Colonial Williamsburg Digital Library

Performers

The second part of the file is made up of names of professional musicians who have been identified as being connected with Virginia and the colonies. The cards list those appearances which they made, usually in connection with the theatrical companies, in which music was performed. Resident musicians (Pelham, for example) are not included.

3

Theater music.—For information concerning the colonial theater, see Rankin, especially. For an exhaustive study of the London theater, see The London Stage. Other sources are included in the Bibliography.

The Hallam Company which arrived in Williamsburg in 1752 included members of the "Hallam tribe," the important theatrical family whose members were numerous and active on the London stage during the 18th century.¹ Each theater in London required singers for the plays which had solo or choruses as part of their traditional presentation. The best performers were featured in the advertisements. As early as 1710, the Lord Chamberlain issued a directive, which included a requirement that all the young actors should have three sessions weekly during which they should be taught to dance and sing. Undoubtedly many of them also had sufficient skill on musical instruments so as to be able to fill in on the instrumental parts whenever necessary.

There is ample evidence that the American (Hallam-Douglass) Company augmented their instrumental forces whenever they performed plays that required such accompaniment, such as the ballad operas and plays in which masques occurred. They also followed the London pattern of theatrical presentations, in which singing, dancing, and instrumental music was performed between the acts.

4

The company's personnel varied from season to season and from locale to locale. Actors, singers, and instrumental musicians joined the company for its term of residence. On occasion, gentlemen amateurs would provide the orchestral accompaniment "for their own amusement" (i.e., they received no pay).

There is conclusive evidence that the company used the music in those plays that called for it in the script or by tradition; they also followed the London pattern in using, on occasion, only part of the music, or substituting other music for that which was traditional. The evidence is overwhelming, however, that music was a very important part of their presentations.

Rankin and others have pointed out that it is reasonable to assume that the company, when in Williamsburg or in other parts of Virginia, presented those plays that were current in the repertoire in addition to those for which advertisements or other evidence of presentation have survived. Hence it is most probable that almost every play which is included in the title file was performed in Williamsburg at one time or another.

The performers who were featured as singers and instrumentalists in the playbills and newspaper notices are listed alphabetically on cards in the second section of the file.

19

BIBLIOGRAPHY

• Acomb, Evelyn M. Tr. and ed. The Revolutionary Journal of Baron Ludwig Von Closen, 1780-1783. Chapel Hill: Un. of N. Carolina Press, 1958.
• Baines, Anthony. Woodwind History and their History. W. W. Norton, 1957.
• Baker, David E. Biographica Dramatica. London, 1764.
• Barclay Squire, W. "An Index to Tunes in the Ballad Operas." Musical Antiquary, II (Oct., 1910).
• Blair, John. "The Blair Dairy, 1750-51." W&M Quarterly, Series I, vol. 7.
• Burney, Charles. A General History of Music. Ed. Mercer, F. N. Y: Dover, 1957.
• Carter, Landon. Mss. Letter to Peter Pelham. U Va Lib.
• Carter, Robert. Account Book, 1759-75. Lib. Cong. C. W. Micro.
• Carter, Robert. Letter Book, 1770-73. VHS Mss.
• ___________. Catalogue of Music in the Huntington Library Printed Before 1801. Ed. Backus, E. N. San Marino, California, 1949.
• ___________. Catalogue of Printed Music 1748-1800 in the British Museum. London, 1912.
• Chase, Gilbert. America's Music. N.Y: McGraw-Hill, 1955.
• ____________. Church Music and Musical Life in Pennsylvania in the Eighteenth Century. Philadelphia: Society of the Colonial Dames of Pennsylvania, 1926-1940 (?).
• Darter, Oscar H. Colonial Fredericksburg and Neighbourhood in Perspective. N. Y: Twayne, 1957.
• Duncan, E. The Story of the Carol. N. Y: Scribner, 1911.
• Deutsch, Otto E. Handel: A Documentary Biography. W. W. Norton, 1954.
• Doran, Dr., FSA. Annals of the English Stage. London, 1897.
• Dunlap, William. History of the American Theatre. New York, c. 1832.
• Elkin, Robert. The Old Concert Rooms of London. London: Arnold, 1955. 20
• Fithian, Philip V. Journal, 1775-76. Ed. Albion, R. G., and Dodson, L. Princeton Un. Press, 1934.
• Fithian, Philip V. Journal and Letters, 1773-74,. Ed. Parish, H. D. Colonial Williamsburg, 1945.
• Freedley, George. A History of the Theatre, Rev. Ed. N. Y: American Book, 1955.
• Freeman, Douglas S. George Washington. Scribners, 19 .
• Grove's Dictionary of Music and Musicians, 3rd. Ed. Ed. H. C. Colles. Macmillan, 1935.
• Grove's Dictionary of Music and Musicians, 5th Ed. Ed. E. Bloom. Macmillan, 1954.
• Harrison, F. Landmarks of Old Prince William. Richmond: Old Dominion Press, 1924.
• Hawkins, Sir John. A General History of the Science and Practice of Music. London, 1853.
• Hazard, Ebenezer. Journey to the South. Pennsylvania Hist. Soc. Micro.
• Howard, John T. Music of George Washington's Time. Washington, 1931.
• Howard, John T. Our American Music. N. Y: Crowell, 1946.
• Hutchings, Arthur. The Baroque Concerto. W. W. Norton, 1961.
• ____________. The Hymnal Companion (1940). N. Y: Prot. Epis. Pension Fund, 1949-51.
• Kidson, F., and Moffatt, A. Minstrelsy of England. London, 1902.
• Knight, C. The Pictorial Edition of Shakespeare. London, 1839.
• Kunitz, __. and Haycraft __. British Authors before 1800 (Biographical Dictionary). N. Y: Wilson, 1952.
• Lefkowitz, M. William Lawes. London, 1960.
• Library of Congress. Catalog of Early Books on Music. c.1945.
• London Advertiser. IEAC Micro.
• London Gazette. IEAC Micro.
• _____________. The London Stage. Pl. 2, ed. E.L. Avery, Pl. 3, ed A H Sweeten, 1960/61
• Maryland Gazette. IEAC Micro.
• Mays, David J. Edmund Pendleton. Harvard Un. Press, 1952.
• Moore, Cecil A. Twelve Famous Plays of the Restoration and EIghteenth Century. N. Y: Modern Library, 1933.
• Moore, Robert E. Henry Purcell and the Restoration Theatre. Harvard Un. Press, 1961.
• Mushkin, H. "The Published Instrumental Works or G. B. Sammartini," Musical Quarterly, XLV (July, 1959).
• The Musical Antiquary, Vol. I. (Oct. 1909-July, 1910). Oxford Un. Press.
• Nagler, A. M. A Source Book of Theatrical History. N. Y: Dover, 1952.
• New York Gazette and New York Weekly Mercury. IEAC Micro.
• Nicoll, A. History of the English Drama, 1660-1900. Harvard Un. Press, 1959.
• Nicoll, A., ed. Shakespeare Survey. Manchester, Un. of., 1948-62.
• Oxford Companion to Music. Ed. P. Scholes. N. Y., 1938.
• Oxford Companion to the Theatre. Ed. P. Hartwell. London, 1951.
• Page, Mann, Jr. Mann Page, Jr., Papers. C. W. Micro.
• Pennsylvania Packet and General Advertiser. IEAC Micro.
• Pepys, S. Diary and Correspondence or Samuel Pepys, F.R.S. 4th Ed. N.Y: Bigelow, Brown & Co., n.d.
• Rankin, H. F. The Colonial Theater: Its History and Operation. Un. N. Carolina: Unpublished Dissertation, 1955.
• Rankin, H. F. Theater Report. C. W. Unpublished Report.
• Rosenfeld, S. Theatre of the London Fairs in the Eighteenth Century. Cambridge, 1960.
• Schnapper, E. B., ed. The British Union Catalogue of Early Music. London, 1957.
• Scholes, P. The Great Doctor Burney. London, 1948. 22
• Smith, Wm. C. A Bibliography of the Musical Works Published by John Walsh 1695-1720. London, 1948.
• Sonneck, O. Bibliography of Early Secular Music (18th Century). Ed. W. Upton. Washington, 1945.
• Sonneck, O. Early Concert Life in America, 1731-1800. Revised 1949. New York, 1949.
• Sonneck, O. Early Opera in America. New York, 1915.
• South Carolina Gazette. IEAC Micro.
• Spottsylvania County, Virginia, Will Book A, 1722-1749. VSL.
• Supplementary Repertoire File. C. W. Unpublished Report.
• Theater Playbills. C. W. Collection.
• Vestry Book and Register of St. Peter's. Ed. C. G. Chamberlayne. Richmond, 1937.
• Virginia Gazette. IEAC Micro.
• Virginia Gazette Daybooks. Hunter, 1751-2; Royle, 1762-64. U Va Lib.
• Walsh, Charles. Shakespeare on the Colonial Stage. N. Y: Fordham Un., Unpublished Dissertation, 1948.
• ____________. The Diaries of George Washington, 1748-99. Ed. J. Fitzpatrick. N. Y: Haughton Mifflin, 1925.
• Weinstock, H. Handel. N. Y: Knopf, 1946.
• Winter, M. H. "American Theatrical Dancing from 1750 to 1800." Musical Quarterly, XXIV, 1, 1938.
• Wroth, W. London Pleasure Gardens of the Eighteenth Century. Macmillan, .

22

A SELECTED DISCOGRAPHY

• Acis and Galatea, Handel. 2-Oiseau 50179/80.
• Artaxerxes, Arne, T. A. "Soldier Tired." In London A-4241 ("Art of the Prima Donna")
• Bach, C.P.E. Sonatas for the Pianoforte. Lyr. 63.
• Bach, J. C. Sinfonias, Op. 18, 2 & 4. Epic LC-3749.
• Beggar's Opera. Gay and Pepusch. 2— London A-4245.
• Corelli,
  • Concerti (12) for Strings & Harpsichord, Op. 5. 3-Vox 423.
  • Sonatas (12) Op. 3 & 4. Vox 36.
• La Stravaganza Concertos., Op. 4. Vivaldi. 3— Vox VBX-31.
• "Cuckoo" in L'Estro Armonico, Op. 3. Vivaldi. 3— Vox VBX-20.
• English Country Dancing Master. John Playford. Vox 470.
• Geminiani, F. Concerti Grossi, Op. 2. Vox 413.
• Handel.
  • Overtures. Vox PL-1l300.
  • Arias. (Sutherland). Oiseau 50170.
• King Arthur. Purcell. 2-0iseau 50176.
• Saul. Handel. 2-Urania 240-2.
• Pastor Fido. Handel. 2-Cetra 1265.
• Judas Maccabeus. Handel. 3— West. 3310.
• Rameau. Pieces de clavecin de concerts. Bach 556.
• Stabat Mater. Pergolesi. ARC-J09l.
• Songs from The Tempest and Dioclesian. Purcell. Oiseau 60002.
• Thomas and Sally. T. A. Arne. London LLP-292.
• Water Music. Handel. London CM-9ll6.

The Eighteenth Century Orchestra

The following table is taken from Carse;¹ the figures are documented. The keyboard continuo instruments are not included in the table; these instruments are discussed below. An analysis of the figures follows the table.

Date	Orchestra	Violin1	Violin2	Viola	Cello	Bass	Flute	Oboe	Bassoon	Horn	Trumpet	Drum	Other
1700	Weimar Ducal	2		?	1		?	?	2		72	12
1708	Paris (Chapelle-Musique)	6		3	3		2	2	1
1710-1755	London, King's Ban	From 24 to 26 musicians
1709	Dresden (King of Poland	4		2	3	1	1	4	2
1712	Berlin (King of Prussia)	6	5	2	5			4	3
1715	Paris (Opera)	12		83	8		8 woodwind					1

Date	Orchestra	Violin1	Violin2	Viola	Cello	Bass	Flute	Oboe	Bassoon	Horn	Trumpet	Drum	Other
1714	Weimar	4		?	1		?	?	2		71	11
1719	Dresden	7		5	5	5	2	5	3	2
1721	Vienna (Hof-musick)	23		?2	4	3		5	4	1	131	11
1720	Mannheim Court	12		2	2	3	15 woodwind3
1730	Leipzig4 (Bach)	3	3	2	2	1	2	2	1		2	?
1730	Vienna (Hof-musick)	32 strings						5	5	1	161	11
1731	Brunswick (Hof-mus.)	8		1	2	1	5		3	2	71
1731	Dresden	6		3	4	2	3	4	3	2
1734	Dresden	12		4	5	2	3	3	?	2
1738	Hamburg (Opera)	8		3	2	2	5	4	5	4	4	1

Date	Orchestra	Violin1	Violin2	Viola	Cello	Bass	Flute	Oboe	Bassoon	Horn	Trumpet	Drum	Other
1746	Leipig Concert Gesellshaft	5	5	31	2	2	32		3	2	21	1
1751	Paris Concert Spirituel	16		2	6	2	52		3	2	1	1
1754	Breslau (Bishop)	7		1	1	1	22		2	2
1754	Dresden (King of Poland)	8	7	4	3	3	2	5	5	2
1754	Gotha	6		2	1	1		2	1	2			1 lute
1754	Paris (Opera)	16		6	12		62		3	2	?	?
1754	Paris (Con. Sprituel)	16		2	6	2		3	?
1754	Poland (Count Branicki)	4	4	1	1	1	2	2	2	2
1756	Dresden	16		4	4	2	3	5	4	2	?	?

Date	Orchestra	Violin1	Violin2	Viola	Cello	Bass	Flute	Oboe	Bassoon	Horn	Trumpet	Drum	Other
1756	Mannheim	10	10	4	4	4	2	2	2	4	121	2
1757	Mecklenburg Court	7		2	3	1	3	2	2	2	4	?	fn.2
1757	Salzburg (Archbishop)	10		2	3	2	33		4	2	10	2	fn.4
1757	Schwarzburg Court	8		3	3	2	23	1	2	3	1	several players double
1757	Stuttgart	15		?	4	2	3	3	?	4
1759	London (Foundling Hosp. (Handel)	12		3	3	2		4	4	2	2	1
1762	Paris (La Poupliniere)	5			1	(1)	1	1	1	2			2 clarinets
1765	Grosswardein (Bishop)	34 musicians, including 4 vocalists
1765	Leipzig (Gesell.)	8	8	3	2	2	2	2	2	2	?	?

Date	Orchestra	Violin1	Violin2	Viola	Cello	Bass	Flute	Oboe	Bassoon	Horn	Trumpet	Drum	Other
1770	Johannisburg (Prince-Bishop of Breslau)	17 musicians, 11 salaried, rest household servants
1770	Milan (Opera)	14	14	6	2	6	41		2	4	?	?	2 clarinets
1770	Naples (San Carlo Opera)	18	18	?	2	5	?	?	?	?	?	?
1770	Padua (Church of San Antonio)	8		4	4	4	4 wind instruments
1772	Stuttgart	18		6	3	4	2	4	2	3	3	?
1773	Paris (Opera)	22		5	9	6	51		8	2	1	1	1 clarinet
1773	Paris (Con. Spir.)	13	11	4	10	4	2	3	4	2	2	1	2 clarinets
1777	Mannheim	10	10	4	4	4	2	2	4	2	?	?	2 clarinets
1781	Leipzig (Gewand.)	6	6	4	4		2	2	3	2	2	1
1781-83	Vienna Opera	6	6	4	3	3	2	2	2	4	2	1	2 clarinets

Date	Orchestra	Violin1	Violin2	Viola	Cello	Bass	Flute	Oboe	Bassoon	Horn	Trumpet	Drum	Other
1782	Bonn (Hof-musick)	8		4	2				2	4			4 Accessisten violinists
1782	Cassel (Hof.)	5	6	1	2	2	2	2	2	2
1782	Coblentz (Hof-mus.)	13		4	2	3	3	3	3	4	2	1	2 clarinets
1782	Dresden	17		4	3	4	3	5	4	2	?	?
1782	Gotha	9		1	2	1	31		1	4	?	?	1 cellist plays oboe
1782	Hanover	21 musicians
1782	Mayence (Hof.-mus.)	102			2	1	2	3	1	2			2 clarinets
1782	Mannheim	18		3	4	3	4	3	4	4	?	?	probationers=5 violin, 1 clarinet, 2 horns plus 2 clarinets
1782	Stuttgart	13		6	3	3	2	3	2	2	?	?	fn.3

Date	Orchestra	Violin1	Violin2	Viola	Cello	Bass	Flute	Oboe	Bassoon	Horn	Trumpet	Drum	Other
1783	Bonn	9		2	2	2	2	21	3	4	3	1
1783	Cassel	7	7	2	2	2	2	2	3	2
1783	Dresden	8	7	4	4	3	3	4	4	3	?	?
1783	Esterhaz	112		2	2	2		2	2	2	?	?
1783	Pressburg (Cardinal)	9		2	2	2	1	2	2	2	2	1	2 clarinets that doubled on strings
1783	Regensburg (Court)	12		2	2	2	2	2	2	4	4	1	2 clarinets
1784	Kopenhagen (Court)	7		2	2	2	2	2	2	2	?	?	harp
1787	Prague (Opera)	3	3	2	2	2	?	?	?	?	?	?
1790	Pairs (Th. de Monsieur)	7	6	3	4	3	1	3		4	1	?	2 clarinets
1790	London (Salomon)	12		4	3	4	2	2	2	2	2	1	2 clarinets?

