appendix a chronology - springer978-1-349-12776-4/1.pdfappendix a -chronology year age stevens'...

Appendix A - Chronology

Year Age Stevens' life

1757 Richard John Samuel Stevens born in Bell Alley, Coleman St., London, 27 March.

1759 2

Contemporary musicians and events Abel (34), Albrechtsberger (21), M. Arne (17), T. A. Arne (47), S. Arnold (17), c. P. E. Bach (43), J. C. Bach (22), Battishill (19), Boccherini (14), Boyce (47), Cannabich (26), Clementi (5), B. Cooke (25), Danby born 2 Jan., Dibdin (12), Dittersdorf (18), Gluck (43), Graun (56), Haydn (25), Hook (I I), Jommelli (42), Kelly (25), Kozeluch (10), c. Knyvett Snr. (5), Mornington (12), Mozart (I), I. J. Pleyel born 18 June, Quantz (60), Rameau (74), T. Roseingrave (67), Salieri (7), D. Scarlatti (72) dies, J. Stamitz Snr. (40) dies, Stanley (44), Wagenseil (42). Newcastle becomes [Prime] Minister. Greatorex born 5 Oct., J. Sale born. Graun (58) dies, Handel (74) dies. Bagnigge Wells opens. Pitt the younger born 28 May. Cherubini born 14 Sept., Harrison born 8 Sept. Carlisle House (Mrs. Cornelys' Room) opens. Death of George II, accession of George III.

272 RECOLLECTIONS OF R. J. S. STEVENS

Year Age Stevens' life Contemporary musicians and events

1761 4 De Fesch (74) dies. Catch Club founded. Haydn enters service of Esterhazy family at Eisenstadt.

1762 5 Bute becomes [Prime] Minister. 1763 6 Enters choir of St. Gyrowet~. born 19 Feb. First

Paul's Cathedral now Catch Club prizes awarded. End or soon after. of Seven Years War. Grenville

becomes [Prime] Minister. 1764 7 Sings for the first time Rameau (81) dies. Mozart comes

in the treble chorus of to London. an English opera (Almena by Battishill and M. Arne).

1765 8 Attwood born 23 Nov. Almack's Assembly Room opens. Bach-Abel concerts begin at Carlisle House. Rockingham becomes [Prime] Minister.

1766 9 Callcott born 20 Nov., Porpora (80) dies. Anacreontic Society founded. Pitt Snr. becomes [Prime] Minister.

1767 10 Telemann (86) dies. Gluck's Alceste produced in Vienna.

1768 II Bound apprentice to Anna Maria Jeffery born 24 May. William Savage, I 5 Grafton becomes [Prime] Dec., continues to Minister. sing in choir of St. Paul's.

1769 12 Arnold takes over management of Marylebone Gardens. Watt's first steam engine patented. Napoleon born.

1770 IJ Sings in Italian opera Beethoven born 16 Dec., Avison for first time, La (61) dies, Tartini (68) dies. Passzone (Jommelli). Finch's Grotto Gardens open.

'Spinning Jenny' patented by Hargreaves. North becomes [Prime] Minister.

APPENDIX A - CHRONOLOGY 273


1771 14 Has two pieces Plier born I June. performed at the Madrigal Society.

1772 15 Reutter (64) dies. Pantheon opens. New Rooms, Tottenham St., open.

1773 16 Voice breaks; leaves C. Knyvett Jnr. born 23 March. choir of St. Paul's, 3 Quantz (76) dies. Mozart begins April. Hears second visit to Italy. Boston Tea T. A. Arne accom- Party. panying glees at Madrigal Society. Becomes deputy to John Jones, organist of the Charterhouse.

1774 17 Spontini born 14 Nov., Jommelli (60) dies. Hook becomes organ-ist of Vauxhall Gardens.

1775 18 Reaches end of BOleldieu born 16 Dec., Crotch apprenticeship, 15 born 5 July. Hanover Square Dec. Fails in attempt Rooms open. Start of American to become organist of War ofIndependence. St. Stephen, Coleman St., 2 May.

1776 19 Fails in attempt to Smart born 10 May. Hawkins' become organist of General History if Music and first Ely Cathedral. Spends volume of Burney's History writ-six weeks as organist ten. Concert of Ancient Music to Sir Thomas Robin- founded. Marylebone Gardens son at Chelsea (pro- close. American Declaration of prietor of Ranelagh Independence Gardens). Takes violin lessons from Barthelemon. Sings in choir of Chapel Royal for six months.



1777 20 Glee: Prithee, foolish J. B. Sale born 24 June. Wagen-hoy, give a er. Loses seil (68) dies. Mozart begins tour election as organist of to Munich, Mannheim, and St. Katherine Coleman Paris. to Blewitt. Begins to attend Anacreontic Society. Establishes concert series at Rosier's Room, lasting one season.

1778 21 Has glee included in Hummel born 14 Nov., Abel Catch Club collection. (,,) dies, T.A.Ame (68) dies. Becomes deputy to Edward Thurlow becomes the Samuel Howard, first Baron Thurlow, and Lord organist of St. Bride, Chancellor. France becomes ally Fleet St. Starts teach- of Americans in War of ing at Miss Le Cour's Independence. School, Dulwich. Composes and publishes cantata All in the downs the fleet lay moor 'd.

1779 22 Starts teaching Lord W. Knyvett born 21 April, Thurlow's daughters Boyce (69) dies. at Miss Le Cour's School. Admitted a member of the Friendly Harmonists.

1780 23 Starts teaching Lord Thurlow moves his family Caroline Thurlow from Dulwich in the face of the privately. Gordon Riots.

1781 24 Glee: See what homa Lord Kelly (49) dies, Myslivecek tempests rise. Elected (44) dies, W. Paxton (44) dies. organist St. Michael, Friendly Harmonists' society Comhill, , May. expires. Almack's Room taken

over by Willis, and renamed Willis' Room.



1782 25 Starts teaching Field born 26 July, J. C. Bach Catherine Thurlow (47) dies. Mozart writes first of privately. Wins Catch his 'Haydn' Quartets. Watt's Club gold medal for double-action steam engine first time with See patented. Rockingham and then what horrid tempests rise. Shelburne succeed North as

[Prime] Minister. Peace treaty, creating United States of America, signed with American Colonists.

1783 26 Elected into member- Professional Concerts founded. ship of Catch Club. Shelburne resigns. Fox and

North form a coalition with Port-land as [Prime] Minister, which falls to Pitt the Younger. Lord Thurlow resigns as Lord Chancellor, and is reappointed later in the same year.

1784 27 Glee: It was a lover Spohr born 5 April. Handel and his lass. Gp. 1 Commemoration, 26 May to 5 sonatas for piano with June. violin accompaniment published.

1785 28 Becomes tenor in Concert of Ancient Music chorus at Concert of receives royal patronage. Ancient Music. Royalty Theatre opens.

1786 29 Elected organist of Bishop born 16 Nov., Weber Inner Temple, 6 June. born 18 Dec. M. Arne (46) dies. Wins Catch Club gold medal with It was a laver and his lass.

1787 30 Gp. 2 collection of T. A. Arne (77) dies, Gluck (73) Ten Songs for voice dies. Glee Club founded. Call-with accompaniments cott submits 120 entries in Catch published. Club competition, leading to a

ban on multiple entries.



1788 3I Anna Maria Jeffery C, P. E. Bach (74) dies. Carlisle and her sister become House (Mrs. Cornelys' Room) his pupils. pulled down. Apollo Gardens

open. 1789 32 Glee: Altho' sift sleep. King's Theatre, Haymarket,

Arranges the first con- burns down. George III recovers cert of music givetl°-by from his first serious bout of his pupils. Contributes insanity. Meeting of the Estates to Pro/essional Glee General in France. Storming of Boole (intended to rival Bastille, 14 July. Warren's Catch Club collection).

1790 33 Glees: Crahhed age and Musical Graduates Society youth, Requiem. Starts founded. Haydn moves to teaching at Mrs. Ray's Vienna. Repeal of Test and School, Streatham. Corporation Acts defeated. Organizes two further concerts by his pupils, at Lord Thurlow's encouragement.

1791 34 Glee: Ye spotted snakes Czerny born 20 Feb., Meyerbeer with douhle tongue born ; Sept. Mozart (3;) dies, revised. First sings at Lord Mornington (46) dies. Je Ne Sais Quoi Club. Haydn visits London. Harrison Visits Pleyel's Pro- and Knyvett's Vocal Concerts fessional Concert, and begin. Pantheon burns down. Haydn's concerts 'in order to hear the modern German style of music'.

1792 3; Glees: Some 0/ my Rossini born 29 Feb., Potter heroes are low; Fail)' born 3 Oct. Caroline Thurlow Glee (From Oheron); elopes. Lord Thurlow resigns as and Send home my Lord Chancellor. Execution of long-stray'd ryes to me. Louis XVI. Op. 3 glees published. Visits France in course of the Revolution with Samuel Birch.


Year Age Stevens' life Contemporary.musicians and events

1793 36 Attends Blencoe's B. Cooke (61) dies. Academy of concerts. Ancient Music, and Professional

Concerts expire. France declares war on United Kingdom and United Provinces.

1794 37 Glees: Sober lay and Haydn's second visit to London. mirthfol glee (Harmon- Harmonists' Society founded. ists' Glee); 0 strike the Anacreontic Society expires. harp. S. is founder Harrison and Knyvett's Vocal member of Harmon- Concerts suspended. ists' Society.

1795 38 Glee: The cloud-cap't Beethoven's first public perform-towers. ance in Vienna, 29 March.

1796 39 Becomes organist of Dupuis (63) dies. Attwood the Charterhouse. Op. becomes organist of St. Paul's. 4 glees published. Napoleon takes command of

French army. 1797 40 Mounts his first con- Donizetti born 25 Nov.,

cert of Vocal and Schubert born 31 Jan. Haydn Instrumental Music at composes The Seasons. Napoleon the Charterhouse. conquers Italy, and forces

Austria to sign armistice. 1798 41 Glee: .(fin the breast, so Danby (41) dies. Foundation of

good, so pure. Mounts Concentores Society. Harmon-his first concert of ists' Society mounts its first sacred music at Ladies' Concert. Napoleon Charterhouse. First invades Egypt; Nelson wins volume of Selections of Battle of the Nile, 1 Aug. Sacred Music published.

1799 42 Glee: Witches'Song Joah Bates (59) dies, Dittersdorf and Chorus. Anna (60) dies. Napoleon becomes Maria Jeffery rejects First Consul of the French his proposal of marri- Republic. Combination Act pro-age, 22 April. scribes banding together of

workmen to press for better wages and conditions.



1800 43 Starts teaching at Mrs. Piccinni (72) dies. Premiere of Carter's School, Lam- Beethoven's First Symphony. beth, and resigns his position at Mrs. Ray's school, Streatham, to Attwood. Op. 5 glees (including Requiem) published.

1801 44 Elected Professor of Bellini born I Nov., Battishill Music at Gresham (63) dies, Cimarosa (52) dies. College. Second Harrison and Knyvetts' Vocal volume of Selections Concerts resume. Union of Irish of Sacred Music and British parliaments. Pitt published. resigns as [Prime] Minister, and

is succeeded by Addington. 1802 45 Caroline Brown (nee Arnold (62) dies. Beethoven

Thurlow) is reconciled writes Hei/igenstadt Testament at to her father. Third onset of his deafness. Britain volume of Selections makes temporary peace with of Sacred Music France in Treaty of Amiens. published.

1803 46 Patriotic song He may Berlioz born 9 Dec., Glinka born come if he dare. Joins I June. Siissmayr (37) dies. St. Sepulchre Vol un- Ranelagh Gardens close. Dis-teers. Donates to the trustful of apparently hostile Catch Club a complete actions, Britain declares war on and newly corrected France, 17 May. set of the glees he had submitted for its prize medals.

1804 47 Takes the waters at Johann Strauss (i) born 14 Bath, and visits Bath March. Pitt the Younger suc-Catch Club. ceeds Addington as [Prime]

Minister. Napoleon creates him-self Emperor Napoleon I.

