George I, the Haymarket Opera Company and Handel's "Water Music"

Author(s): Donald Burrows and Robert D. Hume

Source: Early Music , Aug., 1991, Vol. 19, No. 3 (Aug., 1991), pp. 323-338+340-343
Published by: Oxford University Press

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 Donald Burrows and Robert D. Hume

George I, the Haymarket Opera Company and

Handel's Water Music

Relatively little is known about George I as a patron oflaw (the future Queen Caroline of Britain), or his grand-
the arts. He was a supporter of Handel; he contributed achildren Princess Anne and Prince Frederick. There is
subsidy to the Royal Academy of Music; his attendanceno reason to suppose, however, that his opera patronage
at the opera is occasionally noted in the newspapers. in later years was motivated solely by convenience or
Happily, some important new information about his social display, untainted by an enjoyment of what was
musical patronage is to be found in manuscripts pre- being performed. Opera patronage, as we shall see, was
served in the archives of the Prince of Hanover.' The evidently a duty that George I found congenial.5
documents relate mainly to George I's patronage of George I succeeded to the British throne on 1 August
opera performances at the King's Theatre, Haymarket,1714, and arrived in London on 20 September. He came
in the three seasons 1715-17-a period when the operato a capital city in which Italian opera had so far enjoyed
was managed by J. J. Heidegger, though its musical a short, glamorous and wobbly vogue, but had by no
direction was probably largely in Handel's hands. There
means taken firm root. All-sung opera had been intro-
are also, however, a few documents that refer to operaduced in English in 1705, and castrati had soon been
performances by the Royal Academy of Music in theimported to lend the Continental touch. By 1710 per-
1720S, and to the water parties that saw the first perform- formances were being given in Italian-a development
ances of Handel's Water Music. These manuscripts ridiculed by Addison, but natural enough if one were
supply interesting financial information, give us rare paying Nicolini 8oo guineas per season as principal per-
samples of the handwriting of some principal singers,former. Handel's Rinaldo (February 1711) was the first
and best of all invite a startling reassessment of George new
I Italian opera to be written specifically for London.6
as opera patron. It was much admired, but the company that mounted it
was so insecure financially that the copyist took away the
The new king and the state of opera in London score after every performance until he was paid.7 The
Writing in 1956, J. H. Plumb remarked that 'The firstopera was a private and speculative venture-and one
four Georges have not enjoyed a good press since Thack-
that failed to pay. Shaky finances made for unstable
eray's day'," but a more positive view of George I hasmanagement, or worse. A major crisis occurred after the
gradually emerged from Plumb's work and then from second performance of Handel's Teseo on 14 January 1713
Ragnhild Hatton's biography.3 Increasingly, he is now when, in the words of 'Colman's Opera Register',
seen as an intelligent ruler who brought a European per- Mr Swiny [the manager] Brakes & runs away & leaves ye
spective to British politics. George was born in 166o, the
Singers unpaid ye Scenes & Habits also unpaid for. The Singers
year of Charles II's restoration to the English throne, and
were in some confusion but at last concluded to go on with ye
his early maturity coincided with the grandest period of operas on their own accounts, & divide ye Gain amongst
them.8
the Hanover court opera, which mounted performances
of major Italian operas by the resident composer, Agos-
On 26 February the same source reports that 'Mons John
tino Steffani, between 1689 and 1696. When George suc-
James Heidegger' is managing the opera 'for ye Singers'.
ceeded to the Electorate of Hanover on the death of his
The company limped on for four more seasons under
father in 1698, he did not inherit the income from theHeidegger's direction until it finally collapsed in the
Bishopric of Osnabruick that had previously been used tospring of 1717.
finance opera performances, and the court opera fell Given the state of the company after Swiney de-
into abeyance:4 its possible revival was prevented by camped in 1713, there was naturally some concern in the
extended European wars and the Hanoverian successionautumn of 1714 about the interest and level of support
to the British throne. George I was apparently not a that the new king would show towards the opera. The
fanatical music-lover like his mother, his daughter-in-first rumours were not encouraging:

EARLY MUSIC AUGUST 1991 323

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Tis said his Majesty does not approve of the Performances of [XVII/2612 (illus.1) le 14 dAvril 1715
the Opera in the Hay-Market, and will, for the future, honour Jay receu de Mr Mehemet homie de cham[bre] du Roy la
his Comedians with his Royal Presence, which will be of great de Cent et dix Guinds pour neuf fois que sa Majeste a ho
advantage to them.' lopera de sa presence et pour le jour de mon benefitt.
J J heidegger'3
This proved an ill-founded scare: as we shall see, the king
appeared at the opera with almost monotonous reg- [xvII/44] le 22 Juin 1715
ularity throughout the season. Jay receu de Monsieur Mehemet home de Chambr
For information about royal attendance at London soffie de septante Guinds pour sept representatio
operas we have been (and remain) largely dependent on dix Guine chacune que sa Majeste a honore de sa
J J heidegger'4
the newspapers. Command performances by members
of the royal family are in theory noted in the calendar of
These receipts give us two facts of considerab
performances in the London Stage,"1 but in practice this
George I attended the opera at least 16 times
is far from true. Nor have all newspaper reports of royal
(in addition to attending Heidegger's benefi
attendance yet been systematically collected. We should,
paid only to guineas for each performance. B
in any case, be sceptical as to the completeness of the
166os Charles II had paid ?1o per visit to the
newspaper record-a scepticism that is reinforced by
atre: basically, the rate had not changed in the
evidence from the Hanover documents. And the news-
ing half century.15 Indeed, the King was still
papers tell us nothing of what the King paid, or what
per play, as two receipts in the Hanover arch
individual patronage he conferred upon favoured per-
How many places were occupied in the Haym
formers. These are subjects on which the Hanover
atre for the o0-guinea payment we do not kn
manuscripts shed light.
box seats were reserved for members of the ro
Before we proceed to interpretation of the docu-
Drury Lane.17 Since the seats normally cost
ments, something should be said about their nature and
8os for the whole group), the premium for D
origin. Most of them are receipts for attendance at the
was ?6 for the royal party. If places for 20 had
opera house, and they seem to provide a fairly complete
at the opera house, where box tickets were nor
record of George's patronage between 1714 and 1717. All
this date, the premium would have been a m
of the receipts relate to payments from the Privy Purse
The five receipts for individual benefit
account, which was administered for most of the reign
interesting. We give them in chronological o
by the King's trusted Turkish servant Mehemet." A chris-
tian convert, Mehemet served as Groom of the King's [XVII/27] Adi 12 Aprile 1715 Londra
Chamber and Keeper of the Closet. He is termed homme
de chambre, but he was no 'valet' in the usual sense: the Confeso
Giorno di di aver di
Benfico Ricevuto dal Sig. Memet vinti Gine p[er] il
Mia Molgie.
Giovanni Schiavonetto'8
Emperor ennobled him as Ludwig von K6nigstreu in
1716. He handled substantial sums of money, but appears
[XVII/28] April 15. 1715.
to have kept rather informal records. The Privy Purse
jay receu de Mr Mehemet home de Cham
allocation was private and its use was not subject to any de Vint Guinee pour mon jour de benef
public accounting: hence the documents relating to it Majeste
survive among the King's personal papers and not in Anastasia Robinson'9
official government records. Personal bills of all sorts are
included-for example, ?1 19s for three leather dog- [xvII/43] Londra 1715
collars marked 'GR' in a crown, and '13 gold ducats' for Io Diana Vicco h6 riceuto dal Sigr

the dentist who had the honour of brushing the royal per l sera del mio beneficio, d'ord
che mi soto scrivo
teeth ('netoier les dents a sa Majeste'). Diana Vicco Affermo
quanto soprazo
The season of 1714-15
[xvII/48] (illus.z) le lOme jullet 1715
Of the seven Hanover documents pertaining to this
Je ay receu de Mr Mehemet Homme de Chambre du Roy, la
season, two concern payment for the King's attendance somme de Cinquante Ghinde, pour un present qu'il A plut i sa,
at regular performances and five are receipts for benefit MajestY, i me faire pour mon jour de benefice.
Chever Nicolino Grimaldi2'
payments. We deal with the former first.

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1 Receipt in the hand of

J. J. Heidegger, 14 April 1715 [xvII/26] 2 '

? . ,,.1+

-41
r? i r" /'

1C lie~;~~,r,.<h

Nicolino
2 Receipt in Grimaldi, . 10 i.i
the hand of ,." July 1715

zJn

/ joVt/v.Z2
/4ZA Y e'JAL..

4.

