Part 11

About fifteen years after Mrs Sarah Ottey’s last bow to a London audience, a baby, who was destined to become a beautiful and talented woman, was presented to Thomas Ford by his wife, _née_ Champion. The auspicious event took place in a house near the Temple, on the 22nd February 1737, and created the usual stir among the happy couple’s relations, who moved among the _haute monde_. Thomas Ford himself was a clerk of the arraigns, one of his brothers was the Queen’s physician, and the other--Gilbert Ford--occupied a high position as Governor-General of Jamaica. As niece of two such eminent men, and also being dowered with a wealth of beauty and talent, Ann--as her parents christened her--grew up among gentle surroundings, and was received by, and made a favourite of, the most fashionable society. Long before she was twenty, she had tasted of the intoxicating delights of admiration to an extent which would have been sufficient to turn most young girls’ heads. Hone had painted her in the character of a muse, the Earl of Chesterfield had extolled her dancing, and many a lordly _beaux_ had fluttered at her feet. But although she flirted, and played many a dangerous game with her admirers, Ann Ford was endowed with an intellect that sought for something else besides the pastime of varied flirtations. “She is excellent in music, and loves solitude,” wrote one lord to another about her, “and has unmeasurable affectations.”

Not the least of these so-called “affectations” alluded to by her adorer, were Ann Ford’s musical gifts, which she developed with all the powers of her culture-loving mind. Her voice and singing were praised by the most excellent critics of the day, and by many she was esteemed to be quite equal to the favourite Mrs Billington as a vocalist. In one respect, there is no doubt that she surpassed the latter, for one of Ann Ford’s most admired characteristics was the delightful manner in which she could accompany her songs on the guitar or viola da gamba. Like attracts like, and it was only natural, the talents of this clever lady in due course drew the attention of the best musicians of the day. She established a sort of musical _salon_ which was held each Sunday at her house, and to these came Arne, Tenducci, Rauzzini, Pinto, and a host of musical celebrities and fashionable dilettanti. Nothing delighted the music-loving hostess more than these weekly opportunities of welcoming her artist friends, but there was one sting to be found in her cup of happiness, which took the form of her truly British parent, Ford _père_. He objected strongly to his daughter’s public display of her talents, and neglected no opportunity of showing his disapproval. In spite of his remonstrances, in spite of his displeasure, his spirited daughter still continued to hold her _réunions_ each week, and also frequently performed at her friends’ houses.

The abrupt ending of a more than ordinary _affaire de coeur_ with a married man, “a Person of Distinction” brought the climax. Ann Ford decided to fly in the teeth of her parent’s displeasure. She would give a series of Subscription Concerts at the Little Theatre in the Haymarket. In vain did the father forbid the whole thing, and finally resorting to threats, the daughter flew from the paternal roof to the house of a friend. Immediately Ford _père_ procured a magistrate’s warrant wherewith he secured the person of his wayward child and brought her home. But neither warrants, nor lock and key, could deter Ann Ford from her purpose, and she managed to elude her father’s vigilance and escape again. The sensationalism caused by these incidents brought friends old and new thronging round the distressed lady. The heart of aristocracy was touched, and the first of Ann Ford’s series of subscription concerts on the 18th March 1760 furnished her with £1,500. Still her troubles were not at an end, for her father, on the night of the concert, employed a number of ruffians to surround the theatre and these were only dispersed by Lord Sackville’s threats to send for a detachment of the Guards.

The programme of this first concert was included in the following advertisement which appeared in _The Public Advertiser_ on the 17th March 1760:--

MISS FORD’S FIRST SUBSCRIPTION CONCERT

will be to-morrow the 18th instant at the Little Theatre in the Haymarket. As the Pit, Boxes, and Gallery are the same Price, the latter will be equally illuminated with wax-candles.

First Part. Overture of Pasquali: Song by Miss Ford, Voi Legete; Concerto Hautboy, Mr Simpson; Song, Miss Ford, Gentle Youth, etc.; Solo, Miss Ford, on the Viol di Gamba.

Second Part. Concerto Bassoon, Mr Miller; Song, Miss Ford, Sparge Amar; Solo Violin, Mr Pinto, Song, Return O God of Host, Full piece of French Horns.

