his -death he sung an harmonious Halleluja, a flight of fancy, calculated -as it were to usher him into the 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 his 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." -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 defrayed equally between them The Profits or Benefits -arising from the Sale or 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 be -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 be 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 be 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 reconvey it or them in -Safety to the said Cecilia 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. - - THO^{S.} AUG^{NE.} ARNE. - -Sealed and delivered being first duly stamp'd in the presence of -Stephen Paxton Maria Barthelemon.[28] - -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." - -Arne was interred in the burial ground on the north side of St. Paul's -Church, Covent Garden, on the 15th of March, and the fact was noted -in the Parish Register, he being described simply as "Thomas Arne." -No memorial of him was erected, but his son suggested a scheme for -placing a monument in Westminster Abbey. This, like most of Michael -Arne'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 very popular. He married one of his father's pupils, -Elizabeth Wright, in 1766, who became a successful 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 he again beggared himself, and -was arrested and confined in a sponging-house in Dublin. 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 Vauxhall. 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."[29] - -"At the advanced age of seventy-nine Mrs. Arne continued to observe the -hours of prayer, and the usual fast-days of her Church, with a rigour -suitable to the austerity of primitive times, although that Church's -discipline excused such habits of severe self-denial in its members -at her time of life. Her 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 Psalms 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 be dead, and the Doctor, whose -name was Carson, being present assured Mrs. Barthelemon that she was -gone. She, however, could not resign herself to that belief, although -he 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 applied a flame to her mouth 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 back from the glories described in the Te Deum.'" This restoration -took place nine months before she eventually expired, on the 6th of -October, 1789. Her mortal remains were placed in the 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. Barthelemon, -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 manifested -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 contribute -to domestic harmony, so necessary to the welfare of the whole family, -as well as the comfort of individuals; and I did flatter myself, if I -had continued longer with them, the union would have been of longer -duration. - -"The Doctor, rest his soul! with all his genius and abilities, was too -_volage_ at every period of his life, to merit the title of a good -family man; and soon after I quitted him, I 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, but 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 good 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 a sincere and worthy member of -her church_; a disposition to be honoured and had in reverence among -Christians of every denomination. Mrs. Burney sincerely joins in -condolence and best compliments, and I beg you will believe 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 Æneas. - - 1736 Zara. Serenata, Love and Glory. The fall of Phæton. - - 1738 Comus. - - 1739 An Hospital for fools. - - 1740 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. - - 1743 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.[30] - - 1749 Don Saverio. Much Ado about Nothing[30]. The Provok'd Wife.