7A

Selected specific orchestras — and instrumental references —

• Groves III, Ancient Concerts (Society of). The band (orchestra) at the time of the establishment of the society in 1776, was made up of: 16 violins (8 + 8), 5 violas, 4 cellos, 2 double basses, 4 oboes, 2 bassoons, 4 horns, 1 trombone, and drums. ^[1744]
• Gentleman's Progress, June 19. (New York) At a tavern fronting the Albany Coffee House, heard "a tolerable concerto of musick performed by one violin and two flutes". ^[1744]
• Ibid., 191. Philadelphia. "To the Musick Club where I heard a tolerable concerto performed by a harpsichord and 3 violins."
• Sonneck, 177. New York, Oct. 6., 1766. Advertisement of a sacred concert directed by William Tuckey, with more than 40 voices and instruments in the chorus. "Chorus" meaning the combined forces. If the traditional pattern for such combined forces was followed, singers and instrumentals were about equally divided).
• Sonneck, 262. Boston, May 17, 1771. Concert presented by Josiah Flagg, "vocal and instrumental musick accompanied by French horns, hautboys, etc., by the band of the 64th Regiment."^*
• Sonneck, 99. Philadelphia, 1786, May. Concerts during the summer season, using 2 clarinets, 2 French horns, 2 bassoons, one flute.
• Sonneck, 15. Charleston, Oct. 5 ¹⁷⁶⁵ Concert by Thomas Pike; included Stanley, 2nd Concerto, 5th concerto; Handel, Overture to Scipio; Hasse, French horn concerto, plus other concerti not identified.
• Pa. Chronicle, Oct. 1,-8, 1770. Gualdo concert. Overture, for violins, German Flutes, french horn; solo on clarinet; concerti, symphonies, etc., not identified.
• 7B
• 1745. Norfolk. Celebration in triumph of King's forces over Jacobites at Culloden Moor; included 5 drummers, a piper, 3 violins. (Morgan, 88).
• 1745. J. B. Galliard. Benefit Concert, Lincolns Inn Fields, London. Piece for 24 bassoons and 4 double basses. (Groves). Most of Galliard's music is in the Henry Watson Library, Manchester.
• London Daily Advertiser, 1749, Nov. 4. Dutch musicians arrival announced. Concert at Sun Tavern, Strand. Flute, french horn, bass viol, clarinet, and violin. Concertos on several instruments and solos on above.
• LDA., July 28, 1749. Handel, Fireworks Music, published., for French horns, trumpets, violins, hautboys, bassoons, etc.

8

Carse points out:¹

It should be remembered that the available data relate almost entirely to permanent orchestras, most of them of some repute and several of them under the direction of well-known musicians, and that their personnel was considered to be a matter of sufficient interest to merit its being recorded in print.

The present definition of an orchestra cannot be applied to the instrumental ensembles of the 18th century; it was only in the last decade or two of the century that the orchestra began to assume its present form. Not only were the orchestras that were used in concerts and in the theater a great deal smaller than their modern counterparts, but their constitution was different. The foundation on which the 18th century orchestra was built consisted of one or more keyboard or chordal instruments. To that was added a more or less complete bowed-instrument string group, a small and rather variable woodwind group that was barely self-sufficient harmonically, and on occasion a small brass group that could not provide its own harmony. It was not until the end of the century that the original basis, the keyboard and chordal instruments, had been almost entirely discarded, and the woodwind group had become harmonically self-contained. At the turn of the century, the brass group was still growing, and was still harmonically incomplete.² until the end of the colonial period 9 in America, the keyboard and chordal instruments formed the center around which the other groups played, and it was from the keyboard that the entire band was largely controlled.

In arriving at an average for the instrumentation of the orchestras as presented in the above table, Carse points out that the strength of the string parts works out roughly as follows: 6 first violins, 6 second violins, 3 violas, 3 'cellos, and 2 basses.¹

However, if the point is kept in mind that the figures represent, on the whole, only the largest and most famous orchestras of the period, and does not include all the smaller and lesser bodies, this figure will become smaller. If the ten largest orchestras in the list are not included, the resulting average will give a much more true picture of the strength of most 18th century orchestras. The strings would then number approximately 4 - 4 - 2 - 2 - 2. These figures correspond exactly to those given by Marpurg in 1757 for the Salzburg orchestra and are only a little short of those of Haydn's orchestra at Esterhaz in l783.²

Dart,² using many scores as well as documentary sources, says that the instrumentation of 18th century orchestras is made up as follows:

	small	medium	large	very large
1st violins	2-3	4	6	9-10
2nd violins	2-3	4	6	9-10
violas	1	2	3	5
cellos	1	2	3	4
double basses	1	2	2-3	4
oboes	1	2	4	4
flutes	-	2	4	4
bassoons	1	2	3	3
horns	-	1	2	2-4
continuo	1	1	2	2-3
10
trumpets	-	-	2	2
timpani	-	-	1	1

Marpurg¹ gives these figures for some of the principal orchestras of Europe during the period 1754-57:

Gotha	15
Prussia (Prince Henry)	11
Prussia (Prince Carl)	17
Breslau (Bishop of)	17
Anhalt	16
Salzburg	32
Berlin	36

Another indication of the size of the usual 18th century orchestra is the large number of sets of orchestra parts which are preserved in musical libraries and collections, pointing to the existence of many small orchestras of few performers. The sets contain no duplicate string parts, indicating that only as many performers played from the parts that could read from one copy. This would mean that the violins would number two, or at the most three, players for each of the first and second parts. Bach, with the meager resources of the Weimar court, with a total of 18 players (including wind instruments) at Cothen, and a string group of 3 - 3 - 2 - 2 - 1 (partly amateurs) at Leipzig, was not much better or much worse off for string players than many others who made do with skeleton chamber orchestras, sometimes composed of players who were by no means fully efficient.²

10-A

An example of a very large ensemble is that used by Handel for the performance of his Fireworks Musick, April 27, 1749, in Green Park, London, on the occasion of the celebration of the Peace of Aix-la-Chapelle. The instrumentation for the 100 piece band was

• 24 oboes
• 12 bassoons
• 9 trumpets
• 9 horns
• 3 drums
• strings

(Groves III).

The proportion of woodwind to strings is noteworthy. There were 57 wind and percussion instruments, leaving 40 strings. Whether one or two of these were harpsichords is not known, but it would be surprising if at least 2 harpsichords, and perhaps 3, were not used. (1 may have been a small organ). Assuming that 2 keyboard instruments were used, the remaining instruments would number 41.

The probable constitution of the string choir would then be, in proportion to the woodwind:

12 First Violins	12 First Oboes
12 Second Violins	12 Second Oboes
12 Celli (and Basses)	12 Bassoons
5 Violas
41	36

It should be remembered that this occasion was an extremely unusual one, and that Handel scored the piece for outdoor performance.

11

Summary of Size and Balance¹

• (1)In all 18th century orchestras, the violins were equally divided.
• (2)Two or more continuo instruments (usually the harpsichord, but could also be spinet, harp, organ, or arch-lute) were used in the large and very large orchestras. Since only one was needed for controlling and directing the ensemble, the other(s) must have been used because the sound was liked, and not because there was no way of doing without it.
• (3)The absence of parts specifically labelled 'oboe,' 'viola,' 'Trumpet,' 'bassoon,' or 'continuo' does not in the least imply that these instruments were not used if available. If there are no parts for them, especially oboes and flutes (and clarinets for music after about 1760) may appropriately double, or even replace, the violins.
• (4)The three woodwind tone-colors (flute, oboe, and (after ca. 1750-60) clarinet) are more or less interchangeable in the orchestral music of the second half of the century. Composers of the time preferred to use oboes in fast movements and flutes or clarinets in the slow movements.
• (5)Whenever one or more woodwind instruments are used the bass-line should be strengthened by the bassoon. Wind instruments playing solo passages should be accompanied by 12 by a wind bass (bassoon), the string basses (cellos and double­basses) being silent.
• (6)Wind parts were normally doubled (two performers playing the same part) except in solo or obligato passages.
• (7)If there is no part for the violas, they should double the bass-line in the upper octave, dropping down to unison with the cellos whenever they (the violas) would other­wise pass above the main treble melody.
• (8)Horns and trumpets are more or less interchangeable. If horns and trumpets were available and there was no music for them to play, additional parts for them were composed. Only the notes of the natural, valveless trumpets and/or horns should be used.
• (9)Tympani parts more or less doubled the notes of the second or third trumpet, using tonic and dominant. Similarly, parts for side-drums and cymbals were added to marches and other military or martial sounding music.
• (10)For any works previous to the later symphonies of Mozart and Haydn, at least one continuo instrument was essential. Works for double orchestra required two or more continuo instruments.
• (11)In the 18th century an orchestral work could be played by many different ensembles ranging from a string quartette and a harpsichord to an orchestra of 40 to 50 players. But a fixed balance of sound between string, woodwind, brass, and keyboard instruments was always preserved.

13

This fixed balance is given by Dart (p. 9, above), and by writers on musical taste of the period. For instance, Quantz¹ gives these figures on the constitution of a well balanced orchestra, in the middle of the century:

Violins		Viola	Cello	Bass	Flute	Oboe	Bassoon	Horns
I	II
2	2	1	1	1	-	-	-	-
3	3	1	1	1	-	-	-	-
4	4	2	2	2	2	2	2	2
5	5	2	3	2	2	2	2	2
6	6	3	4	2	4	4	3	2

The continuo is taken for granted.

A half century later, Koch² gives these figures for a balanced string section, with woodwinds and horns in pairs:

4	4	2	2	2
5	5	3	3	2

18

Virginian references

Va. Gazette, R 11 Dec., 1765.—Concert in Fredericksburg, in which "several of the best hands in Virginia will assist," advertised by John Schneider. The instrumentation for the orchestra was given as 3 violins, a tenor (viola), a bass (cello), a hautboy, a horn, and a harpsichord. This instrumentation compares favorably with the small orchestra of the period in Europe.

Gazette, R 24 Dec., 1767. Another concert in Fredericksburg by John Schneyder, obviously the same person. The instrumentation is not given in the notice, but it can be assumed that the orchestra was at least as large as that of the previous year.

Gazette, R 27 Oct., 1768. A concert "of instrumental musick by gentlemen of note for their own amusement" in King William Courthouse. Instrumentation not given.

Gazette, R 11 May, 1769. Francis Albertie gave a concert of instrumental music at Mt. Thomas Tinsley's, Hanover Town, "to consist of various instruments by gentlemen of note for their own amusement."

Sonneck, 57. Washington bought tickets for a concert on April 10, 1767. Sonneck was unable to ascertain by whom the concert was given, but he surmised it to be Albertie. If it were, in all probability Albertie had gentlemen instrumentalists perform at this concert, too.

There are references to Virginians owning the following instruments, which undoubtedly they played, not only as soloists, but in ensembles:

• flutes
• oboes
• bassoons
• horns
• violins
• violas
• cellos
• harpsichords

19 These amateurs not only played in ensembles, but purchased sets of parts (advertised in the Gazette) in sufficient quantities so that by 1784 the Harmonic Society of Fredericksburg could appeal to "all lovers of music, vocal and instrumental," to participate in their concerts. The Society asked the attendance of "all gentlemen in the country who were performers on instruments, or who had valuable collections of music, to attend.¹

Other references to music and musicians in relation to orchestra playing:
Gazette, PD 8 July, 1771. Advertisement by St. Cecelia Society of Charleston, offering three years' employment to 2 bassoons, 1 first violin, 1 second violin, and 2 hautboy players for the purpose of giving concerts.
Maryland Gazette, 27 Aug., 1752. Beggar's Opera performed in upper Marlborough, the accompaniment furnished by an orchestra made up of private gentlemen.
Va. Gazette, R 19 Nov., 1772. Williamsburg, instrumental music between the acts at the theater, by French horns and trumpets.
June 3, 1768, Williamsburg, Va. Co. of Comedians presented Beggar's Opera, music "conducted by Peter Pelham and others."

20

BIBLIOGRAPHY

• Carse, Adam. The Orchestra in the XVIIIth Century. Cambridge: W. Heffer & Sons, 1940.
• Dart, Thurston. The Interpretation of Music. London: Hutchinson's University Library, 1955.
• Grove's Dictionary of Music.
• Sonneck, O.G. Early Concert Life in America. New York: Musurgia Publishers, 1949.
• Virginia Gazette.
• London Daily Advertiser.
• Gentleman's Progress: The Itinerarium of Dr. Alexander Hamilton, 1744. Ed. C. Bridenbaugh. Chapel Hill, 1948.

Instrumentation and size

Louis's bands consisted of hautboys of four sizes, or hautboys of three sizes plus bassoon, and drums. Frederick's bands (1765) included 2 hautboys, 2 clarinets, 2 horns, 2 bassoons, and, presumably, drums. It should be noted that the hautboys of the 17th and 18th centuries were much louder than the present day oboes.

4

Music

It should be remembered that the word "march" in British army history often connotes merely a traditional drum rhythm, as is the case of "The English March," "The Scots March," and "The Grenadiers March."

During the first part of the 18th century, composers wrote marches into their operas, which in turn passed into the use of the military, as well as into civil life. For example, Handel's Dead March in Saul and the famous march in Scipio (1726), soon found their way out of the opera house. The Saul march passed into actual army use. The Scipio march became the regular parade march of the Grenadier Guards, who claimed that Handel composed the march for them, and only later used it in his opera. Other Handel marches that found their way into such usage were those in Joseph, Deidama, Rinaldo, Solomon, and Flavio.

Marches that were used by British army bands include

1687	("fairly certain") — "'Here is the Scots March," "King James March to Ireland," and "Lilliburlero."— played by fifes and drums, and oboes and drums.
1687	The Grenadier's March (in Apollo's Banquet) The Dragoons March (Dancing Master, 1665) Sir Thomas Fairfax March
1745	Musica Curiosa contains marches from operas, including Bianchi's Merope and Monsigny Deserteur (excerpts).
5
1760	Warlike Music, pub. Walsh.
c. 1760	32 Marches which are now in Vogue.
c. 1765	Collection of Airs and Marches, pub. Bremner.

Tempo.— About 1780, the 4-4 slow march used 75 beats or steps per minute; the 2-4 and 6-8 quick marches used 108 beats or steps per minute.

In the last quarter of the 18th century, regimental marches were the rule and rage in the British army. Few survive, although many were by well known musicians. The use of the traditional marches declined because the regimental commanding officers were all powerful in everything pertaining to regimental music. Instruments and music were provided out of their privately subscribed band fund, so each colonel chose what pleased his ear, whether it was an oratorio melody, an operatic air, or a Vauxhall ditty.

A madness for percussion instruments, shrieking fifes, and other noisy instruments became an epidemic throughout Europe during the later years of the 18th century, as did a penchant for a negro time-beater and for negro drummers. The drummers of British military bands still wear leopard skins, a relic of those days. Music employing these elements (drums, cymbals, triangles, etc) was called Turkish music (vide Mozart, Turkish Rondo; Beethoven, Turkish March from 'Ruins of Athens,' etc).

6

Fifes and Drums

The fife had fallen into disuse in the British Army at the close of the 17th century, when it was replaced by the trumpet, but it was reintroduced in Flanders in 1745-47. At this time (1745) regiments of Horse used trumpets for their calls, and regiments of Foot used the side drum. With the restitution of the fife to the marching regiments, however, even cavalry calls for the fife, as well as the drum, became the norm.

The second half of the 18th century saw the publication of manuals in which such calls were printed, such as A Compleat Tutor for the Fife, London, c. 1750-55.

When the fife was reintroduced into the army, the Grenadier Guards companies were allowed the instrument at first, and only two were permitted a regiment. But in 1753, at a review in Green Park, the Royal Artillery had a drum major, 6 fifes, and 10 drummers. in the 1750's and 60's, most regiments, despite regulations, had from 4 to 6 fifers, with twice as many drummers. The War Office in 1811 made the latter proportion official.

For examples of fife and drum music, see

• Warlike Music, pub. Walsh, c. 1760
• Aird, Selection of Scotch, English, Irish, and Foreign Airs. Glasgow, 1778.

7

The fifers, marching abreast with their fifes in alignment, would incline their heads obliquely to right or left, to avoid blowing into their neighbor's ear.

11

Virginia and Colonial References

17

Summary

The British military band was fairly standardized by 1762 as 4 hautboys or clarinets, 2 bassoons, 2 trumpets, and 2 horns. By 1770, it seems, the 4 hautboys or clarinets had become 2 hautboys and 2 clarinets.

In 1781, Col. J. Taylor, in writing to Gov. Nelson, (of Va.) requested a band of 2 horns, 4 clarinets, 1 bassoon, and 1 oboe.

In 1785, Hunter described a British band at Niagara, Canada, as having horns, bassoons, clarinets, and hautboys, presumably 2 of each.

In 1786, a band of 2 clarinets, 1 flute, 2 bassoons, and 2 horns was employed in Philadelphia for outdoor concerts. In 1799, The American Marine Band was established with 2 oboes, 2 clarinets, 1 bassoon, and 2 horns.

It is evident that, as late as the turn of the century, the military band was made up as follows:

usual	large
2 hautboys	2 hautboys
2 clarinets	2 clarinets (perhaps 4)
2 bassoons	2 bassoons
2 horns	2 horns
	1 trumpet
	1 serpent

Fife and Drums.—The usual size of the fife and drum corps in the British Army, per regiment, was 4 to 6 fifers, and twice as many drummers.

i

TABLE OF CONTENTS

	page
The Format	ii
Introduction	1
An Ogle Chronology	2
Ogle as rate-payer	3
First announcement of concerts	3
Performers in the concerts	4
Programs for the concerts	5ff.
Advertisement for next season	16
Benefit for Mrs. Ogle	22
Ogles's advertisement, Gazette	25
The Inventory	26
Mrs. Ogle's advertisement	27
Settlement of the will	28
Summary, Part I	30

Analysis of music by composers	35ff
Unidentified music	111
Compositions positively identified	115
Compositions very probably included in inventory	118
Compositions probably included in inventory	119
Composers with unidentified compositions	120
Appraisal values and comparable costs in advertisements	121
Bibliography	123

ii

THE FORMAT

1

One of the major documentary sources for titles of music compositions that were known to be in, and heard in, Colonial Virginia is the Ogle Inventory in the York County Records of September 16, 1755 (VSL Micro). All that has been known of Ogle is that he appeared in Williamsburg, advertised that he would teach music (Virginia Gazette, March 28 and April 11, 1755), and then died on April 23, 1755. His estate was appraised by Peter Pelham and tow others, and the appraisal was filed in York County Court. The final settlement was recorded in the County Records on January 15, 1756 (VSL Micro).

In England, the Administration Act Book for 1755 records that on 6 November, 1755, administration for the goods, chattels, and credits of Cuthbert Ogle, late of the parish of St. Ann, Westminster, County Middlesex, deceased at Williamsburg, Virginia, was granted to Mary Ogle, widow, relict of said deceased. The date "May" and "November, 1756" noted on the margin beside the entry probably mean that papers relevant to Ogle's estate were submitted for examination in May, and that the estate was settled in November, 1756. The fact that administration was granted is evidence that no will exists. (Letter from Dr. George Reese, agent for the Virginia Colonial Records Project in England).

2

AN OGLE CHRONOLOGY

1748: Rate payer for the premises of the Great Room: "The Countess of Hindford for H. E. the Venetian Ambassador."

