HANDEL AT VAUXHALL VOL.2 w Chorus: ‘Happy, happy, happy plains!’ [1.31] Eleanor Dennis & Claire Bessent sopranos, Benjamin Bevan bass e Air: ‘There sweetest flowers of mingled hue’ [4.39] 1 Spring Gardens (Rural Beauty or Vaux-Hal Garden) William Boyce [3.21] Claire Bessent soprano Greg Tassell tenor r Chorus: ‘Happy, happy, happy plains!’ [1.28] Eleanor Dennis & Claire Bessent sopranos, Benjamin Bevan bass Concerto No. 4 Op. 6 in A minor, HWV 322 G. F. Handel t Air: ‘There youthful Cupid, high advanc’d’ [2.47] 2 Larghetto affetuoso [2.49] Eleanor Dennis soprano 3 Allegro [2.43] y Chorus: ‘Happy, happy, happy plains!’ [1.32] 4 Largo e piano [2.22] Eleanor Dennis & Claire Bessent sopranos, Benjamin Bevan bass 5 Allegro [2.47] Bonus Tracks u 6 The Power of Music and Beauty John Stanley [3.17] The Ladies in Vaux- hall- Gardens, Thomas Gladwin [3.18] Mary Bevan soprano to the British Officers at Dettingen Eleanor Dennis soprano 7 A Song on the Victory over the Rebels G. F. Handel [2.44] i by his Royal Highness the Duke of Cumberland, HWV 228.9 Roger and Sue a Ballad Johann Adolph Hasse [3.43] Greg Tassell & Charles MacDougall tenors to a Favourite Air by Sig.r Hasse Nicky Spence tenor 8 Colin’s Description of Vauxhall or Green-Wood Hall Thomas Gladwin [8.09] Nicky Spence tenor o A Loyal Song for two Voices Anonymous [1.38] ‘God save great George Ye king 9 Hornpipe in D major, HWV 356 G. F. Handel [3.10] Charles MacDougall tenor, Benjamin Bevan bass Compos’d for the Concert at Vauxhall 1740 Total timings: [59.44] 0 The Farewel to Vaux Hall John Lampe [3.59] Greg Tassell tenor LONDON EARLY OPERA BRIDGET CUNNINGHAM CONDUCTOR The Finale DANIEL MOULT ORGAN Comus, HWV 44 G.F Handel CLAIRE BESSeNT • MARY BEVAN • ELEANOR DENNIS q Air: ‘There, in blissful shades and bow’rs’ [3.47] BENJAMIN BEVAN • CHARLES MACDOUGAlL • NICKY SPENCE • GREG TASSELL Benjamin Bevan bass www.signumrecords.com HANDEL AT VAUXHALL Vauxhall though, was never a simple pleasure an unfortunately memorable phrase, Dr Johnson salaries of performers and composers, but David E. Coke park. It began under the Stuarts as a common tells us that the music there was “not too also in the design and erection of high quality tavern garden, but with the Georgians it was refined for the general ear”, and for a long time, specialist permanent buildings; these were Vauxhall Gardens, on the south bank of the turned into a real force for good in the the phrase ‘pleasure garden music’ has evoked some of the first such buildings in Europe, River Thames just upstream from Lambeth transformation and modernisation of London, the 18th century equivalent of ‘easy listening’. intended to present the performers to the Palace, was the pre-eminent pleasure garden helping to make it the most elegant and polite To those who have been misled by Dr Johnson greatest advantage for their new audience, of Georgian England. It was the largest, the capital city in Europe. Part of the reason for and others, this CD and Handel at Vauxhall many of whom would never have been exposed most commercially successful, and the most this cultural impact was the artistic patronage Vol.1 will come as a revelation, maybe even to music of this quality before. influential of all the sixty or more such places of its remarkable proprietor, Jonathan Tyers a shock. Vauxhall’s music was the best and in London. ‘Pleasure gardens’ were private (1702-1767), who played such an important role most original that England had to offer, What is clear is that part of the fascination commercial resorts where visitors could in the development of English art and music not just as regards composition, but also of Vauxhall was the experience of listening to expect, for a small admission charge, to be in the 18th century. Under his management, in terms of its performance, executed by music in the open air, with the opportunity of trying entertained with music, refreshments, and a Vauxhall became a hot-bed of artistic creativity some of the outstanding musicians of the all sorts of different places to listen from; this pleasurable rural atmosphere; most had little right at the centre of the cultural and social time. Much of it was written specifically for was quite new to an audience more used to or no horticultural interest. Vauxhall attracted life of London, where a success would advance performance at the pleasure gardens, and sitting in a relatively fixed position in a concert some 100,000 visits each Summer season, a career, and a failure hardly mattered. almost all of it was very new; some, indeed, room or theatre. Music heard while drinking in a and it thrived as a business for nearly two William Hogarth helped Tyers to turn it into would certainly have been too sophisticated ‘for supper-box or strolling in a distant point of the centuries, from 1661 until 1859. the first great public gallery for contemporary the general ear’, while some of the rest would garden would have produced entirely different British art, and George Frideric Handel found have had a broad appeal. Despite the rival experiences from that of standing in front of The gardens became internationally famous, there the ideal outlet for his secular music, in attractions of the artworks, the food, the the Orchestra itself, or on the balcony around the spawning many imitators not only in London particular his grand ceremonial pieces, performed displays, and the company, it was always music organ. On her visit to Vauxhall, Fanny Burney’s and the British Isles, but throughout the there to an entirely new audience, amongst that was the centre of attention at Vauxhall heroine Evelina is impressed by the al fresco World, from Charleston in the USA to Dunedin in whom his fame would quickly spread. Gardens, at least from the mid 1730s until the music, despite her ungracious companions: New Zealand. Vauxhall Gardens featured in second decade of the 19th century, when other the drama and fiction of its time, ensuring its For a long time, we have been authoritatively more spectacular attractions began to monopolise ‘There was a concert, in the course of which, a literary immortality, and it is still used by persuaded that the music performed at public wonder. Jonathan Tyers, the developer hautbois concerto was so charmingly played, romantic novelists today, as it was in the Vauxhall Gardens in the 18th century is hardly and sole proprietor of Vauxhall Gardens from that I could have thought myself upon enchanted 18th century, as a shorthand for sexual adventure worth our notice – mere background noise to 1729 until his death, consistently invested ground, had I had spirits more gentle to associate and intrigue. the main entertainments of the gardens. In heavily in music, not only in the fees and with. The Hautboy in the open air is heavenly’.

- 4 - - 5 - Vauxhall was an outdoor entertainment, which was not yet a classic pleasure garden, but the entertain his guests. Among the works of art attraction of royal patronage and royal ownership, came into its own after dark under artificial great appeal of the place was that the sexes was the remarkable series of fifty or more much exploited by Tyers. lighting. This novel convivial diversion was could meet freely there, without the constraints modern genre paintings designed by Francis open every day from May to September, usually that circumscribed the tricky process of Hayman, a close colleague of William Hogarth, Music played a vital role in Tyers’s Vauxhall. from 5 or 6 o’clock in the evening until the early socialising among young men and women in to decorate the supper-boxes which surrounded It was the element that set the tone of the hours of the morning. For the charge of just polite society; dozens of the visitors on any the Grove, the central gathering place of the gardens; it not only provided visitors with a rich one shilling, the equivalent cost of admission one evening would certainly be working girls gardens, and the remarkable life-sized marble topic of polite conversation and discussion, to a major art exhibition today, Tyers’s visitors, from the streets of London, looking out for statue of Handel, the presiding musical genius but it also encouraged people to relax and drawn from a huge cross-section of the new clients. Pepys himself, though married at of Tyers’s Vauxhall, designed and created by enjoy themselves, and to behave in an orderly public, could, for the first time, freely enjoy top the time, would regularly take lady-friends Louis François Roubiliac. To Tyers, though, manner during their visit. quality music alongside original contemporary to the gardens for some amorous dalliance the art and music at Vauxhall were never architecture decorated with some of the best after dark. just decoration or entertainment – as far as Tyers’s early concerts were never advertised in available contemporary visual art. If they he was concerned all the arts were morally the press except in the most general terms, wanted, they could also purchase some very When Jonathan Tyers took over the New redemptive, the civilising influence in a chaotic and are poorly documented, but it is clear expensive refreshments, but this was entirely Spring Gardens, Vauxhall, in 1729, he could see world, so his investment in the arts was as from the reports that do exist that he consistently voluntary, even though it was the sale of food that it was ripe for a complete transformation; much idealistic as commercial. favoured British composers and performers. and drink that produced the bulk of Tyers’s profits. he had ambitious ideas for the place, and a Thomas Augustine Arne, who lived next door mission to impose apparent moral order and Tyers re-launched his garden with a grand re- to the gardens, became the in-house composer We know from Samuel Pepys and others that civility on this suburban tavern. As part of opening, called a Ridotto al Fresco, on 7 June in the 1740s, and it was his music, with that of seventeenth century Vauxhall, then known as his plan to re-brand and civilise the site, 1732, for which the steep admission charge Handel himself, that dominated the programme. the New Spring Gardens, had been little more Jonathan Tyers dropped the old name in of one guinea was demanded, so as to An evening’s concert at Vauxhall began with than a popular country ale-house and place favour of the simpler ‘Vauxhall Gardens’, by keep the ‘company’ as select and fashionable an organ concerto or minuet, followed after an of assignation, approached by boat across which it soon became internationally known. as possible. Following this much publicised interval by martial music, rich in brass and, the River Thames. It had a large garden of Having great vision and being inspired by many re-launch, which was attended by Frederick after a second interval, dance music and wind avenues, flowerbeds and private arbours. The things including the concept of John Milton’s Louis, the young Prince of Wales (Vauxhall’s concertos. After 1745, however, the concert refreshments were basic and often supplemented L’Allegro and Il Penseroso, Tyers went on to ground-landlord) and his retinue, and many was given greater popular appeal by the by visitors’ own provisions. The entertainments, commission architects, painters and sculptors other distinguished guests including Handel, addition of songs, which alternated with the such as they were, were generated by strolling to decorate and furnish the gardens, and Vauxhall became London’s most fashionable instrumental pieces. It was at this point that performers or by the visitors themselves. This he employed professional musicians to evening promenade, due in large part to the the regular balanced programme took on its