Tickets at half-a-guinea each, to be had at the Theatre; at Mr Deard’s; at Mr Garden’s in St Paul’s Church Yard; and at Mr Walsh’s in Catherine-Street. No Persons to be admitted behind the Scenes.

To begin at Seven o’Clock.

No more tickets will be delivered than the house will contain.

The second concert took place on the 25th of March, when she is announced to take the “Vocal Parts” and play “a solo on the Viol di Gambo” as well as “a Concerto on the Guittar.”

Money being plentiful, the announcement of Ann Ford’s third concert on the 7th April is more lavishly displayed, the solo on the “Viol di Gambo” being, in particular, inserted in large type as a special attraction. For Monday, the 14th April, she requisitioned the services of three other artists. The programme for this concert appears in _The Public Advertiser_ of Friday, 11th April 1760, in the following order:--

MISS FORD’S FOURTH SUBSCRIPTION CONCERT

will be on _Monday_ the 14th instant, at the Little Theatre in the Haymarket.

The vocal Parts by Miss Ford, who will play a solo on the

VIOL DI GAMBO

Overture

Non fai qual pena fia. Song. Concerti Traversa by Sen. G. Sweet Bird. Song. Solo, Viol di Gambo. Concerto Violoncello, Sen. Pasqualini. Hush ye pretty warbling Choir. Song. Solo Violin, Mr Pinto. Duetto, Caro Spiegar Voirei.

Lesson on the Guittar, and (by particular Desire) the 104th Psalm.

FULL PIECE

Tickets to be had.........

To begin at Seven o’Clock.

Her fifth and last concert took place on Tuesday, 22nd April, when, besides taking the “vocal parts,” she played a solo and accompanied herself in a song (“Oh! Liberty thou choicest treasure”) on the Viola di Gambo, also performing “a lesson on the guittar” and singing “a Hymn set by herself,” which she accompanied on the lute.

These five concerts completed the series announced and for the rest of that year Ann Ford abstained from further appearances on the concert platform. During the interval, she occupied herself in addressing a brilliant little pamphlet to her former lover, which was intended to contradict the scandalous imputations which were being noised abroad concerning her friendship with the married man. This letter was published in 1761, under the title of “A Letter from Miss F..d to a person of distinction.” The pathetic manner in which she chides his lordship for his attempt to overthrow her virtue, and her gentle despair at his sudden unfriendliness towards her, reads more like the attempt of a clever woman to raise public sympathy on her behalf rather than genuine dejection. The “person of distinction” whom she addressed replied to her in a somewhat derisive letter, in which he endeavours to reveal Miss Ford’s _pique_ to arise from the fact, that he and his spouse did not support her subscription concerts handsomely. The publication of such letters certainly did neither party good, though from the point of view of literary excellence, Ann Ford surpassed her lordly lover.

Having become entirely dependent on herself through her direct opposition to her father’s wishes, Ann Ford again made another bid for public favour at the end of the following year. From the 24th to the 30th of October she was announced to sing “English airs accompanying herself on the musical glasses” daily in the large room, Cock’s Auction-room, Spring Gardens, and before the following year she published her “Instructions for playing on the Musical Glasses.” This was before the introduction of the “armonica” by Marianne Davies, so that the instrument employed by Ann Ford consisted simply of a series of glasses containing various quantities of water. This sort of art could have hardly been to her taste, and she very soon threw it up. In the following month she accompanied her friends, Lady Elizabeth Thicknesse and her husband, Philip Thicknesse, to Landguard Fort, of which the latter was Lieutenant-Governor. Shortly after their arrival Lady Thicknesse gave birth to a son, whom she lived to see only a few months old, as she died on the 28th March 1762. Circumstances thus threw the whole care of the child upon Ann Ford, and so devoted and sympathetic a foster-mother did she prove herself to be that, six months after his wife’s death, Philip Thicknesse made Ann Ford his (third) wife.

For some years after this event Ann Thicknesse lived a life of peaceful happiness, residing in the summer months at Felixstowe Cottage. This residence was the subject of an enthusiastic article in “The School of Fashion,” 1800, and Gainsborough’s sketch of it was published in _The Gentleman’s Magazine_ (vol. ii. 1816). During the years of her married life, Mrs Thicknesse turned her attention to literature, and while residing in Bath, from 1778 to 1781, wrote her sketches of the “Lives and Writings of the Ladies of France,” which filled three volumes.

