{The start of the Delicious Dark Path} By Kittie Blessed (Kitties Deviant Experiences Book 1)

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Not only do they reveal details of sacred music performances in the London area, but they also unwittingly provide insights into rural Somerset practices. These listening experiences form the subject of the first main section of this chapter. The other four passages are about various sorts of secular musical performance. The first, and by far the most extensive of all the descriptions in his diary, records his visit to Drury Lane Theatre. The remaining three descriptions of listening experiences are much briefer. They tell us little more than that Yeoman was a singer.

For completeness they are quoted here:.

soilstones.com/wp-content/2020-08-24/3276.php They was highly diverted att it. The observations in this final section are pertinent to the ways in which other writers of personal documents record their listening experiences. Not only did he visit Anglican churches, but he also attended services of the Presbyterians and Methodists. His accounts therefore provide a rich picture of church music practice in the London area during the period. Full congregational singing was not universally practised in this period, as Sally Drage oberves:.

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All denominations wanted congregations to participate, but in practice the singing was divided between full congregational participation, which was most likely to occur in Methodist and nonconformist worship, and select participation, which was more usual in Anglican churches. The fact that Yeoman remarked on congregational singing in both the Chapel of Ease and the Presbyterian church in Brentford may indicate that it struck him as unusual, perhaps because the psalms were sung only by the local Anglican choir which he directed at home in Wanstrow.

However, this is conjecture, because we have no evidence of singing at services in the village. Yeoman had much to say about singing in Ealing Parish Church, but nowhere in his account does he mention congregational participation, which may indicate that psalms were sung there by the choir only: this tended to happen particularly in churches such as this, where the congregation contained a significant proportion of wealthy members who had the means to support music financially, and who preferred to leave the singing entirely to the choir.

We went down to the Green Where it is Very Pleasant. Joseph Honnors, Where was Mr. John Polter. After we went to one of him House. First, in addition to singing during services the choir also sang outside of that context — in this instance an hour before the morning service and for some time after the evening service. The choir in Northchurch also sang outside of church services, as witnessed by Yeoman:. After Sarvice was over I went up and Joined with Them.

I beleive we Sung for an Hour and all the Tunes as we had, Such as the 8th. The domestic singing of sacred music had, of course, been common from much earlier times, when much of the repertoire we now associate with the church was written for domestic consumption.

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At the Presbyterian church in Brentford, however, the members of the congregation all sang the melody of the psalm tunes, but at three different pitches, a decidedly inferior arrangement according to Yeoman:. Psalm, the notes as we Sing them. The fact that a relatively small number of tunes were shared by congregations was partly the result of the way in which the numerous tune books published in the seventeenth and eighteenth centuries borrowed tunes from each other, but it was also the result of the dominance of two influential publications. One or two lines of text at a time were spoken aloud or perhaps intoned on one note by the clergyman or the parish clerk, before they were sung by the congregation.

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There is no evidence that this lining out was used prior to , but once established it remained a necessary part of Anglican worship in some churches until at least the end of the eighteenth century. From the beginning of the eighteenth century, however, as some parish and village choirs became more proficient, anthems began to be performed in some places. Despite the fact that the psalms were sung there in only two parts, the singing of an anthem suggests that there may have been a more proficient choir there than Yeoman encountered elsewhere, since anthem-singing required at least some musical literacy, whereas psalm-singing could be learned without reference to music notation.

Thomas Harding dined here today and went to church. None of the accounts of singing in churches that we have considered so far mention the presence of an organ.

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This is unsurprising. Many organs had been destroyed during the Civil War and at first it was only in the cathedrals, college chapels and the wealthier urban parish churches that they were built, or re-built.

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By the s at least some of the larger parish churches had organs, such as those in Shepton Mallet and Frome, near where Yeoman lived, but others were still without, apparently including the wealthy church visited by Yeoman in Ealing. The impression given by Yeoman is that he was most used to unaccompanied singing in church. However, his comments would make perfect sense if they applied to the organs, since the instrument in Wells was in sufficiently poor state in the s that it needed repair and enlargement in , whereas in the organ in Westminster was already quite large and in better condition than the Wells instrument.

The occasion was a benefit performance for Thomas Jefferson — , a very experienced actor who had performed at the theatre for many years. The main piece of the evening was The Rehearsal , a Restoration comedy by George Villiers, Duke of Buckingham, which had been performed many times in the previous century and remained popular, having five performances in London theatres in alone.

