DR. ARNE.

Much confusion has arisen concerning the family of Arne; this is not surprising, seeing that three generations of the same family were named Thomas, and that all resided in the parish of St. Paul, Covent Garden. On the 14th of February, 1680, the Bishop of London granted a marriage licence to “Thomas Arne, of St. Paul’s, Covent Garden, Bachelor, 27 and upwards, and Mary Thursfield, of St. Martin’s-in-Fields, Spinster, 20, with her father’s consent at St. Peter’s, Cornhill, or elsewhere in Diocese.” A son born to this couple was baptized in St. Paul, Covent Garden, on the 3rd of December, 1682; the church register records “Thomas, son of Thomas Arne by Mary his wife.” In due time, when twenty-five years of age, this second Thomas married Anne Wheeler in the Mercers’ Chapel, Cheapside, April, 1707.[1] Three years later a son was born, who also was named Thomas, and duly baptized in St. Paul, Covent Garden. The ceremony is recorded in the church register on the 28th of May, 1710, “Thomas, son of Thomas Arne by Ann his wife.” This was the future musician and composer; the date of his birth cannot be verified by documentary evidence, but tradition has given the 12th of March, and this has generally been accepted as correct. It is noteworthy that Arne received only one Christian name in baptism, and that in after life he added another, Augustine. It has been suggested that at some period he was received into the Roman Catholic Church, and then took the additional name; but diligent inquiry at the Sardinian Chapel, Lincoln’s Inn Fields, a place of worship he frequented, has failed to discover any evidence of the alleged ceremony. A letter written by Dr. Burney[2] (Arne’s pupil) to Sir Joseph Banks in July, 1806, described “Old Mrs. Arne, the mother of Dr. Arne and Mrs. Cibber, as a bigotted Roman Catholic.” Surely natural affection would suffice to induce a mother to instruct her children in her own religious faith, and there was no reason why her son should not have been baptized with both names had the parents wished it. It seems quite clear that the adoption of the second name became a necessity to distinguish the composer from his father.

Thomas Arne, m. 1680, Mary Thursfield.

d. 1713.

Thomas Arne, b. 1682, Anne Wheeler.

m. 1736, d. 1778.

Thomas Arne, b. 1710, Cecilia Young

m. 1736, d. 1778. b. 1711, d. 1789.

The last-named was born in his father’s house, King Street, Covent Garden, now No. 34, but in 1710 distinguished by the sign of “The Crown and Cushion.” It was notable as the residence for a time of the North American chieftains, who created a considerable sensation whilst in London, and were popularly called the Indian Kings. Bancroft’s “United States” describes them: “Five Sachems from the Iroquois sailed with Schayler for England. They appeared amidst the gaze of crowds, dressed in English small-clothes of black, with scarlet ingrain cloth mantles, edged with gold, for their blankets; they were conducted in coaches to an audience with Queen Anne, and giving her belts of wampum they avowed their readiness to take up the hatchet and aid her in the reduction of Canada.” Arne, senior, the father of the composer, carried on the business of an upholsterer, which included that of an undertaker. He paid for his house the considerable rental of £75 per annum, and for a time he filled the responsible office of parish overseer. There is every indication that he was a prosperous tradesman, so well to do that he was able to send his son at a suitable age to Eton College to be educated. Unfortunately the records of that ancient foundation afford no information as to the date of Arne’s admission to the college, nor of the length of his residence there: he was not admitted as a foundation scholar, but as an Oppidan, and as such would live as a boarder in one of the masters’ houses.

Many errors have been printed respecting the status and career of Arne’s father. Probably they all originated from the statements made in a letter of Addison’s which appeared in the Tatler in 1710; a certain Mr. Arne is there described as an Upholder of Covent Garden, a rabid politician, neglectful of home and family, and in consequence a bankrupt. It is certain that the man thus described was the composer’s grandfather, who died in the Marshalsea debtors’ prison and was buried in the graveyard of St. Paul, Covent Garden, as is recorded in the church register, “24 December, 1713, Thomas Arne from the Marchelsea.” Commentators on Addison’s letter evolved a story that Arne’s father died in prison under very cruel conditions; but investigation shows that the Arne who was murdered in the Fleet prison was Edward Arne, probably an uncle of the composer. The House of Commons Reports published in 1729 states that “it appeared to the Committee that in the year 1725, one Mr. Arne an Upholder was carried into a stable which stood where the Strong Room on the Master’s side now is, and was there confined (being a place of cold restraint) till he died, and that he was in a good state of health before he was confined to that room.” The Prison Committee further inquired into the case, and presented a detailed statement as follows: “Mr. Arne, mentioned in the said former reports, whilst he was in the Tap-House of the said Fleet prison, during the wardership of John Huggins, Esq., and behaving himself quietly, was suddenly seized by James Barnes (agent for Huggins,) and without any reason given, was forced into the Strong Room, or Dungeon on the Master’s side; which dungeon being then but lately built, and so damp that the drops hung upon the walls, was very nauseous and unwholesome. In this place was the unfortunate man locked up, and never once permitted to go out; But by an accident on a Sunday, the door being opened, he ran into the parlour adjoining to the Chappell, during the Time of Divine Service; he had no covering upon his Body, but the Feathers of a Bed (which Bed was thrown to him by a Prisoner,) into which he crept, to defend himself from the Cold, and the Feathers stuck and were clotted upon him, by his own Excrements, and the dirt which covered his skin. He was immediately seized and carried back into the said dungeon, where thro’ cold and the Restraint, and, for want of food, he lost his senses, languished and perished. Notwithstanding the miserable condition of this man, and the applications were made to Mr. Huggins, the said Huggins had no compassion on him, but caused the door to be closed upon him.”[3]

The unhappy victim of tyrannic cruelty was buried in the precincts of St. Paul, Covent Garden, as is recorded in the church register, “23 of October, 1725, Edward Arne, from the Fleet Prison.”

The most reliable account of Arne’s early years is to be found in Dr. Burney’s “History of Music.” Burney, when a youth, was sent to Chester to be educated in the Free School. In 1744 he was introduced to Mr. Arne, who was passing through the City on his journey from Ireland to London, “and this most popular of English vocal composers since the days of Purcell was so pleased with the talents of this nearly self-instructed performer, as to make an offer to Mr. Burney, senior, upon such conditions as are usual to such sort of patronage, to complete the education of this lively and aspiring young man; and to bring him forth to the world as his favourite and most promising pupil. To the proposal Mr. Burney, senior, was induced to consent; and at the age of seventeen, the eager young candidate for fame rapturously set off, in company with Dr. Arne, for the metropolis.”[4] Arne was a man of pleasure, and seems to have done little to further the serious studies of his articled pupil; Burney’s daughter said that the master constantly employed the pupil in copying music. It is therefore not surprising that the latter eagerly embraced an opportunity of emancipation from drudgery (which was afforded through the recommendation of Kirkman, the harpsichord maker), and accepted the appointment of performer and teacher to the fashionable Fulk Greville. The apprenticeship articles, however, presented a difficulty, and Greville called on Arne to inquire on what terms he would cancel the bond. “Arne at first would listen to no proposition, protesting that a youth of such promise was beyond all equivalent; But no sooner was a round sum mentioned, than Arne, who, in common with all the dupes of extravagance, was evermore needy, could not disguise from himself that he was dolorously out of cash; and the dazzling glare of three hundred pounds could not but play most temptingly in his sight. The articles, therefore, were cancelled.”

Arne, by Gainsborough.

We now return to the early days of Arne. Burney writes, “Arne had a good school education, having been sent to Eton by his father, who intended him for the law. But I have been assured by several of his school-fellows, that his love for music operated upon him too powerfully, even while he was at Eton, for his own peace, or that of his companions; for with a miserable, cracked common-flute he used to torment them night and day when not obliged to attend the school.” Burney’s description of the flute must be regarded as somewhat exaggerated if we may judge from the instrument depicted in the portrait of Arne painted by Gainsborough, and here reproduced. Burney’s narrative continues, “He told me himself that when he left Eton, such was his passion for Music, that he used to avail himself of the privilege of a servant, by borrowing a livery and going into the upper gallery of the Opera, which was then appropriated to domestics.” Arne’s father, having decided that the young man should be brought up to the profession of the law, articled him to an attorney for three years, but this compulsory legal study did not prevent him secretly and assiduously practising on a spinet, which he had smuggled into his bedroom; using a silk handkerchief, he contrived to muffle the sounds of the instrument, and could indulge in play when the other members of the household were asleep. This he did with fear and trembling, well-knowing that if discovered by his father, both he and the musical instrument ran the risk of violent expulsion through the window. He further managed to acquire some proficiency on the violin, and soon contrived to get some lessons from the accomplished and eminent violinist, Michael Festing. His natural talent enabled him to make rapid progress, and shortly after the expiry of his articles, an incident occurred which happily determined his future career. His father, one day calling at a gentleman’s house in the neighbourhood upon business, found that he was engaged, but sending in his name, Arne’s father was invited upstairs, where there was a large company and a concert in progress, and, to his astonishment, his son in the very act of leading as first fiddle. This convincing proof that his son was more successful with music than law, caused him to relent, and he offered no further opposition to his adopting the former as a means of livelihood. Arne was now able to pursue his musical studies without restraint, and he soon bewitched all the family by his enthusiasm and ability. He discovered that his sister, Susanna, possessed a beautiful and sympathetic voice, which by his instruction rapidly developed. Festing still continued to give him lessons on the violin, and calling in King Street one day for this purpose, he found Arne diligently practising with his music supported on the lid of a coffin. Horrified with the sight, he declared he could not play under such circumstances, as he would be constantly imagining there might be a corpse in the coffin beneath. “So there is,” said Arne, and gave proof by removing the lid.

In 1732, Arne’s father dabbled in music as a business speculation; induced to do so, perhaps, by the remarkable talent of his children. He and others, without permission, and without consulting Handel, announced performances of that composer’s works at the theatre in the Haymarket. An advertisement of May the 10th reads: “At the theatre in the Haymarket on Thursday the 12th inst. Acis and Galatea, a pastoral drama set by Mr. Handel will be performed, with all the choruses, songs, machines and other decorations: being the first time it ever was performed in a theatrical way. The part of Acis by Mr. Mountier, being the first time of his appearing in character on any stage. Galatea by Miss Arne. Pit and boxes at five shillings. Subscriptions are only taken in by Mr. Arne at the Crown and Cushion, King Street, Covent Garden.”

