Part 8 (2/2)
Handel being only a musician, was obliged to employ some person to write his operas and oratorios, which accounts for their being so very defective as poetical compositions. One of those versifiers employed by him, once ventured to suggest, in the most respectful manner, that the music he had composed to some lines of his, was quite contrary to the sense of the pa.s.sage. Instead of taking this friendly hint as he ought to have done, from one who (although not a Pindar) was at least a better judge of poetry than himself, he looked upon the advice as injurious to his talents, and cried out, with all the violence of affronted pride, ”What! you teach me music? The music is good music: confound your words! Here,” said he, thrumming his harpsichord, ”are my ideas; go and make words to them.”
Handel became afterwards the proprietor of the Opera House, London; and presided at the harpsichord in the orchestra (piano-fortes not being then known). His embellishments were so masterly, that the attention of the audience was frequently diverted from the singing to the accompaniment, to the frequent mortification of the vocal professors. A pompous Italian singer was, on a certain occasion, so chagrined at the marked attention paid to the harpsichord, in preference to his own singing, that he swore, that if ever Handel played him a similar trick, he would jump down upon his instrument, and put a stop to the interruption. Handel, who had a considerable turn for humour, replied: ”Oh! oh! you vill jump, vill you?
very vell, sare; be so kind, and tell me de night ven you vill jump, and I vill advertishe it in de bills; and I shall get grate dale more money by your jumping, than I shall get by your singing.”
Although he lived much with the great, Handel was no flatterer. He once told a member of the royal family, who asked him how he liked his playing on the violoncello? ”Vy, sir, your highness _plays like a prince_.” When the same prince had prevailed on him to hear a minuet of his own composition, which he played himself on the violoncello, Handel heard him out very quietly; but when the prince told him, that he would call in his band to play it to him, that he might hear the full effect of his composition, Handel could contain himself no longer, and ran out of the room, crying, ”Worsher and worsher, upon mine honour.”
One Sunday, having attended divine wors.h.i.+p at a country church, Handel asked the organist to permit him to play the people out; to which, with a politeness characteristic of the profession, the organist consented. Handel accordingly sat down to the organ, and began to play in such a masterly manner, as instantly to attract the attention of the whole congregation, who, instead of vacating their seats as usual, remained for a considerable s.p.a.ce of time, fixed in silent admiration. The organist began to be impatient (perhaps his wife was waiting dinner); and at length addressing the performer, told him that he was convinced that _he_ could not play the people out, and advised him to relinquish the attempt; which being done, they were played out in the usual manner.
In 1741, Handel, who was then proceeding to Ireland, was detained for some days at Chester, in consequence of the weather. During this time he applied to Mr. Baker, the organist, to know whether there were any choir men in the cathedral who could sing _at sight_, as he wished to prove some books that had been hastily transcribed, by trying the choruses. Mr. Baker mentioned some of the best singers in Chester, and among the rest, a printer of the name of Janson, who had a good ba.s.s voice, and was one of the best musicians in the choir. A time was fixed for this private rehearsal at the Golden Falcon, where Handel had taken up his residence; when, on trial of a chorus in the Messiah, poor Janson, after repeated attempts, failed completely, Handel got enraged, and after abusing him in five or six different languages, exclaimed in broken English, ”You schauntrel, t.i.t not you dell me dat you could sing at soite?” ”Yes sir,” said the printer, ”so I can, but not at _first sight_.”
Mozart, walking in the suburbs of Vienna, was accosted by a mendicant of a very prepossessing appearance and manner, who told his tale of woe with such effect, as to interest the musician strongly in his favour; but the state of his purse not corresponding with the impulse of his humanity, he desired the applicant to follow him to a coffee-house. Here Mozart, drawing some paper from his pocket, in a few minutes composed a minuet, which with a letter he gave to the distressed man, desiring him to take it to his publisher. A composition from Mozart was a bill payable at sight; and to his great surprise the now happy mendicant was immediately presented with five double ducats.
When Haydn was in England, one of the princes commissioned Sir Joshua Reynolds to take his portrait. Haydn went to the painter's house, and sat to him, but soon grew tired. Sir Joshua, careful of his reputation, would not paint a man of acknowledged genius, with a stupid countenance; and deferred the sitting till another day. The same weariness and want of expression occurring at the next attempt, Reynolds went and communicated the circ.u.mstance to his royal highness, who contrived the following stratagem. He sent to the painter's house a German girl, in the service of the queen. Haydn took his seat for the third time, and as soon as the conversation began to flag, a curtain rose, and the fair German addressed him in his native language, with a most elegant compliment. Haydn, delighted, overwhelmed the enchantress with questions; his countenance recovered its animation, and Sir Joshua rapidly seized its traits.
