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Bach, Johann Christian (1735–1782)
[Gioas, rè di Giuda. T’adoro te solo eterno mio Dio]
Autograph manuscript, circa 1770.
In: Bound collection
Box 861
Johann Christian Bach, youngest son of Johann Sebastian Bach, settled in England in 1762, where he soon achieved success as a composer of Italian opera. Bach’s oratorio Gioas, rè de Giuda, with a libretto after Metastasio, was first performed at the King’s Theatre in 1770. This simplified version of the aria “T’adoro te solo eterno mio Dio,” in Bach’s autograph, was likely adapted by him for an amateur singer, possibly Queen Charlotte, for whom Bach served as music master from 1763 to 1782. The manuscript is bound in a volume of mostly printed keyboard and vocal music; a manuscript annotation, “Cheveley,” appearing in several places in the volume, possibly refers to Louisa Cheveley, who served as a nurse to the young princesses and princes.
Bach, Johann Christian. Rinaldo ed Armida. Io ti lascio questo addio. London: Cahusac, 1790? Cover
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Bach, Johann Christian (1735–1782)
[Rinaldo ed Armida. Io ti lascio questo addio]
The first favorite rondeau sung by Mr. Tenducci at Mess.rs Bach and Abel’s concert London: Cahusac, [1790?]
In: Bound collection
Box 874
In 1765, Johann Christian Bach and Carl Friedrich Abel founded the Bach-Abel Concerts, the first public subscription concert series in London. Carl Friedrich Abel (1723–1787), a German composer and viola da gamba player who settled in London in 1759, had studied with Johann Christian’s father Johann Sebastian Bach in Leipzig. Bach and Abel continued their collaboration through 1781, offering regular concerts of instrumental and vocal works composed and performed by prominent musicians of England and Europe.
This version of an excerpt from Bach’s cantata Rinaldo ed Armida was published in English translation and with the original orchestral accompaniment adapted for a small ensemble of chamber musicians. The title page refers to a performance by Bach, Abel, and two colleagues. Giusto Ferdinando Tenducci (1735–1790), Italian castrato and composer, arrived in London in 1758. He sang Italian opera at the King’s Theatre, appearing in the first performance of Bach’s Adriano in Siria. Johann Christian Fischer (1733–1800), German oboist and composer, was active in London from 1768. Fischer served as a chamber musician to Queen Charlotte, as did Bach and Abel.
This music was later bound in one of several volumes in the Archive titled “Englische Gesänge,” or “English songs.” In this volume, Bach’s music is gathered alongside vernacular English works, such as Holy, holy, holy, the classic English hymn by Reginald Heber. These albums reveal the tremendous breadth and vibrancy of popular musical culture in England in the late eighteenth and early nineteenth century—and the equal enthusiasm for English music, over decades, of members of the Hanover royal family.
Table of contents. Manuscript, in the hand of Frederick Nicolay, 1788
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Table of contents
Manuscript, in the hand of Frederick Nicolay, 1788
In: Bound collection
Box 837
This volume contains music for harpsichord, including Johann Christian Bach’s Sonatas for harpsichord, violin, and violoncello, W. B 43–48. The table of contents was written by the royal music librarian, with the inscription “This volume belongs to the Queen, 1788.”
Horn, Charles Frederick. Sonatas, keyboard, violin, violoncello, op. 1. London: author, 1786. Cover
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Horn, Charles Frederick (1762–1830)
[Sonatas, keyboard, violin, violoncello, op. 1]
Six sonatas for the pianoforte or harpsichord with an accompanyment for a violin & violoncello
London: to be had of the author, [1786]
Part for keyboard
Box 89, folder 418
Charles Frederick Horn, a composer of German birth, had a long association with the royal family, serving as music master to Queen Charlotte, 1789–1793, music instructor for the princesses, 1789–1812, and organist of St. George’s Chapel, Windsor, 1824–1830. His Sonatas, op. 1, were published on his arrival in London in 1786, with subscribers headed by the Princess of Wales and including composer Muzio Clementi and impresario Johann Peter Salomon. The Sonatas were dedicated to Lady Charlotte Leveson- Gower, daughter of Sir Granville Leveson-Gower, Marquess of Stafford, who had previously employed Horn as music master in his household. This copy is signed by Princess Amelia, youngest child of George III and Queen Charlotte.
Horn, Charles Frederick. Trafalgar. London: Goulding, Phipps, D’Almaine & Co., 1805. Cover
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Horn, Charles Frederick (1762–1830)
Trafalgar: an heroic song
London: Goulding, Phipps, D’Almaine & Co., [1805]
In: Bound collection
Box 859
Horn’s song in tribute to Admiral Nelson and his victory at Trafalgar is on a text by Sir William Blizard, surgeon and founder of the London Hospital medical school, and is dedicated to merchant and financier Abraham Goldsmid. The song was performed by Horn’s son, composer and singer Charles Edward Horn (1786–1849). Charles Edward Horn later lived in New York and Boston, where he composed, produced operas, and worked in music publishing during the 1830s and 1840s.
