10th. The late John Taylor, Esq. an oculist by profession, but all his life chiefly engaged in literary pursuits, a man of considerable talent, and much respected by a most numerous acquaintance, among which were many distinguished political characters, together with nearly all the best writers, artists, musicians, and players of the last sixty years—left in the hands of his executors a work entitled ‘Records of my own Life,’ which has lately been published in two octavo volumes. It consists almost wholly of anecdotes, town news, green-room history, and conversations of authors and professional persons of all kinds, and is a very amusing work, from which I extract some anecdotes that concern and will interest the musical world, and begin with two relating to the greatest of composers:—
‘Handel, when he first visited Ireland, in consequence of his disgust at the preference given to Bononcini in London, carried a letter of recommendation to Dean Swift. When the Dean heard that he was a musician and a German, he declined receiving him; but when his man added that the bearer of the letter was a great genius,—“A genius and a German!” said Swift,—“Oh, then, show him up immediately.”’ (i. 334.)
Dr. Morell—who furnished Handel with the poetry of many of his oratorios—related to Mr. Taylor, that ‘one fine summer morning, he (Dr. M.) was roused out of bed at five o’clock, by Handel, who came in his carriage a short distance from London. The doctor went to the window and spoke to Handel, who would not leave his carriage. Handel was at that time composing an oratorio. When the doctor asked him what he wanted, he said,—“What de devil means de vord billow?” which was in the oratorio the doctor had written for him. The doctor, after laughing at so ludicrous a reason for disturbing him, told him that billow meant a wave, a wave of the sea. “Oh, de vave,” said Handel; and bade his coachman return, without addressing another word to the doctor.’ (i. 355.)
Mr. T. does justice to his friend, the late Dr. Arnold, who, he says, with great truth, ‘was long an ornament of the musical world, and by the general estimation of his professional merits, was a man of great genius, as well as profound in musical science. In private life he was humorous, intelligent, and convivial. He was well acquainted with the world, and always took an active, spirited, and agreeable part in conversation.’
Mr. Taylor was intimately acquainted with two of the finest female singers that the history of music can boast; the following anecdotes and characters he gives of them may, therefore, be received as authentic beyond all doubt.
‘When Madame Mara first appeared as a singer at Berlin, Frederick the Great refused to witness her powers alleging that she was a German, and, therefore, could not, possibly be a good singer. At length, however, he was persuaded to hear her, and when the concert was over, he approached her, and asked if she could sing at sight. She answered in the affirmative, on which he took a piece of manuscript music from his pocket, and asked her if she could sing that. She told him that it was the most difficult piece she had ever met with; but looking it over for a few minutes, she told him that she could. “Do, then,” said the king. She complied, and from that moment his prejudice was at an end, and she became a favourite. Becoming, however, tired of Berlin, she asked permission to visit Italy on account of her health. The king, however, would not suffer her to depart.’
‘She had a very favourite harpsichord, or piano-forte, and the king, who had set a watch over her, believed that while that remained in Berlin he was secure of her. She was therefore obliged to resort to artifice to effect her escape. She sent the instrument to be repaired, but ordered that, instead of being returned to her abode, as soon as the work was done, it should be sent to Vienna. When she had reason to believe that it was secure from capture, she and her husband secretly followed it with all expedition. The wary Frederick was soon apprized of their escape, and despatched a messenger immediately to Joseph II., then Emperor of Germany, desiring that he would arrest them. The emperor, with great kindness, condescended to let them know that there was no resisting the desire of the King of Prussia, and therefore advised them to hurry away as fast as possible, that he might inform the king that his messenger had arrived too late.’
‘Madame Mara possessed a masculine understanding, and had been so much used to male society, which she preferred, that she was little qualified for intercourse with the female world. She was animated in company, and uttered humorous and shrewd remarks.’
Mrs. Billington.—‘I knew this admirable singer when she was very young, and was present when she first appeared in public, and performed a concerto on the piano-forte, at seven years old. Her brother, on the same night, performed a concerto on the violin, when he was nearly the same age. They both displayed extraordinary powers, even without considering the early period at which they had acquired so much skill. She was born at Baugh, in 1765. Her father was of a noble family in Germany, but, by the decline of his fortune, was obliged to cultivate his musical talents as a profession. He was a harsh and severe man, and partly on account of his temper, his wife was induced to quit him, and support herself as a principal vocal performer at Vauxhall-Gardens, retaining the name of Weichsel, though separated from her husband.’