For some reason the performance did not take place on the 12th, but on the 17th. Dr. Burney says that the adventurers, or partners, in the speculation included Arne and his son, and the performers, Miss Arne and Miss Cecilia Young, afterward young Arne’s wife. Arne now resolved to essay his powers in composition, by setting to music the libretto of Rosamond, written by Addison. The music of the chief character he designed for his sister, and the part of the Page for his young brother Michael. The work when completed was presented to the public at the theatre in Lincoln’s Inn Fields on the 7th of March, 1733. In addition to his sister and brother, the performers were Mrs. Barbier; Leveridge, the veteran bass, Mr. Corfe, Mrs. Jones and Miss Chambers. The first performance proved a great success and was followed by ten others; the last was announced for the benefit of “Mr. Arne, junior,” evidently to distinguish the composer from the father. Thus encouraged Arne now determined to try his hand on a humorous composition, and selected for the purpose Fielding’s Burletta “Tom Thumb”; this had been played as a comedy, with great success, in 1731, under the title “The Tragedy of Tragedies!” In its new musical dress the composer called it “The Opera of Operas,” and it was submitted to the judgment of the public at the new theatre in the Haymarket on the 31st of May, 1733. The principal character, Tom Thumb, was personated by the composer’s brother Michael. The verdict of the audience was highly favourable; the piece attained great popularity, and a very long run. The Princess Amelia and the Duke of Cumberland attended the second performance; the Prince of Wales, the sixth, and the younger Princesses the eighth. Arne’s next composition was an experiment in another branch of stage work; a Masque with Harlequinade entitled, “Dido and Æneas.” He was now regularly employed at Drury Lane Theatre as composer. His sister, Susannah Maria, had acquired considerable fame both as singer and actress, and in April, 1734, she married Theophilus Cibber, who became notorious as an evil-doer. He was the son of Colley Cibber, and for about three years husband and wife lived together; they had two children, who died in infancy. The profligate husband had a friend, a Mr. Sloper, who with ample means frequently relieved Cibber of pecuniary embarrassments, but in 1738 the latter absconded to France, and his wife placed herself under the protection of Mr. Sloper, who resided at Burnham in Buckinghamshire. On returning to England, Cibber brought an action for adultery, laying the damages at £5,000; the verdict in his favour gave him £10. He then brought a fresh action, claiming £10,000 for the loss of his wife’s professional services, and obtained a verdict for £500. It appeared that Cibber[5] had forcibly broken into his wife’s residence, abstracted her jewellery, and carried her off to the Bull’s Head tavern, Clare Market, where he had locked her in an apartment from which she was rescued by her brother, Thomas Arne.

In 1736, Arne, in the twenty-sixth year of his age, married Cecilia Young, the charming singer who had appeared with his sister at the performances in the new theatre in the Haymarket, in 1732. She was the daughter of Charles Young, a performer of good repute and organist of All Hallows’ Church, Barking. Of three accomplished sisters she was the most gifted; her natural soprano voice had been well trained by Geminiani, and was of unusual compass and flexibility, ranging up to E in alt. She was also greatly admired on account of the accuracy and perfection with which she executed trills and shakes. Dr. Burney said, “her style of singing was infinitely superior to that of any other English woman of her time.”

Charles Young refused to sanction his daughter’s marriage with Arne on account of the latter’s religious principles. It is said he never forgave her.[6] In the year of his marriage, Arne wrote the incidental music for “Zara,” a tragedy produced at Drury Lane Theatre, in which his sister Mrs. Cibber first gave proof of her extraordinary ability as a tragic actress as well as singer. She captivated everyone by her native sweetness of voice and powers of expression; “It was difficult to say which of the two received the greater applause, the actress for her interesting person, pathetic voice and manner, or the musician (the composer Arne) for his natural and pleasing strains, particularly the March which was encored every night.” Mrs. Cibber’s fame became pronounced. Handel thought so highly of her that he engaged her to sing the contralto part in “The Messiah” at its first performance, in Dublin. How well she merited his selection was proved at the conclusion of the Air “He was despised”; her singing was so natural and touching that the Dean of St. Patrick’s, Dr. Delaney, arose from his seat and audibly exclaimed, “Woman, for this thy sins be forgiven thee!”

Mrs. Cibber was not only a great artist, but also a very accomplished and amiable woman, as is proved by her correspondence with David Garrick. When she died, in 1766, Garrick declared that “tragedy expired with her.”

She was buried in the North Cloister of Westminster Abbey.

Mrs. Cibber.

The only other composition of Arne’s which can be traced to the year of his marriage, 1736, is a Serenata, the words by Thomas Phillips, written to commemorate the marriage of the Prince of Wales with the beautiful Princess Augusta of Saxe Gotha, which took place in April. The Serenata was performed at Drury Lane Theatre. Arne’s connection with the theatre provided him with a splendid opening for his talent as composer. Dr. John Dalton, a Prebendary of Worcester Cathedral and Rector of St. Mary-at-hill, London, prepared a stage version of Milton’s “Comus.” He interpolated verses taken from other works of the poet, and added some songs of his own, all requiring music; and, as the sequel proved, no composer could have carried out the task more efficiently than Arne, who entered upon his welcome labours with real enthusiasm, and easily earned the reputation of being the best English composer of the day. His music combined graceful melody and expressive accent, needing no extraneous ornamentation to enhance its beauty. The songs “Now Phœbus sinketh in the West,” “By dimpled brook,” “How gentle was my Damon’s Airs,” and “Sweet Echo,” are amongst the gems. The various characters were well represented on the stage. Comus by Mr. Quin; the Lady, Mrs. Cibber; the Brothers, Mr. Milward and Mr. Cibber; First Spirit, Mr. Mills; Second Spirit, Mr. Hill; Euphrosyne, Mrs. Clive; Sabrina, Mrs. Arne; Attendant Spirit, Mr. Beard. The Masque is preceded by a sprightly Overture scored for strings, two flutes, two oboes, two trumpets, and bassoons. The instruments are never employed simultaneously, an orchestral feature peculiar to Arne. The song “Sweet Echo” was sung “behind the scenes” by Mrs. Arne, with an echo played on the flute, and proved very effective. Either from want of time, or some other cause, Arne did not compose chorus music, but adapted several pieces from Handel; the manuscript of these adaptations is in the British Museum. Produced at Drury Lane Theatre in 1738 under the composer’s direction, the piece had a long run and was frequently revived. A notable occasion was the performance at Drury Lane on the 5th of April, 1750, when it was given for the benefit of the grand-daughter of Milton, Mrs. Elizabeth Foster, who was living in extreme old age and poverty; for this notable event Dr. Johnson wrote a prologue which was spoken by Garrick. It is satisfactory to know that the substantial sum of one hundred and thirty pounds was handed over to the aged lady as a result of the united efforts of the artists who gave their services.

The popularity of “Comus” induced Arne to publish a score of the music in 1740. The title-page of the volume reads: “The Music in the Masque of Comus. Written by Milton. As it was Perform’d at the Theatre-Royal in Drury-Lane. Composed by Thomas Augustine Arne. Opera Prima. London. Printed by William Smith, at the musick shop in Middle Row, near Holborn Bars, and sold by the Author.” The copies were signed by the composer; we may therefore presume that the publication was his own venture, which may account for his calling it Opera Prima. It certainly was not the first work of his, either composed or printed. He afterwards sold the plates, and the score was published with a new title-page bearing the imprint “London. Printed for and sold by J. Simpson in Sweetings Alley Royal Exchange.” “Comus” became so popular that the songs were sung all over the Kingdom, and gave rise to numerous convivial and musical associations which were convened under the title Comus’s Court.

In 1739, a number of eminent musicians residing in London united in establishing a charitable society for the relief of indigent musicians and their families. The first steps were taken by Festing, Handel, Green, Weideman, and nine others; it was then called “The Society of Musicians,” and since has become by Charter “The Royal Society of Musicians.” Among the first to join the Association and to sign the “Declaration of Trust” were Thomas Arne and Handel. The former, after some years, neglected to pay his subscription, and ceased to be a member; but the latter retained his membership to the end of his life, and by his Will bequeathed one thousand pounds to its funds.

1740 was a very busy and prosperous year for Arne. His composition of the “Masque of Alfred” for the Prince of Wales will be found fully discussed in connection with “Rule, Britannia”; the other Masque, which was performed at the same celebration, was “The Judgment of Paris,” written by William Congreve. This author died in 1728, and it is not known who arranged the book as set by Arne; it contained much more music than “Alfred,” and, with the exception of “Rule, Britannia,” of greater importance. The Overture, composed on the conventional pattern of the day, beginning with a Largo, followed by a spirited fugue, concludes with a Minuet Andante and a Giga con spirito; the only instruments employed are strings and oboes. The Recitative, “O ravishing delight,” sung by Mr. Beard in the character of Paris, it would be difficult to surpass. Accompanied by the string quartett, it is full of variety and charm, and leads into an Allegro, with bravura passages well written for the voice. If revived to-day by a good tenor singer it would prove a great success. There is a remarkable Air for Venus, “Gentle Swain,” which was sung by Mrs. Arne. In the printed score the composer appends the note, “This Air is composed for a Violoncello solo, and a double Bass to play with the Harpsichord.”[7] The violoncello had quite recently been introduced into England by Cervetto (Giacobbe Bassevi), who joined the Drury Lane Theatre orchestra in 1738; by his skill he soon made the instrument popular. Both Arne and Handel wrote special obbligato parts for him. His personality and manners were very marked, and he became a pet of the gods in the gallery of the theatre, who, when he appeared in the orchestra, would call out “play up, Nosey.” He became manager of Drury Lane Theatre, and died on the 14th of January, 1783, over one hundred years of age, leaving his son a fortune of £20,000. He signed the admission book of the “Society of Musicians” on the 14th of April, 1742. An amusing story is told of an encounter Cervetto had with Garrick; the latter had been absent from Drury Lane Theatre for two years, and on his return he prepared an address to speak previous to the play. When the applause which greeted him had subsided, the house became silent in expectation of the speech. At this crucial moment, Cervetto anticipated the first word by a tremendous yawn, which caused the audience to burst into convulsive laughter, and several minutes elapsed before quiet was restored. When the curtain dropped, Garrick rushed to the music-room and seized Cervetto by the shoulders, calling him a scoundrel, and a base-viol, and demanded what he meant by his conduct. The poor man could only reply that “when he had a great rapture” he always did “yawn that way.”

Cervetto, by Zoffany.