In 1792, an abrupt ending to this placid existence was caused by the sudden death of Philip Thicknesse at Boulogne, where Ann and her husband had made a temporary halt on their way to Italy. In spite of the danger entailed by English people in France at that time, Ann Thicknesse intrepidly remained in that country after her husband’s death, and paid for her temerity by arrest and confinement in a convent, where she remained for two years. With the execution of Robespierre and the liberation of all prisoners who could prove themselves capable of earning their own living, Ann Thicknesse easily gained her liberty and returned to England. In 1800 her novel, “The School of Fashion,” in which she introduced many well-known characters under fictitious names (she herself figuring under the guise of Euterpe) appeared.

The latter years of this brilliant woman’s life were spent with a friend who lived in the Edgware Road, and she died there, at the age of eighty, on the 20th January 1824. It is given to few to pass through such an eventful life as Ann Ford’s, and live to such ripe years. Beautiful, popular, a gifted linguist and musician, all these conspired to make her a prominent figure among the women of her day. Hone and Gainsborough painted her portrait, fashionable society raved about her and read her writings, and--she played upon a favourite viola da gamba “made in 1612, of exquisite workmanship and mellifluous tone.”

_By Particular Desire_ At the little Theatre in the Haymarket. This Day, April 23, there will be a Concert of VOCAL AND INSTRUMENTAL MUSIC. The vocal parts by Signor TENDUCCI, Signora CALORI, and Signor QUALICI.

THE Solos by young Performers, who never appeared in Public, as a solo of Signor Giardini’s on the Violin by his scholar, Master Barron, thirteen years old; a Lesson on the Harpsichord by Miss Burney, nine years old; with a Sonata of Signor Giardini’s accompanied by a Violin; a Sonata on the Violoncello by Master Cervetto, eleven years old; a Duet on the Violin and Violoncello by Master Barron and Master Cervetto; a Quartette by Miss Schmeling, Master Barron, Master Cervetto and Miss Burney. With several full Pieces by a select Band of the best performers.

The doors to be opened at five o’clock. To begin at seven. Pit and Boxes laid together at Half-a-guinea. Gallery, Five shillings. Tickets to be had at Arthur’s, St James’s Street; at Mr Walsh’s music-shop, Catherine Street; at Mr Johnson’s music-shop, Cheapside, and at the Theatre; where Ladies are desired to send their servants to keep places.--_Public Advertiser_, 23rd April 1760.

[Illustration: _Thos. Jenkins, Pinxt._ _Js. McArdell, Fecit._ BENJAMIN HALLET.]

CHAT THE SIXTH

An Eighteenth-century Violoncello Prodigy

“Children brought up in musical families entertained by the sound of musical instruments so soon acquire a musical sense as in some instances to be regarded as prodigies. Mozart began to compose at the age of five; and in a paper read by Dr Burney before the Royal Society, it is affirmed that Crotch played the air of ‘Let ambition fire thy mind’ when only two years old.” Thus does that enthusiastic musical amateur, Mr William Gardner, half-a-century ago remark on the environment calculated to produce that overwhelming phenomena of modern times--the prodigy. So accustomed have modern audiences become to the appearance of child _virtuosi_ on the concert platform that the announcement which appeared the other day, of a concert at the Alexandra Palace where the orchestra would be entirely composed of 1000 girl and boy violinists, did not create any sensation. Certainly the novelty of the prodigy has somewhat worn off, and for this reason it is not a little refreshing to look back and see him when his numbers were less numerous.

In the accompanying illustration, reproduced from an old print in the possession of Dr William Cummings, we have the dual interest of a boy under nine years of age who could play both the violoncello and flute, and affected a certain sensationalism by clothing himself in petticoats. No biography of this youthful wonder--who was apparently the _first_ violoncello prodigy--is extant, but by the aid of newspaper advertisements it has not been difficult to trace some of this interesting little boy’s youthful career as an artist. In the first place it may be noticed that the picture is engraved by M‘Ardell, one of the most celebrated engravers of his day, after the painting of Thomas Jenkins. The latter was a Devonshire man who studied in London under Hudson, but eventually gave up painting, and went to Rome, where he set himself up as a banker and dealer in antiquities. He was not particularly prosperous in his new undertaking, however, and his misfortunes came to a climax when the French occupied Rome in 1798, and confiscated all his property. At the foot of the picture is written “Benjamin Hallet, a child not yet five years old, who, under the tuition of Mr Oswald, Performed on the Flute at Drury Lane Theatre An^o 1748, for 50 nights with extraordinary skill and applause, and the following year was able to play his part in any Concert on the Violoncello” truly a most accomplished little artist, and worthy pupil of Mr James Oswald--popular composer, flautist, and music publisher of the day.

