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Title: The Great Musicians: Purcell
Author: Cummings, William H.
Language: English
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THE GREAT MUSICIANS
PURCELL
The Great Musicians
_Edited by_ FRANCIS HUEFFER
PURCELL
BY WILLIAM H. CUMMINGS
LONDON
SAMPSON LOW, MARSTON, SEARLE, & RIVINGTON
CROWN BUILDINGS, 188, FLEET STREET
1881
[_All Rights Reserved_]
London:
R. CLAY, SONS, AND TAYLOR.
BREAD STREET HILL.
PREFACE.
The attempt to write a Life of Henry Purcell has been beset with many
difficulties. So much information which might have been preserved
for the instruction of after times has been lost, either through the
indifference or culpable neglect of those who had it in their power
to have placed on record details which would have been interesting.
Sir John Hawkins and Dr. Burney are particularly open to censure on
this head. They possessed many opportunities for gaining authentic
knowledge of facts and circumstances now lost for ever. In reading
their histories of music we cannot but feel regret that they neglected
to gather and garner the stores of Purcellian lore which were so
accessible to them, and which they could so easily have rescued from
oblivion.
Both Hawkins and Burney had a personal acquaintance with Leveridge,
the celebrated bass vocalist and actor, who had been on friendly terms
with Purcell, and could have solved many doubts which now perplex
the musical student. Leveridge could have supplied very interesting
details, which would have enriched the meagre narrations handed down to
us respecting the great English musician.
Hawkins was on most intimate terms with the Rev. William Gostling, a
minor canon of Canterbury Cathedral, and son of the "wondrous" bass of
Purcell's day. The Rev. William Gostling possessed a very extensive
library, rich in musical manuscripts, particularly those of Purcell.
Miss Hawkins says of him: "Adding his father's recollections to his
own, his knowledge of facts in the musical world reached back to the
time of King William and Queen Mary, and he talked of Purcell as we do
of Arne."
Hawkins not only corresponded with Gostling, but also frequently
visited him at Canterbury; and at his decease prepared the catalogue
for the sale by auction, in 1777, of his library. There can be little
doubt that Dr. Burney had also a personal acquaintance with the Rev.
W. Gostling. I possess a copy of the catalogue before mentioned, which
belonged to Burney, and in it he has noted the prices the various lots
fetched, himself being the purchaser of several.
Both Hawkins and Burney were well acquainted with Mr. Henry Needler, an
eminent musician and violinist, who had been a pupil of Purcell, and
resided near St. Clement's Church, in the Strand, where he died in 1760.
Among the mis-statements of Hawkins and Burney may be mentioned the one
which has been oft repeated, and caused endless trouble to biographers.
They agree in saying Purcell was elected organist of Westminster Abbey
at the age of eighteen. An examination of the Abbey records, which
Hawkins had access to, would have prevented the promulgation of this
error.
Other mis-statements will be dealt with in their proper place. Enough
has been said to show that the recognised musical historians are not
to be implicitly relied on when dealing with facts and dates.
My endeavour has been to follow an accurate chronological arrangement;
but I am fully sensible that perfection is impossible, and therefore I
shall be grateful for corrections of errors, or additional information
for future use.
My hope is that this little work may be the fore-runner of other
Purcell studies, in which it will be possible to give further details
respecting Purcell's ancestry, descendants, and family, and also to say
something more of his noteworthy contemporaries and pupils.
WILLIAM H. CUMMINGS.
PURCELL.
Music and poetry attained to a high state of cultivation in the
reign of Elizabeth; the Queen herself was an admirable performer
on the virginals, and by her example and authority did all that
was possible to elevate the art of music, and to encourage learned
musicians throughout her dominions. This happy condition of things
was continued by her successors, James I. and Charles I., but with
the establishment of the Commonwealth all music, both of church and
theatre, was rigidly suppressed. We read with horror and indignation of
the wanton destruction of church organs and other musical instruments,
and of the tearing and burning of the various Service-books which
had been in use in the cathedrals and collegiate establishments. At
Canterbury cathedral "the soldiers violated the monuments of the dead,
spoyled the organs, broke down the ancient rails and seats with the
brazen eagle which did support the Bible, forced open the cupboards
of the singing-men, rent some of their surplices, gowns, and Bibles,
and carryed away others, mangled all our Service-books and books of
Common Prayer, bestrewing the whole pavement with the leaves thereof."
At Rochester cathedral, Colonel Sands, hearing the organs, cryed,
"_A devil on those bag-pipes_," and "one of the rebels" discharged a
pistol at the head of Prebend Larken, who interposed and endeavoured to
prevent the spoliation of the cathedral. At Chichester cathedral, the
officers having sacked the plate and vestments, left the "destructive
and spoyling part to be finished by the common soldiers, who brake down
the organs, and dashing the pipes with their pole-axes, scoffingly
said, '_Hark how the organs go!_' They force open all the locks, either
of doors or desks wherein the singing-men laid up their Common Prayer
books, their singing-books, their gowns and surplesses; they rent the
books in pieces, and scatter the torn leaves all over the church, even
to the covering of the pavement." At Winchester "They enter the church
with colours flying, their drums beating, their matches fired, and that
all might have their part in so horrid an attempt, some of their troops
of horse also accompanied them in their march, and rode up through the
body of the church and quire until they came to the altar; there they
begin their work; they rudely pluck down the table and break the rail,
and afterwards carrying it to an ale-house they set it on fire, and in
that fire burnt the books of Common Prayer and all the singing-books
belonging to the Quire; they throw down the organ and break the stories
of the Old and New Testament curiously cut out in carved work. The
troopers ride through the streets in surplesses, carrying Common Prayer
books and some broken organ pipes."
In Westminster Abbey, in 1643, "Soldiers were quartered who brake down
the rail about the altar, and burnt it in the place where it stood;
they brake down the organ and pawned the pipes at several ale-houses
for pots of ale; they put on some of the singing-men's surplesses, and
in contempt of that canonical habit, ran up and down the church; he
that wore the surpless was the hare, the rest were the hounds."
It would be needless to add to these miserable stories; those who care
to read further on the subject, are referred to the quaint old book
_Mercurius Rusticus_, from whence the foregoing extracts have been
taken.
So complete was the destruction of church music-books, that examples of
the pre-Commonwealth time are now most rare.
Not only were the organs and music destroyed, but musicians, organists,
and singers were turned adrift, and had to seek precarious livelihoods
by teaching music to the few who cared or were willing to learn the
art, or else to escape starvation by adopting some less congenial
occupation than that for which they were fitted by nature and education.
If tradition may be relied on, the Protector, Cromwell, was himself a
lover of music, and not unwilling, when opportunity served, to assist
and befriend musicians.
Cromwell's secretary, the poet Milton, was no mean performer on the
organ, and being the son of an eminent composer,[1] would doubtless,
with his passionate love for music, be at all times ready to use his
sympathetic voice and counsel on behalf of any distressed and poor
musician who might petition the Protector for help or redress.
It is well known that the organ which stood in Magdalen College,
Oxford, was saved from destruction through the intervention of
Cromwell, who privately caused it to be removed to Hampton Court, where
it was placed in the great gallery, in order that he might have the
frequent pleasure of hearing it; and he also appointed as his organist
and music-master, at a salary of 100_l._ per annum, John Hingston, who
had been one of the musicians to Charles I. Cromwell was extremely
partial to the Latin _Motets_ composed by Richard Dering, and these
were performed on the organ by Hingston, who was assisted by his pupils
in the vocal parts. The interesting organ which must have often poured
forth its sweet sounds under the fingers of Milton, was, after the
Protector's death, returned to Magdalen College; but subsequently the
College authorities sold it, and it was removed to Tewkesbury Abbey,
where it now stands.
Anthony Wood, who lived during the Protectorate, tells the following
characteristic anecdote of Cromwell:--
"In October, 1659, James Quin, M.A., and one of the senior students
of Christ Church, a Middlesex man born, but son of Walter Quin,
of Dublin, died in a crazed condition. A. W. had some acquaintance
with him, and hath several times heard him sing, with great
admiration. His voice was a bass, and he had a great command of it.
'Twas very strong and exceeding _trouling_, but he wanted skill,
and could scarce sing in consort. He had been turned out of his
student's place by the visitors, but being well acquainted with
some great men of those times that loved music, they introduced him
into the company of Oliver Cromwell, the Protector, who loved a
good voice and instrumental music well. He heard him sing with very
great delight, liquored him with sack, and in conclusion, said:
'_Mr. Quin, you have done very well, what shall I do for you?_' To
which Quin made answer, with great compliments, of which he had
command, with a great grace, that '_Your Highness would be pleased
to restore him to his student's place_,' which he did accordingly,
and so kept it to his dying day."
It must not be forgotten that although during the Commonwealth
musicians found it difficult to earn their bread in consequence of the
prohibition of all public exhibition of their executive skill, yet many
of the learned and erudite musical treatises which have been handed
down to us were published at that time. From this we may be sure that
the musical predilections of Cromwell were regarded with secret hope
by the few musicians who were able privately to pursue their calling;
and indeed public signs were not wanting during the latter years of
the Protector's life, that had he been spared, the art of music would
probably have received more emphatic and distinct assistance at his
hands. In 1656 he granted a licence to Sir William Davenant to open
a kind of theatre[2] for "an entertainment in declamation and music
after the manner of the ancients;" and later on he licensed certain
theatrical performances at the Cockpit, in Drury Lane.
The extreme Puritan party did, however, so effectually destroy and
put down all Church music,[3] deeming organs and service-books
superstitious and ungodly, that at the Restoration, when the
authorities set about re-establishing musical services in the
cathedrals, it was impossible to find either instruments, books, or
singers necessary for the purpose; and, indeed, out of the large
musical establishment of Charles I., only three men--Dr. Wilson,
Christopher Gibbons, and Henry Lawes--came forward at the Restoration
to claim their former appointments.
We get a further insight into the condition of Church music at
the Restoration, from Matthew Locke's _Present Practice of Musick
Vindicated_, published in 1673, wherein he says, "For above a year
after the opening of His Majestie's Chappel, the orderers of the musick
there were necessitated to supply superior parts of the music with
cornets and men's feigned voices, there being not one lad for all that
time capable of singing his part readily."
An examination of the old MS. copies of anthems composed by the
organists and singing-men of the various cathedrals in the reign of
Charles II., shows that a dearth of singing-boys (trebles) was general
throughout the kingdom, the compositions being chiefly for men's voices
only.
From the preceding slight and brief sketch of the state of music during
the Commonwealth, it will be evident that the Puritan rule was most
unpropitious for the art; with its professors banned, and its public
performance well-nigh extinguished, music might perhaps have been
expected to have died an unnatural death; but heaven-born, it retained
a vital spark which needed only the breath of freedom and gentle
encouragement to foster it into a flame.
With the death of Cromwell, the sun of the Puritan world vanished, but
happily at the same time a new star in the musical firmament arose.
Cromwell died in 1658, at Whitehall, and in the same year, within a
bow-shot of the Palace, was born the favoured child of the muses,
destined to raise the musical fame of England to a height it had never
before attained, and by his beautiful creations to make for himself a
name of undying fame.
This welcome prodigy was Henry Purcell, his birth-place St. Ann's Lane,
Old Pye Street, Westminster. The precise day of his birth there is
unknown, but there is no doubt about the year 1658. Some remains of the
house are still standing. A sketch of it and the adjoining premises was
made on the 15th of April, 1845, by R. W. Withall.
The original drawing, of which a reduced copy is given, has the
following note:--
"Three ancient houses in Westminster; in the right-hand one of
which the great H. Purcell was born, 1658, and passed his early
life. They are now in the last state of ruin, and have long been
uninhabited. The houses adjoining that of Purcell are of modern
date, and project before the others, as well as encroach somewhat
on Purcell's doorway, hiding one side of the door-frame. Of the old
houses the windows and doorways are nearly all boarded up in the
roughest manner, under which, however, the original panelled doors
are still to be partly found. The houses are of old red brick. The
first door was the back way into the public-house called the 'Bell
and Fish,' kept by Mr. Oldsworth, who lost his licence. The second
door the entrance to the skittle-ground. The third was Purcell's
house."
[Illustration: PURCELL'S HOUSE.]
Purcell was named Henry after his father, a thoroughly competent and
efficient musician, of whom Pepys made this quaint entry in his diary
on the 21st of February, 1659:--
"After dinner I back to Westminster Hall with him (Mr. Crewe)
in his coach. Here I met with Mr. Lock and Pursell, masters of
musique, and with them to the Coffee House, into a room next the
water, by ourselves, where we spent an hour or two, till Captain
Taylor came and told us that the House had voted the gates of the
city to be made up again, and the members of the city that are
in prison to be set at liberty; and that Sir G. Booth's case be
brought into the House to-morrow. Here we had variety of brave
Italian and Spanish songs, and a canon for eight voices, which Mr.
Lock had lately made on these words, 'Domine salvum fac Regem,'--an
admirable thing. Here out of the window it was a most pleasant
sight to see the city from one end to the other with a glory about
it, so high was the light of the bonfires, and so thick round the
City; and the bells rang everywhere."
We may note here the intimacy which existed between Purcell's father
and Matthew Locke,[4] the celebrated composer, an intimacy and
friendship which was afterwards extended to the son.
Henry Purcell, senior, was a gentleman of the Chapel Royal, and in
that capacity sang in the choir at the coronation of Charles II.[5] He
was also elected a singing-man of Westminster Abbey, and master of the
chorister boys of that church; to these appointments he added that
of music copyist of Westminster Abbey, at that time a very honourable
and important position, in consequence of the wholesale destruction of
Service-books which had taken place during the Commonwealth.
A very interesting official document, now preserved in the British
Museum, of which the following is a copy, gives us information
respecting the appointments held by Henry Purcell, the father, in
Westminster Abbey:--
"Accounts of Richard Busby, D.D., 1664. The money computed by John
Needham (Gent.) receiver of the college.
"Cantator in choro Henry Purcell £8 and 40_s._
In ʳᵉ chorist Henry Purcell £10.
Cantator in choro per stipend et regard--
John Harding, Christopher Chapman,
Henry Purcell, Edwd. Braddock,
William Hutton, Owen Adamson,
Thomas Hughes, Peter Amblett, Thomas Shorter,
Thomas Condy, Thomas Finnell--each £8 and 40_s._
"Choristicus--
Et in denariis solutis Henry Purcell,
Pro datum chorist ad--lxviˢ viyᵈ
Intoto hoc anno xxxiy£ viˢ viyᵈ.
Ac etiam et contess Henᵒ Purcell, pro
Chorist. xx£.
Organista Chr. Gibbons £10.
"To Mr. Chaunter for nine Holly days--
On All Saints day 39_s._ }
The first of November " }
Christmas day " }
Epiphany " } £ _s._
Candlemas day " } 8 12
Lady day " }
Easter day " }
Whitson day " }
St. Peter's day " }
"To George Dalham, for tuning the organ this year, 40_s._[6]
"To John Hill,[7] for playing on the cornett in the church this
year, £4.