The Air “Gentle swain,” sung by Mrs. Arne, in which Cervetto accompanied, is very melodious vocally and instrumentally: it was followed by a Trio for three soprano voices, sung by Mrs. Arne, Mrs. Clive, and Miss Edwards, representing Venus, Pallas, and Juno. The music is admirable, in spite of the words, which cannot be described as poetry. After an invitation from each of the three divinities:

Paris, represented by Mr. Beard, replied:

We have no record how they managed the stage business at Clieveden, but it must have presented some difficulty. A Recitative for Pallas is remarkable for the vigour of the instrumental accompaniment, and the Air “The glorious voice it was” is very spiritedly supported by strings, oboes, trumpets and drums. A fine Recitative, “Stay, lovely youth,” sung by Mrs. Arne is also worthy of mention. At the close of the year 1740, on the 20th of December, Shakespeare’s “As you like it” was played at Drury Lane Theatre, the first time for forty years. Great interest was excited by the revival, more especially on account of the fact that Arne had prepared new music for the songs. These included “When daisies pied,” sung by Kitty Clive, “Under the greenwood tree” and “Blow, thou winter wind,” sung by Mr. Thomas Lowe. They all captivated the public taste, who found Shakespeare’s poetry admirably framed in Arne’s melodies. The immediate popularity of the music attracted the attention of several unscrupulous publishers of the day. To protect himself against their nefarious depredations, Arne obtained a Royal license, dated 29th of January, 1741. “George, the Second, by the Grace of God, King of Great Britain, France, and Ireland, Defender of the Faith, etc. To all to whom these Presents shall come, Greeting. Whereas Thomas Augustine Arne, of Craven Buildings, near Drury Lane, in our County of Middlesex, Gent. Hath humbly represented unto US, That he hath with great Study, Labour and Expence, composed several works, consisting of Vocal and Instrumental Musick, in order to be printed and published; and hath Therefore humbly besought US to grant him Our Royal Privilege and License, for the sole printing and publishing thereof, for the term of Fourteen Years. We being willing to give all due Encouragement to works of this Nature, are graciously pleased to condescend to his Request: and We do therefore, by these Presents, so far as may be agreeable to the Statute in that behalf made and provided, grant unto the said Thomas Augustine Arne, his Executors, Administrators and Assigns, Our License for the sole Printing and Publishing the said Works, for the Term of Fourteen Years, to be computed from the Date hereof; strictly forbidding all our Subjects within our Kingdom and Dominions, to Reprint or Abridge the same, either in the like, or any other Volume or Volumes whatsoever; or import, buy, vend, utter, or distribute any Copies thereof reprinted beyond the Seas, during the aforesaid Term of Fourteen years, without the Consent or Approbation of the said Thomas Augustine Arne, his Heirs, Executors, and Assigns, as they will answer the contrary at their Peril. Whereof the Commissioners and other Officers of our Customs, the Master, Wardens and Company of Stationers, are to take Notice, that due Obedience may be rendered to our Pleasure herein declared. Given at our Court St. James’s, the Twenty-Ninth Day of January, 1740-1, in the Fourteenth Year of Our Reign. By His Majesty’s Command.

“Hollis Newcastle.”

The Great Room, Fishamble Street, Dublin.

In 1741, Arne and his wife made their first united visit to Ireland; from Faulkner’s Dublin Journal of June 29-July 3, we learn that: “Last Wednesday (June 30th) the ingenious Mr. Arne, brother to Mrs. Cibber, and Composer of the Musick of Comus, together with his Wife, (the celebrated Singer,) arrived here from London.” This notice is interesting as evidence that “Comus” had already been performed in Dublin; Mrs. Cibber and James Quin, the original exponents of the Lady, and Comus, were two of the actors engaged in the Dublin production; we may therefore reasonably suppose that they had introduced some of Arne’s music. Mrs. Cibber had also won a high place in the estimation of the public by her exquisite singing in the first performance of the “Messiah” Oratorio when conducted by Handel on the 13th of April preceding. No time was lost by Arne and his wife in making a venture for public favour. Faulkner’s Journal, July 13-17, exhibited the following advertisement: “At the particular Desire of several Persons of Quality, for the Benefit of Mrs. Arne, at the Great Room in Fishamble-street, on Wednesday, the 21st Inst., will be performed a grand Entertainment of Musick, to be divided into three Interludes; wherein several favourite Songs and Duetto will be performed by Mrs. Arne and Mrs. Cibber. In the first Interlude (after an Overture of Mr. Handel’s) a Scene from Mr. Arne’s Opera of Rosamund, by Mrs. Arne; O beauteous Queen, from Mr. Handel’s Oratorio Esther, by Mrs. Cibber; Non chiamarmi, from an Opera of Signor Hasse’s by Mrs. Arne; and O fairest of ten thousand Fair, a Duetto, from Mr. Handel’s Oratorio of Saul, by Mrs. Arne and Mrs. Cibber. In the second Interlude (after an Overture of Mr. Arne’s) Lascia cadermi in Volto, a Song of Farinelli’s Singing, by Mrs. Arne; Chi scherza colle Rose, from Mr. Handel’s Opera of Hymen, by Mrs. Cibber; Vo solcando, a song of Signor Vinci’s by Mrs. Arne; and Vado e vido, a Duetto of Mr. Handel’s in Faramond by Mrs. Arne and Mrs. Cibber. In the third Interlude (after an Overture of Mr. Arne’s), O peace, thou fairest Child of Heaven, from Mr. Arne’s Masque of Alfred, by Mrs. Arne; Un Guardo Solo from Mr. Handel’s Opera of Hymen, by Mrs. Cibber; (by particular Desire) Sweet Bird, from Mr. Handel’s Allegro, by Mrs. Arne; and Per le Porte del Tormento, a favourite Duetto of Mr. Handel’s in Sosarmes, by Mrs. Arne and Mrs. Cibber.—Mrs. Arne, being a Stranger in this Kingdom, humbly hopes the Nobility and Gentry will excuse her personal Application, and to prevent Their being detained at the Doors of the Hall, while Tickets are delivered them, that they will send for their Tickets to Mrs. Cibber’s House in Aungier-street, where Places may be taken.—And, to prevent mistakes, they are desired to send their Servants to Keep Places before five o’clock, To begin exactly at 7 o’clock. N.B. This Performance (intended for the Theatre) is at the Request of several Gentlemen and Ladies altered to the Great Room above mentioned.”

It will be noticed that the programme contains eight pieces composed by Handel, and only four by Arne. Handel was residing in Dublin, and it is quite likely that he extended his friendly patronage to Mrs. Arne and attended the concert. In any case Handel’s music was undoubtedly an attraction for the fashionable world of Dublin; and it is satisfactory to read that the concert was so great a success that “At the particular Desire of several Persons of Quality” a repeat was granted on the following Wednesday, the 28th of July. Very soon after the latter performance, the Dublin musical season came to an end and the many artists who had been making hay in that city transferred their personalities to England. “The celebrated Mr. Handel” left Dublin on the 13th of August, and on Monday, the 23rd of the same month, was followed by Mrs. Cibber, Mr. Arne and David Garrick. Mrs. Arne remained in Dublin; probably her husband only went to London to make preparations for an extended campaign in Dublin. In a month’s time he returned, and resided with his wife at a house “over against the Ram in Aungier-street” near the Theatre. We obtain intelligence of their doings from an advertisement in Faulkner’s Journal of September 25-28,—“The Charitable and Musical Society” announced the commencement of the season by a concert to be given on the 8th of October. Special attention is directed to the fact that “they have provided a fine Organ, and have engaged the celebrated Mrs. Arne to sing”; the day after the performance the Journal reported, “Last Night the Charitable and Musical Society opened their first Concert to a very numerous and polite Assembly of Ladies and Gentlemen, when Mrs. Arne (tho’ extremely ill of a Cold) sang with universal applause.” She speedily recovered and with her husband gave a concert in the following December. The Journal of November 27-30 contained the following announcement: “We hear that on Friday next [Dec. 3] being particularly desir’d, at the Great Room in Fishamble Street, Mrs. Arne will sing the Song Sweet Bird, accompanied on the Violin by Mr. Arne. And that he intends between the Acts of his Serenatas, Operas, and other Musical Performances, to intermix Comic Interludes (after the Italian Manner), amongst which will be perform’d Tom Thumb, the Original Burlesque Opera compos’d by him, the Dragon of Wantley, Miss Lucy in Town, etc. Intended to give Relief to that grave Attention, necessary to be kept up in Serious Performances. Which he intends shall begin in January next.” We learn from this the evident intention of Arne to make a lengthened stay in the city which had received him and his wife with so much favour. It is likewise interesting to note that hitherto he had acted as harpsichord accompanist, and now proposed exhibiting his excellent skill as a solo violinist. The obbligato to the song “Sweet Bird,” from Handel’s “Allegro,” was composed for a flute, by no means an easy task for a violin player at that time. The “Charitable Musical Society,” evidently satisfied with Mrs. Arne’s performance, on the 17th of December engaged her for another concert given “for the Benefit and Enlargement of Prisoners confined for Debt, in the several Marshalseas in this City.” An advertisement announced “On Tuesday next, being the 14th of December, at 12 o’clock at Noon will be the Rehearsal of Acis and Galatea, with the celebrated Coronation Anthem called Zadok the Priest, composed by Mr. Handel. Mr. Dubourg will perform a new Solo. The Performance will be on Friday the 17th, at 6 in the Evening. The Gentlemen of the Choir of each Cathedral will assist,[8] with Mrs. Arne, Mrs. Storer, Mr. Colgan, and others. Tickets to be had at half a Guinea each, from Mr. Neal, at the said Musick Hall. A Rehearsal Ticket will be delivered with the Ticket for the Performance, as it was for the Messiah.” “There are great Numbers of Tickets already disposed of for the Musical Entertainment of Acis and Galatea; and it is not doubted but the Ladies of this Kingdom who so eminently distinguish themselves for their great Virtue and Charity, will, upon this Occasion, exert themselves by promoting this Charity, many of them, of great Quality and Distinction, having come to a Resolution not to wear any Hoops next Friday, as it will be a Means of admitting more People into the Hall than usual.”

