Read Ebook: Dr. Arne and Rule Britannia by Cummings William Hayman

Font size: 10 px 15 px 20 px 25 px 30 px 35 px

Background color: BlackWhiteGrayLight GrayDark GrayDim Gray

Text color: BlackWhiteGrayLight GrayDark GrayDim Gray

Apply/Save settings

Ebook has 999 lines and 115304 words, and 20 pages

Transcriber's Note:

Every effort has been made to replicate this text as faithfully as possible. Some changes have been made. They are listed at the end of the text.

DR. ARNE AND RULE, BRITANNIA

LONDON: NOVELLO AND COMPANY, LIMITED. NEW YORK: THE H. W. GRAY CO., SOLE AGENTS FOR U.S.A.

PREFACE

The glorious National Song, "Rule, Britannia," is familiar to the whole British race; nevertheless very few men and women are acquainted with the history of its birth and parentage.

In the following pages I have endeavoured to chronicle all the facts which are discoverable by diligent research, and to present them in an attractive and entertaining manner.

The life of Dr. Arne, the composer of "Rule, Britannia," offers to the reader and to the music student an interesting and instructive story, showing that natural ability, even when combined with genius, is not sufficient to ensure a triumphant and successful career. Morality and conscientious rectitude in the affairs of life are essential, and had Arne exercised these, his exceptional gifts might have enabled him to surpass his great contemporary, Handel.

It only remains to be noted that many letters and documents are here printed for the first time, some of them copied from the original autographs in my possession. They illuminate much which has hitherto been obscure and uncertain in the career of a famous composer.

WILLIAM H. CUMMINGS.

PAGE.

ARNE, BY GAINSBOROUGH 7

MRS. CIBBER 12

CERVETTO--"OLD NOSEY"--BY ZOFFANY 16

MUSIC HALL, FISHAMBLE STREET, DUBLIN 19

ARNE, BY BARTOLOZZI 46

COVENT GARDEN THEATRE. RIOTING DURING ARNE'S "ARTAXERXES" 61

FACSIMILE OF AUTOGRAPH LETTER BY ARNE 69

ARNE, BY ZOFFANY 94

VIEW OF CLIEFDEN HOUSE 111

FACSIMILE OF "RULE, BRITANNIA" 123

DR. ARNE.

Much confusion has arisen concerning the family of Arne; this is not surprising, seeing that three generations of the same family were named Thomas, and that all resided in the parish of St. Paul, Covent Garden. On the 14th of February, 1680, the Bishop of London granted a marriage licence to "Thomas Arne, of St. Paul's, Covent Garden, Bachelor, 27 and upwards, and Mary Thursfield, of St. Martin's-in-Fields, Spinster, 20, with her father's consent at St. Peter's, Cornhill, or elsewhere in Diocese." A son born to this couple was baptized in St. Paul, Covent Garden, on the 3rd of December, 1682; the church register records "Thomas, son of Thomas Arne by Mary his wife." In due time, when twenty-five years of age, this second Thomas married Anne Wheeler in the Mercers' Chapel, Cheapside, April, 1707. 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 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.

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.

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." 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 , 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."

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."

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. 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 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.

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.

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

Hither turn thee gentle swain, Hither turn to me again: She will deceive thee, I'll never leave thee--

Paris, represented by Mr. Beard, replied:

Apart let me view then each heav'nly fair, For three at a time no mortal can bear; And since a gay robe an ill shape may disguise, When each is undrest I'll judge of the best, For 'tis not a face that must carry the prize.

"HOLLIS NEWCASTLE."

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."

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" . 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.

How cheerful along the gay mead, The daisy and cowslip appear, The Flocks as they carelessly feed, Rejoice in the Spring of the year. The Myrtles that shade the gay bow'rs, The Herbage that springs from the Sod; Trees, plants, cooling fruits, and sweet flow'rs All rise to the praise of my God.

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

From yonder Bow'r, where blowing sweets Perfume the vernal Air, I hear the music of a voice Peculiar to the tuneful Fair.

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. 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.

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 Phoebe," 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.

Share on: WhatsApp @Hash Facebook Tweet