HANDEL IN DUBLIN
Eoin O'Brien
[First published in ANORATORIObyGEORGE FRIDERIC HANDELin aid ofThe Medical Research Fund ofThe Charitable Infirmaryand
Mercer's Hospital Development Fund in THE NATIONAL CONCERT HALLFEBRUARY 2nd 1986. Programme notes compiled and edited
by Eoin O'Brien. Published by The Black Cat Press]
George Frideric Handel was born at Halle, in Saxony, in 1685 and died in Londonin 1759, aged seventy-four. A contemporary of Bach, with whom he shares asimilar North German, middle-class, and Protestant background, Handel, wasmore flamboyant, gregarious and cosmopolitan than his compatriot. Describedsomewhat disparagingly by one critic as "a magnificent opportunist", he composednone the less, some brilliant music, of which Messiah is one of his finest achievements.
Beethoven regarded him as capable of achieving the greatest effect withthe simplest of means, and Haydn in tears after hearing the "Hallelujah Chorus"in Westminster Abbey, declared him "the master of us all". This sentiment would,no doubt have pleased Handel, who had composed the chorus under the influenceof great emotion: "I did think I did see all Heaven before me - and the GreatGod himself!"
Handel was a profound Christian who gave generously of his artistic skill andreputation to raise substantial funds for charity. He was a governor of the FoundlingHospital in London to which he donated a magnificent organ. In the chapelof this hospital, Handel himself, directed eleven performances of Messiah, so raisingthe sum of £7,000 for that charitable institute. Handel's music was heard inDublin probably as early as 1711, when the famous Italian castrati Nicolini sangexcerpts (there is confusion as to whether or not the entire opera was performed)from Handel's Rinaldo in either the Smock Alley Theatre, or the Blue CoatHospital. In 1725, Signiora Stradiotti, the first Italian prima donna to grace theDublin stage, sang a number of Handel arias at Smock Alley Theatre. On May 1,1734, Handel's Acis and Galatea was performed for the first time in the Crow
Street Music Hall. So Georgian Dublin music-goers were no strangers to the musicof Mr. Frideric Handel.
On October 2, 1741, the new Musick-Hall in Fishamble Street opened underthe management of Mr. William Neale, one of a remarkable musical familywho did much to further the appreciation and performance of music in the city.William Neale, a maker of musical instruments, was amember, with his father, ofthe Charitable and Musical Society, which organised musical events in aid ofcharitable institutes and causes. Subscription to the Society was an English crown.Meetings were held every Friday evening to perform a selection of instrumentalmusic, after which the members entertained themselves singing glees and catchsongs.Concerts were given from time to time and the proceeds of each seasonwere donated to a charitable cause, the most popular being the relief of debtors inprison. The Society grew so much in popularity that it had to move from theBear Tavern in Christchurch-yard to the larger Bull's Head Inn in FishambleStreet. Taverns had never been in short supply on this little street and its historyrecords the "Swan Tavern", the "Ormond Arms", the "Ossory", the "Fleece",and the "London Tavern". The "Bull's Head", which stood high on the west sideof Fishamble Street next to St. John's Church was no ordinary tavern. Its extensivepremises extended as far back as the east window of Christchurch Cathedral,and it has been described as "a veritable ancient hostelry, with a capacious yard,which was entered by an archway, surmounted by the house's symbolic sign". Asa house of entertainment it had few equals. The Masonic Body had its home there,and it hosted the annual banquets of many guilds and public companies. Noteveryone approved of the "Bulls Head"; when Jonathan Swift, the Dean of St.