"To the organist for rent of his house, £8.
"Given to the organist[8] out of the rents at the taking of his
degree, £5.
"Given by order to the christened Turke--nil.[9]
"Jan. 11, 1664--"J. DOLBEN, _Decanus_.
WAL. JONES, _Sub Decanus_.
H. KILLIGREW.
S. BOLTON.
CHARLES GIBBES.
ROBT. SOUTH.
RIC. PERRINCHIEF."
In addition to the before-mentioned appointments at the Chapel Royal
and Westminster Abbey held by Purcell, senior, we find that he was also
a member of the Royal band. The old cheque-book of the Chapel Royal in
recording his death places the matter beyond doubt:--
"These are to certify that Mr. Henry Purcell, who succeeded Segnor
Angello in his place of the private musicke; that the said Mr.
Henry Purcell took possession of his place in the year 1663, upon
St. Thomas's day; deceased the 11th August, 1664. These are to
certifye the death of Mr. Henry Purcell.
"HENRY COOKE.
THO. PURCELL.
ALPHONSO MARSH.
GREGORY THORNDALE.
EDWARD COLMAN."
It is clear from the foregoing account of the numerous important
musical posts which the father held, that he was a man of considerable
ability, and fully equal to the task of guiding and fostering the
musical predilections of his infant son; and there can be no doubt that
Henry Purcell received his earliest instructions in the art of music
from his father. When the latter died he was buried in the cloisters of
Westminster Abbey; his age has not been ascertained, but presumably he
was but a young man--perhaps he was naturally weak in constitution--and
from him the boy Henry may have inherited the seeds of consumption.
The elder Purcell died in 1664, at which time the young Henry was just
six years old, and with his natural genius he had doubtless already
acquired some considerable skill in music. It is certain that he was
immediately admitted as a chorister of the Chapel Royal. Happily for
him he had been left by his father to the guardianship of his uncle
Thomas Purcell, who most warmly and affectionately endeavoured to
supply the place of the lost parent by adopting the orphan as his own
son.
Thomas Purcell's abilities and professional qualifications well fitted
him for the task which had fallen to his lot. He was a gentleman of
the Chapel Royal and had been associated with his brother Henry at
the coronation of Charles II.; he must have been held in high favour
and regard by the king, for court appointments in various musical
capacities fell to him in rapid succession. Amongst other honourable
positions we find him holding the post of lutenist as described in the
following warrant:--
"Charles R., by the Grace of God, &c., to our trusty and
well-beloved Sr Edward Griffin, Knight, Treasurer of our Chamber,
&c. Whereas wee have made choice of Thomas Purcell to serve us in
the office and place of one of our musitians in ordinary for the
lute and voyce, in the roome of Henry Lawes, deceased, and for this
service and attendance in that place, are pleased to allow him
the wages and livery of six-and-thirty pounds two shillings and
sixpence by the year during his life. Our will and pleasure is, and
We do hereby will and command you to pay, or cause to be paid, unto
the said Thomas Purcell or his assigns, the said wages and livery,
&c. The first payment to commence and begin from the birth of our
Lord, next ensuing the date hereof, and to continue the same during
the natural life of him, the said Thomas Purcell. Given the 29th of
November, in the 14th year of our reign (1662).
"Ex. pr. WARWICK."
In 1672 Thomas Purcell was appointed a "composer in ordinary for the
violins" in conjunction with Pelham Humphries, the warrant which is
extremely curious runs thus:--
"Charles R., by the Grace of God, &c., to our trusty and
well-beloved Sir Edward Griffin, Knight, Treasurer of our Chamber,
now being, &c. Whereas we have been pleased to take into our
service as Composer in Ordinary for the Violins, Thomas Purcell and
Pelham Humphreys, Gents., in the room of George Hudson, deceased,
and for their entertainments in consideration of services done,
and to be done, unto us, we have given and granted, and by these
presents do for us and Our Heirs and Successors, Wee do give and
grant unto the said Thomas Purcell and Pelham Humphreys for their
wages and fee, the sum of fifty-two pounds fifteen shillings and
tenpence, by the year, during their natural lives, and the life of
the longer liver of them, the first payment to commence from the
feast of St. Michael the Archangel, 1672. Given under our Signet at
our Palace of Westminster, the Eighth day of August, in the year of
our Lord God, One thousand six hundred and seventy-two (1672).
"Ex. JOHN NICOLAS."
Thomas Purcell and Pelham Humphries were also associated as masters of
the King's band of "four-and-twenty fiddlers;" but Purcell was chief
and leader, either by virtue of seniority or special appointment.
A curious document in Thomas Purcell's autograph is preserved by the
"Royal Society of Musicians," which gives the names of the gentlemen of
the band and other interesting particulars; it reads as follows:--
"The names of the Genᵗ of his Maᵗᴵᵉˢ Private Musick who are to
attend his Maᵗᴵᵉ at Windsor paid out the Excheker:
£ _s._ _d._
Tho. Mr. Purcell } 200 0 0
Pelham Mr. Humphreys }
Joᴺ. Mr. Hardinge 40 0 0
Wᵐ. Mr. Howes 46 10 10
Tho. Mr. Blagrave, Seigʳ. 40 9 2
Alphonso Mr. March 40 0 0
Joᴺ. Mr. Goodgroome 40 0 0
Nat. Mr. Wattkins 40 0 0
Math. Mr. Lock 40 0 0
Joᴺ. Mr. Clayton 152 13 4
Isaac Mr. Stagins, Seigʳ. 46 10 10
Nich. Mr. Stagings, Junʳ. 46 10 10
Tho. Mr. Battes 90 0 0
John Mr. Lilly 40 0 0
Hen. Mr. Gregory 60 0 0
Theophilus Mr. Hills 46 10 10
Henry Mr. Madge 86 12 8
John Mr. Gombell 46 10 10
Richᵈ. Mr. Dorney 20 0 0
Joᴺ. Mr. Banister, Seigʳ. 100 0 0
Phil. Mr. Beckett 60 2 6
Roᵇ. Mr. Blagrave, Junʳ. 58 14 2
John Mr. Singleton 46 10 10
Robt. Mr. Strange 46 10 10
--------------
"15 May, 1674. These 24 Gent. of his Maᵗᴵᵉˢ private musick are to
attend at Windsore. "T. PURCELL."
In the original of the foregoing document the Christian names were
evidently prefixed after the list had been written out; the spelling of
the surnames is curious; Stagins, father and son are spelt differently;
another proof, if it were required, of the utter indifference to such
matters at that period.
Pepys in his Diary (Dec. 19, 1666) made an entry that "many of the
musique are ready to starve, they being five years behindhand for their
wages." This irregularity of payment of the "King's musique" seems to
have continued, for we find in the accounts of the "Treasurer of the
Chamber," the following record:--
"Paid to Thomas Pursell at xxᴸᴵ pr. ann. for Wages, and
xvjᴸᴵ ijˢ vjᵈ pr. ann. for a Livery, due for fower yeares
and 3 quarters ended at Mic'mas, 1672.
clxxjᴸᴵ xjˢ xᵈ ob."
Thomas Purcell was evidently a popular man, and on the 24th of June,
1672, he was elected "Marshall of the Corporation of Musique in
Westminster," in room of Captain Cooke,[10] who resigned "by reason
of sicknesse." Two years later he received another court appointment
from the King; a state paper preserved in the Record Office tells us
that he succeeded "John Wilson, deceased, to hold during His Majesty's
pleasure, with the fee of £20 per annum, payable quarterly out of the
Exchequer, to commence 25th March, 1674," subscribed by warrant from
the Earl of Burlington, Master of His Majesty's Household.
Another warrant under the signet gives an order to the treasurer of
the chamber for the time being, "to pay unto Thomas Purcell (one of
His Majesty's Musicians in Ordinary, in the place of Dr. John Wilson,
deceased), the wages and fee of £20 by the day, and £16 2_s._ 6_d._
yearly for a livery, payable quarterly, from Lady-day 1674, and to
continue during His Majesty's pleasure."
Thomas Purcell lived till 1682, so that he had the satisfaction of
witnessing the extraordinary development of his nephew's genius, and
could also rejoice to see the general recognition of his merits, and of
the honourable rewards he was so rapidly acquiring. When, at last, full
of years and honours, Thomas departed this life, he was buried near his
brother in the cloisters of Westminster Abbey. We seek in vain for the
musical compositions of either Henry (the elder) or of Thomas: with the
exception of a few chants in common use in our cathedrals, nothing of
their work remains to us.
When Henry Purcell, the younger, became a chorister in the Chapel Royal
at six years of age, the master of the boys was Captain Henry Cooke, an
old musician, who had belonged to the chapel of Charles I., but who, on
the breaking out of civil war, had laid aside the peaceful art of music
to engage in the rough dissonances of battle and strife, and changed
his service from that of a Royal musician to become a Royalist soldier.
In the latter capacity he won a captain's commission, and possibly it
was not less as a reward for his devotion and bravery on behalf of his
king than as a recognition of his musical ability that Charles II.
appointed him "Master of the Children of the Chapel." That he was well
qualified for the post can be shown by reference to the opinions of
his contemporaries, and also to the numerous compositions of his still
extant in manuscript.
Pepys' Diary contains frequent reference to Cooke, and his
compositions:--
"After sermon a brave anthem of Captain Cooke's which he himself
sang, and the king was well pleased with it." (Aug. 12, 1660.)
"A poor dry sermon, but a very good anthem of Captain Cooke's
afterwards." (Oct. 7, 1660.)
"To Whitehall Chapel with Mr. Childe, and there did hear Captain
Cooke and his boys make trial of an anthem against to-morrow, which
was brave musique." (Feb. 23, 1661.)
"Captain Cooke, Mr. Gibbons, and others of the king's musicians,
were come to present my Lord with some songs and symphonys, which
were performed very finely." (May 19, 1661.)
"After dinner Mr. Townsend was called upon by Captain Cooke; so we
three went to a taverne hard by, and there he did give us a song or
two, and without doubt he hath the best manner of singing in the
world." (July 27, 1661.)
"To Whitehall Chapel, where sermon almost done, and I heard Captain
Cooke's new musique. This the first day of having vialls and other
instruments to play a symphony between every verse of the anthems,
but the musique more full than it was last Sunday, and very fine it
is. But yet I could discerne Captain Cooke to overdo his part at
singing, which I never did before." (September 14, 1662.)
"We had an excellent anthem sung by Captain Cooke and another, and
brave musique.... After dinner to chappel again, and there had
another anthem of Captain Cooke's." (May 18, 1662.)
"A most excellent anthem with symphonys between, sung by Captain
Cooke." (Sept. 7, 1662.)
"Captain Cooke, and his two boys, did sing some Italian songs
which, I must in a word say, I think was fully the best musique
that I ever yet heard in all my life." (Dec. 21, 1663.)
Cooke composed a considerable number of pieces of music for various
royal and festal occasions; one curious hymn for a ceremony in
connection with a festival service of the Knights of the Garter at
Windsor was accompanied by "two double sackbuts and two double courtals
placed at convenient distances among the classes of the gentlemen
of both choirs, to the end that all might distinctly hear, and
consequently keep together both in time and tune; for one sackbut and
courtal was placed before the four petty canons who begun the hymn, and
the other two immediately before the prebends of the college."
Captain Cooke's services were frequently required on the stage,[11] and
with his many accomplishments there is no great wonder that he became
conceited. Pepys, from whom so many quotations have already been made,
wrote: "A vain coxcomb he is, though he sings so well;" and this charge
of vanity is supported by other evidence. A contemporary historian
says: "Captain Cooke was the best musician of his time till Mr. Pelham
Humphreys, one of the children of the chapel educated by himself, began
to rival him, after which he died with great discontent."[12]
Cooke was buried in the cloisters of Westminster Abbey in July, 1672.
During the years that he was master of the children of the chapel
he had as pupils many who won for themselves distinguished names as
musicians, amongst them notably Pelham Humphreys, Wise, Blow, Turner,
and Purcell.
Purcell profited by Captain Cooke's instructions for a period of eight
years--from the age of six to that of fourteen, a very important time
in the life of a clever boy. Historians seem to have forgotten this
fact, and have been disposed to credit the whole of Purcell's musical
education to Pelham Humphreys or to Dr. Blow.
During these early years Purcell had already put forth specimens of his
talent for musical composition. In 1667 Playford published a little
three-part song entitled, "Sweet Tyraness, I now resign," which Dr.
Burney has included in his history under the supposition that it was
composed by Purcell's father; but there is reason to believe that it
was the composition of the boy who, at the date of publication, was
nine years of age. Possibly the music was originally intended as an
air or song for a single voice, as we find it published in this form
in 1678, in a work called _New Ayres and Dialogues_. This collection
contained five other songs by Henry Purcell.
When Purcell was eleven years old, he essayed his powers in the
composition of music for a piece called "The Address of the Children
of the Chapel Royal to the King, and their Master, Captain Cooke, on
his Majesties Birthday, A.D. 1670, composed by Master Purcell, one of
the Children of the said Chapel."[13] It is also probable that in this
youthful time Purcell composed the music to _Macbeth_, now commonly
associated with the name of Matthew Locke. That the latter did compose
music for _Macbeth_ is certain, as some of it is still in existence,
but it does not bear the slightest resemblance to that popularly known
as his. In favour of Purcell, it may be noted that the _Macbeth_ music
has many Purcell-like touches; that a copy of the score in Purcell's
youthful hand is in existence;[14] that many old MS. copies of the
music have his name attached as composer; and that he was entitled to
the credit of it was believed by Dr. William Hayes, Dr. Philip Hayes,
Dr. Arnold, and many other eminent musicians.
The music itself is clearly an elaboration and development of a series
of short movements composed by Robert Johnson for Middleton's play of
_The Witch_.[15]
It must not be forgotten that many of Purcell's anthems now in use
in our cathedrals were the product of his youthful pen and genius
whilst he was still a pupil of Cooke. Captain Cooke, the soldier
musician, died, as previously stated, in 1672, and was succeeded in
his appointment as "Master of the Children of the Chapel" by one whose
nature, genius, and scientific knowledge of music must have stimulated
and excited in a special manner the dawning powers of the youthful
musical company committed to his charge, and the force of whose example
must have proved of the greatest service to Purcell. This man was
Pelham Humphreys;[16] he had been educated in the Chapel Royal under
Captain Cooke, where his abilities and his personal attractions made
a strong impression on Charles II. In Nov., 1663, Pepys made the
following entry in his Diary: "The anthem was good after sermon, being
the fifty-first psalme, made for five voices, by one of Captain Cooke's
boys--a pretty boy. And they say there are four or five of them that
can do as much. And here I first perceived that the king is musicall,
and kept good time with his hand all along the anthem."
