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Vincent Novello VINCENT NOVELLO (1781–1861) For my grandparents: Charles Forrest Simpson and Edith Jane Muirhead & Walter Thomas Palmer and Decima Mabel Brunger Vincent Novello (1781–1861) Music for the Masses FIONA M. PALMER Queen’s University Belfast, Northern Ireland, UK First published 2006 by Ashgate Publishing 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business )LUVW LVVXHGLQ SDSHUEDFN Copyright © Fiona Michele Palmer 2006 Fiona M. Palmer has asserted her moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data Palmer, Fiona M. Vincent Novello (1781-1861) : music for the masses. – (Music in nineteenth-century Britain) 1.Novello, Vincent, 1781-1861 2.Composers – Great Britain – Biography 3.Musicians – Great Britain – Biography I.Title 780.9’2 Library of Congress Cataloging-in-Publication Data Palmer, Fiona M. Vincent Novello (1781-1861) : music for the masses / Fiona Palmer p. cm. – (Music in nineteenth-century Britain) Includes bibliographical references and index. ISBN 0-7546-3495-7 (alk. paper) 1. Novello, Vincent, 1781-1861. 2. Music publishers – England – Biography. I. Title II. Title: Music for the masses. III. Series. ML427.N69P35 2006 780.92 – dc22 [B] 2006045955 ,6%1 KEN ,6%1 SEN Contents List of Plates vii List of Music Examples ix Acknowledgements xi Bibliographical Abbreviations xiii Library Sigla xvii General Editor’s Series Preface xix Novello Family Tree xxi Introduction 1 Part 1 The Man 1 Formative Years 9 2 Marriage and Family 23 3 Friends and Network 47 Part 2 The Career 4 Phases and Preoccupations 77 5 Practical Musician and Educator 101 6 Editor 139 7 Composer 183 Epilogue 213 Select Bibliography 221 Index 237 List of Plates 1. Pencil sketch of Vincent Novello by Edward Petre Novello (undated). 2. Miniature in oils of Mary Sabilla Novello as a bride by James Holmes (1808). 3. Oil on Canvas, ‘The Novello Family’, by Edward Petre Novello (c.1830). 4. Watercolour sketch of Joseph Alfred Novello as ‘Clericus’ of the Tortoise Club by Edward Petre Novello (c.1830). 5. Pencil and chalk sketch of Clara Anastasia Novello by Edward Petre Novello (undated). 6. (James Henry) Leigh Hunt by Thomas Charles Wageman (1815). 7. Pencil sketch of Domenico Dragonetti ‘in the orchestra’ by Edward Petre Novello (undated). 8. Autograph ‘Sung Grace’ by Vincent Novello (14 November 1847). 9. Title page to Vincent Novello’s Twelve Easy Masses (London: published for the Author by Phipps & Co., 1816). 10. Opening page of ‘Jehovah quam multi sunt hostes’, from Vincent Novello ed., Purcell’s Sacred Music (London: J. Alfred Novello, 1832), no. 70, p. 2. List of Music Examples (Unless otherwise stated examples were composed/edited by Vincent Novello) 3.1 A Grace ‘For what we have received’ (14 Nov. 1847) 52 5.1 Chant by John Goss written for the competition for the post of organist at St Michael’s Church, Highgate (22 Dec. 1843) 116 5.2 ‘Scotchy’ from ‘A Collection of Dances Composed for his Children’ 123 6.1 Haydn’s Salve Regina (1811 edn) 158 6.2 Haydn’s Salve Regina (1825 edn) 159 6.3 ‘Three hideous fifths’ (The Harmonicon, Feb. 1829) 164 7.1 ‘Concealed Love’, piano introduction, bb. 1–10 187 7.2 ‘The Infant’s Prayer’, Allegretto, bb. 1–4 189 7.3 ‘The Infant’s Prayer’, Andante soave, bb. 1–4 189 7.4 ‘The Infant’s Prayer’, opening recitative, bb. 16–26 191 7.5 ‘Sterne’s Maria’, bb. 1–4 191 7.6 ‘Turn to me those Lovely Eyes’, bb. 9–12 192 7.7 Second Chorus of ‘Italy’, ‘Deliver them from foreign thrall’, bb. 84–92 193 7.8 Mass in E, Kyrie, bb. 1–4 194 7.9 Mass in E, Gloria, bb. 1–4 195 7.10 Mass in E, Gloria: ‘Qui tollis’, bb. 38–41 195 7.11 Mass in E, Gloria: ‘Qui sedes’, bb. 58–61 196 7.12 Mass in E, Gloria: ‘Et in terra pax’, bb. 13–27 197 7.13 Rosalba: Aria di Costanza, bb. 5–12 203 7.14 Rosalba: Double Bass obbligato, final movement, bb. 150–56 204 Acknowledgements Since this project began, two scholars who played a vital role in my academic development have passed away. The inimitable Professor Cyril Ehrlich (whose shared connection to Queen’s University is a satisfying yet coincidental one) transformed my doctoral studies and advised astutely on much that has followed. Dr Percy M. Young also supported and encouraged my doctoral work on Dragonetti and mooted the Novello project back in 1994. Sadly, both men died in 2004: I will always remember their generosity. This book could not have been written without the unstinting support, patience and hospitality of family and friends. First and foremost, I must single out my parents, Ian and Margery, to whom I owe so very