Patrick's was informed that his vicars-choral were members of the Charitableand Music Society, he called upon his sub-deans to punish "such vicarsas should appear at the 'Club of Fiddlers' in Fishamble Street as songsters, fiddlers,pipers, trumpeters, drummers, drum-majors, or in any tonal quality according tothe flagitious aggravation of the respective disobedience, rebellion, perfidy, and
ingratitude". Despite such edicts the Society prospered, and funds were soonavailable to commission the building of the Musick-Hall to the design of thefamous architect Richard Cassell, whom Bartholomew Mosse had brought to Dublinto build the Rotunda Hospital. The Musick-Hall when completed could accommodate700 persons.
As Amphion built of old the Theban wall,
So Neal has built a sumptuous Musick Hall:
The one, by pow'rful touches of his lute;
The other, by the fiddle and the flute.
Fishamble Street, in the lee of Christchurch Cathedral, has an illustrious history.Once, as its name implies, a shambles or market for fish, the narrow way waslined with the open stalls of fishmongers, not always a cleanly lot. Their practiceof casting the offal of their trade into the gutter in anticipation of the rains thatwould sweep it down the short hill to the Liffey was a source of constant irritationto the corporation. The street once boasted fine examples of Dublin architecture,some of which dated from Queen Anne, including a number of tall narrowhouses turning a high-peaked gable to the road. In one of these Henry Grattan,son of a physician, was born in 1746, and baptised in the Church of St. John onFishamble Street. Among other residents of note was Dr. Arnold Boate, or Boot,brother of Gerald, the author of Ireland's Natural History, who together with hisbrother, had written a refutation of Aristotle's philosophy. From the press ofJohn Harding of Molesworth-Court, off Fishamble Street, Swift's famous Drapier'sLetters, were issued in 1724. It is, perhaps, difficult to appreciate to-day therelevance of Fishamble Street to the history of the city, but it occupies no lessthan 45 pages in Gilbert's History ofDublin!
With the foundation of Neale's Musick Hall, the stage was set for the greatestmusical event in the history of Dublin. Handel had become disillusioned withLondon society, where his concerts were being poorly attended. When the Dukeof Devonshire invited him to visit Dublin, he was ready for a new venture and achange of air. Handel, always one to enjoy life, may have shared his biographer'sopinion of Dublin as a city, "famous for the gaiety and splendour of its court,the opulence and spirit of its principal inhabitants, the valour of its military, andthe genius of its learned men". When the Lord-Lieutenant's invitation was followedby that of the Charitable and Musical Society, now proudly established in itsnew Musick-Hall, the maestro's mind was decided and he departed London forDublin via Chester where he was detained for nearly a fortnight by bad weather.This delay may have been opportune. Having only composed Messiah a few weeksbefore his departure from London, Handel had had no opportunity to rehearse themusic. This he did with the cathedral choir at Chester. The weather duly abatedand Handel boarded the packet from Holyhead, arriving safely in Dublin onNovember 18, 1741. He took lodgings in Abbey Street, at which address ticketsfor his musical performances were sold.Handel's first concert in Dublin was announced to a public eager withanticipation:
"At the new Musick Hall in Fishamble Street, on Wednesday next, beingthe 23rd December, 1741, IVlr. Handel's musical entertainments will beopened, in which will be performed L 'allegro Il Penseroso, il moderato,with two concerts for several instruments and a concerto on the organ. Tobegin at 7 o'clock. Tickets for that night will be delivered to subscribers(by sending their subscription tickets) from 90'clock in the morning till 3in the afternoon: and attendance will be given at Mr. Handel's home inAbbey Street near Liffey Street from 9 o'clock in the morning till 3 in theafternoon, in order to receive the subscription money, at which time eachsubscriber will have a ticket delivered to him which entitles him to threetickets each night either for ladies or gentlemen".
The next entertainment was Acis and Gala tea, on January 20, 1742. The programmealso included an Ode for St. Cecilia's Day, written by Dryden, and setto music by Handel. It was an astounding success:
"The Performance was superior to anything of the kind in the kingdombefore; and our Nobility and Gentry, to shew their Taste for all kinds ofGenius, expressed their great Satisfaction, and have already given allimaginable Encouragement to this grand Musick".
