The first published score of “Rule, Britannia” enables us to note that both words and music have undergone considerable changes, some of them undoubtedly improvements and others the reverse. The elimination of the short ritornelles, or symphonies, which Arne wrote between the several lines of the verses, brings the subject-matter closer together and makes it more adaptable for a national song. On the other hand, the alteration of the melody in the last bar of the solo cannot be commended, neither can the change of melody and harmony at the end of the first bar of the chorus. As originally composed it was very strong, virile, and characteristic of Arne. It would, however, be injudicious now to attempt to restore the original; custom and the popular ear have stereotyped the prevailing version. It is noteworthy that Chappell’s “Popular Music of the Olden Time,” and also the reprint of that work, give the erroneous version without comment. The Gentleman’s Magazine of 1755, with the exception of some typographical errors, faithfully follows the composer. It would be interesting to ascertain who first tampered with the Ode. William Horsley published an edition about 1840, which is correct. The words have also been badly treated. The original says “guardian angels sung this strain,” and the command “Rule, Britannia, rule the waves” has been changed to an assertion that “Britannia rules the waves.” This error may without difficulty be avoided in future.
After the performance of “Alfred” at Cliefden, we can trace no public representation of any of the music before the 21st July, 1742, when Mrs. Arne sang the air, “O Peace, thou fairest child of Heaven,” at a concert in Dublin.
The work was advertised for performance in Dublin in 1743, but was not actually produced until the following year. On the 28th of February and 3rd of March an advertisement appeared in Faulkner’s Journal—“The Third Night of the Subscription, at the Theatre-royal in Smock Alley, on Saturday next, being the 10th of this Inst., March, will be performed the Judgement of Paris, written by Mr. Congreve and set to music by Mr. Arne, with all the Chorusses as performed at the Theatre Royal in Drury-Lane; after which will be performed a new Serenata, called Alfred, composed by Mr. Arne, at the special Command of his Royal Highness, Frederick Prince of Wales, and never performed but at his Palace at Cliefden, which concludes with a favourite Ode in Honour of Great Britain, beginning, When Britain first at Heav’n’s command. N.B. Attendance will be given at the Theatre on each Day of Performance.” In May and June, 1744, for the benefit of the composer and his wife, two performances were given of “Alfred” and the “Judgement of Paris.” The Dublin Journal announced by advertisement as follows: “Being particularly desired. For the benefit of Mr. and Mrs. Arne. At Mr. Neale’s great Room in Fishamble street, on Wednesday the 30th of this Inst. May 1, will be performed the Judgement of Paris, written by Mr. Congreve, and now set to music by Mr. Arne, after which will be performed a Serenata, call’d Alfred, composed by Mr. Arne at the special Command of his Royal Highness Frederick Prince of Wales, and performed at his Palace at Cliefden, on the Birthday of the young Princess Augusta. To conclude with the celebrated Ode in Honour of Great Britain, beginning (When Britain first at Heaven’s Command). The principal Parts to be sung by Mr. Lowe, Mr. Cologan, and Mrs. Arne, being the last Time but one that Mr. Arne, Mrs. Arne or Mr. Lowe will perform in Publick this Season. Mr. Arne will accompany the Performance on the Violin, Mr. Welch on the Organ, and Signior Pasqualino on the Violoncello. N.B. This Performance will be done to great Advantage, on account of the Organ, and the assistance of Mr. Cologan, and several Gentlemen in the Chorusses, who could not perform at the Theatre. Ticket a British Crown. To begin precisely at half an Hour after 6 o’Clock. Vivat Rex. Tickets to be had at Mr. Arne’s in Aungier street.” The repeat performance took place on the 6th of June. It may be noted that Mr. Cologan (James Colgan) was a vicar-choral of St. Patrick’s Cathedral; probably the several gentlemen in the chorus were also attached to St. Patrick’s or Christ Church Cathedrals, and thus precluded from assisting in performances on the theatre stage. Mr. Welch was Mr. George Walsh, the organist of St. Ann’s Church, Dublin. The next performance of “Alfred” took place in London. The General Advertiser of 20th March, 1745, printed the following: “for the benefit of Mrs. Arne, an Historical Musical Drama, call’d Alfred the Great, King of England. The Musick was composed by Command of His Royal Highness the Prince of Wales, and never performed in England, but at His Royal Highness’s Palace at Cliefden. The music by Mr. Arne. To conclude with a celebrated Ode in Honour of Great Britain, in imitation of those formerly sung at the Banquets of Kings and Heroes: Boxes, 6s.; Pit, 4s.; First Gallery, 2s. 6d.; and Upper Gallery, 1s. 6d. Mr. Arne humbly hopes the Town will not be offended at the small advance of the Price, this Performance being exhibited at an Extra Expence, with regard to the Number of Hands, Chorus Singers, building the stage, and erecting an Organ; besides all other incidents as usual. The Ladies are desir’d to send their Servants[38] by Four o’clock. The above day is fix’d on to avoid interfering with Mr. Handel.”[39]
For this performance the libretto had been considerably altered, re-written in fact, and Arne had composed the additional music required; the title-page of the revised book reads: “Alfred, an Opera. Alter’d from the Play, written by Mr. Thomson and Mr. Mallet, in Honour of the Birth-Day of Her Royal Highness, The Young Princess Augusta. The Musick was composed by Mr. Arne, and perform’d with the Play at Cliffden in Buckinghamshire at the Special Command of His Royal Highness, Frederic, Prince of Wales. London. Printed for A. Millar at Buchanan’s Head, Opposite Catherine Street in the Strand. M.DCC.XLX.”
The dramatis personæ were all singers, Mr. Lowe, the tenor, represented Alfred, King of England; Master Connel, Prince Edward, son of Alfred; Mr. Baildon, Earl of Devon; Mr. Baker, Corin, a shepherd; Mrs. Arne, Eltruda, Queen of England; Miss Young, the First Spirit; Miss Sybilla, the Second Spirit; Miss Young, a Shepherdess, wife of Corin.
The first libretto (1740) of “Alfred” was certainly written by Thomson. It contained many fine lines which are not to be found in the 1745 book. Two examples will suffice. The Hermit, addressing Alfred, says:
A vision to my phantasy appear’d—
I liv’d thro’ future ages; felt the virtue,
The great the glorious passions that will fire
Distant posterity: when guardian laws
Are by the patriot, in the glowing senate,
Won from corruption; when th’ impatient arm
Of liberty, invincible, shall scourge
The tyrants of mankind,—and when the Deep,
Through all her swelling waves, shall proudly joy
Beneath the boundless empire of thy sons.
Alfred the King speaks:
In thoughtless, gay prosperity, when all
Attends our wish; when nought is seen around us
But kneeling flattery, and obedient fortune;
Then are blind mortals apt, within themselves
To fix their stay, forgetful of the giver,
But when thus humbled, Alfred, as thou art,
When to their feeble natural powers reduc’d,
’Tis then they feel this universal truth—
That heaven is all—and man is nothing.