The _pretty boy_ was undoubtedly Pelham Humphreys. Clifford's book of
anthems, published in 1664, the year after the incident just recorded,
contains the words of five anthems, "composed by Pelham Humphrey, one
of the Children of His Majesties Chappel;" and in Boyce's _Cathedral
Music_ we find Humphreys' anthem, "Have mercy upon me," the words of
which are taken from the fifty-first psalm. There can be little doubt,
therefore, that this was the very anthem heard and approved by Pepys.
In 1664 the king sent Humphreys to Paris,[17] to study under Lully;
and he also probably went to Italy. During his absence the king gave
him an appointment as one of the Gentlemen of the Chapel Royal; and on
his return to London in October, 1667, he was "sworn in" to the place.
He speedily produced several new compositions, sacred and secular, by
command of the king.
Pepys' entry in his Diary for November 15, 1667, is very quaint. He
says, "Home, and there find, as I expected, Mr. Cæsar and little Pelham
Humphreys, lately returned from France, and is an absolute Monsieur,
as full of form and confidence and vanity, and disparages everything
and everybody's skill but his own. But to hear how he laughs at all the
king's musick here, at Blagrave and others, that they cannot keep time
or tune, nor understand anything: and at Grebus,[18] the Frenchman, the
king's master of musick, how he understands nothing, nor can play on
any instrument, and so cannot compose: and that he will give him a lift
out of his place, and that he and the king are mighty great." On the
following day, the 16th, Pepys notes that there was a performance of
Pelham Humphreys' musick given before the king at Whitehall.
That Humphreys was an admirable musician, possessed of uncommon
genius, is easily discernible from the numerous compositions of his
which have come down to us. He took as his models Lulli and Carissimi;
but fortunately Purcell's genius was stronger and more emphatic than
that of his master: had it been otherwise he would have become a mere
copyist; but, as we shall hereafter see, Purcell looked to Italy for
good musical models, and was not afraid to express his dislike to the
frivolity of the French school.
There exists a very interesting manuscript anthem in Purcell's
handwriting, which was originally composed by Humphreys, but
afterwards altered and improved by Purcell.
Poor Humphreys had but a short career, or we may be sure he would have
accomplished greater things than he did. Two years before he died he
married a very beautiful lady, who followed him to his grave in the
cloisters of Westminster Abbey in 1674, he being only twenty-seven
years of age.
Purcell was then sixteen years old, and his boy-soprano voice must
have been near its breaking--perhaps it had already departed. It was,
however, the good custom of the period to retain as supernumeraries
of the King's Chapel any of the old boys who gave evidence of musical
ability. In 1666 we find "Hen. Cooke, Thomas Purcell, and other
Gentlemen of the Chapel Royal, petition on behalf of themselves, the
pages of the chapel, and _boys whose voices have changed_, for payment,
there being no money assigned to the treasurer of the chamber for those
purposes."
Purcell therefore continued attached to the Chapel Royal, and became a
pupil of Dr. John Blow, the successor to Pelham Humphreys, as "Master
of the Children." That Purcell studied under Blow is certain from
the inscription on Blow's monument in Westminster Abbey, where it is
stated that he was "master to the famous Henry Purcell." Blow was
undoubtedly the very master Purcell then needed, for he was eminent
for his goodness, amiability, and moral character, and combined with
those excellent qualities all the learning and experience of a sound
musician. His compositions are remarkable for their melodies and the
boldness of their harmonical progressions.[19] He held appointments
at the Chapel Royal, Westminster Abbey, St. Paul's Cathedral, and St.
Margaret's, Westminster; and it speaks strongly for his singleness
of heart, and the total absence of envy and jealousy in his nature,
that recognising and proclaiming the remarkable abilities of his
pupils, Purcell and Jeremiah Clarke, he resigned his appointments at
Westminster Abbey and St. Paul's Cathedral, in order that they might
occupy those prominent and advantageous positions. This estimable man,
Blow, survived his dear friend and pupil, Purcell, some years, and so
became his successor at Westminster Abbey, and was eventually laid in
a grave close to him, nearly beneath the organ where they had so often
discoursed sweet music together.
That Blow fully estimated the genius of his pupil Purcell, there
can be no doubt, since many manuscript copies of the compositions
of the latter exist in the handwriting of Blow. Probably it was at
the suggestion of Blow that Purcell was appointed _copyist_[20] to
Westminster Abbey in 1676. He succeeded the Rev. Stephen Byng, one of
the minor canons, who probably resigned the post, as he did not die
till 1681. Purcell was eighteen years of age when he became copyist of
Westminster Abbey; hence arose the mistake made by Burney and Hawkins,
and constantly repeated on their authority, that Purcell was appointed
_organist_ of Westminster Abbey at eighteen. The office of copyist he
held for two years only.
Mention has previously been made of the music to _Macbeth_ as the
composition of Purcell; probably the recognition of the excellence and
effectiveness of this work induced the managers of the theatres to give
him further employment; for in 1676 we find him composing music for at
least three plays--Shadwell's _Epsom-Wells_, Dryden's _Aurenge-Zebe_,
and Shadwell's _Libertine_. The latter contains a four-part chorus,
"In these delightful, pleasant groves," still popular with choral
societies. The whole of the music of _The Libertine_ is very bold, and
would be an interesting work to revive for its merits; it is further
curious from the fact that the libretto is founded on the same story
which was long years afterwards adopted by Mozart for his opera, _Don
Giovanni_. In 1677 Purcell wrote the music for Mrs. Behn's tragedy,
_Abdelazor_, and also the music, solo and chorus, of an ode "On the
death of his Worthy Friend, Mr. Matthew Locke, musick composer in
ordinary to His Majesty, and Organist of Her Majesties Chappel, who
Dyed in August 1677." The words of the ode are as follow:--
"What hope for us remains now he is gone?
He that knew all the power of numbers flown;
Alas! too soon; even he
Whose skilful harmony
Had charms for all the ills that we endure,
And could apply a certain cure.
From pointed griefs he'd take the pain away;
Even ill nature did his lyre obey,
And in kind thoughts his artful hand repay:
His layes to anger and to war could move,
Then calm the tempest they had raised with love,
And with soft sounds to gentle thoughts incline,
No passion reign'd, where he did not combine.
He knew such mystic touches, that in death
Could cure the fear, or stop the parting breath:
And if to die had been his fear
Or life his care,
He with his lyre could call,
And could unite his spirits to the fight,
And vanquish Death in his own field of night.
Pleased with some powerful Hallelujah
He, wrapp'd in the joys of his own harmonie,
Sung on, and flew up to the Deitie."
Of the intimacy which existed between Locke and the Purcell family we
had some indication in the paragraph previously quoted from Pepys,
where he spoke of Purcell's father; and that the son was on similarly
friendly terms with Locke is certain. Locke lived in the Savoy, and
from thence he penned the following letter[21] to Purcell:--
"DEAR HARRY,--Some of the gentlemen of His Majesties musick will
honor my poor lodgings with their company this evening, and I
would have you come and join them: bring with thee, Harry, thy
last anthem, and also the canon we tried over together at our last
meeting. Thine in all kindness,
"M. LOCKE.
"_Savoy, March 16._"
In 1678 Purcell resigned his appointment of _Copyist_ at Westminster
Abbey,[22] doubtless that he might devote more time to study and
composition. In this year he produced the fine music for the masque in
Shadwell's mutilation of Shakespeare's _Timon of Athens_.
In 1679 Purcell does not appear to have composed music for the
theatres, but that he was deeply engrossed in his favourite occupation
appears from the following very curious letter, now printed for the
first time:--
"This ffor Mr. John Gostling, Chaunter of yᵉ quire of Canterbury
Cathedral. London yᵉ 8th of ffeb. 9/78.
"Sir, I have reᵉᵈ yᵉ favor of yours of yᵉ 4th with yᵉ
inclosed for my sonne Henry: I am sorry wee are like to be
without you soe long as yours mentions: but 'tis very likely you
may have a summons to appeare among us sooner than you imagine:
for my sonne is composing wherin you will be chiefly concern'd.
However, your occasions and tyes where you are must be considered
and your conveniences ever complyde withall: in yᵉ meantime assure
yourself I shall be carefull of your concern's heir by minding and
refreshing our master's memory of his Gratious promis when there is
occasion. My wife returns thanks for yᵉ compliment with her servis:
and pray yᵉ give both our respects and humble services to Dr. Belk
and his Lady, and beleeve ever that I am, Sir, your affectionate
and humble servant,
"T. PURCELL.
"Dr. Perce is in toune but I have not seen him since. I have
perform'd yᵉ compliments to Dr. Blow, Will Turner, etc.
"F faut: and E lamy are preparing for you."[23]
The Rev. John Gostling, M.A., to whom the letter is addressed, was at
the time a Minor Canon of Canterbury Cathedral, and was celebrated
for the quality and extraordinary compass of his bass voice. It was
especially for him that most of the bass solos in Purcell's anthems
were written. Evelyn, in his Diary (January 1685,) speaks of that
"stupendous bass, Gosling" singing before his Majesty and the Duke.
We learn from the above interesting letter that Thomas Purcell called
Henry his _son_, and we can estimate his influence with his master,
Charles the Second, by the successful way in which he evidently
refreshed the king's memory; for only a few days after the letter was
written the "Gratious promis" was fulfilled by appointing Gosling to
the Chapel Royal. On the 25th of February, 9/78, Mr. John Gosling was
sworn "Gentleman of his Maᵗᴵᵉˢ Chappel extraordinary," which means that
his was a special or supernumerary appointment; but a vacancy in the
regular staff of the Chapel occurred almost immediately, and we find
the following entry in the cheque-book: "Mr. William Tucker, gent., of
his Maᵗᴵᵉˢ Chappell Royal, departed this life the 28th day of February,
1678,[24] in whose place was admitted in ordinary Mr. John Gostling, a
base from Canterbury, Master of Arts."
The postscript to the letter read in connection with the previous
paragraph "my sonne is composing wherin you will be chiefly concern'd"
is clearly a jocose reference to Gostling's exceptionally low voice.
Purcell not only wrote double F (F faut) and double E (E lamy) for
him, as in the anthem, "Behold I bring you glad tidings," but in
another anthem commencing, "They that go down to the sea in ships," he
carried the bass solo part down to double D.
The history of the composition of the latter anthem is somewhat
remarkable:--
"Charles the Second had given orders for building a yacht, which
as soon as it was finished he named the _Fubbs_, in honour of
the Duchess of Portsmouth, who, we may suppose, was in her
person rather full and plump. The sculptors and painters apply
this epithet to children, and say, for instance, of the boys of
Flammengo, that they are fubby. Soon after the vessel was launched
the King made a party to sail in the yacht down the river and round
the Kentish coast; and to keep up the mirth and good humour of the
company Mr. Gostling was requested to be of the number. They had
got as low as the North Foreland, when a violent storm arose, in
which the King and the Duke of York were necessitated, in order to
preserve the vessel, to hand the sails and work like common seamen.
By good providence, however, they escaped to land: but the distress
they were in made an impression on the mind of Mr. Gostling which
was never effaced. Struck with a just sense of the deliverance,
and the horror of the scene which he had but lately viewed, upon
his return to London he selected from the Psalms those passages
which declare the wonders and terrors of the deep and gave them
to Purcell to compose as an anthem, which he did, adapting it so
peculiarly to the compass of Mr. Gostling's voice, which was a deep
bass, that hardly any person but himself was then, or has since,
been able to sing it; but the King did not live to hear it."
Charles the Second became extremely partial to the singing of
Gostling, and was heard to say, "You may talk as much as you please
of your nightingales, but I have a _gosling_ who excels them all."
At another time he presented Gostling with a silver egg filled with
guineas, saying, "He had heard eggs were good for the voice."
Gostling was a devoted admirer of, and a performer on, the _viol da
gamba_, an instrument which Purcell detested. We can therefore readily
imagine that his musical susceptibilities were frequently severely
taxed by the persistent practice of his friend. He accordingly composed
a round for three voices to the following words,[25] which he presented
to Gostling:--
"Of all the instruments that are,
None with the viol can compare.
Mark how the strings their order keep
With a whet, whet, whet, and a sweep, sweep, sweep.
But above all this still abounds
With a zingle, zingle, zing, and a zit zan zounds."
In 1680 Dr. Blow magnanimously resigned the appointment of organist of
Westminster Abbey in favour of Purcell,[26] who thus became possessed
of one of the most distinguished musical positions in the kingdom at
the early age of twenty-two.
In the same year Purcell composed the music for Lee's tragedy,
_Theodosius, or the Force of Love_. It was performed at the Duke's
Theatre, and the music of the songs was soon after published by Bently
as an Appendix to the play. He also wrote music for D'Urfey's comedy,
_The Virtuous Wife_, and two odes, the first, addressed to the Duke of
York, entitled "An Ode or Welcome Song for his Royal Highness on his
Return from Scotland," and the second called "A Song to Welcome Home
His Majesty from Windsor."
But the most remarkable work of Purcell in this year (1680) was the
composition of the opera _Dido and Æneas_, usually ascribed to his
seventeenth year, 1675, a complete mistake. An original copy of the
libretto still exists, with the following title, "An Opera performed at
Mr. Josias Priest's Boarding-school at Chelsey, by young gentlewomen,
the words made by Mr. Nat. Tate. The musick composed by Mr. Henry
Purcell."
That this was the first performance is tolerably certain, for we find
in D'Urfey's _New Poems_, 1690, "An Epilogue to the Opera of _Dido and
Æneas_, performed at Mr. Priest's Boarding-school at Chelsey: spoken
by the Lady Dorothy Burk." We know that Priest removed to Chelsey
in 1680 by an advertisement in the _London Gazette_, November 25th,
1680: "Josias Priest, dancing-master, who kept a boarding-school of
gentlewomen in Leicester-fields, is removed to the great school-house
at Chelsey, that was Mr. Portman's. There will continue the same
masters and others to the improvement of the said school."
_Dido and Æneas_ will always remain a monument to Purcell's
extraordinary genius; it is in perfect opera form, with an entire
absence of dialogue, the whole of the libretto being set in recitative,
solos, duets, and chorus. The opera is short, yet we cannot but
recognise the fact that had there been a public demand for absolute
music-drama, or even a proper appreciation of a work cast in such a
mould, the composer had arisen who possessed the necessary genius,
inspiration, and feeling for building up a school of opera which would
have proved a model for his own and succeeding generations, but the
time was not ripe for such a development. Purcell, like many other
gifted mortals, lived before his time, and thus his perfect specimen of
music-drama remains unique: so far as we know he never attempted such
another work.
There is a tradition that the part of Belinda (or Anna), written for
alto voice, was sung and acted[27] by Purcell himself. The music of
this opera remained in MS. until 1840, when it was published by the
"Musical Antiquarian Society," edited by G. A. Macfarren, unfortunately
from an imperfect copy of the score, the only one then attainable. It
has been frequently performed since Purcell's time, notably at the
"Ancient Concerts" in London, and more recently at Liverpool. In this
eventful year, or the succeeding one, 1681, Purcell took unto himself a
wife, and in the latter year he again composed an ode or "Welcome Song"
which must have brought him favourably under the notice of the King. It
commences, "Swifter Isis, swifter flow."
