Garrick lost no time in replying. On the same day he wrote to Dr. Arne: “Sir,—There are many mistakes in your letter; and first I did not charge you with hissing Master Norris; but when Mrs. Cibber spoke to me about that affair, I told her the truth, that you was charged with being in the company of hissers, and though you might not hiss, the persons averred that you were pleased, and laughed at the malcontents about you. I thought this affair of so little consequence, and so little willing am I to hear Pickthanks, as you politely call them, that I never spoke to the person who accused you. Mr. Lacy did, and will inform you of the whole. When you know and see the person in question, you may deliver your own messages, for I have too much to do to trouble myself about these matters. Your assertion, that neither you nor your abilities, &c., have had a smile of favour from me, has no foundation; for everybody who knows me, knows that I have always given you your due, as a man of genius, but at the same time I had no great reason to applaud your behaviour to me. I never ill-treated a man of genius in my life, and I was so far from returning ill-will towards you, that I agreed, contrary to my judgment, and against all rules of reason and policy, that you should make new prices at our theatre for your Oratorio. Therefore you will be much at a loss to particularise the ill-treatment you mentioned; nor know I of any transactions between us, but your indulging us with an engagement with Mr. Fawcett, when you entered into articles with the other house for Miss Brent.
“I am, Sir,
“Your obedient servant,
“D. Garrick.”
Riot at Covent Garden Theatre, During the Performance of “Artaxerxes.”
In 1759, Arne and Garrick had some negotiations in reference to Miss Brent. Arne was very anxious that Garrick should engage her, but terms could not be arranged. Garrick readily acquiesced in her superior merit alleged by Arne, but he “told the Doctor that all his geese were swans.” “Tommy,” said he, in his usual familiar way, “you should consider that Music is at best but Pickle to my Roast Beef.”—“By ... Davy,” replied the Doctor, “your Beef shall be well pickled before I have done.” Accordingly he went to Covent Garden Theatre, and concluded an engagement with the manager for Miss Brent, whose success as Polly in the “Beggar’s Opera” was so tremendous that Drury Lane Theatre was nearly deserted on the nights on which she performed. Arne, of course, transferred his services to Covent Garden, and “Comus” with his music was played on the 8th of October, 1762, with the celebrated Anne Catley in the part of the Pastoral Nymph. In 1763, on the 24th of February, “Artaxerxes” was again brought forward at Covent Garden, and it was advertised that “nothing under full price would be taken.” This was observed by Fitzpatrick, the leader of the rioters who had compelled Garrick, at Drury Lane Theatre, to submit to the demand that the public should be admitted, as heretofore, to the theatre at half-price after the third act. Accordingly the same malcontents attended the performance of “Artaxerxes” at Covent Garden, and noisily endeavoured to browbeat the manager, Mr. Beard. He, however, refused to return to the half-price custom, on the ground of the enormous expenses incurred in the splendid manner in which pieces were got up at Covent Garden; he was reminded that Garrick had submitted after a vain resistance, and he was called on to say whether he would comply with the demand or no; the answer must be “Yes” or “No.” Beard boldly from the stage said, “No.” “The benches, chandeliers, etc., were immediately demolished, and as much injury done as took four or five days to repair.” Fitzpatrick and two others were summoned to appear before Lord Mansfield, with the result that the rioting ceased; but the actors on the stage were nightly disturbed by cat-calls and other noises, so that at last Beard was obliged to give way, and resume the long-established custom of half-price.
In 1764, on December 12th, the oratorio “Judith” was repeated, and a new opera with Arne’s music, “The Guardian Outwitted,” was produced at Covent Garden Theatre. The libretto was also the work of Arne. The music of this opera has disappeared, probably in the fire which consumed the theatre in 1808. His “Arcadian Nuptials”—a Masque introduced into “Perseus and Andromeda”—was also played, with Mr. Beard and Miss Hallam in the principal parts. In 1765, on the 30th of October, Mr. William Mawhood, an intimate friend of Arne’s, proposed him as a member of the Madrigal Society, founded in 1741, a worthy assembly of musicians and amateurs who met regularly to practise the best examples of old English and Italian madrigals. The books of the Society, which still exist, show that Arne paid six shillings and sixpence subscription, and that his son, Michael, was elected a member shortly after. In this year Arne composed an Italian opera, “Olimpiade,” to a libretto by Metastasio, with a special part for the male soprano Manzuoli. This was performed at the King’s Theatre, in the Haymarket, twice only; we may therefore conclude it was not a success. Arne composed a considerable amount of music for male voices, unaccompanied, chiefly Glees and Catches. He obtained three prizes for pieces he sent in competition to the Noblemen and Gentlemen’s Catch Club (founded in 1761). His Glee, “Come, shepherds, we’ll follow the hearse,” was for many years sung after the announcement of the death of a member. The proceedings of the Society were frequently of a highly convivial nature, and it is to be feared that Arne found them greatly to his liking; in one instance he outraged good taste and becoming reverence by composing a burlesque on a most solemn religious rite, to the words “Poculum elevatum.”