In this month, December 11-14, the Journal made an announcement of considerable importance: “Mr. Swan being desirous to entertain the Town in the best manner possible, has contracted with Mr. Arne, for Mrs. Arne, Mrs. Baildon, Mrs. Sybilla, and other singers belonging to him, to perform in the Masque of Comus, written by Milton, and set to Musick by Mr. Arne. The Choruses will be properly performed, and Mr. Arne will accompany the Performance, which will be exhibited on Monday next, being the 10th inst. Jan. N.B. The Orchestra will be doubled, and there will be a Row at the Pit enclosed for the Musick.” The same Journal of the 4-8th January, 1743, gave more details: “By His Majesty’s Company of Comedians, at the Theatre Royal in Aungier-street, on Monday next, being the 10th inst. Jan. will be performed a Dramatick Masque called Comus, written by Milton. The Musick, vocal and instrumental, composed by Mr. Arne. The Part of Comus, by Mr. Swan; a pastoral Nymph, and the Part of Sabrina, by Mrs. Arne; the principal Bacchanal, by Mrs. Baildon, from London; the Lady’s Song (Sweet Echo) by Mrs. Arne, accompany’d by Mr. Neal, from England, who performed it originally; the second pastoral Nymph by Mrs. Sybilla, a Scholar of Mr. Arne’s; the Part of Euphrosyne to be performed by Miss Davis. With all the Choruses performed in Parts, as originally in England, and never done here before. The original Prologue to be spoke by Mr. Swan, and the Epilogue by Mrs. Furnival. A Row of the Pit will be taken into the Orchestra, there being an extraordinary Band of Musick provided on this occasion. The whole conducted by Mr. Arne, who accompanies the Performance on the Harpsichord. With new Habits, Scenes, Machines, Risings, Sinkings, Flyings, and other Decorations. It is hoped it will not be taken ill, that none can be admitted behind the Scenes. N.B. This Performance being exhibited at a much greater Expense than any Theatrical Entertainment in this Kingdom, we are obliged to lay the Pit and Boxes together at 5s. 5d. Lattaces, 5s. 5d. Gallery, 2s. 8d. halfp.” The foregoing advertisement is brim full of interesting matter; we see that Mr. Arne was a tower of strength; that Mr. Neal was the solo flautist at the first performance of “Comus,” in Drury Lane Theatre; the choruses, performed in parts, were taken from Handel, as in London; also that Mr. Arne conducted and accompanied, according to the fashion of the day, at the harpsichord. The artistic venture of Mr. Swan met with due reward; “Comus” was successfully repeated on the 13th, 20th, and 24th of January, and again on the 8th of February for the benefit of Mr. Swan; finally, on the 21st of April, Mr. Neal took a benefit at the Smock Alley Theatre on the 1st of February, when he exhibited his versatility; the Journal announced “Between the Acts, Mr. Neale will perform a Solo and Concerte on the Hautboy, with a Piece on the German Flute. Mr. Charles and his Second will perform a Concerto on the French Horn, and Mr. Storer will sing a favourite Song. Master Neale, a child of ten Years old, will perform a Concerto on the Violin, and Elin a Roon, with all its Variations.” This advertisement is of importance, showing that Arne had excellent orchestral players. Mr. Charles[9] was a very skilful performer; possibly he had been one of the Drury Lane orchestra. On the following 10th of February, Mrs. Arne had a benefit at the Theatre Royal, Aungier Street, when the programme consisted of “A Grand Serenata, call’d Love and Glory; composed by Mr. Arne, in Honour of the Nuptials of His Royal Highness Frederick Prince of Wales, with the Princess Augusta. After the Serenata, a new Farce call’d Miss Lucy in Town,[10] with all the songs composed by Mr. Arne, and performed at the Theatre-Royal in Drury Lane.”

A concert was given at the Music Hall in Fishamble Street, on the 4th of May, for the benefit of the Charitable Infirmary, when Handel’s “Alexander’s Feast” was performed. Mr. Arne conducted and Mrs. Arne sang; “the Gentlemen of the Choirs of both Cathedrals and several other voices” assisted. On Saturday, the 7th, three days afterwards, Mr. Arne had a benefit at the Theatre Royal in Aungier Street, when the bill consisted of “an Opera called Rosamond, Written by the celebrated Mr. Addison, and set to Musick by Mr. Arne: King Henry, Mr. Baildon; Sir Trusty, Mr. Layfield; Page, Master Pilkington; being the first Time of his Appearance on any Stage; Rosamond, Mrs. Sybilla; Grideline, Miss Davis; and the part of Queen Eleanor to be performed by Mrs. Arne, After which will be performed the original comic burlesque Opera called Tom Thumb. The Part of Tom Thumb by Master Pilkington; King, Mr. Baildon; Lord Grizzel, Mr. Layfield; Queen Dollallolla, Miss Davis; Princess, Huncamunca, Mrs. Sybilla; all the other characters, as Noodle, Doodle, Foodle, Giantess, Conjurer, etc., by a select Company of burlesque Opera Singers. To prevent Mistakes, Ladies are desired to take their Places in Time, and on the Day of Performance to send their Servants to keep Places before five o’clock.”

The above programme was announced for repetition on the 27th of May, for the benefit of Mr. Baildon and Mrs. Sybilla, but Mrs. Arne was attacked by one of her frequent illnesses, which on this occasion proved so serious, that her physician forbade her attempting to perform “at the Hazard of her Life.” In June she had so far recovered that the deferred benefit was announced for the 11th of June, “being positively the last time of Mr. Arne’s exhibiting any Performance this Season.”

Faulkner’s Journal, Oct. 22-25, announced that “Mr. Dubourg[11] and Mr. Arne are to have six Oratorios of Mr. Handel’s performed this Season by Subscription, in which Mr. Lowe, Mrs. Arne, Mr. Colgan, and Mrs. Storer will perform the vocal Parts”; on the following Nov. 29-Dec. 3, an elaborate advertisement detailed Mr. Arne’s plans:—“Mr. Arne proposes to exhibit, at the Theatre-royal in Aungier-street, Four Performances in the manner of the Oratorios in London, viz.: Two Performances of the Distresses and Conquest of King Alfred, composed by Command of His Royal Highness Frederick Prince of Wales, and performed at his Palace at Cliefden, but never yet exhibited in Publick, and two Performances of a New Oratorio called The Death of Abel: Both composed by Mr. Arne. Subscription Three Guineas, Every Subscriber to have three Tickets on each Night of Performance. No Person (not subscribing) will be admitted into Pit, Boxes, or Lattices, under half-a-Guinea a single Ticket. The first Performance to begin as soon as one hundred Subscribers shall be obtained, of which fifty have already subscribed. Subscriptions are taken in by Mr. Arne, at his House in Aungier-street, near the Theatre. Mr. Arne has a few Books of the Works he has published, which he will dispose of at the following Prices, viz.: The complete Score of the Overture, Songs and Duettos in the Masque of Comus, 7s. The Songs in As you like it, and Twelfth Night, with the favourite Duetto in the Rival Queens, and other select Airs, 4s. 4d. And the Songs in the Beggar of Bethnel Green, with several new favourite Ballads annexed, 6s. 6d. Likewise, a curious Harpsichord from London, made by Kirkman, Tabell’s Foreman, which he will sell very reasonably.” A writer in the Dublin Journal at this time (November, 1743), said, “Mr. and Mrs. Arne are beyond comparison, in their way the most extraordinary Persons this Kingdom has seen. The Aungier Street Stage has now the very best Company of Players that ever was in this Kingdom, they are now better than any Company in London, and the Prices (except on very extraordinary Occasions) are at the lowest Rate.”

The Duke and Duchess of Devonshire commanded a performance of “The Beggar’s Opera” on December the 8th, at the Theatre Royal in Aungier Street, when Arne presided at the harpsichord, and also at seven representations which followed. At a benefit given for Mr. Lowe on the 17th, “Comus” was performed, with Mrs. Arne in the parts of the Pastoral Nymph and Sabrina, singing also, as usual, the Lady’s song, “Sweet Echo.” She again appeared with Mr. Arne at a benefit concert given for Signor Barbatielli, who had broken his leg. The advertisement announced, “Mr. Dubourg, is so kind as to perform, and will conduct the whole, assisted by Mr. Arne and Mr. Pasqualino, the Vocal Parts by Mrs. Arne, Mrs. Storer, Mr. Lowe, and Mr. Colgan. Tickets to be had at Mr. Barbatielli’s Lodgings in George’s Lane, opposite to Fade-street, and at the Musick hall, at 5s. 5d.—N.B. It is hoped that the Gentlemen and Ladies will be so good as to excuse Mr. Barbatielli’s personal Attendance, he lying under the Misfortune of a broken Leg. Ladies are requested to order their Coaches down Fishamble-street, for the more easy going in, as at Mr. Handell’s.”

Arne’s “Comus” was again performed on the 22nd of December. In 1744, on the 2nd of January, at the Theatre Royal after “Amphitryon,” with singing and dancing between the acts, the farce “Miss Lucy in Town” with Arne’s music was performed. Special attention was directed to Mr. Lowe’s singing of “the Part of Cantileno” [a Burlesque upon the Italian Singers]. On the 12th of January Mrs. Arne made her first appearance in Lampe’s burlesque Opera “The Dragon of Wantley.” The advertisement runs, “The Part of Moor-Hall to be performed by Mr. Lowe. The Part of Margery to be performed by Mrs. Arne, being her first Appearance in any comic Character; and the Part of Mauxalinda to be performed by Madam Chateauneuf; Gubbins by Mr. Worsdale; the Dragon by Mr. Layfield.” Mr. Arne presided at the harpsichord.

We have become familiar with Arne’s skill as composer, violinist, conductor, and harpsichord player; we now find an interesting notice of his first essay, and probably his last, as an actor. The Journal of Jan. 24-28 announced, “By the real and absolute Command of their Graces the Duke and Duchess of Devonshire, for the benefit of Mrs. Arne, at the Theatre-royal in Aungier-street, on Saturday, the 28th Instant, will be performed the Second Part of Henry IV. With the Humours of Sir John Falstaff. The Part of Henry Prince of Wales by Mr. Arne, being his First attempt of that Kind.” The Shakespeare play was followed by some vocal music by Mrs. Arne and Mr. Lowe, and the whole concluded with Lampe’s “Dragon of Wantley.”