1805 48 Glee: Orpheus with his Boccherini (62) dies. Battle of lute. Resigns all his Trafalgar, 21 Oct. Napoleon teaching positions crowned King of Italy. after a period of illness.



1806 49 Lorq Thurlow (75) Pitt the Youn~er (47) dies, W. dies. Op. 6 glees Grenville bec mes [Prime] published. Minister.

1807 50 Anna Maria calls at Callcott admitted to asylum. the Charterhouse gate, Portland becomes [Prime] Minis-26 Sept. Writes Recol- ter. Napoleon invades Spain and lections for 1794-6. Portugal; Peninsular War begins.

1808 5 I Glee: Whence comes my Ayrton (76) dies, Barthelemon love. Becomes organist (67) dies. Fire at Covent Garden to Christ's Hospital. Theatre. Writes Recollections for 1778-87. Sells copyright in his sacred music to Preston for 100 guineas.

1809 52 Oratorio: The Mendelssohn born 3 Feb., Captivity. Albrechtsberger (73) dies, Haydn

(77) dies. Callcott's benefit at the King's Theatre, Haymarket, 7 April. Fire at Drury Lane Theatre. Wellesley takes command of British forces in Peninsular War. Portland resigns, Perceval becomes [Prime] Minister.

1810 53 Marries Anna Maria Chopin born 22 Feb., Schumann Jeffery, 7 June, and born 8 June, Garth (88) dies. takes extended honeymoon in southern England. Resigns posts as organist to St. Michael, Cornhill, Inner Temple, and Christ's Hospital.

18II 54 Glee: Floreat aetemum Liszt born 22 Oct. George III Carthusiana Domus. lapses into insanity again; the Son Richard born 7 Prince of Wales becomes Prince Aug. Regent.



1812 55 Dussek (51) dies, Harrison (42) dies. Argyle Rooms open. Premiere of Beethoven's Seventh Symphony. Perceval assassin-ated, Liverpool succeeds him as [Prime] Minister.

181 3 56 Starts petitioning for Alkan born 30 Nov., Wagner augmentation of salary born 22 May, Grt~try (72) dies. at the Charterhouse. Philharmonic Society founded.

Russian forces drive Napoleon back, and defeat him in Battle of Leipzig.

1814 57 Writes RecoUections for Burney (88) dies, Dibdin (69) 1788 and 1801-5. dies. Wellesley drives Napoleon Salary increased at out of Portugal and Spain and Charterhouse from then invades France. Napoleon £29.18. to £50' abdicates as Emperor.

18q 58 Writes Recollections for Corn Law passed. Battle of 1806-12. Waterloo, 18 June; Napoleon

banished to St. Helena. 1816 59 Paisiello (75) dies, Salomon (71)

dies, Webbe Snr. (76) dies. 181 7 60 Inherits £13,566 on Gade born 22 Feb., Mehul (54)

the death of Thomas dies. Parsons (71) dies. Waterloo Rivers. Inherits a ring Bridge opened for carriages, 18 which Handel had left June. to S.'s master William Savage, following the death of Savage's son George in 18 I 6, and purchases Savage's library of music from George's widow.

1818 61 Gounod born 17 June, Kozeluch (7 I) dies. Death of Queen Charlotte.



1819 62 Revises many of his Offenbach born 21 June. early glees. Sends his son Richard to Mr. Roger's School, Loughton.

1820 63 Collect: 0 God the Vieuxtemps born 20 Feb. Death King. of George III, accession of

George IV. 1821 64 Sells duplicates in his Callcott (55) dies, Napoleon (52)

musical library. dies. 1822 65 Resigns as librarian of Franck born 27 May, Herschel

the Harmonists' (84) dies, C. Knyvett Snr. (70) Society, 21 March. dies. Harrison and Knyvett's

Vocal Concerts cease. 1823 66 Sends his son Richard Lalo born 27 Jan.

to Cheam School. 1824 67 Bruckner born 4 Sept., Smetana

born 2 March, Viotti (71) dies. Premiere of Beethoven's Ninth Symphony.

1825 68 Resigns from Strauss (ii) born 25 Oct., Salieri Harmonists' Society, (75) dies. 10 Nov.

1826 69 Presents his printed Weber (40) dies. glees and sacred music to Charterhouse.

1827 7° Sells plates and the Beethoven (57) dies, Hook (81) copyright in his music dies, J. Sale dies (69). Liverpool to Preston, 4 Jun. resigns, Canning and then

Goderich become [Prime] Minister.

1828 71 Completes RecoUections Schubert (31) dies. Wagner writ-now or in 1829. ing his first compositions. Repeal

of Test and Corporation Acts. Wellington becomes [Prime] Minister.



1829 72 His son Richard A. Rubenstein born 28 Nov. matriculates at Gossec (9;) dies, Shield (81) Wadham College, dies. Mendelssohn visits Oxford. Scotland. Roman Catholic

Emancipation Act passed.

1830 73 Goldmark born 18 May, Greatorex (7;) dies. Berlioz writes Symphonie Fantastique and wins Prix de Rome. George IV dies, William IV becomes king, 26 June. Grey becomes [Prime] Minister. Revolution in France.

1831 74 Becomes one of the Pleyel (74) dies. judges in the Gresham Prize for sacred music.

1832 7; Begins writing Clementi (80) dies. Reform Act Anecdotes. passed.

1833 76 Finishes writing Brahms born 7 May. Herold (42) Anecdotes. His son dies. Oxford Movement begins Richard graduates with first of the Tracts for the

B.A. from Oxford. Times. Abolition of slavery in British colonies.

1834 77 His son Richard enters Borodin born 30 Oct., Boieldieu Gray's Inn, studying (;9) dies. Poor Law passed. to become a barrister. Veto Act passed by General

Assembly of Church of Scotland. Melbourne, Wellington, and then Peel are [Prime] Minister for short periods.

183; 78 Bellini (34) dies. Melbourne becomes [Prime] Minister.

1836 79 Cui born 6 Jan., Saint-Saens born 9 Oct., Stafford Smith (86) dies.

APPENDIX A - CHRONOLOGY

Year Age Stevens' life

IS37 So Stevens dies at Peckham, 23 Sept.

Contemporary musicians and events Alkan (24), Attwood (72), Balakirev born 3 I Dec., Berlioz (34), Bishop (5 I), Brahms (4), Bruckner (13), Borodin (3), Cherubini (77), Chopin (27), Crotch (62), Cui (I), Czerny (46), Donizetti (40), Franck (15), Gade (20), Glinka (34), Goldmark (7), Gounod (19), Gyrowetz (74), Hummel (59) dies, W. Knyvett (5S), Lalo (14), Liszt (26), Mendelssohn (2S), Meyerbeer (46), Offenbach (IS), Potter (45), Rossini (45), Rubinstein (S), Saint-Saens (I), Smetana (13), Spohr (53), Spontini (63), J. Strauss (i) (33), J. Strauss (ii) (12), Wagner (24). William IV dies, Victoria becomes queen 20 June, Melbourne becomes [Prime] Minister.

Appendix B - People and Institutions

Allen, Henry (before 1740-1802) Stevens was befriended by Allen while a chorister at St. Paul's Cathedral. Allen was a fl\iend of Stevens' father, who married Allen's sister after the death of his first wife. On the death of his father in 1778, Stevens arranged for Allen to take over all his father's business and apprentices, a favour which Allen returned by helping Stevens canvas for the post of organist to St. Michael, Cornhill, and later, for the Gresham chair of music. Allen became a second father to Stevens, and when Anna Maria Jeffery refused Stevens' proposal of marriage, apparently on grounds of his lack of wealth, Allen offered to settle his entire fortune on Stevens to help his cause, an offer which Stevens declined both then, and when it was repeated shortly before Allen's death. Allen nevertheless left Stevens £1000 (over a year's income), and named him as residuary legatee, by which he received the residue of Allen's estate after all other claims were settled, though the precise sum received is unclear.

Anacreontic Society (1766--92) One of the most prestigious musical organizations in late eighteenthcentury London, its meetings comprised a concert of instrumental music, described by the Daily Universal Register (predecessor of The Times) of 10

October 1785 as 'the best in town', followed by supper concluding with the grace Non nobis Domine, and then the singing of glees and other vocal music under the direction of the society's president. The first glee sung was always the society's song To Anacreon in Heaven, with music by John Stafford Smith and works by Ralph Tomlinson, in which the verse was always sung by a distinguished tenor soloist, and the chorus by the assembled company. The Anacreontic Song is better known today, with later words by Francis Scott Key, as the national anthem of the United States of America. The Anacreontic Society was a male preserve, and

APPENDIX B - PEOPLE AND INSTITUTIONS

expired around 1792 after bitter arguments about the propriety of allowing women to attend part of the meeting, a problem which other gleesinging clubs solved by admitting women to occasional 'ladies' nights'. Stevens gives a detailed account of the Anacreontic Society on pp. 24-8, though he neglects to mention that it originally met near the Mansion House in the city, before moving to the Feather and HalfMoon taverns in Cheapside, the London Coffee House and the Crown and Anchor tavern.

Ancient Concerts See Concert of Ancient Music

Arne, Michael (cI740-86) He was said to be the natural son of Thomas Augustine Arne, and was brought up by his aunt Susanna Cibber (nee Arne); like his father, he followed a career dominated by music for the theatre. He made his debut in 1746 at the age of six, and five years later was singing his father's music at Marylebone Gardens. Several collections of Arne's songs were published while he was still in his teens, and his real talents lay not in singing but in keyboard playing and composing for the theatre. In 17P he made his debut as a soloist in one of his father's organ concertos, and was one of the few keyboard players to continue Handel's practice of introducing organ concertos, with occasional improvisations between some of the movements, into theatrical performances. No organ concertos by Michael Arne survive, but he seems to have retained his father's concertos for his own exclusive use, and only announced plans for their publication after his own retirement.

Arne, Thomas Augustine (I7ID-78) At the age of 22 Arne was one of the leading conspirators in the pirate performance of Ads and Galatea which first prodded Handel into the arena of the English oratorio, and followed this by engaging the Theatre Royal in Lincoln's Inn Fields for performances of English opera later in the same season. From this foundation Arne built a successful career in the theatre, where his works span a wide range of styles from masques and instrumental music through English operas such as Thomas and Sally, to works which strain at the boundary between English and Italian opera, like The Guardian Outwitted and Artaxerxes. Cut off from any ecclesiastical appointments by his Roman Catholicism, Arne prudently averted any suggestion of disloyalty during the Jacobite rebellion of 1745. by including his arrangement of the scurrilously anti-Jacobite song God save great George our King' in performances at the Drury Lane.

Throughout his career, the pleasure gardens of London provided Arne

I. Better known today, with a revised text, as God save our gradous Queen.


with a ready audience for his wealth of English songs; he was able to draw on this, his theatrical experience, and his freedom from the Anglican choral tradition to provide some very distinctive glees when this genre became established in the 1760s. Arne was also one of the first to present glees in public performance with instrumental accompaniment, including them in programmes at Ranelagh and Marylebone Gardens from 1767.

Arnold, Samuel (174~1802) He was a prolific musician, active in all areas of London's musical life. Much of his career was spent in the threatre, where he either composed or reworked over 80 pieces. From 1769 to 1773 he was the lessee and proprietor of Marylebone Gardens, and his music proved perennially popular with pleasure garden audiences. Secular activities did not prevent Arnold becoming organist to the Chapel Royal in 1783 and to Westminster Abbey in 1793, which posts he combined with conducting the Academy of Ancient Music from 1784 to 1792. Like many musicians from the cathedral tradition he became involved in the glee singing clubs of London, being one of the founders of the Glee Club in 1787, of the Musical Graduates Society in 1790, and the last president of the Anacreontic Society; his glees sit well within the tradition of the glee singing clubs. As a leading figure of the musical establishment, he was one of the directors of the 1784 Handel Commemoration, the Festival of the Sons of the Clergy in 1797, and of the Professional Oratorios, as well as being the editor both of an incomplete 'complete' edition of the works of Handel, and the continuation of Boyce's Cathedral Music series.