5. “Yankey doodle” and “La belle Gertrude”
“Yankey doodle” and “La belle Gertrude.” Manuscript, in an unidentified hand, undated
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“Yankey doodle” and “La belle Gertrude”
Manuscript, in an unidentified hand, undated
In: Music book
Box 183, folder 944
Princess Augusta and others compiled this volume of manuscript music during the late eighteenth century. Contents include “The Princess Royals minuet—1788,” six minuets for the King’s birthday in 1788, and an early version of Yankee doodle.
6a–b. Johnson, James. The Scots musical museum
Johnson, James. The Scots musical museum. Volume 1. Edinburgh: Johnson, 1787. Title page
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Johnson, James (circa 1750–1811)
The Scots musical museum.
Volumes 1-4
Edinburgh: Johnson, 1787–1792
Box 582
A major source of Scottish national song is The Scots musical museum, published in six volumes by James Johnson, a prominent music engraver and publisher active in Edinburgh, 1772–1811. More than one third of the 600 songs in Johnson’s collection were contributed by poet and songwriter Robert Burns (1759–1796), including traditional melodies and lyrics, and original poems. Bass accompaniments were composed by Stephen Clarke (1735–1797) and his son William Clarke (1775–1820), both Scottish composers and organists. William Stenhouse (1773–1827), Scottish antiquarian, wrote scholarly notes on each song, published in 1839 as Illustrations of the lyric poetry and music of Scotland.
Volumes 1–4 are present in the Archive, each signed on the title page by Princess Augusta. An example of original poetry by Burns is “Ballad on the American war,” in volume 2, published in 1788. Using a traditional melody, Burns’s poem comments on events of the American Revolution, from the Boston Tea Party of 1773 through the recent succession of William Pitt as Prime Minister of Great Britain in 1783–1784.
Johnson, James. The Scots musical museum. Volume 2. Edinburgh: Johnson, 1788. Page 102
7. Weber, Carl Maria von. Der Freischütz
Weber, Carl Maria von. Der Freischütz. Vocal score. Mainz: B. Schott Söhne, 1820s? Title page
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Weber, Carl Maria von (1786–1826)
Der Freischütz
Vocal score, arranged by Carl Zulehner
Mainz: B. Schott Söhne, [1820s?]
Box 144, folder 765
Operas arranged for voice and keyboard provided amateur musicians with a means of studying, playing, and hearing opera in private surroundings. Many examples of vocal scores for contemporary operas are present in the Archive. One of the most successful operas of this period, Carl Maria von Weber’s Der Freischütz was first performed in Berlin in 1821, and was soon presented on major opera stages throughout Europe and beyond. This early vocal score, with a title page illustration of a scene from the opera, was owned by Princess Augusta, whose signature appears on the cover.
8. After the battle
“After the battle.” Manuscript, in an unidentified hand, undated. Page 1
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“After the battle”
Manuscript, in an unidentified hand, undated
In: Music book
Box 819
This volume of manuscript songs and dances, inscribed by Princess Augusta in 1818, shows the Princess and others at work on their music.
9. Oh God the strength of all the just
“Oh God the strength of all the just.” In: Music book, circa 1830
“Oh God the strength of all the just”
Manuscript, in an unidentified hand, undated
In: Music book, circa 1830
Box 822
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These pages, in a music book kept circa 1830 by Princess Augusta, show the volume’s use at two distinct moments.
Jones, Edward (1752–1824)
A selection of the most admired and original German waltzes
London: printed for the editor, 1806
Box 583
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This collection of unattributed German waltzes was compiled by Edward Jones, Welsh harper, composer, and collector of national music. Jones composed and performed harp music for the Bach-Abel Concerts and taught harp playing to aristocratic amateurs. He is best known for three compilations of Welsh melodies: Musical and poetical relicks of the Welsh bards (1784), The bardic museum (1802), and Hên ganiadau cymru (1820); several of his published collections are listed at the bottom of the title page. The title page asserts his association with the royal family, as “Bard to the Prince of Wales,” and with a dedication to ten-year-old Charlotte, Princess of Wales, later Princess of Great Britain. As the only child of George IV, Charlotte was likely to become queen, but died tragically after giving birth to a stillborn child in 1817.
Jones, Edward. A selection of the most admired and original German waltzes. London: editor, 1806. Title page
An engraved illustration by Thomas Rowlandson (1756–1827) has been hand-colored with watercolors, possibly by one of the princesses. The caption refers to a waltz in Goethe’s Werther, further identified on page 3 as “the Waltz which Werter and Charlotte are said to have first danced together.”
God Save the King 