Looking among the advertisements to be found in _The General Advertiser_ for the year 1748-1749, we came across the following which occurs frequently in that year and confirms part of the statement on the picture:--

DRURY LANE

Not acted there.

By His Majesty’s Company of Comedians. At the Theatre Royal in Drury Lane this day will be performed the last new comedy called

THE FOUNDLING

Young Belmont by MR GARRICK.

Sir Charles Raymond, Mr Barry; Faddle, Mr Wodward; Col. Raymond, Mr Havard; Sir Roger Belmont, Mr Yates; Villian, Mr Winstone; Rosetta, Mrs Pritchard, and

Fidelia by Mrs Cibber With Entertainments, viz.

## Act I. (By Desire) A piece of Music on

the flute by _the child_.

Again on the 23rd January in the same paper we find _A New Way to pay Old Debts_ advertised to be performed at the same theatre, and among the items included in the entertainment section are,

## Act I. A Concerto on the Flute by _The Child_.

## Act II. A Piece of Musick by _The Child_.

The ‘Piece of Musick by the Child’ was evidently a youthful composition and may be the identical MS. mentioned by Musgrave in his “Obituary.” Musgrave’s entries meant a great deal to himself, but they are very puzzling to those not initiated into the secret. Thus the entry “Benjamin Hallet, MS. (Music)” without date and no indication as to where it may be found, led us to a good deal of research which proved quite fruitless.

To be associated with such shining lights as Garrick, Yates, and the charming Mrs Cibber was an excellent send-off for “the child” and he was doubtless the recipient of much petting from the men and women of birth and genius who frequented the theatre. Who little Hallet’s parents were, we have been unable to discover, the only likely clue to his father is found at the foot of Benjamin’s “benefit” programme quoted later. There it is announced that tickets may be had of Mr Hallet in Exeter Court, near Exeter Exchange, in the Strand, but what was the exact relationship between this gentleman and the prodigy is only a matter of conjecture. The London Directory for 1749, gives the name of “Crowley Hallet, Old Swan Lane, Thames Street,” and that of the year 1752 announces that “Crowley Hallet was living near Fishmongers’ Hall, Thames Street.” In the year 1754 there was a “Captain John Hallet, Royal Exchange, Assurance Director, and Ships’ Husband” living in “Love Lane, Aldermanbury.” Of these two, Crowley Hallet--whose address presupposes him to have been a tradesman--was more likely to have been Benjamin’s father, for the advertising genius of the day was a great stickler for _class distinction_. If a person of genteel birth appeared--by chance--on the stage or concert platform, they were invariably announced as a “gentleman,” or “gentlewoman,” or as in the following advertisement of a seventeenth-century prodigy, in _The London Gazette_ for 26th November 1694:--“The Consort of Musick in Charles Street Covent Garden will begin again next Thursday with the addition of two new voices, _one a young gentlewoman of 12 years of age_.”

Had Benjamin Hallet been able to claim a “Captain” for his father, he would certainly have been accorded the distinction of being a “_young gentleman not yet nine years of age_.” But surmise is of little use, for Benjamin’s parents have faded into the land of oblivion and left no trace of themselves except in their talented offspring.