___________________

"The premises are in King Square (subsequently Soho Square), although the Concert Room stood on the east side of Dean Street, north of a yard connecting Dean Street with Frith Street. The site of the Great Room is now occupied by the West End Central Synogogue." (Letter to the writer from Mr. C. F. Orbson, Librarian and Archivist, City of Westminster Public Libraries, May 2, 1961).

____________________

1750, March 2. (London Daily Advertiser [IEAC Micro], hereafter referred to as LDA):

For the benefit of Mr. Perry and Mr. Gwynn at the Great Room in Frith-Street, Soho, late the Venetian Ambassadors, on Monday next, 26th Instant, a Concert of Vocal and Instrumental Musick; Vocal, Signor Gaetano Guadagni; 1st Violin, Mr. Brown; 2 Welch [sic] harps, Mr. Parry and Mr. Gwynn.

_____________________

(The Great Room was being used as a concert hall by the above date.

Soho was the name of harpsichord makers and players, and Mozart had Frith Street lodgings when he was in London (Kenyon, 204, 209).

_____________________

1751, November 4:
Entry from Watch Rate Book for the King Square Division of 3 St. Anne's Parish, shows "Ogle" as the rate payer on the premises. (Letter from Mr. C. F. Orbson, Ibid. The Parish records do not show the burial of any "Ogle" during the period January to October, 1755).

______________________

(Ogle leased the Great Rom and the house adjoining it for fifteen years from September 29, 1750. See: the entry below for August 23, 1755).

______________________

1751, November 5. (LDA):

By Subscription. At the Great Room in Dean-Street, Soho Square, will be perform'd twenty Concerts, the first Night to be on Saturday the 14th of December, and to be continued Weekly until the Whole are completed.

The Terms of Subscription are three Guineas for a single Ticket, and five Guineas for a double Ticket. The single Ticket to admit one Person, Gentleman or Lady: the double Ticket to admit two Persons, Gentlemen or Ladies.

Subscriptions are taken in, and delivered, by Mr. Ogle, at the Corner House of Frith-Street, in Soho-Square.

1751, November 11, 12, 14, 16, 21. (LDA):
The same advertisement repeated.

1751, November 30. (LDA):
The same advertisement repeated, with the addition:
First Violin by Signor Giardini."

______________________

(The First Violinist, or leader of the orchestra (called 'band') was Felice de Giardini, known as the finest violinist in Europe (Fanny Burney, quoted in Scholes, Burney). He made his first appearance as a soloist in London the previous year (1750), and soon established himself as a soloist, conductor, and teacher (See: Scholes; Burney, History; and Grove's). He became the leader of the band (orchestra) at the Italian Opera in 1752. He composed, and his Art of Playing the Violin, an instruction book, was one of the noted texts of the period, a copy of which was owned by Thomas Jefferson. Burney said Giardini's disposition was truly diabolical.

______________________

4

1751, December 5, 7. (LDA):
The November 30 advertisement repeated.

1751, December 9, (LDA):

By Subscription. At the Great Room…(same as before)…Gentlemen or Ladies.

The Room will be disposed in the most convenient and elegant manner for the Reception of the Company: and kept in proper warmth by the help of a German Stove to prevent them catching Cold. And as the Proprietor is resolved to spare no Expence to make everything the most agreeable in his Power he humbly hopes the Favour of the Publick being fully determined to make Additions and Improvements to their Entertainment as Occasion will offer.

The Vocal Parts: Signora Francesina, Signor Galli, Miss Sheward. The Instrumental Parts: 1st Violin, Signor Giardini: Hautboy, Mr. Vincent: Violoncello, Signor Pasqualini.

Subscriptions are taken in and Tickets delivered by Mr. Ogle at the Corner House of Frith-Street in Soho-Square. Attendance is given at the Room to shew it.

______________________

(Giardini has been given credit in various sources as the instigator and manager of the concerts. However, it will be noted that Ogle had advertised the series before Giardini's name was announced as first violin. At any rate, Ogle's importance cannot be discounted).^*

(The musicians who were advertised as participants in the concerts included several of the best and most liked professionals then appearing in London. (See November 30 re Giardini).

Elizabeth Duparc, known as "La Francescina," was a leading singer at the King's Theatre, Haymarket; she had come to London in 1738 and sang for Handel until 1749 (Deutsch).

Signora Caterina Galli, another operatic luminary, had come from Italy to London in 1743, been a pupil of Handel's, and had become an important personage among singers through her performances in opera and oratorio (Deutsch, 587).

The other singer was Miss Sheward, about whom nothing is known except that she must have been English; she seemed to specialize in singing English songs and arias.

The principal oboist was Thomas Vincent, Junior, a member of a London musical family. He had been a pupil of Giuseppi St. Martini (Sammartini), the greatest oboist of his time. The principal cellist was Signor 5 __________ Pasqualini, who may have been the son of Nicolai Pasquali, the violinist. (LDA, 28 March, 1745, advertisement of a concert: "concerto on violoncello…Signor Pasquali, Jun.°solo on violin, Signor Pasquali"). Pasquali (the violinist, wrote The Art of Figuring the Harpsichord and Thorough Bass Made Easy, both of which were also in Jefferson's library).

(All were extremely active in London concerts, opera, and theatres (See LDA, The London Stage, Burney)

______________________

1751, December 10, 11 (LDA):
The December 9 advertisement repeated.

1751, December 12 (LDA):
Advertisement repeated plus:

Subscribers are desired to take notice that the Doors will be opened at 6 and the Performance will begin exactly at 7 o'clock. Coaches are desired to come to the Door in Frith-Street & Chairs to the Door in Frith-Street or Dean-Street as happens to be convenient.

1751, December 13. (LDA):
Advertisement of December 12 repeated.

1751, December 14. (LDA):

At the Great Room…whole are completed. The first to be this Night, the 14th Instant…(remainder as before).

1751, December 16. (LDA):
Advertisement:

By Subscription. On Saturday next, being the 21st Instant, will be perform'd the Second Night of the Concerts at the Great Room…(remainder as December 9).

1751, December 17. (LDA):
Advertisement repeated.

1751, December 20 (Friday). (LDA):
Tomorrow night, the 21st Instant, at the Great Room…(same as previous advertisement) plus:
(The program was not given in this form, but as a continuous sentence. Words in parentheses were not included. See Part II for identification of composers 6 and compositions).

Overture		Pergolesi
Son le donna innamerate		Palma
	Miss Sheward
Pupille amabali		Jomelli
	Signor Pasqualini
Heart the Seat of soft Delight		(Handel)
	(from Acis and Galatea)
	Signora Francescina
Pastorella io Giuzezi		Ciamp(i)
	Signora Galli
Harpsichord Concerto		Signor Pasqualini
	Mr. Ogle
Concerto for Bassoon
	Mr. Miller

______________________

(John Miller, "the best Bassoon during his whole life that I can remember" (Burney, History), was noted for his performance of concertos at Vauxhall, etc., and the solo parts allotted him by Handel in his oratorios and concertos. (Baines, Woodwind Instruments).

______________________

The Prince unable (to conceal his Pain)		(Handel)
	(from Alexander's Feast)
	Miss Sheward
Datte sfere, sfolgorate		Giacomelly
	Signora Francescina
Concerto
	Signor Giardini
Basta cossi ticredo		Palma
	Signora Galli
Suite barbari amati stille		Hasse
	Signora Francescina
Concerto for French horns

1751, December 28 (Saturday). (LDA):
Advertisement for the third concert; it followed the same form as that of December 20, except that it stated "This evening…," and that the program, although in sentence form, was divided into "First Act" and "Second Act."

(The last names of the performers are given here, but they were prefixed with "Signor, Signora, or Mr.")

7

First Act

Overture, Esther		(Handel)
Shepherd, would you (hope to please us)		Palma
	Sheward
Alma che in can s'accendi		Lampugnani
	Galli
Concerto, Violoncello
	Pasqualini
But oh, Sad Virgini (L'Allegro)		Handel
	Francescina
Chi non sente almi dolore		Hasse
	Galli
Harpsichord Concerto		Rameau
	Ogle

Second Act

Hautboy Concerto
	Vincent
O 'tis Elyzium all		Pasquali
	Sheward
Fra tutte le pene va
	Francescina
Solo for Violin
	Giardini
La sper l'ombroso sponda		Ciampi
	Galli
Se l'amista to odegni		Palma
	Francescina
Fourth Concerto		Geminiani

1752, January 4 (Saturday). (LDA):
Advertisement for the fourth concert; same form as that of December 28.

First Act

Overture, Alcini		(Handel)
Where the Bee sucks		Pasquali
	Sheward
Quando mira il ciel		Lampugnani
	Francescina
Solo, Violoncello
	Pasqualini
So che per gisceo
	Galli
Caro spolo a mabo ogetto	Alberti
	Francescina
8
Concerto, Violin
	Giardini

Second Act

Harpsichord Concerto		Mr. Avison
	Ogle
Tropo Caro		Lampugnani
	Sheward
Se spontan vezzoze		Taradellas
	Galli
Hautboy Solo
	Vincent
Sca danni miei		Hasse
	Francescina
Spesso mi sento dir		Palma
	Galli
Concerto		Geminiani

1752, January 10 (Friday). (LDA):
Advertisement for the fifth concert, in the same form as that of December 28, but omitting "The room will be disposed…occasion shall offer," and "Subscribers are desired…to be convenient."

First Act

Overture, Alexander		(Handel)
To Song and Dance		Handel
	Sheward
Se al eigli l'usignuolo		Hasse
	Francescina
Sonata for Harpsichord and Hautboy		Giardini
	Vincent and Ogle

______________________

(Deutsch, 717, misread the order of the two names, and said that Ogle was the oboe player).

______________________

Oh inas petato		Veracini
	Galli
Se perde l'usigliuolo		Taradellas
	Francescina
Concerto, Violoncello
	Pasqualini

9

Second Act

Concerto Bassoon
	Mr. Baumgartner

______________________

(Samuel Baumgartner was another bassoonist who was extremely active in concerts and theatrical performances (see: LDA, Deutsch).

______________________

Gentle Swains and Nymphs combine		Pasquali
	Sheward
Quandon irei damari		Galuppi
	Galli
Solo, Violin
	Giardini
Sei Bella sei vezzoza		Taradellas
	Francescina
Chi non odei miei sospiri		Gionacchino
	Galli
First Concerto		Geminiani

1752, January 11 (Saturday). (LDA):
Advertisement of January 10 repeated.

1752, January 17 (Friday). (LDA):
Advertisement for the sixth concert.

First Act

Overture Guilini
The Hero first on native Plains		Pasquali
	Sheward
Care luci		Jomelli
	Francescina
Solo, Violoncello
	Pasqualini
Non et se sdigno o amore		Taradellas
	Francescina
Harpsichord Concerto		Handel
	Ogle

Second Act

Concerto, Hautboy
	Vincent
How blest the Maid (Hercules)		(Handel)
10
Vo solcando un mar crudele		Vinci
	Galli
Solo, Violin
	Giardini
Ritorna a di soreni		Hasse
	Francescina
A me ritornate		Lampugnani
	Galli
Concerto		Geminiani

At the end of the program:
Note: A first and second Floor furnished with a large Kitchen and Offices in Soho-Square to be lett. Enquire of Mr. Ogle.

1752, January 18. (LDA):
Advertisement:

Benefit Concert for Mr. Gwynn at the Great Room in Dean-Street, Soho. Vocal: Signora Galli; 1st Violin, Signor Giardini; Violoncello, Signor Pasqualini; Hapr, Mr. Gwynne. Tickets to be had at Mr. Ogles in Frith-Street…5 shillings each.

1752, January 24 (Friday). (LDA):
Advertisement for the 7th concert.

First Act

Overture	Handel
With ravish'd Ears (Alexander's Feast)		Handel
	Sheward
Se pace tu non		Lampugnani
	Francescina
Harpsichord Solo
	Ogle
A se amante		Lampugnani
	Galli
Mio cor non sospiror		Hasse
	Francescina
Concerto, Violin
	Giardini

Second Act

Concerto, Bassoon
	Baumgartner
11
Bless'd as the immortal Gods		(Worgan)
	Sheward
Almen se non passio		Manfredini
	Galli
Hautboy Solo
	Vincent
Scherza la Pastorella		Araya
	Francescina
Varcan col vento		Ciampi
	Galli
Concerto		Geminiani

Added to the price of tickets) "Tickets for the Night at Half a Guinea each."

1752, February 8 (Saturday). (LDA):
Advertisement for the 9th concert.

Act I

Overture		Handel
Who'll buy a Heart		Stanley
	Sheward
Morning Lark (Semele)		(Handel)
Solo, Violoncello
	Pasqualini
Io Chepe giolo
	Galli
Myself I shall adore (Semele)		Handel
	Francescina
Concerto		Geminiani

Act II

Concerto, Hautboy
	Vincent
Bel piacer Saria d'un Core		Lampugnani
	Sheward
Pastorella		Ciampi
	Galli
Solo, Violin
	Giardini
Ritorna al caro bene		(Barsanti)
	Francescina
Quel rosceleto		Ciampi
	Galli
8th Concerto		Corelli

12

1752, February 14 (Friday). (LDA):
Advertisement for the 10th concert.

Act I

Overture		Handel
Where the Bee sucks		Pasquali
	Sheward
Io no so, consorto		(Consorto?)
	Francescina
Concerto, Bassoon
	Miller
Rasserena		Gluck
	Galli
L'alto idea		Schiaffi
	Francescina
Concerto, Harpsichord		Handel
	Ogle

Act II

Concerto, Hautboy
	Vincent
Come, ever smiling Liberty (Judas Maccabeus)	Handel
Chi non cliente		Hasse
	Galli
Solo, Violin
	Giardini
Pirvo del caro		Porpora
	Francescina
Spera il Pastor		Paradies
	Galli
Concerto		Geminiani

1752, February 22 (Saturday). (LDA):
Advertisement for "this day," 11th concert.

Act I

Overture		Handel
Let me wander (L'Allegro)		Handel
	Sheward
Dimmi caro (Scipio)		(Handel)
	Francescina
Concerto, Violoncello
	Pasqualini
Alma che in can s'ascende		Lampugnani
	Galli
13
Dica il falso (Alessandro)		Handel
	Francescina
Concerto for French horns

Act II

Concerto for the Hautboy
	Vincent
Ye gentle Gales (that fan the Air)		(Eccles)
	Sheward
Spesso mi sento		Palma
	Galli
Solo, Violin
	Giardini
si l'intendesti si (Faramondo)		Handel
	Francescina
Non caro l'affetto		Manfredini
	Galli
Concerti		Martini

1752, February 29 (Saturday). (LDA).
Advertisement for "this day," 12th concert.

Act I

Overture		Handel
O God-like Youth (Saul)		Handel
	Sheward
Il mio cor che gia perte		Handel
	Francescina
Solo, Violoncello
	Pasqualini
No so se suegno		Tarradellas
	Galli
Da queste soglio io shendo		Lampugnani
	Francescina
Concerto for the Harpsichord
	Ogle

Act II

Concerto on the Hautboy
	Vincent
Troppo Caro		Lampugnani
	Sheward
Il cor mio (Alessandro)		Handel
Solo, Violin
	Giardini
A scolto idolo mio		Veracini
	Francescina
14
La per l'ombrosa		Ciampi
	Galli
Concerto		Martini

1752, March 5. (LDA):
Advertisement:

For the Benefit of Signora Gambarini, at the Great Room in Dean-Street, Soho, on Thursday the 12th of March, will be a Concert of Musick. Vocal: Signor Gambarini, Signora Galli. First Violin, Signor Pasquali.

Signora Gambarini, being desired, will play on the Organ. In the second Part will be perform'd some of the choicest songs and duets from the celebrated Stabat Mater of Pergolesi. The Whole to be concluded with the 4th Concerto of Corelli, with the new addition of Trumpets, French horns, and Kettledrums. Tickets at…Mr. Ogles…

______________________

(Evidently there was an organ in the concert room. Whether Ogle had installed it or not is not known.)

1752, March 7 (Saturday). (LDA):
Advertisement for the 13th concert.

Act I

Overture		Galuppi
As when the Dove (Acis and Galatea)		(Handel)
	Sheward
In Lasciar		Galuppi
	Francescina
Solo, Violoncello
	Pasqualini
Provo Sono		Handel
(may be a corruption of Priva son d'Ogni, from Guilio Cesare (deutsch, 660)
	Galli
Se perce		Terradellas
	Francescina
Concerto on the Hautboy
	Vincent

Act II

Concerto, Bassoon
	Baumgartner
15
Ye verdant Plains (Acis and Galatea)		Handel
	Sheward
Dall caro bene		Leo
	Galli
Solo, Violin
	Giardini
Scherzo la Pastorella		Araya
	Francescina
Ame ritonrnate		Lampugnani
	Galli
Concerto		Mr. Avison

1752, March 14. (LDA):
Advertisement for the 14th concert, but the program was not included. Added:

The Subscribers to this Concert are requested to meet this Evening immediately after the Concert is finished in Mr. Ogle's House in order to consult on the proper Regulations for the next Season…next Subscription the last Saturday, December, 1752.

1752, March 16 (Monday). (LDA):
On first page in news column:

The Lovers of that sweet Instrument, the Violin, may hear it, in its utmost Perfection, tomorrow, for Miss Sheward's Benefit, at Mr. Ogle's Great-Room, in Dean-Street, Soho, when Signor Giardini will be so obliging as to perform, and likewise Signor Chabran.

1752, March 17 (Tuesday). (LDA):
On first page in news column:

It is certain that Sig. Chabran and Sig. Giardini are to play solos on the Violin, this Day, at Miss Sheward's Benefit, at the Great-Room in Dean-Street, Soho.

1752, March 19 (repeated March 21). (LDA):

For the Benefit of Signor Degiardino, will be perform'd a Concert of Vocal and Instrumental Musick at the Great Room in Dean-Street, Soho, on Thursday, the 9th of April. Tickets to be had at Signor Degiardino's in Bow-Street, Covent-Garden, and at Mr. Simpson's Musick-Shop in Sweeting's Alley, at half a Guinea each.

16

1752, March 21 (Saturday). (LDA):
Advertisement for the 15th concert; no program was given. Plus:

Subscriptions for the ensuing Season opened on the following— single Tickets 3 Guineas, double 5, triple, 6. Present Subscribers paying the Deposit will be entitled to Preference in case the Number of Subscriptions exceed the Number proposed.