[30] - - 1750 Dirge in "Romeo and Juliet." Ode on Cheerfulness. - - 1752 Harlequin Sorcerer. The Oracle. - - 1756 The Pincushion. The Sacrifice of Iphigenia. - - 1759 The Prophetess. The Sultan. Exercise Mus.Doc. Cymbeline. The She - Gallants. - - 1760 Thomas and Sally. The Desert Island. - - 1761 Judith. - - 1762 Artaxerxes. Love in a Village. - - 1763 The Birth of Hercules. - - 1764 The Guardian Outwitted. Olimpiade. Perseus and Andromeda. Arcadian - Nuptials. - - 1769 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 Caractacus. - - 1776 Little Gipsy. Whittington's Feast. Phoebe 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 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, -double-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 [Music] for -[Music]; 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. [31] Dr. Arne presents his love to Mrs. Arne, desiring -to be inform'd of her health, which he sincerely hopes she enjoys. He -cou'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 10½ - Recd. at Sundry times 16 16 0 - --------- - Remaining due 10 2 10½ - 5 5 0 - --------- - 4 17 10½ - -[Illustration: CLIEFDEN IN 1740.] - - - - -RULE, BRITANNIA. - - -His Royal Highness Frederick Prince of Wales, son of King George the -Second, was opposed to his father not only in politics, but also in -his tastes and amusements. The King had 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 he thought desirable for the public welfare, and patronized -men of eminence connected with arts, science, and literature. His -beautiful residence, Cliefden,[32] on the banks of the Thames, was -the recognized resort of the most distinguished men of letters and -art. The under-secretary of the Prince was David Mallet, to whom he -paid a stipend of two hundred pounds per annum; Thomson the poet was -also one of his protégés. A change of government 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 -commissioned 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 -in 1728, and thereby netted four thousand pounds. The author received -six hundred and ninety-three pounds three shillings and sixpence. This -remarkable success called forth the witty saying that "the 'Beggar's -Opera' made Gay rich, and Rich gay." Rich was the founder of Covent -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 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;[33] and concluded with -several Scenes out of Mr. Rich's Pantomime Entertainment, perform'd -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 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 a very handsome Present, and the work was conducted with -the utmost Magnificence and Decorum." The Fête was repeated on the -following evening, but 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 that "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, and they who first heard its thrilling burst from chorus and -orchestra are mouldering in their tombs; the halls through which the -strain resounded have long since perished; but the enthusiasm then -awakened still vibrates in the British heart to the sound of the words, - - Rule, Britannia, Britannia rule the waves. - -Thomas Arne resided at Cliefden before and during the Fête; his wife, -who was one of the principal vocalists in both Masques, many years -afterwards told her grand-niece, Cecilia Maria Barthelemon, that she -witnessed a curious scene on 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 cambric handkerchief in -some Arquebusade[34] 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 publication -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. - -This charming song was doubtless well sung by Kitty Clive, who, a few -years later, was the first 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 are -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 land-- - Thy country calls, and heaven inspires." - -If Arne composed music for the above, it was never published. - -The next air is sung by Eltruda, the Queen, represented by Mrs. -Horton. 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 verses, but only the following was -performed: - - Sweet valley, say, where, pensive lying, - For me, our children, _England_, sighing, - The best of mortals leans his head. - Ye fountains, dimpled by my sorrow, - Ye brooks that my complainings borrow, - O lead me to his lonely bed: - Or if my lover, - Deep woods, you cover, - Ah, whisper where your shadows o'er him spread! - -In the third scene, second Act, after a dialogue between Alfred, -Eltruda 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 song": - - 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: - O 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, -accompanied