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."