Dr. Arne and Rule, Britannia

by William Hayman Cummings

In 1736, Arne, in the twenty-sixth year of his age, married Cecilia Young, the charming singer who had appeared with his sister at the performances in the new theatre in the Haymarket, in 1732. She was the daughter of Charles Young, a performer of good repute and organist of All Hallows’ Church, Barking. Of three accomplished sisters she was the most gifted; her natural soprano voice had been well trained by Geminiani, and was of unusual compass and flexibility, ranging up to E in alt. She was also greatly admired on account of the accuracy and perfection with which she executed trills and shakes. Dr. Burney said, “her style of singing was infinitely superior to that of any other English woman of her time.”

Charles Young refused to sanction his daughter’s marriage with Arne on account of the latter’s religious principles. It is said he never forgave her.[6] In the year of his marriage, Arne wrote the incidental music for “Zara,” a tragedy produced at Drury Lane Theatre, in which his sister Mrs. Cibber first gave proof of her extraordinary ability as a tragic actress as well as singer. She captivated everyone by her native sweetness of voice and powers of expression; “It was difficult to say which of the two received the greater applause, the actress for her interesting person, pathetic voice and manner, or the musician (the composer Arne) for his natural and pleasing strains, particularly the March which was encored every night.” Mrs. Cibber’s fame became pronounced. Handel thought so highly of her that he engaged her to sing the contralto part in “The Messiah” at its first performance, in Dublin. How well she merited his selection was proved at the conclusion of the Air “He was despised”; her singing was so natural and touching that the Dean of St. Patrick’s, Dr. Delaney, arose from his seat and audibly exclaimed, “Woman, for this thy sins be forgiven thee!”

Mrs. Cibber was not only a great artist, but also a very accomplished and amiable woman, as is proved by her correspondence with David Garrick. When she died, in 1766, Garrick declared that “tragedy expired with her.”

She was buried in the North Cloister of Westminster Abbey.

Mrs. Cibber.

The only other composition of Arne’s which can be traced to the year of his marriage, 1736, is a Serenata, the words by Thomas Phillips, written to commemorate the marriage of the Prince of Wales with the beautiful Princess Augusta of Saxe Gotha, which took place in April. The Serenata was performed at Drury Lane Theatre. Arne’s connection with the theatre provided him with a splendid opening for his talent as composer. Dr. John Dalton, a Prebendary of Worcester Cathedral and Rector of St. Mary-at-hill, London, prepared a stage version of Milton’s “Comus.” He interpolated verses taken from other works of the poet, and added some songs of his own, all requiring music; and, as the sequel proved, no composer could have carried out the task more efficiently than Arne, who entered upon his welcome labours with real enthusiasm, and easily earned the reputation of being the best English composer of the day. His music combined graceful melody and expressive accent, needing no extraneous ornamentation to enhance its beauty. The songs “Now Phœbus sinketh in the West,” “By dimpled brook,” “How gentle was my Damon’s Airs,” and “Sweet Echo,” are amongst the gems. The various characters were well represented on the stage. Comus by Mr. Quin; the Lady, Mrs. Cibber; the Brothers, Mr. Milward and Mr. Cibber; First Spirit, Mr. Mills; Second Spirit, Mr. Hill; Euphrosyne, Mrs. Clive; Sabrina, Mrs. Arne; Attendant Spirit, Mr. Beard. The Masque is preceded by a sprightly Overture scored for strings, two flutes, two oboes, two trumpets, and bassoons. The instruments are never employed simultaneously, an orchestral feature peculiar to Arne. The song “Sweet Echo” was sung “behind the scenes” by Mrs. Arne, with an echo played on the flute, and proved very effective. Either from want of time, or some other cause, Arne did not compose chorus music, but adapted several pieces from Handel; the manuscript of these adaptations is in the British Museum. Produced at Drury Lane Theatre in 1738 under the composer’s direction, the piece had a long run and was frequently revived. A notable occasion was the performance at Drury Lane on the 5th of April, 1750, when it was given for the benefit of the grand-daughter of Milton, Mrs. Elizabeth Foster, who was living in extreme old age and poverty; for this notable event Dr. Johnson wrote a prologue which was spoken by Garrick. It is satisfactory to know that the substantial sum of one hundred and thirty pounds was handed over to the aged lady as a result of the united efforts of the artists who gave their services.

The popularity of “Comus” induced Arne to publish a score of the music in 1740. The title-page of the volume reads: “The Music in the Masque of Comus. Written by Milton. As it was Perform’d at the Theatre-Royal in Drury-Lane. Composed by Thomas Augustine Arne. Opera Prima. London. Printed by William Smith, at the musick shop in Middle Row, near Holborn Bars, and sold by the Author.” The copies were signed by the composer; we may therefore presume that the publication was his own venture, which may account for his calling it Opera Prima. It certainly was not the first work of his, either composed or printed. He afterwards sold the plates, and the score was published with a new title-page bearing the imprint “London. Printed for and sold by J. Simpson in Sweetings Alley Royal Exchange.” “Comus” became so popular that the songs were sung all over the Kingdom, and gave rise to numerous convivial and musical associations which were convened under the title Comus’s Court.

In 1739, a number of eminent musicians residing in London united in establishing a charitable society for the relief of indigent musicians and their families. The first steps were taken by Festing, Handel, Green, Weideman, and nine others; it was then called “The Society of Musicians,” and since has become by Charter “The Royal Society of Musicians.” Among the first to join the Association and to sign the “Declaration of Trust” were Thomas Arne and Handel. The former, after some years, neglected to pay his subscription, and ceased to be a member; but the latter retained his membership to the end of his life, and by his Will bequeathed one thousand pounds to its funds.