We now come to an important event, the performance of the Oratorio, “The Death of Abel,” which was first produced in Dublin, and not in London, as is generally stated. The following curious advertisement appeared in the Journal, Feb. 11-14, 1744: “By subscription. At the Theatre-royal in Smock Alley, on Saturday next, being the 18th of this Inst. Feb. will be performed A new Oratorio, called The Death of Abel. Set to music by Mr. Arne. The Principal Characters to be performed by Mr. Lowe, Mrs. Arne, and Mademoiselle Chateauneuf. The stage will be disposed in the same manner as at Mr. Handel’s Oratorios in London. As but 12 more subscribers can be admitted, such gentlemen and ladies as intend to honour Mr. Arne by subscribing, are greatly desired immediately to send their names to his house in Aungier-street. where tickets are ready to deliver to the subscribers. N.B. Attendance will be given at the Theatre on each Day of Performance, when Subscribers, on sending their Subscription Tickets, will have three delivered on each of the four Nights of Performance. Pit, Boxes, and Lattices, Half a Guinea. First Gallery, 2s. 8d. halfp. Upper Gallery, 2s. 2d. Ladies are requested to sit in the Pit, as well as Boxes, as is the Custom at the Operas and Oratorios in London, for which purpose the Pit seats will be made thoroughly clean. To begin exactly half an Hour after Six. The Printer made a mistake in the last bills; but the Subscribers may depend that (according to Mr. Arne’s proposal) no Person (except Subscribers) will be admitted into Pit, Boxes, or Lattices under Half a Guinea. Mr. Arne begs Leave to acquaint the Public, that he has been credibly inform’d by several worthy Families that the Gentlewomen who keep the Saturday Nights Assembly, or some one concern’d with, or commission’d by them, have made it their business to complain of his performing the Subscription Oratorios on that Night, alledging that it was done on purpose to prejudice them. Now, so far was that from being thought of, much less intended, that the Gentlemen Proprietors of the Theatre, as well as Mr. Arne, endeavoured their utmost to fix another Night, but could not, for the following Reasons; The Mondays and Thursdays are taken up with Benefits for six Weeks. On Tuesdays are Vicars-street Consort, and the Bear on College green, which take up all the best Hands. On Wednesday are the Phil Harmonic Society, and Crow-street, where they are likewise engaged. And on Friday is Fishamble Consort, where they are obliged to perform.” “The Death of Abel” was repeated on the 25th of February. This early oratorio of Arne’s was never published, and no manuscript copy of it is known to exist. One song, however, became very popular, and was in great request—“The Hymn of Eve”:

The music, very simple and melodious, but without striking evidence of genius, has been frequently reprinted, and arranged in various forms.

A comedy, “The Rehearsal,” with Arne’s music, was played on the 1st of March, at the Theatre in Aungier Street, for the benefit of Mr. Basdin; the singing parts were performed by Mr. Lowe and Mr. Worsdale. The Journal, Feb. 28-March 3, 1744, contained the advertisement announcing the first public performance of “Alfred,” and the “Judgment of Paris,” which took place on the 10th of March; and on the 29th of the same month “Comus” was again performed, for the last time in the season, Mrs. Arne, as a matter of course, representing Sabrina and the Pastoral Nymph, and singing the song “Sweet Echo.” Lowe was the Bacchanal and Attendant Spirit; and Miss Davis, Euphrosyne. This performance was given at the Theatre in Aungier Street, and shortly afterwards “Rosamond” was revived at the Theatre Royal in Smock Alley. It must have been well received, as there were five performances, on the 2nd, 5th, 9th, 10th, and 19th of April. Mrs. Arne represented Queen Eleanor; Lowe, King Henry; Layfield, Sir Trusty; Miss Davis, Grideline; Madame Chateauneuf, Rosamond. On the 2nd “The Merchant of Venice” was also performed “with the songs proper to the Character,” sung by Mr. Lowe. Faulkner’s Journal, 7-10 April, contained a Song, “The Scene a Bower,” addressed to Mrs. Arne, which may be taken as evidence of her popularity. There are nine verses, commencing:

On the 26th of April a performance was given of the tragedy “Theodosius, or the Force of Love.” This play, written by Lee, was printed in 1680 with five songs and two choruses composed by Henry Purcell. The libretto was revised for the Dublin performance. The announcement ran, “At the particular Desire of several Persons of Quality, for the Benefit of Mr. Barry, at the Theatre-royal in Smock-alley on Thursday the 26th Inst. will be acted a Tragedy called Theodosius or the Force of Love. The Part of Varanes to be performed by Mr. Barry, being the first Time of his appearing in that Character. Tickets to be had at Mr. Barry’s in Skinner-Row.—As the original Songs, and Chorus’s of the Play were never performed in this Kingdom, for want of Musick and Performances equal to such an Undertaking; Mr. Arne has been prevailed upon to set the same to new Musick.” Purcell’s music was published in 1680; copies of it are now very rare. It consisted of five songs and two choruses. Arne’s music was never printed, and only one manuscript score of it is known.[12] An examination of that copy shows that Arne wrote music for nine pieces—four airs and five choruses, very short movements. The words are not those set by Purcell, excepting one air and one chorus. The solos are written for soprano and contralto voices; the orchestration for strings, two oboes, and two horns.

The last appearance of Mr. and Mrs. Arne in Dublin, during the year 1744, was at the Great Room in Fishamble Street on Wednesday, the 30th of May, when “The Judgment of Paris” and “Alfred” were performed for their joint benefits. Particulars respecting this event will be found on page 124. The season being ended, Arne and his wife returned to England, by way of Parkgate and Chester. During their stay in the last named city the youth Charles Burney was introduced to Arne, and having exhibited his skill as a performer on the harpsichord became an articled pupil of the popular composer, with whom he journeyed to London. Upon his arrival in the Metropolis, Arne resumed his connection with Drury Lane Theatre as composer, and obtained an engagement there for his wife as “Serious Singer.” The year 1745 was a prosperous one for both Arne and his wife—they were in constant employ at the Theatre and in concerts.

On the 20th of March, Mrs. Arne had a benefit at Drury Lane Theatre, when “Alfred” was performed for the first time in London. The details of this interesting and memorable occasion will be given in connection with “Rule, Britannia.”

On the death of Gordon, the leader of the orchestra at Drury Lane, Arne accepted the appointment which was virtually that of conductor. This was a welcome addition to his importance and income.

A letter written by Mrs. Cibber to Garrick, dated the 1st of May, 1745, gives interesting evidence of the amicable relations between Arne and Garrick at that time: “I am very glad to hear you are better, and if you dare venture out, shall be glad of your company at dinner. As you are an invalid, pray send me word what you can eat, and at what hour you will dine. I shall send Tom [Arne] to meet you, and am Sir David, Your most faithful friend and servant, to command till death.”

On Saturday, the 28th of September, 1745, occurred a memorable scene in the Theatre Royal, Drury Lane. The Daily Advertiser published on the Monday following describes it thus: “On Saturday night last, the audience of the Theatre Royal, Drury Lane, were agreeably surprised by the Gentlemen belonging to that House performing the Anthem of God save our noble King. The universal Applause it met with, being encored with repeated Huzzas, sufficiently denoted in how just an Abhorrence they hold the arbitrary Schemes of our insidious Enemies, and detest the despotick Attempts of Papal power.” The Anthem was repeated nightly till nearly the end of November, and the managers of Covent Garden Theatre followed suit. The arrangement of the Anthem for Drury Lane was made by Arne, who had for principal singers Mrs. Cibber, Mr. Beard, and Mr. Reinhold. Mrs. Cibber being a contralto, the music had to be sung in a low key. Arne’s autograph manuscript written for the occasion is in the British Museum: it will be interesting to see the melody of “God save the King” as then sung:

[Listen] [XML]

Arne’s pupil Burney made the arrangement of “God save the King” for Covent Garden Theatre; the enthusiasm excited at that theatre fully equalled that of Drury Lane. Benjamin Victor, in a letter he wrote to Garrick on the 10th of October, 1745, said “the stage, at both houses, is the most pious, as well as the most loyal place in the three kingdoms. Twenty men appear at the end of every play; and one, stepping forward from the rest, with uplifted hands and eyes, begins singing, to an old anthem tune, the following words—God save the King.”

In this year, 1745, Arne was appointed composer to Vauxhall Gardens, for which fashionable place of amusement he wrote a considerable number of songs, ballads, and a dialogue “Colin and Phœbe,” which was sung every evening throughout the season by Mrs. Arne and Mr. Lowe. Engagements of a similar character at Marylebone Gardens and Ranelagh gave great scope for his talents, and must have kept him fully occupied.

In 1746, on the 17th of January, a farce, “Miss in her Teens,” written by Garrick, with music by Arne, was produced at Covent Garden Theatre. On the 31st of January Shakespeare’s “Tempest” was revived at Drury Lane Theatre. The General Advertiser announced the performances, “Drury Lane. Never Acted there before. By His Majesty’s Company of Comedians. At the Theatre Royal, Drury Lane, this Day will be presented a Play call’d The Tempest, as written by Shakespeare: with the original Decorations, particularly the Grand Masque, new set to music by Mr. Arne. The Part of Ariel (with the proper songs) by Mrs. Clive.” This was the birthday of the beautiful melody, “Where the bee sucks,” a song whose freshness and charm never tire, and a tuneful combination of poetry and music destined to endure so long as the concord of sweet sounds has the power of touching human hearts.

Another interesting letter from Mrs. Cibber to Garrick, dated 8th of April, 1746, contains several references to her brother:—“My brother is to thank you for my playing for him.... Tom Arne sends his service: he is forced to put his pit and boxes together, which I reckon will be no advantage to him, ladies’ hoops taking up more room than the difference of price.”

In 1748, Mrs. Arne left Drury Lane Theatre, and went to Dublin with her sister, Mrs. Lampe, a singer of repute and wife of the composer of “The Dragon of Wantley.” Previous reference has been made to Mrs. Arne’s frequent attacks of illness; one of these prevented her undertaking work in the early part of the Dublin season; and it was not before the 11th of November that she was able to sing in public. On that day she took part in Handel’s “Esther,” “being recovered from her late illness.” She next sang the part of Galatea in Handel’s “Acis” on the 18th, and at a repetition performance on the 25th. Faulkner’s Journal of Nov. 19-22, reported that “Mrs. Arne (tho’ but just recovered out of a violent Fever) gave entire satisfaction.” In the following December (on the 16th) she sang in Handel’s “Solomon”; and on the 7th of February, 1749, had a benefit concert at the Fishamble Street Music Hall, when she took the part of Galatea in Handel’s “Acis,” and she with her sister, Mrs. Lampe, “introduced several favourite Songs and Duets.”