Attwood, Thomas (1765-1838) Best remembered today as a pupil and friend of Mozart, Attwood spent much of his life in the circle of George IV, who, as Prince of Wales, paid for Attwood's sojourn abroad, including the famous lessons with Mozart in Vienna, and later gave him a series of court positions. Although he composed a number of stage works, Attwood is best remembered for his non-theatrical activities, as organist of St. Paul's Cathedral from 1796, of the royal chapel in Brighton from 1821 and the Chapel Royal in London from 1836, and for his involvement in the early years of the Philharmonic Society.

Stevens' diaries record frequent contact with Attwood from the early 1800s. They were both members of the Harmonists' Society, and for many years Attwood was Stevens' deputy as conductor, directing glees from the piano. In 1800 Stevens resigned the teaching of music at Mrs. Ray's School, Streatham, and in 180) gave up his private teaching, on both occasions passing pupils to Attwood.


Bartleman, James (1769-1821) He was a bass singer, who trained iri'the choir of Westminster Abbey under Benjamin Cooke. An advert in the Daily Universal Register of 2 February 1786 mentions his singing in a benefit for the Humane Society in 1786, and in 1788 he made his debut at the Concert of Ancient Music. Parke records his singing at Covent Garden from 1791, the year in which he joined Harrison and Knyvett's newly constituted Vocal Concerts. By 1793 he had established himself as a leading bass singer in Handel's oratorios, and was one of the principal bass singers at the Concert of Ancient Music from the suspension of the Vocal Concerts in 1794 until his retirement in 1818. One of the founder members of the Glee Club, and a member of the Concentores Society, Bartleman was a friend of Stevens, whose diaries record their dining together at private glee parties on various occasions in the 1800s.

Bates, Joah (174()-4)9) A distinguished organist and director, Bates was educated at Eton and King's College, Cambridge, where he held a fellowship in the early 1770s, before pursuing a civil service career, becoming a commissioner of the Victualling Office and of the Customs. An early appointment as private secretary to the Earl of Sandwich brought him into contact with one of the leading proponents of the 'ancient' (i.e. Baroque) style of music, for which Bates had considerable sympathy; in collaboration with Sandwich, and Sir Watkin Williams Wynne, he was one of the prime movers in the establishment of the Concert of Ancient Music and the Handel Commemoration, appearing with considerable success as the conductor (i.e. organist and director) of both ventures. Bates had a small number of private singing pupils, including the celebrated soprano Sarah Harrop, whom he married in 1780; they had two sons, Edward and Charles, one of whom appears to have been among Stevens' gleesinging companions in the 1820S (see pp. 236 and 242). He appears to have been one of the few people to straddle the gap between professional musicians and their aristocratic patrons, which may explain the highhandedness Stevens seems to attribute to him.

Battishill, Jonathan (1738-1801) An extremely talented organist and composer, he, like Stevens, was both a chorister at St. Paul's and apprentice to William Savage. In his early twenties he was engaged as a harpsichord player and director at the Covent Garden theatre, composing a small amount of theatrical music for performance there and at Drury Lane. He became organist of St. Clement, Eastcheap, in 1765, and Christ Church, Newgate St., in 1767, holding both posts until his death; but despite considerable talent and


musical skills which gave him 'by nature what [others] . . . [had] to fag hard and labour for', and his being the obvious candidate, he was not appointed organist of St. Paul's in 1796, because of his infamous propensity for liquor, which had become more pronounced since the breakdown of his marriage in 1777.

A member of both the Madrigal Society and the Catch Club, though not a particularly active singer, Battishill won a Catch Club prize in 1771, and wrote a number of interesting glees which neatly complement his sacred compositions. His Collection of Songs for Three and Four Voices from around I 770 ~as one of the first published collections of glees to contain fragments c!>fkeyboard accompaniment cued into the vocal parts.

Birch, Samuel (1757-1841) Dividing his time between work as a playwright, confectioner and politician in the City of London, he was elected to the Common Council in 1781, served as an\AldermaJ from 1807 until 1839, and was Lord Mayor in the year 18q-H. Stevens occasionally set texts by Birch, as in his 1786 Ode for the '~ondon Hospital; they were both members of the Harmonists' Society, and Stevens taught Birch's daughter between 1786 and 1792. In 1792 they visited France together, but shortened their journey because of the upheaval of the revolution. Stevens gives the impression that Birch was fascinated by (and even sympathetic to) these events, but on their return to London, Birch proposed the formation of a volunteer regiment to guard against revolution in Britain, a measure which found little support until revolutionary France, under Napoleon, threatened England in 1802, whereupon he became Lieutenant Colonel of the First Regiment of the Loyal London Volunteers.

Callcott, John Wall (1766-1821) Largely self-taught in music, he became deputy to Reinhold, organist of St. George the Martyr, Bloomsbury in 1783, on the recommendation of Attwood. After two years in this position, and regular appearances as a chorus singer in the Drury Lane oratorios, and as a 'supernumerary hautbouy' in the concerts of the Academy of Ancient Music, he took the Oxford BMus degree, for which his exercise was a setting for choir and orchestra of Warton's Ode to Fancy. Most of his career was spent in teaching music and as a church organist, serving jointly with Charles Evans at St. Pauls's Covent Garden from 1789 to 1795 and at the Asylum for Female Orphans from 1792 to 1802. Callcott had a strong interest in music theory, corresponding with many of the leading theoreticians and music historians of his time, and was among the first Englishmen to take an interest in the music of J. S. Bach which had probably been introduc~d to him by his friend the Bach-devotee


A. F. Kollman. His Musical Grammar, published in 1796, enhanced Callcott's reputation, and he became lecturer on music to the Royal Institution in 1807. However, his mental health was already failing, as Stevens' account of one of his lectures suggests,' and in 1808 he was admitted to Dr. Coxe's asylum at Fishponds near Bristol, where he remained for four years. A partial recovery in 1812 allowed him to return to London and continue work on his dictionary of musicians, but the improvement proved temporary, and in 1816 he returned to the asylum where he remained until his death. The success of his benefit on 7 April 18°9, which was over-subscribed and had to be moved at the last minute from the Hanover Square Rooms to the King's Theatre, and the impressive list of players who volunteered their services, testify to the esteem in which he was held both by audiences and by his fellow musicians.

In 1787 Callcott submitted over a hundred pieces in the Catch Club competition, causing the club some harm as it had to pay singers to perform every entry to the judges (the Catch Club promptly introduced a rule banning multiple entries). His early glees, such as Go. idle boy are well written and entertaining though they break no new ground, but his mature works include a number of glees for two sopranos and bass which are in effect miniature cantatas, such as his setting of The Erl King. Significantly he appears to have published many of these glees in two parallel versions, one with a written piano accompaniment, and one without.

Catcb Club (1761- ) The Noblemen and Gentlemen's Catch and Glee Club, usually called the Catch Club, was founded in 1761. From the outset it was dominated by members of the nobility and gentry (its eight founder-members including three earls and two generals), and met during the winter from the assembly of Parliament to the king's birthday. Meetings comprised dinner followed by the singing of glees and catches selected by each member in turn, beginning with the canonic grace Non nobis Domine. Music was sung at sight, and, to ensure a reasonable standard, there was a separate class of 'professional members' attending meetings, who were professional musicians; Stevens was elected into this class in 1783.

From 1763 the Catch Club held an annual competition for glee composers. AdvertisemeQ.ts were placed in the papers during the winter, inviting composers to submit glees, catches, and rounds for consideration. The club engaged singers to perform the competition glees on successive Saturdays until they had all been heard by the committee,

2. See p. 155, from January 1808.

RECOLLECTIONS OF R. J. S. STEVENS

who then awarded the prize medals; from 1768 there was one medal for each of the best serious glees, cheerful glees, catches, and canons. Stevens relates that the cost of performing the large number of entries submitted by John Wall Callcott during the 1780s caused the club some financial difficulty, and it restricted the entries to one of each class from 1787. The prizewinning glees, and some of the best of the new glees sung at the club during the season, were published annually in a volume compiled by the secretary E. T. Warren. His conduct of the annual competition and publication was not always beyond reproach, and both were abandoned when Samuel Webbe succeeded him as secretary in 1794. From 1774 the Catch Club held an annual Ladies' Night or Anniversary, where a new occasional ode was sung; the text for each year's ode was circulated among some of the professional members, and the best setting received a five-guinea prize; Stevens competed unsuccessfully for this in 1785.3

Charterhouse (1611- ) The origins of the Charterhouse go back to the bubonic plague of 1348-9, when Ralph Stratford, Bishop of London, bought three acres of land to serve as an extra burying ground. The building of a chapel for this cemetery began in March 1349, and 20 years later, formed the nucleus of a Carthusian monastery. At the Reformation the monks were variously expelled and executed, and the monastery left desolate. After use as a town house for various noblemen, among whom the Duke of Norfolk, Mary Queen of Scots' suitor, made the most significant alterations, the Charterhouse was bought by Thomas Sutton in 161 I. Sutton, a former soldier and merchant, had planned to build a hospital for old gentlemen and a school at Hallingbury in Essex, but now switched this plan to the buildings of the Charterhouse. He died soon afterwards, and the completion of his scheme was carried out by the first governors, who decided that the 80 old gentlemen, whom Stevens calls 'poor brothers' should be 'such as could bring a good testimony of their behaviour and soundness in religion, and such as had been servants to the King's Majesty, either decrepid or old, captains at sea or land, soldiers maimed or impotent, decayed merchants ... ' Subsequently the poor brothers became better defined as single or widowed members of the Church of England, who were gentlemen by birth. The other half of Sutton's foundation was a school with at first 40 and then 60 scholars and additional boarders, numbering a full complement between 400 and 500 in Stevens' time. In

3. This is described in John Wall Callcott's manuscript notebooks in the British Library, MSS 27646, [117.


181 I, on the 200th anniversary of Sutton's founding of the Charterhouse, Stevens contributed to the celebration with his Floreat aetemum Carthusiana Domus, while the annual Founder's Day celebrations are on the anniversary of Sutton's death on 12 December 161 I.

Concentores Society (1798-1812; ?1817-?1847) A small group of professional musicians who met for dinner and postprandial glees, and may have been related to the earlier Society of Musical Graduates, founded in 1790. The organization, known variously as the 'Concentores Sodales' and 'Concentores Society', came into being in 1798, and seems to have suspended its activities between 1812 and 18 I 7. The papers of John Wall Callcott describe the meetings of the Concentores as very private gatherings of musical friends, which supports the impression given by a letter from Samuel Wesley to his brother Charles,. and by Stevens' diary, where he talks of dining with the Concentores as a guest in the same way as he talks of being a guest at private musical dinner parties.

Concert of Ancient Music (1776-1848) Often known as the 'Ancient Concerts', the Concert of Ancient Music was founded in 1776 by several devotees of the 'ancient' (i.e. Baroque) style of music, headed by Lord Sandwich, Joah Bates, and Sir Watkin Williams Wynne, who were also behind the 1784 Handel Commemoration. At an early stage in the organization's life, presumably soon after the twentieth anniversary of Handel's death (which fell in 1779) the Ancient Concerts developed a penchant for programming only the works of composers who had been dead for at least 20 years. Trading on the popularity of the 'ancient' style, and, from 1785, the patronage of George III, the Ancient Concerts maintained a reputable choir and orchestra, and enjoyed considerable prestige. Programmes were usually a heterogeneous mixture of vocal and instrumental music, dominated by selections from the oratorios of Handel. The organization was criticized for being too conservative and reluctant to admit the works of 'modern' composers such as T. A. Arne, when they had been dead for more than 20 years,! but this situation improved from 1832 when William Knyvett became conductor and widened the selection of music. In 1833 Knyvett even programmed one of Stevens' glees, but was rewarded for his enterprise with the composer's censure for a poor performance. Though he

4. I am indebted to Philip Olleson for drawing this letter to my attention. 5. If a modern concert promoter selected programmes by the Ancient Concert's 2o-year rule, even conservatively applied, the resulting programmes could include the works of composers like Brecht, Schoenberg, Skalkottas, Stravinsky, and Varese, and would doubtless be considered most adventurous!


performed there very rarely, Stevens was a regular attender at the Ancient Concerts until well into his seventies.

