Part 1

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.

OE ligatures have been expanded. Italic text has been marked with _underscores_. Superscript text has been marked ^{so}.

DR. ARNE AND RULE, BRITANNIA

BY

WILLIAM HAYMAN CUMMINGS, MUS. DOC., F.S.A., HON. R.A.M. _Author of "The Origin and History of 'God Save the King.'"_

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

1912

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.

ILLUSTRATIONS.

PAGE.

ARNE, BY DUNKARTON _Frontispiece_

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.[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._ 1707, _d._ 1736. | | +---------------------+-------- | 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."

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.

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 Phoebus 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.