______________________

(It seems obvious that Ogle was connected with the series that was planned for the next season, at least in the capacity of manager).

______________________

1752, March 28 (Saturday). (LDA):
Advertisement for the 16th concert; no program. The proposal for subscriptions for the next season was repeated.

1752, April 4 (Saturday). (LDA):
Advertisement for the 17th concert; no program.

1752, April 4. (Deutsch, 723). From the General Advertiser:

At the Great-Room in Dean-Street, Soho, this Day, will be performed the 17th of the Subscription Concerts. Ist Act, Overture of Rolinda, Handel. IInd Act, With ravish'd Ears (Alexander's Feast), Handel, Miss Sheward.

______________________

(Deutsch lists only the Handel numbers that were performed).

______________________

1752, April 8 (Wednesday). (LDA):
Advertisement for Giardino Benefit (see: March 19) repeated, with change of date to Friday, April 10, plus:

Vocal: Signoras Galli and Frasi; Instrumentalists: Degiardino, Vincent, Pasquali, Miller, Colla, &c. Tickets delivered for the 9th will be taken the 10th.

1752, April 11 (Saturday). (LDA):
Advertisement for the 18th concert; no program; with addition 17

"Signora Frasi is engaged for the ensuing Season."

______________________

(Giulia Frasi, soprano, appeared in Handel's new oratorio Jeptha in 1752; the last mention of the Great Room in Deutsch was for her benefit in 1759).

______________________

1752, April 11 (Saturday). (Deutsch, 724). From the General Advertiser:

…Ist Act, Overture, Handel. IInd Act: Ye verdant Plains (recit. and aria, Hush 70 pretty Warblers, from Acis and Galatea, Handel), Miss Sheward.

1752, April 15 (repeated April 17). (LDA):

…Great-Room, Dean-Street, a Benefit Concert for Signor and Signora Pasaerini. Signora to sing a Cantata of Pergolesi, and new Songs never heard before in London, and an English Song compos'd by Mr. Handel. Signor Passerini…solo on the Violin and Viola d'Amour, and produce some Overtures of his own composing. Tickets… and at Mr. Ogle's, the corner of Frith-Street and Soho.

1752, April 18 (Saturday). (LDA):
A short announcement for the 19th concert; no program.

1752, April 20. (LDA):
Advertisement for a benefit concert for 8 year old Miss Davis on the harpsichord, a concerto by Handel. "Tickets at Mr. Ogle's."

1752, April 25(Saturday). (LDA):
Advertisement for the last concert of the series. The program:

Act I

Overture		Handel
Smiling Dawn of Happy Days (Jeptha)		Handel
	Sheward
Regio il sangue
	Francescina
Solo, Violoncello
	Pasqualini
Non so	Galli

______________________

(Perhaps "Ho un non so che nel cor," from Handel's Agrippina)

______________________

18

Dimmi che vaga
	Francescina
Concerto, Hautboy
	Vincent

Act II

Concerto, Bassoon
	Miller
O 'tis Elysium all		(Pasquali)
	Sheward
Non aragione ingrato
	Galli
Solo, Violin
	Giardini
Quell fabro adorato
	Francescina
La per l'ambrosa spondo
	Galli
Concerto		Geminiani

Added: "The Subscription for the ensuing Season is opened."

1752, November 28. (LDA):
Announcement of the subscription concerts for 1753. Twelve concerts, the first on Saturday, January 20. The vocal parts by Signora Frasi, Miss Turner, and Signor Guadagni. Instrumentalists: first violin by Signor Ciabrin. The subscribers' names were taken in at the Concert Room in Soho Square; "Note: the Money to be lodged in a Banker's Hand."

______________________

(There were two Miss Turners: a Molly Turner, who sang at the Apollo Room in the Devil Tavern near Temple Bar (LDA, March 7, 1745), and a Deborah Turner, the vocalist at Castle Tavern, Pater Noster Row (LDA, March 20, 1746).

(Signor Gaetano Guadagni, a male alto, sang in Handel's oratorios and at the Haymarket Theatre (Deutsch).

(Signor Ciabrin was Charles(?) Chabran, a violinist who was active in London music circles; he published some solos).

______________________

1752, December 16. (LDA):
Announcement of the concerts, the same as that of November 28, 19 but with the addition:

…subscriptions to be taken in at the Concert Room in Soho-Square and at Mr. John Millan's, Bookseller opposite the Admiralty. The Subscription Money to be lodged in the Handes of Mr. George Campbell, Banker, by Mr. Millan in whose Name the Account is to be kept and settled."

______________________

(Just why the money for the subscriptions was to be handled by a banker is not known. There may have been a disagreement among the members of the group as to the management of the funds).

______________________

1752, December 28. (LDA):
The December 16 announcement repeated, plus:

"Violoncello, Signor Cervetto; Hautboy, Mr. Eiffeird; Bassoon, Mr. Miller."

______________________

(James Cervetto (the younger) "ye fine Violoncello performer" (Deutsch, 824, quoting Mary Hamilton's Diary). (The writer has not been able to find anything concerning Mr. Eiffeird, the oboist).

______________________

1753, January 4. (LDA):

Announcement of subscription concerts by Giardino and Thomas Vincent, at the Great Room, Dean-Street, Soho, starting on Tuesday, the 23rd…"No person can be admitted without being introduced by a Subscriber. Tickets…at Mr. Vincent's in Shepherds-Street, Hanover Square. Note: the second Day's Concert is to be the Monday following, Tuesday being the Mayrterdom of Charles I."

______________________

(Giardino and Vincent evidently left the original group, and started a series of their own).

1753, January 23. (LDA):
Advertisement of Vincent-Giardino concerts; under that, announcement 20 of the Chabran concerts; under that, announcement of a benefit concert for Mr. Gwynne, harpist; all at the Great Room, Dean Street, Soho. "Tickets for"…Gwynne benefit…"to be had at Mr. Ogle's…"

1753, February 5. (LDA):
Advertisement for Vincent-Giardini concerts, with instructions concerning the direction in which the heads of the horses pulling carriages should be faced on Dean and Frith Streets, to avoid accidents.

______________________

(The concerts must have been well attended by the "carriage trade.")

______________________

1753, February 19. (LDA): Announcement of a benefit for Mr. Gwynn and Mr. Palma, on Wednesday, February 28. Performers: Galli, Chabrun (sic), Cervetto, and "Mr. Colla will perform some new pieces on the calascioncino…Tickets to be had at Mr. Ogle's in Frith Street…"

______________________

(Who Mr. Colla was is not known. The calascioncino was a lute­like instrument).

______________________

1753, February 27. (LDA):

The Subscribers to Sig. Giardino and Mr. Vincent's Concerts in Dean-Street, Soho, having found great inconveniency in bringing their Friends on paying half a Guinea it is hoped that no Person will take it ill that they cannot be admitted for the Future. Note: The Subscribers own Ticket admits one Person, either Gentleman or Lady. The red Ticket admits Ladies only.

The 6th, 7th, 8th, and 9th Chabran concerts had very small notices.

1753, March 5. (LDA):
Benefit for Mr. Freake at the Great-Room, Dean Street, Soho; 21 instrumentalists included Pasqualini, violoncello, Baumgartner, bassoon, and Chabrun, violin.

______________________

(John George Freake was a violinist who appeared often in Handel performances (Deutsch, passim).

______________________

1753, March 10. (LDA):

For the Benefit of Mr. Chas. Barbandt at Mr. Ogle's Great Room in Dean-Street, Soho, on Monday next, the 12th instant, will be a Vocal and Instrumental Concert. …New Grand Choress (sic) God Save the King, composed by Mr. Barbandt… Tickets to be had…and at Mr. Ogle's Room…

1753, March 13. (LDA):
Announcement by Sig. Passerini and the two Signors Pla "Thursday, March 15, will be the first Spiritual Concert". (at the Great Room). Vocal, Signora Passerini, Guadagni; instrumental, Passerini, violin, Pla(s), oboe, and Gordon, cello… "extraordinary Tickets are to be ½ a Guinea for the Pit, and for the Gallery, 5 shillings."

______________________

(The Great Room had a gallery. (Deutsch, 697, 764) George Philip Telemann (at the Hague) recommended Signora (Christini)Passerini's singing to Handel; she sang in London operas 1753-54, and from 1754 on in Handel oratorios. Guiseppe Passerini, violinist; conducted Messiah in Dublin; leader of Handel oratorios in Bath, May, 1755.
(Deutsch, 18) The two brothers Pla(t), famous oboe players from Madrid.)

1753, March 26. (LDA):
Announcement of benefit for Sig. Chabran at Mr. Ogle's Great Room…Tickets at Mr. Ogle's.

1753, March 29. (LDA):
Announcement of benefit for Mr. Toy at "Mr. Ogle's Great Concert 22 Concert Room" followed by a ball.

1753, March 31. (LDA):
Benefit of Mr. Rice and Mr. Evans at Great Room. Ogle is not mentioned.

1753, April 5. (LDA):

Signor De Giardino thinks it is his Duty to inform the Publick that he is not under any Contract or Engagement to play at the Concert, Dean-Street, Soho, for the Benefit of Mrs. Ogle, and that the Advertisement handed about on that Account is without his Consent.

1753, April 11. (LDA):

For the Benefit of Mrs. Ogle (as by an Agreement with Signor Giardini and Mr. Vincent before the Saturday night Concerts were fixed) at the Great-Room, Dean-Street, Soho, on Saturday next will be a Concert of Musick. First Violin by Signor Giardini, Hautboy, Mr. Vincent, and the other Instrumental Performers the same as at the Tuesday night Concerts. Tickets to be had of Mrs. Ogle at the Room…Pit, ½ a Guinea, and Gallery, 5 shillings.

1753, April 11 (LDA), same column:

…Kings Theatre, Haymarket, on Tuesday, the 17th, a Concert…Galli, Frasi, Guadagni, Mr. Beard, Mr. Wass, Chabran, Pasqualini, Vincent, Miller.

1753, April 12. (LDA):

April 11, 1753, Signor Giardini has this Day consented to perform at Mrs. Ogle's Benefit on Saturday next with Mr. Vincent and their whole Band. Note: Signor Giardini refusing to play was owing to some Misunderstanding between him and Mr. Vincent.

1753, April 13. (LDA):
Announcement as of April 11, plus: 1st Violin, Giardini, Hautboy, Vincent; Violoncello, Pasqualini; Bassoon, Miller; Vocal: Frasi, Vestris, etc… Tickets of Mrs. Ogle at the Room.

23

1753, April 21. (LDA):
Benefit for Master Moore… Concert of Musick at Ogle's Great Room, Dean-Street, Soho…

1753, December 28. (LDA):
Announcement of Giardini's and Chabran's subscription concerts at the Great Room, Dean-Street; no mention of Ogles.

1754, April 1. (LDA):

For the Benefit of Mrs. Ogle, at the Great Room in Dean-Street, Soho, on Thursday next… a Concert… Vocal Parts: Signora De Giardini, Signora Chabran, Miss Sheward. Instrumental: Signor De Giardini, Signor Chabran, Signori Pla, Signor Lanzetti, Mr. Gordon. Tickets… to be had at the Great Room.

______________________

(Mrs. Ogle evidently was still acting as manager of the Great Room, although it was no longer called Mr. Ogle's Great Room).

1754, April 24. (LDA):
Arrived the Dolphin, Cunmanun (sic), from Virginia. (see: February 28, 1755).

______________________

From Dictionary of National Biography: (???)

Concanen, Matthew (1701-1749). Misc. writer; b. Ireland. Deserted law for literature. To London with J. Sterling (author of 2 tragedies, 1722 + 36, and afterward a clergyman in Maryland).
In 1736, Concanen wrote for the Daily Courant. Through interest of Duke of Newcastle and Sr William Yonge, was appointed Att'y-General in Jamaica, 1732. Married a planter's daughter, returned to England with a fortune in 1743; died 1749. With Brome and Sir. W. Younge in altering Jovial Crew to a ballad opera; some songs in Musical Miscellany, 1729.

1754, May 27. (LDA):
Report of anniversary sermon and Anthem and Te Deum of Handel and Boyce for Middlesex Hospital. Governors dined afterwards at the 24 Great Concert Room in Dean Street.

______________________

(Obviously Mrs. Ogle was renting out the room for other purposes than just concerts).

1754, November 20. (LDA):
From the news column, first page:

We hear that a Subscription is begun by several Nobility & Gentry for a select Assembly at the Great Concert Room in Dean-Street, Soho.

1754, November 25. (LDA):
Announcement of Assemblies. Subscriptions taken and sent for by Mrs. 0gle.

______________________

(The Assemblies ware balls).

1754, December 3. (LDA):
Notice about Assemblies. Tickets to be exchanged to be sent to Mrs. Ogle in Soho-Square.

1755, January 15. (LDA):
Benefit for Mr. Robinson, organist at Westminster Abbey…at "MR. Ogle's Great Room"…

1755, February 25. (LDA):
Benefit for Mrs. Ogle…Tickets at Mrs. Ogle's in Soho Square.

1755. February 28. (Virginia Gazette):
In column under "Entered Inwards in the Lower District of James River:"

Jan. 7- Dolphin, James Concannon, from London with European goods.

25

1755, March 28. (Va. Gaz.):

The Subscriber living at Mr. Nicholson's in Williamsburg proposes to teach Gentlemen and Ladies to play on the Organ, Harpsichord, or Spinet; and to instruct those Gentlemen to play on other Instruments so as to enable them to play in Concert. Upon encouragement I will fix in any Part of the Country.
Cuthbert Ogle.

______________________

(Significantly, Ogle offered to teach ensemble playing. There very well may have been a rising demand for such instruction. John Blair mentions a "concert at the College" in his Diary in 1750 (7W(l); the instrumental accompaniment for the Beggar's Opera, presented by the Murray-Kean Company in Upper Marlborough in 1751, was furnished by a "set of private Gentlemen." (Rankin). Several Virginians greatly interested in music had returned recently from England, where they had continued their education, and where they had undoubtedly heard, and probably played, a great deal of music. Robert (Councillor) Carter, for example, was at Inner Temple 1749-51, and Philip Ludwell Lee was also there in 1747, and perhaps as late as 1750. There was considerable musical activity not only near the Inner Temple, but in it. For instance, LDA, November 21, 1749, carries a story concerning the competition for appointment as assistant organist to John Stanley at Temple Church).

1755, April 11. (Va. Gaz.):
Advertisement of March 28 repeated.

1755, April 23. (see: Appraisement, below):
Cuthbert 0gle died.

1755. April 26. (LDA):
Advertisement of benefit concert for Widow Hallett and children… "Tickets at Mrs. Ogle's in Dean-Street."

26

1755, May 15. (York County Record Book XX, p. 373. VSL Micro).
An Appraisement of the Estate of Mr. Cuthbert Ogle, Decd April 23d, 1755.

1 plad nightgown	£ -/7/ 6
1 new cloth Coat & Green Waistcoat	2/10/ ­
An old grey Coat & Waistcoat	1/ -/ ­
New Market Coat	1/ 6/ ­
Old Cloak	-/10/ ­
11 Shirts	-/40/ ­
6 Cravats	-/7/6
5 pr. Stockings	-/20/ ­
6 Towils	-/3/9
4 Linnen Handkerchiefs	-/ 5/ ­
1 Silk Handkerchief	-/ 3/ ­
2 Wiggs	-/10/ ­
2 prs. Shoes	-/10/ ­
1 pr. Boots	-/ 5/ ­
1 hair Trunk	-/15/ ­
old Hatt	-/ 5/ ­
1 plain gold Watch	15/-/ ­
1 Spy Glass	-/10/
½ lb. green Tea	-/ 4/ ­
some Fiddle Strings	-/ 4/ ­
2 pr. Temple Spectacles	-/ 5/ ­
2 sets shoe & knee Buckles	-/ 2/ 6
a Fiddle & Case	-/21/ 6
Harsichord & 2 hammers	22/11/6

(ITEM)
1.	2 Sets Pasquali's Overtures 4/-each	-/ 8/ ­
2.	10 books Handels Songs	1/10/ ­
3.	4 large Sets Italian Songs	1/ -/ ­
4.	6 Sonatas by Shickard	-/ 4/ ­
5.	4 books of Symp: to Handels Oratorias	-/10/ ­
6.	The Musical Entertainment	-/ 5/ ­
7.	Lamps Songs	-/ 5/ ­
8.	Apollos Feast by Handel	-/ 5/ ­
9, 10.	Nares Lessons 6/-; Avisons Concerto's 4/-	-/10/ ­
11, 12.	6 Concertos by Burgess and 6 by Hasse in one book	-/ 7/ 6
13.	4 small Books of Stanley	-/ 8/ ­
14.	6 Sonata's degeardino	-/ 5/ ­
15, 16.	Lamps Thorough Bass 7/6: Alberti's 8 Sonatas 5/-	-/12/ 6
17, 18.	5 Concertos by Ramsea 4/-; 2 Concertos by Avison 1/6	-/ 5/ 6
19.	6 Concertos by Hibden in 7 Parts	-/ 8/ ­
20.	1 Concerto in 7 Parts by Avison	-/ 1/ 4
21.	12 English Songs by Pasquali	-/5/ ­
22.	1 large book of Songs Palma	-/ 5/ ­
27
23.	Songs in Acis & Galatea, Handel	-/ 5/ -
24, 25.	Alcock's Lessons 4/-; Grannoms Songs 4/-	-/ 8/ -
26.	1 Volo Feltons Concertos	-/ 4/ 6
27.	8 Concerto's Avisons	-/ 6/ -
28.	Felton's Lessons	-/ 4/ -
29.	Corelli's Sonatas in score manu.	2/ -/ -
30.	No. 13	-/ 2/ 6
31.	Leveridges Songs in small	-/ 4/ -
32.	Songs by Hasse	-/ 4/ -
33.	Catches by Purchett & Blow	-/ 2/ -
34.	Ballads by Grannom	-/ 3/ 6
35.	An unbound book of Italian Songs	-/ 4/ 2 (?)
36.	5 large Books of Concertos manu.	1/ -/ -
37.	Harlequin Ranger	-/ 2/ -
38.	Loose Musick	-/ -/ 6

Peter Pelham
Charles Jones
John Low

Returned into York County Court the 15th Day of September 1755 and ordered to be recorded.
Teste
Thos Everard
CYC Court.