- 6 - - 7 - standard form of sixteen pieces in two acts every music, and to return to the Orchestra for the of a viol; other instruments and books surround What the relationship between Tyers and Handel evening, eight instrumental and eight vocal. performance of songs. As a result of their the figure of Handel. This is a bold and innovative actually was is not clearly understood. Tyers starring role at Vauxhall, many of the singers composition for a public sculpture. Even its loved Handel’s music and was a constant After 1737, when the grand organ was installed became celebrities in their own right. Songs, material was contentious – normally reserved supporter of his work, and Handel certainly behind the Orchestra, one of the instrumental whether pastoral ballads, love songs, patriotic for noble statues of royalty, or of dead military saw in Vauxhall a useful business opportunity, pieces had to be an organ concerto, often airs, songs based on themes of hunting, heroes in Roman costume, precious white to be encouraged and supported. Whether it composed by the in-house organist (Thomas soldiering or spurious regional dialect, became Carrara marble is here used for the informal went further than this is yet to be discovered, Gladwin from 1737 until 1744, and James Worgan a regular and popular part of the entertainment. portrait of an ordinary living person, just a although it seems likely that a real friendship until 1750), and all the singers would join in a With lyrics in English, by contemporary poets musician. In fact, however, it is not just a did exist. A fascinating footnote to this spirited ensemble piece for the finale. The new like John Lockman, Christopher Smart, or portrait; in its elegant informality it is a visual relationship appears in the nineteenth century organ meant that the band at Vauxhall could Thomas Tyers (Jonathan’s eldest son), set manifesto for the English Rococo movement, in-house periodical, the Vauxhall Observer of be relatively small, probably no more than to music from Handel’s operas, or from the and it is also an allegory representing the 1823: ‘we are informed the first piece of music twelve men on any one evening. Employed for compositions of Thomas Arne, English singers virtues of hard work, and of humility – Handel had belonging to himself, was one of the summer months at Vauxhall, these men could perform understandable and accessible Handel does not care how people see him, his own making, which he presented to the also played in the London theatres during the words set to excellent modern melodies. even in such a public space as Vauxhall. He is then Proprietor of the Gardens [Jonathan Tyers], winter, when the pleasure gardens were closed. presented as an engaging, approachable man and which is now in the possession of the It is clear that these musicians were generally Handel is closely identified with the early in his early fifties, rather than the impersonal, present Proprietors [Thomas Bish and Frederick versatile, and well able to play two or three development of Tyers’s gardens, where his elevated composer of incomprehensible Italian Gye]; it is rough in its composition, yet, as different instruments each, allowing for a huge music was so often played, and where his operas; he had also become a constant presence an early specimen of that great man’s skill, variety of music to be played. James Worgan, for likeness dominated the Grove for eight decades. in a place where his likeness would be seen must always be considered a most valuable example, played organ, violoncello, and double Roubiliac’s life-sized marble portrait presented and remarked upon by thousands of people relic by the admirers of his unrivalled talents.’ bass, and John Hebden ‘cello and bassoon. a strikingly original image, showing the every season. As far as Tyers was concerned, he This most unusual gift (now lost) would suggest Others were more specialised, like Valentine composer completely relaxed, at work on his gained, in this statue, a useful talking point, the likelihood of a tie of friendship between Snow, the distinguished trumpet-player and own. He is portrayed ‘in undress’, sitting down both inside and outside the gardens, and the two men, that would lead the composer to leading light of the important brass section. in his house-coat and slippers, resting his an image that was to become a recognisable give the younger man something so personal There is little doubt that the quality of the left elbow on a pile of his own music books. personification of his gardens. More importantly, as one of his own early manuscripts. musical performance was, in fact, second The composer is shown hard at work plucking this work gave Tyers a solid artistic credibility to none. The fashion was for visitors to Apollo’s lyre, while a putto at his feet writes as an established patron, especially amongst The continual playing of Handel’s music at promenade and chat during the instrumental the notes on a sheet of paper resting on the back leading artists and musicians. Vauxhall really is an extraordinary feature of

- 8 - - 9 - the three or four decades of Jonathan Tyers’s The few compositions specifically reported in evening, would go along anyway in the knowledge deprive Englishmen of their natural manliness. management. There was a huge musical the media as being performed at Vauxhall in that, whatever the musical programme was Indeed, there was something un- English and repertoire available, and musicians were used to the 1730s and ‘40s are all Handel’s: the Dead to be, it would be of sufficient quality and range even unpatriotic in anything that savoured a wide variety of work, so it must imply a positive March from his new oratorio Saul (first performed for them to enjoy at least parts of it, or of the Jacobite movement or of the Catholic choice by Tyers. His commission of the Handel 16 January 1739 at the King’s Theatre), his to feel flattered by the assumption that they, church; this included most things Italian statue appears to confirm that the choice setting of God Save the King from the Coronation as what Tyers always called ‘persons of quality,’ and French, especially around the time of the was his, as does his support of the composer Anthem Zadok the Priest, and Hush ye Pretty were sophisticated enough to appreciate it. 1745 uprising; so the public image of Vauxhall’s through the purchase of fifty tickets for Handel’s Warbling Choir from Acis and Galatea. The hard-working performers, composers and benefit concert on 28 March 1738 at the King’s first and last of these were included in the Apart from Handel’s Hornpipe Compos’d for singers was more wholesome and generally Theatre, Haymarket – a very generous gesture programme of 7 May, 1739, a widely reported the Concert at Vauxhall, of 1740, it is hard more acceptable than that of their much on his part, both to the composer and to occasion on which the Prince of Wales visited to say whether any new works received their criticised European counterparts, who were the recipients of those tickets, possibly Tyers’s the Gardens. Handel’s God save the King was first performance at Vauxhall, but there is no being paid such vast sums at the London theatres. favoured employees. performed regularly at Vauxhall; there is a reason why not – Vauxhall’s appetite for new mention of it being performed there during an British music was so huge that the operas The outstanding musical event at Vauxhall The many media ‘puffs’ which consistently impressive thunderstorm on 7 September 1745. and incidental music at the theatres may have in the first half of the 18th century, and promote Handel but determinedly exclude other The Dead March from Saul, scored for a typical been insufficient to satisfy it. Composers like probably the best-attended of any event for the composers suggest that Handel’s own publicity Vauxhall ensemble of trombones, timpani, flutes, John Frederick Lampe, William Boyce, John thirty-eight years of Tyers’s management, was machine, just as efficient as Tyers’s, might have strings and organ, appears regularly in press Stanley, the anglicised Germans J.C. Smith the rehearsal for Handel’s Music for the Royal been allowed some involvement at Vauxhall. reports from 1739 onwards, demonstrating and M.C. Festing, not to mention the ‘in Fireworks, on Friday 21 April, 1749 at 11am. A typical notice is the one published by the that it became something of a recognisable house’ composers such as Dr. Arne, Thomas It was reported that between eight and twelve Daily Advertiser on the unveiling of the Orchestra archetype of Vauxhall music. The music Gladwin and the Worgan brothers, must all thousand visitors flocked to the gardens for building at the opening of the 1735 season: performed at the gardens was not so different have derived considerable income from Tyers’s this event, causing a memorable three-hour There is built in the Grove of the Spring- Gardens from that performed (by the same musicians) concert programmes. traffic jam on London Bridge. The tradition at Vaux-hall, an Octagon Temple, intended to at the theatres and in the concert halls of also maintains that a hundred musicians London, but with a strong British bias. It was At all times, the music at Vauxhall was heavily were engaged for the occasion. There is serve as an Orchestra, for a Band of our finest Instrumental Performers; who will play (beginning this relatively sophisticated but attractive biased towards British composers (amongst reason to doubt both these numbers, simply in at Five every Evening during the Summer-Season) repertory that was favoured by Tyers’s visitors, whom Handel, of course, was pre-eminent), view of practical considerations, but it is clear the Compositions of Mr. Handel, and other who, even though they did not know exactly and British performers. Most people viewed that a phenomenal number of people did celebrated Masters. what they were going to hear on a particular Italian opera as effete, exclusive, and inclined to attend and did pay the 2s.6d. admission