Friendly Harmonists (before 1779-after 1781) One of London's smallest glee clubs, its members were mostly middleclass amateurs who were directed from the piano either by the (then) Gresham Professor of Music, Theodore Aylward, or by Stevens in the singing of post-prandial glees at Anderton's Coffee House in Fleet Street. Stevens says that the society expired around 178 I on the death of a lawyer named Howarth, who was one of its leading members, though it may be related to the 'Friendly Harmonic Society' for whom Robert Cooke wrote an ode in 1789.

Glee Club (1787-) Growing out of a private gathering of glee singers in the home of Robert Smith, the club's first treasurer, the Glee Club was formally constituted in 1787 along lines very similar to the Catch Club, though with a less patrician membership. As at the Catch Club, there were subscribing and professional members, (membership in either class lapsing if a member failed to attend with reasonable frequency), and meetings took the form of dinner followed by glee singing, here beginning with the club's glee Glonous Apollo by its first secretary, Samuel Webbe. Occasionally the Glee Club offered prizes, one of which was won by William Warren in 1802, and three more, endowed in the will of Robert Smith, by Reginald Spofforth in 1810 and C. S. Evans in 181 I and 1812. From 1793 a second, rival Glee Club met at the Garrick's Head Coffee House.

Greatorex, Thomas (1758-1831) As a boy in Leicester, Greatorex came into contact with Joah Bates, and his patron the Earl of Sandwich. Through this introduction, and an apprenticeship to Benjamin Cooke, organist of Westminster Abbey, Greatorex came to be closely involved with the ancient style of music, singing in the chorus of the Concert of Ancient Music from its foundation in 1776. After a spell as organist of Carlisle Cathedral (1781-4), and a prolonged trip to Italy, Greatorex settled in London as a singer, organist, and teacher, succeeding Joah Bates as a conductor of the Concert of Ancient Music in 1793. A glee singer and composer, and member of the Catch Club, his interests extended well beyond the ancient. style, for he joined his lifelong friend Samuel Harrison in the re-establishment of Harrison and Knyvett's Vocal Concerts in 1801, and was a busy arranger of a wide range of music, including Stevens' (Oh strike the harp). Greatorex was also active as a 'conductor' of Baroque music at various festivals early in the nineteenth century, and became organist of Westminster Abbey in 18 I 9, in which capacity he allowed boys from the

APPENDIX B - PEOPLE AND INSTITUTIONS 293

Abbey choir to attend Stevens' private glee-singing parties during the I 820S.

Gresham College (1597- ) This was founded in 1597 under the will of the Elizabethan financier Sir Thomas Gresham, with the Corporation of London and the Worshipful Company of Mercers as trustees. In the eighteenth century there were seven professors, the Corporation of London appointing those of divinity, astronomy, music, and geometry, with the Mercers Company appointing those of law, physic, and rhetoric. From 1771 until his death in 1801, Theodore Aylward held the chair of music. In 1801 he was succeeded by Stevens, who delivered the regular Wednesday afternoon lectures during term-time with considerable diligence until his death at the age of 80.

Harmonists' Society (1794-after 1825) It was founded in 1794 by Stevens, George Arnull, later Stevens' deputy and successor at St. Michael, Cornhill, and two of their friends. Like the Friendly Harmonists, they were a small gathering which met for dinner followed by glee singing, having as their club glee Stevens' Sober lay and mirthfoi glee, and meeting on alternate Thursdays during the winter, initially at Wills' Coffee House, and subsequently at the New London and then the City of London Taverns. The music was conducted (i.e. directed from, and accompanied on, the piano) by Stevens, ably assisted by his deputy, Thomas Attwood. Stevens resigned his librarianship in 1822 and both his conductorship and membership in 1825, by which time the society's membership had become more gentrified, and included various members of the nobility, with the Duke of Sussex as President. Women were excluded from normal meetings of the Harmonists, but from 1795 there was an annual concert of music for the ladies in late March or early April, preceded by regular additional rehearsals, and this may have involved female singers.

Harrison, Samuel (1760-1812) The tenor Samuel Harrison was discovered in Derbyshire by William Burton, Savage's deputy, and brought to London where he was instructed by Burton and Stevens. Both before and after his voice broke, Harrison enjoyed a considerable reputation as a singer, not least through his prominent role in the Handel Commemoration and appearances at the Concert of Ancient Music, Professional Concerts, and oratorios held in the London theatres. Harrison was also very active in the world of glee singing, being elected to membership of the Catch Club in the same year as Stevens, a founder member of the Glee Club, a member of the Concentores Sodales, and the dedicatee of a number of glees. In 179 I he


joined with Charles Knyvett Snr. to found their famous Vocal Concerts, which ran intermittently until the latter's death in 1822.

Harrison and Knyvett's Vocal Concerts (1791-4; 1801-22) Usually known as the Vocal Concerts, these were founded in 1791 at Willis' Room by Charles Knyvett Snr. and Samuel Harrison, who had come to prominence together in the Handel Commemoration seven years earlier. Initially the principal singers were the soprano Ann Cantelo (Harrison's wife), Charles Knyvett Snr. (alto), Samuel Harrison (tenor) and James Bartleman (bass). In 1794 the concerts were suspended, resuming in 1801 when Thomas Greatorex and Charles Knyvett's two sons joined the enterprise. The Knyvett family's involvement increased further in 18I2 when the series amalgamated with the Vocal Subscription Concerts run by Vaughan and the two Knyvett sons, and the concerts finally ended in 1822 when Charles Knyvett Snr. died, and his elder son moved from London to the estate he had purchased shortly before his death at Sonning in Berkshire.

After their revival in 1801 the Vocal Concerts broadened their repertoire by including orchestral music, but the large quantity of music published 'as performed at Messrs Harrison and Knyvett's Vocal Concerts' gives impressive testimony to the vitality of the series, which, by bringing together music and singers from many areas of activity, did much to foster the cross-fertilization of different genres of vocal music, and contributed to the rich diversification of the glee at the start of the nineteenth century.

Hook, James (1746-1827) Best remembered as the celebrated organist of Vauxhall Gardens from 1774 to 1820, James Hook was a versatile musician and the composer of much entertaining and deservedly popular music. He was born and educated in Norwich, and moved to London in 1763, becoming successively organist of the gardens at White Conduit House, Marylebone, and then Vauxhall, also holding several church posts. In 1765 he won a Catch Club prize for his Parting Catch, a success which he repeated in 1772 and 1780. Besides these pieces in the conventional club idiom, he wrote a number of delightful glees and catches with orchestral accompaniment for Vauxhall, which owe a great deal to the style of his songs and cantatas for the same gardens, and are reminiscent of Herschel's glees for the Spring Garden in Bath. Although highly successful, Hook seems to have hankered after more orthodox theatrical and ecclesiastical appointments; he was one of the unsuccessful candidates for the post of organist to the Charterhouse when Stevens was elected in 1796.


Home, Warren See Warren [-Home], Edward Thomas.

Jeffery, Anna Maria (1768-1847) At the age of 20, in 1788, she became a pupil of Stevens, and rapidly earned a place in his affections, usually being referred to as 'my favourite pupil' or 'my dearest Anna Maria'. After I I years Stevens proposed to her, apparently during one of her lessons, and was devastated by her refusal (probably on grounds of social and family pressure, see Introduction). Eventually Anna relented, perhaps when it was clear to her family that she was unlikely to marry anyone if she did not marry Stevens, and in 1810, 22 years after their first meeting, and I I years after first proposing, Stevens married his dearest Anna Maria; he was 53 and she 42. Fourteen months later, Anna Maria gave birth to their only child, Richard.

Je Ne Sais Quoi Club (?-CI793) Post-prandial glee singing occurred both at the glee singing clubs and at numerous private parties. The Je Ne Sais Quoi Club, meeting at the Star and Garter Tavern, was a small dining club centred on the Prince of Wales and his circle which engaged a handful of professional singers to

help in its musical entertainment. The music was organized by William Parsons, master of the King's Music. Several glees were published 'as sung at the Je Ne Sais Quoi Beef Steak Club', which suggests that the club was better known than Stevens' account implies. Throughout the eighteenth century politicians who were not in favour with the monarch had played on the tensions between successive Hanoverian kings and their heirs by courting the Prince of Wales in the hope of advancement once the Prince became king (or regent); this explains the presence of Sheridan and Turner, opponents of Pitt's administration. The club seems to have come to an end shortly after the Duke of York, brother of the Prince of Wales, went to Holland with the expeditionary force sent in response to France's declaration of war in 1793.

Kirckman, Joseph (before 178o-after 1830) The Kirckman family were harpischord and later piano makers in eighteenth- and nineteenth-century London. The firm was founded by Jacob Kirckman, who came to London from Alsace in 1730, and took his nephew Abraham into partnership around 1770. Abraham's son and grandson, who were both called Joseph, followed in his footsteps. The Kirckman referred to by Stevens in his Recollections is the elder Joseph Kirckman; Stevens' diary shows them to be on friendly terms in the early years of the nineteenth century, and mentions Kirckman's obtaining a divorce from his wife in 1807 in consequence of her brutality to him! From


time to time Stevens bought pianos for or on behalf of his friends or pupils, and he almost always chose Kirckman's instruments. During the 1820S Stevens regularly visited Kirckman when in London to attend rehearsals of the Concert of Ancient Music, and during his visits was introduced to piano reductions of the music of contemporary German composers including Beethoven, Weber, Moscheles, Spohr and Hummel by Kirckman's daughter Josephine.

Knyvett, Charles Snr. (1752-1822) A pupil of Benjamin Cooke and then Samuel Webbe, Charles Knyvett was a celebrated alto who came to fame with Samuel Harrison in the 1784 Handel Commemoration. He was organist at All Hallows Barking by the Tower from 1770 to 1782, and of the Chapel Royal from 1796, while distinguishing himself as a singer, notably at the G:oncert of Ancient Music, the Catch Club, the Glee Club, and the Madrigal Society. Knyvett's career was closely linked with that of Samuel Harrison, the two establishing their justly celebrated Vocal Concerts in 1791, which ran with interruptions, until Knyvett's death in 1822.

Knyvett, Charles Jnr. (1773-1859) The eldest son of the above, Knyvett was a pupil of William Parsons and Samuel Webbe. In 1784 he sang as a treble in the chorus for the Handel Commemoration, but he was known primarily as a composer and accompanist, who became organist of St. George Hanover Square in 1802 and was highly esteemed as a piano teacher. Knyvett was active in the revival of the Vocal Concerts in 1801 and maintained this involvement until the death of his father in 1822, when he seems to have moved to an estate at Sonning in Berkshire which his father had recently purchased; the Vocal Concerts came to an end on his departure.

Knyvett, William (1779-1856) The youngest son of Charles Knyvett Snr., William, (then five years old) may have been one of the 'Two Master Knyvetts' who sang among the trebles in the chorus of the Handel Commemoration, and he appeared later as a treble and subsequently an alto at the Concert of Ancient Music. An active glee singer and composer, he won a prize offered by the Prince of Wales in 1800 with his exquisite glee When the foir rose, which was published in a collection assembled by his father and dedicated to the Prince, and in 1802 succeeded Samuel Arnold as one of the composers to the Chapel Royal. Knyvett's involvement with the Concert of Ancient Music continued throughout his career, and he succeeded Greatorex as its conductor in 1832, modernizing the programmes a little and flexing the 20-year rule; he programmed Stevens' glee Blow, blow, thou winter wind in 1833, but received the composer's censure for its


bad performance. Like Greatorex, he also conducted at the 'ancient' music at the festivals in York and Birmingham.