It, too, was popular and was also performed five times in Following the beginning of the play further instrumental music featured as well as songs and other vocal pieces. Similar incidental music was performed with plays throughout the eighteenth century, although the musical style developed with the times: for example, the prevalence of French overtures gave way to works in the Italian style. We know nothing of the instrumental pieces that would have been played at the beginning and during the performance.


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It is quoted here in full:. We waited Some time before there was any thing to Entertain us with but the Looking at the House which is fifty times as Large as our Church, but Ive forgot to Mention that we was at Drury Lane. I can Remember they cauld the Rehersal, it was a composition of Blunders. Just now, but I Remember he is Very Sacy to them, telling them that if they do not aquit him he will cut all their heads off.

The most recent commentators on the subject point out that the relatively small orchestras which accompanied plays were placed in the pit, whereas oratorio orchestras played on stage, and were somewhat larger. A passage in The London Stage describes the extent of the forces available from the late s to the end of the s:. Their list included twenty-three in the orchestra, and designated the instruments. They employed five first violinists, two of whom could double on clarinets; four second violinists, two of whom could double on clarinets.

In addition to the instruments listed in the quotation above, keyboard instruments are also mentioned. The total number of instruments listed by Yeoman is roughly in line with other figures for the second half of the eighteenth century. David Wyn Jones Aldershot: Ashgate, , especially pp. The size of the instrument two feet higher than its player and its pitch — the description suggests that it was lower than the other instruments, in other words, at 16 foot pitch — surely identifies it as a double bass. But why would Yeoman describe it in the way he does, rather than simply calling it a double bass, or something equivalent?

The reason is almost certainly that the instrument was unfamiliar to him and his readers. Would Yeoman have heard a double bass at home in Wanstrow? Probably not, since it is unlikely that he would have encountered an ensemble large enough to require one in the village.

He does not seem to have heard one in Frome or Shepton Mallet and evidently he had not heard a double bass in Wells, whose cathedral he had visited as we learned from his experiences in Westminster Abbey on 3 April — see above. The most likely nearby town where he might have heard a double bass is Bath, a major centre of musical culture by this time, which was only 20 miles from where he lived, but it seems that Yeoman had not been to any orchestral events there.

Perhaps this is understandable, considering his age — he was only in his mid-twenties when he went to London — but his lack of knowledge of the double bass nevertheless underlines the limited musical experience that must have characterised many rural musicians in the period. This cannot be a reference to bass viols, because surely no double bass could be described as equivalent in size to six of them, so it is most likely a reference to the smaller members of the viol family.

If this is so, then it suggests that Yeoman might have been familiar with viol consort performances, which would have been remarkable at such a late date. Who played these? Who were the singers?


Champnes[s], Mr. Davies, Mr. Kear [Kean? Fawcett, Mr. Wheeler, Mrs.

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Scott, Mrs. Highfill Jr. Burnim and Edward A. It is likely that these seven singers fell into the category of:. The others must have been performers from the regular troupe. This, and the fact that the performance was still very much on his mind for much of the next day, is evidence that he was deeply impressed by the occasion he wrote the second part of his diary description of the event on 9 April after walking for a long time and making several visits.

Wonder may be defined as the emotional and intellectual response that occurs when a traveller is confronted with something that temporarily defies understanding, and that cannot easily be assimilated into the conceptual grid by which the traveller usually organises his or her experience. The mixture of awe and bafflement that ensues will often operate at a pre-rational, even somatic level.

Travellers report being rooted to the spot, or struck dumb in amazement; and the latter condition is one reason why tropes of inexpressibility and linguistic inadequacy are commonplace in travel writing, with writers frequently protesting that even retrospectively they cannot find the words to convey fully their experience. The clearest example is his description of the double bass: as we have seen, this was an instrument almost certainly unfamiliar to his readers. In this respect his approach was consistent with the philosophical developments of earlier decades, epitomised in the writings of Frances Bacon, John Locke and others, which stressed the importance of empirical evidence in the formation of knowledge.

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The principles espoused by these individuals were also advocated to travel writers:. Thinkers such as Bacon and Locke, and institutions such as the Royal Society, set up in to promote Baconian principles in science and knowledge, issued numerous directives to travellers, seeking in this way to regulate and systematise not only the sort of information they gathered, but just as crucially, the observational methods they used to gather and record data.

Admittedly, we have no idea whether Yeoman was familiar with Bacon, Locke, or the Royal Society, or whether he had read any travel literature, but the writing style in his diaries perfectly fits the descriptions of contemporary works in the genre, suggesting that in some way or other he was familiar with the kind of prose expected in such a document.