The composer was also pleased, not only with his audience, but also with theacoustics of the new Musick-Hall:
"The nobility did me the honour to make amongst themselves a subscriptionfor six Nights, which did fill a Room for six hundred Persons,so that I needed not sell one single ticket at the Door, and without Vanitythe Performance was received with a general Approbation ... As for theInstruments, they are really excellent, Mr. Dubourgh being at the Head ofthem - and the Musick sounds delightfully in this charming Room, whichputs me in such Spirits (and my health being so good) that I exert myselfon my Organ with more than usual success ... I cannot sufficientlyexpress the kind treatment I receive here; but the Politeness of thisgenerous Nation cannot be unknown to you, so I let you judge ofthesatisfaction I enjoy, passing my time with Honour, Profit and Pleasure".
As with all great occasions, the organisers had their problems, one of whichsurprisingly, was traffic congestion:
"To begin at 7 O'Clock, Gentlemen and Ladies are desired to order theirCoaches and Chairs to come down Fishamble-Street, which will preventa great deal of Inconveniencies that happen'd the Night before; and as thereis a good Convenient Room hired as an Addition to a former Place for theFootmen, it is hoped the Ladies will order them to attend there till calledfor".
Ads and Galatea, was followed by the dramatic oratorio, Esther, which wasreceived with similar rapture. Then on April 13, 1742, Messiah, was introducedto the world at the Musick-Hall in Fishamble Street, the proceeds to be donated"for the relief of the prisoners in the several Gaols and for the support of Mercer'sHospital ... and of the Charitable Infirmary". The performance was, again, anoutstanding success. The organisers of the Musick-Hall anticipating capacitycrowds published a request that ladies would come without their hoops, and gentlemenwithout swords. The quaintness of this request should not be permitted todetract from its practical relevance to the occasion. The hooped petticoat hadachieved its greatest dimension in the 1740's when it far surpassed "both incircumference and stiffness the similar contrivance of Queen Bess's day," whohad appeared to an irreverent wit as "if she were standing up to her neck in adrum". These considerations being complied with, some seven· hundred peoplewere accommodated in the hall for the performance, which raised the considerablesum of £400 for its stated charities.
The traditional observance of rising during the Hallelujah Chorus had toawait the performance of Messiah in England, when the King rose to his feet.But at the Dublin performance, Dr. Delany, friend of Dean Swift, was so overcomeby Mrs. Susanna Cibber's rendering of "He was Desposed," that he struggledto his feet exclaiming on a note of emotion, no doubt soon to be regretted,"Woman, for this, be all they sins forgiven."
The musical public of the city were enraptured:
"Words are wanting to express the exquisite Delight it afforded to theadmiring crowded Audience; the Sublime, the Grand, and the Tender,adapted to transport and charm, the ravished Heart and Ear".
Handel's last performance in Dublin was Saul, on May 25, which was reportedas "the finest Performance that hath been heard in the Kingdom." During hisstay in Dublin, Handel had visited the dying Jonathan Swift, who, in his dementedstate had difficulty in understanding who it was to whom he was being introduced,but at length exclaimed: "O! a German, and Genius! A Prodigy! Admithim! "
Handel left Dublin on August 13, 1742 with fond memories of a city towhich he resolved to soon return. Sadly for Dublin, and perhaps for music, thisambition of Handel's was never fulfilled. The musical public of the city did notforget the composer or his music, and the Musick-Hall, which continued to thrivelong after Handel's departure, included his compositions regularly in its repertoire.The celebrated oratorio, Judas Maccabaeus, was performed there for the first timein 1748. William Neale, the successful manager of the Musick-Hall had the satisfactionof seeing his son, John, become an accomplished violinist. He playedoften in his father's hall as a member of the Musical Academy, founded in 1757,by Lord Mornington (father of the future Duke of Wellington), for the relief ofdistressed families. John Neale had another interest, which in those bygoneGeorgian days was, to say the least, at variance with the sensitivities of a violinist;he was surgeon to the Charitable Infirmary, one of the institutions to benefit fromthe performances of Handel's Messiah under the auspices of his father's altruisticsociety. Of the many causes deserving of charity in the city, what we may ask,influenced Handel to support the Charitable Infirmary and Mercer's Hospital?