- 10 - - 11 - charge. Many news reports confirm this, the organ, where the music was played whenever HANDEL AT VAUXHALL ‘his Effigies should preside there, where his most striking of which refers to the 1,025 the weather was unsuitable for the more usual An Evening’s Concert continues... Harmony has so often charm’d even the greatest coaches which passed the turnpike on their outdoor concerts. Tyers believed that the al Bridget Cunningham Crouds into the profoundest Calm and most way to Vauxhall from the jam at London fresco element of Vauxhall was vital to its decent Behaviour’ (the Daily Post 1738). Bridge. Assuming that each coach carried an success – a belief that was eventually Vauxhall Pleasure Gardens really was the most average of three people, and that these were vindicated in the enduring success of significant of the Georgian Gardens due to The other direct hint we have of Handel only a fraction of those who made the journey, Vauxhall for more than fifty years after the the successful relaunch by the new proprietor actually working at Vauxhall comes from a written with others coming by water or on foot, it rival gardens Ranelagh, which had a larger Jonathan Tyers from 1729 – 1767 showcasing account by an unknown French tourist, now in appears that at least six to eight thousand indoor space, had been demolished. delightful performances and exuberant the Folger Shakespeare Library, Washington people did attend this one event, an promotion of Handel’s music. Tyers’s commission DC (M.B.49.1220-1221). This tourist recalls a extraordinary record which remained unbroken Jonathan Tyers, the son of a Bermondsey of the remarkable and daringly informal statue visit to the Gardens early in the 1738 for many years. tradesman, was a businessman and manager of Handel by Roubiliac in 1737 (now in the season, when he saw that ‘M. Hindel celebre of astonishing skill, creativity and acuity; his Victoria and Albert Museum, London), reflects compositeur dirige ce concert et fournit les Handel himself had not wanted to hold the pleasure garden at Vauxhall was one of the the great appreciation of Handel at Vauxhall: pieces.’ (Mr Handel, famous composer, directs rehearsal at Vauxhall, possibly because of its great success-stories of 18th century London, limitations of scale, and its location across and is the precursor of many of our modern the river. This rehearsal, six days before the social entertainments. But his outstanding final event in Green Park, was attended by the talent lay in knowing his own limitations, and Duke of Cumberland representing the king. in his ability to select just the right people Even if only half of the reported 12,000 visitors to work with him to achieve his ambitious actually arrived, this would still have objectives. In John Lockman he found the ideal produced £750 income for Tyers (more than publicist; through William Hogarth, he gained one tenth of his annual profits), just for one access to the most interesting and original morning’s entertainment outside his main visual artists and designers; and with George summer season. By the time of the Fireworks Frideric Handel as his adviser and presiding Music rehearsal in 1749, the Rotunda, the musical genius, he ensured that Vauxhall’s first real indoor space at Vauxhall, had been daily concerts were some of the finest to be J.S. Muller after Samuel Wale, The Triumphal Arches, Mr Handels Statue &c. in the South Walk of Vauxhall Gardens, engraving, completed. This building, opened for the 1748 heard anywhere in Europe. hand-coloured, detail (1751). A detail to show the placing of Roubiliac’s statue in the open in the middle of its piazza of season, incorporated an orchestra stage and © David E. Coke, 2017. supper-boxes. Roubiliac’s group, in lead, of ‘Harmony and the Genii’, made to accompany the statue, tops the arch on the right.

- 12 - - 13 - this concert and provides the music’ – translation advice of Dr. Arne. The music, which was Vauxhall by David Coke, note 32 p.147 Vauxhall Gardens, significantly written by English composers, was A History, Yale). It is possible that this may performed by a small band with players Quelles douceurs surnaturelles! What magical delights! just have been a rehearsal that the tourist doubling up on instruments and accompanying Quels sons! Quells airs mélodieux! What sounds! What melodies! saw, or indeed he may have misunderstood a variety of different types of singers. These Zéphir porte-t’il sur ses ailes Does Zephyr carry on his wings what somebody told him because April was performances were interspersed with short Les Concerts des célestes lieux? The concerts of the Elysian Fields? outside the normal opening period of Vauxhall. pauses allowing the audience to promenade Tantôt je marque la cadence Sometimes I mark the pace Despite this and the lack of any financial around the splendid gardens, whilst also D’un vif & léger menuet; With a bright and lively minuet; evidence at all of Handel working at Vauxhall on being encouraged to stay near the music in Par une douce violence Through a gentle ferment any consistent basis at this time, we can take order to buy more food and drink Je sens ranimer en secret I feel my overwhelming urge it that Handel took a very strong interest in the Mon gout dominant pour la danse; To dance secretly revived; Vauxhall concerts, and that he probably was, Even after the opening of the nearby Westminster Mes mouvemens suivent l’archet. My measure follows the bow. at the very least, advising Tyers (like Hogarth), Bridge in 1750, people normally arrived at Tantôt la trompette guerriere, Sometimes the war-like trumpet, and maybe mentoring the leader of the band. Vauxhall by boat as it was an integral part Sur les tons les plus éclatans, With its lustiest tones, of the evening’s enjoyment. They would listen to Exprime les combats sanglans, Brings to mind bloody battles Handel at Vauxhall Vol.2 contains music by glorious and often patriotic music near the Et la victoire meurtriere. And murderous victory. Handel and his English contemporaries and bandstands and promenade in the illuminated Sons étouffés! Tristes accens!* Muffled sounds! Tragic cadences!* reflects the second act in a typical evening’s gardens. The only real description of the Sanglots melés de cris perçans! Weeping and piercing cries! concert at Vauxhall Gardens during the late music at Vauxhall and its effect on the Lente & funebre symphonie! Stately and funereal symphony! 1740s. (See Handel at Vauxhall Vol.1 for audience appears in Section 12 of a French J,éprouve les charmes puissans I sense the powerful appeal first act). By this time the musical programme periodical, the Mercure de France of November De votre lugubre harmonie. Of your mournful harmony. at Vauxhall Gardens had become more 1750, which published a poem written in Les tymbales & le bassoon The kettle- drum and the bassoon standardized, usually with a set of 16 or so French by an English author, probably John Portent dans mon ame attentive Awaken in my receptive soul pieces a night, 8 in each half, with an overture. Lockman, who was a translator, and always L’horreur, la consternation; The horror, the dismay, The music typically included an opening piece on the look-out for new ways to publicise La langueur, la compassion, The languor, the compassion, plus an organ concerto, wind music, instrumental Vauxhall. This wonderful response to the Suivent de la flute plaintive Then follows from the plaintive flute pieces, dances and vocal music including Vauxhall concert gives us an idea of the Le touchant & douloureux son. The touching and sorrowful sound. solo and group songs which Jonathan Tyers balance it achieved and the way it aroused the Ainsi par un contraste étrange, So, by an uncommon diversity, reputedly introduced for the first time on the emotions of its audience. Chaque nouvelle passion Each new passion

- 14 - - 15 - De moment en moment se change, Follows the other from moment to moment, HANDEL AT VAUXHALL of Wales, who was also the landlord of Vauxhall Et de ce surprenant melange And from this surprising medley VOLUME TWO Gardens and became a regular and popular Nait une vive emotion. An intense emotion is born. THE MUSIC attendee at these Vauxhall concerts bringing with A ces Concerts mélancoliques, At these affecting Concerts, Bridget Cunningham him his youthful energy and a large following of Les cors de chasse, les hautbois, The hunting horns, the oboes, fashionable society. Tyers was keen to make the Font succéder les airs rustiques Are succeeded by the country songs This CD reflects the second half of an evening’s gardens look more civilised so everyone would Des heureux habitans des bois, Of contented woodsmen, performance at Vauxhall Pleasure Gardens in a enjoy a decorous evening’s entertainment. Qui dans leurs paisibles retraites Who in their tranquil retreats summer season in the late 1740s and includes Enflant leurs tendres chalumeaux, Play their sweet Shawms, a selection of instrumental pieces, dance music The song Spring Gardens (Rural Beauty or Rassemblant au son des musettes Which sound just like reed-pipes and songs ending with a theatrical piece – Vaux-Hal Garden) is written by Dr. William Les Bergeres de leurs hameaux, And the shepherdesses from their villages, Handel’s masque music to Comus. Boyce (baptized 1711 – 1779) a British Et dansent à leurs chansonettes Dance to their little songs organist and composer of trio sonatas, concerti Sous les hetres & les ormeaux. Beneath the beech-trees and elms. Three extra songs are added on to the eight grossi, odes and operas as well as songs for which were usually performed in the second the gardens. half of the concert each night, to showcase * This refers to the Dead March, a famous funeral anthem from Mr Handel’s oratorio entitled Saul. the importance of the Vauxhall Garden songs at The text by John Lockman is every bit as Translation © Coke / Cunningham 2015 the time. Songs ranged from the lighter more diverting as the music itself. His lyrics for popular ones with engaging melodies and Vauxhall songs, set to music by Boyce and themes of nature, nationalism, wit, the romantic Handel, could never be considered great poetry, ballad style, or a melancholic element, to the but were apparently enjoyed by the Vauxhall more complicated and operatically infused audiences. Lockman’s songs about Vauxhall coloratura pieces. and its charms regularly included some reference to the well-loved Prince Frederick Jonathan Tyers cleverly looked for new and Louis and more usually, to his wife Princess effective ways to bring Vauxhall Gardens to Augusta as wherever they went, the public the attention of the press and had ingeniously were bound to follow. In Spring Gardens, converted his own house’s ball-room into a Princess Augusta is referred to as ‘the raised pavilion with a private dining room and Lady of the May’ and ye Queen of May’. open loggia for Prince Frederick Louis the Prince