In July, 1682, his abilities were publicly recognised by giving him the
appointment of Organist of the Chapel Royal in place of Edward Lowe,
deceased. The honour and the additional income would be welcomed by
the young couple just starting on the voyage of life as a favourable
augury for their future comfort and prosperity.
In this same year Purcell wrote music for a grand civic festival,
"The inauguration of the truly loyal and right honourable Sir William
Prichard, Knight, lord Mayor of the city of London, president of the
honourable Artillery Company, and a member of the worshipful company
of Merchant-Taylors. Perform'd on Monday, September xxx. 1682." In the
following month he composed another "Ode or Welcome Song to the King on
his return from Newmarket, Oct. 21."
The old uncle, Thomas Purcell, must have been well pleased to witness
his adopted son's happiness and success; of the intercourse and
friendship which continued to exist between them we have evidence. When
Thomas became too old to go himself to the Pay-office for his salaries
he executed a power of attorney authorizing his son Matthew to act for
him, and this document was witnessed by Frances Purcell--Henry's wife.
The quaint deed is worthy of reproduction here.[28] The original is in
my possession.
A few months afterwards, July 31st, 1682, the old man died, and on the
2nd of August his mortal remains were laid to rest in the cloisters of
Westminster Abbey. We can easily imagine the grief of Purcell who had
to mourn the loss of one who had been more than a father to him.
A few days after the funeral of the uncle Thomas, Purcell had occasion
to rejoice in the birth of a son and heir; the child was baptized in
Westminster Abbey, receiving the names of John Baptista, probably a
mark of friendly regard for the well-known musician, John Baptist
Draghi,[29] but the infant survived only a few months and was buried
with his kindred in the Abbey cloisters. There is a volume of music
in the handwriting of Henry Purcell in the Fitzwilliam Library at
Cambridge, containing an entry which is worthy of note in this place as
showing the serious tone of his mind at that period: at the end of an
anthem he has written, "God bless Mr. Henry Purcell. September yᵉ 10th,
1682."
In the following year Purcell ventured on his first publication, for
which he solicited subscribers. His prospectus or proposals are lost,
but the following advertisement from the _London Gazette_, May 24th,
1683, throws much light on the subject:--
"These are to give Notice to all Gentlemen that have subscribed to
the Proposals Published by Mr. Henry Purcell for the Printing his
Sonata's of three Parts for two Violins and Base to the Harpsichord
or Organ, that the said Books are now completely finished, and
shall be delivered to them upon the 11th June next: and if any
who have not yet Subscribed, shall before that time Subscribe,
according to the said Proposals (which is Ten Shillings the whole
Sett), which are at Mr. Hall's house in Norfolk-street, or at Mr.
Playford's and Mr. Carr's shop in the Temple; for the said Books
will not after that time be Sold under 15_s._ the Sett."
Again on the following June the 7th, another advertisement appeared in
the _London Gazette_:--
"Wheras the time is now expired, this is therefore to desire those
Persons that have subscribed to Mr. Henry Purcel's Sonata's to
repair to his house in St. Ann's Lane beyond Westminster Abbey,
or to send Proposal-Paper they received with the Receipt to it
when they Subscribed, and those who subscribed without a Paper
or Receipt to bring a Note under the Persons Hand to whom they
Subscribed, that there may be no mistake, and they shall receive
their Books, paying the remainder part of the money."
Judging by the extreme rarity of the work, the subscription list must
have been a poor one, and as the price charged was only ten shillings
for the completed work, Purcell must have been considerably out of
pocket, when he came to balance his accounts after paying the engraver
and printer; the former was the celebrated copper-plate engraver,
Thomas Cross, junior. The title of the work reads thus: "Sonnata's of
III parts. Two Viollins and Basse to the Organ or Harpsichord. Composed
by Henry Purcell, Composer in Ordinary to his Most sacred Majesty, and
Organist of his Chappell Royall, London. Printed for the Author, and
sold by J. Playford and J. Carr at the Temple, Fleet St. 1683."
The sonatas are printed in four separate parts for the instruments
named, but there is no score, the first violin part is embellished with
a splendid portrait of the composer, lettered "Vera Effigies Henrici
Purcell, Atat Suæ 24."
The dedication runs as follows:--
"To the King. May it please yoʳ Majᵗᵞ. I had not assum'd the
confidence of laying yᵉ following Compositions at your Sacred feet;
but that (as they are the immediate Results of your Majesties
Royall favour, and benignity to me which have made me what I am),
so, I am constrain'd to hope, I may presume, amongst Others of your
Majesties over-oblig'd and altogether undeserving Subjects, that
your Majᵗᵞ will with your accustom'd Clemency, Vouchsafe to Pardon
the best endeavours of yoʳ Majᵗᴵᵉˢ Most Humble and Obedient Subject
and Servant,
"H. PURCELL."
The modest preface is interesting from its reference to the novel use
of Italian terms, and also as showing the comparative regard in which
Italian and French music was held by the author, who writes:--
"Ingenious Reader. Instead of an elaborate harangue on the beauty
and the charms of Musick which (after all the learned Encomions
that words can contrive) commends itself best by the performances
of a skilful hand, and an angelical voice: I shall say but a very
few things by way of Preface, concerning the following Book, and
its Author: for its Author, he has faithfully endeavour'd a just
imitation of the most fam'd Italian Masters; principally, to bring
the Seriousness and gravity of that sort of Musick into vogue, and
reputation among our Country-men, whose humour, 'tis time now,
should begin to loath the levity and balladry of our neighbours:
The attempt he confesses to be bold and daring, there being Pens
and Artists of more eminent abilities, much better qualifi'd for
the imployment than his, or himself, which he well hopes these his
weak endeavours, will in due time provoke, and enflame to a more
accurate undertaking. He is not asham'd to own his unskilfulness
in Italian Language; but that's the unhappiness of his Education,
which cannot justly be accounted his fault, however he thinks he
may warrantably affirm, that he is not mistaken in the power of
the Italian Notes, or elegancy of their Compositions, which he
would recommend to the English Artists. There has been neither
care, nor industry wanting, as well in contriving, as revising the
whole Work; which had been abroad in the world much sooner, but
that he has now thought fit to cause the whole Thorough Bass to be
Engraven, which was a thing quite beside his first Resolutions.
It remains only that the English Practitioner be enform'd, that
he will find a few terms of Art perhaps unusual to him, the chief
of which are these following: _Adagio_ and _Grave_ which imports
nothing but a very slow movement: _Presto_, _Largo_, and _Vivace_,
a very brisk, swift, or fast movement: _Piano_, soft. The Author
has no more to add, but his hearty wishes, that his Book may fall
into no other hands but theirs who carry Musical Souls about them;
for he is willing to flatter himself into a belief, that with Such
his labours will seem neither unpleasant, nor unprofitable, Vale."
The foregoing preface is eminently characteristic of the unassuming and
retiring disposition of Purcell. The sonatas have never been printed in
score, but a few masterly movements selected from the parts and reduced
for the pianoforte are inserted in Dr. Crotch's specimens of ancient
music; a perusal of these will whet the appetite for more music of such
sterling quality.
This year, 1683, was a prolific one with Purcell, for we find that
he composed another "Ode, or Welcome Song for the King," commencing,
"Fly bold rebellion," and also an ode to celebrate the marriage of
George, Prince of Denmark, with the Princess Anne, afterwards Queen.
The marriage took place in July. The words of the ode commence, "From
hardy climes." A large manuscript volume entirely in Purcell's hand,
is still in existence, which shows that he had been busy from June,
1680, to February, 1683, in composing Fantasias in three, four, five,
six, seven, and eight parts; the book in which these are written was
evidently the commencement of what was intended to be a complete and
lasting record of the composer's works, and perhaps it was intended for
presentation to the King.
The publication of the sonatas was soon followed by another entitled,
"A musical entertainment perform'd on November xxii. 1683; it being the
festival of St. Cecilia, a great Patroness of Music, whose Memory is
annually honoured by a Public Feast made on that day by the Masters and
lovers of Music as well in England as in foreign parts. London: Printed
by J. Playford, junior, and are to be sold by John Playford near the
Temple Church, and John Carr, at the Middle Temple Gate, 1684."
The book, unlike the sonatas, which were beautifully engraven, is a
wretched specimen of type-printing, and copies of it are now very rare.
The Preface was addressed,
"To the Gentlemen of the Musical Society, and particularly the
Stewards for the year ensuing, William Bridgman, Esq., Nicholas
Staggins, Doctor in Music, Gilbert Dolben, Esq., and Mr. Francis
Forcer. Gentlemen, your kind Approbation and benign Reception of
the performance of these _Musical Compositions_ on _St. Cecilia's
Day_, by way of Gratitude, claim this Dedication; which likewise
furnishes the Author with an opportunity of letting the World know
the Obligations he lies under to you; and that he is to all Lovers
of Music, a real Friend and Servant.--HENRY PURCELL."
The music consists of an introductory symphony, choruses, and soli,
with accompaniments for strings, and has a very novel termination
to the words "Iô Cecilia." The words are poor, and were written by
Christopher Fishbourne,[30] who seems to have been both a poet and
a musician, but of no great pretension in either art. Purcell's
enthusiasm and industry are well exemplified by the amount of music
which he wrote for the first public observance of St. Cecilia's Day in
this country. In addition to the ode already mentioned as published, he
composed two other odes, one in English and one in Latin; the former
is remarkable for being scored without any part for the tenor violin,
and without parts for counter-tenor voices, although the latter voice
was in great favour in Purcell's day, and his music generally abounds
with solos for that voice. The Latin ode is interesting as being
scored for three men's voices with accompaniments for two violins and
bass. Both these odes remain at present in manuscript. The Fitzwilliam
Library at Cambridge possesses a large volume of manuscript music
in the handwriting of Dr. Blow, and internal evidence shows that it
must have been completed in 1683; it contains the following anthems
by Purcell:--1. "By the Waters of Babylon;" 2. "O God Thou hast cast
us out;" 3. "Remember not, Lord, our Offences;" 4. "I will Sing unto
the Lord;" 5. "Blessed be the Lord my Strength;" 6. "O Lord, our
Governour;" 7. "Let God Arise;" 8. "Blessed is He;" 9. "Hear me, O
Lord;" 10. "Bow down Thine Ear;" 11. "Jerusalem is Built;" 12. "My
Beloved Spake;" 13. "O God, Thou art my God;" 14. "Lord, who can tell?"
15. "Benedicite" in B ♭.
The year 1684 is notable for the remarkable organ competition at the
Temple Church, in which the two great organ-builders of the day,
Father Smith and Renatus Harris, exhibited their skill by erecting
rival organs for the approval of the benchers of the Temple, and which
eventually resulted in the selection and retention of the splendid
instrument built by Smith. The organ then chosen is still standing
in the church, and eloquently proclaims the fame of its builder.
How far Smith's success was due to the judicious choice he made of
organists to show off the qualities and varieties of his stops, it is
only possible now to guess, but certainly no more skilful performers
could have been found than Dr. Blow and Henry Purcell. Smith's rival,
Harris, was also fortunate in obtaining the services of John Baptist
Draghi, the friend of Purcell previously mentioned, and whose skill
and popularity as an organist contemporary records frequently mention.
Smith's organ had the singular advantage of possessing keys for two
extra quarter-tones in each octave, which enabled the performer to
use distinct pitches or sounds for G sharp and A flat, and also for
D sharp and E flat. Those who are familiar with Purcell's sacred
music will readily understand what use he would have made of these
additional facilities for modulating into remote keys. In his anthems
he frequently wrote chords which must have sounded most crude and harsh
on all the keyed instruments of his day, tuned as they were on unequal
temperament. Purcell, we know, was on very intimate terms with Smith,
who was not only an organ-builder, but also an organist,[31] and it is
quite probable that it was at Purcell's suggestion that he added the
quarter-tones which constituted so remarkable a feature in the Temple
organ. In 1684 Purcell composed yet another "Ode, or Welcome Song, on
the King's return to Whitehall after his summer's progress;" the words,
commencing, "From these serene and rapturous joys," were written by
Thomas Flatman.
In 1685 Purcell was actively concerned in superintending the erection
of an organ in Westminster Abbey expressly for the coronation of James
II. and his queen. On April 23rd he was paid the sum of 34_l._ 12_s._
for his services out of the "secret service money." This organ was
evidently a small instrument erected just behind the seats occupied
by the "King's Choir of Vocal Music," who sat in a gallery in front
of and under a south chancel arch, the second from the transept,
whilst opposite them, in a similar gallery, were placed the "King's
Instrumental Musick." For the coronation service Purcell produced two
anthems, "I was Glad," and "My Heart is Inditing," but it would seem
that he did not officiate at the organ, for we find that "Purcell,
Blow, Child, and Staggins," sang with the basses in the choir on that
occasion.
In this same year he composed an ode in honour of King James,
commencing, "Why are all the Muses mute?" and it is very likely that
he also composed the music for the tragedy of _Circe_ at or about this
period. This play, the work of Charles Davenant, when first produced,
was accompanied by music from the pen of John Banister,[32] some of
which was published in 1679.
A few years since Dr. Rimbault unfortunately published a portion
of Purcell's music to _Circe_ with Banister's name attached as the
composer,[33] but he afterwards discovered the error he had fallen
into.[34] _Circe_ is one of Purcell's best dramatic works, and contains
music which no other composer of his time could have written; it still
remains in manuscript. Only music to the first act is now to be found.
Perhaps Purcell never completed it.
In 1686 Purcell was again afflicted by the death of a child who had
been christened Thomas in remembrance of the deceased uncle. The
infant was buried in the cloisters of Westminster Abbey. In this year
Purcell composed the music for Dryden's tragedy, _Tyrannic Love_, in
which there are several effective and elegant pieces, notably "Hark,
my Daridear," a duet, and "Ah, how sweet it is to love," a song. In
addition to this, he wrote another "Ode, or Welcome Song for the King,"
commencing, "Ye tuneful Muses."
In 1687 Purcell had another son born who was named Henry, but he
survived only two months, and was buried with his kindred in the
cloisters of Westminster Abbey. Purcell composed another "Ode in honour
of King James," commencing "Sound the trumpet, beat the drum," in which
occurs a duet to the words, "Let Cæsar and Urania live;" this became so
great a favourite that succeeding composers were wont to insert it in
their own royal birthday odes. This practice continued till the close
of the succeeding century.
About this time Purcell composed a "March" and a "Quickstep," which
soon became popular and familiar to the soldiers; a short time
afterward some one, probably Lord Wharton, the Irish Viceroy, with much
foresight and wisdom, selected the tune of the "Quickstep" as a vehicle
for making known the absurd verses of the song called "Lillibullero."