[xvII/54] le 31 Aoust 1715 pension of ?200 per annum to

Jay receu de M' Mehemet Hofie de chambre de sa Majeste la
patronage.24
some de Vingt Guinds pour L'opera qui
From these a este
benefit receipts represente pour
we can draw at least three
mon benefitt [written over 'benefice'?] et que sa Majeste a hon-
conclusions. First, the King gave 20 guineas (i.e. double
ore de sa presence.
the usual daily charge) to favoured performers for their
J J heidegger"
benefit days-and we presume that in such cases he
We have not found a receipt attended
for the benefit. Second, consideration
Catterina Galerati's was givenben-
to
Nicolini,
efit on 23 April, but we now knowthe reigning superstar,the
that who received
King a munifi-
gave
bounties to everyone else who received
cent 50 guineas a patronized
(though the King benefit only onethis
of
his two benefits).
year. Probably Galerati too received 20 Third, Heidegger appears
guineas, since to have
her
benefit was advertised as aallowed
command performance.23
himself two benefits this season, though neither
(For a list of performances was
with commands
publicly advertised. noted,
The King apparently attendedsee
his benefits and paid
table 1.) One conspicuous absence from20 guineasthe
on bothHanover
occasions-
receipts (for this season and
partin general)
of a pattern is any
of favour toward Heidegger payment
of which we
to Handel. He received no benefits after 1713
will see several manifestations (or at least
in later years.
Turning
none is advertised). We offer, to the issue of thethe
however, King's attendance during
hypothesis
the season as a whole, we of
that the King regarded his continuation may note that on 44Anne's
Queen opera

EARLY MUSIC AUGUST 1991 325

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dates the London Stage reports the King in attendance 14 The season of 1715-16
times (one of them erroneously). Yet from the Privy
During George's second season in London he main-
Purse papers we now know that the King paid for 16 reg-
tained his basic pattern of attendance and patronage.
ular performances and for six benefits, or a total of 22
Once again, records reported in the London Stage vastly
nights that he presumably attended. Reference to the
understate the degree of patronage. The Hanover
original theatre advertisements in the Daily Courant
archive contains record of two payments for regular
quickly shows that the discrepancy here is the result of
performances.
inconsistency on the part of the editor of the London
Stage in handling 'command' performances. They have [xVIII/26] Le 30 Mars 1716
been entered in a random way, and many have been J'ay receu de Monsieur Mehemet Hom
omitted. The result, unfortunately, is that a generation Cinquante Guinea pour cinq represen
of scholars who have relied on this authoritative refer- Majest' a honord de Sa presence.
ence book have been led to suppose that George I went Chev:e Nicolino Grim
to the opera less often than he did. Had all command
performances been duly reported, we would long ago [xvIII/100oo] (illus.4)

have realized just what an opera enthusiast George really His Majesty has been at the Opera since t
was. Guineas the following times.
(1716) April 4. Pyrrhus and Demetr
'Command' notices in the newspapers, however, pre-
11. Ditto-
sent some problems. Three matters are troublesome.
18. Cleartes-
First, the newspaper bills sometimes change from day to
25. Ditto-
day. Thus on 28 and 29 December 1714 the advertisement le 26 Juin 1716
for the 3oth says in small print 'By Command', which
Jay receu we
de M' Mehemet homie de chambre de sa Majeste la
take to imply a command by the King, butsoffie
on the day of Guineas, pour quatre representations d'Op
de quarante
performance the advertisement is headedera inque
large type
le Roy a honord de sa presence.
'By His Royal Highness's Command', i.e. by command of J J heidegger'6
the Prince of Wales. Second, in the Daily Courant adver-
Obviously
tisements the statement 'By Command' is the price continued to be 10 guineas per
sometimes
buried in the small print instead of appearing
night,
at and
thethe
topKing attended nine regular performances.
Why theappears
of the item in large type. In such cases it usually first payment was made to Nicolini instead of to
Heidegger
in conjunction with a particular starting time. we can only guess. Conceivably Heidegger
By itself,
we take this as implying a command by the was ill
Kingor otherwise
but, engaged. Or perhaps Nicolini's salary
was in
when the Prince of Wales is named at the top, thearrears,
phraseand he was allowed to collect the 50 gui
'By Command' in small type may refer to neas on account.
the Prince's
wishes as to time. Third, and most important, we cannot
Benefit payments largely follow the pattern of the
be certain that the King or the Prince ofvious
Walesseason.
actually
attended all performances advertised as 'By Command'.
In this respect the Hanover manuscripts[xvIII/18]
are a helpful
Rec[ei]ved byseason,
cross-check on the Daily Courant. In the present his Majesty's Command twenty guineas, of
Mons Mahomet
we find 23 commands advertised, three occasions when by me

the King is reported in attendance without a command,

March ye 13th: 1715/16 A: Robinson77
and 22 performances paid for. (In addition, the Prince of
[xvIII/43] (illus.3) Le 16 May 1716
Wales commanded 15 performances, and the Princesses
J'ay receu de Monsieur Mehemet Homme de cha
one.) In 1715-16 there are 22 advertised royal commands
Cinquante Guinea, pour mon jour de benefice, q
and 17 payments. In 1716-17 there are 14 royal commands
A honord de me donner.
and 14 payments, though two of the benefit payments Chev:er Nicolino Grimaldi8
concern nights not advertised as commands. (See the
details of performances, benefits and [xvIII/44]
attendanceAdi
in 19 Magio 1716 Londra
table 1.) We conclude that the King usually, but not
Confeso di auer Ricevuto la somma di Vinti dal Sig. Memet
invariably, went to performances that he had
p[er] il Giorno di benefitio
commanded. Giovanni Schiovonetto29"

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3 Receipt in the hand of Nicolino
Grimaldi, 16 May 1716 [xvIII/431

1 1 97

I'

'00 00,00

[xvIII/74] Londra 3 Giugno 1716 The receipt for the orchestra benefit is
Io sottoscritto 6 ricevuto dal Sig' Memett huomo di Camera
tantalizing. di
The flautist Francis Dahuron
sua Maesta Ginee vinti p[er] il mio Giorno di Benefizio dico
viously been known in London earlier th
Gin 20 Antonio Bernachi3"
appearance as co-recipient for the King's
[xvIIi/81] le 18 Juin 1716 gests that by 1716 he was a person of imp
Jay receu de M' Mehemet homie de chambre du Roy la some de
opera orchestra.33 The viola player Lin
Cinquante Guinea par ordre de sa Majeste pour mon jour de
copyist for Rinaldo) was a member of th
benefit.
orchestra c.1707-1713 and has been known a
J J heidegger3
the opera after that, but not definitely a
[xvIII/82] Le 19.'m Juin 1716 a Londres One wonders whether Dahuron was also
J'ay receu de Monsieur Mehemet Homme de Chambre du Roy
present identified only as a siglum.36
vingt Guinees pour mon jour de Benefice, que sa Majeste a
honore de me donner.
The season of 1716-17
Elena Croci Viviani32
During the last season of the Haymarket op
[xvIII/991
collapse and eventual reorganization, t
Io sotoscritta dichiaro haver ri[c]euto dal Sig' Mehemet la'
tinued what had become his established pa
soma di 20 ghind per ordine di S: M: B: in fede Londra ['Lon-
dra' written over 'di che mi'] 21 giugno 1716.
attendance and patronage. Three receipts
Diana Vicco33 nary performances.

[xvIII/98] [xlx/74] le 16 Fevrier 1716[/71

Nous avons bien receu de Monsieur Mahomet Somme de 20 Jay receu de M' Mehemet hoihe de chambre du Roy la sofhe d
trente Guineas par ordre de sa Majeste pour L'opera.
guinees pour le jour du benefit de l'Orchestre de l'Opera. fait iA
J J heidegger"7
Londres ce 231 Juin [1716].
Dahuron [xlx/91] le 17 Avril 1717
Linike34 Jay receu de M' Mehemet home de chambre
Cinquante Guinea par Ordre de sa Majest
As in the previous season, George I patronized every
benefice et deux representation d'Opera q
benefit, including that for the orchestra (who had no
ore de sa presence.
known benefit night in the 1714-15 season). Again he
J J heidegger38
granted Nicolini an extraordinary 50 guinea payment,
[XIX/111]
and this year Heidegger too received 50 guineas for his
Le Roy a este a LOpera de Titus Manlius une fois depuis le der-
(unadvertised) benefit-presumably a sign of growing
nier payement G: io
favour. Nor was the King's interest flagging: George I les Dames quatre fois 16-
attended nine regular performances and patronized preste a M' Ulric 4-
eight benefits-evidently representing 17 visits to the 4 Ticket de Masquerade 4-
opera out of the total of 29 performances given this
season. G: 34

EARLY MUSIC AUGUST 1991 327

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Jay receu de M' Mehemet hoite de Chambre de sa Majeste la
sudite somie de trente et quatre Guinea par ordre du Roy.
le 1 Juin 1717: J J heidegger39 f2, yfr A-A a , L,.
The second payment offers a problem: did the King pay ' r *
or C brfe.
30 guineas for Heidegger's benefit, or did Heidegger
write 'deux representation' when he meant 'trois'? In 1 CO ic
either case, the benefit payment was lower than in
1715-16.
Benefit payments to performers largely continue the
established patterns.