- 16 - - 17 - This song appears under various titles and is attract audiences and showcase himself as “masterpieces” for general publication to show The Power of Music and Beauty is a song by contained in several sources including George both composer and accomplished performer. off his compositional skills and pay homage the blind English composer, organist and Bickham’s Musical Entertainer (1737-1739). to the ever-popular concerti grossi of Corelli. violinist John Stanley (1712-1786) from the Many Vauxhall songs were in circulation before Following the success of his organ concertos Muses Delight (1754) which is a collection they were performed at the gardens and were Op.4, Handel’s publisher John Walsh encouraged Despite the conventional structure of the of popular songs containing some simplified reprinted in subsequent collections or song sheets. him to compose this new set of concertos for Corellian model, Handel’s concertos are largely versions of the original pieces containing only Many were introduced by Tyers who subscribed purchase by subscription under a specially newly composed and are extremely diverse the melodies and bass lines of the music with to the beautifully illustrated and expensive acquired Royal License. There were just over and in parts experimental, drawing from every no figuring or instrumental lines. songbook Musical Entertainer, which shows 100 subscribers, including members of the possible musical genre and influenced by musical something of his interest in this kind of music. Royal family, friends, patrons, composers, organists forms from all over Europe. The exquisitely John Stanley’s music was played regularly at and managers of theatres and pleasure-gardens, beautiful Larghetto affetuoso of Concerto IV, Vauxhall as Thomas Busby reflected upon in The The diarist and observer of Handel, Charles some of whom bought multiple sets for larger reflects a galant style and is followed by an Age of Genius! A Satire on the times, London: Burney was a familiar figure at Vauxhall where orchestral forces. Jonathan Tyers subscribed energetic fugue, marked Allegro. The third Harrison & Co, 1786: he played the violin and viola. He attributed to four sets of these 12 Grand Concertos in movement, the Largo e piano in F major is one the introduction of song at Vauxhall to Jonathan Seven Parts for Vauxhall Gardens. of Handel’s most sublime and simple slow Who set the yearly jingle of Vauxhall? Tyers who engaged several singers including movements, a sarabande in the Italian trio To hotch-potch poetry, give airs hotch-potch, Mrs Cecilia Arne (née Young), tenor Thomas Earlier in 1715, Walsh had himself very sonata style. The final Allegro in A minor, is a Coin English jargon and baptize it Scotch? Lowe and the bass Henry Reinhold. successfully published his own edition of radical reworking of a soprano aria È si vaga in New set this month, it’s fond composer’s pride; Arcangelo Corelli’s celebrated 12 Concerti Grossi preparation for his penultimate opera Imeneo. By the cloy’d public, next month set aside. Handel’s Concerto IV in A minor, Opus 6 Op.6. Handel’s concertos had exactly the same All Stanleys, Arnolds, battishills, and Cooks, (HWV 322) is from his Twelve Grand Concertos, choice of Opus number and the same number Although this Concerto has a serious quality What should we do for H[ayd]n’s and for Hoo]ks? (HWV 319–330), first published by subscription of concertos as Corelli, which maybe reflect his about it, a typical evening’s concert at Vauxhall in London by John Walsh in 1739 and became earlier years in Rome where he was inspired contained a mixture of styles of music, juxtaposing From 1726 John Stanley was made organist at Opus 6 in the second edition of 1741. and influenced by Corelli and the Italian school popular songs and dances with more solemn, St Andrew’s Church Holborn, “in preference to (Handel in Italy Vol.1 and Vol.2). Handel’s serious music and martial airs reflecting the a great number of candidates” (Burney), and For the 1739–1740 season at the Lincoln’s Inn concertos had an unprecedented period of contrast between Apollo (sophisticated, lyre in 1734 was made organist to the Honourable Fields theatre, Handel composed these concertos five weeks laid aside for their composition playing) and Marsyas (rustic pipes), a popular Society of the Inner Temple where his playing to be performed during intervals in masques in late September and October 1739 which subject of discussion at the time. (See The of organ voluntaries attracted an admiring and oratorios, as a well-advertised feature to enabled Handel to produce this set of orchestral Dead March – Handel at Vauxhall Vol.1). audience including Handel himself.

- 18 - - 19 - A Song on the Victory Obtain’d over the Rebels, Charlie in Scotland. He defeated the Jacobite It has an unspecified treble instrumental line Colin’s Description of Vauxhall or Green-Wood by his Royal Highness the Duke of Cumberland Army at Culloden and was given a hero’s which a trumpet or other wind instrument Hall is by the English composer and organist or From scourging rebellion (HWV 228.9) is a welcome on his return to London. This rousing could play and indeed, the famous trumpeter Thomas Gladwin (1710-1799) and was published patriotic song that Handel wrote in 1746, as song was published in the London Magazine in Valentine Snow (c 1700 – 1770) was a regular in Calliope or English Harmony in 1739. It well as the Occasional Oratorio to support the July 1746 with a note that it had been sung at performer at Vauxhall and he like others, became is the archetypal Vauxhall song which had Hanoverian cause. Vauxhall Gardens by the famous tenor, Thomas ‘stars’ in their own right. By 1745 Snow was become a genre in itself as many songs had Lowe. The words are by John Lockman with the most respected trumpeter in the country been written since the early 1730s enumerating William, Duke of Cumberland, King George the applauding chorus line ‘Your Glasses charge after succeeding John Shire and became the and praising all the attractions at the gardens. II’s younger son, had taken command of the high; tis in brave William’s Praise’. Sergeant Trumpeter to the King from 1753. Although this was little more than a tiny government forces and pursued Bonnie Prince media puff for the gardens, the colourful This song contains melodic fragments from text, again by John Lockman enthuses over the Volate amori in Handel’s opera Ariodante and delights there, ‘dear Vauxhall no Paradise is from his orchestral minuet used in 1749 in the sweeter not that they Eden call’ and skillfully Music for the Royal Fireworks, a movement mentions the Princess of Wales ‘the Lady of originally composed for the overture to the the May’ to attract an admiring audience. Occasional Oratorio. One verse admires the spectacular Roubiliac 1746 was a prosperous season at Vauxhall statue of Handel which graced an area near following the defeat of the Jacobites at where the orchestra played: Culloden (16th April). This song was only one of many triumphalist lyrics of that As still amaz’d I’m straying year’s repertory, following the brutal putting O’er this inchanted Grove down of the catholic Jacobite uprising. Burney I spy a Harper playing captured the spirit of the times in 1746: ‘The All in his proud Alcove season at Vaux Hall was very prosperous, and I doff my Hat desireing songs of triumph were sung every night. The He’d tune up Buxom Joan King went thither several times in person, But what was I admiring and the prince and princess of Wales… Odzooks a man of Stone. very frequently’. The Battle of Culloden, 16 April 1746 by Augustin Heckel.

