The ‘Piece of Musick by the Child’ was evidently a youthful composition
and may be the identical MS. mentioned by Musgrave in his “Obituary.”
Musgrave’s entries meant a great deal to himself, but they are very
puzzling to those not initiated into the secret. Thus the entry
“Benjamin Hallet, MS. (Music)” without date and no indication as to
where it may be found, led us to a good deal of research which proved
quite fruitless.
To be associated with such shining lights as Garrick, Yates, and the
charming Mrs Cibber was an excellent send-off for “the child” and he
was doubtless the recipient of much petting from the men and women
of birth and genius who frequented the theatre. Who little Hallet’s
parents were, we have been unable to discover, the only likely clue
to his father is found at the foot of Benjamin’s “benefit” programme
quoted later. There it is announced that tickets may be had of Mr
Hallet in Exeter Court, near Exeter Exchange, in the Strand, but what
was the exact relationship between this gentleman and the prodigy is
only a matter of conjecture. The London Directory for 1749, gives the
name of “Crowley Hallet, Old Swan Lane, Thames Street,” and that of the
year 1752 announces that “Crowley Hallet was living near Fishmongers’
Hall, Thames Street.” In the year 1754 there was a “Captain John
Hallet, Royal Exchange, Assurance Director, and Ships’ Husband” living
in “Love Lane, Aldermanbury.” Of these two, Crowley Hallet--whose
address presupposes him to have been a tradesman--was more likely to
have been Benjamin’s father, for the advertising genius of the day
was a great stickler for _class distinction_. If a person of genteel
birth appeared--by chance--on the stage or concert platform, they were
invariably announced as a “gentleman,” or “gentlewoman,” or as in the
following advertisement of a seventeenth-century prodigy, in _The
London Gazette_ for 26th November 1694:--“The Consort of Musick in
Charles Street Covent Garden will begin again next Thursday with the
addition of two new voices, _one a young gentlewoman of 12 years of
age_.”
Had Benjamin Hallet been able to claim a “Captain” for his father, he
would certainly have been accorded the distinction of being a “_young
gentleman not yet nine years of age_.” But surmise is of little use,
for Benjamin’s parents have faded into the land of oblivion and left no
trace of themselves except in their talented offspring.
The next we hear of “the child,” is three years later when he is
announced in _The General Advertiser_ to appear in “The Old Woman’s
Oratory, conducted by Mrs Mary Midnight.” This entertainment was one of
the most humorous and up-to-date amusements of the period. It continued
to exist for many years on and off, and was eventually taken up by
Colley Cibber, whose drolleries gave it a further lease of life. The
names of the original promoters do not appear on the playbills, but the
name of “Mrs Mary Midnight” perhaps but thinly veils the half-crazy
personality of Christopher Smart, the leader and prime spirit of the
choicest wits of the day. Poor Smart was twice confined to Bedlam for
taking the injunction, “pray without ceasing” too literally, but in
spite of his evident madness on this point, he was otherwise sane, and
few could surpass the neat wit and epigram that flowed so freely from
his ready pen. Under the pseudonym of Mary Midnight (a name said to
have been suggested to Smart by some booth at St Bartholomew’s Fair)
he brought out a magazine which he called _The Midwife, or the Old
Woman’s Magazine_ by Mrs Mary Midnight. This purely satirical weekly
was published by good John Newberry whose name Goldsmith epitomised in
the lines:
“What we say of a thing that has just come in fashion,
And that which we do with the dead,
Is the name of the honestest man in the nation,
What more of a man can be said.”
On the 24th of December 1751, a long list of the attractions to be
found at “The Old Woman’s Oratory,” is given in the front page of _The
General Advertiser_. The entertainment is announced to take place at
“the New Theatre in the Haymarket, and to be conducted by Mrs Mary
Midnight and her family. Being the second time of their appearance
in public.” The first act opened with “A grand piece for the Kettle
Drums and Trumpets,” after which, “Mrs Midnight made her Inauguration
Speech.” The third act consisted of, 1. “Speech of Old Time to the Good
People of Britain. 2. Solo on the violoncello by Cupid” [the God of
Love was impersonated by little Hallet]. “3. A Song by Mrs Midnight. 4.
Another Solo by Cupid. 5. Overture to Alexander. An occasional Prologue
by a Gentleman, and an Epilogue to be spoken by Master Hallet in the
character of Cupid. The doors to be open at Eleven o’clock, in the
morning, and the concert to begin exactly at Twelve.”