1755. August 23. (LDA):

Mrs. Ogle, the present Manager of the Great Room in Dean-Street, Soho-Square, being desirous of retiring from this Employment on account of the Decease of her late Husband, Mr. Ogle, the said Room, with the large and commodious House adjoining, will either be let at an annual Rent for a Term of Years or disposed of for the Remainder of the Lease which is 10 Years to come from Michaelmas (Sept. 29) next. Enquire of John Fielding, Esq. at his Home in Bow-Street, Covent-Garden or at his universal Register Office in the Strand in Bishopgate-Street.

______________________

(John Fielding (later Sir John) was the younger half brother of Henry Fielding. Blind from birth, he was Henry's assistant and successor as a magistrate. Ca. 1752-7155. He ran a universal Register Office, a sort of general agency for houses, servants, and various advertising purposes. (DNB, Brit. Authors).

28

1755, September 15.
Appraisement recorded, York County Court.

1755, October 11 and 16. (LDA):

Mrs. Ogle, the present Manager… (see: Adv. of August 23)… remainder of the Lease of which 10 Years are yet to come. Enquire of the above mentioned Mrs. Ogle at her House in Frith-Street, Soho-Square.

1755, October 16. (LDA):

At quarter Sessions to the City and Liberty of Westminster… Licenses were granted to Mr. Hugford and to Mrs. Ogle pursuant to an Act of Parliament of the 25th of his Present Majesty—to have Concerts at their Rooms in Brewer-Street and Dean-Street, Soho.

______________________

(The Mr. Hugford was, of course, Mr. Hickford.
Mrs. Ogle perhaps had applied for the license before hearing of the death of her husband, or she may have taken out the license in order to continue managing the Great Room until she could either rent or lease it. There are numerous references to the Great Room in Soho in later issues of LDA, but no reference to Mrs. Ogle as manager have been found).

1756, January 16. (York County-Records. VSL Micro).
Final settlement of the will.

Dr the Estate of Mr. Cuthbert Ogle with Robert Nicholson.

To a Room and Board 3 week at £3 p. month per agreement	£-2/ 5/ ­
To washing Linen before and after his Death	-/12/ ­
To Nursing while Sick 2 People constantly attending	3/4/ 6
To pr. S. real Stocking 4/. Holland Bag(?) 1/6; pr. white Glove 2/6	-/ 8/ ­
To pr. Linnen Draws 2/6; Sheet 10/; People for Shrouding 2/6	-/15/ ­
To Wines & Punch at his Funeral 15/; 2 doz(?) candles 16.	-/14/ 6
To 6 Bearers 15/ The Sextons Acct 17/	1/12/ ­
To my Expenses going to York to administer	-/10/ 6
To Mr. Anthony Hays Acct for the Coffin & hire of a Cart	4/16/ -
To Dr. Peter Hays Account for Medecine & Attendance	4/19/ 3
29
To Dr. John de Sigueyra Attendance Gratis	-/ -/ ­
To Mr. John Duncastle Account for eating and lodging	-/7/6
To Mr. Edward Charlton for Shaving	-/ 3/ 9
To Mr. John Low for cleaning Gold Watch	-/ 5/ ­
To charge of Liquor at the appraisement	-/5/ ­
To Mr. Tho. Penmans Acc. for Selling the Estate	1/l2/­
To Capt. James Cuncanons Acc't for Money Advanced	4/13/ 8¼
To Mr. Peter Pelhams Account	1/ 1/ 8
To Mr. Tho. Everards Acct for fees 180 to(?) jobo (tobacco?) @ 2d	1/10/ ­
To 5 pct commissions on £68/15/ 9	3/8/9
	33/ 6/ 1¼
Ballance due to the Estate	35/9/7-¾
	£68/15/ 9
By the sale of a Harpsichord	£24/11/ 6
By a plain Gold Watch	13/ -/ ­
By a Fiddle & Case 40/6; Musick Books £6/12/-	8/l2/6
By 2 prs Spectacles 6/-. Wigbox 3/ 1½
Some Fiddle Strings 4/-	-/13/ 1½
Old Block (hat) 10/- ½ lb. Green Tea 4/-; 6 Towils 3/9; 4 handkerc. 5/-	1/ 2/9
Suit cloathes £3/15/ 6. Nell Market Coat £2/ 3/­	5/10/ 6
Nightgown 15/6; Coat & Waistcoat 2/14	3/ 9/ 6
5 Pr. Stockings 23/-; 6 Cravats & Silkhand. 22/-	2/ 5/ ­
11 Shirts £3/ 2/-; 2 pr. shows (?) 12/6­ Hair trunk 13/6.	4/ 8/ -
Gray Coat & Waistcoat 17/-; 2 Wiggs 16/­	1/13/ ­
Old Coat & 2 pr. Breeches 14/-; Old hat 6/­	1/ -/ -
Pr. Shoes 1/6: 2 pro Buckles 1/ 10½
A Spy Glass 22/6	1/ 5/10½
	£68/15/ 9

1756. Jan. 15. In Obedience to an Order of York Court dated the 15th Dec. 1755 we have examined the acc't of Robt Nicholson's Adm-pn of the Estate of Cuthbert Ogle Decd and find the above acct truly stated so that there is due from the said Nicholson to the said Estate
£ 35/ 9/ 7-¾ currt Money

Thos Hornsby
Jno Coke
Blovet Pasteur

Returned into York County Court 19th day of Janry 1756 and ordered to be recorded.
Teste Thos Everard YC Court

29-A

Letter from Dr. George Reese, agent for the Virginia Colonial Records Project in England:

The Administration Act Book for 1755 records that on 6 November 1755, administration of the goods, chattels, and credits of Cuthbert Ogle, late of the parish of St. Ann, Westminster County Middlesex, deceased at Williamsburg, Virginia, was granted to Mary Ogle, widow, relict of said deceased. The dates "May" and "November 1756" noted in the margin beside the entry are thought to mean, perhaps, that papers relevant to Ogle's estate were submitted for examination in May, conceivably of 1755 but perhaps of 1756, and that the estate was settled in November 1756; but, I was told, nobody really knows what these dates mean. The fact that administration was granted is evidence that no will exists.

______________________

(It seems hardly possible that news of Ogle's death could have reached Mrs. Ogle by May, 1755. The May entry must have meant that papers were presented in 171756 relevant to the estate, and that the final settlement in England was in November, 1756. The results of the Virginia settlement, made in January, 1756, could arrive by May, further bearing out this supposition.)

35

Domenico ALBERTI

INVENTORY:

(Item #16) Alberti's 8 Sonatas

5/ -

CONCERTS:

The Sonatas were not performed.
Caro spolo a mabo agetto	(Francescina)	1/ 4/52
(Not mentioned in the Inventory)

______________________

C. W. Mus. Col.= VIII Sonata per Cembalo, opera Primo, da Domenico Alberti. London, Printed for J. Walsh. (c. 1750).

______________________

LDA.= 1748, December 14. Walsh advertisement: 8 Sets of Lessons for Harpsichord or Organ by Domenico Alberti of Rome played with greatest applause by Sig. Jozzi.

----------------------

The Sonatas in the C. W. Collection are the same set that was advertised by Walsh in 1748, and the same Sonatas that were in the Inventory. The C. W. Copy should be dated at least as early as 1748.

----------------------

The Caro spolo may have been included in Item #35 (An unbound book of Italian Songs), or Item #38, Loose Musick.

______________________

Groves V."—Alberti, Domenico. 1710-1740. Italian singer, harpsichordist, and composer, pupil of Lotti. Wrote some operas and considerable number of sonatas, some of which were very popular with musical amateurs. "Not very probable that he invented the Alberti bass…but he certainly brought it into undue prominence in his sonatas." A set of 8 sonatas of his, 36 which were published by Walsh in London (n.d. given) affords a good illustration of his love of it. An example from the beginning of the 6th sonata is given, I, 94. (Same as the 6th Sonata in the C. W. Collection).

37

John ALCOCK

INVENTORY:

(Item 6124) Alcock's Lessons

4/ -

CONCERTS:

Not performed.

______________________

Brit. Mus.—Six Suites of Easy Lessons for the Harpsichord or Spinnet, with a Trumpet Pierce (sic). pp. 32. London, Printed for the Author, 1741. Obl. fol.

Six Suites of Easy Lessons for the Harpsichord or Spinnet, with a Trumpet Piece. Reading, Printed for the Author (1742). Obl. fol. (Imperfect).

______________________

Groves V: Alcock, John. b. London, 1715, d. Lichfield, 1806. Church organist and composer. D. MUS., Oxford, 1761. Pupil of Stanley. In 1737 published "Six Suites of Lessons for the Harpsichord."

38

Francesco ARAIA (ARAYA)

INVENTORY:

Not mentioned.

CONCERTS:

Scherzo 18 Pastorella	(Francescina)	1/24/52
		3/ 7/52

______________________

The Scherzo la Pastorella was popular enough with the audience to have been repeated.

----------------------

The aria may have been included in Item #35 (An unbound book of Italian Songs), or Item #38 (Loose Musick).

______________________

Groves III:—Araia (Araya), Francesco. 1700-d. before 1770. Spent Much time in Russia from 1736 on; first composer to have written an opera in the Russian language (1755). None of his works seem to have been printed, but a single air in a pasticcio, Orfeo, was performed in London in 1736 (but see above).

39

Charles AVISON

INVENTORY:

(Item #10). Avison's Concertos.	-/ 4/ ­
(Item #18). 2 Concertos by Avison.	-/1/ 6
(Item #20).	1 Concerto in 7 parts by Avison	-/ 1/ 4
(Item #27).	8 Concertos by Avison.	-/ 4/ 6

CONCERTS:

Harpsichord Concerto (Ogle)	1/ 3/52
Concerto	3/ 7/52

(Obviously a concerto grosso, since it was last on the program).

______________________

43

Francesco BARSANTI

INVENTORY:

Not mentioned.

CONCERTS:

Ritorna al caro bene.

(Francescina)

2/ 8/52

----------------------

May have been included in Item #35 (An unbound book of Italian Songs), or in Item #38 (Loose Musick).

----------------------

______________________

Groves V:= b. Italy, 169_, d. ? London. Instrumentalist and composer. To London with Geminiani in 1714. Oboist and flautist playing with Martini and Galliard at the opera. To Edinburgh before 1750, published there. Returned to London 1750, played viola at the opera and Vauxhall summer concerts. Died before 1776. "Most of his compositions reveal a distinct individuality, impressive and sincere."

44

Henry BURGESS (Jr.)

INVENTORY:

(Item #11) Six Concertos & 6 by Burgess by Hasse in one book

-/7/6

CONCERTS:

Not performed

______________________

C. W. Mus. Col.= 6 Concertos for Harpsichord or Organ. London, Printed for the Author, sold by J. Walsh. (c. 1740).

Brit. Mus.= 6 Concertos for the Organ or Harpsichord, also for Violins and other Instruments in 5 Parts. Printed for J. Walsh, London. (c. 1740?)

(Hasse. 6 Concertos (Op. 4). Set for the Harpsichord or Organ, etc. London, J. Walsh (1741?).

LDA.= 1744, Oct. 30. (Walsh advertisement). Six Concertos for the Organ or Harpsichord with Instrumental Parts for Violins or Hautboys, etc. J. Walsh.

LDA.= 1746, May 11. (Walsh advertisement). Six Concertos for Organ or Harpsichord, Mr. H. Burgess, Jr. (Immediately below). Six Concerto. for the Organ or Harpsichord, Sig. Hasse.

----------------------

The 6 concertos in the C. W. Collection are the same as those in the Brit. Mus. and those advertised in the LDA (the advertisement date had little to do with the publication date, except those advertisements which first announced a composition; Walsh even used the term "Published Today" for pieces that had been published for several years). This was the set in the Inventory. Ogle probably had the Instrumental Parts with him (note the appraised value). Whether the Hasse concertos were sold bound in the same book with those 45 of Hasse is not known; probably Ogle had the two bound together.

----------------------

Deutsch, 519: organist and composer. (See: biography card, files).

46

Vincenzi Legrenzio CIAMPI

INVENTORY:

Not mentioned, but see below.

CONCERTS:

Pastorellio Giozezei	(Galli)	12/21/51
La spar l'ombroso sponda	(Galli)	12/28/51
Varcan col vento	(Galli)	1/24/52
Pastorella (same as first?)	(Galli)	2/ 8/52
Quel rosceleto	(Galli)	2/ 8/52

______________________

Brit. Mus.= Aria 6. Composte dal Sig. Vincenzio Ciampi. To which are added some Favourite Songs from the late Italian Comic Operas. London, J. Walsh. (1754).
(This edition also contains songs by Bernasconi and Galuppi). Fol.

Brit. Mus.= Arie 8 (with string accompaniment). London, J. Walsh (c. 1755).

(If the dating is correct, the above two issues are too late for the Inventory).

Brit. Un. Cat.= Il Trionfo di Camilla, Favourite Songs in. Score, p. 20. London, Walsh, 1750. Royal College of Music.

LDA.= 1750, May.30. (Walsh advertisement). Favourite Songs in the Operas Il Trionfo di Camilla, Adriano, & Il Neglicenti, in score by Sig. Ciampi.

Compositions in Le Delizie dell' Opere (See: Hasse).

----------------------

If all or most of the numbers sung in the concerts are included in one of the publications above (probably the 1750 issue), in all probability that set was one of Item #3 (4 large Sets of Italian Songs). If not, several of the numbers may be in Le Delizie dell' Opere.

----------------------

47

Groves V: 1719-1762. Composer of Neapolitan comic operas. To England in autumn of 1748, maestro of company of Italian singers who had great success with comic operas from their Venetian repertory. London publishers brought out a considerable amount of his instrumental music between 1751 and 1756, when he returned to Venice. Burney: "he had fire and abilities but no genius."

48

Arcangelo CORELLI

INVENTORY:

(Item #29).	Corelli's Sonatas in score manu.	2/ -/ ­
(Item #30).	No. 13. (Was this a Corelli piece?)	- 2/ 6

CONCERTS:

8th Concerto

2/ 8/52

(A concerto grosso, from its position on the program. The London Stage (Intro., p. cxxxviii) States that Corelli's First and Eighth Concertos were very popular in London, often performed in connection with theatrical events.

______________________

C. W. Mus. Col.=
Opera Prima, III Sonatas. Walsh.
Opera Sesta, XII Concerti Grossi. Walsh.
(Smith dates these as 1715).
Scores of 4 Setts of Sonatas, Vol. I. Cooke.
Scores for 12 Concerti, Vol. I & II. Johnson (1735).

Brit. Mus.= Concerti Grossi con due Violini, Viola, & Violoncello di Concertino obligati e due altri Violini e Basso di Concerto Grosso da F. Geminiani, composte delsi sei solo della prima (secunda) parte dell' opera quinta d'Arcangelo Corelli. 2 pts. (separate parts). London, Printed for J. Walsh (1732?)

----------------------

The fact that the Inventory lists the item in score, and places the valuation at £ 2, strongly suggests a set of 12 concertos with parts. Walsh and Johnson had published a large number of Corelli sonatas as well as op. 6, so it is more likely that Ogle would have included printed editions of them if the item would have been sonatas or Carelli's op. 6.

Geminiani's works in the concerto form were exceedingly popular (see: Hutchings), so it seems 49 most likely that item #29 was a copy of the Corelli sonatas made into concerti grossi by Geminiani (Brit. Mus).

----------------------

Groves V: 1654-1713. Great composer and violinist. Pupils included Geminiani. Handel esteemed him highly.

50

John ECCLES

INVENTORY:

Not Mentioned.

CONCERTS:

Ye Gentle Gales (that fan the Air)

(Sheward)

2/22/52

______________________

Brit. Mus.= Ye Gentle Gales that fan the Air. London, 1700 (?). s.sh.fol.

----------------------

May have been included in Item 1/38 (Loose Musick)

----------------------

______________________

Groves III: c. 1650-1735. Violinist, leader of King's (then Queen's) Band. Wrote considerable amount of music for plays.

51

(Rev.) William FELTON

INVENTORY:

(Item #26).	1 Vol. Felton's Concertos	-/ 4/ 6
(Item 128).	Felton's Lessons	/- /4 -

CONCERTS:

Not performed.

______________________

53

Balassare GALUPPI

INVENTORY:

Not mentioned, but see below.

CONCERTS:

Quando irei damari	(Galli)	1/10/52
In Lasciar	(Francescina)	3/ 7/52
Overture		3/ 7/52

______________________

Compositions in La Delizie dell' Opere (see: Hasse).

Compositions in Farinelli's Celebrated Songs (see: Hasse).

----------------------

If a study of the contents of the two above publications show that they contain a number of the arias sung at the concerts, it would be certain that they had been brought in the Inventory.

----------------------

54

Francesco GEMINIANI

INVENTORY:

Not mentioned, but see below.

CONCERTS:

Fourth Concerto	12/28/52
Concerto	1/ 3/52
First Concerto	1/10/52
Concerto	1/17/52
Concerto	1/24/52
Concerto	2/ 8/52
Concerto	2/15/52

______________________

C. W. Mus. Col.= Concerti Grossi con due Violini, Violon­cello, e Viola di concertino obligati, e due altri Violini, e Basso di Concerto Grosso ad arbitro. Il IV, Ve, e VIse potranno suonare con due Flauti Traver­sieri, o due Violini con Violoncello, da Francesco Geminiani. Opera Secunda. London, Printed for the Author, by J. Walsh.

Bound in the same volume:
Concerti Grossi con due Violini, Viola, e Violoncello di Concertina obligati e dua altri Violini da Francesco Geminiani. Opera Terza. London, Printed for J. Walsh.

(Written on cover: Op. 2 & 3, 1st Edition. 1732 + 1735.

Hutchings, 272: 1732-33. Geminiani's Op. 2 and 3, printed by Walsh.

C. W. Mus. Col.= Ripieno parts belonging to 6 Sonatas composed by F. Geminiani, from the VI 1st solos of his Opera 1. London, Printed for the Author, by J. Walsh. (c. 1750).

(This is a portion of Opera 4. See: Hutchings, p. 273. No date given. However, Geminiani's Op. 7 was published by 1748, so op. 4 must have been published considerably earlier.

C. W. Mus. Col.= Six Sonatas for 2 Violins and a Violoncello or Harpsichord, with a ripieno bass to be used when the Violins are doubled. Compos'd by …from the VI first solos of his Opera Ia. London…for the Author…by John Johnson. (1750). Folio. Separate parts.

55

(This is another edition of the above. Hutchings dates this as 1746).