[xlx/84] (illus.5) April ye 2. 1717

Received of M' Mehmet by the Hands of M' Isaac Cornell the
sum of twenty Guineas being his Majestys Bounty to me on my
Benefitt Night

Anastasia Robinson4o
[xlx/9o] 146C - A/?P -
J'ay receu par les mains de Monsieur Memet Homme de cham-
bre de sa Majeste Brittannique la somme de cinquante Guinde,
que la ditte Majest? a ordonn pour mon jour de benefit.
Cav:' Nicolino Grimaldi4'

a Londres le 15T.e Avril 1717

[xIx/97] Adi 9 Magio 1717 Londra

4 List of opera payments, with following receipt in the hand
Confeso di aver Recevuto la Somma di Vinti Gine p[er] le Mani
of J. J. Heidegger, 26 June 1716 [xviii/loo]
del Sig' Memet Uommo di Camera di Sua Maesti p[er] il Ben-
ificio di Mia Molgie.
Giovanni Schiavonetto42
the King paid but did not attend, or decided to attend
[xix/uo] (illus.6) Londra li 27 Maggio 1717 after the advertisements had been placed.
Io sottoscritto confesso aver ricevuto da Mr Mehemet uomoFrom
di the Hanover manuscripts we learn that the King
Camera di Sua Maesti venti Ghinee, e queste sono per ilwent
giornoto at least six (probably seven) regular perform-
del mio Benefizio, et in fede 6 fatta la presente di propria
ances, as well as to six advertised benefits plus Heideg-
mano.
ger's. This is a total of 13 or 14 performances, and might
Gaetano Berenstadt [flourish]43
seem to reflect a falling-off in enthusiasm for opera. In
[xIx/114] Londra il 3 di Giugno de[l] 1717 fact, the opera performed only 31 times in 1716-17, and
thedi
Io sottoscritto 6 ricevuto dal Sig: Memet Uomo de Camera King did not return from Hanover until 19 January
sua M"a Britanica venti ghinee dico -20- 1717. Thus he attended 13 or 14 of 25 possible occasions.
Antonio Bernacchi44
As in the two previous seasons, George I went to the
[xIx/115] (illus.7) opera fully half the times it was given-a vastly higher
J'ai bien receu de Monsieur Mahomet la Somme de vingt Gui-level of support than has previously been supposed.
nees, pour le jour du Benefice de L'Orchester de L'Opera du
The reorganization of the opera, and The Royal
Hay Market. fait a Londres ce 6' Juin. 1717
F: Dahuron.45 Academy of Music
Once again Nicolini receives his 50o guineas, and the King Despite the King's conspicuous patronage for Heideg-
patronizes all advertised benefits for singers and the ger's opera company, the venture collapsed in the spring
orchestra, though this year a benefit was also given for of 1717.46 London had no Italian opera in 1717-18 and
'Boxkeepers' for which there is no record of royal 1718-19. In January 1719, however, members of the nobil-
patronage. Of the six advertised benefits for which the ity and gentry hatched plans to found a joint stock
King paid, four were announced as 'By Command'. We company for the production of Italian opera on a grand
do not know why the benefits for Berenstadt and the scale. For this scheme they obtained both a royal charter
orchestra were not treated the same way. Conceivably and the promise of a ?1,ooo per annum subsidy from the

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 company obtained pledges of ?20,000 or thereabouts
from its investors, and the King's contribution was less
than to per cent of the budget.48
84' The Hanover manuscripts help us understand why
George I was prepared to grant such subsidy as he did.
The London Stage reports him definitely in attendance
only three to six times per annum, but we now know that
vA,
he had paid for attending fully half the performances
given by Heidegger's company between 1714 and 1717.
The Royal Academy intended to put on at least 50 per-
formances each season: if the King were to attend all of i - r f
them, he would be paying ?20 a night. If he saw half the
performances, the cost would average ?40.49 This is a
very substantial increase over what he had been spend-
5 Receipt in the hand
ing onof Anastasia
opera (and Robinson
it was paid out of Treasury funds, not
[xIx/841 the Privy Purse)-but if the King planned to attend a
substantial proportion of the performances, the subsidy
was not fabulously generous. The London Stage reports
: -110 the King's attendance only five times during the Aca-
demy's first full season (1720-21).5o ?200 per visit would
represent decidedly lavish patronage. We lack records to
tell us how many nights the King actually attended, but
7 Receipt in the hand
on the model of 1715-17 we may suspect far more than
five. Because of the annual subsidy there are no bills for
particular opera performances, and the Royal Academy
did not advertise command performances-presumably
because there were none under the new system. A met-
6 Receipticulousin
search throughthe han
extant copies of the many news-
[XIX/110]
papers of the time would probably produce a modest
haul of notices like the following, which is not to be
found in the London Stage:
On Wednesday night last [11 January] his Majesty went to the
Opera, and afterwards to the Duchess of Shrewsbury's to Sup-
O" .... . .Opts:., ."' . per ... (Applebee's Original Weekly Journal, 14 January 1721)
From the evidence of the Privy Papers for 1714-17 and
1726-7 our best guess is that George I attended at least
half of the performances of the Royal Academy. The rela-
? ,.;:I-:L :I::.: : . . : : k .i::::,,:: .. :i $.i;: . :.::: : :::: ::. i .: :, 7 :- - . . . tive rarity of newspaper notices we attribute to the fre-
quency of his attendance: it was so commonplace that it
? ~ t ,","_gr,-., ..,Ez _ . " _,,, ':.- .. .. ;'3" u' was not newsworthy.
One marked change between the King's Royal Aca-
demy patronage and his earlier customs is that he appar-
ently stopped making benefit payments to individuals; at
8 Receipt in the hand of Margherita Durastanti, ? March least none as such is to be found in the Hanover manu-
1724 [xxvl/27a]
scripts. Only one payment to an individual musical per-
former from the Royal Academy is recorded in these
King.47 By no means was the company a 'court opera' on documents:
the continental model: it was an allegedly profit-making [xxvI/27a] (illus.8)
enterprise, run as a business under the formal super- Io Margherita Durastanti ringratio il Sigre Meemet delle qua-
vision of the Lord Chamberlain as 'Governour'. The ranta Ghinee p[er] la parte di S. M. riceute'

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This scribbled acknowledgment is undated but is pre- cases the King patronized the benef
served among the Hanover papers from March 1724. actress. This may be either coincide
Durastanti did not come to England until the founda- taste in English-language entertainm
tion of the Royal Academy, so the receipt is not a leftover
from 1717 or earlier. Forty guineas is not a sum for which Masquerades and concerts
there is a precedent among these opera papers. Perhaps Between June 1717 and April 1720
Durastanti's 'farewell' benefit on 31 March 1724 provided
receipts, but Heidegger continued t
occasion for a special gift to a favoured singer: the King
at the King's Theatre, and for each of
had given her ?1oo in March 1721 when he stood god- opera there is a receipt for tickets in
father to her daughter.52 In any case, the King appears to
have decided that the Academy subsidy was normally [xx/67] le 6 Juillet 1718
sufficient, and that no additional payment to individuals J'ay receu de M' Mehemet home
was in order. Vingt et quatre Guinea pour a
Masquerade.
The only benefit payments to individuals from the
J J heidegger54
1720S in the Privy Purse receipts are three scattered
instances of patronage for actresses at Drury Lane. We [xxI/4] le premier May 1719
give them here for the sake of comparison.53 Jay receu de M' Mehemet Home de Cham
Vingt et quatre Guineas pour les six Masqu
[xxII/96] May ye 31 of 1720 J J heidegger55
Resived of Mr Mehmet by ye Heand[xxII/28]
of M. Isaac Coronel ye-
le 8 Juin 1720.
Sume of twenty one pound being his Majesty Bounty to me
J'ay receu de M' Mehemet Home de
one my benefit nigth y' 24 March 1719/20
some de Vingt et huit Guineas p
For [written over 'by'] my Daughter
Masquerade.
?21 = 0 = 0 hester booth
J J heidegger56
Joanna Santlow
From these receipts we deduce the likelihood that
[xxII/951
George I sometimes attended Heidegger's masquerades,
Resived of M' Mehmet by ye Heand of M' Isaac Coronel the
and that on some occasions he took large parties. The
sume of twenty Gaineus Being his Majesty Bounty to me one
lack of masquerade receipts after 1720 may mean that the
my benefit nigth ye 4 Aprill of 1720- -By me
King ceased attending, or that the receipts do not
May ye 31 of 1720 M: Bicknell
survive.
?21 = 0 = 0
Heidegger was, however, paid for two concerts given
[xxVI/26] March ye 9th 1723/4 at the King's Theatre by Royal Academy performers in
Resived of Mons' Mehmet by ye Hands of Mr Isaac
the spring of Coronel
1721: the
Sum of Twenty Gaineus Being his Majesty Bounty to me on my
[xxIII/38] le 3 Avril 1721
Benefit nigth on ye 5 March [written over 'February'] Last.
Jay receu de Mr Mehemet home de cham
?21 = 0 = 0 By me Resived
de Vingt Guineas, quil a plu a sa Majeste
Anne Oldfield
serenata.