by the string orchestra in gavotte time to the following -words: - - If those, who live in Shepherd's bower, - Press not the rich and stately bed: - The new-mown hay and breathing flower - A softer couch beneath them spread. - If 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 chearful heart. - If those, who drain the Shepherd's bowl, - No high and sparkling wines can boast, - With wholesome cups they chear the soul, - And crown them with the village toast. - If those who join in Shepherd's sport, - Gay-dancing on the daizy'd ground. - Have not the splendor of a court; - Yet Love adorns the merry round. - -A short dialogue between Alfred and Eltruda follows, and then the -Hermit speaks, "Behold, my Lord, our venerable Bard, - - "Aged and blind, him whom the Muses favour. - You ere you go, in our lov'd country's praise, - That noblest theme, hear what his rapture breathes." - -This is immediately succeeded by - - -AN ODE. - - When _Britain_ first at heaven's command, - Arose from out the azure main: - _This_ was the charter of the land, - And guardian Angels sung _this_ strain: - "Rule, _Britannia_, rule the waves: - Britons never will be slaves." - - 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 tyrants 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,[35] a favourite singer who was engaged at Cliefden, 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 theatres,"[36] doubtless a good and efficient chorus. The -Ode would have made a splendid climax to the Masque,[37] but the -libretto shows that the Hermit followed with a speech which is worthy -of reproduction; the last four lines are particularly deserving of -attention: - - Alfred, go forth! lead on the radiant years, - To thee reveal'd in vision.----Lo! they rise! - Lo! patriots, heroes, sages, crowd to birth: - And bards to sing them in immortal verse! - I see thy commerce, _Britain_, grasp the world: - All nations serve thee; every foreign flood, - Subjected, pays its tribute to the _Thames_. - Thither the golden South obedient pours - His sunny treasures: thither the soft East - Her spices, delicacies, gentle gifts; - And thither his rough trade the stormy North. - See, where beyond the vast Atlantic surge, - By boldest keels untouch'd, 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 rising 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. - -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 call'd 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 absence. No doubt Waylett, the publisher of the -"Judgement of Paris," was unwilling to permit its insertion without -some adequate recompense. In what way the matter was adjusted we do 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." - -[Music: The Score of The celebrated ODE in Honour of Great BRITAIN -call'd Rule Britannia.] - -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 Arne wrote between the -several lines of the verses, 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 1755, with the exception of some typographical errors, faithfully -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 "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, "O 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 following 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'n's -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 -composer and his wife, two performances were given of "Alfred" and the -"Judgement of Paris." The _Dublin Journal_ announced by advertisement -as follows: "Being particularly desired. For the benefit of Mr. and -Mrs. Arne. At Mr. Neale's great Room in Fishamble street, on 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. Arne 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 -Pasqualino on the Violoncello. N.B. This Performance will be 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 be had at Mr. Arne's in -Aungier street." The repeat performance took place on the 6th of June. -It may be noted that Mr. Cologan (James 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 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, 1s. 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[38] by Four o'clock. The above day is -fix'd on to avoid interfering with Mr. Handel."