Thanks to the music, the song spread like wildfire, with the result
described by Bishop Burnet, who says, "A foolish ballad was made at
that time, treating the Papists, and chiefly the Irish, in a very
ridiculous manner, which had a burden said to be Irish words, 'Lero,
lero, lillibullero,' that made an impression on the army that cannot
be imagined by those that saw it not. The whole army, and at last the
people, both in city and country, were singing it perpetually, and
perhaps never had so slight a thing so great an effect." The Viceroy
"boasted that the song had sung a deluded Prince out of the three
kingdoms." Other testimony speaks of the song "having contributed not a
little towards the great Revolution of 1688."
The earliest existing printed copies of these tunes are dated 1686,
but he reprinted the "Quickstep" in 1689, under the title of "A new
Irish tune," in a work called _Musick's Handmaid for the Virginals or
Harpsichord_; and he again used the tune as a ground-bass to a piece of
incidental music in the play of _The Gordian Knot Unty'd_. The music of
"Lillibullero" remains in use to this day in the north of Ireland as a
political and party tune, but its use is discontinued by our military
bands out of respect for the feelings of our Irish Roman Catholic
brethren.
In 1687 Henry Playford published _A Pastoral Elegy on the Death of
Mr. John Playford, the Words by Mr. Tate, set to Musick by Mr. Henry
Purcell_. It has commonly been believed that this was an elegy on
"honest John," as he was familiarly called, but in truth it was in
memory of the youngest son of the celebrated old publisher. We have no
particulars of his death, but judging from the words of the elegy it
must have occurred suddenly:--
"Then waste no more in sighs your breath,
Nor think his fate was hard;
There's no such thing as sudden death
To those that always are prepar'd."
This John Playford was only twenty-one years of age when he died; he
had commenced business as a music publisher, and would seem to have
been remarkable for amiability and piety.
In January, 1688, Purcell, by virtue of his office as "composer in
ordinary to his Majesty," received instructions from the King, James
II., to compose an anthem to be performed at the Chapel Royal on the
25th of that month, a day which was commanded to be observed as a
general thanksgiving in London and twelve miles round, in consequence
of the supposed pregnancy of the Queen. As news travelled but slowly in
those days, places beyond the radius named were commanded to keep the
29th as a day of joyful thanksgiving. For the occasion Purcell wrote
the anthem commencing, "Blessed are they that fear the Lord;" it is
scored for the usual solo voices and chorus, with accompaniments for
the organ and quartet of strings.
In May, 1688, Purcell had a daughter born; she was baptized in
Westminster Abbey, receiving the name of Frances. This child attained
to years of maturity, surviving both her father and her mother.
This year was a troublous one; the political horizon was black, and
the national fortunes were in great jeopardy, people had small time
or inclination for public amusements, but Purcell contributed music
for at least one play, _The Fool's Preferment, or the Three Dukes
of Dunstable_, a comedy by D'Urfey. The songs were sung by William
Mountford, who, Colley Cibber says,[35] "sung a clear counter-tenor,
and had a melodious warbling throat." "His voice was clear, full, and
melodious."
Mountford was a great favourite with the public as an actor and singer,
and he was also a dramatic author, but his career was brought to an
untimely end in his thirty-third year by Lord Mohun and Captain Hill,
who murdered him in revenge for the part he took in preventing the
abduction of the celebrated actress, Mrs. Bracegirdle.
The songs in the _Fool's Preferment_, were published with the play
soon after its production at the Queen's Theatre in Dorset Gardens,
the title partly reads "together with all the songs and notes to 'em.
Excellently compos'd by Mr. Henry Purcell." Purcell still continued
composing for the church; an anthem, "The Lord is King," bearing date
1688. He also composed one more "Ode or Welcome Song" for James II.;
the last music he had occasion to pen for this King.
Curiously we find that Purcell again became _Copyist_ of Westminster
Abbey in this year; he succeeded Charles Taylour, but for what reason
has not been discovered. No information respecting Taylour can now be
found.
In December the unhappy monarch, James II., fled from his throne and
kingdom, and was succeeded by William and Mary, who were crowned at
Westminster Abbey in 1689, and in connection with that event a curious
story is told by Hawkins:--[36]
"In the beginning of the year 1689 he (Purcell) became engaged
in a dispute with Dr. Sprat, the then Dean, and the Chapter of
Westminster, the occasion whereof was this. It seems that at the
coronation of King William and Queen Mary, he had received and
claimed as his right, the money taken for admission into the
organ loft of persons desirous of being near spectators of that
ceremony, which for the following reasons must be supposed to have
amounted to a considerable sum; the profit arising to the owner
of one of the houses at the west end of the Abbey, where only the
procession could be viewed, amounted at the last coronation to
five hundred pounds. The organ in Purcell's time was on the north
side of the choir, and was much nearer the altar than now, so that
the spectators from thence might behold the whole of the august
ceremony. A sum like that which this must be presumed to have
been was worth contending for, and if Purcell had the authority
of precedent for his support, he was right in retaining it as
a perquisite arising from his office; but his masters thought
otherwise, and insisted on it as their due, for in an old Chapter
book I find the following entry: '18 April, 1689, Mr. Purcell, the
organ-blower, to pay to Mr. Needham such money as was received by
him for places in the organ-loft, and in default thereof his place
to be declared null and void, and that his stipend or salary to be
detained in the treasurer's hands until further orders.' Upon which
it may be observed that the penning of it is an evidence of great
ignorance or malice, in that it describes him by the appellation
of organ-blower who was the organist of their own church, and in
truth the most excellent musician of his time. What the issue of
this contest was does not appear. It may be supposed either that
he refunded the money, or compounded the matter with the Dean and
Chapter, it being certain that he continued to execute his office
for some years after."
The above account in Sir John Hawkins's hand is now lying before me
with a note that it is to be inserted in vol. iv. p. 497; it fills two
pages of letter paper, and on the third page of the same sheet is a
further note by Dr. Benjamin Cooke, which certainly ought to have been
printed with the foregoing:--
"The order herein alluded to is not the real entry in the Chapter
minutes, but is in another old book which contains copies or
memorandums of many of the Chapter minutes, and probably was the
rough draft, or it might be done by Mr. Needham afterwards from his
recollection, and so the wording is different tho' the substance of
both is the same, and this book was shown to me, and afterwards by
my desire to Sir John Hawkins, at which time we understood it to
be the original Chapter minutes, but have since been convinced of
the contrary by having seen the original minute; and in this last
he is not described by the title of _Organ-blower_, as he is in the
former, but he is stil'd organist.--B. C."
Whatever may have been the end of this dispute, it probably was
speedily concluded, for we find by the Abbey registers of the 6th
September following, that Purcell had an infant son baptized in the
Abbey, who received the name of Edward; this child survived his parents
and became an organist of some note.
On the 5th of August, 1689, a new ode by Purcell, called "A Welcome
Song at the Prince of Denmark's Coming Home," and commencing,
"Celestial music," was performed at Mr. Maidwell's, a schoolmaster.
In commemoration of the accession of William and Mary, Tom D'Urfey
prepared an ode abounding in praise of "The Great Nassau." This
Purcell set to music, and it was subsequently performed at a cost of
£100 in the "Merchant Taylors' Hall," at the gathering of the natives
of the County of York at their feast, March 27th, 1690; from which
circumstance the ode is known as "The Yorkshire Feast Song." The music
became extremely popular; portions of it were printed in the _Orpheus
Britannicus_, and other collections, and the entire work was printed
by Goodison in 1788 or 1789, but in a very incorrect fashion. It has
lately been published in a very satisfactory manner by the new "Purcell
Society."
In the year 1690 Purcell must have worked assiduously for the
theatres; we can trace to this period the production of _The Tempest_,
an alteration from Shakespeare by Shadwell; _The Prophetess_, or
_Dioclesian_, an adaptation from Beaumont and Fletcher by Betterton;
the _Massacre of Paris_, by Lee; and _Amphitryon_, by Dryden.
The music of _The Tempest_ is extremely beautiful, witness "Come unto
these Yellow Sands" and "Full Fathom Five," which are known and admired
and in vogue to this day. These pieces being allied to Shakespeare's
lines are not likely to be superseded by other composers' music, but
unfortunately the major part of Purcell's work in _The Tempest_ is
married to verse not Shakespeare's, and cannot therefore find any
fitting place in a performance of the play.
_Dioclesian_, at first called _The Prophetess_, was advertised for
publication in the _London Gazette_, July 3rd, 1690:--
"The vocal and instrumental musick in the opera called _The
Prophetess_, composed by Mr. Henry Purcell, is designed to be
printed by way of subscriptions. Proposals may be seen at Mr. John
Carr's shop at the Middle Temple Gate, and at Mr. Henry Playford's
shop near the Inner Temple Church, who are appointed to take
subscriptions."
It was published the following year with the title, "_The Vocal and
Instrumental Musick of the Prophetess, or the History of Dioclesian_,
composed by Henry Purcell, Organist of their Majesties' Chappel, and
of St. Peter's, Westminster. London, Printed by J. Heptinstall, for
the Author, and are to be sold by John Carr, at his shop at the Middle
Temple Gate near Temple-Barr. M.DCXCI."
The libretto was made into a so-called opera. Purcell dedicated the
work to the Duke of Somerset, and, as was the manner of the times,
introduced his published score of the music with a flowery preface; it
contains many interesting passages and reads as follows:--
"Your Grace has been pleas'd so particularly to favour the
Composition of the Musick in _Dioclesian_, that from thence I
have been encourag'd to this presumption of Dedicating not only
It, but also the unworthy Author of it to your Protection. All
Arts and Sciences have receiv'd their first encouragement from
Great Persons, and owe their Propagation and Success to their
esteem: like some sort of Fruit-trees, which being of a tender
Constitution, and delicate in their Nature, require the shadow of
the Cedar to shield their Infancy from Blites and Storms.
"Music and Poetry have ever been acknowledged Sisters, which
walking hand in hand supports each other; As Poetry is the harmony
of Words, So Musick is that of Notes: and as Poetry is a Rise
above Prose and Oratory, so is Musick the exaltation of Poetry.
Both of them may excel apart, but sure they are most excellent
when they are joyn'd because nothing is then wanting to either
of their Perfections: for thus they appear like Wit and Beauty
in the same Person. Poetry and Painting have arriv'd to their
perfection in our own Country: Musick is yet but in its Nonage,
a forward Child which gives hope of what it may be hereafter in
ENGLAND, when the Masters of it shall find more Encouragement.
'Tis now learning ITALIAN, which is its best Master, and studying
a little of the French Air, to give it somewhat more of Gayety and
Fashion. Thus being farther from the Sun, we are of later Growth
than our Neighbour Countries, and must be content to shake off
our Barbarity by degrees. The present Age seems already dispos'd
to be refin'd, and to distinguish betwixt wild Fancy, and a just,
numerous Composition. So far the Genius of your Grace has already
prevail'd on Us. Many of the Nobility and Gentry have followed
your Illustrious Example in the Patronage of Musick. Nay, even our
Poets begin to grow asham'd of their harsh and broken Numbers, and
promise to file our uncouth Language into smoother Words. Once
more, therefore, I presume to offer Myself and this Composition
with all humility to Your Grace's Protection, at least till I can
redeem so mean a Present by One which may better deserve Your
Acceptation. Be pleas'd to pardon my Ambition, which had no other
means to obtain the Honour of being made known to You, but only
this. The Town, which has been so indulgent to my first Endeavours
in this kind, has encourag'd me to proceed in the same Attempt;
and Your Favour to this Trifle will be a good Omen not only to the
Success of the Next, but also to all the future Performances of
Your Grace's most Obedient and most Obliged Servant,
"HENRY PURCELL."
The music of _Dioclesian_ is scored for "1st Violins, 2nd Violins,
Tener Violins, Base Violins, 2 Flutes, 3 Hautboys (1st, 2nd, and
Tener), 1 Basoon and 2 Trumpets;" the vocal parts have solos for all
the voices, and there are numerous choruses. It is evident Purcell
regarded this work with some affection and pride; all the printed
copies were corrected by his own hand. At the end of the book is
printed the following:--
"Advertisement. In order to the speedier Publication of this Book,
I employed two several Printers; but One of them falling into some
trouble, and the Volume swelling to a Bulk beyond my expectation,
have been the Occasions of this Delay.
"It has been objected that some of the Songs are already common;
but I presume that the Subscribers, upon perusal of the Work,
will easily be convinced that they are not the Essential Parts of
it. I have, according to my Promise in the Proposals, been very
carefull in the Examination of every Sheet, and hope the Whole
will appear as Correct as any yet Extant. My desire to make it as
cheap as possibly I cou'd to the Subscribers, prevail'd with me so
far above the consideration of my own Interest, that I find too
late the Subscription money will scarcely amount to the Expense of
compleating this Edition."
Although _Dioclesian_ did not prove a lucrative investment for the
composer it must have added considerably to his fame; produced at the
Queen's Theatre in 1690, Downes, in his _Roscius Anglicanus_, says, "It
gratify'd the expectation of Court and City; and got the author great
reputation." One of the airs in the piece, "What shall I do to show how
much I love her," was afterwards adapted to the words, "Virgins are
like the Fair Flower in its Lustre," and did duty as a part of _The
Beggar's Opera_.
The songs from _Amphitryon_[37] were published by Heptinstall soon
after the production of the comedy.
Purcell's music for _Dioclesian_ and for _Amphitryon_ seems to have
opened the eyes of Dryden, who had evidently been blind to the
distinguished talent of the composer. In the _Epistle Dedicatory_ to
_Amphitryon_, dated October 24, 1690, Dryden says:--
"What has been wanting on my part has been abundantly supplyed by
the Excellent Composition of Mr. _Purcell_; in whose Person we
have at length found an _Englishman_ equal with the best abroad.
At least my Opinion of him has been such, since his happy and
judicious Performances in the late Opera,[38] and the Experiences
I have had of him, in the setting of my three Songs for this
_Amphitryon_: To all which, and particularly to the Composition of
the _Pastoral Dialogue_, the numerous Quire of Fair Ladies gave so
just an Applause on the Third Day."
In addition to the before-mentioned plays, Purcell composed in 1690
the music for D'Urfey's "Ode for the Queen's Birthday, April 29,"
commencing "Arise, my muse," and also an ode for King William beginning
with the words, "Sound the trumpet."
We find that he again resigned his appointment as Copyist at
Westminster Abbey, and was succeeded by Edward Braddock, who was one of
the Lay Vicars and Master of the Choristers, and also a Gentleman of
the Chapels Royal.
In the succeeding year, 1691, Purcell produced the music for _King
Arthur_, written by Dryden. It was one of Purcell's most elaborate and
most successful efforts in dramatic composition, and contains several
pieces which have always been held in popular favour.