J J heidegger57
George I is not known to have attended many English-
[xxIII/74]
language plays, and the Hanover le 15
Privy Purse Junedo
receipts 1721
not change that perception. Jay
His receu
presence at Aphra
de Mr Mehemet holie de ch
some
Behn's The Rover (1677) for Mrs de Vingt
Booth's Guineas
benefit quil a plu au R
on 24
mon Concert.
March 1720 has not hitherto been known. Hester Sant-
J J heidegger58
low Booth was originally a dancer, but is unlikely to have
done a lot of dancing as Hellena. 'Joanna Santlow'
The first of these occasions was evidently a concert given
appears to be an otherwise unrecorded illegitimate
at the King's Theatre on 28 March 1721:
daughter. Mrs Bicknell's benefit on 4 April 1720 was
A Serenata. Compos'd
advertised as a Command Performance ofbyVanbrugh's
Sig Cavalliero Allessandro Scarlatti,
perform'd by Sig Francisco Bernardi Senesino, Signora Duras-
The Relapse (1696). The King's attendance at John
tanti, Mrs Anastasia Robinson, Signora Salvai, Sig Boschi
Fletcher's Rule a Wife (1624) for Mrs Oldfield's benefit on
5 March 1724 was noted in thewith the stage illuminated
newspapers. In all as at masquerades, and
three

330 EARLY MUSIC AUGUST 1991

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 expensive tickets (half a guinea-i.e. opera prices)." The hence connected with the monarch's personal expenses.
second occasion was a concert on 14 June 1721: Second, George I had no Queen, so the expenses cannot
Consisting of above 30 Songs, chosen out of former Operas, be hers. The Prince of Wales paid his own theatregoing
perform'd by Signior Francisco Bernardi Senesino, Signior expenses. Princesses Anne, Amelia, and Caroline did
Boschi, Signora Darastanti [sic], Mrs Anastasia Robinson, occasionally go to the opera, but to judge from known
Signora Salvai records they virtually always went with their father or
with lighting and prices as before. Neither the Heidegger grandfather.62 We believe, therefore, that the over-
connection nor the King's attendance has hitherto been whelming probability is that these payments reflect
known in either case. attendance by George I. Most probably, the payments
An even more curious example of George's unre- for theatre visits are honoraria to the boxkeeper, paid in
corded patronage is revealed by a printed notice (unique cash by 'von Harling' and 'de Wersebe', the two attend-
among the Hanover papers) for a benefit for Pietro ants who seem to have shared the job of accompanying
Castrucci: the King on such occasions. We have not found any such
[XXIV/241 records for earlier years in the Hanover accounts.63 We
would speculate that until Mehemet's death in 1726 such
On Wednesday March ye 7th at Mr Hickfords Room in James
Street near the Hay-market Peter Castrucci first Violin to the payments were made out of petty cash, but that his suc-
Opera, will have an Entertainment of Musick. and as he for the cessor decided that a more formal record was in order.
space of six years has had the Honour to serve ye English Nobil- The payment of a small tip to the keeper of the royal box
ity to whom he professes many obligations, hopes the same will would be no surprise: in this respect the manuscripts
favour him this last time being to return this next Summer to merely confirm what we would have expected. The prin-
Room [Rome] his native Country6o
cipal value of these lists, however, lies in giving us a
This concert occurred in 1722,61 and the inclusion of this detailed picture of the King's opera- and theatre-going
notice (which may have served as admission ticket) in the last two years of his life. We print them here, add-
among the Privy Purse receipts probably indicates the ing in brackets the name of the opera performed. An
King's presence. If so, this is the only time (to our know- asterisk means that the King's attendance is not reported
ledge) that he attended a performance at one of in the London Stage. For 1725-6 von Harling and de Wer-
London's concert rooms, and his attendance was appar- sebe submitted separate and overlapping accounts.
ently not recorded in the London newspapers. If he
went, was this jaunt a once-only whim on the King's [Fs7/177]64
part? Or are newspaper records of his outings less com- Vor die Operan habe aussgeleget
n Januarii nach der Opera gewesen 2 Schilling [Rodelinda (Handel)]
plete than historians have supposed? For the seasons of 15 - - - nach der Opera - - - 2- [Elisa (pasticcio after Porpora)]
1714-17 the evidence is clearly incomplete. We turn now 8 Februarii nach der Opera - - 2 - [Ottone (Handel)]
26 - - - nach der Opera - - - 2 - [Ottone*]
to manuscripts that suggest the extent of the King's 8 Martz - - - Opera - - - 2- [Ottone]
12--- Opera--- 2- [Scipione (Handel)*]
attendance at the opera during the last two years of his 22--- Opera--- 2- [Scipione]
life. 26- - - Opera - -- 2- Scipione*]
19 April - - - Opera - - - 2- [Scipione*]
5 May - - - Opera - - - 2- [Alessandro (Handel)]
Gratuities-and implied attendance at the opera 7 - -- Opera --- 2 - [Alessandro *]
31 - - - Opera -- - 2 - [Alessandro ]
in 1726 and 1727 2 junii mit dem Kbnig nach Kingsinton - 2 -
suma 26 Schilling
In another series of documents among the Hanover Li: 6: OO
papers are two lists for 1725-6 and one for 1726-7 record- Dass mich dises von dem Herrn Oberhoff Commissarius zu
ing numerous payments at the rate of 2s each. In the dancke bezahlt bezeuget dieses.
earlier season almost all of them are annotated 'Opera'; von Harling
in the later season some are designated 'Comedie' or EAH Londen d[en] 6 Junnii 1726
'Comedi', though the majority are 'Opera'. We deduce
that these lists record small payments that were made [vs7/178]
every time the King attended the theatre. This deduction Vor die Operan habe aussgeleget
18 January nach der opera gewesen - 2 Sch - IElisa*]
requires some explanation and justification, since the 22 - nach der opera --- 2 Sch - [Elisa*]
1 Februar- opera - - 2 Sch- [Elisa*]
manuscripts themselves say nothing about the King. 16 - mit den K6nig nach der duchese d'Ancaster gewesen 2 Sch -
Why then should we draw such a conclusion as to their 19 - opera - - - 2 Sch - [Ottone*]
28 - opera --- 2 Sch - [ Ottone]
meaning? First, these are Privy Purse payments, and 5 Merz opera - - - 2 Sch - [Ottone

EARLY MUSIC AUGUST 1991 331

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15 - opera - - - 2 Sch - Scipione
19 - opera --- 2 Sch - [Scipione' ] Harling and de Wersebe conflated their payments into a
29 - opera - - - 2 Sch - [Scipione' j
2 Aprill opera - - - 2 Sch - [Scipione]1 single chronological list, and we find George I going
12 - opera - - - 2 Sch - [Scipione ] regularly to see the comedians without at all reducing
16 mit dem k6nig nach Kingsinton 2 Sch -
26 - opera - - - 2 Sch - [Scipione'J the frequency of his visits to the opera.
30 - opera - - - 2 Sch - [Scipione*
io Mey opera - - - 2 Sch - [Alessandro*] [FS8/105-6] (illus.9)
14 - opera - - - 2 Sch - [Alessandro*]
24 - opera - - - 2 Sch - [Alessandro* Wass wir aussgeleget in dass Koniges diensten 1727
21 dezember Comedie - - - 2 S - [Italian comedy]
26 - opera - - - 2 Sch - [Alessandro* I 24 Comedie - - - - 2 S - [Italian comedy*]
suma 38 Schilling 28 Comedie - - - 2 S - [Italian comedy]
Dass mich dises von den Herrn Oberhoff Komesarius bezalet 31 Comedie - - - 2 S- [Italian comedy]
3 january opera - -- 2 S- [Italian comedy]6
bezeuget dises to Opera - - - 2 S- [Lucio Vero (Ariosti)*]
14 Opera - -- 2 S - [Lucio Vero*[
?1.18.oo de Wersebe Londen d[en] 5 Juny 1726
25 Comedi - 2 - [Italian comedy]
EAH 30 opera - - - 2 S - [Admeto (Handel)* ]"
4 Februarii Opera - - - 2 S- [Admeto*]
7 Opera - - - 2 S - [Admeto*]
9 Comedi - - - 2 S- [Italian comedy]
Matching the gratuity dates to the performance calen-
11 Opera --- 2 S- [Admeto*]
14 Opera - - 2 S- [Admeto* ]
dar, we infer that during the season of 1725-6 George
16 IComedi - - - 2S- [Italian comedy]
18 Opera - - - 2 S- [Adrneto*
went to the opera 28 times (only seven of them reported
21 Opera - - - 2 S- [Admeto*]
in the London Stage). Since the Royal Academy gave25 53 Opera --- 2 S - [Admeto*]
28 Opera - -- 2S - [Admteto*1
performances that season, we find the pattern2of
Mertz Comedi - - - 2 S- [Italian comedy]
4 Opera - - - 2S- [Admetol
George's first years in London absolutely unchanged:7he
Opera - - - 2 S - [Admetol
went to about half of the opera performances. ii Opera --- 25- [Admeto* 1
14 Opera - - - 2 S - [Admeto*]
During the season of 1726-7 (the last spring of George
16 Comedi - - - 2 S- [Italian comedy]
18 Opera - - - 2S - [Admneto*[
I's life) a troupe of visiting Italian comedians occupied
21 Opera--- 2S- [Adrneto*1
the King's Theatre, Haymarket, on many nights when 23 Comedi - - - 2 S - [Italian comedy]
25 Opera --- 2 S- [Admneto'*
the opera was not using it. For this season Messrs von
4 April Opera - - - 2 S - [Adrneto'*

9 List of gratuity payments for the King's theatre attendances, 28 May 1727 [Fs8, ff.lo

,A: \I ::' ,: ? :
,: i4 27-. , .
..1 , Y:. - 2. .. ....... . . ... ., . . .