Leete, Robert (before 177~-after 1836) The bass singer Robert Leete was a member of both the Catch Club and the Glee Club. In 1793 he deputized for Thomas Sedgwick in a number of oratorios, and sang Stevens' song Wake ye sons of Odin at the Drury Lane Theatre. Stevens and Leete would appear to have been acquainted by this time, but Leete was not engaged by Stevens until the Princess of Wales' concert at Blackheath in 1800. Over the next few years the two were occasional dining companions, and Leete was one of the most frequently heard singers in Stevens' Gresham lectures; Stevens' last mention of him is in 1827, when he conducted some glees at a dinner of the Mercers' Company. In 1828 he was elected Secretary of the Catch Club, a post which he held until 1836.

Madrigal Society (1741- ) Formed before the advent of the glee, the Madrigal Society was initially dominated by weavers from the Spitalfields area of east London. The Fitzwilliam Museum has several manuscripts in the hand of the society's founder, John Immyns, which consist largely of English madrigals with a few Italian motets, an indication of the society's early repertoire. Occasional figuring of the bass parts in these manuscripts suggest that the Madrigal Society was singing with harpsichord or organ long before the advent of the glee accompaniments that Stevens remembered from his first visit to the society in 1773. As the eighteenth century drew on, the Madrigal Society became more gentrified, its subscriptions rose to 8s for a season in 1768 and to 2S: 6d each night for supper, 3S for professors, and 4S for visitors in 1795, charges sufficient to exclude the working class men who had formed the society's original members. Until the admission of ladies after the Second World War, the Madrigal Society relied on the boys of Westminster Abbey and St. Paul's Cathedral to supply the upper part in the singing of glees and madrigals, which is how Stevens first attended the society in 1773. Along with professional colleagues who included T. A. Arne, Joah Bates, and Charles Knyvett Snr., Stevens in turn became a member of the Madrigal Society, attending quite regularly and occasionally presiding at its meetings in the early years of the nineteenth century.

Moore, Archbishop Dr. John (1730-1805) Educated at Pembroke College Oxford, Moore began his career as tutor to Lords Charles and Robert Spencer, sons of the Duke of Marlborough. After various minor preferments, he became Bishop of Bangor in 1775, and was translated to the see of Canterbury in 1783, where he remained


until his death. In 1790 Stevens was engaged to teach the archbishop's daughter Mary, and began to participate in some of the domestic musicmaking at Lambeth Palace. As Archbishop of Canterbury, Moore was one of the Governors of the Charterhouse, and supported Stevens at the time of the latter's election as organist in 1796, a favour which Stevens returned in the dedication of his three volumes of Sacred Music. His daughter's death in 1797 had a profound effect on the archbishop, who greatly reduced the amount of music-making at Lambeth Palace, and so also his contact with Stevens, even going so far as to return the dedication volumes of Sacred Music.

Nield, Jonathan (177~1843) The tenor Jonathan Nield became a member of the Catch Club in 1792 and of the Glee Club in 1794. Nield was a highly versatile musician, playing on the violin and trumpet, as well as singing in oratorios, theatre and church music. He became a Vicar Choral at St. Paul's in 1808, and was one of the small group of singers regularly employed by Stevens for glee concerts. In 1805 Stevens resigned the teaching of singing at Mrs Carter's School, worth £ 150 annually, to Nield, and seems to have been rather offended by the latter's apparent lack of gratitude.

Parsons, Sir William (1746-1817) Apparently the son-in-law ofJohn Worgan, Parsons was educated in the choir of Westminster Abbey under Gates and Benjamin Cooke. He travelled to Italy in 1768 to complete his studies, and appears again in 1784 as one of the deputy directors in the Handel Commemoration. In 1785 he became a member of the Catch Club, before succeeding Stanley as Master of the King's Musick in 1786 and becoming an Oxford Doctor of Music in 1790. Parsons achieved the considerable feat of being on friendly terms both with George III, who knighted him in 1795, and the Prince of Wales, for whom Parsons organized the music of the Je Ne Sais Quoi Club.

Paxton, Stephen (1735-after 1790) Despite being a Roman Catholic, Paxton was, like Stevens, a pupil of William Savage. He composed a number of glees in the best tradition of the club glee, winning four Catch Club medals and a special prize for his 1785 Anniversary Ode (defeating Stevens and Benjamin Cooke). It is probably Stephen, rather than his brother William, who became a member of the Catch Club in 1780. Paxton is better remembered today as the composer of some charming galant sonatas and duets for the cello, written in a highly idiomatic manner with considerable feeling for the instrument, which bears out Burney's praise of his cello playing.


Paxton, William (1737-81) The celebrated cellist William Paxton was the younger brother of Stephen Paxton, and a talented composer of glees. It is not clear whether he left any compositions for the cello, and he does not seem to have been active as a singer, but William Paxton won two Catch Club medals, and his glee Breathe sift ye winds is one of the finest late eighteenth-century club-style glees. Many eighteenth-century sources refer simply to 'Mr Paxton', and the two brothers are easily confused, both in accounts of their performing activity, and records of their compositions.

Percy, John (1755-97) Fellow pupils of William Savage, Percy and Stevens were lifelong friends. Both were singers and composers. Their first joint venture was a concert series at Rosier's Room in 1777 which lasted for one season. They both published their own compositions, and during the I790S revived their partnership as a publishing venture. Stevens' accounts shed no light on this activity during Percy's lifetime, and mention only sales to music shops after his death, and sums totalling £44. I 7.8 paid to his widow over the next two years for sheet music, presumably publications of the partnership, a transaction which Stevens records with the note, 'cheated of this sum by a worthless woman, poor Percy's wife'. Despite this apparent ill-feeling, Stevens collected £ 150 from among Percy's friends for his widow in August 1797, with a further £2 15 which he held in trust for Percy's children, paying his wife £9 annually in interest, and giving the residue to Percy's one surviving child, Marina, on her marriage in 1815. According to Stevens' Anecdotes, Percy died insolvent and intestate; his funeral expenses were met by Stevens and George Pearce, another of his contemporaries in the choir of St. Paul's, and Stevens settled Percy's affairs so that his creditors received between 7S and 9S in the pound for the monies they were owed.

Rivers, Thomas (1740--1817) He seems to have been a member of the Haberdashers' Company, and therefore of the same trade as Stevens' grandfather and father. A friend of the latter and of Henry Allen, Rivers first met Stevens, then a chorister at St. Paul's, in 1763, and the two struck up a friendship that lasted until Rivers' death. Stevens' diaries record increasingly frequent visits to Rivers during the early nineteenth century, but he expressed surprise and considerable gratitude on discovering that Rivers had named him as residuary legatee under his will. It is not clear exactly how much Stevens received through this bequest, but he paid duty on £ 13,566.5.0 on 8 March 18 I 7, on an accumulation of £ 178 I .2.8 in December 1824, and on


apparently a further £4000 in 1827; additional sums may have trickled in later.

Sale, John (175S-1827) Educated in the choirs of St. George's Chapel, Windsor, and Eton College, John Sale joined his father as a lay clerk in both choirs soon after his voice broke, later becoming a Gentleman of the Chapel Royal in 1788, a Vicar Choral at St. Paul's in 1794 and at Westminster Abbey in 1798, at which time he resigned his Windsor posts. From 1799 until his resignation in 18 I 2 Sale was Almoner and Master of the Choristers at St. Paul's; Stevens suggests that Sale 'ever consulted his own interest' which led to a fall in standards during his time as Almoner, and that remedial action was set in motion on his resignation, though Sains~ury, writing in 1827, contradicts this impression with a glowing account of his character. Outside the ecclesiastical world, Sale was active as a bass singer at the Ancient Concerts and in glees, both at private functions and at the various glee clubs, he became a member of the Glee Club in 1788 and deputy conductor in 1797, and also a member of the Catch Club in 1785 and secretary in 1812, the year of his resignation from St. Paul's.

Sale, John Bernard (1779-1856) Like his father, John Sale, John Bernard Sale was educated in the choirs at St. George's Chapel, Windsor, and Eton College, and he enjoyed some fame as a treble glee singer. In 1797 he was elected into membership of the Catch Club, before hecoming a Lay Vicar of Westminster Abbey in 1800, a Gentleman of the Chapel Royal in 1803, and organist of St. Margaret, Westminster in 1809. In 1826 Sale became music master to the future Queen Victoria, and he succeeded Attwood as organist of the Chapel Royal in 1838. Sale was one of the singers who occasionally sang bass in Stevens' Gresham lectures, and at his private glee parties early in the nineteenth century.

Savage, William (1720-89) Stevens' master, William Savage was taught by Pepusch and Geminiani, and sang as a treble in Handel's Alana (173 5), alto in Giustino (1737) and Faramondo (1738), while singing tenor in the choruses; but he was eventually known as a bass singing in Handel's oratorios during the 1740s. He seems to have been on friendly terms with Handel, who left Savage a ring which passed to Stevens in 1817 on the death of Savage's son, George. In 1740 Savage was elected organist of Finchley Church, Middlesex, becoming a bass in the Chapel Royal in 1744 and Vicar Choral, Almoner, and Master of the Choristers at St. Paul's Cathedral in 1748. On grounds of failing health he resigned these last two posts in 1773, and his singing positions at St. Paul's and the Chapel Royal in


1777, whereupon Stevens tried, unsuccessfully, to succeed him. Savage composed some church music, and was a member of the Catch Club and the Madrigal Society, but he is best remembered as a teacher, at a time when the choirs of St. Paul's Cathedral and Westminster Abbey were held to be the finest centres of musical education in England; his pupils included Battishill, Hudson, Stephen Paxton, Vernon and Stevens.

Stafford Smith, John (1750-1836) The son of the organist of Gloucester Cathedral, John Stafford Smith spent most of his career in the Chapel Royal, studying there as a chorister under Boyce from 1761, becoming a Gentleman in 1784, and organist in 1802. He deserves to be remembered as one of the first great musicologists, who contributed greatly to Hawkins' HistoIY and crowned his career with a substantial edition of early music entitled Musicae Antiquae in 1812. Stafford Smith is identified by Stevens as the composer of the Anacreontic Song, the club song of the Anacreontic Society, (now the national anthem in the USA), and won two Catch Club medals shortly after becoming a member of the Catch Club in 1774. His early glees are very effective but many of the later ones are startlingly original, often involving highly idiomatic and effective piano writing, as in Cupid condemned, while one, Sweet poet of the woods, even uses quarter tones!

Thurlow, Lord Edward (1731-1806) Stevens' patron, Lord Thurlow, was one of England's more eccentric Lord Chancellors. Misconduct led to his removal from Gonville and Caius College, Cambridge, in 175 I, but he managed to gain admittance to the Inner Temple a year later, was called to the bar in 1754, elected a bencher in 1762, reader in 1769, and treasurer in 1770. Thurlow never married, but while at the Inner Temple spent much of his time in Nando's Coffee House and took the barmaid, Molly Harvey, as his mistress and lifelong companion. Three of their children survived infancy: Caroline, the eldest, who eloped with Samuel Brown in 1792; Catherine, who married Lord Saltoun; and Mary, the youngest, who married Col. Cunynghame.

The turning-point in Thurlow's career came in 1767 with the case of Douglas v. Hamzlton. In Nando's he was overheard voicing doubts about the Court of Session's verdict by agents of the appellant, and retained for the successful appeal to the House of Lords. By this time he had become a Member of Parliament, and was appointed Solicitor General in 1770,

becoming Attorney General the following year. His vigorous assertion of the rights of Westminster over the American colonists endeared him to George III, who created him Baron Thurlow and made him Lord


Chancellor in 1778, the year in which Stevens began teaching his daughters at Miss Le Cour's School. Royal support prolonged Thurlow's period as Lord Chancellor though his views were often at variance with those of the Ministry, but he was forced to resign when the short lived Fox-North coalition came to power in 1783. With the fall of Fox and North and the appointment of Pitt, Thurlow resumed the Great Seal, and a tense relationship with the Ministry. He was vociferous in support for George III during his first period of illness, while privately negotiating with the Prince of Wales to create him Prince Regent, and his public delight at the king's recovery occasioned a few suggestions of duplicity. In 1792, much affected by his eldest daughter's elopement, he retired from public office after another disagreement with Pitt, though his continuing influence was of material benefit to Stevens in gaining election as organist of the Charterhouse in 1796.