The solo and chorus, "Come, if you Dare," is to this day one of the
most stirring and effective displays which a tenor vocalist could
select, and is therefore frequently heard. The whole of the frost scene
is remarkable from its vocal realism of intense and freezing cold.
The peculiar and original effects here introduced by Purcell were
afterwards copied by Jeremiah Clark, a fellow-student of Purcell, in
the anthem, "I will love Thee, O Lord." Mention must also be made of
the lovely duet, "Two daughters of this aged stream."
Unfortunately no complete copy of the score of this work, the outcome
of the composer's mature judgment, exists. It is presumed that Purcell
wrote only one perfect copy, which was retained by the managers of the
theatre, who, jealous of possible rivals, would neither permit it to
be copied in manuscript or printed.[39] The success at the time of its
production is thus recorded by Downes in his _Roscius Anglicanus_:--
"_King Arthur_, an opera, wrote by Mr. Dryden; it was excellently
adorned with scenes and machines: the musical part set by the
famous Mr. Henry Purcell, and Dances made by Mr. Jo. Priest:
the play and musick pleas'd the Court and City, and being well
perform'd 'twas very gainful to the company."
Dryden's courtly servility has been deplored by more than one author.
He had followed the lead set by Charles II., who had imported Monsieur
Grabu from France, and set him up as a musical king, and for him, by
royal command, Dryden wrote the opera of _Albion and Albanius_. In the
preface to the work he says:--
"The best judges, and those too of the best quality, who have
honoured his (Grabu's) rehearsals with their presence, have no less
commended the happiness of his genius than his skill. These and
other qualities have raised M. Grabu to a degree above any man who
shall pretend to be his rival on our stage."
The composer who was thus set above Purcell appears to have enjoyed
a somewhat exalted opinion of his own ability, as will be seen by
the following extract from the dedication of _Albion and Albanius_,
addressed to James II. by Grabu himself:--
"As the subject of this opera is naturally magnificent, it could
not but excite my genius, and raise it to a greater height in the
composition--even so as to surpass itself. The only displeasure
which remains with me is, that I could not possibly be furnished
with variety of excellent voices to present it to your Majesty in
full perfection."
Contrast this bumptious self-assertion with the modest prefaces of
Purcell previously quoted. However, notwithstanding the patronage of
the King and the flatteries of Dryden, _Albion and Albanius_ proved a
great failure: it was performed only six times, and from the date of
its last performance (1685) Dryden became impressed with the conviction
that he must look elsewhere for his future composer, and, as we have
already seen, he at last recognised the merits of Purcell. In the
preface to _King Arthur_, intended by Dryden as a sequel to _Albion
and Albanius_, the author says, "he submitted himself in writing and
preparing it for the stage" entirely to the guidance of Purcell. This
confession was probably made with considerable compunction.
The following extracts from Dryden's _Epistle Dedicatory_, prefixed to
the libretto, will be read with interest:--
"I humbly offer you this trifle, which if it succeed upon the
stage, is like to be the chiefest Entertainment of our Ladies and
Gentlemen this summer. When I wrote it, seven years ago, I employ'd
some reading about it, to inform myself out of Beda, Bochartus,
and other authors, concerning the rites and customs of the heathen
Saxons; as I also used the little skill I have in Poetry to adorn
it. But not to offend the present times, nor a government which has
hitherto protected me, I have been obliged so much to alter the
first design, and take away so many beauties from the writing, that
it is now no more what it was formerly, than the ship of the _Royal
Sovereign_, after so often taking down, and altering, to the vessel
it was at the first building. There is nothing better, than what
I intended, than the Musick; which has since arriv'd to a greater
perfection in England, than ever formerly; especially passing
through the artful hands of Mr. _Purcel_, who has compos'd it with
so great a genius, that he has nothing to fear but an ignorant,
ill-judging audience. But the numbers of poetry and vocal musick,
are sometimes so contrary, that in many places I have been oblig'd
to cramp my Verses, and make them rugged to the reader, that they
may be harmonious to the hearer: of which I have no reason to
repent me, because these sorts of Entertainments are principally
design'd for the ear and the eye; and therefore, in reason, my art
on this occasion ought to be subservient to his."
Dryden had evidently by this time become aware of Purcell's
superiority to his contemporary musical brethren; the poet and musician
met on intimate and friendly terms. It is recorded that Purcell, by
virtue of his court appointments, had an apartment in the clock tower
of St. James's Palace, and that Dryden when in debt availed himself
of his friendship with Purcell, to escape arrest by taking refuge in
Purcell's room, where he was perfectly safe, and could moreover enjoy
the air and exercise in the Palace gardens.[40]
_King Arthur_ after many years of neglect, possibly in consequence of
the loss of the score of the music, was revived at Drury Lane theatre
in 1770 with enormous success; again in 1781, in 1784, in 1803, and in
1842. The music remained unpublished until 1843, when it was edited
by Edward Taylor, the Gresham music professor, and printed by the
"Musical Antiquarian Society." Unfortunately the edition is imperfect,
several pieces being still wanting, and of those which are printed we
can be quite certain that they are not presented to us in the complete
form composed by Purcell: for instance, the first overture is simply
scored for strings, whereas Purcell freely uses flutes, hautboys, and
trumpets in other parts of the work. Professor Taylor could find no
trace of this overture excepting in the _Theatre Ayres_ published by
Mrs. Purcell in 1697, a collection which only gave string parts. Whilst
speaking of Dryden and Purcell it will be well to correct a great
blunder made by Hawkins in his _History of Music_; he writes:--
"It is said that Dryden wrote his _Alexander's Feast_ with a view
to its being set by Purcell, but that Purcell declined the task,
as thinking it beyond the power of music to express sentiments so
superlatively energetic as that ode abounds with; the truth of the
assertion may well be questioned, seeing that he composed the _Te
Deum_, and scrupled not to set to music some of the most sublime
passages in the Psalms, the Prophecy of Isaiah, and other parts of
Holy Scriptures."[41]
Had Hawkins made proper inquiry he would have discovered that
_Alexander's Feast_ was not written by Dryden until two years after
Purcell's death. This fact is verified by a letter addressed by Dryden
to his son in September, 1697, in which he says: "I am writing a song
for _St. Cecilia's Feast_," and by the additional testimony of Mr. St.
John, afterwards Lord Bolingbroke.[42]
In 1691 Purcell composed the music for _Distressed Innocence_, a
tragedy by Elkanah Settle, and also for the comedies called the
_Gordian Knot Untyed_, by an anonymous author, and _Sir Anthony Love_
by Southerne. In addition to these works he wrote an "Ode for the
Queen's Birthday," commencing "Welcome glorious morn."
In 1692, he composed music for the plays, entitled, the _Wife's
Excuse_, by Southerne; the _Indian Queen_, by Howard and Dryden; the
_Indian Emperour_, by Dryden; _Œdipus_, a tragedy by Dryden and Lee;
the _Marriage-hater match'd_, by D'Urfey; and the so-called opera,
the _Fairy Queen_, anonymously adapted from Shakespeare's _Midsummer
Night's Dream_. The music of the _Indian Queen_ abounds in very
striking passages; it is only necessary to recall the titles of "Ye
Twice ten Hundred Deities," which Dr. Burney considered the best
recitative in the English language; the dramatic air, "By the Croaking
of the Toad," and the delightful song, "I Attempt from Love's Sickness
to fly," a ditty again made popular by the exquisite singing of Hobbs
in the generation just passed away.[43]
Three years after the first performance of the _Indian Queen_, some
portion of the music was published without the consent, or even
consultation, of the composer; the publication, now become very rare,
has the following title:--
"The songs in the _Indian Queen_, as it is now compos'd into an
opera by Mr. Henry Purcell, composer in ordinary to his Majesty,
and one of the organists of his Majesty's Chapel Royal, London.
Printed by J. Heptinstall, and are now to be sold by John May,
at his shop under St. Dunstan's church; and for John Hudgbutt at
Thomas Dring's, bookseller at the Harrow at Clifford's-lane-end in
Fleet Street, 1695."
The preface is too curious to be omitted:--
"The publishers to Mr. Henry Purcell. Sir, having had the good
Fortune to meet with the Score or Original Draught of your
Incomparable Essay of Musick compos'd for the Play, call'd the
_Indian Queen_, It soon appear'd that we had found a Jewel of very
great Value; on which account we were unwilling that so rich a
Treasure should any longer lie bury'd in Oblivion; and that the
Commonwealth of Musick should be depriv'd of so considerable a
Benefit. Indeed, we well knew your innate Modesty to be such, as
not to be easily prevailed upon to set forth anything in Print,
much less to Patronize your own Works, although in some respects
Inimitable. But in regard that (the Press being now open) any one
might print an imperfect Copy of these admirable Songs, or publish
them in the nature of a Common Ballad, We were so much the more
emboldened to make this Attempt, even without acquainting you with
our Design; not doubting but your accustomed Candor and Generosity
will induce you to pardon this Presumption. As for our parts, if
you shall think fit to condescend so far, we shall always endeavour
to approve ourselves your obedient servants,
"J. MAY,
J. HUDGEBUTT."
Comment on this legal robbery of the fruit of an author's brain-work is
quite unnecessary.
The music to _Œdipus_ is very dramatic, but not of great importance.
That of the _Fairy Queen_, on the contrary, is of considerable
pretension and was a great success. Downes, in his _Roscius
Anglicanus_, says:--
"This in ornaments was superior to the other two (_King Arthur_
and _Dioclesian_), especially in cloaths for all the singers and
dancers; scenes, machines, and decorations, all most profusely set
off, and excellently perform'd: chiefly the instrumental and vocal
part compos'd by the said Mr. Purcell, and dances by Mr. Priest.
The Court and town were wonderfully satisfy'd with it, but the
expences in setting it out being so great the company got little by
it."
A portion of the music was published by the composer with the title,
"Some select songs as they are sung in the _Fairy Queen_, set to musick
by Mr. Henry Purcell, London. Printed by J. Heptinstall for the
Author, and are to be sold by John Carr, at the Inner Temple Gate, near
Temple Barr, by Henry Playford at his shop in the Temple, and at the
Theatre in Dorset Gardens, 1692."
A few pieces from the opera were also published separately; one
beginning "Now the maids and the men," with the curious heading "A
Dialogue in the Opera call'd the _Fairy Queen_, set by Mr. Henry
Purcell, sung by Mr. Reading[44] and (Mr. Pate in Woman's habit), and
exactly engrav'd by Tho. Cross."
_The Fairy Queen_ seems to have shared the fate of much other music of
Purcell's, for the _London Gazette_, Oct. 13th, 1700, has the following
advertisement:--"The score of the musick for the _Fairy Queen_ set
by the late Mr. Henry Purcell, and belonging to the Patentees of the
Theatre Royal in Covent Garden, London, being lost by his death,
whosoever brings the said score, or a copy thereof, to Mr. Zackary
Baggs, Treasurer of the said Theatre, shall have 20 guineas reward."
The advertisement was repeated, evidently without any successful
result, as the opera was not reproduced, but long years afterwards one
of the songs, "If Love's a Sweet Passion," was adapted to words by Gay
for the _Beggar's Opera_.
In this same year, 1692, Purcell composed an ode for the Queen's
birthday to words of Sir Charles Sedley, commencing "Love's Goddess
sure was blind." This ode is notable as containing the song, "May
her blest example chase," the bass of which is the melody of the old
ballad "Cold and raw," a very popular song of the day. It had been
wrought into a catch by John Hilton in 1652, but the reason for its
incorporation by Purcell in the Queen's birthday ode is narrated by
Hawkins as follows:--
"This tune was greatly admired by Queen Mary, the consort of King
William; and she once affronted Purcell by requesting to have it
sung to her, he being present. The story is as follows: the Queen
having a mind one afternoon to be entertained with music, sent to
Mr. Gostling, then one of the chapel, and afterwards sub-dean of
St. Paul's, to Henry Purcell and Mrs. Arabella Hunt, who had a very
fine voice and an admirable hand on the lute, with a request to
attend her; they obeyed her commands; Mr. Gostling and Mrs. Hunt
sang several compositions of Purcell, who accompanied them on the
harpsichord: at length the Queen beginning to grow tired, asked
Mrs. Hunt if she could not sing the old Scots' ballad, 'Cold and
raw.' Mrs. Hunt answered yes, and sang it to her lute. Purcell
was all the while sitting at the harpsichord unemployed, and not
a little nettled at the Queen's preference of a vulgar ballad to
his music; but seeing her majesty delighted with this tune, he
determined that she should hear it upon another occasion: and
accordingly in the next birthday song, viz. that for the year 1692,
he composed an air to the words, 'May her bright example,' the bass
whereof is the tune to 'Cold and raw:' it is printed in the second
part of the _Orpheus Britannicus_, and is note for note the same
with the Scots' tune."
Hawkins no doubt had this story from Gostling, the son of the Gostling
mentioned in the anecdote, and it is therefore probably true.
In the same year he composed one of his most celebrated odes, for
the festival held in honour of St. Cecilia at the Stationers' Hall,
November 22nd. The _Gentleman's Journal or Monthly Miscellany_, a
periodical published immediately afterward, gives an account of the
performance as follows:--
"In my first journal I gave you a large account of the music feast
on St. Cecilia's Day; so to avoid repetition, I shall only tell you
that the last was in no ways inferior to the former. The following
Ode was admirably set to music by Mr. Henry Purcell, and performed
twice with universal applause, particularly the second stanza,
which was sung with incredible graces by Mr. Purcell himself.
Though I was enjoined not to name the author of the Ode, I find a
great deal of reluctance to forbear letting you know whom you must
thank for so beautiful a poem; and to use Ovid's words, 'Sequoque
nunc, quàm vis est quiscere, Quinte Nominet invitum, vix mea, Musa
tenet.'"
The author was the Rev. Nicholas Brady of the churches of St. Catherine
Cree, and St. Michael, Wood Street, better known as the co-labourer
with Tate in the versions of the Psalms published under their joint
names.
The _Gentleman's Journal_, January, 1693, has an Epigram "by Mr. B--y,
whose Ode for St. Cecilia's Day you liked so well." The words of the
ode were printed in 1782[45] with Dr. Brady's name as author.
The air which Purcell "sang with incredible graces" we are able to
identify by means of various separate publications of the song. The
title of one copy printed in 1692 or 1693 reads thus, "'Tis Nature's
Voice (Ode for St. Cecilia's day), a song set by Mr. H. Purcell, and
sung by himself at St. Cecilia's Feast in 1692, the words by N. Brady."
The "incredible graces" are, of course, numerous division passages,
commonly called runs. These graces were much in vogue in Purcell's
day, and unfortunately he too often pandered to the vulgar taste of
the multitude, and injured his music by writing many such, both in his
sacred and secular works. The fashion was probably borrowed from the
Italians. Bedford, in his _Abuse of Musick_, printed in 1711, says:--
"Among the varieties which have been brought into our musick, the
_divisions_ of many and short notes to a syllable is the most
obvious to every hearer. These must be allowed to be some of the
finest _graces_ to our modern performances. They are design'd to
strike upon the passions, and increase our rapture, and when they
are well compos'd and well perform'd they set off the voice in a
most excellent and extraordinary manner."
