John Sigismond Cousser: The Universal Applause of Mount Parnassus
(Dublin, 1711)
P.hh.16 no.1

John Sigismond Cousser (1660-1727) was the first significant European composer to settle in Ireland. Born in Pressburg (now Bratislava), he studied in Paris with Jean-Baptiste Lully before holding musical appointments in various parts of Germany. He moved to London in 1704 and then to Dublin in July 1707.
Between 1708 and 1727 Cousser composed an ode or serenata each year in honour of the monarch's birthday, usually performed at Dublin Castle. The libretto for the 1711 serenata in honour of Queen Anne refers to Cousser as 'Chappel-Master of Trinity-Colledge', but this title is not confirmed in the records of the College Chapel, where at this time Daniel Roseingrave (the younger) was organist. It may have been an honorary title conferred by Dublin Castle, which had close links to the University.

Te Deum, Jubilate, anthems, odes, oratorios and serenatas as they are performed by the Philharmonic Society in Dublin for the improvement of church musick and the further support of Mercer's Hospital
(Dublin, 1741)
109.u.151

Mercer's Hospital was founded in 1734 to provide medical care for the poor of Dublin, and from 1736 until at least 1777 it received financial support through a series of annual benefit concerts, usually held in St Andrew's church or St Michan's. The repertoire performed at these concerts changed little over the years, perhaps suggesting that the audience valued the social and charitable aspects of the event more highly than musical novelty. The first concert on 8 April 1736 featured several of Handel's best-known compositions - the Utrecht Te Deum and Jubilate, and the coronation anthems - works which were regularly performed in succeeding years alongside pieces by Boyce, Purcell and others.

William Boyce: Blessed is he that considereth the sick
TCD Mercer's MS 2

The Mercer's Hospital benefit concert given on 10 December 1741 was attended by Handel, who had recently arrived in the city. The concert included two of his anthems and the Utrecht Te Deum and Jubilate, and also featured a new work by William Boyce, Blessed is he that considereth the sick, a setting of words from Psalm 41. This anthem was on a larger scale than Boyce's previous compositions for the Chapel Royal in London, and was his first to use orchestral accompaniment.

George Frideric Handel: Messiah
(Dublin, 1742)
OLS L-6-605 no. 8.

The first performance of Handel's Messiah was given at the New Musick Hall, Fishamble Street on 13 April 1742. Handel conducted a second performance on 3 June. This incomplete and ink-stained copy of the word-book, published by George Faulkner in connection with these performances, is one of only three known to survive.

George Frideric Handel: Messiah
TCD MS 3590

After Handel's departure from Dublin in August 1742, a tradition of annual charity performances of Messiah at Fishamble Street soon became established. These performances were conducted initially by Matthew Dubourg, leader of the orchestra for Handel's performances.
The Messiah score from the music collection found at Townley Hall, Co. Meath, is a manuscript copy of uncertain date (most likely from the period 1755-1770), whose contents clearly embody an early performance. It is unusually faithful to Handel's autograph in certain details where the principal contemporary copies deviate, and sheds significant light on alternative versions of several numbers. The 12/8 version of Rejoice greatly is followed by He shall feed his flock in the alto solo setting (probably sung by Mrs Cibber at the Dublin premiere), and this combination appears to have become established as an Irish performance tradition.

Ralph Roseingrave: I will magnify thee
TCD MS 4778

Members of the Roseingrave family were prominent in the musical life of Dublin in the first half of the 18th century. Daniel Roseingrave (the elder) was organist at both St Patrick's and Christ Church cathedrals from 1698, and was succeeded by his youngest son Ralph, who held both positions until his death in 1747. Another of Daniel's sons (probably the eldest, also named Daniel) was appointed organist at Trinity College Chapel in 1707. There were strong links between the cathedrals and the College Chapel, formalised in 1762 when a regular chapel choir was established using singers from the two cathedrals. Though Ralph Roseingrave did not attend Trinity College, some of his compositions are preserved in the Chapel manuscript collection, including the anthem I will magnify thee.

Garret Wesley, Earl of Mornington (1735-1781)
Image © Stratfield Saye Preservation Trust

Garret Wesley showed early talent as a violinist, keyboard player and composer. In 1758 he set up the Academy of Music, an amateur musical society which gave concerts in aid of charitable causes. In the same year he succeeded his father as Baron Mornington, and two years later received the higher title of Earl of Mornington. On 7 July 1764 the Board of the University of Dublin awarded Mornington the degree of 'Doctor in Musick', and a week later elected him Professor of Music - the first such appointment in the College. As Professor he was not expected to teach or examine students, but to enhance the cultural standing of the University and provide music for ceremonial occasions. One such event occurred in September 1768, when he composed a march and an ode for the installation of the Duke of Bedford as Chancellor of the University.

Garret Wesley, Earl of Mornington: Caractacus
TCD MS 2926

Mornington completed the incidental music to William Mason's dramatic poem Caractacus on 6 March 1764. Though the timing might suggest that the piece could have been submitted as an exercise for his Doctor in Music degree, this is unlikely as a sacred piece would have been deemed more appropriate.

John Gay: The overture and songs of the Beggar's Opera
(Dublin, c.1764)
OLS X-3-713

The Beggar's Opera, first performed in London on 29 January 1728 and in Dublin just a few weeks later, remained popular and was widely and regularly performed throughout the 18th century. A 'ballad opera' which satirised contemporary politics and the conventions of Italian opera, it set John Gay's words to popular tunes of the day, arranged by Johann Christoph Pepusch. This edition of the music was published around 1764 by Benjamin Rhames, whose family maintained a music publishing business in Dublin for over a century. The copy is inscribed by Anna Maria Balfour of Townley Hall.