Handel's Messiah and the 1813 Belfast Festival
This feature and the separate one on Edward Bunting were first compiled in April 1996 and made available online thereafter.
In 2003, a highly recommended and comprehensive book, Bunting's Messiah by Roy Johnston (1924-2012), was published by the Belfast Natural History and Philosphical Society (Publication No.7). The book is available to order from the Ulster Historical Foundation.
In 2003, a highly recommended and comprehensive book, Bunting's Messiah by Roy Johnston (1924-2012), was published by the Belfast Natural History and Philosphical Society (Publication No.7). The book is available to order from the Ulster Historical Foundation.
Introduction
Music festivals, such as the one presented in Belfast in 1813, were very popular in the late 18th and early 19th centuries.
Most of them took place in the large centres of population, such as Birmingham and Manchester, areas of great industrial expansion. These festivals would often be linked with middle-class concern about social conditions; in Grove 6, Percy Young lists festivals in "Leeds (1767), Birmingham (1768), Norwich (1770), Chester (1772), Newcastle (1778), Liverpool (1784), Manchester (1785), Sheffield (1786), and York (1791) with the primary aim of raising funds to establish or support new hospitals."
The annual meeting of the cathedral choirs of Gloucester, Worcester and Hereford, which first took place in 1715, by the 19th century had become known as the Three Choirs Festival.
Most of them took place in the large centres of population, such as Birmingham and Manchester, areas of great industrial expansion. These festivals would often be linked with middle-class concern about social conditions; in Grove 6, Percy Young lists festivals in "Leeds (1767), Birmingham (1768), Norwich (1770), Chester (1772), Newcastle (1778), Liverpool (1784), Manchester (1785), Sheffield (1786), and York (1791) with the primary aim of raising funds to establish or support new hospitals."
The annual meeting of the cathedral choirs of Gloucester, Worcester and Hereford, which first took place in 1715, by the 19th century had become known as the Three Choirs Festival.
In Tamworth, in Staffordshire, in 1809, with a population of only 3,000, the town hosted a two-day festival with performances of Haydn's The Creation and Handel's Messiah. Over 130 performers took part, including Samuel Wesley, who played one of his own organ concertos and incorporated into it a fugue by J. S. Bach.
These provincial festivals usually followed much the same pattern and, understandably, their planning was often determined by the availability of an organ or the need for natural or artificial lighting.
In England, as Philip Olleson writes, (in The Tamworth Music Festival of 1809, )
These provincial festivals usually followed much the same pattern and, understandably, their planning was often determined by the availability of an organ or the need for natural or artificial lighting.
In England, as Philip Olleson writes, (in The Tamworth Music Festival of 1809, )
"the scheduling of festivals during the summer and early autumn months (typically during August, September and October) gave employment during the London off-season to the London singers and instrumentalists who were the soloists and the principal orchestral players. The remainder of the orchestra was recruited more locally, often from music teachers and organists (who as a matter of course would also be string players) of nearby towns. The choral forces would typically come from local cathedral choirs, often supplemented by professional choristers who moved, like the soloists and principal orchestral players, from festival to festival …"
"… a performance of Messiah was almost mandatory at each festival, and his [Handel's] music (usually in the form of extracts from the oratorios) dominated the remaining morning oratorio concerts …"
"… ticket prices of between 8s. and £1. 1s. were such as to exclude all but the most well-to-do … evidence for the wide geographical support for the festival [in Tamworth] is provided by the list of patrons [see Belfast's patrons listed on page 6], made up of members of leading families … The financial support of these families does not, of course, indicate that they actually attended the performances …"
"… a performance of Messiah was almost mandatory at each festival, and his [Handel's] music (usually in the form of extracts from the oratorios) dominated the remaining morning oratorio concerts …"
"… ticket prices of between 8s. and £1. 1s. were such as to exclude all but the most well-to-do … evidence for the wide geographical support for the festival [in Tamworth] is provided by the list of patrons [see Belfast's patrons listed on page 6], made up of members of leading families … The financial support of these families does not, of course, indicate that they actually attended the performances …"
In 1811, Belfast factory cotton spinners were reckoned to be comparatively well paid at £2. 7s. 0d. per week. Weavers were much more poorly paid at between 12 and 15 shillings per week, out of which "they had to pay for candles, assistance and - sometimes - the renting of a loom-stand" (Jonathan Bardon: Belfast - An Illustrated History).
Charlotte Milligan Fox, writing in Annals of the Irish Harpers, mentions that Messiah "was rendered by the choir of Christ Church Cathedral, Dublin," and quoted some details from Bunting's private papers about his expenses:
Charlotte Milligan Fox, writing in Annals of the Irish Harpers, mentions that Messiah "was rendered by the choir of Christ Church Cathedral, Dublin," and quoted some details from Bunting's private papers about his expenses:
"'Mr. Cooke and his wife' (the prima donna) Bunting enters as having been paid 100 guineas; Spray (the tenor) and daughter, 45 guineas; Mahon Wedner [sic = clarinet and flute], 30 guineas; Sidebotham, as secretary, [and double-bass], regulating everything, received 30 guineas for his trouble; and, after paying for the choir and a band of fifty, the expenses amounted to a total of £638. The concerts took place in the theatre, or, when an organ was required, in Dr. Drummond's meeting-house. There is an addendum to the list of expenditure. 'Paid Spray out of my own pocket 5 guineas, as he said that his rank as first tenor deserved it,' by which we see that concert directors had to cope with the same difficulties as at the present day."
Programme of the 1813 Belfast Musical Festival
The following details of the Festival were published in the Belfast News-Letter during the previous week:
BELFAST
MUSICAL FESTIVAL
FOR THE BENEFIT OF
THE INCORPORATED CHARITABLE SOCIETY
UNDER THE PATRONAGE OF
MUSICAL FESTIVAL
FOR THE BENEFIT OF
THE INCORPORATED CHARITABLE SOCIETY
UNDER THE PATRONAGE OF
MARQUIS OF DONEGALL, / MARCHIONESS OF DONEGALL, / MARQUIS OF DOWNSHIRE, / MARCHIONESS OF DOWNSHIRE, / COUNTESS OF CLANWILLIAM, / EARL OF MASSEREENE, / COUNTESS OF MASSEREENE, / EARL OF LONDONDERRY, / COUNTESS OF LONDONDERRY, / LORD VISCOUNT DUFFERIN, / LADY DUFFERIN, / LADY ELIZABETH PRATT, / LADY HARRIET FOSTER, / COLONEL FOSTER, / SIR EDWARD MAY, Bart. / LADY MAY, / SIR H. HERVEY BRUCE, Bart. / LADY BRUCE, / HON. R. WARD, / COLONEL FORDE, / GEORGE BRISTOW Esq. High Sheriff Co. Antrim, / THOMAS VERNER Esq. Sovereign of Belfast, / MRS. VERNER, / ALEXANDER STEWART Esq. Ards, / NICHOLAS PRICE Esq. Saintfield, / ROBERT BATESON Esq. Belvoir, / REV. DR. HUTCHESON Donaghadee, / REV. EDWARD MAY, / MRS. MAY, / COLONEL HEYLAND, / MRS. HEYLAND, / HUGH KENNEDY Esq. Cultra, / WILLIAM SHARMAN Esq. Warringstown, [sic] / JOHN REILLY Esq. Scarva, / RICHARD DOBBS Esq. Castle Dobbs, / JAMES WATSON Esq. Brook Hill, / GEORGE DOUGLAS Esq. Mount Ida, / FRANCIS TURNLY Esq. Richmond Lodge
AT THE THEATRE,
ON TUESDAY EVENING, OCTOBER 19, 1813,
WILL BE PERFORMED,
A GRAND MISCELLANEOUS
CONCERT,
OF VOCAL & INSTRUMENTAL MUSIC.
