DR. ARNE. (continued 2)

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:

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 Chlœ 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.”

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 Cœli 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.

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.

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 Phœbe.

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. Phœbe 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 for ; 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; “Phœbe 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

Cliefden in 1740.