[39] - -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 book reads: "Alfred, an Opera. -Alter'd from the Play, written by Mr. Thomson and Mr. Mallet, in Honour -of the Birth-Day of Her Royal Highness, The Young Princess Augusta. -The Musick was composed by Mr. Arne, and perform'd with the Play -at Cliffden in Buckinghamshire at the Special Command of His Royal -Highness, Frederic, Prince of Wales. London. Printed for A. Millar at -Buchanan's Head, Opposite Catherine Street in the Strand. M.DCC.XLX." - -The dramatis personæ 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, a shepherd; Mrs. Arne, -Eltruda, Queen of England; Miss Young, the First Spirit; Miss Sybilla, -the Second Spirit; Miss Young, a Shepherdess, wife of Corin. - -The first libretto (1740) of "Alfred" was certainly written by Thomson. -It contained many fine lines which are not to be found in the 1745 -book. Two 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 reduc'd, - 'Tis then they feel this universal truth-- - That heaven is all--and man is nothing. - -The 1745 book 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_, a Masque, -represented before their Royal Highnesses the Prince and Princess of -Wales, at Clifeden, August 1, 1740; being the Birth-Day of the Princess -Augusta, written by the late Mr. Thomson and Mr. Mallet, and afterwards -new written by Mr. Mallet, and acted at the Theatre Royal in Drury -Lane,[40] in 1751." Thomson died in 1748; 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 songs and -for chorus. The music for all the songs and solo music is contained in -the volume published by Arne, but 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, come away, - -and he makes the second Act end with a _Grand Chorus_: - - How sleep the Brave, who sink to Rest, - By all their Country's Wishes blest! - When Spring, with dewy Fingers cold, - Returns to deck their hallow'd Mould, - She then shall dress a sweeter Sod - Than Fancy's Feet have ever trod. - There Honour comes, a Pilgrim grey, - To bless the Turf that wraps their clay; - And Freedom shall a while repair, - To dwell a weeping Hermit there. - By Hands unseen the Knell is rung; - By Fairy Forms their Dirge is sung. - -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. - -The following words in a collection of songs called "The True Royalist" -are directed to be sung to the tune, "When Britain first, at heav'n's -command": - - Britannia, rouse at heav'n's command! - And crown thy native Prince again; - Then Peace shall bless thy happy land, - And Plenty pour in from the main: - Then shalt thou be--Britannia, thou shalt be - From home and foreign tyrants free. - - Behold great Charles! thy godlike son, - With majesty and sweetness crown'd; - His 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; - His breast with fire and courage flames, - With Nature's bounds to fix thy reign. - He (Neptune-like), Britannia will defy - All but the thunder of the sky. - - The happiest states must yield to thee, - When free from dire corruption's thrall, - Of land and sea, thou'lt Emp'ror be. - 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 crown'd, - Drive sullen thoughts and cares away! - Come, Britons, sing! Britannia, draw thy sword, - And use it for thy rightful lord. - -Another example will suffice: - - When our great Prince, with his choice band - 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": - -[Music: 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" libretto, is -modelled on Handel's recitative, "O 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." The German words, freely translated from -the English, are as follow: - - Britannia, aus des Meeres Schoos, - stieg auf des Schöpfers Wink hervor. - Dir zog hochahndend dein Genius das Loos, - und jubelnd sang ein Engelchor: - Herrsch' Britannia! der weite Ocean - sey deinem Scepter untherthan. - -There are five more verses which need not 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 Höchsterfreulichen Geburtsfeste Ihro Majestat -der Königinn Charlotte den 18. Januar 1799 auf dem Grossen Königlichen -Schlosstheater vom Herrn Schauspiel-Director Ignaz Walter nach der von -I. G. 