ON TUESDAY EVENING, OCTOBER 19, 1813,
WILL BE PERFORMED,
A GRAND MISCELLANEOUS
CONCERT,
OF VOCAL & INSTRUMENTAL MUSIC.
AT DR. DRUMMOND'S MEETING HOUSE,
On WEDNESDAY MORNING, OCT. 20,
A GRAND SELECTION OF
SACRED MUSIC,
From HANDEL, PURCELL, MARCELLO, &c.
On WEDNESDAY MORNING, OCT. 20,
A GRAND SELECTION OF
SACRED MUSIC,
From HANDEL, PURCELL, MARCELLO, &c.
AT SAME PLACE,
On THURSDAY MORNING, OCT. 21,
HAYDN'S CELEBRATED ORATORIO OF
THE CREATION;
WITH A GRAND MISCELLANEOUS ACT,
SELECTED FOR THE OCCASION.
On THURSDAY MORNING, OCT. 21,
HAYDN'S CELEBRATED ORATORIO OF
THE CREATION;
WITH A GRAND MISCELLANEOUS ACT,
SELECTED FOR THE OCCASION.
At the THEATRE, on THURSDAY EVENING,
A MISCELLANEOUS
CONCERT,
FROM THE WORKS OF
HAYDN, MOZART, AND BEETHOVEN
A MISCELLANEOUS
CONCERT,
FROM THE WORKS OF
HAYDN, MOZART, AND BEETHOVEN
AT DR. DRUMMOND'S MEETING-HOUSE,
ON FRIDAY MORNING, OCT. 22.
THE ORATORIO OF
THE MESSIAH,
ON FRIDAY MORNING, OCT. 22.
THE ORATORIO OF
THE MESSIAH,
PRINCIPAL VOCAL PERFORMERS,
Mrs COOKE, Miss SPRAY,
Master ROBINSON, Master MULLEN,
Mr SPRAY, Mr. JAGER, and
Mr. WEYMAN.Leader of the Band ………...
Second Violin …………........
Tenor [=viola] ................
Violincello [sic] ................
Double Bass ....................
Flute ...............................
Oboe ..............................
Clarionet .........................
Bassoon .........................
Horn ..............................
Trumpet ..........................
Trombone .......................
Double Drums .................
Tenor [=viola] ................
Violincello [sic] ................
Double Bass ....................
Flute ...............................
Oboe ..............................
Clarionet .........................
Bassoon .........................
Horn ..............................
Trumpet ..........................
Trombone .......................
Double Drums .................
Mr. T. COOKE.
Mr. BARRETT.
Mr. BOWDEN.
Mr. BIRD.
Mr. SIDEBOTHAM.
Mr. WERDNER. [actually Johann Carl Weidner]
Mr. B. COOKE.
Mr. MAHON.
Mr. BOND.
Mr. MULLIGAN.
Mr. WILMAN.
Mr. MEIGLER.
Mr. GLOVER.
Mr. BARRETT.
Mr. BOWDEN.
Mr. BIRD.
Mr. SIDEBOTHAM.
Mr. WERDNER. [actually Johann Carl Weidner]
Mr. B. COOKE.
Mr. MAHON.
Mr. BOND.
Mr. MULLIGAN.
Mr. WILMAN.
Mr. MEIGLER.
Mr. GLOVER.
CONDUCTOR …………….Mr. EDWARD BUNTING,
Who will preside at the Organ & Piano Forte.
The DEAN and CHAPTER of CHRIST'S CHRUCH [sic],
DUBLIN, having been pleased to grant permission for the
principal parts of the Choir to assist on this occasion, the
CHORUSSES will be numerous and complete. The en-
tire Band will consist of above 50 performers.
DUBLIN, having been pleased to grant permission for the
principal parts of the Choir to assist on this occasion, the
CHORUSSES will be numerous and complete. The en-
tire Band will consist of above 50 performers.
BALL AND SUPPER.
There will be a splendid BALL & SUPPER at the EX-
CHANGE ROOMS, on FRIDAY Evening, 22d Oct.
Particulars in a future advertisement.
There will be a splendid BALL & SUPPER at the EX-
CHANGE ROOMS, on FRIDAY Evening, 22d Oct.
Particulars in a future advertisement.
REGULATIONS.
Evening Concerts at the Theatre - The UPPER and
LOWER BOXES, with an inclosed [sic] part of the PIT, are
prepared for the accommodation of the Patrons, Patronesses,
and other Subscribers, for the entire entertainments of the Week.
(Of the Lower Boxes, Nos 4, 5, 6, and 8, are kept for the Patrons and Patronesses.)
Plans of the Boxes, and Subscribers' part of the Pit, will
be ready for inspection on MONDAY the 18th inst. at
TWELVE o'Clock, at which hour places may be taken
at the House of Mr. JOHN GALT SMITH, Secretary
to the Committee, No. 26, High-street, to be entered in the
exact order of application.
LOWER BOXES, with an inclosed [sic] part of the PIT, are
prepared for the accommodation of the Patrons, Patronesses,
and other Subscribers, for the entire entertainments of the Week.
(Of the Lower Boxes, Nos 4, 5, 6, and 8, are kept for the Patrons and Patronesses.)
Plans of the Boxes, and Subscribers' part of the Pit, will
be ready for inspection on MONDAY the 18th inst. at
TWELVE o'Clock, at which hour places may be taken
at the House of Mr. JOHN GALT SMITH, Secretary
to the Committee, No. 26, High-street, to be entered in the
SINGLE TICKETS
For each of the EVENING CONCERTS, to the re-
maining parts of the House, will be ready for delivery as
above, on Thursday next.
maining parts of the House, will be ready for delivery as
above, on Thursday next.
LETTICES, and Uninclosed part of the PIT, 10s. 10d.
GALLERY, ………………….…………..................…..6s. 8d.
Single Tickets for each of the SACRED PER-
FORMANCES, in the Morning, at Dr.
Drummond's Meeting-House, ……….......… 12s. 6d.
N.B. All Tickets to be Transferable. Evening Concerts at the Theatre. Doors to be opened at
Seven o'Clock, and the performance to commence precisely at Eight.
(Carriages to enter by Donegall-square and form a single
line along Arthur-street, taking up in the same manner -----
Horses heads towards Corn-Market.)
Seven o'Clock, and the performance to commence precisely at Eight.
(Carriages to enter by Donegall-square and form a single
line along Arthur-street, taking up in the same manner -----
Horses heads towards Corn-Market.)
Morning Sacred Performances, at Dr. Drummond's Meeting -House.
Doors to be opened at Eleven o'Clock, and commence precisely at Twelve.
