He deserves credit for his endeavours to popularise vocal concerted music in the theatre and at garden entertainments; he took care not to present his musical programmes without due rehearsal. A letter of his, without date, probably written about 1766, is evidence of this. “Dr. Arne’s compliments to W. Smith desiring him not to fail meeting the other gentlemen concern’d in the new Catches and Glees, at the Dr.’s house, on Thursday evening next, exactly at 7; having reason to hope for some continuance of them; if perform’d with a requisite spirit and humour; besides another material employment for him on the Anvil. (Jan. ye 2d.) West Street, near Litchfield street, Soho. Pray don’t forget to bring the part.” It may be necessary to explain that the Mr. W. Smith to whom the above reminder was sent was not only a singer, but also the engraver of many of Arne’s publications, and therefore familiar with the use of the anvil; evidently the composer had music waiting publication.
On the 4th of February, 1767, we learn from a note in a private diary kept by Mr. Mawhood that he “call’d on Dr. Arne and Mic. Arne, and was at the Madrigal”; probably the Arnes accompanied him. On the 4th of April Mr. Mawhood attended “Mrs. Arne’s and Mr. Pemberton’s Benefit: took 3 Pit tickets at 3s. each”; on the 9th of May he “was at Dr. Arne’s and heard ye Catches performd”; on the 29th of December “Performd Dr. Arne’s mass at Church.”
On the 12th of May, 1767, Arne conducted a concert of Catches and Glees at Ranelagh House, described in the Gentleman’s Magazine as the first of the kind. In the following year, 1768, a second vocal concert was given by Arne at Drury Lane Theatre; for the occasion a book of the words was published, with explanatory notes, probably the earliest example of an annotated programme book. The title is, “The words of the favourite Catches and Glees which, with the elegant and humorous music, composed by the most eminent masters of the last and present age, will be performed at the Theatre Royal, Drury Lane, on Tuesday, the twenty-first of this instant June, by a considerable number of the best vocal and instrumental performers. The Choral and Instrumental parts are added, to give the Catches and Glees their proper effect, being composed, for that purpose, by Dr. Arne. This performance (the second of the kind ever publicly exhibited in this or any Kingdom) is introduced at the desire of many persons of quality, lovers and encouragers of good harmony and inoffensive humour. London, printed in the year MDCCLXVIII.” There is a preface to the book explaining what is a Catch and what a Glee. Arne wrote, “these kinds of entertainment (in the time of Mr. Henry Purcell) were so much in fashion, that in most polite families, after dinner and supper, it was a custom to lay the choicest collections of Catches and Glees on the table, and thought a deficiency of education in those, who could not readily perform a part.” The concert commenced with a New Grand Overture by Dr. Arne, and was succeeded by a Catch of his composition, “The family quarrel,” which “gained a golden prize-medal in the year 1764.” Next came a Glee composed by Mr. Norris, an “Elegiac on the death of his late Royal Highness the Duke of Cumberland.” The words of this are:
O’er William’s tomb, with love and grief opprest,
Britannia mourns her hero, now at rest;
Not tears alone; but praises too she gives,
Due to the guardian of our laws and lives;
Nor shall that laurel ever fade with years
Whose leaves are water’d with a nation’s tears.
Those who are acquainted with Braham’s popular song, “The death of Nelson,” will recognize the unacknowledged annexation of the above lines by Mr. S. J. Arnold, who is credited with the authorship of the words.
The next item in the programme is a Catch by Mr. Henry Purcell, “The Soldier and his friend”; then a Catch by Mr. Giardini, “Beviamo tutti tre.” The words are printed in Italian and English. A Glee by Mr. Baildon, “Prithee friend, fill t’other pipe,” ends “The first Interlude.” The second part opens with a Catch by Mr. Henry Purcell, “Jack, thou’rt a toper,” to which Arne has appended a note, “The words of this last Catch are said to be written by Mr. Henry Purcell, wherein, it is obvious, that he meant no elegance, with regard to the poetry; but made it entirely subservient to his extream pretty design, in the music.” The catch originally was a number in the Tragedy “Bonduca,” for which Purcell composed the music: it was first published in Delicæ Musicæ, in 1696. Arne was probably correct in ascribing the words to Purcell. The next piece in the book is called a Glee, but should have been described as a Madrigal—“The Nightingale,” by Weelkes. Arne remarked that “The mastership and genius of this production may serve as a specimen of the state of music at that time, 1608.” A Glee by Mr. Baildon, “When gay Bacchus fills my breast,” which “gained a golden prize-medal in 1766,” is followed by a Glee by Arne, “On Chlœ sleeping,” “the favourite song in Artaxerxes beginning, ‘Water parted from the sea’; at the Earl of Eg——t’s particular desire, taken by the doctor for the subject of this Glee, and set for different voices, the words being now written to the measure of the music.” The “Interlude” concluded with Dean Aldrich’s Catch, “Hark, the bonny Christ-Church bells.” The third part commenced with a Catch by Arne, “The street intrigue,” the words of which are neither elegant nor decent. A note informs us, “This last Catch was written and composed in the year 1763, soon after the invitation of the Catch-Club, and not put in for a prize-medal; but with humility, presented to the members.” Next we find a Glee by Arne, “The love rapture”; then his Catch, “Which is the properest day to drink?” “This gained a golden prize-medal in the year 1765,” and is a clever composition, still occasionally performed. The last piece in the book is a Glee and Grand Chorus by Arne, “Punch, the medium of life.”
In 1769 Arne composed an Ode for the Shakespeare Jubilee at Stratford-on-Avon; the words of the Ode were written by Garrick, who paid the composer sixty guineas for the music, which was published with the following title: “An Ode upon dedicating a building to Shakespeare, which was erected by the subscription of the Noblemen and Gentlemen in the neighbourhood of Stratford upon Avon, the music composed by Dr. Arne. London, Printed and Sold by John Johnston, at No. 11, York Street, Covent Garden.” There are nine pieces of music; one Air became popular, “Thou soft flowing Avon,” which was sung by Miss Weller; the other singers were Mrs. Barthelemon, Mr. Vernon, Mr. Champness, Mrs. Baddeley, and Master Brown. A semi-chorus in the work is entitled “A strict Fuge for 4 voices. Chapel Time.” This was evidently sung unaccompanied, and although short must have made a good effect.[20] At the same Jubilee festival, Arne’s oratorio “Judith” was performed at the Church. In 1770, Garrick determined on reviving Dryden’s “King Arthur” at Drury Lane Theatre, and engaged Arne to superintend the musical part of the performance, who seems to have suffered at the time from an overdose of self-importance, and addressed the following letter to:
“David Garrick, Esq. Sir,—A due attention to your Commission having gone hand in hand with what fancy and judgment I may be thought to possess in my profession, I thought it necessary to lay before you a true state of the merits and demerits of the Musical Performance, you are about to exhibit in King Arthur. To attain a certain rectitude, in judging of this matter, I have not only, with the utmost care and candor, inspected the Score of Purcell’s composition; but attended two rehearsals of it; the result of which, is, as follows:
“The long Scene of the Sacrifice, in the 1st Act, necessary to be deliver’d in, as being written for Music, may have a solemn and noble effect, provided that the last Air and Chorus—‘I call you all to Woden-hall’—be perform’d as I have new compos’d it; the introductory Air to be sung by Champness, which being highly spirited, will carry off with an eclat, an, (otherwise) dull, tedious, antiquated suite of Chorus: Besides which, that Song, as set by Purcell, is intirely out of Mrs. Baddeley’s compass, very indifferent, and no way proper for a woman, where a troop of warriors are assembled, to bribe their idols for a success in battle.