The hour at which this entertainment took place was prohibitive to
the city clerk or tradesman, but to the beaux from the neighbouring
coffee-houses, and the _belles dames_ fresh from their lengthy
_toilette_, Mrs Midnight’s entertainment proved vastly amusing. Thus
little Hallet was again amongst the _élite_ of the land.
_The Midwife, or Old Woman’s Magazine_ for 1752, which claims to
contain “all the wit and Humor, and all the Learning, and all the
Judgement that there was ever, or ever will be inserted in all other
Magazines or any other book what-so-ever. So that those who try
this book will read no other. Published pursuant to several Acts of
Parliament, and by the permission of their most Christian and most
Catholic Majesties: The Great Mogul and the States General.... Printed
by Mary Midnight and sold by T. Carman in St Paul’s Church Yard, Price
three Pence,” gives several of the poems and pieces said to have
been spoken at the “Old Woman’s Oratory.” Among these we came across
the following lines, which were assigned to Benjamin Hallet in the
character of Cupid:--
EPILOGUE
“From fair Venus on Wing,
A joyous Embassy I bring,
Her Majesty this Mandate sends,
‘That Virtue now and Love be Friends,
That Beaux and Belles should cease to roam,
And every heart should find a Home;
That their joint labours they bestow
To make more business for my bow.
That Men mayn’t fail by lewd Transgression
But grow immortal by Succession.’
Now while to the ethereal Sky,
By Mammy’s Order, swift I fly,
Let Mary Midnight o’er the Nation
Reign Queen of Love by Deputation.”
A footnote at the end of these lines states Hallet to be “a child not
nine years old, who plays upon the violoncello, and in every other
respect has a capacity greatly beyond his Years. N.B. He is shortly to
have a benefit, at which ’tis hoped all Mrs Midnight’s Friends will do
him the Honour of their Presence.”
Benefits were far more common in Hallet’s time than they are now. From
the great Garrick down to the scene-shifter, all the _personnelle_
of the Theatres had their “Benefit” in the Autumn. Concerts were
not so numerous, but concert artists also not infrequently adopted
the practice. Contemporary with Hallet Dr Arne’s little son, who
was possessed of a wonderful singing voice, gave benefit concerts
at which he both sang and played the organ. Then again, there was a
sweet singer, Master Mattocks; and a Miss Davies, “a child nine years
old,” who gave a concert in the Great Room in Dean Street, Soho, and
distinguished herself by playing a “concerto of Mr Handel’s on the
Harpsichord”; and a youthful dancer called “The little Swiss,” all of
whom had their benefits. Hallet was not “alone in his glory,” there
were several child prodigies for him to compete with, and one cannot
help admiring him all the more, for a talent that can cope with rivalry
and hold its own, must be of no mean order.
Unfortunately musical journalism did not begin in England until the
beginning of the last century, so there is no possibility of gauging
Hallet’s capacities in this manner, but, doubtless, his benefit concert
met with a large measure of support and success, for the following
programme given in _The General Advertiser_ for 6th February 1752, is
of an attractive character:--
At the particular desire of Several Persons
of Quality
For the Benefit of BENJAMIN HALLET
A child of Nine Years of Age
At the New Theatre in the Hay-market
This day will be exhibited a Grand Concert of
MUSICK
By Gentlemen mask’d after the Manner of the
Grecian and Roman Comedy. Boxes 5s. Pit 3s.
At the same time will be performed
THE OLD WOMAN’S ORATORY
To be concluded by Mrs Mary Midnight and
her family.
To be divided into Three Acts.
Act the first will contain
1. A grand Piece with Kettle-Drums and Trumpets. 2. Solo on
the Violoncello by Cupid. 3. The Inauguration speech by Mrs
Mary Midnight. 4. Concerto for two Clarinettes. 5. Mr Handel’s
Waterpiece, with a Preamble on the Kettle-Drums.
Act the Second
1. A full piece. 2. A piece by Signor Bombasto. 3. The Speech of
Mrs Midnight in Defence of her Existence. 4. Solo on the Cymbalo.
5. Overture in Otho. 6. An Oration on the Salt-Box by a Rationalist.
Act the Third
1. An Italian Song by Signor Bombazeno. 2. A new dissertation by
Mrs Midnight. 3. A French Horn Concerto. 4. A Declamatory Piece on
the Jew’s Harp by a Casuist. 5. March in Judas Maccabeus, with the
Side-Drum.
With a new occasional Prologue written by a gentleman of the
University and an Epilogue to be spoken by Master Hallet in the
character of Cupid.
The Doors to be opened at Six o’clock; and the Concert to begin
exactly at Seven.
The House will be made very warm, and illuminated with Wax Lights.