- 20 - - 21 - Thomas Gladwin was an organist and composer and did the job of several musicians which an organ to be played at a distance from the Prince of Wales’s party danced more formally at Vauxhall from 1738 until 1744. James was economically, a sound investment for instrument itself’ (For further information read, in his private pavilion. Worgan (1715-1753) was also an organist Tyers allowing the ‘in house’ composers to BIOS Journal 39 2015 by Peter Holman). An at Vauxhall during the 1730s and his brother better showcase their latest compositions. engraving of the Vauxhall bandstand, published The Farewel to Vaux Hall is a song by John Dr. John Worgan (1724-1790) took over as in 1751, shows a man sitting at a harpsichord Frederick Lampe (c.1703–1751), a musician organist in 1751, as well as being director of There is a suggestion that some sort of in the middle of the orchestra which again would and composer who like Handel, was born in the music for a year and an ‘in house’ composer additional organ keyboard remote to the rest of have helped solve these issues of ensemble playing. Germany and also came to London to further at Vauxhall. the organ, could have been placed alongside Handel’s Hornpipe in D major (HWV 356) was his career. This he did quite neatly by marrying the other musicians of the band in the Compos’d for the Concert at Vauxhall 1740 Isabella Lampe (née Young) thus becoming The Organ building at Vauxhall Gardens, unveiled Orchestra building, making ensemble playing and was considered one of the archetypal Thomas Arne’s brother-in-law (Arne had married in 1735, was constructed in the sub-Palladian easier, rather than being at a distance away English forms of dance music associated with Isabella’s sister Cecilia in 1737). manner as a square structure behind the in the separate Organ building which would England, not only the sea. Orchestra building, which was linked together by have caused insuperable performance He was employed as a bassoon player as a walkway and formed the most innovative and difficulties as it seemed likely, the orchestra Dancing was clearly a part of the evening’s a member of Handel’s orchestra. Like Arne, extraordinary installation by Tyers at Vauxhall. was directed from the keyboard. An entertainment at Vauxhall, as it is mentioned Lampe’s compositions would have endeared This Organ structure contained three levels announcement for the opening of the gardens in passing in several places. The public him to many of the Vauxhall clientele as he with the pipes and possibly the main organ on 30 March 1738, that there had been entertainment licence for Vauxhall had to make was quite forthcoming in his denunciation console on the first floor while the belfry ‘several considerable Additions and specific mention of ‘public dancing’. The poem of Italian opera, going so far as to produce a contained louvred semicircular openings in Improvements to the ORGAN’ and called ‘The Ridotto al Fresco’, published in The mock opera, Pyramus and Thisbe, parodying all four facades projecting the sound to the circumstantial evidence suggests that there Ladies Delight, 1732, includes the lines: the genre and stating the case for the far distances of the gardens. The great organ was a ‘long movement’ installed in the superiority of English music. In 1745, following itself was possibly built by Richard Bridge adjacent Orchestra bandstand between But now the Dancers nimble Feet go round, the appointment of Thomas Arne as principal with the assistance of John Byfield the Elder 1739 and 1740, ‘The first long movement And with just Measures beat the passive Ground, composer at Vauxhall, the music of the and was unveiled in 1737 to a large and made in England is said to have been that Each one inclines to different delights - gardens became a significant force in the fashionable audience. The organ music attached to this organ in Vauxhall Gardens, Musick the Fair, Sweetmeats the Beau invite; development of English musical taste. Arne included an overture ‘that had a delightful by Byfield’ (History of the Organ 1855 by and his wife, the singer Mrs Cecila Arne (née Effect in the various parts of the Garden’ E.J. Hopkins and Edward Rimbault). A ’long Although general dancing at Vauxhall may Young), his family and pupils, including the (Daily Advertiser). Therefore the organ allowed movement’ is a modification of the usual organ have been informal and spontaneous, these Lampe and Young families, were to dominate the band to be heard throughout the gardens mechanism and is ‘a set of trackers enabling lines may refer to a particular dance as the the music making at Vauxhall for many

- 22 - - 23 - years after he brought a new structure to the The words are adapted from the epilogue of with arched walks, sweet music, revelry and smaller structure in the western range called concert programmes. John Milton’s Maske, in which the attendant feast. The group chorus singing in Handel’s the Gothic Piazza. The Temple of Comus, first spirit relishes the idylls of the heavenly realm Comus, ‘Happy, happy, happy plains’, may erected in 1748, was named after Comus, the This song is from British Melody or the Musical to which he is to return. This Maske was well have ended off an evening’s concert at God of revelry and good food who is associated Magazine and the headpiece above the music presented at Ludlow Castle (1634) and was Vauxhall Gardens. with music and with floral decorations in Ben features musicians going home after the final later adapted by John Dalton in the early 18th Johnson’s masque Pleasure Reconciled to evening of the season, carrying their instruments century to become known as Comus, set to At the gardens in the late 1740s, there were Virtue. This links in with the main aim of the – a viol, violin, a trumpet, a French horn and music by Thomas Arne. three very elaborately designed and decorated supper boxes – to be used as dining rooms flute. The Farewel is a gentler work, reflecting Piazza buildings of supper boxes, the northern and also for the appreciation of arts, inspired the musicians’ regret that another Vauxhall In 1745 and at the age of 60, Handel was invited one initially called the Temple of Comus (later by the artist William Hogarth and the vision season is over. Given the relatively low rates of to spend his summer recuperating from poor the Chinese Pavilion), the southern one generally of the poet John Milton, as well as music and pay for professional players, the steady income health at the country seat of the Earl of referred to now as the Handel Piazza and the polite conversation in civilized surroundings. they received from the gardens during its Gainsborough at Exton in Rutland. This invitation summer opening would no doubt have been may have come through Lady Gainsborough, a cause for regret when the season came to a sister of the Earl of Shaftesbury, one of an end and this valued source of income Handel’s keenest supporters. For the pleasure ceased. An annotation in ink and pencil at of other guests, the family decided to put on the base of the page reads ‘Likeness of Mr Tyers... an open air performance of Arne’s Comus and from the original drawing by Hayman in the invited Handel to write a new musical epilogue possession of Mr Barrett which suggests that of three songs with a chorus at the end of each. Jonathan Tyers is depicted as one of the main figures in the drawing. The original performers of Handel’s freshly composed Comus were presumably Gainsborough Handel’s serenata or masque, Comus or There singing bass and his daughters singing the in the Blissful Shades (HWV 44) is a theatre soprano arias. Not long after this, Handel reused piece in an unknown hand from a collection much of this music for his Occasional Oratorio. of his works put together by his librettist Charles Jennens. The Arcadian idylls described in John Milton’s E. Rooker after Canaletto, A View at the Grand Walk &c. in Vauxhall Gardens taken from the Entrance, engraving, hand-coloured, works inspired Tyers’s vision for Vauxhall Gardens detail. An engraving of 1794 derived from an original of 1751, to show the ‘company’ gathered around the Orchestra.

- 24 - - 25 - The Handel Piazza on the Grand South walk Handel – the latter considered the greatest of song at Vauxhall, as do the songs in the mezzo-soprano Faustina Bordoni and was a started out in 1747 as a small semicircular composer of English music, and the former, Musical Entertainer. The final verse epitomizes great friend and favourite composer of the colonnade of plain boxes in an open air John Milton, one of the greatest figures of Tyer’s presentation of Vauxhall as the ideal librettist Pietro Metastasio, whose libretti he setting around Roubiliac’s statue of Handel. English literature. combination of manliness with sensuality: frequently set. Although the author of the words It was rebuilt in 1750 but still remained more for the ballad Roger and Sue is unknown, it classical and restrained than the elaborate Whilst in the verdant spot we stray or The Lo! here, the Tents that proudly rise, is based on Gandarte’s aria Apenna amor sen and refurbished ‘Chinese style’ of the Temple Ladies in Vaux- hall- Gardens, to the British The brazen Drum and Trumpet joyn’d, nasce in Hasse’s opera Cleofide, 1731 with of Comus. The contrasting styles of the two Officers at Dettingen was composed by Thomas Shall image Camps to your pleas’d Eyes, original text by Michelangelo Boccardi after temples, the Chinese pavilion and the Handel Gladwin with words by John Lockman and Whilst your fam’d Victory fills our Mind. Metastasio’s Alessandro nell’ Indie. Piazza epitomizes Tyers’s ideological belief in again praises the wonderful gardens ‘Where Here, soon, you’l softer Conquests view; the balance between excess and moderation. Music lulls the listening ear, Where nightly For beauty must to Valour yield, Apart from the in-house composers such as Comus represents pleasure and excess and splendours vie with day, and all sweet magic Late you, with MARS, did Palms pursue; Arne, Gladwin and John Worgan, the only other Handel in a more simple classical setting, does appear’. Win Myrtle, next, in CUPID’s Field. composer, as well as Handel to be named at reflects a more civilised sobriety. Vauxhall Gardens up to 1745, is Johann Adolph Patriotic songs were very popular at Vauxhall as Roger and Sue a Ballad to a Favourite Air by Hasse. Although Hasse never visited London, a There was also a statue of John Milton, probably they exploited topical events and highlighted Sig.r Hasse is a comic song contained in the group of his ‘celebrated concertos’ in eight by Roubiliac working with Henry Cheere, at the connection between the dutiful virtus of collection, Calliope or English Harmony by the parts was advertised as being performed at the northern end of the Cross walk at Vauxhall victorious military action and the pleasurable 18th-century German composer, singer and Vauxhall. The inclusion of his music at Gardens apparently displaying Milton as Il voluptas enjoyed by Vauxhall’s visitors, fully teacher of music, Johann Adolph Hasse (baptised Vauxhall (via Tyers’s books) must, in part at Penseroso, seated on a rock, eyes gazing upwards complementing the visionary ideals behind 25 March 1699 – 16 December 1783). Although least, have been due to Handel who used and ‘in an Attitude listening to soft Music’ Tyer’s management. The speed with which it Hasse composed a considerable amount of Hasse’s arias in several of his London pasticcios. (John Lockman’s Sketch), his ability to listen was published suggests that even at this sacred music, he was best known for his prolific perhaps instilled in him by his father who was early date, the Vauxhall musical machine was operatic output. For several decades he was A Loyal Song for two Voices or ‘God save great a composer. Facing Milton from the other able to react promptly to produce a song to the most widely admired composer of opera George Ye King is an early setting of the British end of the walk was a statue of Apollo, the reflect on important events. This song must seria in Italy and the German-speaking lands. National Anthem, God Save the King/Queen patron of music and poetry and sun god have been performed during the immediate His finest operas include a highly systematized, from the Muse’s Delight. It is uncertain who showing the balance of understated virtue with aftermath of the Battle of Dettingen in rational style which were well produced and actually wrote this music, although its origins brighter sensual pleasure. This statue of Milton Germany, fought on 27 June 1743 which performed at leading theatres. He was married have been atrributed to a keyboard piece was intended to complement the statue of pre-dates Burney’s date for the introduction to one of Handel’s leading Italian singers, by John Bull, music by Henry Purcell as well