. -?3 .. .- .$, --
4-~ ~-u tr
i'., ;t- . t -
:, -' -
-

" _ _ 2 ?-. . v/. .-TT

? : ...'' ?..:..i:i,.3 w

- -..---.--.-- "
?'' iS . i--- ....

-d.. _ _ . ... ,,, . .,': . .. .. -

? I 6,K'... &r-iz.. . .
.......C
332 EARLY MUSIC AUGUST 1991

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11 Opera --- 2 S- [Ottone (Handel)*]
15 Opera --- 2 S- [Admeto*i Water parties
18 Opera - -- 2 S- [Admeto*i
29 Opera -- - 2 S- [Floridante (Handel)*] Among the Privy Purse re
2 May Opera - - - 2 S- [Floridante*] relating to royal water parti
3 nach der duchesse d'Ancaster 2 S -
6 Opera - - - 2 S- [Astianatte (Bononcini)*] performed at some of these
9 Opera --- 2 S- [Astianatte*]
13 Opera - - - 2 S - [Astianatte] 17 July 1717 when Handel's W
23 Opera - - - 2 S - [Astianatte*
27 Opera - -- 2 S - [Astianatte] performance:
Suma 4 Pf 2 S - On Wednesday evening at about 8, the King took Water at
Whitehall in an open Barge. . .And went up the River towards
Dass wir solches von den Herrn Ober Hoff Commesarius
Chelsea ... a City Company's barge was employed for the
Lockman empfangen bezeugen wir hir mit - -
Musick, wherein were 50 Instruments of all sorts, who play'd
A L von Harling
all the Way from Lambeth ... the finest Symphonies, com-
Londen d[en] 28 May 1727 A D de Wersebe
pos'd express for this Occasion, by Mr Handel; which his Maj-
esty liked so well, that he caus'd it to be plaid over three times in
During the season 1726-7 the Royal Academy gave only
going and returning. (Daily Courant, 19 July 1717)
38 opera performances, and George I turned out for
three-quarters of them, while fitting in at least 11This is the
trips to only occasion for which Handel is specifically
mentioned
the Italian comedy as well.67 Of the King's 29 nights at the in reports of a water party. The orchestra and
opera this spring, only one is recorded in theitsLondon transport appear to have been provided as a com-
Stage-and that only by implication (7 March).pliment In this to the King, but among the Hanover manu-
regard the Hanover manuscripts quite radically alterscriptsour
there is a receipt that shows that payments were
perception of the King's enthusiasm for operamade andfromhis the Privy Purse for the royal party's boats:
patronage of it. George saw Admeto 19 times between
[xIx/146]30
(illus.11)
January and 18 April. We deduce that he wasJuly
either
y 17th aCarry'd His Majesty from Whitehall to Chelsea
E s
genuine lover of opera or a masochist.
The Shallope 1.00
The 12 Oar'd. Barge 1.00
The 8 Oard. Barge 1.00
The 6 Oard. Barge 0.10
3.10

August the 14th Recd the full Contents of this Bill.

By me. Jo?' Hill68

This was by no means the first Royal water party, for sev-
4/i C1;~z =
eral were reported in the preceding two years. For
example:
r-271.

On Tuesday last [12 July 1715] in the Evening, their Royal High-
nesses the Prince and Princess [of Wales] diverted themselves
by Water up and down the River Thames, in an open Shallop;
and in the Evening following, his Majesty, accompany'd them
Ar
after the same manner, attended by great Numbers of Persons
of Quality and others, and saluted by several Guns from a
Timber-Merchant's Wharf. On Thursday the Prince and Prin-
I A2rL lei
fry 4;A cess did the same and were row'd up to Chiswick, amidst the
Acclamations of a vast Number of People, and the Sound of
-7-7

Ia. I t 2
very delightful Musick. (Weekly Packet, 9-16 July 1715)
Last night their Royal Highnesses the Prince and Princess of
Wales took the Diversion of the River in their Barges, having
their Highnesses, the three young Princesses along with them.
And this Afternoon about 5 or 6 a-clock there is to be a splen-
did Appearance on the River, where 'tis said, his Majesty, the
Prince and Princess, and the young Princesses will be present.69
.. All, or most of the Musicians at the Play-House in the Hay-
Market [i.e., the opera house], are to be employ'd on this Occa-
sion. And this at the Charge of his Grace the Duke of

EARLY MUSIC AUGUST 1991 333

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Newcastle, who is to appear in his fine new Barge with 12 Row-
ers; where likewise will be the Duke of Montague, the Earl of
Carnarvon in his Barge, with several other Persons of Quality
of both Sexes. After which the Company are to sup with his
Grace the Duke of Newcastle, and afterwards to have a Ball at
his Grace's House in Lincoln's-Inn-Fields. (General Evening-
Post, 2-5 June 1716)

The only receipt among the Hanover Privy Purse

papers that could conceivably relate to payments to
musicians for a water party is in a miscellaneous account
dated 3 December 1716 that includes 'Chez le Duc de S,-'_ ,0 - ,
Newcastle ... aux 2 bandes de music ?3:4:6'7o This
seems more likely, however, to be a payment or gratuity
to the musicians for the entertainment at the Duke's ioBrgecont foa ra water ar . 2 S
house, and comes rather late to concern the outing of 5 a .r,',,,,. .
June 1716. Most Privy Purse payments seem to have been
made promptly, though this was not always the case.
The King apparently did not pay the musicians
employed at the water parties, or at least no records of
payment have come to light. To judge from other bills
t:. ?o. "
for barge service, the King attended or promoted water
parties only very occasionally, although the summer of
1715 saw six excursions:

[xvII/84] (illus.lo)
An Account of Carrying His Majesty by Water.
June. ye 7h 1715. Carry'd His Maj"i over from Hamp:
Court and back in the 6 Oar'd Barge 2 10 00
July. y 13th Carry'd His Majt" from Whitehall to 1715 [xvII/84]
the bridge & up to Chelsea and Back
with all the Barges in Service 2 10 oo
July. ye 27th Carry'd His Maj!.c from White-hall to 1716. But the Water Music party of 1717 came at a time
Chelsea and back all y' Barges in
Service 2 10 0
increasing division between the King and the Prince of
Wales: not only did the King go by himself, but the water
Aug.' y 13th Carry'd HisallMaj.ie
back throughinbridge
the Barges and
Service 2 10 o
party was part of a programme of social display in the
Aug.' y 29'h Carry'd His Maj'" to see the Diver. & summer of 1717 that George I mounted in competition
up to Chelsea & back all the Barges in
Service 2 10 00 with his son." The absence of any reports of royal water
Sep yc 17th Carry'd parties after 1717
His seems to Majti'
be confirmed by the lack
to of Woo
the Royal George Launch't. all ye
any comparable receipts for barge attendance in later
Barges in the Said Service 11 oo o
23 10 0
years: these royal water parties were a feature of only the
first years of George I's reign.
September 21 1715
Recevid of M' Mehmet the sume of twentie pound tennScrappy
shil- and frustrating as the Hanover Privy Purse
ling as full Contents of this bill p[er] me Chris Hill7' receipts indubitably are, they contain quite a lot of
important information about George I as a patron o
How many of these trips involved music it is impossible
to say. We doubt that music was provided during arts.
his As far as we are aware, no historian has ever
dreamed that the King turned out to fully half the opera
trips to see a diver and the launching of a ship in August
performances given in London during his reign-a leve
and September 1715.72 The Privy Purse receipts provide,
of support that must have given a powerful impetus to
of course, only a record of the King's excursions, and not
the continuation of an economically submarginal enter-
of those undertaken by the Prince and Princess of Wales
tainment. We are pleased to know what he paid t
(presumably at their own expense) without him (see
table 2). In general, the water parties were family affairs
bounty for benefits. Knowledge of these figures set
in 1715 (the Hanoverians' first summer in London) and

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 EM, xvii (1989), PP-523-37.
annual subsidy for the Royal Academy in a fresh light:
8British Library Add. 11,258, f.2ov. The following reference is from
the King was more than tripling his commitment to f.21r.