much; my sister Cheryl has also been a constant source of common sense and kindness. I am very fortunate that my nonagenarian grandmother, Decima (who gave me her piano in my primary school days and has relished my musical activities ever since) knows all about my Novello journey. Then there are my close friends – although I do not name them individually here my sincere appreciation is expressed to each and every one of them. This book is dedicated to my grandparents, three of whom cannot know that one of their granddaughters is able to remember them in this way. I began the research for this monograph on starting work at Queen’s University, Belfast, in July 1999. The process towards completion has been greatly helped by genuinely close and rewarding working relationships with colleagues in the School of Music and Sonic Arts. Here I must single out the immeasurable benefit of Professor Ian Woodfield’s kind offer, gladly accepted, to read and comment on the final draft. Dr Yo Tomita was unfailingly helpful in the preparation of the music examples. I am also indebted to Professors Jan Smaczny and Piers Hellawell and to Dr Tony Carver, each of whom has spent time discussing my progress, thereby greatly easing the isolation of the writing process. Beyond Queen’s University the invaluable contribution of two fundamentally important AHRB Small Grants in the Creative and Performing Arts allowed me to undertake many months of primary research in London and Leeds. In the pursuit of scattered sources the following people and organisations were very helpful: Jenny Cooksey and Chris Sheppard (Brotherton Library, Leeds University); Chris Banks and Rupert Ridgewell (British Library); Peter Horton (Royal College of Music Library); Veronica Ramos de Deus (Portuguese Embassy, 11 Belgrave Square, London); Monsignor Jim Overton (Church of Our Lady of the Assumption and St Gregory, Warwick Street, London); Don Roberts (Northwestern Music Library, Evanston, Illinois); Amy Cooper (University of Iowa, Special Collections Department); Jennie xii Vincent Novello (1781–1861) Rathbun (Houghton Library, Harvard University); and Rigbie Turner (Mary Flagler Cary Curator of Music Manuscripts and Books at the Pierpont Morgan Library, New York). I am also indebted to the following institutions: in London, the Society of Genealogists, Public Records Office, British Library Newspaper Library, Catholic Central Library, General Register Office, Guildhall Library, National Portrait Gallery, Royal Academy of Music, and Westminster Archives; in Birmingham, the University’s Barber Institute Music Library and the Central Library; in Cambridge, the University Library and Fitzwilliam Museum; in the north of England: York Minster Library, Liverpool Central Library, and Manchester Central Library; in the south of England: the Somerset Record Office, Taunton. There are many colleagues who have offered insights and help during the course of my research. In particular I must acknowledge my gratitude to Michael Allis, Gabriel Austin, Chris Banks, Christina Bashford, Michael Beckerman, Barra Boydell, Rachel Cowgill, Basil Deane, Peter Horton, Michael Kassler, Simon McVeigh, Leanne Langley, Philip Olleson, Lynda Pratt, Tina Ramnarine, Rupert Ridgewell, Paul Rodmell, Michael Smallman, Colin Timms, John Wagstaff, William Weber, and David Wright. I am indebted to the Brotherton Library, Leeds University, for permission to reproduce plates 1, 2, 4, 5, 7 and 8 and to draw extensively on the contents of the Novello Cowden Clarke Collection; to the National Portrait Gallery for permission to reproduce plates 3 and 6; to the British Library for permission to reproduce plates 9 and 10 and to quote from manuscripts within their collections. Finally, my thanks to the team at Ashgate Publishing and in particular to my editor Heidi May. Fiona M. Palmer Belfast, September 2005 Bibliographical Abbreviations ClarkeLLVN M.V. Cowden Clarke, The Life and Labours of Vincent Novello (London, 1864) ClarkeMLL M.V. Cowden Clarke, My Long Life (London, 1896) ClarkeRW C. and M.V. Cowden Clarke, Recollections of Writers (London, 1878) CooperHN V. Cooper, The House of Novello (Aldershot, 2003) CPM L. Baillie, R. Balchin et al. eds, The Catalogue of Printed Music in the British Library to 1980, 62 vols (FRG: K.G. Saur, 1985) DarbyRC R. Darby, ‘The Music of the Roman Catholic Embassy Chapels in London 1765–1825’ (Unpub. MusM diss.: University of Manchester, 1984) Exr The Examiner GigliucciCN V. Gigliucci, Clara Novello’s Reminiscences (London, 1910) Grove1 G.
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