Part 5

"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."

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.

In 1764, on December 12th, the oratorio "Judith" was repeated, and a new opera with Arne's music, "The Guardian Outwitted," was produced at Covent Garden Theatre. The libretto was also the work of Arne. The music of this opera has disappeared, probably in the fire which consumed the theatre in 1808. His "Arcadian Nuptials"--a Masque introduced into "Perseus and Andromeda"--was also played, with Mr. Beard and Miss Hallam in the principal parts. In 1765, on the 30th of October, Mr. William Mawhood, an intimate friend of Arne's, proposed him as a member of the Madrigal Society, founded in 1741, a worthy assembly of musicians and amateurs who met regularly to practise the best examples of old English and Italian madrigals. The books of the Society, which still exist, show that Arne paid six shillings and sixpence subscription, and that his son, Michael, was elected a member shortly after. In this year Arne composed an Italian opera, "Olimpiade," to a libretto by Metastasio, with a special part for the male soprano Manzuoli. This was performed at the King's Theatre, in the Haymarket, twice only; we may therefore conclude it was not a success. Arne composed a considerable amount of music for male voices, unaccompanied, chiefly Glees and Catches. He obtained three prizes for pieces he sent in competition to the Noblemen and Gentlemen's Catch Club (founded in 1761). His Glee, "Come, shepherds, we'll follow the hearse," was for many years sung after the announcement of the death of a member. The proceedings of the Society were frequently of a highly convivial nature, and it is to be feared that Arne found them greatly to his liking; in one instance he outraged good taste and becoming reverence by composing a burlesque on a most solemn religious rite, to the words "Poculum elevatum."

He deserves credit for his endeavours to popularise vocal concerted music in the theatre and at garden entertainments; he took care not to present his musical programmes without due rehearsal. A letter of his, without date, probably written about 1766, is evidence of this. "Dr. Arne's compliments to W. Smith desiring him not to fail meeting the other gentlemen concern'd in the new Catches and Glees, at the Dr.'s house, on Thursday evening next, exactly at 7; having reason to hope for some continuance of them; if perform'd with a requisite spirit and humour; besides another material employment for him on the Anvil. (Jan. y^{e} 2d.) West Street, near Litchfield street, Soho. Pray don't forget to bring the part." It may be necessary to explain that the Mr. W. Smith to whom the above reminder was sent was not only a singer, but also the engraver of many of Arne's publications, and therefore familiar with the use of the anvil; evidently the composer had music waiting publication.

On the 4th of February, 1767, we learn from a note in a private diary kept by Mr. Mawhood that he "call'd on Dr. Arne and Mic. Arne, and was at the Madrigal"; probably the Arnes accompanied him. On the 4th of April Mr. Mawhood attended "Mrs. Arne's and Mr. Pemberton's Benefit: took 3 Pit tickets at 3s. each"; on the 9th of May he "was at Dr. Arne's and heard y^{e} Catches perform^{d}"; on the 29th of December "Perform^{d} Dr. Arne's mass at Church."

On the 12th of May, 1767, Arne conducted a concert of Catches and Glees at Ranelagh House, described in the _Gentleman's Magazine_ as the first of the kind. In the following year, 1768, a second vocal concert was given by Arne at Drury Lane Theatre; for the occasion a book of the words was published, with explanatory notes, probably the earliest example of an annotated programme book. The title is, "The words of the favourite Catches and Glees which, with the elegant and humorous music, composed by the most eminent masters of the last and present age, will be performed at the Theatre Royal, Drury Lane, on Tuesday, the twenty-first of this instant June, by a considerable number of the best vocal and instrumental performers. The Choral and Instrumental parts are added, to give the Catches and Glees their proper effect, being composed, for that purpose, by Dr. Arne. This performance (the second of the kind ever publicly exhibited in this or any Kingdom) is introduced at the desire of many persons of quality, lovers and encouragers of good harmony and inoffensive humour. London, printed in the year MDCCLXVIII." There is a preface to the book explaining what is a Catch and what a Glee. Arne wrote, "these kinds of entertainment (in the time of Mr. Henry Purcell) were so much in fashion, that in most polite families, after dinner and supper, it was a custom to lay the choicest collections of Catches and Glees on the table, and thought a deficiency of education in those, who could not readily perform a part." The concert commenced with a New Grand Overture by Dr. Arne, and was succeeded by a Catch of his composition, "The family quarrel," which "gained a golden prize-medal in the year 1764." Next came a Glee composed by Mr. Norris, an "Elegiac on the death of his late Royal Highness the Duke of Cumberland." The words of this are:

O'er William's tomb, with love and grief opprest, Britannia mourns her hero, now at rest; Not tears alone; but praises too she gives, Due to the guardian of our laws and lives; Nor shall that laurel ever fade with years Whose leaves are water'd with a nation's tears.

Those who are acquainted with Braham's popular song, "The death of Nelson," will recognize the unacknowledged annexation of the above lines by Mr. S. J. Arnold, who is credited with the authorship of the words.

The next item in the programme is a Catch by Mr. Henry Purcell, "The Soldier and his friend"; then a Catch by Mr. Giardini, "Beviamo tutti tre." The words are printed in Italian and English. A Glee by Mr. Baildon, "Prithee friend, fill t'other pipe," ends "The first Interlude." The second part opens with a Catch by Mr. Henry Purcell, "Jack, thou'rt a toper," to which Arne has appended a note, "The words of this last Catch are said to be written by Mr. Henry Purcell, wherein, it is obvious, that he meant no elegance, with regard to the poetry; but made it entirely subservient to his extream pretty design, in the music." The catch originally was a number in the Tragedy "Bonduca," for which Purcell composed the music: it was first published in _Delicæ Musicæ_, in 1696. Arne was probably correct in ascribing the words to Purcell. The next piece in the book is called a Glee, but should have been described as a Madrigal--"The Nightingale," by Weelkes. Arne remarked that "The mastership and genius of this production may serve as a specimen of the state of music at that time, 1608." A Glee by Mr. Baildon, "When gay Bacchus fills my breast," which "gained a golden prize-medal in 1766," is followed by a Glee by Arne, "On Chloe sleeping," "the favourite song in Artaxerxes beginning, 'Water parted from the sea'; at the Earl of Eg----t's particular desire, taken by the doctor for the subject of this Glee, and set for different voices, the words being now written to the measure of the music." The "Interlude" concluded with Dean Aldrich's Catch, "Hark, the bonny Christ-Church bells." The third part commenced with a Catch by Arne, "The street intrigue," the words of which are neither elegant nor decent. A note informs us, "This last Catch was written and composed in the year 1763, soon after the invitation of the Catch-Club, and not put in for a prize-medal; but with humility, presented to the members." Next we find a Glee by Arne, "The love rapture"; then his Catch, "Which is the properest day to drink?" "This gained a golden prize-medal in the year 1765," and is a clever composition, still occasionally performed. The last piece in the book is a Glee and Grand Chorus by Arne, "Punch, the medium of life."

In 1769 Arne composed an Ode for the Shakespeare Jubilee at Stratford-on-Avon; the words of the Ode were written by Garrick, who paid the composer sixty guineas for the music, which was published with the following title: "An Ode upon dedicating a building to Shakespeare, which was erected by the subscription of the Noblemen and Gentlemen in the neighbourhood of Stratford upon Avon, the music composed by Dr. Arne. London, Printed and Sold by John Johnston, at No. 11, York Street, Covent Garden." There are nine pieces of music; one Air became popular, "Thou soft flowing Avon," which was sung by Miss Weller; the other singers were Mrs. Barthelemon, Mr. Vernon, Mr. Champness, Mrs. Baddeley, and Master Brown. A semi-chorus in the work is entitled "A strict Fuge for 4 voices. Chapel Time." This was evidently sung unaccompanied, and although short must have made a good effect.[20] At the same Jubilee festival, Arne's oratorio "Judith" was performed at the Church. In 1770, Garrick determined on reviving Dryden's "King Arthur" at Drury Lane Theatre, and engaged Arne to superintend the musical part of the performance, who seems to have suffered at the time from an overdose of self-importance, and addressed the following letter to:

"DAVID GARRICK, ESQ. SIR,--A due attention to your Commission having gone hand in hand with what fancy and judgment I may be thought to possess in my profession, I thought it necessary to lay before you a true state of the merits and demerits of the Musical Performance, you are about to exhibit in King Arthur. To attain a certain rectitude, in judging of this matter, I have not only, with the utmost care and candor, inspected the Score of Purcell's composition; but attended two rehearsals of it; the result of which, is, as follows:

"The long Scene of the Sacrifice, in the 1st Act, necessary to be deliver'd in, as being written for Music, may have a solemn and noble effect, provided that the last Air and Chorus--'I call you all to Woden-hall'--be perform'd as I have new compos'd it; the introductory Air to be sung by Champness, which being highly spirited, will carry off with an eclat, an, (otherwise) dull, tedious, antiquated suite of Chorus: Besides which, that Song, as set by Purcell, is intirely out of Mrs. Baddeley's compass, very indifferent, and no way proper for a woman, where a troop of warriors are assembled, to bribe their idols for a success in battle.

"The following Song and Chorus, 'Come, if you dare, our Trumpets sound,' is in Purcell tolerable; but so very short of that Intrepity and Spirited defiance pointed at by Dryden's words and sentiments, that, I think, you have only to hear what I have compos'd on the occasion, to make you immediately reject the other. The Air 'Let not a Moon-born Elf mislead you,' is, after the two first bars of Purcell, very bad, and out of Mr. Champnes' compass of voice.--Hear mine. All the other Solo Songs of Purcell are infamously bad; so very bad, that they are privately the objects of sneer and ridicule to the musicians, but, I have not meddled with any, that are not to come from the mouths of your principal Performers. I wish you wou'd only give me leave to _Doctor_ this performance, I would certainly make it pleasing to the Public, which otherwise, may prove an obstruction to the success of the Revival. It is not _now_ my intention to new set many things, mention'd in our original plan; but to put it in the power of your principal performers to make a proper figure, by opening and adorning the most entertaining points of view, wherein _they_ are to appear; consequently, the expence will be much short of the Sume propos'd; all self-interest subsiding to the earnest desire I shall ever entertain, of proving my sincerity, when I stile myself SIR Your devoted humble serv^{t}.

THO^{S.} AUG^{NE.} ARNE."

Happily Garrick did not accede to Arne's requests, and much of Purcell's music was left in the Masque. Arne composed a new Overture in which he introduced an imitation on the flute of the call of the "Cuckow." The whole of the first Act, including the famous "Come, if you dare," was left with Purcell's music untouched. In the second Act there were several changes; a new recitative, both words and music, "Alas, the horrors of this bloody field," was sung by Mrs. Baddeley. This, and a new air, "O peace descend," were composed by Arne; "the music ill match'd" that of Purcell. Before the chorus, "Come follow me," Arne introduced a solo "on the subject of Purcell's chorus, in which he took care to write a goodly number of runs to show off Mrs. Baddeley's execution." A new song by Arne, "How blest are the shepherds," was substituted for Purcell's solo and chorus, and Mrs. Baddeley was provided with a recitative, "We must work, we must haste," followed by an air, "To virtue with rapture," and also "Thus I infuse these sov'reign dews." Mrs. Wrighten had new music composed for her, a recitative, "Oh sight," and an air, "'Tis sweet the blushing morn to view." It may be noted that the words of these pieces were written by Garrick. The third Act, with Purcell's masterly "Frost Scene," was left intact. In the fourth Act Purcell's lovely duet, "Two daughters of this aged stream," also the solo and chorus, "How happy the lover," were retained. The music of the fifth Act included Purcell's "Fairest Isle all Isles excelling." The final air and chorus, "Saint George the Patron of our Isle," had new music by Arne.