(Carriages to enter by the Exchange, forming a single
line along Rosemary-street, taking up in the same manner ----
horses heads towards Hercules-street [now Royal Avenue].)
To avoid confusion, no Money will be taken at the Doors
for any of the performances, nor Servants allowed to keep places.
Subscribers for the entire week's performance will be
pleased to shew their Tickets to the Stewards ---- holders of
Single Tickets to deliver theirs.
After this Notice, it is expected that Subscribers will send
for their Tickets without further delay.
Doors to be opened at Eleven o'Clock, and commence precisely at Twelve.
(Carriages to enter by the Exchange, forming a single
line along Rosemary-street, taking up in the same manner ----
horses heads towards Hercules-street [now Royal Avenue].)
To avoid confusion, no Money will be taken at the Doors
for any of the performances, nor Servants allowed to keep places.
Subscribers for the entire week's performance will be
pleased to shew their Tickets to the Stewards ---- holders of
Single Tickets to deliver theirs.
After this Notice, it is expected that Subscribers will send
for their Tickets without further delay.
- The Theatre lighted with Wax.
A further two advertisements were placed in the Belfast News-Letter on Tuesday 19 October for Bunting's benefit concert and they give further details of ticket arrangements for the Ball and Supper:
MR. BUNTING'S CONCERT
AT THE THEATRE,
ON WEDNESDAY EVENING, OCTOBER 20.
AT THE THEATRE,
ON WEDNESDAY EVENING, OCTOBER 20.
ACT I
OVERTURE ……………………………………….…………...........................
GLEE - "Hark the Lark at Heaven's gate Sings" ……………….........
SONG - Mr. Jager - "The Maid of the Mountain" …………….………....
GLEE and CHORUS -"Hark the hollow woods" …………………………...
SONG - Master Robinson - "Thou hast run away from me, Mary."
SONG - Mrs. Cooke - "Sweet Robin" ……………………….....................
CONCERTO TRUMPET - Mr. Wilman ……………………...................
SONG - Mr. Spray - "When for our Laws and Native Land" ..........
FINALE - "Viva Enrico" ………………….……………............................
GLEE - "Hark the Lark at Heaven's gate Sings" ……………….........
SONG - Mr. Jager - "The Maid of the Mountain" …………….………....
GLEE and CHORUS -"Hark the hollow woods" …………………………...
SONG - Master Robinson - "Thou hast run away from me, Mary."
SONG - Mrs. Cooke - "Sweet Robin" ……………………….....................
CONCERTO TRUMPET - Mr. Wilman ……………………...................
SONG - Mr. Spray - "When for our Laws and Native Land" ..........
FINALE - "Viva Enrico" ………………….……………............................
Cooke.
Cooke.
Bishop.
Shield.
[no composer given]
Cooke.
Cooke.
Stevenson.
Pacitto.
Cooke.
Bishop.
Shield.
[no composer given]
Cooke.
Cooke.
Stevenson.
Pacitto.
ACT II
CONCERTO VIOLIN - Mr. T. Cooke…………………............................
GLEE - "Oh! Nanny, wilt thou gang with me," ……….....................
SONG - Mrs. Cooke ……………………………….....................................
MILITARY CONCERTO PIANO-FORTE - Mr. Bunting ………….........
GLEE - "See our Bark" - Violin Obligato [sic]…….……………..............
POLLACCA - Mr. Cooke, from "The Cabinet" …………………..............
DUETT - Messrs. Spray & Weyman, "Tell me where is Fancy bred"
GLEE - "Oh! Nanny, wilt thou gang with me," ……….....................
SONG - Mrs. Cooke ……………………………….....................................
MILITARY CONCERTO PIANO-FORTE - Mr. Bunting ………….........
GLEE - "See our Bark" - Violin Obligato [sic]…….……………..............
POLLACCA - Mr. Cooke, from "The Cabinet" …………………..............
DUETT - Messrs. Spray & Weyman, "Tell me where is Fancy bred"
Kreutzer.
harmonised by Harrison.
Puzitta.
Latour.
Sir J. Stevenson.
Braham.
Sir J. Stevenson.
harmonised by Harrison.
Puzitta.
Latour.
Sir J. Stevenson.
Braham.
Sir J. Stevenson.
FINALE - Rule Britannia.
TICKETS to be had of Mr. J. G. SMITH, and Mr.
ARCHER, Stationer, High-street; and PLACES to be
taken at the THEATRE, from Eleven till Five o'Clock.
TICKETS
FOR THE BALL AND SUPPER,
ON FRIDAY EVENING,
AT THE EXCHANGE ROOMS,
For the BENEFIT of the POOR-HOUSE,
Will be issued at Mr. SMITH'S 26, High-street.
LADIES' …………………......……10s.
GENTLEMEN'S………………..…12s. 6d.
As the number to be entertained must necessarily be limit-
ed, such Ladies and Gentlemen as wish to attend, will be
so good as to return their names on or before TUESDAY
next. ------------ Mr. JELLET to provide the Supper.
ed, such Ladies and Gentlemen as wish to attend, will be
so good as to return their names on or before TUESDAY
next. ------------ Mr. JELLET to provide the Supper.
Belfast, October 15, 1813.
The Belfast Festival performance of Messiah in 1813
On 2 August 1801, Edward Bunting presented a concert of Handel's music in St Anne's Church in Belfast, where he was assistant organist to William Ware.
The programme featured music from Handel's oratorios and the singers were the English tenor Charles Incledon (1763-1826) and the soprano Mrs [Elizabeth] Addison née Willems (c.1785-c.1840, the wife of John Addison, double bass player and composer).
Both visiting singers were pupils of Venanzio Rauzzini (1746-1810), the Italian-born soprano castrato and composer. Incledon (and most likely Mrs. Addison) were in Belfast for a season at the Theatre.
The Belfast News-Letter of 21 July 1801 carried an advertisement for the concert:
The programme featured music from Handel's oratorios and the singers were the English tenor Charles Incledon (1763-1826) and the soprano Mrs [Elizabeth] Addison née Willems (c.1785-c.1840, the wife of John Addison, double bass player and composer).
Both visiting singers were pupils of Venanzio Rauzzini (1746-1810), the Italian-born soprano castrato and composer. Incledon (and most likely Mrs. Addison) were in Belfast for a season at the Theatre.
The Belfast News-Letter of 21 July 1801 carried an advertisement for the concert:
Detail from Thomas Hudson's 1756 painting of Handel.
On the harpsichord is the score of Messiah.
On the harpsichord is the score of Messiah.
Mr INCLEDON and Mrs ADDISON
HAVING humanely offered their services in behalf of
the POOR HOUSE of this Town
On Sunday next, 2d August, at 3 o'Clock
When the Church Service is ended, a Selection of Sacred
Music from the different Oratorios of
HANDEL
Will be Performed in
ST. ANNE'S CHURCH
For the Benefit of the
POOR-HOUSE AND INFIRMARY
Part First
Overture,
Recit.
Air,
Chorus,
Air,
Anthem,
Of the Messiah,
Comfort ye my people
Every Valley
And the Glory of the Lord.
Pious Orgies
Acquaint thyself with GOD,
Comfort ye my people
Every Valley
And the Glory of the Lord.