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 Schlacht 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 Arne's music as the motif. The history of this -interesting composition of Wagner's has never been accurately stated. -The preliminary sketch of the music was made by Wagner in 1836, and -is still preserved at Bayreuth. The composition was completed and -performed in March, 1837, at Königsberg, and was again played at -Riga, on each occasion under the direction of Wagner. He sent the -score to the Philharmonic Society in London; but 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, 1840. Present, Mr. Neate, in the Chair, Messrs. Potter, F. -Cramer, Dance, Anderson, Calkin. Letter from Wagner. Resolved that -the score of the Overture be 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-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,' returned to me -from the London Philharmonic Society. In my fury I told the bearer -that I would not take in the parcel, whereupon he remonstrated in the -liveliest fashion, as I 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 before 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 band of the Leicester Opera House, Mr. E. W. Thomas, a few years -since disposed of his belongings, including a pile of manuscript music -which was purchased by Mr. Cyrus Gamble, who, in May, 1904, looking -through the collection, discovered the long-lost Wagner autograph, -signed and dated "Richard Wagner 15 March 1837 Königsberg in Prussia." -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 flutes, 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 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, "O 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. - - - - -FOOTNOTES: - - -[1] The register does not specify the day of the month. - -[2] The autograph in my possession.--W. H. C. - -[3] On the Report of this Committee, John Huggins, the Warden of the -Fleet was tried for murder, but acquitted. James Barnes, his agent, by -whom this outrage was committed, fled, and was never tried. However, -Lord Chief Justice Raymond was of opinion, that had he been on his -trial, and the fact proved against him, he would undoubtedly have been -found guilty of murder. - -[4] Mrs. Arne rode on a pillion, behind Burney, on horse-back, from -Chester to London. - -[5] In October, 1758, 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. - -[6] Mrs. Arne soon became a convert to the Roman Church. - -[7] These are published by Novello & Co., Ltd. - -[8] The Choir of Christ Church Cathedral, in 1742, consisted of six -Vicars Choral, Messrs. John Warrall, Charles Taylor, William Jones, -John Eusebius 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 boys. The -Choir of St. Patrick's Cathedral at the same date included nine Vicars -Choral, Messrs. James Baily, William Tavernor, Robert Hall, Robert -Woffington, William Lambe, John Eusebius Smith, Joseph Ward, John Hill, -James Colgan. There were also six chorister boys, five of these being -the same in both Cathedrals. The organist of both Cathedrals was Ralph -Rosengrave. - -[9] "Twelve Duettos for Two French Horns, or Two German Flutes, -composed by Mr. Charles." A rare publication. - -[10] Written by Fielding, produced in 1742. - -[11] Dubourg a fine violinist and pupil of Geminiani, was noted for his -brilliant technique; on one occasion he indulged in a Cadenza of such -length and diffuseness, that at its close Handel, who was conducting, -called out "Welcome home, Mr. Dubourg." - -[12] In the King's Library, Buckingham Palace. - -[13] Lampe died at Edinburgh in 1751. His wife was sister to Mrs. Arne. - -[14] Miss Polly Young was the daughter of Charles Young, Mrs. Arne's -brother. - -[15] Polly Young. - -[16] He had been studying the science of music under the learned Dr. -Pepusch. - -[17] The Crown and Anchor, in the Strand, was a favourite resort for -concert-givers. In my youthful days the "Abbey Glee Club" and other -Musical Societies met there.--W. H. C. - -[18] The name of Madame Tenducci was not publicly announced. - -[19] Master Norris had been a chorister in Salisbury Cathedral; he -was born in 1741, and seems to have continued singing soprano up to -1762. 