Arne had a son, born in 1740 or 1741 (Dr. Burney says, he was a “natural son”), who inherited some of his father’s gifts for music. These were encouraged and developed, and we find, amongst Arne’s compositions, songs composed for the youth, who was introduced to the public by his father at Marylebone Gardens. Two excellent printed examples are “Ianthe and Iphis, sung by Master Arne, at Marybon Gardens”—and “An thou wert mine own Thing, sung by Master Arne at Marybon Gardens.” The youth became well known as a composer and performer in London and Dublin. One of his songs, popular to-day, “The lass with a delicate air,” is sometimes ascribed in error to his father.

In 1752 Arne composed music for “Harlequin Sorcerer,” an old pantomime in which Rich had many years before made a great success. The performance took place at Covent Garden Theatre on the 11th of February, and there was an overwhelming demand for seats; the doors were therefore opened at three o’clock in the afternoon. The performers included Mrs. Arne, Mrs. Lampe, Mr. Lowe, Mr. Legge, and a Chorus. The music was published by Walsh, who appears to have had a business contract with the composer. The following letter, by Arne, addressed to William Shenstone, the poet, throws light on the subject: “Nov. ye 30, 1754. Sir—By the hands of Mr. Dodsley, I receiv’d your very obliging letter, and wou’d for my own Pleasure comply with your Request; but Mr. Dodsley’s interest in this Particular interferes with mine; for if he prints my Music in his Publication, I shall lose the sale of it to Mr. Walsh [the King’s Music-Printer] who gives me 20 guineas for every Collection I compose—consisting of eight or nine Songs, and who wou’d not give a shilling for any Thing that another had first publish’d. Of this I acquainted Mr. Dodsley, who did not seem inclin’d to make any Gratuity for the Loss. Any Song, Cantata, or Dramatic Piece from so delicate a Pen, whereby I should not considerably lose to promote another’s Gain, wou’d be the most welcome present I cou’d receive, stamp an additional Reputation on my Music, and highly oblige. Sr. your most obedt. servt. Thos. Augne. Arne, Charles Street, Covent Garden.”

That Arne’s music had obtained repute in Edinburgh, is shown by an advertisement in the Caledonian Mercury of the 6th of March, 1752: “New Musick. Now in the press and will be ready by the beginning of April next, and delivered to subscribers. All the Songs, Duettos, and Trios in the Masque of Comus composed by Thomas Augustine Arne, as adapted to the Harpsichord and Voice, and all the Songs, Duettos and Trios in the Burlesque Opera, called the Dragon of Wantley composed by the great John Frederick Lampe, likewise adapted to the Harpsichord and Voice. The above words may occasionally be accompanied with Violin or German Flute and Violoncello. This manner of reducting them to avoid the Perplexity of the different parts in a score which confound young practitioners was finished by Mr. Lampe in his lifetime,[13] and the proofs of the Plates have been revised and corrected by Mr. Arne.”

In May, 1754, Arne went to Edinburgh, possibly on business in connection with the publications announced in the above advertisement. Be that as it may, the Caledonian Mercury of the 23rd of May contained the following notice:—“For the benefit of Mr. Arne. At the Assembly Hall on Monday, 27th May, A Concert of Vocal and Instrumental Musick. The Vocal part to be performed by Miss Rodburn, and the Instrumental by Mr. Pasquali, Mr. Arne and others. To begin Precisely at 6. Tickets, 2/6. To be had at Mr. Arne’s Lodgings, at Mr. Johnston’s, Wigmaker, head of Chalmer’s Close, and at the Old and John’s Coffee houses.”

In the autumn of 1755, Arne and his wife again visited Dublin. They were accompanied by a number of capable vocalists, Miss Young, Mrs. Arne’s sister, her six-year-old niece Miss Polly Young,[14] and Miss Charlotte Brent; they resided together in Fishamble Street, at the Passage Door next the Golden Scales. Arne advertised in Faulkner’s Journal, Oct. 4-7: “To the Public. Mr. Arne, who is arrived in this Kingdom, with several Vocal Performers, having agreed with Managers of the Theatre Royal, Proposes, by Subscription, to entertain the Town Ten Nights, with Three Operas in the English Language, (viz.): A new Opera call’d Eliza, An Opera call’d Alfred, and, an Opera call’d the Fairies. The Subscription is, this Day, opened at the Office of the Theatre in Smock Alley, where Attendance will be given every Day from Twelve to Three. Ten Box Tickets for the ten Performances will be delivered to each Subscriber for two Guineas.—The first Performance will be in the Beginning of November. N.B. The Orchestra will be considerably enlarged, an Additional Number of the best Instrumental Performers engag’d, and Mr. Arne will accompany the Operas on the Harpsichord.”

This advertisement was repeated several times, with the additional information that there would be “A fine Organ put up” and that “Places for the Boxes for the said Nights of Performance, to be taken at the Office of the Theatre from 12 to 3, or of Mr. Neil, at his House in Abbey-street.” In consequence of the illness of Mrs. Arne, the Journal of 8-11 Nov. stated:—“The Opera of Eliza is obliged to be deferred to the 27th, on Account of the Indisposition of a principal Performer.” The opera was again postponed to the 29th, when it was given “By Command of his Excellency the Marquis of Hartington,” and the “whole House was illuminated with Wax Lights.” Printed books of the opera were “published and sold by Mr. Hoey, at the Mercury in Skinner-Row, and at the Theatre, at a British Sixpence each.” The Journal gave a report of the performance: “On Saturday last, at the Theatre-Royal in Smock-Alley, was perform’d Mr. Arne’s new Opera call’d Eliza: The noble and splendid Appearance, and the great and just Applause throughout the whole Performance, were strong Indications of the good Taste reigning in this Kingdom, and a generous, though proper Compliment to that great Master of his Science, Mr. Arne,—Mrs. Arne, whose Excellence is well known, had the Misfortune of a violent Hoarseness, and rose from her Bed in a Fever to perform; Mr. Sadler and Miss Brent, were greatly approv’d; but Miss Polly Young, a Child of six Years of Age, pleased and astonished the whole Company, having a sweet melodious voice, accenting her Words with great Propriety, and Singing perfectly in Time and Tune. The Poem is, by all judges of good Writing, thought excellent; the Orchestra was full, and perform’d without a Fault; but the Judgement, Taste, Expression, and Variety of the Music would be injur’d in an Attempt to commend it.” The performance was repeated on Thursday the 4th, and Saturday the 20th of December. Arne’s opera “Rosamond” was played on the 31st, with Mrs. Arne as Queen Eleanor; Miss Brent, Rosamond; Grideline, Miss Young; Page, Miss Polly Young; King Henry, Mr. Sadler. Mr. Arne conducted. The opera was repeated with the same cast on the 9th of January, 1756; and on the 21st and 26th of the same month “Comus” was performed under the composer’s conductorship by Mrs. Arne, Miss Brent, Miss Spencer, Mr. Sadler and Mr. Corry. Faulkner’s Journal, 20-24 Jan., 1756, contained an “Ode to Apollo,” without author’s name. The following verses, if written by one of the public, show that Arne and his wife were held in the highest estimation by music-lovers:

In the following February (24-28) the Journal announced: “The Play called the Tempest, or the Inchanted Island (with all the original Musick) is now in Rehearsal at the Theatre Royal, and will be performed next Week. The Part of Ariel by Miss Brent, being her first Appearance in that Character, Neptune by Mr. Sadler, Amphitrite by Miss Spencer, and Mr. Arne will accompany the Musick on the Harpischord.” Mrs. Arne, Miss Brent and Miss Spencer sang at a concert given on the 17th March, in aid of the Meath Hospital, and three days later, the 20th, were engaged in a performance of “Comus” for the benefit of Mr. Arne; the “Masque of Comus” was followed by “a Farce (never acted before) called, The Pincushion: Being a Manuscript of the celebrated Mr. Gay’s, Author of the Beggar’s Opera. The Songs adapted to favourite Ballad Airs of Mr. Arne’s. The Characters by Mr. Sadler, Mrs. Pye, Miss E. Young, and Miss Brent.” The Journal informed the public “that the Masque of Comus will be performed in a most elegant Manner on Mr. Arne’s Benefit night next Saturday, that two Rows of the Pit will be taken in to inlarge the Orchestra, and Mr. Arne will accompany the musical Part. We are further assured that the new pastoral ballad Farce called The Pincushion, which will likewise then be performed, is a real Manuscript of that celebrated Poet Mr. Gay, Author of the Beggar’s Opera, and that Songs are adapted by Mr. Arne. several of which are New.”

A benefit for Mrs. Knowles, on the 2nd of April, was given for which Arne composed music. The advertisement announced: “Act the 2nd. A Duetto between Mr. Sadler and Mr. Butler, accompanied with French Horns, etc., called The Death of the Stag. The Music composed by Mr. Arne!” At the end of the play “by particular desire” Miss Brent sang, “Where the bee sucks.” The duet with French horns was doubtless composed to exhibit the skill of “Mr. Charles and his Second.” On the 5th of May, Miss Spencer had a benefit at the Theatre, when she introduced “A new Ballad call’d Kitty, or the Female Phaeton; the words by Prior, set by Mr. Arne.” This song became a favourite at Ranelagh Gardens. Mrs. Arne contemplated giving a benefit concert and ball in May; the programme was to include music from Arne’s “Alfred,” but after several advertisements and postponements, it was announced that “Mrs. Arne is obliged to acquaint the Public that Mr. Arne (by Desire) intending one capital Performance of Alfred before his Departure from this Kingdom, she will make no other Benefit on her own Account, and those Tickets which are disposed of among her Friends will be then taken, on paying the additional Price.” Subsequent advertisement announced: “By Special Command of their Excellencies the Lords Justices.—For the Benefit of Mr. and Mrs. Arne. At the Great Music-hall in Fishamble-street, on Tuesday, the 25th of this Inst., May, will be performed, in the Manner of an Oratorio, Alfred the Great, composed by Mr. Arne, at the special command of His late Royal Highness, Frederic, Prince of Wales, and originally performed in his Palace at Cliefdon. Mr. Arne will accompany the Performance on the Harpsichord, and Mr. Walsh will perform a Concerto on the Organ. The Vocal Parts to be performed by Mrs. Arne, Mr. Sadler, Miss Brent, Miss Spencer, Miss Young and Miss Polly Young. Ticket, a British Crown. All outstanding Tickets, for the Opera of Eliza and the Tickets delivered by Mrs. Arne, will be taken. After the Performance (by Desire) will be a Ball, conducted in the most elegant Manner, on Account of which the Performance will begin at Seven. Tickets to be had only of Mr. Arne, at the Passage Door next the Golden Scales, in Fishamble-street.”