Brit. Mus.= Concerti Grossi composti a 3,4,5,6,7,8 Parti Reali, per essere esequiti da due Violini, Viola, e Violoncello di Concertino, e due altri Violini, Viola, e Basso di Ripieno, a quali vi sono annessi due Flauti Traversieri e Bassone. Opera VII. Stamdati a spesi dell' Autore; Londra, 1748.

(Hirsch dates this 1746).

See, also: Corelli, for the Geminiani transcriptions of Corelli soli into Concerti Grossi. There were a number of earlier editions than that of Walsh (1732?)

Br. Un. Cat.= Concerti Grossi… da (F.) Geminiani, composti… dell' opera quinta d'Arcangelo Corelli. Printed by Wm. Smith & John Barrett, London (1726). Kings College Lib., Cambridge.

Same, printed by J. Walsh & J. Hare, 1726. Fitzwilliam Museum, Cambridge.

----------------------

Hutchings, 272, says that Geminiani'a concertos were exceedingly popular in London as well as throughout England and Scotland. Note that his concertos appeared on seven of the programs of the concerts, the largest number by any one composer.

Op. 7 was successful enough to run into 2 or 3 issues, but it never achieved the enormous popularity that Op. 2 and 3 did. However, interest in new works was very high, and at least several of the Op. 7 must have been played, particularly when it is noted that several could use flutes and bassoons, which were 56 present in the instrumental ensemble used in the concerts.

It is almost certain that at least one or two of the Geminiani concertos were included in Item #36 (5 large books of concertos, manuscript) in the Inventory. These might have been:

• (a)one or two from opera 2 or 3; however, by 1751 there had been numerous printings of these works, and it seems more than probable that Ogle would have brought printed copies;
• (b)one or more of Op. 7; since the first printing of this work was 1748, it would be more likely that it would be selections from this opus that would have been brought in manuscript.

______________________

Groves III: 1667-1762 (d. Dublin). Violinist, pupil of Corelli. To England in 1714. See: Hutchings for critical analysis of his concerti.

57

GIANACCHINO

INVENTORY:

Not mentioned.

CONCERTS:

Chi non odei miei sospero

(Galli)

1/10/52

______________________

May have been included in Item #35 (An unbound book of Italian Songs), or in Item #38 (Loose Musick).

______________________

Not in Groves.

58

Geminiano GIACOMELLI

INVENTORY:

Not mentioned.

CONCERTS:

Datti sfesi sforgorate

(Francescina)

12/21/52

______________________

May have been included in Item #35 (An unbound book of Italian Songs), or in Item #38 (Loose Musick).

______________________

Groves III: c. 1686-1743. Successful opera composer. Wrote some concert arias.

59

Felice GIARDINI

INVENTORY:

(Item #14).

6 Sonatas by degiardino

-/ 5/ ­

CONCERTS:

Sonata for Harpsichord and Oboe	1/11/52
(Ogle, Vincent)

performed, and presumably composed, by Giardini:

Violin Concerto	12/21/52
Solo for Violin	12/28/52
Solo for Violin	1/ll/52
Solo for Violin	1/18/52
Concerto for Violin	1/25/52
Solo for Violin	2/ 8/52
Solo for Violin	2/15/52
Solo for Violin	2/22/52
Solo for Violin	2/29/52
Solo for Violin	3/ 7/52
Solo for Violin	4/25/52

______________________

C. W. Mus. Col.= 6 Sonatas for a Violino Solo e Basso. Opera Primo. London, for the Author by J. Cox. (1751).

C. W. Mus. Col.= 6 Sonatas di Cembalo con Violino o' Flauto Traverso. Opera Terza. London, J. Cox.

(On cover). License, granting Royal Privilege and License for sole printing of compositions for a term of 14 years:
6 Sonatas for Violin and Bass (Op. 1; see: above)
6 Duets for 2 Violins
6 Sonatas for Harpsichord and a Violin (Op. 3, above)
6 Overtures in 4 parts (Scholes, Burney, I, 120 identifies these as Op. 4)
6 Songs or Arias (Scholes, Ibid., says Op. 5)
6 Concertos for the Violin
12 Sonatas for the Violin (Op. 6; see below)
6 Trios for 2 flutes and a bass
6 solos for a German flute
Sept. 27, 1751.
By H. M. Command Holler Newcastle

C. W. Mus. Col.= (Title in French). XII Sonatas, Violin Solo, Op. 6, London. (Same license as above).

60

----------------------

Giardini went to London in 1750. It would seem hardly possible that Cox could have procured a license to be the sole printer of Giardini's works before Giardini went to London; it seems that the license was granted to the composer, who assigned it to a printer as his agent (see: Smith, Bibliography of Walsh). It is also extremely doubtful that Cox published all the works listed on the cover of op. 3 before Sept., 1751, even if Geminiani had come to London with a trunkful of manuscripts. Therefore the copy of op. 3 that is in the C. W. Collection must be a much later issue; it must be at least a second issue of op. 3, printed after the other compositions listed had been published. Even the first edition of Op. 3 must have been at least two or three years after the granting of the license. It follows that the Sonatas in Item #14 in the Inventory must have been Op. 1, as only opera 1, 3, and 6 were titled sonatas, and op. 3 and 6 were published too late for the Inventory.

______________________

Burney, History, 895: 1716-1796. Greatest performer (on violin) in Europe. "Had talents which would have made him a superior harpsichordist had he continued to practice on that instrument." To London in 1750, to Russia in 1790, where he died.

61

Christopher W. GLUCK

INVENTORY:

Not mentioned.

CONCERTS:

Rasserena

(Galli)

2/14/52

______________________

Brit. Mus.= Rasserena il mesto ciglio. The fond petition to Monemia. (Song) by Mr. Lockman, writ to a celebrated Air in the opera of Artamene. (1745?) S.sh.fol.

(Burney, History, II 845: First performance of Artamene March 4, 1746).

----------------------

May have been in Item #35 (An unbound book of Italian Songs) or Item #38 (Loose Musick).

----------------------

Grove. III: 1711-1787. Composer, famous for his reform of the opera in the 18th century. Invited to London 1745 as composer to the Haymarket, returned to Vienna 1747.

62

Lewis Christian Austin GRANNOM

INVENTORY:

(Item #25)	Grannoms Songs	-/ 4/ -
(Item #34)	Ballads by Grannom	-/ 3/ 6

CONCERTS:

Not performed.

______________________

C. W. Mus. Col.= A Second Collection of Favourite English Songs, with their full Accompanyments composed by Lewis Christian Austin Grannom, Esq. Dedicated to Dr. Boyce, Opera XIII. London, Printed for Thos. Bennet, Holborn (c. 1770).

(Advertisement on cover) where may be had by the same Author
12 Solos, Opera Prima (Sonatas for German Flute, about 1741)
6 Sonatas, op. 2
24 Duets, op. 3 (for 2 German Flutes— LDA, 27 December, 1748)
12 Songs, op. 4 (see: Brit. Mus., below)
6 Sonatas, op. 5
A Collection of Minuets, op. 6
6 Solos, op. 7
6 Solos, op. 8
6 Sonatas, op. 9
Musical Miscellany {see: Groves, below)
24 Duets, op. 11
6 Sonatas, op. 12

(The Brit. Mus. dates Op. XIII as 1760? ).

Brit. Mus. = 12 New Songs and Ballads with their Symphonies for German flute or Violin. Opera Quarta. London, R. Bennett & Co., 1752.

Brit. Mus.= A number of songs in single sheet folio, 1740­47. LDA, 6 July, 1747, advertises a song by Grannom, published by J. Simpson. Evidently Grannom published quite a number of individual songs.

63

----------------------

Item #34 in the Inventory must have been Op. 4, 12 New Songs and Ballads. The Second Collection, op. 13, was published too late.

Item #25 must have been either a bundle of Grannom's individually published songs, or a number of such songs bound together into one book. None of Grannom's other published works could have been songs. The only other two opera that were published early enough to have been included in the Inventory were the 24 Duets, op. 3, or the 12 Solos, op. 1. One of these might have been described as "Songs" by the appraisers, but this is hardly likely.

----------------------

Groves III: No dates. Composer of the 18th century. First work: 12 sonatas or solos for German flute…published about 1741…Afterwards published a collection entitled Monthly Miscellany consisting of duets for flutes, songs, etc. (Too late for the Inventory)…Nothing is known of his biography.

64

George Friderick HANDEL

INVENTORY:

(Item #2)	10 books Handels Songs	1/10/ ­
(Item #5)	4 books of Symp: to Handels Oratorias (sic)	-/10/ ­
(Item #8)	Apollos Feast by Handel	-/5/ ­
(Item #23)	Songs in Acis and Galatea	-/ 5/ -

______________________

75

Johann Adolph HASSE

INVENTORY:

(Item # 12)	Six Concertos by Hasse	-/ 7/ 6
	(& 6 by Burgess in one book)
(Item # 32)	Songs by Hasse	-/ 4/ -

______________________

78

John HEBDEN

INVENTORY:

(Item # 19) Six Concertos by Hibden (sic) in 7 Parts

-/8/ ­

CONCERTS:

Not performed.

______________________

LDA. 14 December, 1748. (Advertisement). Six Concertos in 7 parts for 4 Violins, a Tenor Violin, a Violoncello, and a Thorough Bass for Harpsichord. Printed for the Author, Lancaster Court near Charing Cross. Opera Secunda.

LDA. 12 January, 1749. (Advertisement). Opera Secunda. 10s.6d. Six Concertos in 7 Parts…Printed and sold for the Author… and John Johnson at the Hart and Crown in Cheapside.

Brit. Mus.= Six Concertos in 7 Parts for Four Violins, a Tenor Violin, a Violoncello with a Thoroughbass for the Harpsichord. Opera Quarta. (Separate parts). Printed for the Author. London (1741).

Six Concertos for the Harpsichord or Organ, etc., pp. 42.
London, Printed for J. Walsh (c. 1741).
The # 1 in Op. 4 set for harpsichord was issued separately in a number of issues and editions from 1750 until as late as 1785.

----------------------

The dating on the Brit. Mus. sets are probably wrong, since it was opera 2 that was advertised in 1748 and 1749. Admittedly, it does not follow that opera 2 had just been published, but it was very unusual to advertise an earlier composition by itself; in all observed cases, the earlier compositions were advertised with the later ones, as "where also may be had by the same Author…"

The concerto in Item #29 must have been opera 2.

79

Groves III: London, first half of the 18th century. Excellent solo violoncellist as well as a viola da gambist and bassoonist.

LDA.= 25 December, 1751. "Died at his lodgings in the Strand Mr. Hibden belonging to the Band of Musicians."
Several days later, a correction: "it was a mistake."

______________________

It should be noted that bassoon concerts were played by Miller and Baumgartner on 12/21.51, 1/10/52, 1/24/52, 2/15.52, and 3/7/52. One of these may have been by Hebden, and could have been included in Item # 36, 5 large books of Concertos, manuscript.

Note, also, that Pasqualini played a cello solo or concerto in each of the concerts. Since Hebden was an excellent cellist, it is entirely possible that Pasqualini played one of Hebden's numbers, which also might have been included in Item # 36.

80

Nicolo JOMELLI

INVENTORY:

Not mentioned.

CONCERTS:

Pupilla amabali	(Galli)	12/21/51
Care luci	(Francescina)	1/18/52

______________________

Represented in Le Delizie dell' Opere (see: Hasse).

Brit. Un. Cat.= No Jomelli pieces represented before 1750.

LDA. 28 August, 1750. New Italian Song set by Joms1li sung by Miss Thomas, New Spring Garden.

----------------------

May be included in Le Delizie dell' Opere (see: Hasse) in Item # 3 (4 large Sets of Italian Songs).

----------------------

Groves V: 1714-1774. Pupil of Scarlatti. Successful opera composer.

81

Johann Friedrich LAMPE

INVENTORY:

(Item # 7)	Lamp's (sic) Songs	-/ 5/ -
(Item # 15)	Lamp's (sic) Thorough Bass	-/ 7/ 6

CONCERTS:

Not performed.

______________________

83

Giovanni Batista LAMPUGNANI

INVENTORY:

Not Mentioned.

CONCERTS:

Alma che in van o'accendi	(Galli)	12/28/51, 2/22/52
Quando mira il ciel	(Francescina)	1/3/52
O me retornate	(Galli)	1/18/52, 3/ 7/52
Se pace tu non	(Francescina)	1/24/52
O fe amante	(Galli)	1/24/52
Bel piacer Saria d'un Cora	(Sheward)	2/ 8/52
Da queste soglio io shendo	(Francescina)	2/29/52
Trappo caro	(Sheward)	2/29/52

______________________

C. W. Mus. Col.= Venetian Ballads (see: Hasse).
in Book 3:
Bel piacer Saria d 'un Core
Troppo caro

Brit. Mus.= Farinelli's Celebrated Songs, Vol. II. (see: Hasse)

----------------------

The two arias that are in the Venetian Ballads are set for an ensemble accompaniment, and it is certain that the singers were accompanied by an ensemble rather than only a harpsichord at the concerts. However, see Hasse for comment re Venetian Ballads.

The date assigned to the Farinelli'a Celebrated Songs, Vol. II by the British Museum (1755), if correct, would make it too late for the Inventory. However, since there were at least 4 different issues, it is very possible that this volume was used at the concerts. It a comparison of the arias sung at the concerts with the Farinelli contents show that many of the 84 arias that were performed are included in the book, it would be certain that the book we used at the concerts, and it could be taken for granted that it was included in Item # 3 (4 large Sets of Italian Songs) in the Inventory.

----------------------

______________________

Grov.. V: 1706-1781. To London 1743 as conductor and composer to the opera in place of Galuppi. Composed operas, contributed to pistaccios.

85

Leonardo LEO

INVENTORY.

Not mentioned.

CONCERTS:

Dell caro bene

(Galli)

3/ 7/52

______________________

Represented in Le Delizie dell' Opere (see: Hasse).

______________________

Groves III: 1694-1744. Organist, composer of sacred music, opera (especially comic opera).

Burney, History II, 840: "Per novo amor delira" produced in London, 1742.

86

Richard LEVERIDGE

INVENTORY:

(Item # 31)

Leveridge's Songs in Small

-/ 4/ -

CONCERTS:

Not performed.

______________________

C. W. Mus. Col.= pp. 34-37, Sylvia from Shakespeare. (Photostat N. Y. Pub. Lib.)
A Collection of Songs with the Musick by Mr. Leveridge. London, Printed for the Author, 1727.
From Vol. II— The Message, Life's fortune uncertain, etc. (Photostat).

Brit. Mus.= A Collection of Songs in Two Volumes. Printed for the Author, London, 1727. 8 vo.

A New Book of Songs Engraven, Printed, and Published for R. Leveridge. London, 1730.

----------------------

The Item # 31 in the Inventory must have been the 1717 edition, and not the 1730, since "in Small" would mean octavo size, and not folio.

----------------------

______________________

K&M: 1670-1758. Bass singer and actor, Lincoln Fields Inn Theatre. Collection of songs engraved by Thos. Cross in 1698; later, a 2 vol. work in 1727.

Burney: Loveridge had a "deep and powerful bass voice… " wrote many songs, sang in Handel's operas, Acis and Galatea, etc.

87

Guiseppi MANFREDINI

INVENTORY:

Not mentioned.

CONCERTS:

Almen se no passio	(Galli)	1/24/52
Non caro l'affetto	(Galli)	2/22/52

______________________

Brit. Mus.= Manfredini (Giuseppi). Sei Ario con instrumenti. London, Printed for the Author. 1752.

LDA.= 23 January, 1749. Signor Manfredini engaged to sing at the King's Theatre, Haymarket; others participating: Hasse, Galli, Geminiani, Arne.

LDA.= 24 January, 1749. Signor Manfredini having been engaged to sing in the musical entertainments this season in the King's Theatre, Haymarket, "came to England for that purpose," finding they cannot be performed, proposed 5 subscription concerts at Bickford's, Brewer-Street. First a pastoral composed by Sig. Hasse for 3 voices "which Mr. Geminiani has promised to take care shall be well perform'd"…vocal parts, Galli, Master Arne, Sig. Manfredini. 1 guinea for the series.

______________________

Groves does not Mention Guiseppi, except that he was the castrato singer brother to Vincenzio Manfredini, the composer. The Brit. Mus. Sei Arie may have been by Giuseppi's brother rather than by him. In any case, it is doubtful that the book was in the Inventory because of the publication date.

----------------------

Groves V: Vincenzio: 1737-1799 (St. Petersburg). Composer, went to Russia in 1758.

87-A

The MUSICAL ENTERTAINER

INVENTORY:

Item # 6.

The Musical Entertainment. (sic)

-/ 5/ -

CONCERTS:

Not performed.

______________________

Br. un. Cat.= The Musical Entertainer (ed. by Richard Vincent). Engrav'd by George Bickham, Jun., Vol. 1. (Bickham's Musical Entertainer, Vol. 2). 2 Volumes. Printed for … Geo. Bickham, London (1757-8). fol.

The Musical Entertainer, etc. 2 Vol. Printed for Charles Corbett, London (1740). fol.

This is the second edition, probably that advertised in the London Daily Post and General Advertiser of July 26, 1740, as being just completed and carefully corrected with a thorough bass to each song by J. F. Lampe. British Museum.

Deutsch, 869: George Bickham, by Richard Vincent. Jr., was the engraver. Edited by Richard Vincent.

(Richard Vincent was the elder brother of Thomas Vincent, Sr., and uncle of Thomas Vincent, Jr., the oboist).

Groves III: …2 volumes, folio, illustrated. Issued in parts, each containing 4 plates, covering a period from 1756 to 1759. The plates, 200 in number, are songs with music, headed and surrounded with pictorial embellishments illustrating the songs. This was the first work of its kind published in England.

(Charles Corbett had a lottery office across from St. Dunstan's Church in Fleet Street. He was a bookseller, appraiser, publisher, and auctioneer as well. (LDA. adv., January _____, 1/48).

Deutsch, 501. Charles Corbett adv[ertises] the final state of Bickham's Musical Entertainment in two volumes, with figured bass by John Frederick Lampe… London Daily Post, 26th July, 1740.

----------------------

Ogle had the 1740 Corbett edition, probably both volumes, in his collection.

----------------------

88

James NARES

INVENTORY

(Item # 9)

Nares Lessons

-/ 6/ -

CONCERTS

Not Performed.