Haydn could be comic as well as serious; and he has left a remarkable instance of the former, in the well known symphony, during which all the instruments disappear, one after the other, so that, at the conclusion, the first violin is left playing by himself. The origin of this singular piece is thus accounted for. It is said that Haydn, perceiving his innovations were ill received by the performers of Prince Esterhazy, determined to play a joke upon them. He caused his symphony to be performed, without a previous rehearsal, before his highness, who was in the secret. The embarra.s.sment of the performers, who all thought they had made a mistake, and especially the confusion of the first violin, when, at the end, he found he was playing alone, diverted the court of Eisenstadt. Others a.s.sert, that the prince having determined to dismiss all his band, except Haydn, the latter imagined this ingenious way of representing the general departure, and the dejection of spirits consequently upon it. Each performer left the concert room as soon as his part was finished.
PARLIAMENT.
Hume.--At a parliamentary dinner, Mr. Plunkett was asked if Mr. Hume did not annoy him by his broad speeches. ”No,” replied he, ”it is the _length_ of the speeches, not their _breadth_, that we complain of in the House.”
Henry Lord Falkland having been brought into the House of Commons at a very early age, a grave senator objected to his youth, remarked that ”he did not look as if he had sown his wild oats.” His lords.h.i.+p replied with great quickness, ”Then I am come to the fittest place, where there are so many old geese to gobble them up.”
The Duke of Newcastle, who was at the head of the Treasury, frequently differed with his colleague in office, Mr. Pitt, the first Earl of Chatham, though the latter, by his firmness, usually prevailed. A curious scene occurred at one of their interviews. It had been proposed to send Admiral Hawke to sea, in pursuit of M. Conflans. The season was unfavourable, and almost dangerous for a fleet to sail, being the end of the month of November, and very stormy. Mr. Pitt was at that time confined to his bed by gout, and was obliged to receive visitors in his chamber, in which he could not bear to have a fire. The Duke of Newcastle waited upon him one very raw day, to discuss the affair of the fleet, but scarcely had he entered the chamber, when s.h.i.+vering with cold, he said, ”What, have you no fire?” ”No,”
replied Mr. Pitt, ”I can never bear a fire when I have the gout.” The duke sat down by the side of the invalid, wrapt up in his cloak, and began to enter upon the subject of his visit. There was a second bed in the room, and the duke, unable longer to endure the cold, said, ”With your leave, I'll warm myself in this other bed;” and without taking off his cloak, he actually got into the bed, and resumed the debate. The duke began to argue against exposing the fleet to hazard in such weather, and Mr. Pitt was as determined it should put to sea. ”The fleet must absolutely sail,” said Mr.
Pitt, accompanying his words with the most expressive gesture. ”It is impossible,” said the duke, with equal animation, ”it will certainly be lost.” Sir Charles Frederick, of the ordnance department, arrived just at this time, and finding them both in this laughable posture, had the greatest difficulty to preserve his gravity, at seeing two ministers of state deliberating on the affairs of the country in so ludicrous a situation.
”They're all Out.”--At the time when the unfortunate ministry, known as ”All the Talents,” was ousted in 1807, there stood upon the Earthen Mound in Edinburgh many caravans of wild beasts belonging to the famous Mr.
Wombwell, around which there cl.u.s.tered a large crowd of idle folks listening to the dulcet strains of his most harmonious bra.s.s band. The news of the Tory victory was first made known in the parliament house, and, as can well be believed, the excitement that ensued was intense. Under its influence that eager and eccentric judge, Lord Hermand, making for his home, espied a friend among the Wombwell crowd, and shouted aloud in his glee across the street, ”They're out! they're out! they're all out!” In half a second there was the wildest distribution of the mob--down to Prince's-street, up the Castle-hill, into the gardens, and up the vennels.
The people picturing the horrors of a tiger-chase did not stop to hear more, and Hermand found himself, to his amazement, monarch of all he surveyed, and sole auditor of the last terrified shriek of the band.
Lord Lyndhurst, it is said, tells this story of his surrender of the great seal in 1846. ”When I went to the palace,” says his lords.h.i.+p, ”I alighted at the grand staircase; I was received by the sticks gold and silver, and other officers of the household, who called in sonorous tones from landing to landing, and apartment to apartment, 'Room for the Lord High Chancellor of England.' I entered the presence chamber; I gave the seals to her Majesty; I had the honour of kissing her hand; I left the apartment by another door and found myself on a back staircase, down which I descended without any one taking any notice of me, until, as I was looking for my carriage at the outer door, a lackey bustled up, and with a patronising air, said, 'Lord Lyndhurst, can I do anything for you?'”
The Slave Trade.--In one of the last discussions on the slave trade, Sir Charles Pole said, ”while he deprecated the motion (for the abolition), he rejoiced that it had been brought forward thus early, because it showed the cloven foot which had been attempted to be concealed.” To this remark Mr.
Sheridan very spiritedly replied, ”An honourable baronet,” said he, ”has talked of a cloven foot; I plead guilty to that cloven foot; but this I will say, that the man who expresses pleasure at the hope of seeing so large a portion of the human race freed from the shackles of tyranny rather displays the pinions of an angel than the cloven foot of a demon.”
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