opera. George I remains a little-liked figure in British 'The Weekly Packet, 6-13 Nov 1714
"'The London Stage, 166o-18oo, part II: 1700-29, ed. E. L. Avery, 2 vols.
history, but a man who attended Admeto 19 times in just
(Carbondale, Illinois, 1960). For the latter half of the century com-
over six weeks would seem to have been a genuine lover mand performances are systematically recorded, but a very large
of Handel's music. number of attendances reported in the papers are not picked up in the
London Stage.
The authors wish to thank HRH Prince Ernst August of
"See I. M. Beattie, The English Court in the Reign of George I (Cam-
Hannover for his gracious permission to quote from and bridge,
to 1967), pp.26o-61. As Beattie notes, about half of the Privy Purse
money was diverted to maintain the German Court in London: the
illustrate documents deposited at the Niedersidchsisches
opera payments were, however, part of the King's general personal
Hauptstaatsarchiv; they also extend their thanks to the
expenses, along with items such as his contributions to the Chapel
staff of the Archiv, and to the Research Committee of the
Royal on 'Offering Days', which were personal offerings independent
of the Chapel's income as a court establishment.
Open University for financial assistance with the photo-
"References in this form are to Niedersachsisches Hauptstaatsar-
graphic reproductions. For help of various sorts the authors
chiv, Dep.84, Konig Georg Archiv, Calenberg Brief Archiv 22 XIII
are also grateful to Irene Auerbach, Terence Best, Kathryn
Anhang 3 (Schatullrechnungsbelege, 27 boxes).'XVII/26' indicates box
Hume, Lowell Lindgren, Judith Milhous and Hildegard XVII (1714-15), item 26.
1'314 April 1715 I1 have received from Mr Mehemet, the Gentleman of
Wright.
the King's Chamber, the sum of iio guineas for nine times that his Maj-
esty has honoured the opera with his presence and for my benefit day.
Donald Burrows is Senior Lecturer in Music and head of
I. I. Heidegger.'
the Music Department at the Open University. 4' 22 June 1715 I have received from Monsieur Mehemet, Gentleman
of the King's Chamber, the sum of seventy guineas for seven perform-
Robert D. Hume is Edwin Erle Sparkes Professor of English ances of the opera at ten guineas each that his Majesty has honoured
at the Pennsylvania State University. His most recent book with his presence. J. J. Heidegger.'
'The rate of ?io per play in the public theatre is specified in PR.O.
is Henry Fielding and the London Theatre, 1728-1737
LC 5/137, p.100oo (29 February 1661[/2]) and continues unchanged. For
(Oxford, 1988). summaries of such bills, see Judith Milhous and Robert D. Hume, A
'Their existence is noted in D. Burrows, 'Handel and Hanover', Register of English Theatrical Documents, 1660-1737, 2 vols. (Carbon-
dale, Illinois, 1991).
Bach, Handel, Scarlatti: Tercentenary Essays, ed. P. Williams (Cam-
16[xxII/93] 'May y' 31 of 1720 Resived of M' Mehmet by y" heand of
bridge, 1985), p.46, n.38.
M' Isaac Coronel y' Sume of thirty pound for three times his Majesty
J2. H. Plumb, The First Four Georges (London, 1956), P.7
going to ye Play House at his Majesty Theatre Royal In Drury Lane,
-R. Hatton, George I, Elector and King (London, 1978) which was y 19 Decemb. 1717 at y' Play y' Nonjuror & y' 22 Novemb
4See Hatton, George I, p.364, n.53. The prince-bishopric of Osna-
1718 at y' Play y' Fops Fortune & y' 14 Decemb 1719 at y' Play y' Busee
brock alternated between Protestant and Catholic branches of the
Body.
Hanoverian family's far-flung relations. See Hatton, p.21.
?30=0=0 Rob Wilks
5For whatever reasons, George continued to retain opera boxes in
C: Cibber
Venice in absentia. See C. Timms, 'George I's Venetian Palace and The-
B Booth'
atre Boxes in the 1720S', Music and Theatre: Essays in Honour of Winton
[Only the signatures are holograph; the text is in the same hand as the
Dean, ed. N. Fortune (Cambridge, 1987), pp-95-130o.
Bicknell, Booth, and Oldfield documents.]
6On Italian opera in London during Handel's first years in England,
see W. Dean and I. M. Knapp, Handel's Operas, 1704-1726 (Oxford,
1987), chaps. 9-1o. [xxII/94] 'June 9 172o Rec'd of M' Mehmet by the hand of M' Isaac
7See I. Milhous and R. D. Hume, 'The Haymarket Opera in 1711', Coronel yC Sume of Ten pounds for One time his Majestys going to the

11 Barge account for the royal water party with Handel's Water Music, 14 August 1717 [xIx/146]

al-I A I1,_e

:i

r-C)I
117

~1" ~/~'C iL~.0~.~ Ld?ZZ~r L ~ S'.10I

toe9

64 ? ? '- -- ?/
i ?r 4, 1 i4 c~i~i~ 1~ L~cC~~

EARLY MUSIC AUGUST 1991 335

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Theatre in Lincolns Inn ffeilds wch was the 2? [recte loth] of March
Elena Croci's benefit was advertised for both 6 and 13 June. Probably
one of those nights was Heidegger's benefit.
1714/15 at a play call'd The Island princess.
?10=0=0 Jno Rich' 3'I the undersigned declare that I have received from Signor Mehe-
fThis appears to be a met theJohn
sum of 20 guineas byRich holograph.]
order of his Britannic Majesty. London 21
17See British Library, June 1716. Diana Vicco.' Vicco at2159,
Egerton first wrote 'in fedef.19
di che mi' but then
(17 Marc
wrote 'Londra' over
culation concerning bills for 'di che mi':royal
the words 'in fede'attendance
are redundant in
'8'On 12 April 1715herLondon
final text. The benefit wasIgiven on 26 May.
acknowledge h
Signor Memet twenty 34'We guineas
have indeed received fromfor
Monsieur Mahomet
my the sum of 20
wife's
Schiavonetto.' His wife was
guineas for the benefitElisabetta
day of the opera orchestra. DonePilotti,
in London on a
on 2 April 1715. this 23rd June [1716] Dahuron [and] Linike.' The benefit occurred on
20 June. received from Mr Mehe
19'April 15 1715. I have
King's Chamber, the sum 35See P. H. Highfill,
of Jr., K. A. Burnim and E. A. Langhans,
twenty guineas A Bio- for
graphical Dictionary
of his Majesty. Anastasia ofActors, Actresses, Musicians, Dancers, Her
Robinson.' Managers, benef
2"'London 1715. I and Other StageVicco
Diana Personnel in London, have
166o-18oo, 16 vols. received
in progress f
guineas in number 20 (Carbondale,
for Illinois,
my 1973-), iv, benefit
pp.121-2. On Linike, see ix, p.3o6.
evening,
in witness 16See W. Dean,
whereof I sign 'Handel's Early London Copyists',
myself Diana Bach, Handel,Vicco an
above.' benefitScarlatti:occurred
Tercentenary Essays, ed. P. Williams
Vicco's on (Cambridge,
30 1985),April 1
2"10 PP.75-97;
July
I have in W. Dean, Essays on Opera (Oxford,
received 1715. from 199o), chap.2.Mr Mehem
King's Chamber, the 37'16sum February 1716[/7].
of I have fifty
received from Mr Mehemet, Gentle-
guineas as
pleased his Majesty toman ofgive
the King's Chamber,me the sum of for
thirty guineas by
myorder of his benefit
Grimaldi.' Nicolini's benefit was
Majesty for the opera. J. J. Heidegger.' 25
We presume June
that this payment is 1715.
for three performances
22C31 August 1715 ['le premier attended. septem' is wr
page]. I have received 38'17 April 1717. I have received
from Mr from MrMehemet,
Mehemet, Gentleman of the Gen
Chamber, the sum of King's Chamber, the sum of fiftyguineas
twenty guineas by order of his Majesty
forfor my the op
formed for my benefit day andand
benefit two performances of the opera that hishis
which Majesty has Majesty
presence. J. J. honoured with his presence. J. J.
Heidegger.' NoHeidegger.' We
suchdeduce that Heideg-benefit
advertised. ger's benefit was probably 30 March or 4 April; it was not advertised as
23Curiously enough, such.
the King was reported by
39'The King has on
have attended 'incognito' been to the the
opera ofTitus Manlius
night once since the last of the
Stage, I, 352). payment. ... I have received from Mr Mehemet, Gentleman of his
Majesty's Chamber,and
24See D. Burrows, Handel the aforesaid sum
the of thirty-four guineas by order
Chapel Royal
Anne and King George of the King.
I1 June
(PhD1717: J. J. Heidegger.
diss., Open Univ
far as is known, there4?The benefit occurred on
were no 11 April 1717.
court performan
(other than the Water 4"I have received
Music) from the hands of Monsieur Memet, Gentleman of
between the C
October the Chamber of his Britannic
1714 and October 1722 Majesty, the sum
to of fifty guineas which
which he co
his said Majesty has
25'30 March 1716. I have ordered for my benefit day. Chevalier
received from Nicolino Mons
Grimaldi. In London, 15 April
man of the King's Chamber, 1717.' The benefit occurred
fifty guineas on 11 April, for f
'By Command'.
opera, that his Majesty has honoured with his
olino Grimaldi.' 42'On 9 May 1717 London. I acknowledge having received the sum of
twenty guineas
26'26 June 1716. I have from the hands of Signorfrom
received Memet, Gentleman of Mr his Mehe
Majesty's Chamber, Majesty'ssum
the Chamber, for my of wife's benefit
forty [performance]. guineas
Giovanni fo
the opera that the Schiavonetto' Pilotti's
King has benefithonoured
took place on 2 May, 'By Command' with hi
ger.' Only this French 43'London, 27 May 1717. I the undersigned
receipt is in acknowledge having
Heidegger
27Anastasia received from Mr Mehemet,benefit
Robinson's Gentleman of his Majesty's Chamber,
took pl
Command'. twenty guineas, and these are for my benefit day, in witness whereof I
28'16 May 1716. I have received from Monsieur Mehemet, Gentleman have written this in my own hand. Gaetano Berenstadt.' The benefit
of the King's Chamber, fifty guineas, for my benefit day, that his Maj - occurred on 18 May.
esty has done me the honour of giving me. Chevalier Nicolino Gri- 44"'London, 3 June 1717. I the undersigned have received from Signor
maldi.' The benefit took place on 2 May. Memet, Gentleman of the Chamber of his Britannic Majesty, twenty
29'On 19 May 1716 London I acknowledge that I have received the guineas. I say 20. Antonio Bernacchi.' The benefit was 13 May.
sum of twenty [guineas] from Signor Memet for the benefit day [of my
45'I have indeed received from Monsieur Mahomet the sum of
wife]. Giovanni Schiovonetto.' Elisabetta Pilotti Schiavonetti's benefit twenty guineas, for the benefit day of the orchestra of the Haymarket
was held on 9 May; she was advertised as 'Servant to Her Royal opera. Done in London this 6th of June 1717. F: Dahuron.' The 'Instru-
Highness'. mental Music' received a benefit on 30 May 1717.
30'London 3 June 1716. I the undersigned have received from Signor 46For a detailed analysis of its woeful financial condition at the time
Memett, Gentleman of his Majesty's Chamber, twenty guineas for my of the company's demise, see J. Milhous, 'Opera Finances in London,
1674-1738, JAMS, xxxvii (1984), esp. pp.577-82.
benefit day; I acknowledge 20 guineas, Antonio Bernachi'. The benefit
was advertised for 31 May but deferred; it occurred on 2 June 1716 'By 470n the foundation of the Royal Academy and its financing, see J.
Command: Milhous and R. D. Hume, 'The Charter for the Royal Academy of
3"18 June 1716. I have received from Mr Mehemet, Gentleman of the Music', ML, lxvii (1986), pp.5o-58, and 'New Light on Handel and the
King's Chamber, the sum of fifty guineas by order of his Majesty for my Royal Academy of Music', Theatre Journal, xxxv (1983), PP.149-67.
48See R. D. Hume, 'The Sponsorship of Opera in London, 1704-1720,
benefit day. J. J. Heidegger.' Date of benefit not known, but probably
either 6 or 13 June. Modern Philology, lxxxv (1988), pp.42o-32.
49These figures ignore the rather steep fees involved in collecting
32'19 June 1716 in London. I have received from Monsieur Mehemet, from the Treasury. On 26 June 1723 the Academy presented a 'Mem-
Gentleman of the King's Chamber, twenty guineas for my benefit day,
which his Majesty has honoured me by giving me. Elena Croci Viviani.' orial ... to the Commissioners of the Treasury' requesting a year's