Pious Orgies
Acquaint thyself with GOD,
}
}
Mr. Incledon
Mrs. Addison
Mr. Incledon
Part Second
Air,
Air,
Recit.
Air,
Chorus,
Recit.
Air,
He was Despised,
I know that my Redeemer liveth,
Thy rebuke hath broken his Heart,
Behold and See,
For unto us a Child is Born,
O worse than Death.
Angels ever Bright and Fair.
I know that my Redeemer liveth,
Thy rebuke hath broken his Heart,
Behold and See,
For unto us a Child is Born,
O worse than Death.
Angels ever Bright and Fair.
}
}
}
}
Mr. Incledon
Mrs. Addison
Mr. Incledon
Mrs. Addison
Mrs. Addison
Mr. Incledon
Mrs. Addison
To conclude with the Hundredth Psalm, the old Tune.
Principal Violincello, Mr. Haigh
The Organ, Mr. Bunting
[Admittance to the Oratorio, Three British Shillings.]
Tickets to be disposed of by the Rev. Mr. BRISTOW,
Rev. Mr. DOBBS, and WILLIAM CLARK, Esq. Trea-
surer of the Poor House.
As the Inhabitants of Belfast and the Country adja-
cent, may seldom have an Opportunity of such an elegant
Musical Entertainment -- it is expected that they will avail
themselves of the present Occasion, at the same Time that
they will Contribute to the support of a most useful Insti-
tution, for the Support of the POOR at this distressing
Period.
Left: St. Anne's Church, Belfast, built 1776, photographed in 1899, demolished 1904. Bunting would have known it without the columns and pediment. The original low portico is pictured in the article on Edward Bunting.
Above: Dr. Drummond's Meeting-House, Second Congregation, Rosemary Street, built 1790, demolished 1964.
Above: Dr. Drummond's Meeting-House, Second Congregation, Rosemary Street, built 1790, demolished 1964.
Clearly, over the years, popular numbers from Messiah were
heard on such occasions as that St. Anne's concert, but it wasn't until the Festival in 1813 that
Belfast hosted its first-ever reasonably complete performance of the
oratorio.
The concert programme for Messiah at Dr. Drummond's Meeting-House, Rosemary Street, Belfast, was printed by Alexander Mackay, News-Letter Office, and cost Tenpence.
It listed five additional patrons to those in the list given in the festival advertisement above:
It listed five additional patrons to those in the list given in the festival advertisement above:
Lord Jocelyn / Lady Jocelyn / Lady Isabella Blachford /
Colonel Blachford / Edward Jones Agnew, Esq. Killoughter
For the record, Colonel Forde is now listed as Lieutenant-Colonel Forde.
The Messiah programme gives the following as Stewards for the performance:
The Messiah programme gives the following as Stewards for the performance:
The High Sheriff of the Co. of Antrim, / The Sovereign of Belfast, /
Lieutenant-Colonel Coulson, / Rev. Mr. Jebb, / Richard Dobbs, Esq. /
Richard Staples, Esq. / Jackson Stockdale, Esq. / Henry Purdon, Esq.
Lieutenant-Colonel Coulson, / Rev. Mr. Jebb, / Richard Dobbs, Esq. /
Richard Staples, Esq. / Jackson Stockdale, Esq. / Henry Purdon, Esq.
The Messiah programme also lists the following Instrumental Performers
Leader of the Band -
Violins -
Tenors [=Violas] -
Violincellos [sic] -
Double Basses -
Flute -
Clarionets -
Oboes -
Bassoons -
Horns -
Trumpets -
Trombone -
Bass Horn -
Double Drum -
Violins -
Tenors [=Violas] -
Violincellos [sic] -
Double Basses -
Flute -
Clarionets -
Oboes -
Bassoons -
Horns -
Trumpets -
Trombone -
Bass Horn -
Double Drum -
Mr. T. Cooke.
Messrs. Mahon, [John] Barrett, May, R. Barton, Coleman, Sanders [probably Saunders], Garbatt, and Nelson.
Messrs. Bowden and Giesler.
Messrs. Bird, A. Bunting, and Robinson.
Messrs. Sidebotham, Cubitt and [Wm. J.]Gray.
Mr. Weidner.
Messrs. Thompson and Wagstaff.
Messrs. B. Cooke and McClean.
Messrs. Bond and Reed.
Messrs. Mulligan and Reilly.
Messrs. Wilman and Maddison.
Mr. Miller.
Mr. Costellow.
Mr. Stokesbury
Messrs. Mahon, [John] Barrett, May, R. Barton, Coleman, Sanders [probably Saunders], Garbatt, and Nelson.
Messrs. Bowden and Giesler.
Messrs. Bird, A. Bunting, and Robinson.
Messrs. Sidebotham, Cubitt and [Wm. J.]Gray.
Mr. Weidner.
Messrs. Thompson and Wagstaff.
Messrs. B. Cooke and McClean.
Messrs. Bond and Reed.
Messrs. Mulligan and Reilly.
Messrs. Wilman and Maddison.
Mr. Miller.
Mr. Costellow.
Mr. Stokesbury
The Chorusses by
Messrs. Connor, Broad, Duff, Gray, Barr,
Hughes, Hart, sen., Hart, jun., Bennett, Stevenson, Fry, Hatton, Mrs.
Gray. --- Masters Mussen, Murray, Betty, Willis, --- Mr. McCune, sen., Mr.
McCune jun., Mr. Webb, &c. &c.
Conductor ---- Mr. EDWD. BUNTING.
Below is the sequence and the details of the items actually performed on 22 October 1813 at Dr. Drummond's Meeting-House, Rosemary Street, Belfast. Alongside the listing is the relevant number in Novello's Watkins Shaw edition.
Overture
recit. Comfort ye (tenor)
Every valley (tenor)
And the glory (chorus)
recit. Thus saith the Lord (bass)
But who may abide (bass)
recit. Behold a virgin shall conceive (counter tenor)
O thou that tellest (chorus with counter tenor)
recit. For behold, darkness (bass)
The people that walked (bass)
For unto us a child (chorus)
recit. There were shepherds (boy treble)
Glory to God (chorus)
Rejoice greatly (soprano 1)
He shall feed his flock (soprano 1 and tenor)
Farewell ye limpid streams (soprano 2)
He was despised (counter tenor)
All we like sheep (chorus)
recit. Comfort ye (tenor)
Every valley (tenor)
And the glory (chorus)
recit. Thus saith the Lord (bass)
But who may abide (bass)
recit. Behold a virgin shall conceive (counter tenor)
O thou that tellest (chorus with counter tenor)
recit. For behold, darkness (bass)
The people that walked (bass)
For unto us a child (chorus)
recit. There were shepherds (boy treble)
Glory to God (chorus)
Rejoice greatly (soprano 1)
He shall feed his flock (soprano 1 and tenor)
Farewell ye limpid streams (soprano 2)
He was despised (counter tenor)
All we like sheep (chorus)
1
2
3
4
5
6 sing alto version
8
9
10
11
12
14, 15, 16
17
18
19 (soprano 1 sings alto line to letter C, then tenor sings soprano line)
Interpolated air from Jephtha
23
26
2
3
4
5
6 sing alto version
8
9
10
11
12
14, 15, 16
17
18
19 (soprano 1 sings alto line to letter C, then tenor sings soprano line)
Interpolated air from Jephtha
23
26
Interval
recit. All they that see him (tenor)
He trusted in God (chorus)
recit. Thy rebuke hath broken (tenor)
Behold and see (tenor)
recit. He was cut off (soprano 1)
But thou didst not leave (soprano 1)
Lift up your heads (chorus)
Why do the nations (bass)
Worthy is the lamb (chorus)
I know that my redeemer (soprano 2)
Since by man came death (chorus)
recit. Behold, I tell you a mystery (bass)
The trumpet shall sound (bass)
If God be for us (tenor)
Hallelujah! (chorus)
He trusted in God (chorus)
recit. Thy rebuke hath broken (tenor)
Behold and see (tenor)
recit. He was cut off (soprano 1)
But thou didst not leave (soprano 1)
Lift up your heads (chorus)
Why do the nations (bass)
Worthy is the lamb (chorus)
I know that my redeemer (soprano 2)
Since by man came death (chorus)
recit. Behold, I tell you a mystery (bass)
The trumpet shall sound (bass)
If God be for us (tenor)
Hallelujah! (chorus)