There are some entries in the "Mawhood"[21] diary referring to Dr. Arne in 1770: "13 June, Call^{d}. on Dr. Arne who will compose some music for Mr. Pemberton's Diurge." "23^{d}. Call^{d}. on D^{r}. Arne had a small practtice of the Service, for Mr. Pemberton." "28{th}. Was at Church, perform^{d} Dr. Arne and Webb's Burial for my poor friend Franc^{s}. Pemberton."

A manuscript copy of the Dirge is to be found in the British Museum. It was presented in the year 1849 by Vincent Novello to the Musical Antiquarian Society. His father, Giuseppe Novello, in 1770 resided in Oxford Road, and probably worshipped in the Sardinian Chapel, where Vincent, born in 1781, became a chorister boy; this may account for his possession of the manuscript of the Dirge. It is in the handwriting of a copyist, not an autograph, and has many errors. It is not complete; at the commencement there should have been ten bars of instrumental introduction, which are only indicated in the manuscript by rests. The pencil marks of figured bass are in the handwriting of Vincent Novello; there are also pencilled names of solo singers--Swiney, Fitz, Lanza, Guich^{d}, Novello. The music is admirable, and opens with a chorus for treble, alto, two tenors, and bass, to the words "Libera me, Domine, de morte æterna." The pathos of this quintet, admirably expressive of the text, cannot be praised too highly. The words "Tremens factus sum ego" are set as a solo for a bass voice, in the style of many cathedral anthems of the period. The manuscript, evidently intended for the organist, gives the necessary organ-bass part; this solo, in the key of A minor, leads into a short chorus in C major to the words "Quando Coeli morendi sunt." A solo for a tenor voice to the words "Dies illa, Dies iræ," exhibits Arne's skill in writing vocal music, and is a very touching and effective piece of work; it is followed without a break by a chorus, "Dies Magna"; the next movement is a soprano solo, "Requiem æternam," in E major, a charming melody, with Italian fiorituri. A short chorus, "Requiescat in pace," concludes a composition which is a very fine example of Arne's genius, quite worthy of publication and performance. The British Museum possesses another manuscript of the composer to Latin words, "O salutaris hostia," which looks like an exercise in fugue writing, not intended for Church performance. It may have been sent to the "Catch Club" in competition for a prize.

It has already been stated that Arne deserted his wife in 1756; what their relations were in the succeeding years can only be surmised. She was regarded by her contemporaries as a good and injured woman, and her husband was notoriously a profligate. Some few years ago a number of autograph manuscript documents came into the possession of the present writer, which throw a light on the unhappy condition of things as they existed in 1770. On the 22nd of November in that year, Mrs. Arne's Attorney sent the following letter to Dr. Arne:

"SIR,--I am employed to institute a Suit in the Commons on the Complaint of your wife against you.

"The small pittance you gave her for Maintenance falls greatly Short of Supplying her with Common Necessaries, and not only so but this Small allowance which is but £40 a year is now £10 in arrear. You must be sensible Mrs. Arne could not Subsist without Running you in Debt, those Debts must be paid very soon by you. Mrs. Arne has a right and expects to be maintained by you Suitable to your Circumstances. I must request an explicit and immediate answer; Or I shall take the necessary Steps to procure Mrs. Arne that justice which she has an Undoubted Right to."

This called forth the following reply from Dr. Arne. It will be noted that Arne did not address the Attorney, but wrote direct to his wife:

"A.D. 1770.

"MRS. ARNE,--After the affectionate note I sent you yesterday, with 5 Guineas, which was from the first money I reciev'd, how great was my surprize, when I reciev'd in return a threatening letter from one Rennett an Attorney, on your account!