336 EARLY MUSIC AUGUST 1991

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 ,..:

i~?fi

12 William James (1730-8o), The Thames below Westminster Bridge (London, Roy Miles Gallery)

EARLY MUSIC AUGUST 1991 337

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bounty and 'also the further summ of ?200 to defray the Taxes and one addition to the London Stage list from the Hanover papers is what
other expences attending the Receipt of the said ?1000'. London, appears to be an unadvertised performance on 24 December 1726.
Public Record Office, T1/246, no.56. There were 19 advertised 'Command Performances' between 28 Sep-
5019 November and 28 December 1720; 7 March, 15 April and 3 May tember and 17 December (i.e. before this list begins). Ten more Com-
1721 \ mand Performances were advertised during the months covered in this
5' [no date] I Margherita Durastanti list: thankwe presume Signore
either that the KingMeemet for
failed to attend or that the
a different
forty guineas [given] on behalf of hiscourtier Majesty accompanied[which
him and paid theI boxkeeper
have] on those occasions.
received.'
52London, Public Record Office, LC 5/157, p.400
68Hill held office as Master of the Barges.
53All three documents are written in the 69A report
samein the St.hand;
James's Evening
only Post of 4-6
theJune 1716 confirms
signa-
tures are holograph. that this party did in fact take place. 'Last night there was a glorious
54'6 July 1718. I have received from Mr appearance of many of the Nobility
Mehemet, &c. in their Barges,of
Gentleman at which
his 'tis
Majesty's Chamber, twenty-four guineas said, werefor
His Majesty,
as themany
Prince, Princess
tickets
and the youngforPrincesses.
the
masquerade. J. J. Heidegger.' There was a variety of excellent Musick, and the Shore was fill'd with
55'1 May 1719. I have received from numerous Mr Mehemet,Spectators to see so fine Gentleman
a sight. After this there wasof his
a splen-
Majesty's Chamber, twenty-four guineas did for
Entertainment
the six at the masquerades.
Duke of Newcastle's.' J. J.
Heidegger.' 70XIX/15: receipt dated 3 December [1716]
56'8 Jun'e 1720. I have received from Mr Mehemet, Gentleman of his 71The receipt and the bill are written in different hands.
Majesty's Chamber, the sum of twenty-eight guineas for 28 tickets for 72The visits to the 'Diving Machine' (29 August 1715) and to see the
the masquerade. J. J. Heidegger.' launching of the 'Royal George' (17 September 1715), both of which fea-
57'3 April 1721. I have received from Mr Mehemet, Gentleman of the ture in Hanover XVII/84, were reported in the newspapers without any
King's Chamber, the sum of twenty guineas, which it has pleased his mention of music. Musical entertainments of the Water Music type
Majesty to order for me for the serenata. J. J. Heidegger.' Heidegger first were probably a feature of the short 'out and back' river excursions. In
wrote 'chambre de sa' but then wrote 'du' over 'sa', leaving a redundant addition to the Hampton Court visit (7 June 1715) recorded in XVII/84,
other receipts (not transcribed here) relate to another visit to Hamp-
'de'.
58'15 June 1721. I have received from Mr Mehemet, Gentleman of his ton Court (10-12 June 1717; XIX/147), and also to conveying the King to
Majesty's Chamber, the sum of twenty guineas which it has pleased the Greenwich and from Gravesend in connection with one of his journeys
King to give me for my concert. J. J. Heidegger.' to Hanover (4 June-11 November 1720; XXII/149): only strictly cere-
59This description and the one following are from advertisements monial music is likely to have been performed on these occasions. The
quoted in the London Stage. The serenata was La gloria della primavera, filing title for XXII/149 is, however, of interest and tells us what the
serenata. Rappresentata in Napoli per la nascith dell'ultimo Serenis- King was actually paying for: 'Allowance of Drinking Money for His
simo Arciduca d'Austria. Londra: per Thomas Wood, M.DCC.XXI. A Majesty's Watermen'. The sums in this account are comparable, per
copy of the libretto in the Folger Library lists Giove: Boschi; Primavera: trip and per barge, to those for the 'water music' parties.
Senesino; Estate: Durastanti; Autunno: Robinson; Inverno: Salvai. 73One report of the water party of 17 July 1717 said that the King was
There are 24 solo arias and six 4-6 part ensembles in two acts. (We are attended by the Prince and Princess of Wales (see O. E. Deutsch,
indebted to the generosity of Lowell Lindgren for this information.) Handel: A Documentary Biography (London, 1955), p.76), but the
6oAll text after 'On Wednesday ... near the Haymarket' is encased in report of Friedrich Bonet seems more reliable. Bonet's account con-
a cartouche. cludes 'Neither the Prince nor the Princess took any part in this fes-
61Advertised in the Daily Courant 6 and 7 March 1722. The adver- tivity' (see Deutsch, p.77). On the subject of the change in George I's
tisement is virtually identical to the notice in the Privy Purse papers, social habits that accompanied his worsening relationship with the
save that it adds 'and a particular Concert with an Eccho' after 'Enter- Prince of Wales, see Beattie, The English Court, pp.264-71, and Hatton,
tainment of Musick'. George I, pp. 204-5.
62See Harry William Pedicord, 'By Their Majesties' Command': The 74The London Stage erroneously gives this as 'By His Majesty's
House ofHanover at the London Theatre, 1714-18oo (Society for Theatre Command'.
Research, forthcoming). We are grateful to Professor Pedicord and to 7SA performance of Amadigi on 18 June was cancelled because of a
the Society for Theatre Research for allowing us to consult this study heatwave.
before publication. 76This performance was evidently postponed from 7 July.
63We have, however, found what appear to be New Year gratuities-- 77"'Colman' states erroneously that this was the last performance of
four guineas to the boxkeepers at Drury Lane and Lincoln's Inn Fields the season, on account of the Jacobite rebellion.
as well as at the opera, and one guinea each to the people who brought 78This performance was evidently deferred from 31 May.
playbills from each of the theatres (xxv/6). The unnamed person who 79Croci's benefit was advertised for both 6 and 13 June. One of these
delivered opera notices was a 'Frau' By way of comparison, we may was probably an unadvertised benefit for Heidegger.
note that during the reign of Queen Anne the Duchess of Marlborough 8oAdvertised as the last performance of the season. The King left
paid boxkeepers two guineas and deliverers of playbills one (BL Add. London for Hanover on 7 July 1716, and did not return until 19 January
61,420, f.48). 1717.