Twining, Richard (1772-1857) The Twining family are tea and coffee merchants, whose business was founded in 1706 in the Strand, London, and continues today as R. Twining & Co. Ltd. Although the firm is now based in Andover, it continues to trade from the same shop in the Strand as in Stevens' day, which, restored after bombing in the Second W orld War, is one of the very few surviving eighteenth-century shop fronts in central London. The firm was founded by Thomas Twining, and passed to his son Daniel, to Daniel's second wife on his death, thence to their son Richard, who ran it at the start of the nineteenth century, and on to his son, Stevens' friend Richard Twining Jnr. Thomas Twining, (Daniel Twining's son by his first wife), showed more aptitude for scholarship than for business, and became an Anglican priest, serving in Fordham and Colchester. He was a close friend of Charles Burney and, as a classical scholar with interests in music, especially the music of the ancients, advised Burney on parts of his History. Thomas Twining died in 1804, and on 28 December Richard Twining sent Stevens a Cremona violin that may well have originated with Thomas. Stevens' interests were narrow, and this was reflected in the subjects of his Gresham lectures but, very uncharacteristically, he occasionally lectured on the music of the ancients after 1804, which suggests that he may have gained access to the papers of Thomas Twining after his death. Richard Twining and Stevens were evidently close friends; Twining was the only person Stevens invited to his wedding and, many years later, was one of Stevens' executors.

Vocal Concerts See Harrison and Knyvett's Vocal Concerts.

APPENDIX B - PEOPLE AND INSTITUTIONS 30 3

Warren [-Horne], Edward Thomas (cI730-1794) As the first secretary of the Catch Club, Warren organized its affairs, including the annual competitions and the publication of the best new glees exhibited at its meetings, until just before his death in 1794, whereupon both the competition and publication ceased. His conduct was not always beyond reproach, and accusations of unfair dealing over copyright led Stevens, Robert Cooke, Hindle, Danby, Webbe and Callcott to try and establish a rival 'Professional Glee Book' in 1789, which was not profitable and appeared only once. Warren has been linked with the compilation of the collections Apollonian Hannony and Vocal Hannony, but his most remarkable project, a collection of fifteenth- and sixteenth-century music, was abandoned after the first set of proofs had been prepared. Late in life Warren changed his name to Warren-Horne after receiving a legacy from a Capt. Edmund Horne of the Royal Navy; the title pages of his collections and published compositions give his name as E. T. Warren, but Stevens, writing after Warren's death, uses the less common and later version in a manner which, confusingly, comes close to implying that his forename was Warren, and his surname Horne.

Webbe, Samuel (1740-1816) Webbe was apprenticed to a carpenter at the age of I I, in consequence of his father's early death. According to Stevens, Webbe was intended for the Roman Catholic priesthood, and he seems also to have studied the necessary academic disciplines, but his decision to marry at the age of 23 brought an end to his clerical ambitions, and instead he followed a career in music. In 1776 he became organist to the chapels of the Sardinian and Portugese embassies which, enjoying diplomatic status, were significant centres of Roman Catholic worship in London. Webbe seems to have taken these posts very seriously, combining them with free teaching of any who presented themselves at the Sardinian chapel, and the composition of a significant amount of music for the emerging Roman Catholic community in England.

Webbe was very active in the glee singing world, both as a teacher and performer, being a member of the Anacreontic Society, secretary of the Catch Club from 1794 to 1812, and one of the founders of both the Glee Club and the Concentores Sodales; to the former he was also conductor, librarian, and the composer of its club song Glorious Apollo. His glees are some of the purest examples of the club-style glee, and won an unequalled 27 Catch Club medals. Stevens paints a glowing picture of Webbe's character, and this is supported by the warmth of the Catch Club's response to his financial distress in 1808, and the long list of

30 4 RECOLLECTIONS OF R. J. S. STEVENS

singers who participated in his benefits on 30 May 1808, which raised over £450, and 13 April 1809, which raised a further £216.

Wesley, Samuel (1766-1837) A nephew of the founder of Methodism, Samuel Wesley was noted both as a composer and a prodigiously talented organist. His admiration for the music of the Roman Catholic Church, influenced considerably by the music of the Sardinian Embassy chapel during Webbe's time as organist, bore fruit in a large number of Latin ecclesiastical compositions which sit well beside his English church music and glees, though he does not appear to have been an active glee singer. During the early part of the nineteenth century he was an important champion of the music of J. S. Bach, with A. F. Kollman engineering a new interest in Bach's works: a movement which left Stevens largely untouched.

£fppendVr c- Stevens~

Indenture

Articles of Agreement indented had [sic] made concluded and agreed upon the fifteenth day of December in the Ninth year of the Reign of his Majesty King George the Third And in the year of our Lord one thousand seven hundred and sixty eight between William Savage of St. Pauls Bakehouse Court in the Parish of Saint George by Saint Pauls in the City of London Esquire of the one part, and John Stevens of Saint Michael Bassishan' Basinghall Street London Cloth-Drawer and Richard John Samuel Stevens son of the said John Stevens of the other Part. Imprints the said William Savage as well for and in consideration of the several sums of Money agreed to be paid to him as hereinafter mentioned as for and in consideration of the Covenant and Agreements hereinafter contained on the part and behalf of the said John Stevens his Executors and Administrators to be kept and performed Doth hereby Covenant Promise and Agree with the said John Stevens his Executors and Administrators That he the said William Savage shall and will according to the best and utmost of his skill and knowledge teach and instruct the said Richard Stevens in the Science of Musick in general and particularly in the several Arts and Methods of singing playing or performing on the Harpsichord and in all things incidental thereto for and during the Term of space of seven years from the Day of the Date hereof if the said William Savage and Richard Stevens shall so long live And that for and during the Continuance of sur ch t ]erm the said William Savage shall and will find and provide unto and for the said Richard Stevens good and sufficient Meat Drink and Lodging. (except in case of sickness or accidents happening to the said Richard Stevens during the continuance of the said term. D] Item the said John Stevens (at the request of the said Richard Stevens in consideration of the Premises) Doth hereby for himself his Executors and Administrators covenant promise and agree to and with the said William Savage his Executors and Administrators that he the said Richard Stevens

I. Presumably St Michael, Bassishaw.

30 5


shall well and faithfully serve the said William Savage during the said Term of seven years and that during the term the-said Richard Stevens shall well and diligently perform and execute all his lawful and reasonable commands and orders and behave himself towards the said William Savage in all things faithfully and diligently and shall not nor will at any time or times during the said Term absent himself or depart from the Business of the said William Savage nor shall imbezzel purloin waste spoil make away with loose or unlawfully keep or detail or cause or willingly suffer to be imbezzeled purloined wasted spoiled made away with lost or unlawfully kept or detained any of the Money Books Manuscripts Papers Musical Instruments Goods Effects or Things of or belonging to the said William Savage or publish or give or deliver out any Copy or Copies of any such Books Papers or Manuscripts to any Person or Persons whomsoever without the Consent of the said William Savage and further that the said John Stevens his Ex[ecu]tors or Administrators shall and will yearly and every year for and during the continuance of the said Term well and truly payor cause to be paid to the said William Savage his Executors or Administrators the Sum of Ten pounds by equal half yearly payments and likewise shall and will at his and their own proper Costs and Charges provide for and allow to the said Richard Stevens competent and sufficient Cloathing Apparel and Washing and also necessary and proper Physick Remedies Medicines and advice of Physical Surg[ eo]n and Apothecary and other Extraordinaries in case of sickness or accidents happening to the said Richard Stevens and also during the time of such sickness or his recovery from accidents good and sufficient meat drink and Lodging. Item for the more sure and punctual performance of the several Covenants and Agreements hereinbefore contained each of them the said William Savage and John Stevens doth hereby bind himself his Heirs Executors and Administrators to the other of them his Executors and Administrators in the penal sum of one hundred pounds of lawful Money of Great Britain to be paid in case of any default or failure therein. In Witness whereof the said parties to these Presents have hereunto set there Hands and Seals the Day and year first above written.

Sealed and Delivered in the Presence of Sarah Plumb Richard Clark

wm Savage Jn Stevens Rd Stevens

Appendix D - Units of Money

The currency used in Great Britain in Stevens' time, which continued until the introduction of decimal currency on 15 February 1971, was based on pounds, shillings and pence, usually abbreviated to I.s.d. (from the latin units of libra, soldus, and denan"us). The pound was divided into twenty shillings, and each shilling into twelve pence, sums of money shown in pounds shillings and pence were identified by oblique lines or colons, with a comma dividing large sums into thousands of pounds, so that the sum Stevens inherited from Thomas Rivers in 1817 could be shown as £13,566.5.0 (as used in this book), £13,566: 5s:od, £13,566: 5s, £13,566/5/0, or £13,566/5, each meaning 13566 pounds, 5 shillings and no pence.

Additional coins included the crown, worth five shillings, the sovereign, worth 20 shillings or one pound, and the guinea which was launched in 1662 at a nominal value of one pound but from 1717 was valued at 21 shillings (i.e. £I.I.0).

Unit Value in shillings Value in pence Penny Shilling 12 Pound 20 240 Sovereign 20 240 Guinea 21 2)2

Appendix E· Van-ant Readings

Original versions of passages altered by Stevens:

Page 25 *Richard Hankey 27 *Mr. James Curtis

tNext followed Mr. Edward Mulso, (rather in years;) Profound and grave. And when the society was on its last legs, Doctor Arnold (silly enough)

49 *Parry of Salisbury, who had an admirable Base Voice, after his performance at the Commemoration of Handel, was retained as Principal Base Singer (with Signor Fasca) at the Ancient Concert. One Evening he was called upon to sing Prepare the hymn, from the Occasional Oratorio

65 *this year 66 *and Miss Reveley. This 67 *three 68 *Lord Thurlow 84 *Society

I 53 *not deep but 164 *would 167 *she 172 *took 181 *was

tand slept there was 188 *equivalent 2 I I *Thank poor Mr Rivers next to God Almighty for all mercies to me! 214 *gave away 215 *Change 235 *Thursday

308

Abel, Carl Friedrich 8 Academy of Ancient Music 4\,

288

Allen, Henry 4, 20, )1, 37,63, 105, 112-14, 118, 122, 129,

137,212,250,264,284,299 America 7, 24, 209, 301 Anacreontic Society 23-8, 62,

13 I, 244, 284, 303 Anacreontic Song 25, 59,62,

'99, 284,301

Anderton's Coffee House 32, 292 Apprenticeship 6, 1),3 I, 172,

183, 189, 229, 305--6

Arne, Michael 7, 8, 47, 285 Arne, T. A. 8, 18-20,62,285 Arnold, Samuel 9, 27, 48, )6,

59,63, 101-2, 108--<), 111)-20,

127,286 Arnull, G. 96, 172, 174,293 Atterbury, L. 28, 33, 3\ Attwood, Thomas 63, 71, 102,

lOB, 124, 132-3, 136-7, 150, 165, 196, 198,236,286

Aylward, Theodore 32, 37, 118, 121,292

Ayrton, Edmund 32, 198 Ayrton, W. 118, 155, 198

Bach, J. c. 8, 32, 98 Bach,J. S. 1\\-6, 164, 179,

184, 288, 304

Baigent, William 149, I\D-I Barthelemon, Fran,ois H. 17-

18,27, 57,70,71,97 Bartleman, J. 27, 57, lOG, 120,

133,155,165,167,198,287

Bates, Mr 236, 242, 287

Bates, Joah 9, 1 1,48-9, )0, 81,

8\-6, I 18, 287 Bath 13D-2

Battishill, Jonathan 7, 8, I I, 28,

43,47,122, 163,287

Index

Beale, William 16\, 198

Beethoven, L. 198, 2)6, 296 Bellamy, Richard 23, 188-<) Birch, Samuel )6, 62, 66, 87,

130, 149, 203, 288 Blencowe's concert 92--<))

