Part 12

Unfortunately musical journalism did not begin in England until the beginning of the last century, so there is no possibility of gauging Hallet’s capacities in this manner, but, doubtless, his benefit concert met with a large measure of support and success, for the following programme given in _The General Advertiser_ for 6th February 1752, is of an attractive character:--

At the particular desire of Several Persons of Quality

For the Benefit of BENJAMIN HALLET

A child of Nine Years of Age

At the New Theatre in the Hay-market

This day will be exhibited a Grand Concert of

MUSICK

By Gentlemen mask’d after the Manner of the Grecian and Roman Comedy. Boxes 5s. Pit 3s.

At the same time will be performed

THE OLD WOMAN’S ORATORY

To be concluded by Mrs Mary Midnight and her family.

To be divided into Three Acts.

Act the first will contain

1. A grand Piece with Kettle-Drums and Trumpets. 2. Solo on the Violoncello by Cupid. 3. The Inauguration speech by Mrs Mary Midnight. 4. Concerto for two Clarinettes. 5. Mr Handel’s Waterpiece, with a Preamble on the Kettle-Drums.

Act the Second

1. A full piece. 2. A piece by Signor Bombasto. 3. The Speech of Mrs Midnight in Defence of her Existence. 4. Solo on the Cymbalo. 5. Overture in Otho. 6. An Oration on the Salt-Box by a Rationalist.

Act the Third

1. An Italian Song by Signor Bombazeno. 2. A new dissertation by Mrs Midnight. 3. A French Horn Concerto. 4. A Declamatory Piece on the Jew’s Harp by a Casuist. 5. March in Judas Maccabeus, with the Side-Drum.

With a new occasional Prologue written by a gentleman of the University and an Epilogue to be spoken by Master Hallet in the character of Cupid.

The Doors to be opened at Six o’clock; and the Concert to begin exactly at Seven.

The House will be made very warm, and illuminated with Wax Lights.

Then follows the same remark about Benjamin Hallet’s capabilities which we have already quoted from _The Old Woman’s Magazine_, ending with the announcement that tickets could be had of Mr Hallet, in Exeter Court, near Exeter Exchange, in the Strand.

It is noticeable that this magnificent affair began at seven o’clock, an arrangement calculated to admit the _Hoi polloi_, and augment the managerial receipts, and also that the programme reveals little Hallet to have been possessed either of a large amount of modesty or perspicuity, for out of the fifteen or more items there announced only two were appropriated by himself. It must be remembered that although such masters as Handel, Buononcini, Arne, etc., had their numerous admirers among the more cultured musical amateurs, still, much of the British public were just as pleased with the Jew’s harp, marrow bones, and salt-box as with an oratorio of Handel’s or an aria of Arne’s. Benjamin probably realised the preference generally felt for these instruments, and for this reason put himself and the graver violoncello in the background at his concert, allowing the Jew’s harp and other grotesqueries the place of honour. A most amusing satire--among others--on the general taste for these caricatures of musical instruments, was written by Bonnell Thornton, whose wit would have been supreme, but for his contemporary, Kit Smart. With excellent humour he burlesqued the use of what he termed those “Ancient British instruments,” in an amusing lampoon entitled “Ode on St Cecilia’s Day, adapted to the Ancient British Musick: the Salt Box, the Jew’s Harp, the Marrow Bones, and Cleavers, the Hum Strum or Hurdy Gurdy” (London, 1762). No one appreciated this sally more than Dr Johnson, who, it is said, delighted in repeating extracts from it by heart. A number of Bonnell Thornton’s quaint conceits appeared in his magazine _Have at you all_, or _The Drury Lane Journal_, which emulated Fielding’s _Covent Garden Journal_, but was neither so long lived nor so successful. Under the pseudonym of “Mrs Roxana Termagant,” Bonnell Thornton pursued his editorial labours, and introduced into its pages many a burlesque skirmish with his contemporaries’ magazines, _The Midwife_ and _The Covent Garden Journal_, and in the year 1752 a witty account of a visit made by “Mrs Mary Midnight” to “Madam Roxana Termagant” appeared.

Little Hallet was evidently a favoured _protégé_ of all the wits of the day from his connection with one of the most popular entertainments then in vogue, and there is little doubt that he proved an attraction, as his name appears among the performers during the whole of the first season and again in the following season. On the 10th April 1753 _The Public Advertiser_ announces a concert:

For the Benefit of Master BENJAMIN HALLET and Sig. GAPATUNS At the New Theatre in the Hay-market. This Day will be exhibited Mrs MARY MIDNIGHT’S CONCERT

WITH a new occasional Prologue, to be spoken by Master Hallet, in the character of Cupid; and an Epilogue by Mrs Midnight on a Jack Ass; likewise a new Song called _The Dust Cart_, by Mr Joe, accompanied by Sig. Bombasto. To which will be added a Grand Dance in the old British Taste, and a hornpipe by the great Mons. Timbertoe.

Boxes 5s. Pit 3s. Gallery 2s.

Tickets to be had at Mr Johnson’s Musick-shop in Cheapside; Mr Peter Thomson’s in St Paul’s Church-yard; Mr Jones’s in Holborn; and at Mr Waylett’s in Exeter Exchange in the Strand, and at the Theatre.

This will be the last time except one, that Master HALLET will perform at this Theatre.

The above was in verity Hallet’s last appearance but one at the “Old Woman’s Oratory.” He must have been at that time nearly eleven--possibly more, for the published age of a prodigy is always of doubtful verity--and was beginning to assume proportions quite unfitted to the character of Cupid, so the management were compelled to find a new _protégé_. The last appearance of little Hallet on any concert platform is to be found in _The Public Advertiser_ for Monday, 12th November 1753, at an entertainment given at “The Five Balls,” New Church in the Strand.

For the Benefit of a Gentleman who has wrote for the Stage. To-morrow, the 13th of November, will be a Concert of Vocal and Instrumental

MUSICK.

In Act I. an overture of Mr Handel’s accompanied with French Horns. A concerto of Geminani’s on the violin. _God gave great George our King_, by Signor Bascado Squeekerini. The act will conclude with a grand Piece of Musick. In Act II. a trio on the Viol d’Amore by Mr Grosman. A Solo on the little Flute by Master HALLET. _Would you take the Moon-tide Air_, by Signor Bascado Squeekerini. A Concerto on the French Horn will conclude the Act. Between Act I. and II. will be hum’d a HUMEROUS FISK. In Act III. a Concerto on the Bassoon by Mr Baumgarten. _The Sweet Rosy Morning peeps over the Hills_, etc. by Signor Bascado Squeekerini. The March in Judas Maccabeus, accompanied by the Side-Drum, concluded with a Preamble on the Kettle-Drums.

This is the last time Benjamin Hallet is advertised to play either the flute or the violoncello in that year, and many years to follow. As far as we have been able to discover, this appearance marked the end of the career of this first violoncello prodigy.

His activity extended only over five years, beginning at Drury Lane Theatre where he played the flute, and ending with the above concert where he again reverted to the first instrument of his adoption.

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POISON DEALER, The (Georges Ohnet). 6s.

PRISONER AT THE BAR, The (Arthur Train). 8s. 6d.

PROOFS OF LIFE AFTER DEATH (R. J. Thompson). 7s. 6d. net.

QUEEN’S PROGRESS, The (Felix E. Schelling). 10s. net.