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., and a singer of good repute. - -[20] The audience was much incommoded by the wet; incessant September -rain poured through the roof, and converted the floor into a swamp. -Eventually the four hundred people who were present, wet through, took -refuge on the benches and orchestra. - -[21] Mr. William Mawhood, born in 1723, died in 1797, was a merchant, -residing in West Smithfield, and an accomplished musical amateur. An -account of him will be found in the _Musical Times_ of January, 1910, -written by Mr. Barclay Squire. - -[22] Michael Arne, his son. - -[23] Mrs. Michael Arne, the popular vocalist, Elizabeth Wright. - -[24] Miss Abrams. - -[25] Miss Weller and her sister. - -[26] David Garrick's brother. - -[27] Mary Barthelemon, _née_ Young. - -[28] 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. - -[29] nephew by marriage of Mrs. Arne. - -[30] The date of production is uncertain. - -[31] The autograph in my possession.--W. H. C. - -[32] Cliefden House, originally erected for George Villiers, second -Duke of Buckingham, was built of red brick with stone dressings, -having at each end a square wing connected with the main building by -a colonnade, and fronted by a magnificent terrace four hundred and -forty feet long. The Duke expended large sums on the house and grounds; -for the latter, consisting of about one hundred and thirty-six acres, -he procured, regardless of cost, the choicest specimens of trees, -shrubs and flowers, native and foreign, and so enhanced the natural -beauties of the site that it was reputed to surpass all other estates -in England. At the death of the Duke, Cliefden was purchased by Lord -George Hamilton, 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, who, 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. - -[33] A mistake; the "Judgement of Paris" was written by Congreve. - -[34] Arquebusade water was a concoction of spirits and herbs commonly -applied to gunshot wounds. - -[35] Dr. Burney observes, "Lowe had the finest tenor voice I ever heard -in my life." - -[36] "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. Mag._, July 28th, -1740.) - -[37] When "Alfred" was performed at Drury Lane Theatre, in 1751, 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 by -Alfred and Eltruda (Mr. Beard and Signora Frasi). - -[38] Commentary on the practice of securing 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. The alterations lately made in your theatre for the convenience of -the spectators, naturally suggested to me an inconvenience arising from -the servants who are sent to keep places. I have, with concern, seen a -lady finely dressed forced to sit down by a servant whose clothes and -feet have been very dirty, and behaviour extremely offensive; it has -happened, to my knowledge, that some servants, in order to follow their -own pleasures, have hired common porters of the street to keep their -places, whose company better suited a prison than a place of polite -entertainment." - - Signed T. B. Nov. 25, 1762. - -[39] Handel gave a performance of his Oratorio "Joseph" at the King's -Theatre, Haymarket, on the 21st of March, 1745. - -[40] The singers in 1751 were Mrs. Arne, Signora Galli' Signora Frasi, -Miss Young, Mr. Beard, Mr. Baker, Signor Guadagni. - - - - -INDEX. - - - Abbey Glee Club, 53 - - Abrams, 81, 91 - - Acis and Galatea, 8, 23, 28 - - Addison, 3, 4, 9 - - Ah me, what fears, 132 - - Alas, the horrors, 70 - - Aldrich, 66 - - Alexander's Feast, 93 - - Alfred, 15, 20, 33, 41, 46, 114, 116, 122, 124 - - Alfred, go forth, 121 - - Allegro, 20 - - Amelia, Princess, 10 - - Amphitryon, 29 - - Anderson, 134 - - Angels ever bright, 132 - - Arcadian nuptials, 62 - - ARNE-- - Actor, 30 - At Cliefden, 114 - At Eton, 3, 6 - At Stratford-on-Avon, 67 - Birth of composer, 1 - Burial, 101 - Conductor, 35 - Death, 96 - Employs ladies in Choir, 51 - Father of composer, 1 - First composition, 9 - Flautist, 7 - Grandfather of composer, 1, 4 - Harpsichordist, 22 - His will, 98 - In Dublin, 19 - In Edinburgh, 40 - Introduces P.F. accomp., 51 - Leaves wife in Dublin, 46 - 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, 62, 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 tre, 66 - - 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 - - Brickler, 51 - - Britannia, rouse, at heaven's command, 131 - - Brown, 57, 67 - - Busby, 92 - - Butler, 45 - - By dimpled brook, 13 - - - Calkin, 134 - - Capricious lovers, 81 - - Caractacus, 91 - - Catches and Glees, 64, 76 - - Cathedrals, Dublin, 23 - - Catley, 61 - - Cervetto, 15 - - Chambers, 9 - - Champness, 67, 80 - - Chappell, 130 - - Charles, 25 - - Chateauneuf, 30 - - Chi scherza colle rose, 20 - - Churchill, 54 - - Cibber, 10, 13, 19, 35, 58, 79, 84 - - Cliefden, 111 - - Clive, 13, 16, 37, 81, 116, 118 - - Colgan, 23, 27, 125 - - Colin and Phoebe, 37 - - Collins, 129 - - Colman, 73 - - Come, follow me, 70 - - Come, if you dare, 68, 80 - - Come, shepherds, we'll follow, 63, 102 - - Comus, 12, 19, 24, 28, 33, 40, 44, 61 - - Comus's Court, 14 - - Concerto, 92 - - Congreve, 15, 114, 124 - - Connel, 127 - - Corfe, 9 - - Cornelys, 52 - - Coronation Anthem, 23 - - Corry, 43 - - Country girl at court, 82 - - Covent Garden Theatre riot, 61 - - Cramer, 134 - - Crown and Anchor, 53 - - Cumberland, Duke of, 10 - - Cymbeline, 49 - - - Dalton, 12 - - Dance, 134 - - Daphne and Amintor, 81 - - Davis, 24, 27 - - Death of Abel, 28, 31, 92 - - Death of Nelson, 65 - - Delany, 12, 47 - - Delicæ Musicæ, 66 - - Dibdin, 51, 77 - - Dido and Æneas, 10 - - Dirge, 71 - - Dodsley, 39 - - Dragon of Wantley, 22, 30, 40 - - Drury Lane Theatre, 10, 35, 61 - - Dryden, 68 - - Dubourg, 23, 27 - - - Edwards, 16 - - Elfrida, 79 - - Eliza, 41, 49 - - Esther, 20, 38 - - Eton College, 3, 6 - - - Fairest Isle, 70 - - Fairies, 40 - - Faramond, 20 - - Farinelli, 20 - - Father of Mercies, 52 - - Fawcett, 52, 60, 73 - - Fergusson, 51 - - Festing, 7, 14 - - Fielding, 9, 76 - - Fishamble Street room, 69 - - Fisher, 76 - - Fitzpatrick, 62 - - Fleet prison, 4 - - Foote, 81 - - Forest, 74 - - Foster, 13 - - Fox, 77 - - Frasi, 121, 129 - - Frederick, Prince of Wales, 111, 116 - - From the eternal regions, 118 - - From yonder bower, 33 - - Frost scene, 70 - - - Gainsborough, 7 - - Galli, 129 - - Gamble, 135 - - Garrick, 12, 15, 21, 35, 58, 61, 67, 77, 82, 126 - - Garrick, G., 88 - - Gay, 44, 112 - - Geminiani, 27 - - Gentle swain, 15 - - Gentleman's Mag., 123 - - Giardini, 66 - - Gifford, 80 - - Glorious voice, 17 - - God save the King, 36 - - Gordon, 35 - - Green, 14 - - Grenville, 6, 77 - - Groombridge, 92 - - Guadagni, 129 - - Guardian angels, 132 - - Guardian outwitted, 62 - - - Hail, immortal Bacchus, 52 - - Hallam, 62 - - Hamilton, 77 - - Handel, 8, 12, 19, 23, 27, 31, 38, 127, 132 - - Hark! the bonny, 66 - - Hark! what notes enchant, 43 - - Harlequin sorcerer, 39 - - Hasse, 20 - - Haste to the gardens, 52 - - Haymarket Theatre, 8, 11 - - He was despised, 12 - - Hear, Alfred, 117 - - Hear, angels, 52 - - Henry IV., 30 - - Here, sons of Jacob, 53 - - Hill, 13, 135 - - Hither turn thee, 17 - - Horsley, 124 - - Horton, 114-116 - - How blest are the shepherds, 70 - - How cheerful along the gay mead, 32 - - How gentle was my Damon's air, 13 - - How happy the lover, 70 - - How sleep the brave, 129 - - Huggins, 4 - - Hymen, 20 - - Hymn of Eve, 32 - - - I call you all to Woden-hall, 68 - - If those, who live in Shepherd's, 119 - - In thoughtless gay prosperity, 128 - - Ianthe and Iphis, 39 - - Indian Kings, 3 - - - Jack, thou'rt a toper, 66 - - Jameson, 81 - - Jewell, 77, 81 - - Johnson, 13, 56, 82 - - Jones, 9 - - Joseph, 127 - - Judgment of Paris, 15, 114, 122, 124 - - Judith, 50, 62, 68, 76 - - - King Arthur, 68, 79 - - Kirkman, 5 - - Kitty, 45 - - Knight of the Burning Pestle, 130 - - Knowles, 45 - - - Lacy, 60 - - Ladies' hoops, 24 - - Lafitte and Galliard, 135 - - Lampe, 40 - - Lampe, Mrs., 38 - - Lascia cadermi, 20 - - Lass with the delicate air, 39 - - Layfield, 27, 30 - - Legge, 39 - - Let not a moonbeam, 69 - - Leveridge, 9 - - Lincoln's Inn Fields theatre, 9 - - Little gipsy, 82-91 - - Live to us, to empire, 56 - - Lock hospital, 50 - - Love in a village, 58 - - Love rapture, 67 - - Lowe, 17, 27, 30, 33, 39, 120, 125, 127 - - - Mackenzie, 136 - - Madrigal Society, 62 - - Mallet, 111, 128 - - Mansfield, 62 - - Manzuoli, 63 - - Mara, 57 - - Mason, 91 - - Mattocks, 49, 55 - - Mawhood, 62, 64, 70, 96, 102 - - May-day, 83 - - Merchant of Venice, 33 - - Metastasio, 54, 63 - - Millar, 116, 127 - - Mills, 13, 116 - - Milton, 12 - - Milward, 13, 114, 116 - - Miss in her 'teens, 37 - - Miss Lucy in town, 22-29 - - Mountain, 9 - - Much Ado about Nothing, 48 - - - Neal, 23, 24 - - Neal, Master, 25 - - Neate, 134 - - Neil, 42 - - Nightingale, 66 - - No more the heathen, 52 - - Noblemen's Catch Club, 63 - - Non chiamarmi, 20 - - Norris, 58-65 - - Novello, 71 - - Now Phoebus sinketh, 13 - - - O beauteous Queen, 20 - - O fairest, 20 - - O Lord, grant the King, 136 - - O peace, 20, 116 - - O