64References in this form are to Niedersichsisches Hauptstaatsar- 81This is the first performance George I could have attended fol-
chiv, Dep.84, K6nig Georg Archiv, Calenberg Brief Archiv 23, Finanz- lowing his return from Hanover.
82The King attended the opera this night.
sachen. 'FS7/177' indicates 'Finanzsachen Nr. 7, f.177' (individual
documents have been bound together into foliated volumes). 83The Weekly Journal of 2-9 June 1716 reports these trips as taking
place on 6 and 7 June, probably incorrectly. All other sources have 4
6SWe suspect that '3 january opera' is an error for '4 January Comedi'.
The Italian comedians advertised a Command Performance on the and 5 June, and the Weekly Post of 2-9 June reported that the King
4th. attended the opera on 6 June. The Original Weekly Journal of 9-16 June
66'30 January' is evidently an error for 31 January. A performance of reported a river trip to Greenwich by the King and Prince of Wales on
Admeto was advertised for the 31st, and the 3oth was a fast day for the 13 June.
martyrdom of Charles I-hence the theatres were dark. 84The Weekly Journal or Saturday's Post of 20 July 1717 reported that
67Ten of the comedy visits have been known, because the company the Prince and Princess of Wales also made a river excursion on 17 July,
evidently advertised 'Command Performance' whenever it could. The and another with the King on 18 July, but this seems muddled.

338 EARLY MUSIC AUGUST 1991

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Table i Opera performances at the King's Theatre, Haymarket, 1714-17

This table is compiled from opera advertisements in the Daily Column 4: K = King present; PW = Prince of Wales prese
Courant, with attendance information added from the Privy brackets indicate attendance deduced from command
Purse receipts and 'Colman'. Most of the command perform- notices: on three occasions in 1714-15, five times in 1715-16
ances are not recorded in the London Stage. and twice in 1716-17 the King apparently failed to attend
Column 1: (C) = Command Performance; (c) = Performance command performances.
commanded by the Prince of Wales

Date Opera Beneficiary Attendance Date Opera Beneficiary Attendance

Season of 1714-15 Season of 1715-16

Privy
From Privy Purse receipts we know that the King Purse receipts
attended suggest that the King attended th
22 perform-
ances, though 23 commands were advertisedthis
andseason,
Colmanwhich
twice implies
places that on five of 22 advert
failed
the King in the theatre when no command was to appear.
advertised.
23 Oct 1714(C) Arminio (pasticcio) [K], PW 1 Feb 1716(C) Lucio Vero K
26 Oct 1714(C) Arminio K 4 Feb 1716 Lucio Vero
16 Nov 1714(C) Ernelinda (pasticcio) [K] 11 Feb 1716 Lucio Vero
20 Nov1714(C) Ernelinda [K], PW 16 Feb 1716 Amadigi
4 Dec 1714 Ernelinda 21 Feb 1716 Amadigi
11 Dec 1714(C) Arminio [K], PW 3 Mar 1716(C) Amadigi Robinson K
15 Dec 1714(C) Arminio [K] 6 Mar1716(C) Amadigi [K]
18 Dec 1714(C) Ernelinda [K], PW to Mar 1716(C) Pirro e Demetrio (A.
22 Dec 1714(C) Arminio [K] Scarlatti and Haym) K
30 Dec 1714(c)74 Rinaldo (Handel) [PW] 13 Mar 1716(C) Pirro e Demetrio [K]
4 Jan 1715(c) Rinaldo [PW] 17 Mar 1716(C) Pirro e Demetrio [K]
8 Jan 1715(C) Rinaldo [KI 24 Mar 1716(C) Pirro e Demetrio [K]
15 Jan 1715(c) Rinaldo K, PW 4 Apr 1716(C) Pirro e Demetrio K
22 Jan 1715(c) Rinaldo [PW] 11 Apr 1716(C) Pirro e Demetrio K
27 Jan 1715 Rinaldo Princesses 18 Apr 1716(C) Clearte (pasticcio) K
29 Jan 1715 Rinaldo 21 Apr 1716(C) Clearte [K]
5 Feb 1715(c) Rinaldo [PW] 25 Apr 1716(C) Clearte K
12 Feb 1715(c) Rinaldo [PW] 28 Apr 1716(C) Clearte [K]
19 Feb 1715(c) Rinaldo [PW] 2 May1716(C) Pirro e Demetrio Nicolini K
26 Feb 1715(c) Lucio Vero (pasticcio) [PW] 5 May1716 Clearte
5 Mar 1715(c) Lucio Vero [PW] 9 May1716(C) Idaspe Pilotta K
12 Mar 1715(c) Lucio Vero [PW] 12 May 1716(C) Clearte [K]
19 Mar 1715(c) Lucio Vero [PW] 15 May 1716(c) Pirro e Demetrio PW
26 Mar1715(C) Arminio K 26 May1716(C) Pirro e Demetrio Vicco K
2 Apr 1715(C) Lucio Vero Pilotta K 2 Jun 1716(C)78 Pirro e Demetrio Bernacchi K
9 Apr 1715(C) Ernelinda Robinson K, PW 6 Jun 1716(C) Clearte Croci K
23 Apr 1715(C) Lucio Vero Galerati K, PW 13 Jun 1716(C) Clearte [Heidegger]79 K
30 Apr 1715(C) Lucio Vero Vicco K 20 Jun 1716(C) Amadigi orchestra K
30KJun 1716(C)80 Clearte K
7 May1715(C) Idaspe (pasticcio) Nicolini
11 May 1715(C) Idaspe [K] 12 Jul 1716 Amadigi
14 May 1715(c) Idaspe [PW]
21 May 1715(c) Idaspe [PW] Season of 1716-17
25 May1715(C) Amadigi (Handel) [K] Privy Purse receipts prove that the King attended at least five (probably
2 Jun 1715(C) Idaspe [K] six) non-benefit performances this season and also that he went one
11 Jun 1715(C) Amadigi [K] night to Tito Manlio. He appears to have paid for a total of 14 nights as
15 Jun 1715(C) Amadigi [K] against 14 advertised command performances, though he paid for two
25 Jun 1715(C)75 Rinaldo Nicolini K benefits that were not advertised as commands.
28 Jun 1715(C) Amadigi [K] 8 Dec 1716 Clearte
2 Jul 1715(c) Amadigi [PW] 15 Dec 1716 Clearte
9 Jul 1715(c)76 Amadigi [PW] 22 Dec 1716 Clearte
23 Jul 171577 Idaspe K 5 Jan 1717 Rinaldo
27 Aug 1715(C) Idaspe [Heidegger] K 12 Jan 1717 Rinaldo
19 Jan 1717 Rinaldo

340 EARLY MUSIC AUGUST 1991

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Date Opera Beneficiary Attendance Table 2 Royal water parties during G
Parties are as reported in the newspapers (e
23 Jan 1717 Rinaldo"' Dates in brackets are included on Hanove
26 Jan 1717 (C) Rinaldo [K] to occasions other than pleasure parties. A
2 Feb 1717 (C) Pirro e D)emetrio [K] music is not mentioned.
9 Feb 1717 (C) Rinaldo [K]
16 Feb 1717(C) Amadigi [K] Music Privy Purse
23 Feb 1717(C) Amadigi [K] Dates Present reported receipt
2 Mar 1717 Pirro e Demnetrio
9 Mar1717(C) Rinaldo [K] [7 June 1715] K (doubtful) xvil/84
14 Mar 1717(c) Venceslao [PW] 12 Jul 1715 PW
16 Mar 1717(C) Venceslao [K]
21 Mar 1717(C) Amadigi Robinson K 13 Jul 1715 K, PW - xvil/84
14 Jul 1715 PW yes
30 Mar 1717(C) Clearte [K]
4 Apr 1717(C) Tito Manlio (Ariosti) [K] 27 Jul 1715 K (no report) xvil/84
11 Apr 1717(C) Amnadigi Nicolini K 13 Aug 1715 K, PW yes xvil/84
13 Apr 1717 Tito Manlio 27 Aug 1715'8 PW
27 Apr 1717 Tito Manlio [29 Aug 1715] K, PW (doubtful) xvII/84
2 May1717(C) Rinaldo Pilotta K [17 Sep 1715] K, PW (doubtful) xvII/84
4 May1717 Tito Manlio 4 Jun 1716 ' PW
11 May 1717 Tito Manlio
6 Jun 1716 ?K, PW yes ?xIx/15
13 May 1717(C) Venceslao Bernacchi K 9 Jun 1716 PW (doubtful)
18 May 1717 Rinaldo Berenstadt K 19 Jun 1717 PW - -
25 May 1717 Tito Manlio
17 Jul 1717"' K Handel xlx/146
30 May1717 Amnadigi orchestra K
1 Jun 1717 Clearte
5 Jun 1717 Rinaldo boxkeepers
29 Jun 1717(C) Tito Manlio [K]

School of Pietro Longhi, Opera Seria (Milan, Museo Teatrale Alla Scala)

EARLY MUSIC AUGUST 1991 341

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 - 7

IL IL ~ ~ r4;q??- ~ ?I\1: ? ;
t Ot

I- W .

?s,~?;.t'A'

Joseph Heintz the younger (c.16oo-c.1678), Caccia al toro

342 EARLY MUSIC AUGUST 1991

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