Then follows the same remark about Benjamin Hallet’s capabilities which
we have already quoted from _The Old Woman’s Magazine_, ending with the
announcement that tickets could be had of Mr Hallet, in Exeter Court,
near Exeter Exchange, in the Strand.
It is noticeable that this magnificent affair began at seven o’clock,
an arrangement calculated to admit the _Hoi polloi_, and augment
the managerial receipts, and also that the programme reveals little
Hallet to have been possessed either of a large amount of modesty or
perspicuity, for out of the fifteen or more items there announced
only two were appropriated by himself. It must be remembered that
although such masters as Handel, Buononcini, Arne, etc., had their
numerous admirers among the more cultured musical amateurs, still,
much of the British public were just as pleased with the Jew’s harp,
marrow bones, and salt-box as with an oratorio of Handel’s or an
aria of Arne’s. Benjamin probably realised the preference generally
felt for these instruments, and for this reason put himself and the
graver violoncello in the background at his concert, allowing the
Jew’s harp and other grotesqueries the place of honour. A most amusing
satire--among others--on the general taste for these caricatures of
musical instruments, was written by Bonnell Thornton, whose wit would
have been supreme, but for his contemporary, Kit Smart. With excellent
humour he burlesqued the use of what he termed those “Ancient British
instruments,” in an amusing lampoon entitled “Ode on St Cecilia’s
Day, adapted to the Ancient British Musick: the Salt Box, the Jew’s
Harp, the Marrow Bones, and Cleavers, the Hum Strum or Hurdy Gurdy”
(London, 1762). No one appreciated this sally more than Dr Johnson,
who, it is said, delighted in repeating extracts from it by heart. A
number of Bonnell Thornton’s quaint conceits appeared in his magazine
_Have at you all_, or _The Drury Lane Journal_, which emulated
Fielding’s _Covent Garden Journal_, but was neither so long lived nor
so successful. Under the pseudonym of “Mrs Roxana Termagant,” Bonnell
Thornton pursued his editorial labours, and introduced into its pages
many a burlesque skirmish with his contemporaries’ magazines, _The
Midwife_ and _The Covent Garden Journal_, and in the year 1752 a
witty account of a visit made by “Mrs Mary Midnight” to “Madam Roxana
Termagant” appeared.
Little Hallet was evidently a favoured _protégé_ of all the wits of
the day from his connection with one of the most popular entertainments
then in vogue, and there is little doubt that he proved an attraction,
as his name appears among the performers during the whole of the first
season and again in the following season. On the 10th April 1753 _The
Public Advertiser_ announces a concert:
For the Benefit of
Master BENJAMIN HALLET and Sig. GAPATUNS
At the New Theatre in the Hay-market.
This Day will be exhibited
Mrs MARY MIDNIGHT’S CONCERT
WITH a new occasional Prologue, to be spoken by Master Hallet,
in the character of Cupid; and an Epilogue by Mrs Midnight on a
Jack Ass; likewise a new Song called _The Dust Cart_, by Mr Joe,
accompanied by Sig. Bombasto. To which will be added a Grand
Dance in the old British Taste, and a hornpipe by the great Mons.
Timbertoe.
Boxes 5s. Pit 3s. Gallery 2s.
Tickets to be had at Mr Johnson’s Musick-shop in Cheapside; Mr
Peter Thomson’s in St Paul’s Church-yard; Mr Jones’s in Holborn;
and at Mr Waylett’s in Exeter Exchange in the Strand, and at the
Theatre.
This will be the last time except one, that Master HALLET will
perform at this Theatre.
The above was in verity Hallet’s last appearance but one at the
“Old Woman’s Oratory.” He must have been at that time nearly
eleven--possibly more, for the published age of a prodigy is always
of doubtful verity--and was beginning to assume proportions quite
unfitted to the character of Cupid, so the management were compelled
to find a new _protégé_. The last appearance of little Hallet on any
concert platform is to be found in _The Public Advertiser_ for Monday,
12th November 1753, at an entertainment given at “The Five Balls,” New
Church in the Strand.
For the Benefit of a Gentleman who has
wrote for the Stage.
To-morrow, the 13th of November, will be a
Concert of Vocal and Instrumental
MUSICK.
In Act I. an overture of Mr Handel’s accompanied with French Horns.