peace, descend, 70 - - O ravishing delight, 15 - - O sight, 70 - - O too lovely, 55 - - O'er William's tomb, 65 - - Olimpiade, 63 - - On Chloe sleeping, 66 - - Orphan, The, 101 - - Orpheus and Euridice, 114, 124 - - Otway, 101 - - - Pasquali, 41 - - Pasqualino, 125 - - Paxton, 96, 100 - - Pemberton, 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 - - Poculum 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 - - Pye, 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 - - Sardinian Chapel, 2 - - Saul, 20 - - Scott, 102 - - Serenata, 12 - - Shakespeare jubilee, 67 - - Shenstone, 39 - - Sloper, 10 - - Smith, 63, 77 - - Soldier and his friend, 65 - - Soldier tired, 55 - - Solomon, 38 - - Sosarmes, 20 - - Spandau, 50 - - Spencer, 43 - - Squire Badger, 76 - - Stephens, 57 - - Stevens, 59 - - Storer, 23, 25, 27, 48 - - Street intrigue, 66 - - Swan, 24 - - Sweet bird, 20 - - Sweet echo, 13, 24 - - Sweet valley, 117 - - Sybilla, 24, 27, 127 - - - Tempest, 37, 44 - - Tenducci, 52, 55, 57 - - Theodosius, 33 - - Thomas, 55, 135 - - Thomas and Sally, 49 - - Thompson, 77, 130 - - Thomson, 112 - - Thou soft flowing Avon, 67 - - Thursfield, 1 - - Thus I infuse, 70 - - 'Tis sweet the blushing, 70 - - To virtue with rapture, 70 - - Tom Thumb, 9, 22, 26 - - Tonson, 56 - - Tragedy of tragedies, 9 - - Twelfth night, 28 - - Two daughters, 70 - - Tyers, 74 - - - Un guardo solo, 20 - - Under the greenwood tree, 17 - - - Vado e vido, 20 - - Vauxhall gardens, 37 - - Vernon, 59-67 - - Vernon, Mrs, 49-55 - - - Wagner, 133 - - Wake, my harp, 52 - - Walsh, 39, 51, 121 - - Warrell, 56 - - Water parted from the sea, 66 - - Waylett, 12 - - We must work, 70 - - Weelkes, 66 - - Weideman, 14 - - Welch (Walsh), 46, 125 - - Weller, 67, 73, 80, 84, 87, 89 - - Westminster Abbey, 12 - - Wheeler, 1 - - When Britain first, 119, 124 - - When daisies pied, 17 - - When gay Bacchus, 66 - - When Israel wept, 52 - - When our great Prince, 132 - - Where the bee sucks, 37, 117 - - Which is the properest day to drink?, 67 - - Whittington's feast, 93 - - William (King), 136 - - William and Margaret, 130 - - Who can Jehovah's wrath, 52 - - With heroes and sages, 52 - - Woodman, 57 - - Worsdale, 30 - - Wright, 79, 101 - - Wrighten, Mrs, 70 - - - Young, Cecilia, 2, 9, 11 - - Young, Charles, 11, 41 - - Young, Miss, 41, 43 - - Young, E, 44 - - Young, Polly, 41, 43, 46, 48, 74, 127 - - - - -COMPOSITIONS BY DR. ARNE. - - - SONGS. - - s. d. - - Twenty Songs 1 6 - Gentle Swain 2 0 - Guardian Angels 1 6 - O ravishing delight 1 6 - When icicles 1 6 - - - PART-SONGS. - - Blow, blow thou wintry wind (Unison Song) 0 1½ - Come away, death (S.A.T.B.) 0 2 - Rule, Britannia (S.A.T.B.) 0 1½ - Do. (T.T.B.B.) 0 1 - Do. (Solo with _ad lib._ Chorus) 0 1½ - Where the bee sucks (S.A.T.B.) 0 1½ - Do. (S.S.T.B.) 0 3 - Do. (Two-part) 0 1½ - Which is the properest day to sing (S.A.T.B.) 0 2 - Do. (S.S.A.) 0 1½ - If o'er the cruel tyrant, love folio 0 9 - The Curfew (Round for four voices) 0 1½ - Under the greenwood tree (Unison Song) 0 1½ - - - VIOLIN. - - Trio--Sonata in E minor 3 0 - - - ORGAN. - - By the rushy-fringed bank--Air from "Comus" 1 0 - March, "Judith" 1 0 - Largo--Overture to "Artaxerxes" 1 0 - - LONDON: NOVELLO AND COMPANY, LIMITED. - - - - - LONDON: - NOVELLO AND COMPANY, LIMITED, - PRINTERS. - - - - - Transcriber's notes: - - The following is a list of changes made to the original. - The first line is the original line, the second the corrected one. - - at a British Sixpence each. The _Journal_ gave a - at a British Sixpence each." The _Journal_ gave a - - which otherwise, may have an obstruction to the - which otherwise, may prove an obstruction to the - - to the words Quando Coeli morendi sunt." A solo - to the words "Quando Coeli morendi sunt." A solo - - spoke in th highest terms of Arne's music. - spoke in the highest terms of Arne's music. - - Risum tencatis amici? - Risum teneatis amici? - - 1771 The Fairy Princess. - 1771 The Fairy Prince. - - Herrsch "Britannia! der weite Ocean - Herrsch' Britannia! der weite Ocean - - Charlotte den 18. Januar 1799 auf dem Grosser - Charlotte den 18. Januar 1799 auf dem Grossen - - - - - -End of the Project Gutenberg EBook of Dr. Arne and Rule, Britannia, by -William Hayman Cummings - -*** END OF THIS PROJECT GUTENBERG EBOOK DR. 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