27
28
29
30
31 sing tenor version
32 sing tenor version
33
40
53
45 Belfast News-Letter review states "boy treble" for this.
46
47
48
52 sing soprano version
44
28
29
30
31 sing tenor version
32 sing tenor version
33
40
53
45 Belfast News-Letter review states "boy treble" for this.
46
47
48
52 sing soprano version
44
Finis
The soloists in the 1813 Belfast performance
Mrs. Cooke (cf. Soprano 2 in the list above)
She was the wife of Tom Cooke, leader of the orchestra. They married in Dublin in
1805; she was formerly Fanny Howells, an actress and a "pretty little
singer".
Miss Spray (cf. Soprano 1)
The daughter of the tenor soloist.
The daughter of the tenor soloist.
Master Robinson (treble)
This was most likely Francis Robinson (1799-1872), who would become an important Dublin singer and organist … less likely, it might have been his brother, William Robinson (1803-1881), also to become a leading Dublin musician.
This was most likely Francis Robinson (1799-1872), who would become an important Dublin singer and organist … less likely, it might have been his brother, William Robinson (1803-1881), also to become a leading Dublin musician.
Mr. Spray (tenor)
John Spray was an English tenor who settled in Dublin c.1797, and was vicar-choral of Christ Church and St. Patrick's Cathedrals. He was well known as a leading concert soloist.
John Spray was an English tenor who settled in Dublin c.1797, and was vicar-choral of Christ Church and St. Patrick's Cathedrals. He was well known as a leading concert soloist.
Mr. Jager (counter tenor)
Robert Jager was an English singer, formerly a lay-clerk at Canterbury, who sang as a counter tenor and a bass, performing in Dublin from around 1810. He was a vicar-choral of Christ Church and St. Patrick's Cathedrals. "… the incongruous effect of his delivery of the opening of O thou that tellest where he dropped from a falsetto 'A' to 'D' in the lower octave came as something of a shock to his listeners".
Robert Jager was an English singer, formerly a lay-clerk at Canterbury, who sang as a counter tenor and a bass, performing in Dublin from around 1810. He was a vicar-choral of Christ Church and St. Patrick's Cathedrals. "… the incongruous effect of his delivery of the opening of O thou that tellest where he dropped from a falsetto 'A' to 'D' in the lower octave came as something of a shock to his listeners".
Mr. Weyman (bass)
David Weyman (1771-1822), Dublin-born bass who was well-known as a
concert singer and was also a vicar-choral at both Dublin cathedrals.
The "Conductor" was Mr.
Edward Bunting; the "Leader of the Band" was Mr. T. Cooke; and "The
Chorusses under the direction of Mr. Blewitt".
At that time the conductor was the keyboard player who would have guided the soloists; the leader was the principal violinist who led and directed the orchestra; presumably Mr. Blewitt, in turn, directed the choir. It was a set-up which frequently engendered differences of opinion!
At that time the conductor was the keyboard player who would have guided the soloists; the leader was the principal violinist who led and directed the orchestra; presumably Mr. Blewitt, in turn, directed the choir. It was a set-up which frequently engendered differences of opinion!
Edward Bunting (Armagh 1773
- Dublin 1843)
Bunting, renowned for transcribing the airs at the 1792 Assembly of Harpers in Belfast (known since 1903 as the Belfast Harp Festival), subsequently published three important volumes of his
arrangements of the airs he had collected (the first of these published
in '1796' (actually 1797), the second in 1809, and the third in 1840).
For many years he was the leading musician and teacher in Belfast. In 1806 he became organist at the Second Presbyterian Church in Rosemary Lane (shortly to become Rosemary Street) - "a large, jolly-looking man; that he should fail to be so is hardly possible, for Belfast concerts are never mere music meetings - they are always followed by a supper and store of wine and punch".
In 1813 Bunting organised
the Belfast Music Festival (Belfast's population was 27,832 in 1811)
which began in the Theatre on 19 October and offered five concerts for
two guineas, during which Bunting reportedly played a Mozart piano
concerto and also organised a Benefit Concert for himself. The festival
ended with a daytime Messiah in Rosemary Street, followed by a ball and
supper that evening. This was the first nearly complete performance of
Messiah to be given in Belfast.
Bunting "resigned from
Rosemary Street in 1816/17 for [the newly-built] St. George's - Chapel
of Ease, where he gave his services gratuitously till 1 January 1818."
"He
was then paid a salary of 40 guineas per annum, out of which he paid
his deputy (C. Dalton) and had to instruct the choir. He left St.
George's [likely towards the end of 1819] ... Mr. Dalton was appointed his successor [on 1 January 1821] @
£20 per annum to be assisted by Mr. Guerrini as Teacher of the choir @
£20 per annum. Dalton … got into some trouble in connection with one of
his lady pupils and had to leave town."
Bunting had married in Dublin in late September 1819 and moved there around that time.
Bunting had married in Dublin in late September 1819 and moved there around that time.
Thomas Simpson Cooke
(Dublin 1782 - London 1848)
Cooke was a composer, conductor, instrumentalist
and singer, and one of the most colourful musicians of the period. The son of a
well-known Dublin oboe player, he was a talented violinist who
became the leader of Dublin's Crow Street Theatre orchestra when he was just 15 and also its
musical director. In 1813 he moved to London (returning that October to
sing in Dublin and to be the leader and soloist at the Belfast Music
Festival) where he was a leading tenor soloist in the Drury Lane Theatre
for twenty years. He led the Drury Lane orchestra for many years, was
its musical director, managed Vauxhall Gardens, composed music for over
50 stage productions and wrote a major treatise on singing.
Thingummy-jig by David Byers is a re-interpretation for wind quintet of Tom Cooke's Overture to Peleus and Thetis.
Thingummy-jig by David Byers is a re-interpretation for wind quintet of Tom Cooke's Overture to Peleus and Thetis.
Jonathan Blewitt (London
1782 - London 1853)
Blewitt moved to Ireland in 1811 as private organist to Lord
Cahir. He was organist of St. Andrew's Church, Dublin, and succeeded Tom
Cooke as composer and director of music at the Theatre Royal in Dublin.