______________________

C. W. Mus. Col.= Eight Setts of Lessons for the Harpsichord compos'd by Mr. James Nares, Organist of York-Minster. London, Printed for the Author by J. Johnson in Cheapside. MDCCXLVII (1747).

----------------------

Item #9 in the Inventory was the Eight Setts of Lessons in the C. W. Collection, since hi op. 2, also a set of Lessons, was not published until 1758 (Groves III).

----------------------

Groves III: 1715-1783. Chorister in the Chapel Royal under Gates, Croft, and Pepusch. Succeeded Dr. Greene as organist and composer to the Chapel Royal.

85

Filippo PALMA

INVENTORY:

(Item # 22)

1 large book of Songs, Palma

-/ 5/ -

CONCERTS:

Son Ie donna innamerate	(Sheward)	12/21/52
Basta cossi ticredo	(Galli)	12/21/52
Shepherd, would you (hope to please us)	(Sheward)	12/28/52
Se l'amista to odegni	(Francescina)	12/28/52
Spesso mi sento dir	(Galli)	1/ 4/52
Spesso mi sento	(Galli)	2/22/52

______________________

C. W. Mus. Col.= Come sweet returning Morn of Pleasure. Song, harpsichord. (Early American Music). Palma, Giovanni.
(This is not the right Palma).

Howard, Music of G. Washington's Time, 9: John Palma advertised a concert in 1757, 25 January, in Philadelphia Assembly Room in Lodge Alley; another concert 25 March. In Washington's ledger, 17 March: by Mr. Palma's. Tickets 52s. 6d.

Brit. Mus.= Palma, Filippo: Six Italian songs with their Accompaniments, etc. London, Printed for the Author (1745?). Fol.

Brit. Un.Cat.Sei arie con Istromenti, opera prima. London, John Johnson (c. l754). Manchester Pub. Lib.
(Must be dated too late, or this is a later issue.

LDA. 12 MAY, 1746. Palma, Filippo. Six Italian Songs with Accompanyments in Score. Publish'd John Johnson, Harp and Crown, Cheapside.

Brit. Un. Cat.= Six Italian Songs with their Accompanyments in Score. Opera Secunda. London, J. Johnson for the Author, c. 1753. Obl. fol. Manchester Pub. Lib.
(There must have been an earlier issue, if op. 3 (see below) is dated 1749).

Br. Mus.= Sei arie con Istromenti. Opera Terza. Londra, 1749. Obl. fol.

Sei arie con Istromenti. Opera Quarta. Londra, Printed for J. Johnson, 1752. Obl. fol.

90

Brit. Mus.= Shepherds, would you hope to please us. Aria, etc. London, c. 1760. s.sh.fol.

----------------------

Item #22 in the Inventory must have been that opus which contained "Shepherd(s), would you hope to please us." It probably also contained, if not all, most of the other Palma arias sung at the concerts.

----------------------

Scholes, Burney, 31-2. Palma was a Neapolitan singing master, "totally without voice," yet "sung or seemed to sing with such exquisite taste, as to revive the miraculous powers of Music equal to those ascribed to Orpheus"… (quoting Burney) … "touched the harpsichord in so original and seemingly Masterly a manner that (Burney) would have given the world to exchange all his knowledge in counterpoint for Signor Palma's 'Toccatina' …"Though the airs he composed for his own singing were universally applauded"… "he had to have others furnish the bass"…"always in love and debt, though, b[e]ing Italian, seldom in drink"…Further account of Palma being in King's Bench Prison for debt and writing his elder brother, also a prisoner in York Gaol.

91

Pietro Domenico PARADIES

INVENTORY:

Not Mentioned.

CONCERTS:

Spera il Pastor

(Galli)

2/15/52

______________________

Brit. Mus.= The Favourite Songs in the Opera call's Phaeton (Fetonte). (Words by F. Vanischi). London, Printed for J. Walsh (1747).

Deutsch= opera Phaeton (Fetonte) at Haymarket, 17 January, 1747.

----------------------

Possibly in Item #35 (An unbound book of Italian Songs) or Item # 38 (Loose Musick).

----------------------

______________________

Groves V: 1707-1791. Italian teacher and composer, lived many years in London. In 1747, produced Fetonte at King's Theatre, London, six arias from which were published by Walsh and frequently sung at concerts by Signora Galli.

92

Nicolo PASQUALI

INVENTORY:

(Item # 1)	2 Sets Pasquali's Overtures	-/ 8/ ­
(Item #21)	12 English Songs by Pasquali	-/ 5/ ­

CONCERTS:

O 'tis Elysium all	(Sheward)	2/28/52
Where the bee sucks	(Sheward)	1/ 4/52, 2/15/52
Gentle swains and nymphs combine	(Sheward)	1/11/52
The hero first on native plains	(Sheward)	1/18/52

______________________

94

PASQUALINI

INVENTORY

Not mentioned.

CONCERTS:

(All performed by Pasqualini)
Cello Concerto	12/21/51
Cello Concerto	12/28/51
Cello Solo	1/ 4/52
Cello Concerto	1/11/52
Cello Solo	1/18/52
Cello Solo	2/ 8/52
Cello Concerto	2/22/52
Cello Solo	2/29/52
Cello Solo	3/ 7/52
Cello Solo	4/25/52

Harpsichord Concerto by Pasqualini (Played by Ogle)

12/21/51

______________________

LDA. 10 December, 1747. J. Simpson advertisement. Six Solos for 2 Violoncellos compos'd by the following eminent Authors, viz: Bononcini, St. Martini, Pasqualino.

Brit. Mus.= Pasqualini de Marzi. 6 Solos for 2 Violoncellos (op. 1). London, Printed for J. Walsh (1750?).

Brit. Mus.= Pasqualini de Marzi. 6 Solos for 2 Violoncellos. Opera Secunda. London, J. Johnson (1750?).

----------------------

The advertised pieces were for 2 violoncelli, so could not have been the compositions played at the concerts. One or two of the Pasqualini concerti for celli may have been in Item # 36, (5 large books of manuscript concertos), but this is doubtful, since Ogle was not a cellist.

It is more probable that the harpsichord concerto written by Pasqualini, evidently for Ogle, 95 and in all probability written especially for these concerts, was in Item # 36.

----------------------

Deutsch, 399: 19 February, 1736. First performance of Handel's Alexander's Feast…violoncello played by Pasqualino de Mareis. On p. 403, f.n., Deutsch asks whether he were identical with Pasqualini, the composer, since above: "Signor Pasqualini played 1st bass (Dublin performance).

LDA. 28 March, 1745, at a benefit concert at Haymarket, Signor Pasquale "Junior" played a concerto on the violoncello; a solo was also played by Signor Pasquali (the elder) on violin.

LDA. 26 August, 1747. Advertisement of a concert at Windsor: …Solo on Violoncello, Sig. Pasqualini…

LDA. 24 August, 1755. Benefit concert at Great Room, Dean-Street and Soho Square …for Signor Pasqualini. (Other performers, Signora Galli, Signor Degiardini…

Elkin, Old Concert Rooms, p. 82. Francis Pasquali built a suite of rooms in 1772 known variously as the Tottenham Street Rooms, the New Rooms, or the Ancient Concert Rooms …He may have been the son of Nicolo Pasquali…He may have been (and most likely was) the "Mr. Pasquali" who was one of the leading double-bass players in London at that time and played in the orchestra of the Handel Commemoration Concerts in 1784.

(Since the Italian ending ini means "little", it seems that Pasqualini was the son of Nicolo, the composer).

96

Nicolo Antonio PORPORA

INVENTORY:

Not mentioned.

CONCERTS:

Pirvor del caro

(Francescina)

2/15/52

______________________

May be included in Farinelli's Celebrated Songs or in Le Delizie dell' Opere (see: Hasse).

----------------------

______________________

Groves III: Celebrated singing master and composer. In 1729, to London to undertake the direction of the opera house established in opposition to Handel. He was never popular in London as a composer; the opera venture was a failure. Finally quitted England in 1737. His cantatae for a single voice, 12 or which were published in England in 1735, have merit and style. He was the greatest singing teacher that ever lived. (1686-1767).

97

Henry PURCELL

INVENTORY:

(Item # 33)

Catches by Purchett (sic) and Blow

-/ 2/ ­

CONCERTS:

Not performed.

______________________

C. W. Mus. Col.= The Catch Club or Merry Companions for 3 and 4 Voices, compos'd by Mr. Henry Purcell, Dr. Blow, and the most eminent Masters. Books I and II. London, Printed for J. Walsh.

Brit. Mus.= The Catch Club…compos'd by the 1ate Mr. Purcell…London, J. Walsh. 1720?

The Catch Club… compos'd by H. Purcell, Dr. Blow, etc. Book I. London, Printed for J. Walsh, 1760?

----------------------

The C. W. Mus. Collection issues are not the ones that were included in the Inventory, since both of the C. W. books have the same advertisement on the cover, which includes Arne's Judith. Judith was published in 1764, hence the C. W. issues date after 1764.

----------------------

Groves III: 1658-1695. England's greatest composer. Wrote extensively in all forms, including the theater.

98

Jean Phillippe RAMEAU

INVENTORY:

(Item # 17).

5 Concertos by Ramsea (sic)

-/ 4/ ­

CONCERTS:

Harpsichord Concerto

(Ogle)

12/28/52

______________________

C. W. Mus. Col.= Five Concertos for the Harpsichord compos'd by Mr. Rameau, accompanied with a violin or German Flute or 2 Violins and a Viola with some select Pieces for the Harpsichord alone. (The harpsichord part includes directions to performers in concert). London, Printed for J. Walsh (c. 1755?)

Brit. Mus.= Same. (full score). (1755?)

Brit. Mus.= Pieces de clavecin en concerts, avec une flute, et une viole ou un deuxieme violon. Grave par Huc …Paris, 1741.

LDA 18 April, 1750. (Advertisement). Rameau's Concerto's for the Harpsichord which may be accompanied with a Violin, a German flute, or two Violins with his Directions to play them. 10s.6d. (London) J. Walsh, Strand.

----------------------

The Concertos in the C. W. Collection are the same as Item #17 in the Inventory; the C. W. copy should be dated at least 1750.

----------------------

Groves III: 1682-1764, which. see. Great composer and theorist.

99

Giuseppi ST. MARTINI (SAMMARTiNI)

INVENTORY:

Not mentioned.

CONCERTS:

Concerto	2/22/52
Concerto	2/29/52
(Concerti grossi, from the position on the programs).

______________________

C. W. Mus. Col.= VI Concerti Grossi con due Violini, alto-Viola e Violoncello Obligati e due Violini e Basso di Rinforzo composti da Giesseppi St. Martini. Opera Secunda. (1736-37). London, J. Simpson.

Hutchings, 326: the Geminianian form of concertino. The set sold very well. The first issue was by Simpson in 1736. Two Simpson editions appeared in 1745, and Johnson printed a new one as late as 1760.

The Brit. Mus. has a copy of the 1745 Simpson issue.

Brit. Un. Cat.= Six Concertos in 8 parts for Violins, French horns, hobeys, etc., with a Bass for Violoncello and Harpsichord, etc. London, J. Walsh (c. 1751). Queen's Library. (Numbers 2 and 3 are by Hasse).

Br. Un. Cat.= (12 Sonate, op. 3, arr.) Concerti grossi a 2 Violini, Viola, e Violoncello obligati con 2 altri Violini e Basso di Ripieno. Opera Quinta…Composte della sonati…(Op. 3) … London, J. Walsh (1747).

Hutchings, 326: Mishkin shows that this contained works by both brothers (Guiseppi and Giovanni Batista of Milan).

Brit. Un. Cat.= Six Grand Concertos for Violins, etc., in 8 Parts. Op. VIII. London, Walsh (1752).

Hutchings, 326: Walsh also issued these, with "Eight Overtures, Op. 7" in 1754 and 1760.

----------------------

The concerti performed at the Concerts may have been from Op. 2, from the Walsh publication of 1751, or from Op. 5.

100

The Inventory may have contained, in Item # 36 (5 large books of concertos, manuscript) anyone or two of these concerti. However, it seems more likely that, if a St. Martini concerto were included, that it would have been one from Op. VIII. Vincent, the principal hautboy player in the concerts, had been a pupil of St. Martini, and it seems logical that he would have secured a copy of a recent concerto by his teacher, especially when it is remembered that the interest in new Music was very high.

----------------------

Hutchings: St. Martini, known as the "London Samartini," (c. 1693­1750). His name appears in at least five forms. To London in 1727, remained there for the rest of his life as composer, teacher, and performer. Known as the greatest oboe player in the world. He was famous as a composer, so much so that 'Mr. St. Martino' and 'G. St. Martini' were taken to refer to him in publications which were really works by his younger brother Giovanni Batista (1698-1775), who stayed in his native Milan as organist and composer.

100A

G. SCHIATTI

INVENTORY:

Not mentioned.

CONCERTS:

L'alto idea

(by SCHIAFFI)

(Francescina)

2/15/52

______________________

Brit. Mus.= Six Sonatas for Two Violins, etc. Edinburgh, c. 1765.

----------------------

Whether the composer of the aria was Schiatti is not known; however, this is the only name that could be found that might be the name of the composer.

----------------------

101

Johann Christian SCHICKHARD (SHICKARD)

INVENTORY:

(Item # 4)

6 Sonatas by Schickard

-/ 4/ -

CONCERTS:

Not performed.

______________________

C. W. Mus. Col.= Six Sonatas pour un Hautbois au Violon et Baase Continuo. Huitieme Ouverage. Amsterdam, Roger. {1712?)

Solos for a German flute, a Hoboy, or a Violin, with Thorough Bass for Harpsichord or Bass Violin. Opera 20. London, Printed for J. Walsh…and J. Hare {1720?)

Brit. Mus.= Same.

Brit. Mus.= Six Sonatas for one Flute and 2 Hoboys or 2 Violins with a Viol Bass and a Thorough Bass for the Harpsichord and Arch Lute. (Op. 5). London, Printed for J. Walsh and J. Hare (1730?). (see: below, Smith, 467).

Smith, Bibl, #467. Six Sonatas for one Flute and two Hoboys or two Violins with a Viol Bass and a Thorough Bass for the Harpsichord and Arch-lute. Composed by Mr. Christian Schickhard. London, J. Walsh & J. Hare.
Adv. August 4-6, 1715, Postman, 5s.
August 6-8, 1715, Postman, also adv. Schickhard's Sonatas, New Edition.

Smith, Bibl, #571. 6 Sonatas for 2 Hoboys, 2 Violins, or German flutes, with Thorough Bass for the Harpsichord or Bass Viol composed by Mr. Christian Schickard. Pr. 2s. London, J. Walsh and J. Hare.
Adv. November 3-5, 1719, Post-Boy.
The Walsh catalogue, c. 1721, calls this opera 10.

Smith, Bibl, #616. XII Sonatas or Solos for a Flute with a Thorough Bass for the Harpsichord or Bass Viol composed by Mr. Christian Schikard. Opera 17. Date unknown, presumably 1720 or earlier.

----------------------

It would be extremely difficult, if not impossible, to state precisely which sonatas of Schickhard were included in the Inventory.

102

______________________

Groves V: Composer, resident at Hamburg c. 1730. Works published at Amsterdam, republished by elder Walsh (and Hare) in England. Instrumental pieces:
concertos for flute, op. 19
sonatas for 2 violins and a bass, op. 5
sonatas for 2 German flutes and a bass, op. 10, etc.

103

John Charles STANLEY

INVENTORY:

(Item # 13)

4 small books of Stanley

-/ 8/ ­

CONCERTS:

Who'll buy my heart?

(Sheward)

2/ 8/52

______________________

Brit. Mus.= 6 Cantatas for a Voice and Instruments. pp. 49. London, Printed for J. Stanley. (1742). Folio.

6 Cantatas for a Voice and Instruments, etc. pp. 45. (Second set). London, Printed for J. Stanley (1745?). Folio.

Groves III: In 1742, Stanley published six cantatas for a voice and instruments, the words by Sir John Hawkins (the Music historian). Six months later, he published a similar set.

LDA. 28 January, 1749. With His Majesty's Royal License and Protection, 6 new Cantatas for a Voice and Instruments. Printed for the Author. 10s.6d., also his 6 Cantatas formerly published.

Brit. Mus.= 3 Cantatas and 3 Songs for a Voice and Instruments. London, Printed for the Author (1750?). pp. 27. Folio. (Groves says these were published in 1761).

----------------------

Since all the above are folio size, they could not be the same compositions that were in the Inventory. It is unlikely that the 4 books in the Inventory were instrumental music, since the appraisers always labeled other instrumental music as such.

Further research may show that small sized song books by Stanley were published, but none are mentioned in available references.

----------------------

104

______________________

Groves III: 1713-1786. Blind organist and composer. Succeeded Boyce in 1719 as Master of the King's Band of Musick.

105

Domigo Miguel Barnabas TERRADELLAS (TERRADEGLIAS)

INVENTORY:

Not mentioned.

CONCERTS:

Se spontan vezzoze*	(Galli)	1/ 4/52
Se perde l'usigliuolo	(Francescina)	1/11/52
Sei bella sei vezzosa	(Francescina)	1/ll/52
Non et se sdigno o amor	(Galli)	1/18/52
No so se suegno	(Galli)	2/29/52
Se perce	(Francescina)	3/ 7/52

______________________

Brit. Mus.= Dudiciare arie et due duetti (short score). London, Printed for the Author (1748). Folio.

Also represented in Vol. V, Le Delizie dell' Opere.

----------------------

If a number of the arias sung at the Concerts are included in Dudiciare arie, this collection was probably included in Item # 3 (4 large Sets Italian Songs).

However, it seems more reasonable that Ogle had Le Delisie dell' Opere (several volumes) with him, since this included a greater number of composers' works.

----------------------

______________________

Groves III: 1711-1751. To London 1746, produced "Mitridate" and "Bellerophon." Returned to Rome in 1747.

106

Francesco VERACINI

INVENTORY

Not mentioned.

CONCERTS

O inas pettato

(Galli)

1/11/52

______________________

Brit. Mus.= Favourite Songs in the Opera Rolinda. In Le Delizie dell' Opere, Vol. 4. (1776?).
(If the date is correct, this must be a very late issue).

May also be included in Farinelli's Celebrated Songs (see; Hasse).