The following curious anecdote told by Tony Aston, in his _Brief
Supplement to Colley Cibber_, further illustrates the custom of
_gracing_ music which descended to our own times:--
"As Mr. Verbruggen had nature for his directress in acting, so had
a known singer, Jemmy Bowen, the same in music. He, when practising
a song set by Mr. Purcell, some of the musick told him to grace and
run a division in such a place. 'O let him alone,' said Mr. Purcel;
'he will grace it more naturally than you or I can teach him.'"
The "Cecilia Ode" of 1692 was frequently performed, and must have been
an especial favourite, if we may judge by the numerous manuscript
copies of the score still in existence. The work was published by "The
Musical Antiquarian Society" a few years since.
In 1693 Purcell composed music for the plays, the _Old Bachelor_,
a comedy by Congreve; the _Richmond Heiress_, a comedy by D'Urfey;
the _Maid's Last Prayer_, a comedy by Southerne; and _Henry II._, a
tragedy by Bancroft. In addition to these pieces he composed music for
the "Queen's Birthday Ode," commencing "Celebrate this festival," the
libretto of which was written by Nahum Tate. The overture to this ode
is the same as that to the "Cecilia Ode" of the same year, transposed
one note lower, from D to C. It has been printed in a very incorrect
manner by Goodison.
One other ode belongs also to this year. It was written by Tate for the
commemoration of the centenary of the foundation of Trinity College,
Dublin, and commences "Great Parent, hail." It is supposed that the ode
was performed at Christ Church, Dublin, on the 9th of January, 1694;
but no information on the subject has as yet been discovered either at
Trinity College or Christ Church. The ode was included in Goodison's
"Purcell publications."
In 1694 Purcell revised the twelfth edition of _John Playford's
Introduction to the Skill of Musick_. The third part of the work, which
treats of _The Art of Descant_,[46] appears to have been almost wholly
re-written by Purcell. The directions for the use of "discords" were
quite novel for the time, and so also must have been the paragraph
where he says, "Formerly they used to compose from the _Bass_, but
modern authors compose to the _Treble_ when they make _Counterpoint_ or
_Basses_ to tunes or songs." Again, in speaking of composition in three
parts, he writes, "The first thing to treat of is _Counterpoint_, and
in this I must differ from Mr. _Simpson_ (whose _Compendium_ I admire
as the most ingenious book I e're met with on this subject); but his
rule in three parts for _Counterpoint_ is too strict and destructive to
good air, which ought to be preferred above such nice rules." He then
goes on to explain that in vocal music the parts should move smoothly,
but that in instrumental music greater freedom would be admissible, and
he points out the Italian composers as worthy models. He also gives a
"Canon, four in one," by Dr. Blow, of whom he says, his "character is
sufficiently known by his works, of which this very instance is enough
to recommend him for one of the greatest masters in the world."
To Purcell's labours of this year, 1694, we are indebted for the music
to the plays of _Don Quixote_, Parts I. and II. Purcell only composed a
portion of the music required, but amongst the number are two worthy of
particular mention,--a duet, "Sing all ye Muses," and a bass song, "Let
the dreadful engines." The libretto was the work of D'Urfey.
Purcell also wrote music for a comedy called the _Married Beau_, by
Crowne; for the _Double Dealer_, a comedy by Congreve; for the _Fatal
Marriage_, a tragedy by Southerne; and also for _Love Triumphant_, a
tragi-comedy by Dryden[47].
To these must be added another "Ode for the Queen's Birthday,"
beginning, "Come ye sons of art;" and last and best of all, the great
"Te Deum and Jubilate" in D, composed with orchestral accompaniments,
the first example of such a work this country had seen.
Composed expressly for the festival of St. Cecilia's Day, 1694, the
music was published by Purcell's widow in 1697, with the following
dedication:--
"To the Right Reverend Father in God, Nathaniel, Lord Bishop of
Durham. My Lord, the ambition I have to do the greatest honour
I can to the memory of my Dear Husband, by inscribing some of
his best compositions to the best Patrons both of the science he
profess'd, and of his performances in it, is the fairest Apology I
can make to your Lordship; as it was the main Inducement to myself
for placing your Lordship's Name before this Piece of Musick. The
Pains he bestow'd in preparing it for so Great and Judicious an
Auditory, were highly rewarded by their kind Reception of it when
it was first Perform'd, and more yet by their Intention to have
it repeated at their _Annual Meeting_; but will receive the last
and highest Honour by your Lordship's favourable Reception of it
from the Press, to which I have committed it, that I might at once
gratifie the Desires of several gentlemen to see the Score, and at
the same time give myself an opportunity to acknowledge, in the
most Publick and Gratefull Manner, the many Favours Your Lordship
has bestow'd on my Deceased Husband, and consequently on
"Your Lordship's
Most oblig'd and most Humble Servant,
F. PURCELL."
The intention of annually performing the "Te Deum and Jubilate" must
have been formed in 1697, the year of publication, as we know that in
1696 Dr. Blow composed a "Te Deum and Jubilate" which were performed.
Purcell's work was immediately adopted by the "Corporation of the
Sons of the Clergy"[48] for performance at their Annual Festival,
and its use continued until Handel, in 1713, composed his "Te Deum
and Jubilate" for the Peace of Utrecht. After that time the works of
Purcell and Handel were performed alternately until 1743, when Handel's
new work composed for the victory at Dettingen displaced the two former
compositions. Of course Handel must have often heard Purcell's "Te
Deum;" and that he greatly profited by it is evident from the striking
resemblance of many passages in his own _Te Deum_, when compared with
that of his illustrious predecessor.
But it must in candour be admitted that the remarkable likeness between
Purcell's "Te Deum," as it is now performed, and Handel's "Dettingen
Te Deum," is greatly due to Dr. Boyce, who, being a thorough Handelian
scholar, re-scored and re-arranged Purcell's work.
Queen Mary died on the 28th of December, 1694, and Purcell composed
the music for her funeral, which took place the 5th of March following
(1695), in Westminster Abbey. Purcell composed two anthems, to the
words, "Blessed is the man that feareth the Lord," and "Thou knowest,
Lord, the secrets of our hearts." Contemporary records speak in
affecting terms of the solemnity of the occasion;--"the day was dark
and troubled, and a few ghastly plumes of snow fell on the black
plumes of the funeral car." The procession was attended by the two
Houses of Parliament with their maces, "the Lords robed in scarlet
and ermine, and the Commons in long black mantles;" the banners of
England and France, Scotland and Ireland, were borne before the corpse.
On the gorgeous coffin of purple and gold were laid the crown and
sceptre of the realm. Inside the Abbey, the whole of the church, nave,
choir, and transepts were all ablaze with innumerable waxlights; and
a little robin-redbreast, who had found refuge from the inclement
weather, constantly flew down and perched on the hearse, seeming to
the spectators as if he, too, mourned for the Queen who had been so
loved and was now so lamented. Of Purcell's music, Dr. Tudway, one of
the choir on this occasion, says: "The anthem, 'Blessed is the man,'
was composed after the old way, and was sung at the interment of Queen
Mary in Westminster Abbey; a great Queen and extremely lamented, being
there to be interred, everybody present was disposed and serious at so
solemn a service, as indeed they ought to be at all parts of Divine
worship. I appeal to all that were present, as well such as understood
music, as those that did not, whether they ever heard anything so
rapturously fine, and solemn, and so heavenly in the operation, which
drew tears from all; and yet a plain natural composition, which shows
the power of music, when 'tis rightly fitted and adapted to devotional
purposes." The second anthem, "Thou knowest, Lord, the secrets of
our hearts," Dr. Tudway says, "was accompanied by flat, mournful
trumpets." This majestic movement is a splendid monument to the memory
of Purcell. It has been used at every choral funeral in Westminster
Abbey and St. Paul's Cathedral since its first production. Dr. Croft,
who subsequently set the "Burial Office" to music, refrained from
composing to these words, on the ground that the music of Purcell
was unapproachable, and adds, that in composing his own music he had
endeavoured, as near as possible, to "imitate that great master and
celebrated composer, whose name will for ever stand high in the rank
of those who have laboured to improve the English style, in his so
happily adapting his compositions to English words in that elegant and
judicious manner, as was unknown to many of his predecessors."
Queen Mary died of small-pox, and the memory of her goodness was felt
so universally by the people that writers vied with each other in
their endeavours to perpetuate records of her worth. I have now before
me a volume containing thirty-six odes and monodies to her memory,
all published in 1695. Amongst them are an "Epicedium," set to music
by Dr. Blow, the words by Mr. Herbert; a Latin version of the same,
commencing, "Incassum Lesbia," set to music by Henry Purcell, for a
solo voice; and another beginning, "O dive custos auriacæ domus," also
set to music by Purcell, for two voices.
Purcell was in a delicate state of health at the time of writing the
music for Queen Mary's funeral, yet he seems to have worked with
undiminished determination, composing music for the comedy, the
_Canterbury Guest_, written by Ravenscroft; the _Mock Marriage_, a
comedy by Scott; the _Rival Sisters_, a tragedy by Gould; _Oroonoko_,
a tragedy by Southerne; the _Knight of Malta_, a play by Beaumont and
Fletcher; and _Bonduca, or the British Heroine_, a tragedy adapted
from Beaumont and Fletcher,--this play included the catch, "Jack,
Thou'rt a Toper," the admirable duets, "To Arms," and "Britons Strike
Home." Some of the music was printed on single sheets immediately after
performance, but it remained for the "Musical Antiquarian Society" to
issue in 1842 a complete copy of the score, edited by Dr. Rimbault.
Purcell also, on 24th July in this year, produced a "Birthday Ode"
for the Duke of Gloucester. The ode commences, "Who can from joy
refrain." It was written for solo voices and chorus with orchestral
accompaniments. Among the principal singers at the first performance
were Mr. Howell, Mr. Robert, and Mr. Damascene.
Purcell also wrote some music for D'Urfey's third part of _Don
Quixote_. Amongst the pieces he contributed to this play was the
celebrated cantata, "From Rosie Bowers." This song was frequently
reprinted, and with the note that it was "The last song the Author
sett, it being in his sickness." It is probable that D'Urfey had hoped
to have had the advantage of Purcell's musical skill for the setting of
all his verses in the third part of _Don Quixote_, but it would seem
that Purcell was too ill to accomplish the work.
"From Rosie Bowers" was considered so important by D'Urfey that he
published the music of the third part of _Don Quixote_ with the
following title:--
"New Songs in the Third Part of the Comical History of _Don
Quixote_. Written by Mr. D'Urfey, and sung at the Theatre Royal.
With other new songs by Mr. D'Urfey. Being the last piece set
to musick by the late Famous Mr. Henry Purcell, Mr. Courtivill,
Mr. Akroy'd, and other eminent Masters of the Age. Engrav'd
on Copper-Plates. London, printed for Samuel Briscoe, at the
Corner-shop of Charles-street, in Russell-street, Covent Garden,
1696. Price Three Shillings. Where are also to be had, the First
and Second Parts of Mr. D'Urfey's Songs, set to musick by Mr. Henry
Purcell."[49]
In the year of the publication just named another song was printed,
commencing, "Lovely Albina," with the heading, "The last Song that Mr.
Henry Purcell sett before he dy'd." But a later edition says, "The last
song the author sett before his sickness." There cannot be much doubt,
therefore, that the air "From Rosie Bowers" was really Purcell's last
work. D'Urfey's print and tradition agree in this.
And now we come to the last scene of all. It is the 21st of November,
1695,--by a curious coincidence the eve of the festival of St. Cecilia,
a day so frequently celebrated by Purcell. In a house on the West side
of Dean's Yard, Westminster, in a darkened chamber, the dying musician
is lying on his couch in full possession of all his faculties, as
he himself had just said in his will, but with a thorough knowledge
that he was about to pass into the land of shadows. He could possibly
hear some faint murmurs of the evensong service wafted from the old
Abbey close by, perhaps some well-remembered phrase of one of his own
soul-stirring anthems. The psalm of the day which would be chanted at
that evening service concluded with words which he had set to music
the world was not likely soon to forget--music which still remains
unsurpassed in truthfulness and dignity. A more noble or a more fitting
death-chant for a child of song it would be difficult to find:--
"Blessed be the Lord God of Israel,
From everlasting, and world without end.
And let all the people say, Amen."
By his bed-side were gathered his aged mother, his young wife, and his
three infant children; and so amid their sighs and tears his gentle
spirit passed into the better world, there to continue his service of
song and praise in fulness and perfection.
That Purcell was sincerely loved and mourned by relations and friends
we know, and the following testimony of tender regard will be read
with interest. It is written on the fly-leaf of a copy of his opera
_Dioclesian_:--[50]
Ex Dono Carissimi Desideratissimique Autoris HENRICI PURCELL
Musarum Sacerdotis: Qui Anno Domini 1695 Pridie Festi Sᵗᵃᵉ Cæcilæ
Multis Flebilis occidit, Nulli Flebilior quàm Amico suo atque
Admiratori JACOBO TALBOT.
_Translated thus_:
The gift of the most beloved and most distinguished author, HENRY
PURCELL, Priest of the Muses, who in the year of our Lord 1695, the
day before the feast of St. Cecilia, died with many tears, to none
more tearfully than to his friend and admirer, JACOB TALBOT.
Jacob Talbot was a Fellow of Trinity College, Cambridge, and the
author of the words of an "Ode for the Consert at York Buildings,
upon the death of Mr. Purcell," which will be found in the _Orpheus
Britannicus_, 1698.
Purcell was buried on the 26th of November in Westminster Abbey,
beneath the organ which had so often responded to his skilful touch.
The anthems he had composed for Queen Mary's funeral only a few months
before were again performed, so that Purcell had rehearsed and
inaugurated his own dirge. Doubtless the remembrance of this would
bring home to the mourners the intense pathos of the music with double
force.
On the grave-stone the following lines were inscribed:
Plaudite, felices superi, tanto hospite; nostris
Præfuerat, vestris additur ille choris:
Invida nec vobis Purcellum terra reposcat,
Questa decus sedi deliciasque breves.
Tam cito decessisse, modos cui singula debet
Musa, prophana suos, religiosa suos,
Vivit, Io et vivat, dum vicina organa spirant,
Dumque colet numeris turba canora Deum.
_Translated thus_:
Applaud so great a guest, celestial pow'rs,
Who now resides with you, but once was ours;
Yet let invidious earth no more reclaim
Her short-lived fav'rite and her chiefest fame;
Complaining that so prematurely died
Good-nature's pleasure and devotion's pride.
Died? no, he lives, while yonder organs sound
And sacred echoes to the choir rebound.
Even in 1722 the inscription had become almost illegible from the wear
of passing feet, and soon was entirely obliterated. The grave-stone
remained in this condition until 1876, when, by the exertions of Mr.