A concerto of Geminani’s on the violin. _God gave great George our
King_, by Signor Bascado Squeekerini. The act will conclude with
a grand Piece of Musick. In Act II. a trio on the Viol d’Amore by
Mr Grosman. A Solo on the little Flute by Master HALLET. _Would
you take the Moon-tide Air_, by Signor Bascado Squeekerini. A
Concerto on the French Horn will conclude the Act. Between Act I.
and II. will be hum’d a HUMEROUS FISK. In Act III. a Concerto on
the Bassoon by Mr Baumgarten. _The Sweet Rosy Morning peeps over
the Hills_, etc. by Signor Bascado Squeekerini. The March in Judas
Maccabeus, accompanied by the Side-Drum, concluded with a Preamble
on the Kettle-Drums.
This is the last time Benjamin Hallet is advertised to play either the
flute or the violoncello in that year, and many years to follow. As far
as we have been able to discover, this appearance marked the end of the
career of this first violoncello prodigy.
His activity extended only over five years, beginning at Drury Lane
Theatre where he played the flute, and ending with the above concert
where he again reverted to the first instrument of his adoption.
THE RIVERSIDE PRESS LIMITED, EDINBURGH.
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FOOTNOTES:
[1] “History of the Violin,” by Sandys and Forster.
[2] Monteclair first introduced the double-bass into the Paris Opera
orchestra in 1730.
[3] “Memories of Music.”
[4] _Vide_ “Flowers from a Persian Garden,” by W. A. Coulston. London,
1890.
[5] Samuel Butler in “Hudibras” says--that brave Crowdero’s
“Grizzely beard grew long and thick
From whence he strung his fiddlestick.”
[6] _Vide_ A. Christianowich: “Exquise Historique de la Musique Arabe.”
Cologne, 1883.
[7] “The Troubadours and Courts of Love,” J. F. Rowbottham. London,
1895.
[8] “The Manners and Customs of the Modern Egyptians,” Edward W. Lane.
[9] Persian Treatise on “The Reasons of Modulations in Chants,” by
Abd-ul-cadir, 1418. This MS. is in the University of Leyden.
[10] An interesting and authentic rebec, is to be seen in the Donaldson
Museum, at the Royal College of Music.
[11] “Lettres de Remission,” quoted by Laurent Grillét, “Ancêtres du
Violon.”
[12] This play was first performed at Chambord, 14th October 1670.
[13] There is a fine Kerlino viola included in the Donaldson
Collection, dated 1452. This was shown at the South Kensington Special
Loan Exhibition in 1872. A similar example of the maker’s work, though
not in such a high state of preservation, is in the Musée of the
Conservatoire de Musique in Brussels.
[14] A facsimile representation of this viol and the title-page is
included in Mr Heron Allen’s “De Fidiculis Bibliographia,” and “The
Violin,” No. 5, a monthly, edited by Mr J. M. Fleming.
[15] I lived in the woods, until I was slain by the relentless axe.
Whilst I was alive I was silent, but in death my melody is exquisite.
[16] Reproduced in Von Wasielewski “Die Violoncelle.”
[17] All trace of this composition is apparently lost.
[18] Play the Crwth.
[19] “The Nursery Rhymes of England,” edited by James Orchard Halliwell.
[20] The “Archives Curieuses,” by Cimber et Danjou records the gift of
300 livres to De Bäif by Charles IX., “en consideration des services
qu’il lui a de longtemps faits en sondict état.”
[21] By Cimber et Danjou.
[22] Mr Betts made a copy of “The King,” which is now in the possession
of a lady of title in Scotland.
[23] Contralto-viol.
[24] Low tenor-viol.
[25] High tenor-viol.
[26] Tenor-viol, which later became the tenor violin or viola.
[27] Tailles were tenor and contralto viols.
[28] “The Violin.” Fifth Edition. Bernard Goodwin. Glasgow, 1895.
[29] _Vide_ “Gio. Paolo Maggini,” by Lady Huggins, published by Messrs
Hill & Sons.
[30] These letters have been collected into a neat little volume,
entitled “Readiana,” by Chatto & Windus. London, 1882.
[31] “Das Neu eröffnete Orchestre.” Hamburg, 1713.
[32] Henry C. Lunn, in his “Musings of a Musician” (London, 1846),
admirably describes the way “to make a Fashionable Ballad” in his
“Proposals for a Musical Cookery Book”: “Having procured some words,
pick them to pieces and pare them down to your liking. Then spread them
out upon a sheet of paper, and take a handful of sweet passages (which
all good cooks keep by them in a drawer) and sprinkle them over the
paper. Add as much spice as will lie upon two shillings, and garnish
with any little embellishments you can think of.”
[33] _Daily Courant_ of 17th February 1722/3.
* * * * * *
Transcriber’s note:
Obvious typographical errors have been corrected.
Archaic or alternate spelling that may have been in use at the time
of publication has been retained from the original.
Inconsistent use of diacritical marks has been retained from the
original.