The next we hear of “the child,” is three years later when he is announced in _The General Advertiser_ to appear in “The Old Woman’s Oratory, conducted by Mrs Mary Midnight.” This entertainment was one of the most humorous and up-to-date amusements of the period. It continued to exist for many years on and off, and was eventually taken up by Colley Cibber, whose drolleries gave it a further lease of life. The names of the original promoters do not appear on the playbills, but the name of “Mrs Mary Midnight” perhaps but thinly veils the half-crazy personality of Christopher Smart, the leader and prime spirit of the choicest wits of the day. Poor Smart was twice confined to Bedlam for taking the injunction, “pray without ceasing” too literally, but in spite of his evident madness on this point, he was otherwise sane, and few could surpass the neat wit and epigram that flowed so freely from his ready pen. Under the pseudonym of Mary Midnight (a name said to have been suggested to Smart by some booth at St Bartholomew’s Fair) he brought out a magazine which he called _The Midwife, or the Old Woman’s Magazine_ by Mrs Mary Midnight. This purely satirical weekly was published by good John Newberry whose name Goldsmith epitomised in the lines:

“What we say of a thing that has just come in fashion, And that which we do with the dead, Is the name of the honestest man in the nation, What more of a man can be said.”

On the 24th of December 1751, a long list of the attractions to be found at “The Old Woman’s Oratory,” is given in the front page of _The General Advertiser_. The entertainment is announced to take place at “the New Theatre in the Haymarket, and to be conducted by Mrs Mary Midnight and her family. Being the second time of their appearance in public.” The first act opened with “A grand piece for the Kettle Drums and Trumpets,” after which, “Mrs Midnight made her Inauguration Speech.” The third act consisted of, 1. “Speech of Old Time to the Good People of Britain. 2. Solo on the violoncello by Cupid” [the God of Love was impersonated by little Hallet]. “3. A Song by Mrs Midnight. 4. Another Solo by Cupid. 5. Overture to Alexander. An occasional Prologue by a Gentleman, and an Epilogue to be spoken by Master Hallet in the character of Cupid. The doors to be open at Eleven o’clock, in the morning, and the concert to begin exactly at Twelve.”

The hour at which this entertainment took place was prohibitive to the city clerk or tradesman, but to the beaux from the neighbouring coffee-houses, and the _belles dames_ fresh from their lengthy _toilette_, Mrs Midnight’s entertainment proved vastly amusing. Thus little Hallet was again amongst the _élite_ of the land.

_The Midwife, or Old Woman’s Magazine_ for 1752, which claims to contain “all the wit and Humor, and all the Learning, and all the Judgement that there was ever, or ever will be inserted in all other Magazines or any other book what-so-ever. So that those who try this book will read no other. Published pursuant to several Acts of Parliament, and by the permission of their most Christian and most Catholic Majesties: The Great Mogul and the States General.... Printed by Mary Midnight and sold by T. Carman in St Paul’s Church Yard, Price three Pence,” gives several of the poems and pieces said to have been spoken at the “Old Woman’s Oratory.” Among these we came across the following lines, which were assigned to Benjamin Hallet in the character of Cupid:--

EPILOGUE

“From fair Venus on Wing, A joyous Embassy I bring, Her Majesty this Mandate sends, ‘That Virtue now and Love be Friends, That Beaux and Belles should cease to roam, And every heart should find a Home; That their joint labours they bestow To make more business for my bow. That Men mayn’t fail by lewd Transgression But grow immortal by Succession.’ Now while to the ethereal Sky, By Mammy’s Order, swift I fly, Let Mary Midnight o’er the Nation Reign Queen of Love by Deputation.”

A footnote at the end of these lines states Hallet to be “a child not nine years old, who plays upon the violoncello, and in every other respect has a capacity greatly beyond his Years. N.B. He is shortly to have a benefit, at which ’tis hoped all Mrs Midnight’s Friends will do him the Honour of their Presence.”

Benefits were far more common in Hallet’s time than they are now. From the great Garrick down to the scene-shifter, all the _personnelle_ of the Theatres had their “Benefit” in the Autumn. Concerts were not so numerous, but concert artists also not infrequently adopted the practice. Contemporary with Hallet Dr Arne’s little son, who was possessed of a wonderful singing voice, gave benefit concerts at which he both sang and played the organ. Then again, there was a sweet singer, Master Mattocks; and a Miss Davies, “a child nine years old,” who gave a concert in the Great Room in Dean Street, Soho, and distinguished herself by playing a “concerto of Mr Handel’s on the Harpsichord”; and a youthful dancer called “The little Swiss,” all of whom had their benefits. Hallet was not “alone in his glory,” there were several child prodigies for him to compete with, and one cannot help admiring him all the more, for a talent that can cope with rivalry and hold its own, must be of no mean order.