Arne, by Bartolozzi.

After this performance in 1756, Arne appears to have left Dublin, and probably never revisited that city. Mrs. Arne remained in Dublin with her niece, Miss Polly Young, who had a benefit at the Smock Alley Theatre on the 8th of July, and was assisted by Miss Young and Miss Brent. The Youngs sang also at a benefit concert given for Miss Polly Young, at Marborough Green, on the 7th of September. It seems pretty clear that Arne deserted his wife at this time, and that the fact soon became known to many in Dublin. An “Assembly” was announced for her benefit early in December, but was postponed from time to time; finally, the Journal, March 5-8, 1767, announced: “Mrs. Arne, having opened the Music-Hall in Fishamble-Street for her Benefit on Saturday the 12th of Feb., under great Disadvantages, is advised by her Friends (who had Notice of that Night, and are sensible of her Losses) to fix on Thursday, the 10th of March, for her Benefit and Miss Young’s, when the Ladies and Gentlemen who will honour them with their Company, may depend they shall on no Account be disappointed.—N.B. The Tickets given out for the different Nights she has advertised will be taken, and others had of Mrs. Arne, at her Lodgings in Aungier-street and at the Music-Hall. Price 5s. 6d.” Later in the year (April 24th) Mrs. Arne and Miss Young gave a concert. Allusion has already been made to Mrs. Arne’s frequent attacks of indisposition, and it is reasonable to think that her husband’s conduct would have a grave effect on her health and spirits. She seems to have relinquished public performance for a time and retired into private life. A very interesting glimpse of her is to be found in “The Autobiography and Correspondence of Mary Granville, Mrs. Delany.” Writing to her sister, Mrs. Dewes, from Mount Panther, County Down, on the 8th of August, 1758, she said: “On Saturday we dined at Mr. Bayly’s; Miss Bayly had gone on a party of pleasure. I was surprised there at meeting Mrs. Arne (Miss Young that was); they have her in the house to teach Miss Bayly to sing; she was recommended to Mr. Bayly by Mrs. Berkeley as an object of compassion. She looks, indeed, much humbled, and I hope is as deserving as they think her to be; great allowances are to be made for the temptations those poor people fall under. She has been severely used by a bad husband, and suffered to starve, if she had not met with charitable people. She behaves herself very well, and though her voice has lost its bloom as well as her face, she sings well, and was well taught by Geminiani and Handel, and had she not been idle would have been a charming singer. Mr. Bayly plays on the violin, his curate on the German flute; Mrs. Arne and Miss Bayly sing, and a girl of nine years old[15] accompanies them on the harpsichord most surprisingly; she is a niece of Mrs. Arne’s; the race of the Youngs are born songsters and musicians. It is very agreeable to have such an entertainment in our power to go to whenever we please.” Poor Mrs. Arne! humbled, half-starved, deserted by her husband, losing her good looks, and the bloom of her voice, sings well, and if she had not been idle would have been a charming singer! Mrs. Delany, a gifted and kind-hearted woman, was evidently ignorant of the fact that the lady she criticised was forty-seven years of age, and had been constantly before the public, as a vocalist, for twenty-six years.

In the following January, 1759, Mrs. Arne and Miss Young were residing together in Dublin, at Mrs. Rowe’s, in Drogheda Street. A Grand concert of Vocal and Instrumental Musick, followed by a Ball, was given for Mrs. Arne’s Benefit at the Fishamble Street Music Hall on the 6th of March, when both appeared and sang; another benefit performance for Mrs. Arne was given on the 17th of April, when “Much ado about Nothing” was performed. Miss Young, Mrs. Storer and Mr. Wilder were the vocalists. A benefit concert and ball, for Mrs. Arne, was given on the 10th of December; she had then removed to “Mrs. Lee’s, in William-street.” It is significant that she did not sing on this occasion, nor is there any evidence of her appearing again before the Dublin public; a Grand Ball was announced for the Benefit of Mrs. Arne and Miss Young at the Fishamble Street Music Hall on the 25th of November, when it was stated: “Before the Minuets Miss Young will sing some capital Songs, accompanied by herself on the Harpsichord.”

Mr. Arne had been fully engaged in the various gardens and theatres in London. At Covent Garden “Cymbeline” was produced, with songs by him. His pupil, Miss Brent, had appeared at Drury Lane Theatre, in his opera “Eliza,” on March the 3rd, 1758, and at Covent Garden on the 10th of October, 1759, as Polly, in the “Beggar’s Opera.” On the 6th of July, 1759, the University of Oxford conferred upon Arne the degree of “Doctor in Music.”[16] It is said that he composed an Ode which he submitted to the authorities; but no copy of it is known to exist.

In 1760, on the 28th of November, Dr. Arne’s musical entertainment “Thomas and Sally,” written by Bickerstaff, was produced at Covent Garden Theatre. Miss Brent made a great success both as singer and actress; the other vocalists included Mr. Beard, Mrs. Vernon, and Mr. Mattocks. The piece obtained immediate and lasting popularity. The music was published with the following title: “Thomas and Sally, or the Sailor’s Return, a Dramatic Pastoral, with the Overture in score, songs, dialogues, duettos and dance tunes, as performed at the Theatre Royal in Covent Garden by Mr. Beard and Miss Brent, Mr. Mattocks, Mrs. Vernon, and chorus. The music compos’d by Doctr. Arne. London Printed for J. Walsh, in Catherine Street, in the Strand. Enter’d at Stationers’ Hall.”

In 1761, on the 27th of February, at Drury Lane Theatre, Arne brought out his oratorio “Judith,” one of his most important compositions. The Public Advertiser of the above date, announced: “At the Theatre Royal in Drury-Lane, This Day, will be performed a new Sacred Oratorio call’d JUDITH. The Music composed by Dr. Arne, with a Concerto on the Organ. Pit and Boxes will be laid together at Half a Guinea. First Gallery 5s. Upper Gallery 3s. 6d. Tickets for the Pit and Boxes may be had of Mr. Varney, at the Stage-Door of the Theatre. To begin at half an hour after Six o’clock.” The following day a brief notice appeared in the same journal, which said: “Last Night the new sacred Oratorio call’d Judith, was performed at the Theatre Royal in Drury Lane, to a most polite Audience, who gave it the greatest Approbation and Applause ever known, on the Occasion.” Evidence of the success of the oratorio is the repetition of it on the 4th and 6th of March. It was also again performed in Lenten season of 1762 at the theatre. In 1764, on February 29th, it was performed at the Chapel of the Lock Hospital, Grosvenor Place, Pimlico, on behalf of the funds of the charity. A more notable repetition took place at Covent Garden Theatre on the 26th of February 1773, when for the first time ladies formed a part of the chorus; before this time the treble chorus was confined to boys’ voices. This happy innovation of Dr. Arne’s was well received; the Public Advertiser said: “The Oratorio of Judith, composed by Dr. Arne, which was performed at the Theatre Royal in Covent Garden, yesterday evening, was received with uncommon Applause. The principal singers acquitted themselves to the utmost Satisfaction of the Audience. Mr. Barthelemon was greatly admired in his Solo on the Violin, and too much cannot be said of Signor Spandau’s Concerto on the French Horn, as it surpassed any Performance on that Instrument hitherto heard in this Country. The striking Appearance of the Band and Chorus, which were much more numerous than they usually have been, received a most pleasing Addition from the Female Singers, then first introduced.” It is somewhat remarkable that the Pianoforte was first used in public as an accompaniment for the voice when a song from “Judith” was sung at Covent Garden Theatre by Miss Brickler on the 16th of May, 1767. The playbill announced that after the first Act of the “Beggar’s Opera,” “Miss Brickler will sing a favourite song from Judith, accompanied by Mr. Dibdin, on a new instrument called Piano Forte.” The published score of the music of “Judith” has for title, “Judith an Oratorio as it is Perform’d at the Theatre-Royal in Drury Lane, Compos’d by Dr. Arne, London. Printed for J. Walsh in Catherine Street in the Strand.” This volume unfortunately does not contain a single chorus. The Overture is scored for Strings, Hautboys, Bassoon and Horns. It opens with a spirited Allegro, followed by a short Andante movement for strings only; the other instruments resume in the final Allegro Moderato. A solo, “Wake, my harp,” which was sung by Mrs. Cornelys, is accompanied by strings, violins pizzicato, harp and harpsichord in a very effective manner. In an air, “Haste to the gardens of delight,” sung by Mr. Tenducci, two flutes are added to the orchestration; and in another air, “With heroes and sages,” also sung by Tenducci, we find the bassoons have parts independent of the basses, a somewhat novel departure at the period when Arne wrote. An air, “No more the Heathen shall blaspheme,” sung by Mr. Fawcett, has the novel accompaniment of two violoncellos and bass; no other instruments until the last four bars of symphony, when the violins are introduced. Fortunately the composer’s autograph score exists in the British Museum, and in that we find much of interest. It exemplifies in some degree the well-known haste and carelessness of the composer; there are sundry memoranda, such as “take care of the Instrumental parts where I have mistaken the lines,” “Bassoons in semibriefs,” &c. The choruses are in this case his own; there was no borrowing from Handel. The first, “Father of mercies,” is short—only thirty-seven bars. The next, “When Israel wept,” is also short and good. “Hear, angels, hear” extends to one hundred and twenty-six bars; “Hail, immortal Bacchus,” eighty-five bars; “Prepare the genial bower,” eighty-seven bars; and the next, a very fine chorus, “Who can Jehovah’s wrath abide,” one hundred and eight bars; “Breathe the pipe,” sixty-two bars; and the last chorus, “Here, sons of Jacob,” written in five vocal parts for soprano, alto, tenor and bass, sixty-four bars. Dr. Arne was remarkable for his deficient memory respecting things trifling in themselves, yet sometimes of considerable consequence as connected with other matters. If he made an appointment to meet a friend, whether for the purpose of business or amusement, he would probably mistake the day; if he wrote an order for the theatre, it was equally probable that the play would be misnamed, or that the frank would bear a wrong date. On one occasion, when he had prepared an elaborate Ode, he had it rehearsed, and announced the day for its public performance. The great room at the Crown and Anchor[17] was crowded with company impatiently waiting for their expected gratification. Arne arrived at the tavern-door in a fiacre, leaped out with the score under his arm, and left the parts behind him. When the doctor discovered his neglect, he was in the condition of a madman. Persons were dispatched in all directions in search of the coach, but it could not be found; and the band and company were subjected to the mortification of being dismissed—the first without performing, and the latter without hearing, a note of the prepared Ode. Could this have been the Ode which, it is said, he composed as an exercise for his degree? Arne, by his connection with the theatres, had constant opportunities for cultivating the acquaintance of Italian singers, and of keeping up his knowledge of the Italian language; he was evidently influenced in his later compositions by this familiarity. The simplicity of his melodies became disfigured by excessive ornamentation, and was the subject of adverse criticism. The scurrilous poet, Churchill, in 1761, published the “Rosciad,” a satire on actors, in which he violently attacked Arne:

Arne’s Italian proclivities induced him to translate Metastasio’s drama “Artaserse,” and to transform it into an Opera on the accepted Italian mode, without dialogue. This he did successfully; the recitatives, however, are long and dreary, and the poetry is by no means of a high order. For instance, a very favourite air reads:

The music of “Artaxerxes” has much charm, and presents excellent harmonization in the accompaniments, which are scored for strings, flutes, oboes, clarinets, bassoons, horns, trumpets, and drums. In two of the pieces the violetta is employed; there are also two violas obbligato, but as was usual with Arne there is no instance of a general ensemble of the instruments employed. In the Air “O too lovely,” sung by Tenducci, the violins and basses are marked “Sordini e Pizzicati.” The vocal music is quite overladen with ornament, and the compass required for the several voice parts is generally excessive. The opera was produced at Covent Garden Theatre on the 2nd of February, 1762; the principal performers were Miss Brent, Mr. Beard, Mrs. Vernon, Miss Thomas, Mr. Mattocks, and Tenducci and Pesetti, both of whom came under the lash of Churchill’s satire. The part of Mandane was composed to show off the compass and flexibility of the voices of the composer’s celebrated pupil, Miss Brent, who therefore was the first exponent of the martial song, “The soldier tired of war’s alarms,” which for many succeeding years was the prescribed test for every new soprano who courted public favour on the stage or in the concert room. This bravura air with its trumpet obbligato still remains a favourite with competent vocalists and discriminating audiences. Arne sold the copyright of his music for sixty guineas, and it was published with the following title: “Artaxerxes An English Opera As it is performed at the Theatre Royal in Covent Garden Set to Music by Dr. Arne. London. Printed for John Johnson at the Harp and Crown opposite Bow Church Cheapside.” Another edition of the full score was published from Johnson’s plates, “by Authority,” by Mr. William Warrell, No. 35 Tavistock Street, Covent Garden. Price 12s. It is again worthy of note that Arne did not publish the music of the recitatives in “Artaxerxes,” nor of the concluding chorus, “Live to us, to Empire live.” Arne’s libretto was published by Tonson in 1763, with a preface written by the composer. A short extract follows: “Metastasio, in his Dialect, seems to affect Simplicity; and from his great Experience in writing for music, has given the following Plan for the Poetry of an Opera, viz., That the Fable, or Recitative, to which fixed Musical Sounds are adapted, should be simple Dialect; hard and dissonant Epithets (though ever so forcible in other Respects) being destructive to Music, and, when sung, for the chief Part, unintelligible. That the similes be confin’d to the Songs; and that the Words, which are to express them, be as smooth and sonorous as possible lest the Composer be cramp’d in his Fancy, and the Singers rendered incapable of shewing their Skill, which chiefly consists in openly displaying the Tones of their Voices or running executive Passages.

“The Translator of this Opera has no Merit, but from his Endeavour to follow the Author in all these Particulars. He therefore submits this first Attempt of the Kind to the Favour and Indulgence of the Publick, not doubting that (if they consider the Difficulty of writing under such Restrictions, the Necessity of sometimes departing from the Author, on Account of the different Idioms of our Language; and of leaving out many Beauties in the Narrative Part of the Drama, for the sake of Brevity;) they will rather peruse it with an Eye of Favour than Severity.”

“Artaxerxes” was played twelve nights at Covent Garden Theatre during the season 1762-63, and twelve nights in the succeeding season, 1763-64. Seven nights in 1764-65, and nine nights, 1768-69. In this latter season, Drury Lane Theatre performed it for four nights with Mrs. Arne as Mandane. In 1791, the rival theatres competed; Covent Garden with the part of Mandane by Mrs. Billington as a star, and Drury Lane with Madame Mara in that character. On the 23rd of September, 1813, it was reproduced at Covent Garden, for the début of Miss Stephens, afterwards Countess of Essex. The famous tenor, Braham, after a temporary absence from the theatre stage, generally selected “Artaxerxes” for his reappearance. “Artaxerxes” was performed at the Theatre Royal, Edinburgh, in 1769, with Mr. Rose as Artaxerxes; Mr. Phillips, Artabanes; Arbaces, Mr. Tenducci; Rimines, Mrs. Woodman; Semira, Miss Brown; and Mandane by Madame Tenducci.[18] The curious part of the performance was “the addition of three favourite Scots Airs, the words by Mr. R. Fergusson.” The first of these was “By Heav’n’s displeasure,” to the tune “Braes of Balansene”; the second “What doubts oppress,” to the tune “Roslin Castle”; the third, “O where shall I wander,” to the tune “Lochaber no more.” The first and last of these interpolations were sung by Signor Tenducci.

On the 8th of December, 1762, “Love in a village,” by Bickerstaff, with music by Dr. Arne, and Beard in the principal character, was brought out at Covent Garden Theatre. Arne was at the time not on friendly terms with Garrick, the manager of Drury Lane, to whom he addressed the following letter:

“Sir—The occasion of my troubling you with this arises from a wicked report made by some busy Argus, who having an hundred eyes, and but one of them honest, had ninety-nine too many. Mrs. Cibber not a little amazed me, when she told me I was charged by you with hissing Master Norris,[19] or, at least, with holding my head down, in an odd position, whenever he was hissed.—Sir, I cannot remember whether my head was up or down, or inclining to one side or the other, but take upon me positively to swear, that I never was so mean a rascal as to hiss the greatest enemy I ever had in the world, much less a young lad who never offended me; who, I then thought, as I now think, deserved the kindest treatment imaginable; being surprised, as well as shocked, to hear and see the best singer in your company (except Mr. Vernon), though with some material defects, treated in so base and undeserving a manner. I was so far from inclining to any such unbecoming behaviour that I was the only advocate he had, and kept all quiet about me, except a young boy of an officer, who said he did not care for the lad’s understanding music, that he squalled, and he would hiss him. I would not have gone to the performance, for fear of some scandal from these observing Pickthanks, had I not a friendship for Mr. Stevens, the lawyer, and an intention to serve the lad; and was so unhappy, when I came home, that I could not eat my supper on his account. Whoever told you that I showed any signs of disapprobation is a busy lying scoundrel, which I am ready to assert to his face, and answer the consequence. Yet, though neither I, nor my small abilities in my profession, nor those of any person belonging to me, or in my interest, have ever received the smile of your favour, but, on the contrary, have been greatly overlooked and discouraged upon my account, I have never failed in my respect to you, and still continue (in spite of ill-treatment) an admirer of your extraordinary talents, and, Sir,

“Your real humble servant, “Thomas Augustine Arne.

“Nov. 10th, 1762.”

Garrick lost no time in replying. On the same day he wrote to Dr. Arne: “Sir,—There are many mistakes in your letter; and first I did not charge you with hissing Master Norris; but when Mrs. Cibber spoke to me about that affair, I told her the truth, that you was charged with being in the company of hissers, and though you might not hiss, the persons averred that you were pleased, and laughed at the malcontents about you. I thought this affair of so little consequence, and so little willing am I to hear Pickthanks, as you politely call them, that I never spoke to the person who accused you. Mr. Lacy did, and will inform you of the whole. When you know and see the person in question, you may deliver your own messages, for I have too much to do to trouble myself about these matters. Your assertion, that neither you nor your abilities, &c., have had a smile of favour from me, has no foundation; for everybody who knows me, knows that I have always given you your due, as a man of genius, but at the same time I had no great reason to applaud your behaviour to me. I never ill-treated a man of genius in my life, and I was so far from returning ill-will towards you, that I agreed, contrary to my judgment, and against all rules of reason and policy, that you should make new prices at our theatre for your Oratorio. Therefore you will be much at a loss to particularise the ill-treatment you mentioned; nor know I of any transactions between us, but your indulging us with an engagement with Mr. Fawcett, when you entered into articles with the other house for Miss Brent.

“I am, Sir,

“Your obedient servant,

“D. Garrick.”

Riot at Covent Garden Theatre, During the Performance of “Artaxerxes.”

In 1759, Arne and Garrick had some negotiations in reference to Miss Brent. Arne was very anxious that Garrick should engage her, but terms could not be arranged. Garrick readily acquiesced in her superior merit alleged by Arne, but he “told the Doctor that all his geese were swans.” “Tommy,” said he, in his usual familiar way, “you should consider that Music is at best but Pickle to my Roast Beef.”—“By ... Davy,” replied the Doctor, “your Beef shall be well pickled before I have done.” Accordingly he went to Covent Garden Theatre, and concluded an engagement with the manager for Miss Brent, whose success as Polly in the “Beggar’s Opera” was so tremendous that Drury Lane Theatre was nearly deserted on the nights on which she performed. Arne, of course, transferred his services to Covent Garden, and “Comus” with his music was played on the 8th of October, 1762, with the celebrated Anne Catley in the part of the Pastoral Nymph. In 1763, on the 24th of February, “Artaxerxes” was again brought forward at Covent Garden, and it was advertised that “nothing under full price would be taken.” This was observed by Fitzpatrick, the leader of the rioters who had compelled Garrick, at Drury Lane Theatre, to submit to the demand that the public should be admitted, as heretofore, to the theatre at half-price after the third act. Accordingly the same malcontents attended the performance of “Artaxerxes” at Covent Garden, and noisily endeavoured to browbeat the manager, Mr. Beard. He, however, refused to return to the half-price custom, on the ground of the enormous expenses incurred in the splendid manner in which pieces were got up at Covent Garden; he was reminded that Garrick had submitted after a vain resistance, and he was called on to say whether he would comply with the demand or no; the answer must be “Yes” or “No.” Beard boldly from the stage said, “No.” “The benches, chandeliers, etc., were immediately demolished, and as much injury done as took four or five days to repair.” Fitzpatrick and two others were summoned to appear before Lord Mansfield, with the result that the rioting ceased; but the actors on the stage were nightly disturbed by cat-calls and other noises, so that at last Beard was obliged to give way, and resume the long-established custom of half-price.