He was grand organist to the Masonic body of Ireland and conducted many
concerts throughout Ireland. He returned to London (to the Drury Lane
Theatre) in 1825.
The orchestra list given in
the Messiah programme suggests a minimum band of 9 violins, 2 violas, 3
cellos, 3 basses, 1 flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2
trumpets,1 trombone, 1 bass horn (a comparatively rare kind of serpent
which enjoyed some popularity in Britain in the first couple of decades
of the century … it would normally have been found in wind bands, but it
was also occasionally used in the large festival orchestras e.g. in York
1825 and 1827) and 1 double drum (meaning timpani).
Many of the listed players
were from Dublin -- regulars in the Crow Street and Hawkins Street
Theatres -- and included Anthony Bunting, Edward's cellist brother from
Dublin. Perhaps a few of the players were local: the violinist May was
possibly J. T. May who was listed as musical director of the Arthur
Street Theatre in 1826 and known as a violinist and organist. The
principal trumpet player was Henry Willman, described by Michael Kelly
as "the finest trumpet player I ever heard in any country … his
execution on the instrument almost baffled belief." Without searching
too far, ten, possibly eleven, of the seventeen string players can be
identified as Dublin professionals; so too can five of the wind players,
including Tom Cooke's father, the oboist Bartlett Cooke.
Question: Is the orchestra list
complete? Or is it only a list of the names known as the programme went to press?
For example, it does seem more likely that there would have been two flutes. And maybe more strings?
Three trombones? (See News-Letter review below re trombones.) Would the church have accommodated any more instrumentalists?
Members of the Christ
Church Cathedral choir were the basis of the chorus, but it's difficult
to assess what contribution, if any, there was from local singers.
The source for much of this detailed information is a typescript copy from 1900 of the original 1813 programme. This list does not mention Christ Church -- although the Belfast News-Letter does (see below) -- but the listing of chorus names ends with "&c. &c."
Is this as it appeared in the original programme? Before "&c. &c." there are fifteen men's names, one woman's and four boys'. Given the detail of the 1900 typescript, it seems likely that this is indeed a faithful transcript of the 1813 programme.
The source for much of this detailed information is a typescript copy from 1900 of the original 1813 programme. This list does not mention Christ Church -- although the Belfast News-Letter does (see below) -- but the listing of chorus names ends with "&c. &c."
Is this as it appeared in the original programme? Before "&c. &c." there are fifteen men's names, one woman's and four boys'. Given the detail of the 1900 typescript, it seems likely that this is indeed a faithful transcript of the 1813 programme.
Given the constitution of the orchestra, with its listed "clarionets", it is probable that the performance used Mozart's arrangement of the work. This re-orchestration was made at the request of Baron van Swieten in 1789; it was published in 1803 and performed at Covent Garden in 1805, though "purists" continued to protest at the "additions" for many years. By 1812 George Smart was beginning to omit some of the additional accompaniments as being not "suitable to the accustomed English ear."
Contemporary reviews of the Festival
The following extracts are from reviews printed in the Belfast News-Letter:
Friday 22 October 1813
BELFAST MUSICAL FESTIVAL
From the day on which the Musical Festival was first suggested, the idea was eagerly embraced, and as the proposed combined rational amusement with the virtue of benevolence, it readily met the unqualified sanction of the public. Belfast had not before enjoyed the luxury of such a treat; and as the period approached, the public became more impatient, and nothing was talked of but the Festival, so that expectation was wound up to the highest pitch. The Committee and Stewards who undertook the charge of making the necessary arrangements, soon found that they had very arduous duties to perform; and on Mr. Bunting devolved the very important task of selecting and engaging the various professional gentlemen who were to compose the Band. All these essential preliminaries having been accomplished, the Festival commenced at the Theatre on
TUESDAY EVENING.
It had been announced that the doors were to be opened at seven o'clock, but long previous to that hour, they were literally besieged by numerous parties of Ladies and Gentlemen, all anxious to secure good places. A number of carriages having also arrived, and the front of the theatre being much thronged with spectators, eager to see the elegant company, much confusion might have ensued, but a party of the military having previously been obtained, the approach to the theatre was kept pretty clear, and no great degree of inconvenience was experienced. Previous to the doors being opened, the Stewards, who were distinguished by a red ribbon at their breast, and a white rod in their hand, took their respective stations within, to conduct the company to the different apartments allotted for their reception. When the doors were thrown open, the pressure was considerable, but by the attention of the Stewards, order was soon restored, and in a little time, the two tiers of boxes, and the enclosed part of the pit, displayed as fine an assemblage of fashionable company as ever graced a theatre. It is true, that "loveliness needs not the foreign aid of ornament," but we must pay the tribute of truth in expressing our admiration of the taste and elegance displayed in the dresses of the Ladies, which, combined with their native beauty, formed a most fascinating scene.
At eight o'clock the curtain rose and exhibited the Orchestra to the full view of the audience. It occupied the greatest part of the stage, each seat rising behind the other. The Performers having previously taken their respective situations, the Concert immediately commenced with a grand overture.
… The Choruses were the theme of universal approbation, being bold, powerful, and at the same time harmoniously adapted. Mr. Cooke, the Leader of the Band, was conspicuously eminent; … To Mrs. Cooke our meed of praise is a debt we owe, and which we willingly pay; knowing that the public voice is in unison with what we express.
Mr. Weyman, Mr. Spray and Mr. Jager, the principal vocal performers, gave great satisfaction. The former in the commencement of the oratorio of the Creation, "In the beginning God created the heavens and the earth," was peculiarly impressive. We might select many passages in which the others also evinced great compass and power. Miss Spray's diffidence prevented her from giving some of her fine songs with the effect she would otherwise have produced, but she was very favourably received and applauded. Mr. Wilman's execution on the trumpet surpassed perhaps what had ever been witnessed before by any of the audience …
BELFAST MUSICAL FESTIVAL
From the day on which the Musical Festival was first suggested, the idea was eagerly embraced, and as the proposed combined rational amusement with the virtue of benevolence, it readily met the unqualified sanction of the public. Belfast had not before enjoyed the luxury of such a treat; and as the period approached, the public became more impatient, and nothing was talked of but the Festival, so that expectation was wound up to the highest pitch. The Committee and Stewards who undertook the charge of making the necessary arrangements, soon found that they had very arduous duties to perform; and on Mr. Bunting devolved the very important task of selecting and engaging the various professional gentlemen who were to compose the Band. All these essential preliminaries having been accomplished, the Festival commenced at the Theatre on
TUESDAY EVENING.
It had been announced that the doors were to be opened at seven o'clock, but long previous to that hour, they were literally besieged by numerous parties of Ladies and Gentlemen, all anxious to secure good places. A number of carriages having also arrived, and the front of the theatre being much thronged with spectators, eager to see the elegant company, much confusion might have ensued, but a party of the military having previously been obtained, the approach to the theatre was kept pretty clear, and no great degree of inconvenience was experienced. Previous to the doors being opened, the Stewards, who were distinguished by a red ribbon at their breast, and a white rod in their hand, took their respective stations within, to conduct the company to the different apartments allotted for their reception. When the doors were thrown open, the pressure was considerable, but by the attention of the Stewards, order was soon restored, and in a little time, the two tiers of boxes, and the enclosed part of the pit, displayed as fine an assemblage of fashionable company as ever graced a theatre. It is true, that "loveliness needs not the foreign aid of ornament," but we must pay the tribute of truth in expressing our admiration of the taste and elegance displayed in the dresses of the Ladies, which, combined with their native beauty, formed a most fascinating scene.