To answer this we need to look back some two centuries earlier to 1536, whenmedical progress in Ireland suffered a setback from which it was not to recoverfor three hundred years. In this year, King Henry VIII of England became involvedin a theological dispute with Rome, and by an act of parliament demandedthat all would acknowledge him as Supreme Head of the Church. The heads of allreligious houses were obliged to take the Oath of Supremacy, the penalty forrefusing to do so being high treason. This act for the suppression of monasterieswas extended to Ireland in 1541. Henry, in return for the peaceful surrender byall priors and abbots, offered "of his most excellent charity to provide to everychief head and governor of every such religious house, during their lives, suchyearly pension or benefice as to their degree and quality shall be reasonable andconvenient, where in his Highness will have most tender respect". With thepassing of this act the monastic and religious hospitals throughout the countryclosed. In Dublin, the unfortunate inmates were turned out of the 300-year-oldHospital of St. John the Baptist, helpless and unprovided for, on the streets of thecity either to beg or starve. For a time this hospital became a poor house and it islast mentioned in this regard in 1587, after which it was demolished.The suppression of the monasteries annihilated whatever meagre provision hadexisted for the care of the sick and destitute. A parish system of care for thepoor did exist in England from 1572 onwards, but was never extended to Ireland,where the ravages of war had extinguished all philanthropic effort and no attemptwas made to provide a poor law system. In effect Ireland was without hospitalsfor two centuries and we must await the Georgian age of philanthropy (at leastin so far as hospital building is concerned), before we can see any organisedrelief for the wretched poor of city and country.
Towards the end of the seventeenth century, plans for the first general hospitalIn the city of Dublin since the suppression of the monasteries were underway. Richard Steevens bequeathed his considerable wealth to the foundation of ahospital and in so doing he established the concept of the "Voluntary Hospital",of which many were to be founded in Dublin in the eighteenth century. GrizelSteevens, undertook with diligence and energy to fulfil her brother's wishes, butDr. Steevens' Hospital was not, in fact, to be the first voluntary hospital built inthe city.
In 1718 six Dublin surgeons opened a small house in Cook Street for the care of"the maim'd and wounded poor". This was, with the exception of St. Bartholomew'sand St. Thomas's in London, which survived the suppression of Henry VIII,the first eighteenth century voluntary hospital in the British Isles, preceding byone year the opening of the Westminster Hospital in London. The philanthropicsurgeons were Francis and George Duany who were brothers, Patrick Kelly,Nathaniel Handson, John Dowdall and Peter Brenan, who assisted his fatherJames in running the first of Dublin's many private medical schools in Arran Quay.They had "observed that the City of Dublin abounds with a great number ofpoor, who when they happen to be maim'd or meet with any accidents thatrequire the assistance of surgeons, perish in a miserable manner, for want of helpand other necessaries". In the house in Cook Street they attempted to providefor these unfortunates, but they had only accommodation for four patients andmost had to be attended as outpatients. The founders sought help from charitablemembers of the community and in 1728 they were able to move the hospitalfrom Cook Street to more commodious premises in Anderson's Court, where itwas given the name of the Charitable Infirmary of Dublin. This building couldaccommodate eight or nine patients and sometime early in the 1730's the hospitalmoved again to larger premises on Inn's Quay in which there were thirty-six beds.In 1786 the hospital was forced to move yet again to make way for JamesGandon's Four Courts, when it transferred to the former town house of the Earlof Charlemont at Jervis Street where it remains to this day, having been rebuiltin 1886.