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.