Bradbery, Mr 139, 163, 164, 186

Brown, Caroline 31, 34, 36, 40,

47, )4-6, 66, 70, 74, 80, 84-

6, 9), 124-7, 13~42, 146,

1\4, I\~o, 179 Burney, C. 17, )4, 119,234 Burton, William I), 2 I

Busby, Thomas 122

Callcott, John Wall \0, \3, 57-8,67--<),80,87,90,116, 127, 1)0, I)), 166, 192,217,288,

290-1 Cambridge 168

Caroline, Queen II )-17,22)-6,

233 Carpenter family 177, 184, 190,

203, 209 Carter's School, Lambeth I 14,

122, 134, 298 Carter, Thomas 40, 94, 106,

108-9, I I)

Castle Concert 7

Catch Club 22, 28, 33, 3 \-6, 41-3,4)-6, )0--4, )7--<),60,

64, 67--<), 80, 86, 8~0, 128,

1\6, 161, 288-<), 293-4, 296-

7,303 Catch Club Collection see

Warren [-Horne], E. T. Cervetto, Giacobe 4

Champness, Samuel 18

Chandler, George 18o, 197, 2 I 3,

241, 263 Chapel Royal 2 I, 23, 76, 198,

21 9,246

Charity 18, \6,97, 10\-6, 148,

1)1, I)), 1)6, 160--6, 170,

178, 18), 192, 197,202,20), 210, 21 4,216- 17,221-2,22),

227,23),243,249,2)4,299 Charterhouse ), 6, 12, 99, 10),

107, II), 133, 134, 137-8,

163,17°, 183-), 187,19°, 193-)- 198,200,217-18,2)),

260, 263, 269, 290, 298 Christ's Hospital 1)6-7, 161,

164, 166, 171-3, 178 City of London Tavern 1\6,

203, 213, 293 Clark, Rev. Wilfred 134, 138,

139, 1)2-4, 1 )7, 168, 187,

190, 197,204 Clementi, Muzio 27

Coles, Mr 230, 236-8, 242, 244,

246-7 Concentores Society 1 )0, 16),

258, 29 1, 293, 303 Concert of Ancient Music 48-)0,

)6-7,118,180,239,2))-8, 261-2,268,287,291-2,296

Cooke, Benjamin 11, 27, 37, 40,

43, ) I, 90, 1 16, I) 2

Cooke, Robert 64, 68, 1 )0, I)),

161, 16), 292 Corn Law 204 Covent Garden Theatre 1\6, 164 Cramer, family 27, 68, 257

Crosdill, John 66, 132

Crotch, W. 179, 187,222,236 Crown and Anchor Tavern 9,

18,2), 10), 167, 198

Cunynghame, Mary 8\, 139,

141, 160, 207

Curtis, James 27, 244

Danby, John 27, 37,43, 4\-6, 50, )3, 68, 75, 80, 108, 163

Dance, William 27,1)2, J)5,

166, 187

310

de Crespigny 69, 70, 89, 196 Dibdin, Charles 10, 110, 242

Dignum, Charles 27, 63-4, 75,

79, 127-8 Dowding, Emily 102, 105 Dowding, Mr }2

Drury Lane Theatre 62

Duport, Jean Pierre 8 Dupuis, Charles 94 Dupuis, T. S. 8 Dussek, J. L. 258

Dyne, John 43, 57

East India Company IJ7, 204,

205, 248 Education 5,6,218,220,228,

23 2,234-5,237,240-4,247-54, 260-1, 263-4

El[ljiot, Master I I 5 Elliot, James 150, 163 Elliot, William 173, 185 Englefield, Sir H. 68, 149 Evans, Charles 163, 185-6,246,

288 Exeter, Earl of 64, 80

Feathers Tavern I I, 285 Fees, musicians' 10, 13, 17,29,

3 1,34,4°,7 1,74,110,114, 136-7, 174, 193-5, 200-2

Fischer, J. c. 4, 8, }2

Forster, E. 230, 238, 244 French Revolution 78, 87

Friendly Harmonists 32-3, 292

Galliard, J. E. IF, 2 I 5 Garth, John 214

Geminiani, F. 13, 163

George III 169, 22 I

George IV 66-7, 75-9, 102,

14 1,146,180, 205,221,225,

295-6 Giardini, Felice 10, 76

Glee Club 92, 1°7, 109, 166,

286, 292-3, 296, 300, 303 Glee singing I I, 25, 32, 33, 43,

5<>-1, 55-6, 64, 66, 74, 96, 98,107-10, 116, 131, 163, 209, 236, 267

Glenn, Robert 172, 173 God save the King 79, 169, 285

God save the Queen 97

Gordon Riots 34

INDEX

Gore, Israel 94, 106, 129, 134,

IF

Goss, Joseph 163 Graun, Carl Heinrich 155

Greatorex, T. 15, 102, 106,

108-10, 150, 155, 161, 165,

236, 244, 262, 292, 294, 296 Gresham College 118-22, 127,

129, 134, 152, 163, '7S, 20<)-10, 21 5-19,222-3,226,22S-

9,231-2,234-5,238-40,242, 244,246,25°,252,262,264, 266-7, 269, 284, 293

Groombridge, Stephen 92, 152, 161, 163, 166-7,242

Haberdashers' Company 2, 7

Hackett, Maria 189, 2 I 9, 226 Hamilton, Duke of 43, 46, 89 Handel, G. F. 13, 32, 47, 5 I,

54,65, 138, 1)5, 179, 184, 187, 195, 212, 216-19, 242, 244, 246, 258, 264, 269, 300

Hankey, Richard 27

Hanover Square Rooms 66, 13S, 161, 166, 179, 180, 187, 195

Harington, Henry 131-2 Harmonists' Society 96, 9S, 107-

8, 110, 115, 120, 124, 128, 132-3, 137, 150-1, 156-7, 165,193,197, 2°9,211,216, 221,234,236,259'"""60,286,

293 Harrison and Knyvett's Vocal

Concerts 90, 287, 292, 294,

296 Harrison, Samuel 21, 27, 35, 50,

65, 66, 106, 10<)-1 I, 150,

165, 292-4

Harvey, Molly 3 I, 34, 36, 74,

81,96,14 1- 2,159'"""61 Hawes, Tom 27

Hawes, W. 163, 189,246

Haydn, F. j. 79, 163, 187,236,

244,246,25 1,25 8 Hayes, William 163

Haylock family 15, 37, 124, 163,

167,2°3,221,247,248,25°, 259, 260, 264-5

Haymarket, Little Theatre 47,

122

Hibbert, George I 18, 149-59,

175, 179

Hindle, John 22, 27, 35, 50,65-

6,68,75 Hook, James 35, 102,294 Horsfall, James 150 Horsley, William 161, 165

Howard, Samuel 4, 29, 37 Hudson, R. 7, 15, 157, 188 Hughes, Mrs 92, 105, 110-1 I,

1'4, 223 Hughes, Rev. Dr Thomas 92,

162, 175, 188,223,226 Hullatt, Charles 6-7, 161 Hummel, J. N. 257-8, 268

Hunter, Dr J. 80, 141, '49 Huttley, Mr 27, 68

Industrial conditions I, '39, 241 Inner Temple 36, 5}, 171-2

Je Ne Sais Quoi Club 75~, 295,

298

Jeffery, Mrs 196-7,259 Jeffery, Anna Maria see Stevens,

Anna Maria Jeffery, Bartholomew 175, 180,

196-7, 255, 265, 269 Jeffery, George 97, 112, 1)2,

ISO, IS6, 213, 231, 232, 248 Jeffery, John 149, 175, 196-7,

216 Jeffery, Susan 96, 180, 186,216,

223,255 Jommelli, Niccoli> 8 Jones, John 5, 12, 12, 99

Kelly, Michael 62

Kemble, John 156

Kenyon, Lord Lloyd 71, 101,

103, 147 Keyboard instruments 34, 47,

64,6S, 132, 154,207,230,

233, 242 King's Theatre 166, 192

King, Matthew Peter 57, 64

King, Mr 185

Kirckman, Joseph 34, 151, 154,

207, 256-8, 295 Kirckman, Josephine 268

Knyvett, Charles Jnr. 27, 294,

296 Knyvett, Charles Snr. 27, 64-5,

67, 75, 76, 106, 152, 161,

294, 296

Knyvett, William 106, I I )", 198,

291, 294, 296 Kollman, A. F. I \\-<5, 288, 304

Lawes, Henry 108, 162

Lawford, Mrs 216, 268 Le Cour's School 30, 3 I Leander family 68, 70 Lebrun, Ludwig August 27

Leete, R. 94, 106, I J;, 121,

127, 129, 134, ISz, 163, 166,

185, 246, 263, 266, 268, 297 Leffler, Adam 236, 237, 238 Lindley family 68, 70, 74

Linley, Thomas 27, 62

Linley, William 161

Locke, Matthew 94 London Hospital 16,61, 288 London Institution 149, 2 I 2,

222,235,249,254 London Tavern 56, 166

Longman and Broderip 80

Mackmurdo, Mr 227, 236--7,

244--6, 25 I

Maddocks, John 68 Madrigal Society Io-II, I)" i,

165, 167, 171, 179, '98,288,

296-7 Magdalen Hospital 101

Mara, Madame 64, T 32 Marcello, Benedetto 2 I 4 Marylebone Gardens 285, 286,

294 Medicine 50, 80--2, I 13, 123,

130-1, 133-6, 148-<), 160,

162, 165, 180-3, 191-2,235,

23')-40 ,243,250 ,2,)2,254-6,

258-9, 261, 269, 289 Middle Temple 99, 101, 134 Millington's Room 218

Moore, Miss Mary 99, 104

Moore, John 7', 99, 100, 102,

105, r 17, 194,200,297

Moscheles 268, 296

Mountain, Uohn 1 68

Mozart, W. A. 102, 198,222,

224, 236 Mulso, Edward 27, J2

Nando's Coffee House 119

Napoleon 128, r 30, 202, 230,

288

INDEX

Nares, James 16

National School 221 Nelson, Admiral 137 New London Tavern 96, 1')6,

293 Nield, Jonathan 106, I I 5, 121,

129, 13)-6, '98, 298 Nile, Battle of 202, 2')2, 263 Non nobis Domine 25, 67, 161,

163 Norfolk, Duke of 75 Novello, V. 1')0, 179, 184

Noverre's Room 66

Old London Tavern 2 \2 Organ Concerto 7, 8, I), 47,

28 ,

Organists, appointment of ') 3-4,

99

Palmer, James 156, 172

Pantheon 46-7 Parsons, Sir William 69, 75,

120, 295, 298 Paternoster, John 133, 151,204

Parria, Gregorio 27

Paxton, Mr 27

Paxton, Stephen 28, 33, 37, 45, 46, ') I, 298

Paxton, William 33, 3 \, 299 Peake family 163, 167, 183,212,

214,23°,234,259,264 Pearce, George 32, 37, 60, 96,

r 54, 161, 299 Pearse, John I 18, I ') 7 Pegge, Christopher 192 Pegge, Samuel 30, 3), 192

Percy, John 23, 27, 29, 32, 4 1, 44, 47, 61, 66, 205, 299

Philanthropic SOCiety 97, 101-<5 Philharmonic SOCiety 198

Pieltain, D. P. 27

Pitt, William Jm. 71, 101

Pleyel, Ignaz 79

Potter, John 3, 4, 16, 29 Price, George 172

Professional Concert 79, 90 Professional Glee Book 67

Publishing 29-30, 47, 60, 64-7,

69,80,90-1, roo, 117, 147,

157,185,193,213,23°,256, 268

Purcell, Henry 36, 116

3II

Raine, Rev. Dr Matthew 104, 118,121,131,137, ISO, 152,

167,179 Ramsden, Dr 101, 103 Ranelagh Gardens 16, 286 Rauzzini, Venanzio 131 Ray's School, Streatham 70, 286