At eight o'clock the curtain rose and exhibited the Orchestra to the full view of the audience. It occupied the greatest part of the stage, each seat rising behind the other. The Performers having previously taken their respective situations, the Concert immediately commenced with a grand overture.
… The Choruses were the theme of universal approbation, being bold, powerful, and at the same time harmoniously adapted. Mr. Cooke, the Leader of the Band, was conspicuously eminent; … To Mrs. Cooke our meed of praise is a debt we owe, and which we willingly pay; knowing that the public voice is in unison with what we express.
Mr. Weyman, Mr. Spray and Mr. Jager, the principal vocal performers, gave great satisfaction. The former in the commencement of the oratorio of the Creation, "In the beginning God created the heavens and the earth," was peculiarly impressive. We might select many passages in which the others also evinced great compass and power. Miss Spray's diffidence prevented her from giving some of her fine songs with the effect she would otherwise have produced, but she was very favourably received and applauded. Mr. Wilman's execution on the trumpet surpassed perhaps what had ever been witnessed before by any of the audience …
The following week:
BELFAST MUSICAL FESTIVAL
In our last we noticed the commencement of this Festival, which was attended by a much greater number of fashionable company than perhaps was ever before assembled in Belfast.
The reviewer then lists in detail all the concert programmes which are briefly summarised here:
Tuesday's concert began with the Grand Overture Zaire by Winter, and included Bishop's glee Foresters! Sound the cheerful horn; Webbe's glee When winds breathe soft; Mozart's overture to The Magic Flute; a flute concerto played by its composer, Weidner; Mr. and Mrs. Cooke both sang solos - hers with a trumpet obligato by H. Wilman [sic] - and there was a sextet from Storace's opera The Haunted Tower.
Wednesday morning's concert in the meeting-house was an all-Handel concert, apart from a Viotti violin concerto played by Tom Cooke. Items included the Occasional Overture, the Dead March from Saul, and excerpts from Israel in Egypt, Judas Maccabaeus, Saul and Samson, ending with a Coronation Anthem.
Thursday morning's concert, also in the meeting-house, offered a selection from Creation, a Corelli Concerto, another (or the same) flute concerto from Mr. Weidner, Master Robinson singing Pious Orgies, Mrs. Cooke singing Arne's Hymn of Eve, another few songs and choruses by Handel and then that Coronation Anthem again.
Thursday evening's concert in the theatre began with an overture by Winter (a repeat of Tuesday's?), included the usual mish-mash of songs and glees (Mr. and Miss Spray sang Ye Banks and Braes), H. Wilman [sic] played Cooke's Concerto on the New Patent Kent Bugle, and there was an unspecified symphony by Haydn. Interestingly, there is no mention here of what was promised in the advertisement -- music by Mozart or Beethoven.
Back to the words of the News-Letter reviewer:
Our observations upon the performers and performances may be summed up in the few following remarks.
Mr. Cooke certainly equalled the most celebrated performer on the violin. In tone, execution or judgement, no one was more eminent, and in his accompaniment on the piano forte in several glees, his excellence was conspicuous.
Of Mrs. Cooke we have already expressed the sentiment of approbation which universally prevailed.
Mr. Jager, in the beautiful song I know a bank whereon the wild thyme grows, captivated every ear. It was translucent and mellow.
Mr. Spray's song from Marmion exemplified his judgement and his taste. It was alternatively pathetically soft and characteristically bold.
Mr. Weidner's masterly performance on the flute drew forth the warmest expressions of applause. His execution and quality of tone excited great admiration.
Master Robinson is a scion of great promise. The delightful air of Pious Orgies was charmingly given. It delighted the ear, and stole the heart.
BELFAST MUSICAL FESTIVAL
In our last we noticed the commencement of this Festival, which was attended by a much greater number of fashionable company than perhaps was ever before assembled in Belfast.
The reviewer then lists in detail all the concert programmes which are briefly summarised here:
Tuesday's concert began with the Grand Overture Zaire by Winter, and included Bishop's glee Foresters! Sound the cheerful horn; Webbe's glee When winds breathe soft; Mozart's overture to The Magic Flute; a flute concerto played by its composer, Weidner; Mr. and Mrs. Cooke both sang solos - hers with a trumpet obligato by H. Wilman [sic] - and there was a sextet from Storace's opera The Haunted Tower.
Wednesday morning's concert in the meeting-house was an all-Handel concert, apart from a Viotti violin concerto played by Tom Cooke. Items included the Occasional Overture, the Dead March from Saul, and excerpts from Israel in Egypt, Judas Maccabaeus, Saul and Samson, ending with a Coronation Anthem.
Thursday morning's concert, also in the meeting-house, offered a selection from Creation, a Corelli Concerto, another (or the same) flute concerto from Mr. Weidner, Master Robinson singing Pious Orgies, Mrs. Cooke singing Arne's Hymn of Eve, another few songs and choruses by Handel and then that Coronation Anthem again.
Thursday evening's concert in the theatre began with an overture by Winter (a repeat of Tuesday's?), included the usual mish-mash of songs and glees (Mr. and Miss Spray sang Ye Banks and Braes), H. Wilman [sic] played Cooke's Concerto on the New Patent Kent Bugle, and there was an unspecified symphony by Haydn. Interestingly, there is no mention here of what was promised in the advertisement -- music by Mozart or Beethoven.
Back to the words of the News-Letter reviewer:
Our observations upon the performers and performances may be summed up in the few following remarks.
Mr. Cooke certainly equalled the most celebrated performer on the violin. In tone, execution or judgement, no one was more eminent, and in his accompaniment on the piano forte in several glees, his excellence was conspicuous.
Of Mrs. Cooke we have already expressed the sentiment of approbation which universally prevailed.
Mr. Jager, in the beautiful song I know a bank whereon the wild thyme grows, captivated every ear. It was translucent and mellow.
Mr. Spray's song from Marmion exemplified his judgement and his taste. It was alternatively pathetically soft and characteristically bold.
Mr. Weidner's masterly performance on the flute drew forth the warmest expressions of applause. His execution and quality of tone excited great admiration.
Master Robinson is a scion of great promise. The delightful air of Pious Orgies was charmingly given. It delighted the ear, and stole the heart.
THE MESSIAH
The performance of this celebrated Oratorio was altogether so truly grand, that we are at a loss what part of it to select as most deserving of notice. A short summary is all that we can attempt.
The Overture was a sublime and finished performance. -- Comfort ye my People, sung by Mr. Spray, was a most delicious treat.
The chorus, For unto us a child is born, was indescribably beautiful. -- The words the Wonderful, Counsellor, the mighty God, &c. were given with such effect, as at once to charm, delight, and astonish the audience.
