Matthew Dubourg (1703-1767)
- Ode for Dublin Castle (1739)
Performers: Anna Dеvin (soprano); Rachеl Kеlly (mezzo-soprano); Edward Grіnt (bass);
Irіsh Baroque Orchestra;
Pеtеr Whеlan (conductor)
Further info: Welcome Home, Mr Dubourg
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English violinist, composer and musical director. He was the natural son
of Isaacs, a dancing-master. As a pupil of Geminiani, he soon made a
name as a remarkably gifted boy violinist, first appearing at one of
Thomas Britton’s concerts, where, standing on a high stool, he played a
solo by Corelli with great success. On 27 May 1714 he had a benefit
concert at Hickford’s Room. In 1724 he visited Dublin, and on 17 June
1727 married Frances Gates at Stanmore, Middlesex. In 1728 he was
appointed to succeed J.S. Kusser as Master and Composer of State Music
in Ireland, a post said to have been intended for Geminiani but
transferred to Dubourg for religious reasons. From then until 1752, when
he succeeded Festing as leader of the King’s Band in London, he spent
most of his time in Dublin, where he was an active influence in the
musical community, though occasionally travelling to London (he took
part, for instance, in performances of Handel’s Samson there in March
1743). In Dublin he played a prominent part in most of the important
performances of this period, playing at the first benefit for Mercer’s
Hospital on 8 April 1736, supervising and leading the enlarged orchestra
for the first Irish performance of Arne’s Comus in August 1741, and
leading the band during Handel’s visit (1741-42), which included the
first performance of Messiah. The high standard of string playing in
Dublin, which was remarked upon by Handel in a letter to Jennens, was
undoubtedly due to the influence of Dubourg and his teacher Geminiani.
Dubourg subsequently organized a series of six Handel oratorios in the
1743-44 season and the first Irish performances of Samson (4 February
1748) and Judas Maccabaeus (11 February 1748).
He also conducted numerous performances of Messiah and other Handel
oratorios. In recognition of these efforts he received a bequest of £100
from Handel. He appears to have been a brilliant performer and fond of
showing off his skill. Burney related that on one occasion he introduced
a cadenza of extraordinary length into the ritornello of an air. When
at last he finished, Handel, who was conducting, exclaimed ‘Welcome
home, Mr Dubourg’ (An Account of the Musical Performances … in
Commemoration of Handel (London, 1785), ‘Sketch of the Life of Handel’,
p.27). In January 1748 there was a sale of furniture and paintings at
his house in Dublin, and in March he was bequeathed £200 a year by ‘the
Widow Barry’. In 1761 he was appointed Master of Her Majesty’s Band of
Music in London at £200 a year. He retained a house in Dublin, where he
often entertained Geminiani, who died there in 1762. Dubourg finally
left Ireland in 1765. He was buried in Paddington churchyard. Dubourg’s
compositions were mainly ephemeral; those that were published are
scattered through minor collections. ‘Serenading Trumpet Tunes’ and
‘Minuets for His Majesty’s Birthday’ are included in collections
published by Walsh of London, and John Simpson’s Delightful Pocket
Companion for the German Flute (c.1746-47) contains pieces by him. Of
particular interest, as one of the earliest documented examples of an
Irish traditional melody which attained great popularity at 18th-century
Dublin concerts, is the publication by W. Manwaring in 1746 of Select
Minuets … to which is added Eleen a Roon by Mr Dubourgh, set to the
harpsichord, with his variations.
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