- 26 - - 27 - as to a Scots carol, Remember O Thou Man. Handel’s own God Save the King from his TEXTS 6 The Power of Music and Beauty The first published version of the present coronation anthem Zadok the Priest. tune appeared in 1744’s Thesaurus Musicus, 1 Spring Gardens Music has power to melt the soul, featuring the familiar first verse. It appeared in By beauty nature’s sway’d; the Gentleman’s Magazine in 1745 when it first Without Handel, the music of eighteenth Flora, goddess sweetly blooming, Each can the Universe control found popularity, although it was not called century London would have been very different; Ever airy, ever gay; Without the others aid. a ’National Anthem’ or used as such until the his enormous value was summed up in John All her wonted charms resuming, 19th Century and has never been officially Potter’s 1762 Observations on the Present State To Spring Gardens calls away: But here together both appear, adopted as an anthem by either the Royal of Music: With this blissful spot delighted, And Force united try; Family or Parliament. Here the queen of May retreats, Music enchants the list’ning ear, English music may with justness be called Belles and beaux are all invited And beauty charms the eye. In 1745, following the victory by Bonnie Prince Handel’s music and every musician, the son To partake of varied sweets. Charlie and the Jacobites over King George II’s of Handel; ... He has join’d the fullness and What cruelty! these powers to join! Hark! what heavenly notes descending, army at the Battle of Prestonpans, a wave of majesty of the German music, the delicacy These transports who can bear! Break upon the list’ning ear; patriotic feeling swept across a Hanoverian and elegance of the Italian, to the solidity Oh! let the sound be less divine, Music all its graces leading, and protestant London. Despite being a of the English; constituting in the end a Or look the nymph less fair. catholic, Thomas Arne, who had previously magnificence of stile superior to any other nation. O ‘tis extasy to hear: Nightingales the concert joining, written Rule Brittania, set a new, extended 7 A Song on the Victory over the Rebels Breathe their plaints in melting strains, version of ‘God save great George Ye King © Bridget Cunningham 2017 by His Royal Highness the Duke of Cumberland which was played after evening performances Vanquish’d now their groves resigning, Soon they fly their distant plains. at Drury Lane. Perhaps this put him, with The CD Handel at Vauxhall Vol.1 reflects the From scourging Rebellion, and baffling proud France; his catholic faith in a safer position in first half of an evening’s concert at Vauxhall Now the various bands are seated, Crown’d with laurels, behold British WILLIAM advance: London, as certainly English patriotic spirit Pleasure Gardens in the late 1740s and is All dispos’d in bright array; His Triumph to grace, and distinguished the Day, and protestant feelings were growing and available from Signum Records. Business o’er, and cares retreated, The Sun brighter shines, and all Nature’s gay. continued until after the Battle of Culloden With gay mirth they close the day: and the defeat of the catholic Jacobites the The book, by David Vauxhall Gardens A History Thus, of old, the sons of pleasure Chorus: following year. Various settings of this text Coke and Alan Borg is published by Yale Pass’d in shades their favourite hours; Your glasses charge high; ‘tis in brave appeared and were performed with other University Press for the Paul Mellon Centre Nectar cheering their soft leisure, WILLIAM’S Praise, loyal songs at Vauxhall Gardens along with for Studies in British Art. Bless by love and crown’d with flow’rs. To his glory your voices and Instruments raise.

- 28 - - 29 - In his train see sweet Peace, fairest offspring of Sky, Methought when first I enter’d Not ev’n at Squires fine Wedding Nor Cynthia glimmers thro ye Shade, Ev’ry bliss in her smiles, ev’ry charm in her eye; Such Splendors round me shone Such Dainties did I see That witness’d to a thousand Loves. Whilst that worst foe to man, that dread fiend, Into a World I ventur’d I long’d poor starvling Rover No longer each sweet thrilling Sound, civil war, Where rose another Sun. But none heed Country Elves Lulls the forsaken Lover’s Care, Gnashing horrid her teeth fast bound to his car. Whilst Musick never cloying, These Folk with Lace dawb’d over Nor Airs melodious help to wound, As Sky Larks sweet I hear Loves only dear themselves. The Bosoms of the lovely Fair. Chorus The Sounds I’m still enjoying They’ll always Sooth my Ear. Thus whilst mid Joys abounding. But Oh’ thou beauteous Source of Day, You warriors, on whom we just honours bestow, As Grasshoppers they’re gay Quickly thy Winter’s Journey run, O think on the Source whence our dire Evils flow; Hear Paintings sweetly glowing At Distance Crouds surrounding With haste restore the blooming May. Commanded by WILLIAM, attack next the Gaul, Where e’er our Glances fall The Lady of the May And thy own Choir once more attune; And fix those in chains, who would Britons enthrall! Here Colours Life bestowing The Man I’th Moon tweer’d slily Then soon as Vesper gilds the West Bedeck this Greenwood Hall Soft twinkling thro the Trees Let me with Dear Corinna move Chorus The King there dubs a Farmer As tho’ twould please him highly Along ye Thames fair dimply breast, There John his Doxy loves To taste Delights like these. To scenes of Harmony and Love. 8 Green-Wood Hall But my Delight’s the Charmer Colin’s Description of Vauxhall. Who steals a Pair of Gloves. 0 The Farewel to Vaux Hall Comus Set by Mr. Gladwin As still amaz’d I’m straying. Farewel dear Scenes of gay Delight, q Air: O Mary, soft in Feature, O’er this inchanted Grove Adieu ye ever-pleasing Shades, There, in blissful shades and bow’rs, I’ve been at dear Vauxhall I spy a Harper playing Since now no more my ravish’d sight Revels the gay, jocund Spring; No Paradise is sweeter All in his proud Alcove Surveys your lovely tuneful Glades: There the rosy-bosom’d hours Not that they Eden call. I doff my Hat desireing Sweet Philomel no more complains, All their choicest bounties bring. At Night such new Vagaries, He’d tune up Buxom Joan Nor chants her soft love-labour’d Song Winter never dulls the plains, Such gay & harmless sport; But what was I admiring Nor round ye Muse’s warbling Fanes There eternal Summer reigns. All looked like Giant Fairies, Odzooks a man of Stone. Attend ye inraptur’d list’ning Throng. And this their Monarch’s Court w Chorus: But now the Tables spreading No more ye fragrant Zephyrs spread, Happy, happy, happy plains! They all fall to with Glee Their Sweets along th’illumin’d Groves, There eternal Summer reigns.

- 30 - - 31 - e Air: How diff’rent is th’ensanguin’d Scene, Where Ice was newly frozen; God save the king: There sweetest flowers of mingled hue, Where late you bid the French retire; When falling from the Pump, slap dash upon Send him victorious, Water’d with Elysian dew, Drove them dismay’d, Your-Selves serene, her Rump Happy and glorious, Live in everlasting bloom; Thro’ Clouds of Smoke, and vengeful Fire! A great & mighty bump swelled on her Long to reign o-ver us, And ever on his musky wings Buttocks plump God save the king. Balmy breezes Zephyr brings, Less anxious We your Absence bear, It smarts, it burns it aches by turns Wafting round the rich perfume. Since Glory call’d you forth to Arms., All o’er I’m sore she loud did roar. O! Grant that Cumberland To shield a Heroine * We revere, I ne’er shall more my ware restore. May, by his mighty hand, r Chorus And with secur’d from dire alarms. To Charm as it was wont before: Victory bring: Happy, happy … etc But, ended all your martial Toils, Alas, oh cruel cursed destiny May he sedition hush Return, and dignify our Glades: And like a torrent rush, t Would if Devil had the Pump for me Air: Each Nymph shall deck you with fresh Spoils; Rebellious hearts to crush, There youthful Cupid, high avanc’d, With Myrtle, gather’d in these Shades. Young Hodge who worked hard by her, God save the king. Holds his dear Psyche sweet entranc’d, From pigstye chanced to spy her: After her wand’ring labours long, Lo! here, the Tents that proudly rise; Which raised the Clowns desire, O Lord our God arise, Till free consent the gods among The brazen Drum and Trumpet joyn’d, Soon as he heard her roar & yelp Scatter his enemies, Make her his eternal bride, Shall image Camps to your pleas’d Eyes, He ran & offered her his help: And make them fall: And from her fair unspotted side Whilst your fam’d Victory fills our Mind. Begone she cried you saucy whelp and leave me: Confound their politics, Two blissful twins are to be born: Here, soon you’l softer Conquests view; But for this sad disaster. Frustrate their knavish tricks, Youth and Joy, so Jove hath sworn. For beauty must to Valour yield. I sure must have a plaster On him our hearts we fix, Late You, with MARS did Palms pursue; Then if you can relieve me. God save the king. y Chorus Win Myrtle, next in CUPID’s Field. Oh straight your cure begin Happy, happy … etc Thy choicest gifts in store, *The Queen of Hungary Oh Roger, Roger quick On him be pleas’d to pour, u The Ladies in Vaux- hall- Gardens Oh quick your salve apply Long may he reign; i to the British Officers at Dettingen Roger and Sue a Ballad Or surely soon I’ll faint and die. May he defend our laws, to a Favourite Air by Sig.r Hasse And ever give us cause Whilst in the verdant Spot we stray, o A Loyal Song for Two Voices To cry with loud applause, Where Music lulls the listening Ear; One morn sweet Sue, a pail or tun God save the king. Where nightly Splendors vie with Day, Of water drew in slipshod shoe God save great George ye king, And all sweet Magic does appear: Long live our no-ble king,