In the semi-chorus, Lift up your heads, O! ye gates, the three upper parts at the beginning of the chorus had a most charming effect, and when the entire chorus came in, He is the King of Glory, its impression was most powerful.
The trumpet shall sound, by Mr. Weyman, accompanied by Mr. Wilman, on the trumpet, produced the most impressive effect.
The concluding chorus, Hallelujah, for the Lord God omnipotent reigneth, finished the whole festival, and was sublime beyond description; the audience were enraptured, and their admiration was such, that it was unanimously encored.
Of the performances on Mr. Bunting's night we shall only shortly remark that the Concerto by Mozart [the programme printed in the News-Letter mentioned a Concerto by Latour, not Mozart], which he performed on the Piano Forte, produced the most delightful sensations on the few amateurs who were within hearing of it, from the exquisitely light and delicate manner in which he executed it.
In the whole performances, both in the Meeting-house and in the Theatre, the trombones and the trumpets had the most astonishing effect in the choruses, which were magnificent and truly grand.
The Organ played by the Conductor was so judiciously introduced and finely managed, that it seemed to combine and harmonize the whole, and at the same time it was so delicately touched as to mingle its sounds almost imperceptibly.
In the subsequent review of the Ball and Supper, it is reported that "not less than five hundred of the finest company were present in the rooms. -- Indeed the pressure was the only inconvenience which was experienced, as there was scarcely as much room as to admit of dancing. That, however, was obtained, though with considerable difficulty."
Soon after supper, when the health of the Marquis of Downshire was given, his Lordship rose and said, that it was with pleasure he observed so very elegant and numerous a company … he reflected that the occasion of their meeting combined rational amusement with the amiable grace of charity, and he should be happy to give all the support in his power. His Lordship then took an opportunity of expressing his thanks to Mr. Bunting, who had conducted the performances with the greatest regularity. He also expressed his approbation of the vocal and instrumental Band, who had come down from Dublin on the occasion. They had introduced into this part of the country a species of entertainment upon a scale which perhaps had not been surpassed in any part of Ireland …
When his Lordship had finished, Mr. Cooke, at the request of Mr. Bunting, rose and addressed his Lordship … to return his grateful acknowledgments …
Soon after this the company withdrew from the supper tables, and returned to the ball room, where the choral band sang several glees and other charming pieces of music with great effect. After this the company renewed the mazy dance, which continued till the morning was far advanced.
The performance of this celebrated Oratorio was altogether so truly grand, that we are at a loss what part of it to select as most deserving of notice. A short summary is all that we can attempt.
The Overture was a sublime and finished performance. -- Comfort ye my People, sung by Mr. Spray, was a most delicious treat.
The chorus, For unto us a child is born, was indescribably beautiful. -- The words the Wonderful, Counsellor, the mighty God, &c. were given with such effect, as at once to charm, delight, and astonish the audience.
In the semi-chorus, Lift up your heads, O! ye gates, the three upper parts at the beginning of the chorus had a most charming effect, and when the entire chorus came in, He is the King of Glory, its impression was most powerful.
The trumpet shall sound, by Mr. Weyman, accompanied by Mr. Wilman, on the trumpet, produced the most impressive effect.
The concluding chorus, Hallelujah, for the Lord God omnipotent reigneth, finished the whole festival, and was sublime beyond description; the audience were enraptured, and their admiration was such, that it was unanimously encored.
Of the performances on Mr. Bunting's night we shall only shortly remark that the Concerto by Mozart [the programme printed in the News-Letter mentioned a Concerto by Latour, not Mozart], which he performed on the Piano Forte, produced the most delightful sensations on the few amateurs who were within hearing of it, from the exquisitely light and delicate manner in which he executed it.
In the whole performances, both in the Meeting-house and in the Theatre, the trombones and the trumpets had the most astonishing effect in the choruses, which were magnificent and truly grand.
The Organ played by the Conductor was so judiciously introduced and finely managed, that it seemed to combine and harmonize the whole, and at the same time it was so delicately touched as to mingle its sounds almost imperceptibly.
_____________________
In the subsequent review of the Ball and Supper, it is reported that "not less than five hundred of the finest company were present in the rooms. -- Indeed the pressure was the only inconvenience which was experienced, as there was scarcely as much room as to admit of dancing. That, however, was obtained, though with considerable difficulty."
Soon after supper, when the health of the Marquis of Downshire was given, his Lordship rose and said, that it was with pleasure he observed so very elegant and numerous a company … he reflected that the occasion of their meeting combined rational amusement with the amiable grace of charity, and he should be happy to give all the support in his power. His Lordship then took an opportunity of expressing his thanks to Mr. Bunting, who had conducted the performances with the greatest regularity. He also expressed his approbation of the vocal and instrumental Band, who had come down from Dublin on the occasion. They had introduced into this part of the country a species of entertainment upon a scale which perhaps had not been surpassed in any part of Ireland …
When his Lordship had finished, Mr. Cooke, at the request of Mr. Bunting, rose and addressed his Lordship … to return his grateful acknowledgments …
Soon after this the company withdrew from the supper tables, and returned to the ball room, where the choral band sang several glees and other charming pieces of music with great effect. After this the company renewed the mazy dance, which continued till the morning was far advanced.
Bibliography
Letter dated 03.01.1900 from Isaac H. Ward to Charles H. Brett.
1900 typescript copy of the Book of Words from the 1813 Messiah performance belonging to Miss Jane Dunn (sister of Mr. John Dunn, secretary of the Classical Harmonists' Society). The original Book of Words was presented to the Belfast Philharmonic Society.
Philip Olleson, The Tamworth Music Festival of 1809, - paper for a seminar at Keele University, October 1992.
H. Grindle, Irish Cathedral Music, The Institute of Irish Studies, QUB, Belfast, 1989
Ita Margaret Hogan, Anglo-Irish Music 1780 - 1830, Cork University Press, 1966.
Charlotte Milligan Fox, Annals of the Irish Harpers, Smith, Elder & Co., 1911
J. Walsh, Opera in Dublin 1798 - 1820, Oxford University Press, 1993
Michael Kelly Reminiscences, ed. Roger Fiske, Oxford University Press, 1975
The New Grove Dictionary of Music and Musicians, Macmillan, 1980
Belfast News-Letter, July 1801 and October 1813
1900 typescript copy of the Book of Words from the 1813 Messiah performance belonging to Miss Jane Dunn (sister of Mr. John Dunn, secretary of the Classical Harmonists' Society). The original Book of Words was presented to the Belfast Philharmonic Society.
Philip Olleson, The Tamworth Music Festival of 1809, - paper for a seminar at Keele University, October 1992.
H. Grindle, Irish Cathedral Music, The Institute of Irish Studies, QUB, Belfast, 1989
Ita Margaret Hogan, Anglo-Irish Music 1780 - 1830, Cork University Press, 1966.
Charlotte Milligan Fox, Annals of the Irish Harpers, Smith, Elder & Co., 1911
J. Walsh, Opera in Dublin 1798 - 1820, Oxford University Press, 1993
Michael Kelly Reminiscences, ed. Roger Fiske, Oxford University Press, 1975
The New Grove Dictionary of Music and Musicians, Macmillan, 1980
Belfast News-Letter, July 1801 and October 1813