Rees, Abraham 2 I 8, 234 Reinhold, F. 19, 27, 288

Religion 10,34,75,127,150, 168,170,181, 184-6,210,

269, 28 I 298, 303 Rents 196, 202, 205, 213, 215,

220,224,249-50,25 2-4,25 8, 260,270

Rivers, Thomas 148--9, 21 I,

212,23 8,243,249,253-4,

299 Robertson, Mr 216, 218, 222-3,

227,230-1,236,238,7..42, 244-7, 25 I, 258, 266--8

Robinson, Sir Thomas 16

Rock, Michael 94, I I 8 Rock, William 94 Royal Academy of Music 198

Royal Institution I II Royal Society of Musicians 152,

161, 180,222 Royal Surrey Bowmen 89

Royalty Theatre 63 Russell House School 83

Russell, W. 117, 173, 184

Sabattier, Mr 25,131 Sacchini, A. 10, 32, IJ I St Bride's Fleet St 29, 37 St Michael's, Com hill 37-40, 44,

61, 152, 171-4, 284 St Paul's Cathedral 4-1, 11,21-

3,48,99,102,107,188,219, 223, 226, 246, 268, 286--7, 300

Sale, John 106, 1)4, 166, 186,

189, 300

Sale, J. B. 129, 1)4, 300 Saltoun, Lady Catherine 74, 81,

141-2, 160, 204 Sandford Mr 236

Sandwich, Lord I J, 2 I, 42, 68,

29 1

Savage, Rev. George 18o, 186,

205,209,212-13 Savage, William 4-7, 10-1 I, 13,

IS, 17-18,22,38,42,45,

312

Savage, William (cont.) 121, 188,212-13,218,234,

287, 299, )00, )0\-6 Schobert, Johann I)

Schroeter, J. S. I), 27 Sedgwick, Thomas 27, \9-6),

66, 74-\, u?-8, 297 Shakespeare, William ), \3, 68

79,8\, 1)7, 140, 1\6-7 Sharp's Concert 10

Sheridan, C. F. 7\ Showell, Samuel 17) Shram, Mr 68 Smith, Dr 1\ j, 16\ Smith, Dr Hugh 8 I

Smith, John 3), 16j, 20), 266-8 Smith, Joseph 1)9, 161-\, 16?-

8, 186,203, zl6-I8, 222-4, 227, 230-1, 236-8, 242, 244-7, 25 I, 2.54, 258, 261, 26?-8

Smith, Robert 107 Smith, 'Father' Bernard 16 Society of Musical Graduates

286, 291 Solmization 4, 6, 12.

Spofforth, Reginald 90, 1\0, 203, 242

Spohr, Ludwig 2\7, 296 Stafford Smith, John 2j, 27, 42,

16), 198, )01 Stanley, John 7, )6, \3 Star and Garter Tavern 7\ Star-Spangled Banner, see

Anacreontic Song Starke, Col. Richard I \, 70,

196,249 Starke, Miss 70 Steff ani, Agostino 12 I, 262 Stevens' concerts 66, 68, 107-8,

110, 112

Stevens' family 1-6, 20, 101, 113,124,163,165,180,185,

INDEX

2. I 2., 22.2, 282

Stevens' finances 23, 123, 128,

13),1)6, 1\1, 1\\, 164, 170, 178, 18), 18j, 192, 197, 20)-4,206, :110, 212, 214, 216, 221, 227, 232, 235, 239, 243, 248-9, 2\ I, 2\3-4, 260, 264-j, 268-70

Stevens'marriage I I I, 171-5

Stevens, Anna Maria I j, 90, 9\-

6, 105, 109, III, 115, 119,

120-3,129,136,138,150, 112-\, 167, 17<>-1, 17\, 29\

Stevenson, John 116 Stiebelt, D. 2\6 Storace, Stephen 6) Street, Joseph 18\,214,217,

2.18, 222, 224, 227, 230, 236, 2)7-8, 242, 244-6, 26), 266-7

Street, Mr Jnr. 20), 216, 218,

222-3,227, 236, 238, 242, 244,246, 2\1, 2\8, 266-8

Surrey Chapel 1\6, 179, 187

Thatched House Tavern 9 I Thurlow, Caroline see Brown,

Caroline Thurlow, Catherine see Saltoun,

Lady Thurlow, Lord Edward I 3<>-1,

)6, 40, 47, 48, \3-6, 68, 7<>I, 84, 86, 9\, 99"""100, 10)-4, 124-'7,13),139"""48,1\9,194, 200,301

Thurlow, Lord Edward II 83,

197 Thurlow, Mary see Cunynghame,

Mary Thurlow, Rt Rev. Dr Thomas

\4,80, 144 Tomkins, Robert 96, 209 Tomlinson, Ralph 2\

Trafalgar, Battle of 212, 264,

269 Trueman, Thomas 164, 186,

203,216-18,222-4,226, 230-1, 236-8, 242, 245-7, 2\ I, 2\8, 266-8

Twining, R. Jnr. 13), 162, 17\,

244,302 Twining, R. Snr. 1)7, 204-\

Vaughan, Thomas 112, 163,

173,18\, 21j, 246, 263

Vauxhall Gardens 3, 29 Vocal Party 141, 216-18, 222-6,

23<>-1, 236-9, 242, 244-'7, 2\ I, 261-3, 266

Warren [-Horne), Edward Thomas 42, 44, 46, \3, \ 8,

67, 80, 91, 290, 303 Waterloo, Battle of 212, 269,

30 \

Webbe, Samuel Snr. 27-8, 37,

43, 4\-6, \<>-1,64-\,68-9, 75,87, 109, 12.8, 147, 150, 161, 163, 165--6, 209, 290,

292, 296, 303-4 Weber, C. M. 2\6, 268 Wesley, Samuel 122, 150, 156,

164, 179, 184, 291, 304 Westminster Abbey 37, 47, 118,

219,236, 244-6, 2\8, 292 White Conduit House 294 Williams Wynne, Sir Watkin 46,

147,291 Williams, G. E. 134-\,217 Willis'Room 1\7, 161,2\7

Wills 113, 123-4, 129"""30, 167, 172, [91, 211-12, 217, 121,

231-2,234,248,250, 25 2,

2\9, 264, 299 Wills' Coffee House 96, 293

Worgan, John 4, 8, 12, \ 7

INDEX 313

Stevens' compositions and arrangements

A Cheshire man )2

Adeste fideles 108

Adieu, ye jovial youths 60, 133, '37,236,258 All in Ihe downs the Reet lay moor'd 29

All my sense 114, 171,236,239,257,268 Almighty Father 237-9,246,2\7,266,268 Altho' soft sleep 68

Anacreontic Song see To banish life's troubles Archers' glee 89

As panting Ries 236

Ask me why I send you 52

Ask'd thou how long my love shall stay? 83 Awake, my lyre I 14

Away delights 73

Balmy gale, I prithee say 83, 94, 107, 109 Belinda see from yonder Rowers 90

Beneath an infant sleeping )2

Blest as th'immortal gods is he 49, 238

Blow, blow, thou winter wind 90, 98, I 16,

296 Bow down thine ear 0 Lord I I

Bragela 96, 98, 109-1 I, 129, 150, 157, 171, 208

By the word of the Lord 164 Call forth the song 96

The captivity 164-5, 178

Charming to love 83, 239, 247, 258, 262, 266 The c1oud-cap't towers 98, 107, 109, 247 Come follow, follow me 96

Come hither, shepherd's swain 98, 110, 116,

247, 262 Come sing with me 107

Crabbed age and youth 73, 110, I 16, 223· 267 Death song of the Cherokee Indian 6 I

Doubt thou the stars are fire 90 Each lonely scene I 5 5 Fairy Glee see From Oberon in fairy land Farewell, poor world I I

Fear no more the heat of the sun 73, 238 Fill your glasses )2

F10reat aeternum 185, 186, 192,223,291 From Oberon in fairy land 90, 95, 151, 163,

209, 267

From the hole [in the rock] 246

Go, happy Rower, to her hand 54 Go, lovely rose 73

Grant, we beseech Thee, merciful Lord 192,

217,219,223,267 Great is our Lord 164

Hail! meek-eyed mercy 56

Harmonists' Glee 96, 98,107,151,157,171

He may come if he dare 130

Hence, away, ye sirens, leave me I J6-7 I do confess thou'rt smooth and fair 108

I name you four, for any bet 54

If I love 203 If in that breast 110, 116, 171,219,262

III-fated Carthage 185,239,247,2\7,223 Instant let yonder youth impart 46

It was a lover and his lass 49, 52-3, 64, I 16,

157, 163, 17 1, 185,223, 267 London Hospital Ode

see Hail! meek-eyed mercy Love in her eyes 35, 238 Mark'd you her eye of heav'nly blue 107

Mighty Master 2 I 7

The moon's pale lustre )2

More soft than the nightingale's song 155 Music can soften pain, to ease 22 Now the hungry lion roars 89, 90 o ask not alms at fortune's gate 89

o clap your hands 170 o fair, sweet face 84

o gentle sleep 203

o God, the King 222, 227, 247, 257 o how the spring of love I 5 5 o Lord, our governor 164 o Lord, raise up 206, 218, 222, 262 o maiden dear I ~ ~

o Memory! Celestial maid 35

o mistress mine 65, 67, 69, 75, 157, 223 o nightingale 49, 5 I, 203, 238 o strike the harp see Bragela o thou that roll est 98, 107, I J 0, 2 I 8, 247,

267 o thou, who drewst in tears ) 2

o where shall wisdom 170 Op. I Sonatas for harpsichord 47-8

Op. 2 Songs 48, 56

Op. 3 Glees 46, 89 Op. 4 Glees for ladies 106

Op. 5 Glees 70, I 17 Op. 6 Glees 162, 186, 192

Orpheus with his lute I 3~7, 247, 2)7, 268 Over the mountains and over the waves 73 Pack clouds away 107, 116

Place me where )4, 238-<) Pray pull the bell sir 68

The prints of Wales 73 Prithee foolish boy give o'er 22, 28

314 INDEX

Raise the song of mourning 0 bards 120, 222,

246,266 Requiem see Saints and angels hear our strains Sacred Music 107-8, "7, 157 Sad winter passed the leaRess grove 106 Saints and angels hear our strains 69-70 Sanctus (after Carissimi) 155

Saw you the nymph 236 See what horrid tempests rise 4 I'

Send home my long-stray'd eyes to me 89-90,

94,98 She is faithless and I am undone 89 Sicilian mariners' hymn 90 Sigh I must Henry 65 Sigh no more, ladies 60, 64-7, 75, 157, 266 Sober lay and mirthful glee

see Harmonists' Glee Soft as yon silver ray 98

Some of my heroes are low 90, 116, 131, 163, 247, 266-7

Song of the pidgeon 29

Stock Jobbers 49, 52-3 The sun sets in the night

see Death song of the Cherokee Indian Sweet muse, who lov'st 4<)-; I

Sweet the sounds 178 Tell me where is fancy bred 49 That day of wrath 164 Think'st thou my Damon I'd forego 83 The thirsty earth soaks up the rain 35 Tho' from thy bank of velvet tom 98, 132 Thy form has a resistless grace 84, 107, I 16

'Tis finished 170 'Tis mirth that fills 52 To banish life's troubles 59

To be gazing on those charms 68 To what age must we live without love? 128,

132-3 Tomorrow with its cares despise 49 Underneath this stone 45 Vulcan, contrive me such a cup 33 Wake ye sons of Odin 66 What a frail life! 54-{), 266 What shall he have, that kill'd the deer 46 When Cloris like an angel walks 197 When at Apollo's hallow'd shrine 65, 151, 179 When lurking love I 5 I, 238, 247 When the toil of day is o'er 89-90, 222 Whence comes my love 164, 171,236 Wherefore burn with vain desires 46

Who is Sylvia? 84, 151, I5~, 192 Who is it? that this dark night 107 Who shall ascend 161, 164 Who's honest within 89-90 Why should'st thou say I am forsworn 108 Why so pale and wan, fond lover? 54 Witches' Song and Chorus 110, 114, 116,

128, 133, 162, 171, 173, 186,239,247, 268

With conscious pride 136, 2 I 9 Within the silent tomb I I

Ye British youths, who danger brave 96 Ye Chearful virgins 90 Ye sported snakes 45-{), 80, 92, 116,258

appendix a chronology - springer978-1-349-12776-4/1.pdfappendix a -chronology year age stevens'...

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