______________________

Groves III: 1685-1750. Celebrated violinist and composer; visited England 1714 as leader of the opera band, and soloist between acts; he was regarded 'as the greatest violinist in Europe' (at the time) (Burney). To Dresden in 1720; returned to England (London) 1735, where he achieved signal success as a composer; composed "Adriano," "Rosalinda," "L'errore di Solomone."

107

INVENTORY:

Not mentioned.

CONCERTS:
(Performed by Vincent)

Hautboy Concerto	12/28/52
Hautboy Solo	1/ 4/52
Hautboy Solo	1/18/52
Hautboy Solo	1/25/52
Hautboy Concerto	2/ 8/52
Hautboy Concerto	2/15/52
Hautboy Concerto	2/22/52
Hautboy Concerto	2/29/52
Hautboy Concerto	3/ 7/52
Hautboy Concerto	4/25/52

______________________

Brit. Mus.= 6 Solos for a Hautboy, German Flute, Violin, or Harpsichord with a Thorough Bass composed by Thomas Vincent, Junior. Opera Prima. (1748). London, Printed by Wm. Smith… and sold by the Author in his House in Golden Square.

----------------------

One of the concerti may have been included in Item #36 (5 large books of concerti, manuscript).

----------------------

Groves V: c.1720-1783. Oboist and composer, pupil of St. Martini.

LDA. 18 December, 1751. Died at his home in Golden Square, Mr. Thomas Vincent (Sr.) one of the Gentlemen of His Majesty's Band of Musicians and is succeeded therein by his son Mr. Thomas Vincent.

108

Leonard VINCI

INVENTORY:

Not Mentioned.

CONCERTS:

Vo solcando un mar crudele

(Galli)

1/18/52

______________________

Brit. Mus.= Arie 6. (With orchestral accompaniment). Score. pp. 19. London, Printed for J. Walsh (c. 1757). Fol.

Represented in Le Delizie dell' Opere,
Farinelli's Celebrated Songs (see: Hasse).

______________________

Groves III: 1690-1730. Opera composer. Grove cites the "well­known air"vo solcando un mar crudele as one of Vinci's arias that had a powerful influence on the concerto and symphony.

109

Henry WOODWARD

INVENTORY:

(Item # 37)

Harlequin Ranger

-/ 2/ -

CONCERTS:

Not performed.

______________________

Brit. Mus.= Harlequin Ranger. The Musick in Harlequin Ranger (Pantomime). As it is perform'd at the Theatre Royal in Drury Lane, set for the Violin, German flute, or Hautboy with a Thorough Bass for the Harpsichord. London, Printed for J. Oswald. (1752). Obl. fol.

Brit. Mus. = The Miller's Wedding. A new Song, sung by Mr. Beard in Harlequin Ranger, etc. (London, 1752). 8vo.
The London Magazine, 1752, p. 83.

----------------------

The copy in the British Museum must be the same issue as that in the Inventory, Item # 37. It may be dated a little late, as the Pantomime was produced at Drury Lane in 1751, and it was not at all uncommon to publish these works within a few weeks after they were produced.

----------------------

Nicol: The Drama: Several 'composers" (of Harlequinades) were speedily noted for their skill in devising these shows, and among them Henry Woodward undoubtedly stands the chief. Harlequin Ranger was produced in Drury Lane in 1751.

110

John WORGAN

INVENTORY:

Not mentioned.

CONCERTS:

Blest as th' immortal Gods is He

(Sheward)

1/25/52

______________________

Br. Un. Cat.= Blest as th' immortal Gods is He. A hymn to Venus. (Song, with words translated from Sappho by A. Phillips, Music by John Worgan). London, s.sh.fol. c. 1725 (?? see below). Cambridge, Fitzwilliam Museum.

(another edition). London, c. 1730. (?) s.sh.fol. Br. Mus.
(another edition). London? c. 1750. B.sh.fol. Br. Mus.

----------------------

Since Worgan was born in 1724, either the dating on two of the above is incorrect, or it was another John Worgan (perhaps Worgan's father?) who wrote the song.

The song may have been included in the Inventory in Item # 37 (Loose Musick).

----------------------

______________________

Groves V: 1724-1790. Organist and composer. Organist at Vauxhall Garden; composer to Vauxhall 1753-1761, 1770-1774. Dr. Mus., 1775.

111

UNIDENTIFIED

115

COMPOSITIONS POSITIVELY IDENTIFIED

• Alberti, Domenico. VIII Sonatas per Cembalo. Opera Primo, da Domenico A1berti. London, Printed for J. Walsh, (1748 or earlier).
• Alcock, John. Six Suites of Easy Lessons for the Harpsichord or Spinnet, with a Trumpet Pierce (sic). London, Printed for the Author, 1741.
• Avison, Charles. Six Concertos in 7 Parts. Opera Terza. London, Johnson, 1751.
• Avison, Charles. Two Concertos, the first for Organ or Harpsichord in 8 Parts, the second for Violins in 7 Parts. Newcastle, Joseph Barber, 1742.
• Avison, Charles. 8 Concertos for the Organ or Harpsichord.
  N.B. The 1st and 2nd Ripienos, Tenor, and Basso Ripieno of his Violin Concertos (Op. 2) are the instrumental Parts to ye above. London, Printed for J. Walsh, 1747.
• Burgess, Henry, Jr. Six Concertos for the Organ or Harpsichord, also for Violins and other Instruments in 5 Parts. London, Printed for J. Walsh, (1740?).
• Corbett, Charles, ed. The Musical Entertainer. Engrav'd by George Bickham, Jun., Vols. 1 and 2. London, Printed for Charles Corbett, 1740. fol.
• Felton, William. Six Concertos for the Organ or Harpsichord with Instrumental Parts. Opera Secunda. London, J. Johnson, 1747.
• Felton, William. Eight Suits of Easy Lessons for the Harpsichord. Opera Terza. London, Johnson, 1752.
• Giardini, Felice. 6 Sonatas for a Violino Solo e Basso. Opera Primo. London, for the Author by J. Cox.
• Grannom, Lewis Christian Austin. 12 New Songs and Ballads with their Symphonies for German Flute or Violin. Opera Quarta. London, R. Bennett & Co., 1752. 116
• Handel, George Friderick. Handel's Songs selected from his latest Oratorios for the Harpsichord, Voice, Hoboy, or German flute, etc. (6 parts). London, Printed for J. Walsh, 1749 & 1751? First two volumes, also the first two volumes of the voice parts.
• Handel, George Friderick. Six Overtures for Violins, etc… from the Oratorios…London, Printed for J. Walsh, (before 1750). The 8th, 9th, 10th, and 11th Collections.
• Handel, George Friderick. Apollo's Feast, or the Harmony of ye Opera Stage. Being a well-chosen Collection of the favourite and most celebrated Songs out of the latest Opera's compos'd by Mr. Handel done in a plain and intelligible Character with the Symphonies for Voices and Instruments, etc. London, Printed for J. Walsh, 1738? Volume Five.
• Handel, George Friderick. Acis and Galatea. A Masque… London, Printed for J. Walsh, 1739 or 1743 edition.
• Hasse, Johann Adolph. 6 Concertos Set for the Harpsichord or Organ, etc. Opera Quarta. London, Printed for J. Walsh, 1741.
• Hebden, John. 6 Concertos in 7 Parts for 4 Violins, a Tenor, a Violoncello, and a Thorough Bass for Harpsichord. Opera Secunda. Printed and sold for the Author…and by J. Johnson, London. (Not later than 1748).
• Lampe, Johann Friedrich. A Plain and Compendious Method of Teaching Thorough-Bass. London, J. Wilcox, 1737.
• Leveridge, Richard. A Collection of Songs in Two Volumes. London, Printed for the Author, 1727.
• Nares, James. Eight Setts of Lessons for the Harpsichord compos'd by Mr. James Nares, Organist of York-Minster. London, Printed for J. Johnson, 1747. 117
• Pasquali, Nicolo. Raccolta di Overture, e symphonie, per due Violini e un Basso… con un alto Viola, Tromba, Corni di caccia, e tymbali di rinforzo, nella I, III, V, IX, XI…London, Printed for the Author, 1750.
• Pasquali, Nicolo. XII English Songs in Score, collected from several Masques and other Entertainments, and Printed for the Author, with His Majesty's Royal License, etc. London, the Author, 1750.
• Purcell, Henry. The Catch Club; or Merry Companions for 3 and 4 Vo1ces. London, J. Walsh, 1720(?).
• Rameau, Jean Phillippe. 5 Concertos for the Harpsichord compos'd by Mr. Rameau, accompanied with a violin or German Flute or 2 Violins and a Viola with some Select Pieces for the Harpsichord alone. London, Printed for J. Walsh (c. 1750).
• Woodward, Henry. The Musick in Harlequin Ranger. As it is perform'd at the Theatre Royal in Drury Lane, set for the Violin, German flute, or Hautboy with a Thorough Bass for the Harpsichord. London, J. Oswald, 1752 (1751?).

118

COMPOSITiONS VERY PROBABLY INCLUDED IN THE INVENTORY

• Corelli, Arcangelo-Geminiani, Francesco. Concerti Grossi con due Violini, Viola, e Violoncello di Concertino obligati e due altri Violini e Basso di Concerto Grosso da F. Geminiani, composte delei sei solo della prima (secunda) parte dell' opera quinta d'Arcangelo Carelli. 2 pts. London, Printed for J. Walsh. (1732?).
• Farinelli's Celebrated Songs collected from Sig^r Hasse, Porpora, Vinci, and Veracini's Operas. Set for German flute, Violin, or Harpsichord. London, Printed for J. Walsh (1736?).
• Farinelli's Celebrated Songs… Galuppi, Hasse, Vinci, Lampugnani, Veracini, and Pesetti's Chamber Airs…Being the most celebrated Songs or Ariets collected out of their late Operas…London, Printed for J. Walsh (1755?)
• Hasse, Johann Adolph. Venetian Ballads, compos'd by Sig. Hasse and all the celebrated Italian Masters. London, Printed for J. Walsh (1745?).
• Lampe, Johann Friedrich. Lyra Britannica. A Collection of favourite English Songs, let to Musick by Mr. John Friedrich Lampe. London, Simpson (c. 1745).
• Le Delizie dell' Opere. Being a Collection of all the favourite Songs in Score. Collected from the Operas compos'd by Bach, Perez, Cocchi, Campi, Jomelli, Giardini. Hasse, Porpora, St. Germaine, Pescetti, Veracini, Bononcini. 14 Volumes. London, Printed for J. Walsh (c. 1743-1763). The first two or possibly three volumes only.

119

COMPOSITIONS PROBABLY INCLUDED IN THE INVENTORY

• Ciampi, Vinceuzi Legrenzio. Either
  (1) Arie 6. Composte del Sig. Vincenzio Ciampi, To which are added some Favourite Songs from the late Italian Comic Operas. London, Printed for J. Walsh, (1754?)
  (2) Favourite Songs in the Operas Il Trionfo di Camilla, Adriano, & Il Negliacenti in Score. London, Printed for J. Walsh, 1750.
• Palma, Filippo. Either
  (1) Six Italian Songs with their Accompaniments, etc … London, Printed for the Author (1745?)
  (2) Six Italian Songs with their Accompaniments in Score. Opera Secunda. London, J. Johnson for the Author (c. 1753).
• Terradel1as, Domigo Miguel Barnabas. Dudiciare Aria et due Duetti. London, Printed for the Author (1748).

PERHAPS INCLUDED IN THE INVENTORY

Manfredini, Guiseppi. Sei Arie con istromenti. London, Printed for the Author. 1752.

120

COMPOSERS IN THE INVENTORY
UNIDENTIFIED COMPOSITIONS

• Schickhard, Johann Christian. 6 Sonatas.
• Stanley, John Charles. 4 Small Books.

121

APPRAISAL VALUES AND COMPARABLE COSTS IN ADVERTISEMENTS

ITEM		APPRAISED VALUE	COMPARABLE COST
1.	2 Sets Pasquali's Overtures	-/ 4/ - each
5.	4 books Symp; Handels Oratorias	-/ 2/ 6 each
10.	Avison's Concertos (6)	-/ 4/ -	-/12/- LDA, 1/24/50
11, 12.	6 Concertos, Burgess, & 6, Hasse	-/ 7/ 6	-/10/6, Felton; op. 1 cover
19.	6 Concertos, Hebden	-/ 8/ -	"
27.	8 Concertos, Avison	-/ 6/ -	"
36.	5 large books concertos, man.	1/ -/ -	"
17.	5 concertos, Ramsea	-/ 4/ -	-/10/6. Walsh adv., LDA.
	(In all probability, the appraisers felt that the demand for such ensemble music would be more limited than would the demand for other music in the Inventory).
2.	10 books Handels Songs	-/ 3/ - each	-/ 3/ - Hasse, Airs (Opera) LDA, 1748
3.	4 large Sets Italian Songs	-/ 5/ - each	-/ 5/ - Palma, Italian Songs. LDA, 1749
7.	Lamp's Songs	-/ 5/ -	"
8.	Apollo's Feast, Handel	-/ 5/ -	"
22.	1 large book of Songs, Palma	-/ 5/ -	"
21.	12 English Songs, Pasquali	-/ 5/ -	"
23.	Songs in Acis and Galatea, Handel	-/ 5/ -	"
25.	Grannom's Songs	-/ 4/ -	-/10/6 - Stanley, 6 Cantatas, LDA, 1749
31.	Leveridge's Songs in Small	-/ 2/ - each	Oswald, Airs for the Season, -/2/- each (1755).
32.	Songs by Hasse	-/ 4/ -	Hasse, Venetian Ballads, -/10/6, LDA, 1747.
33.	Catches by Purchett and Blow	-/ 2/ -	See: Oswald, above
34.	Ballads by Grannom	-/ 3/ 6

(The appraised values of the vocal music was not much lower than the advertised values of comparable music. The Handel songs (arias from the oratorios) was valued rather low, but the appraisers may have considered the difficulty of the vocal parts, as well as the fact that the accompaniments were for instruments.)

122

ITEM		APPRAISED VALUE	COMPARABLE COST
4.	6 Sonatas, Schickard	-/ 4/ -	Gallo, Sonatas -/5/. Cover.
9.	Nare's Lessons	-/ 6/ -	Nares, Lessons, -/10/6. LDA, 1748
14.	6 Sonatas, degeardino	-/ 5/ -	Grannom, 6 Sonatas, -/5/- cover, c.1750
24.	Alcock's Lessons	-/ 4/ -	Alcock's Lessons, -/5/6, cover, 1770?
16.	Alberti's 8 Sonatas	-/ 5/ -	Felton, 8 Soli, -/6/-, cover, c. 1750
28	Felton's Lessons	-/ 4/ -	Felton, 6 soli, /5/-, cover, c. 1750

(The agreement between the appraised values and the cost of new compositions of comparable type is rather surprising, in the case of the harpsichord pieces, especially when it is remembered that this was used music, perhaps with markings and some wear. The appraisers obviously felt that the demand for these pieces would be greater.)

15.

Lamps Thorough bass

-/ 7/ 6

Lampe Thorough-bass. -/10/6, LDA. 1747.

(The appraisers probably felt that a used book, such as Ogle's must have been, was worth less than a new one).

(Walsh never put the price of compositions on any of his issues, and rarely stated any prices in the advertisements in the papers. Simpson occasionally priced compositions in advertisements on the covers of his issues, and occasionally advertised a price in the papers. One or two other publishers followed Simpson's example on occasion. Hence it is a difficult matter to find comparative prices.

123

BIBLIOGRAPHY

• Baines, Anthony. Woodwind Instruments and their History. Norton, 1957.
• Burney, Charles (ed. Mercer, Frank). A general History of Music. Dover, 1957.
• Deutsch, Otto Eric. Handel: a Documentary Biography. Norton, 1954.
• Elkin, Robert. The old Concert Rooms of London. London: Arnold, 1955.
• Grove, (Sir) George. Grove's Dictionary of Music and Musicians. 3rd Edition. (Ed. Colles, H. C.) MacMillan, 1935.
• Grove, (Sir) George. Grove's Dictionary of Music and Musicians. 5th Edition. (Ed. Bloom, E.) MacMillan, 1954.
• Hutchings, Arthur. The Baroque Concerto. Norton, 1961.
• Kidsen, Frank and Moffatt, Alfred. Minstrelsy of England. New York: G. Schirmer, n. d. (Copy in Longwood Library).
• Kunitz ______ and Haycroft _____. British Authors before 1800. New York: H. W. Wilson, 1952.
• Nicoll, Allardyce. Eighteenth Century Drama, 1750-1800. Cambridge University, 1926.
• Schnapper, Edith B., ed. The Brit1sh Union Catalogue of Early Music. London: Butterworth Scientific Publications, 1957.
• Schoelcher, George F. The Life of Handel. London: Trubner, 1857.
• Scholes, Percy A. The Great Doctor Burney. Oxford University Press, 1948.
• ______________. Catalogue of printed Music 1487-1800 in the British Museum. London, 1912.
• ______________. Colonial Williamsburg Research Department, Collection of Music.
• ______________. Dictionary of National Biography.
• ______________. Harlem Society. Register Selections. London: 1906. 124
• London Daily Advertiser. Institute of Early American History and Culture Microfilm.
• York County Records. Virginia State Library Microfilm.
• Virginia Gazette. IEHG Microfilm.

Since we won't be down this week (we're off to Washington), we thought we had better get the repertoire book back to you. Many thanks; it was a great help in checking.

The enclosed list is just to hold over until we get the title-box handed in later (this month, we hope, but perhaps September). The underlined titles have music in the plays, and we have located the music. Those not underlined have music in them, but we have not yet pinpointed them, but we're still looking.

We thought the list might add a little ammunition to your arsenal concerning the theater. We have a couple of ideas, too, which might interest you, about some other things.

Best wishes.

Music collections to look for, which should be a source for a number of theater compositions.

G. Gilliers. Musick Made for the Queen's Theatre. Adv. 16 Dec., 1706. Walsh and Hare. [illegible]

The Third Book of Theatre Music (Contains Constant Couple). Walsh, 1700. This was one of a series. Others should be valuable.

Thalia. Collection of 6 favourite Songs which have been introduced at several dramatic Performances. (Boyce, T.A.Arne, Smith, M.Arne, Battishill, Bartholomew). Walsh. AT FOLGER MUSEUM.

Eccles. 1700. 3 Vols. Theatre Musick. Arrangements of large number of tunes, but without names. [illegible]
1710-Collection of 100 of his songs, many for no fewer than 46 dramatic pieces.