- 32 - - 33 - CLAIRE BESSENT MARY BEVAN

Soprano Claire Bessent read Music at Durham Mary Bevan is a winner of the Royal University and went on to complete an MMus in Philharmonic Society’s Young Artist award and UK Concert Singing at the Royal Conservatoire of Critics’ Circle Award for Exceptional Young Talent Scotland, supported by the Barcapel Foundation in music. Bevan is a former ENO Harewood Artist Scholarship. She was winner of the coveted and an Associate of the Royal Academy of Music. Governor’s Recital Prize. Claire subsequently undertook further postgraduate vocal studies Recent engagements include Merab Saul for at the Royal College of Music. the Adelaide Festival, the title role in Rossi Orpheus for the Royal Opera House at Claire’s solo concert work includes Monteverdi’s Shakespeare’s Globe, Yum-Yum The Mikado, 1610 Vespers at St. John’s, Smith Square; Zerlina Don Giovanni, and Susanna The Marriage Christmas concerts with the City of London of Figaro at English National Opera, Elvira Choir at the Queen Elizabeth Hall and St. Martin- in Rossini L’italiana in Algeri at Garsington in-the-Fields; Haydn’s Creation with the Royal Opera, Barbarina Le nozze di Figaro at the Royal Conservatoire of Scotland Chamber Orchestra Opera, Despina Così fan tutte, Papagena The under the late Sir Philip Ledger, broadcast on Magic Flute, Second Niece Peter Grimes, and BBC Radio 3 and Handel’s Messiah with Rebecca in Nico Muhly’s Two Boys at ENO, and

David Bruce’s The Firework Maker’s Daughter © Victoria Cadisch Gloucester Choral Society under Adrian Claire is a deputy with the BBC Singers and with Opera North and ROH2. Partington. Her work in opera includes roles is a regular member of the Choir of the King’s Bevan’s recordings include Ludwig Thuille and with Garsington Opera, Grange Park Opera, Consort and London Voices, with whom she In concert Bevan recently performed baroque Mendelssohn songs for Champs Hill Records, Pimlico Opera, New Chamber Opera and British sang in the Chinese premiere of Britten’s Peter programs with the AAM and OAE, Fauré Handel The Triumph of Time and Truth and Ode Youth Opera. Claire is also a workshop leader Grimes in Beijing in 2013. Requiem with the Philharmonia, Maxwell Davies for St Cecilia’s Day with Ludus Baroque, Vaughan with Streetwise Opera, working on opera Caroline Mathilde Suite at the BBC Proms, and Williams Symphony No.3 and Schubert projects with various members of the Mendelssohn Symphony No.2 with CBSO. A Rosamunde with the BBC Philharmonic, and community, including people who have dedicated recitalist, she has appeared at the Hadley Fen and Flood with the Bournemouth experienced homelessness. Oxford Lieder Festival and the Wigmore Hall, as Symphony. She has recorded the CDs Handel in well as in an Asian tour with the English Concert. Italy Vols.1 & 2 for Signum Records.

- 34 - - 35 - ELEANOR DENNIS CHARLES MACDOUGALL

Scottish soprano Eleanor Dennis is a graduate Tenor Charles MacDougall’s solo highlights of the Royal College of Music’s International have included: creating the role of Richard Opera School. Her appearances at the London III in John Webb’s The Last Plantagenet Handel Festival first brought her to prominence, (Philharmonia Orchestra, De Montford Hall); it was in the title role of Rodelinda that she Handel’s Messiah (Telemann Chamber Orchestra, made her first major break-through. The Hitomi Memorial Hall, Tokyo); Bach’s Christmas critics were unanimous in their praise. Fiona Oratorio (Telemann Chamber Orchestra, Izumi Maddocks, reviewing her performance in The Hall, Osaka); Evangelist in Bach’s St. John’s Observer, wrote ‘she has a marvellous future. Passion (Dalby Kammarkör, Sweden); and Bach I’m not sure I can ever remember one who so Early Cantatas (Les Inventions, Dijon Opera House). obviously deserves to be a star’. She returned to the Festival as Costanza Riccardo Primo From 2005-2013, he was a member of vocal prompting Hugh Canning to call her ‘a big talent’. ensemble VOCES8, performing over 100 concerts internationally each year. With the group, he As a Harewood Artist at the English National released several successful commercial albums Opera her roles have included Contessa Le (including winning 2 CARA Awards) and made nozze di Figaro, Micaela Carmen, Helena A regular television and radio appearances, giving Midsummer Night’s Dream and Laura Fleet in © Christina Raphaelle his final performance with them on Christmas the world premiere of Nico Muhly’s Marnie. Orchestra/Cornelius Meister, Norwegian Chamber Day 2012 in Shanghai. He has also sung for in London. Formerly the Senior Vocal Coach Elsewhere she has sung Contessa for Scottish Orchestra/Bernard Labadie, BBC Scottish Symphony Cappella Nova, Schola Cantorum of Oxford at Portsmouth Cathedral, Whitgift School and Opera, Helena at the Aldeburgh Festival and Orchestra/Ilan Volkov, BBC Philharmonic/Juanjo and been involved in innovative collaborations Croydon Minster, he is now the Choral Specialist Ginevra Ariodante at the Salzburg Landestheater. Mena, Oxford Philharmonic Orchestra/Sir András with the James Taylor Quartet (Queen Elizabeth for The Voices Foundation, coaches for the Schiff, Royal Philharmonic Orchestra/Martyn Hall). Charles is also an experienced choral Royal School of Church Music, and is On the concert platform, appearances have Brabbins, London Philharmonic Orchestra/ animateur, working for the London Symphony Consultant Vocal Coach at Derby Cathedral and included the CBSO/Andris Nelsons, Swedish Vladimir Jurowski and the Early Opera Company Orchestra, London Youth Choir, the Snape Radley College. Radio Orchestra/Daniel Harding, Bamberger with Christian Curnyn. Maltings Friday Afternoons Project, is a Chorus Symphoniker/Rolf Beck, Vienna Radio Symphony Master for Gabrieli Roar and directs two choirs

- 36 - - 37 - NICKY SPENCE GREG TASSELL around the UK for oratorio with regional choral societies and recital appearances with piano, Having trained at the Guildhall School and Born and raised on a hop farm in Kent Greg guitar and organ. He is a popular evangelist the National Opera Studio, Nicky Spence is Tassell trained as a chorister at Durham in the Bach St John & St Matthew passions fast emerging as ‘one of our brightest young Cathedral, choral scholar at Exeter Cathedral and his turn as the Dying Swan in Orff’s tenors’. Following operatic success in the UK, and as a postgraduate at the Royal Academy Carmina Burana complete with white suit Nicky has enjoyed many International debuts of Music under Ryland Davies and now and feathers is a crowd pleaser. Greg has including Opera de Paris, La Monnaie, Opera learns with tenor Dominic Natoli. Appropriately previously worked with London Early Opera Frankfurt, Seattle Opera, De Nederlandse Opera for these CDs, Handel at Vauxhall, Vol.1 & 2 in Bach’s Christmas Oratorio and in recital and The Met, New York where he created the he is now a musician who lives in and works at the London Handel Festival and Handel and role of Brian in the world premiere of Nico around London. He teaches singing privately Hendrix Museum. Muhly’s opera Two Boys also at ENO. and at Ibstock Place School in Roehampton, not far from Vauxhall. He is in huge demand BENJAMIN BEVAN On the recital platform, Nicky enjoys collaboration with leading artists such as Benjamin Bevan is the youngest of fourteen Malcolm Martineau, Julius Drake, Roger Vignoles, brothers and sisters who formed a family Graham Johnson, Sholto Kynoch, Iain Burnside, choir with which he sang in his youth. Having Simon Lepper and Joseph Middleton. His pursued a career as a wine merchant, Benjamin discography includes the Strauss Song Series changed direction and won a scholarship with Roger Vignoles (Hyperion), French Melodié, to the Guildhall School of Music and Drama to Shakespeare Settings (both with Maritineau), Nicky was nominated by the International study singing. He made his Royal Opera House Buxton Orr with Iain Burnside (Delphian), and Opera Awards for Young Singer of the Year in debut as Henry Cuffe in Gloriana by Benjamin works by Schumann, Britten and premieres 2015 and was also one of ten artists included Britten, returning to sing Der Sprecher in of Jonathan Dove, Pavel Haas, Alun Hoddinott in the Times Breakthrough Award at the South Zauberflöte. At The Royal Danish Opera Benjamin and Mark-Anthony Turnage. Bank Sky Arts Awards celebrating the best has sung Lescaut in Boulevard solitude by up and coming young British talent from Henze, a role he also sang at Welsh National across the Arts industry. Opera. For Scottish Opera he sang Morales (Carmen), Riccardo (I Puritani), Marcello (la Bohème) and Lescaut (Manon). He has also

- 38 - - 39 - DANIEL MOULT As a soloist, Daniel performs regularly throughout DAVID E. COKE the UK, Europe, Australia and Singapore. Daniel Moult, “one of the finest organists of our David E. Coke is a cultural historian specialising time” (The Organ), is an acclaimed concert He has pioneered the use of film as a means of in the commercial Pleasure Gardens of organist, recording artist and organ tutor. His promoting organ music, and has presented and Georgian London, especially Vauxhall and musicianship has been praised as “exhilarating” performed in two DVD releases. He is currently Ranelagh. He co-authored with Dr Alan Borg (Gramophone), “dazzling” (The Organ), and filming The English Organ, which will be released the award-winning ‘Vauxhall Gardens, a history’ “formidable” (Organists’ Review). Based in as a major box set in 2018/19. He has also published by the Yale University Press in 2011. London, he is the Associate Head of Organ at appeared as a soloist and ensemble player on Before that, as a museum and gallery director, the Birmingham Conservatoire, teaches through many CDs, including a performance of one of he had curated exhibitions on the subject at the RCO Academy, and leads masterclasses, Handel’s organ concerti on Signum Classics, Gainsborough’s House in Suffolk (1978), the workshops and courses around the world. Handel at Vauxhall Vol.1. Victoria and Albert Museum (1984), and the Foundling Museum in London (2012), of which Daniel was born in Manchester and studied he is now an hon. Vice President.’ at Oxford University and the Amsterdam Conservatorium. He has published several editions, including two organ albums with worked with Garsington Opera, Glyndebourne Bärenreiter. He broadcasts frequently on BBC Festival Opera, English Touring Opera, Holland television and radio and has recorded for various Park Opera, Longborough Festival, Lausanne record labels including Signum, Fugue State, Opera, Opéra de Dijon and at Aix en Provence. Regent and Sony BMG He will make his debut at English National Opera in 2018. On the concert platform Benjamin has worked with The English Concert, Bach Collegium Japan (with whom he has recorded the Beeethoven Missa Solemnis), The Hannover Band, The BBC Philharmonic, the Stavanger Symphony Orchestra and the Colorado Symphony Orchestra among many others.

- 40 - - 41 - BRIDGET CUNNINGHAM Bridget recently created, researched and “The playing is so beautifully focused..... conducted this new series of Handel recordings Splendid in every respect.” Bridget Cunningham is an international conductor, with London Early Opera and Signum Classics BBC Radio 3 CD Review, October 2015 prizewinning harpsichordist and musicologist exploring Handel the man, his music and who trained at the Royal College of Music, travels. These new CDs are being released “Bridget Cunningham’s musical direction and Trinity College of Music, London and worldwide and Handel in Italy Vol.1 & Vol.2, her insightful research in compiling these two Southampton University. She has been supported Handel in Ireland Vol.1 and Handel at recordings is spot on. Her detailed programme by the Worshipful Company of Musicians, Vauxhall Vol.1 have been reviewed with notes are exemplary, and her harpsichord The Finzi Trust and the Concordia Foundation. international acclaim; solos on both volumes are also particularly interesting, both for their choice from the Bridget is a versatile musician and has “The quality of the musicianship is high.” less-explored part of Handel’s repertoire, and performed at prestigious venues and festivals BBC Music Magazine, October 2015 for their spirited and lively playing”. including Yale University’s Center for British Her solo harpsichord performances include Andrew Benson-Wilson, 2016 Art, America, St John’s Smith Square, St Martin- playing for Prince Charles at Buckingham Palace in-the-Fields, London, Festi Classique, France, and she regularly collaborates with baroque Innsbruck Festival, Austria and the Victoria dance companies including Mercurius Company LONDON EARLY OPERA International Festival, Gozo. and Les Plaisirs Des Nations. She also gives lecture recitals and concerts at Art Galleries and Violin 1 Viola Oboe Trumpet As a conductor with significant vocal opened; ‘Watteau: The Drawings Exhibition’ at Adrian Butterfield Alexis Bennett Belinda Paul Daniel Weitz coaching experience, she has directed several the Royal Academy of Arts in London. (Leader) Ann Allen operas and works including Purcell’s Fairy Eleanor Harrison Cello Theorbo Queen, Mozart’s Magic Flute and Handel’s Bridget regularly performs and presents on Helen Kruger Jennifer Bullock Flute Cesar Queruz Semele and has a wide musical background. several Radio and TV programmes for BBC Kate Conway Rachel Brown As well as her speciality in Baroque and Early TV, SkyArts, RTE, RTP, Radio Stephansdom and Violin 2 Organ Music, she has performed music by Piazolla Radio France including BBC 2 Messiah, BBC 4 Kirra Thomas Double Bass Recorder Daniel Moult with the RTE Irish Chamber Orchestra live on Vivaldi’s Women, Radio 4 Front Row and Radio Philip Yeeles Kate Aldridge Emily Bloom Lyric Radio, and has conducted recordings 3 In Tune and has made a film for Handel and Naomi Burrell Harpsichord/Conductor of early 20th Century English music composed Hendrix in London, where she has been playing Bridget Cunningham by George Butterworth. and giving lecture recitals since it first opened.

- 42 - - 43 - London Early Opera (LEO) have been established Other CDs in the series include Handel at and performing since 2008 and registered Vauxhall Vol.1, Handel in Italy Vol. 1 & Vol.2 as a UK charity in 2011 at the forefront of and Handel in Ireland Vol.1. Baroque research and performance. LEO work with leading historians and specialists and More to come in the series include Handel in record recently discovered and unusual London and more to follow which will have programmes in a thorough historical context. extended CD booklet notes to give the historical context to the music to enhance pleasure for All members are leading exponents of early the listener. music and offer concerts, operas, oratorios, lecture recitals, educational workshops and recordings. www.londonearlyopera.org LEO is always keen to collaborate with other early music supporters and sponsors promoting music with future recordings and live music.

LEO are conducted from the harpsichord by Bridget Cunningham who researches and explores the background of the music and coaches and directs the instrumentalists and singers.

This new series of recordings with Signum Records sets the scene of Handel’s colourful life, influences and experiences which inspire and nuance his magnificent output and musical legacy.

- 44 - - 45 - With special thanks to the Trustees of London Early Opera: Jennifer Hassell, Jane Gibson, Andrew Carver, Anastasia Simpson and also thanks to the Finzi Trust, Hargreaves and Recorded at Saint Jude-on-the-Hill and St Augustine’s Church, London 2016

Ball Trust, Elizabeth Tompkins, Richard and Jane Lawson, David E. Coke, Alan Borg, Series Producer and Conception – Bridget Cunningham The Foundling Museum, Colin Coleman, Katharine Hogg, Handel & Hendrix In London, Producers – Christopher Alder and Mark Brown The Royal College of Music Library, Patrick Noronha and Katharine Ara. Recording Engineers – Neil Hutchinson (Classic Sound) and Mike Hatch (Floating Earth) Final Mastering Engineer - Michael Gerrard These high quality performances and recordings with many hours of detailed research Orchestral Manager - Andrew Carver all require ongoing funding. Keyboard instruments supplied by Malcolm Greenhaulgh, Keith McGowan and Andrew Wooderson We ask you to visit the Charity website to see ways of financially supporting future performances Organ – Collins 3 stop chamber organ and recordings for your pleasure and education. Harpsichord – Double manual Blanchet copy of a Ruckers by Andrew Wooderson 1996

415 Hz pitch - Shifted Valotti Temperament We are able as a charity to recover Gift Aid on donations made and also ask our supporters to use our web portal for online purchases [EASYFUNDRAISING.ORG.UK], recycling of mobile Cover Image – ‘A General Prospect of Vauxhall Gardens’ engraving by J.S. Muller from a drawing by Samuel Wale (1751). From the collection of David E. Coke. phones and or our crowd funding schemes to further the production and benefit of future Design and Artwork – Woven Design www.wovendesign.co.uk projects which we hope you will enjoy.

P 2017 The copyright in this sound recording is owned by Signum Records Ltd Donations may be sent to © 2017 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd

Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored LONDON EARLY OPERA 6 FRINTON ROAD THORPE LE SOKEN ESSEX in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. CO16 0HS SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] www.londonearlyopera.org www.signumrecords.com

London Early Opera UK CHARITY NUMBER: 1143989

- 46 - - 47 - ALSO AVAILABLE

Handel in Italy, Vol. 1 Handel at Vauxhall, Vol. 1 Benjamin Bevan, Mary Bevan, Sophie Bevan London Early Opera London Early Opera Bridget Cunningham conductor Bridget Cunningham, conductor SIGCD428 SIGCD423

“The playing is so beautifully focused...Splendid in every respect.” ““an attractive potpourri by Handel and others. These bright, BBC Radio 3 CD Review lively accounts of music which we know was heard at Vauxhall include an aria from Acis and Galatea and a fine John Hebden “This is as polished an account as any on account of Sophie concerto, and to close, the glorious duet As steals the morn from Bevan’s unerring sense of decorum for what each movement Handel’s L’Allegro.” The Guardian requires.” Editors Pick, Gramophone Magazine “Bridget Cunningham’s re-imagining of the first part of a typical “A dazzling disc.” The Observer evening’s entertainment puts George Frideric centrestage, and sets the scene delectably” BBC Music Magazine

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000

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