Henry F. Turle, son of the respected organist of the Abbey, a private
subscription was made which provided funds for placing another stone
and restoring the inscription. By permission of the Dean, the following
lines were added:--
FRANCISCA
HENRICI PURCELL Uxor,
Cum conjuge sepulta est.
XIV. Feb. MDCCVI.
On the pillar adjacent to the grave there is a tablet with the
inscription:--
Here lies Henry Purcell, Esq., who left this life, and is gone to
that blessed place where only his harmony can be exceeded. Obiit 21
mo die Novembris, anno ætates suæ 37ᵐᵒ. Annoq. Domini 1695.
This memorial was erected by the Lady Elizabeth Howard, whom Hawkins,
and others, have supposed to have been the wife of Dryden, and a pupil
of Purcell. Hawkins also inferred that it was Dryden who wrote the
inscription for the memorial, and further, that the dedication of
the _Orpheus Britannicus_ to Lady Elizabeth Howard was intended for
Dryden's wife.
All these surmises are wrong. Dryden married Lady Elizabeth Howard,
the eldest daughter of the Earl of Berkshire, in 1665, when Purcell
was seven years old. Of course, after the marriage the wife ceased to
be Lady Elizabeth _Howard_: moreover, her husband's (Dryden) means
would scarcely have permitted the serious cost of Purcell's memorial
tablet. This was in reality erected by the wife of Sir Robert Howard,
the dramatist, who had been associated with Purcell in theatrical
composition, and the lady had been a pupil of Purcell; the probability
is, therefore, that Sir Robert wrote the inscription.
Purcell made his will on the day of his death; it is important, and
reads as follows:--
"In the name of God, Amen. I, Henry Purcell, of the Citty of
Westminster, gent., being dangerously ill as to the constitution
of my body, but in good and perfect mind and memory (thanks be
to God), doe by these presents publish and declare this to be
my last Will and Testament. And I doe hereby give and bequeath
unto my loveing Wife, Frances Purcell, all my Estate both reall
and personall of what nature and kind soever, to her and to her
assigns for ever. And I doe hereby constitute and appoint my said
loveing Wife my sole Executrix of this my last Will and Testament,
revokeing all former Will or Wills. Witnesse my hand and seale this
twentieth first day of November, Annoq. Dni., One thousand six
hundred ninety-five, and in the seventh yeare of the Raigne of King
William the Third, &c.
"H. PURCELL.
"Signed, sealed, published, and declared by the said Henry Purcell
in the presence of Wm. Ecles, John Capelin.
"B. PETERS."
Purcell's widow was thus left sole executrix, and she with her
children--Frances, aged 7, Edward, aged 6, and Mary Peters, aged 2
years--continued to reside for a time at the house in Great Dean's
Yard, from whence, in 1696, Mrs. Purcell issued _A Choice Collection
of Lessons for the Harpsichord or Spinnet, composed by the late Mr.
Henry Purcell, Organist of his Majesties Chappel Royal, and of St.
Peter's, Westminster_. Of this popular little work three editions were
speedily exhausted. In 1697 Mrs. Purcell published a collection of
_Ten Sonatas in four parts, composed by the late Mr. Henry Purcell_,
and also _A Collection of Ayres, compos'd for the Theatre, and upon
other occasions, by the late Mr. Henry Purcell_; and in 1698 a further
publication of the first volume of _Orpheus Britannicus: A Collection
of all the Choicest Songs for one, two, and three voices, compos'd by
Mr. Henry Purcell; together with such Symphonies for Violins or Flutes
as were by him design'd for any of them: and a thorough-bass to each
song; figur'd for the Organ, Harpsichord, or Theorbolute. All which
are placed in their several Keys according to the order of the Gamut._
To each of the above-mentioned works Mrs. Purcell prefixed dedicatory
epistles, and in all of them she speaks in most affectionate terms
of her deceased husband; nevertheless, the breath of slander in
later years attributed to her some measure of responsibility for
her husband's untimely death. Mrs. Purcell eventually removed from
the house in Westminster to Richmond, in Surrey, where she died in
February, 1706, and was buried on the 14th of that month with her
deceased husband in Westminster Abbey, having survived him eleven
years. On the 7th of February, 1706, she made a nuncupative will as she
sat in the parlour of her dwelling house, by which she appointed Mr.
Thomas Tovey her executor until her daughter, Frances Purcell, should
reach the age of eighteen, when she was to be her executrix. Mrs.
Purcell goes on to say that, "According to her husband's desire, she
had given her deare son (Edward) a good education, and she alsoe did
give him all the Bookes of Musicke in generall, the Organ, the double
spinett, the single spinett, a silver tankard, a silver watch, two pair
of gold buttons, a hair ring, a mourning ring of Dr. Busby's, a Larum
clock, Mr. Edward Purcell's picture, handsome furniture for a room,
and he was to be maintained until provided for. All the residue of her
property she gave to her said daughter Frances."[51]
Sir John Hawkins, in his _History of Music_, would seem to suggest that
Purcell left his family in distressed circumstances, but the will of
the widow, of which he evidently knew nothing, gives a satisfactory
refutation of such a surmise. Hawkins also charges Purcell with
associating with tavern company; his words are:--
"Mirth and good humour seemed to have been habitual to him;
and this is perhaps the best excuse that can be made for those
connections and intimacies with Brown and others, which show him
not to have been very nice in the choice of his company. Brown
spent his life in taverns and ale-houses; the Hole in the Wall in
Baldwin's Gardens was the citadel in which he baffled the assaults
of creditors and bailiffs, at the same time that he attracted
thither such as thought his wit atoned for his profligacy. Purcell
seems to have been of that number, and to merit censure for having
prostituted his invention, by adapting music to some of the most
wretched ribaldry that was ever obtruded on the world for humour."
Hawkins goes on to say:--
"There is a tradition that his death was occasioned by a cold which
he caught in the night waiting for admittance to his own house.
It is said that he used to keep late hours, and that his wife had
given orders to his servants not to let him in after midnight;
unfortunately he came home heated with wine from the tavern at an
hour later than that prescribed him, and through the inclemency of
the air contracted a disorder of which he died. If this be true,
it reflects but little honour on Madam Purcell, for so she is
styled in the advertisements of his works; and but ill agrees with
those expressions of grief for her dear, lamented husband, which
she makes use of to Lady Howard in the dedication of the _Orpheus
Britannicus_. It seems probable that the disease of which he died
was rather a lingering than an acute one, perhaps a consumption."
We see from this, that Hawkins had some doubt as to the truth of the
story, and his daughter writing in 1822,[52] respecting some aspersions
which had been cast on her mother in reference to her treatment of her
father, says, "Sir John Hawkins was not at home at all the sooner for
his wife's fetching him. Mrs. Purcell, I should conjecture, had other
modes of attracting Mr. Purcell; yet _perhaps the whole may have been
as gross a falsification as that_ by which Lady Hawkins is vilified."
In a volume of poetry of glees published by Richard Clark in 1824, he
improves the tale told by Hawkins, and boldly adds details. He prints
the words of the catch, "Jack, thou'rt a toper."
"Jack, thou'rt a toper; let's have t'other quart.
Ring, we're so sober 'twere a shame to part;
None but a cuckold bully'd, by his wife
For coming late, fears a domestic strife;
I'm free, and so are you! to call and knock
Boldly, the watchman cries, 'Past two o'clock.'"
To these lines he appends the name of Tom Brown, and tells us that
_Jack_ was intended for Dr. Blow, and that "Purcell appears to have
spent much of his time with Tom Brown, who wrote the words of most
of his catches." Purcell never set a single line of Brown's, and
they were wholly unacquainted with each other, as may be learnt from
the following verses written by Brown in June, 1693, two years before
Purcell's death, "To his unknown friend, Mr. _H. Purcell_, upon his
excellent compositions in the _Harmonia Sacra_."
"Long did dark Ignorance our Isle 'ore-spread,
Our Musick and our Poetry lay dead;
But the dull Malice of a barbarous age
Fell most severe on _David's_ sacred page:
To wound his Sense and quench his Heav'n born fire
Three vile Translators lewdly did conspire;
In holy Doggerel and low chiming Prose
The King and Poet they at once depose:
Vainly the unrighteous charge he did bemoan,
And languish'd in strange numbers, not his own.
Nor stopt his Usage here;
For what escap'd in Wisdom's ancient Rhimes
Was murder'd o're and o're in the Composer's Chimes.
What praises _Purcell_ to thy Skill are due,
Who hast to Judah's Monarch been so true?
By thee he moves our Hearts, by thee he reigns,
By thee shakes off the old inglorious Chains,
And sees new Honours done to his immortal strains.
Not _Italy_, the Mother of each Art,
Did e're a juster, happier Son impart.
In thy performance we with wonder find
_Corelli's_ genius to _Bassani's_ join'd.
Sweetness, combined with Majesty, prepares
To sing Devotion with inspiring airs.
Thus I, unknown, my Gratitude express
And conscious Gratitude could do no less.
This Tribute from each _British_ Muse is due;
The whole Poetic Tribe's obliged to you;
For when the Author's scanty Words have fail'd,
Thy happier Graces, _Purcell_, have prevail'd!
And surely none but you with equal ease,
Cou'd add to David, and make D'Urfy please."
The above lines were printed in the _Gentleman's Journal_ with an
editorial note: "A music book intituled _Harmonia Sacra_ will shortly
be printed for Mr. Playford. I need not say anything more to recommend
it to you, than that you will find in it many of Mr. _Henry Purcell's_
admirable composures. As they charm all men, they are universally
extolled, and even those who know him no otherwise than by his Notes
are fond of expressing their sense of his merit. _Mr. Thomas Brown_ is
one of those, as you will find by these lines."
The lines appeared in the several editions of _Harmonia Sacra_ even as
late as 1714, and there is no ground for believing that the poet and
musician ever met.
Dr. Arne gave a concert at Drury Lane Theatre on the 21st of June,
1768, for which he published a book of the words; and one of the pieces
is Purcell's catch, "Jack, thou'rt a toper." To this Arne has appended
the following note:--
"The words of this catch are said to be written by Mr. Purcell,
wherein, it is obvious, that he meant no elegance with regard to
the poetry; but made it intirely subservient to his extream pretty
design in the music."
The catch, as has been noticed previously, forms a part of the opera
_Bonduca_.
When we consider the immense amount and varied kind of labour Purcell
accomplished during his short life of thirty-seven years, we must
conclude that although of a bright and joyous nature he was of
temperate habits; he had not only his duties at Westminster Abbey and
the Chapel Royal to fulfil, but there was also constant occupation in
composing for the Church, the Court, and the Theatre; he had numerous
professional pupils, and gave lessons in the families of some of the
most distinguished gentry and aristocracy; he also was frequently
called upon to preside over and direct the concerts which were given
in private assemblies. The Lord Keeper North, well known for his
theoretical and practical skill in music, and the author of the
_Memoires of Musick_, was wont to employ him in that capacity at his
house in Queen Street.
The position Purcell held in his profession necessitated his keeping
late hours, which undoubtedly overtaxed a delicate constitution and
culminated in his fatal illness in the prime of his manhood. Valuable
testimony to this view of the circumstances attending Purcell's
death is to be found in a curious volume called the _Great Abuse of
Musick_, published in 1711 by the Rev. Arthur Bedford, Chaplain to
the Duke of Bedford, and Vicar of the Temple in Bristol. The author,
himself a musician and composer, was also the writer of a companion
volume, _On the Evil and Danger of Stage Plays_, and in both books he
vigorously exposes the vice and immorality prevalent in his day, and
is justly severe on poets and musicians; therefore the passages in
which he speaks of his contemporaries, Blow and Purcell, are of great
importance. He says:--
"It must be confess'd, that whilst musick was chiefly employ'd
in the nation for the glory of God, God was pleas'd to shew his
approbation thereof by wonderfully improving the skill of the
composers, insomuch that I believe no Art was advanced from so
mean a beginning to so vast a height in so short a time as the
Science in the last century. Our musick began to equal that of the
Italians and to exceed all other. _Our Purcell was the delight of
the nation and the wonder of the world_, and the character of Dr.
Blow was but little inferior to him. But when we made not that use
thereof which we ought, it pleas'd God to shew his resentment, and
a stop to our progress by taking away our Purcell in the prime of
his age, and Dr. Blow soon after. We all lamented our misfortunes,
but never considered them as judgements for the abuse of this
science, so that instead of growing better we grew worse and worse.
Now, therefore, musick declines as fast as it did improve before."
This testimony respecting Purcell, from a contemporary, a distinguished
divine and musician, ought surely to wipe out the preposterous stories
of Purcell's cold-catching and low associations.
Valuable testimony to Purcell's high aims and laborious life is to be
found in the MSS. written by Dr. Tudway for Edward, Lord Harley, and
now deposited in the British Museum. Dr. Tudway was just two years
older than Purcell, so that he entered the choir of the Chapel Royal
first; he afterwards became a tenor singer in St. George's Chapel,
Windsor, and in 1670 organist of King's College, Cambridge, where he
afterwards took successively the degrees of Bachelor and Doctor in
Music, and eventually became Professor of the University. He was also
appointed "composer extraordinary" to Queen Anne. Writing of Purcell,
his fellow-student, he says:--
"I knew him perfectly well. He had a most commendable ambition of
exceeding every one of his time, and he succeeded in it without
contradiction, there being none in England, nor anywhere else that
I know of, that could come in competition with him for compositions
of all kinds. Towards the latter end of his life he was prevailed
on to compose for the English stage. There was nothing that ever
had appeared in England like the representations he made of all
kinds, whether for pomp or solemnity, in his grand chorus, &c.,
or that exquisite piece called the freezing piece of musick; in
representing a mad couple, or country swains making love, or
indeed any other kind of musick whatever. But these are trifles
in comparison of the solemn pieces he made for the Church, in
which I will name but one, and that is his _Te Deum, &c._, with
instruments, a composition for skill and invention beyond what was
ever attempted in England before his time."
Evidence respecting Purcell's personal virtues and gifts is to be found
in an ode printed at the commencement of the second volume of _Orpheus
Britannicus_, 1702. The poem is too long to quote entire, but the
following extracts will suffice:--
"Make room ye happy natures of the sky,
Room for a soul, all Love and Harmony;
A Soul that rose to such Perfection here,
It scarce will be advanced by being there.
Whether (to us by Transmigration given),
He once was an Inhabitant of Heav'n,
And form'd for Musick, with Diviner fire
Endu'd, compos'd, for the Celestial Choir;
Not for the Vulgar Race of Light to hear,
But on High-days to glad th' Immortal Ear.
So in some leisure hour was sent away,
(Their Hour is here a Life, a Thousand years their Day.)
And what th' Ætherial Musick was to show,
And teach the wonders of that Art below;
Whether this might not be, the Muse appeals
To his Composures, where such Magick dwells,
As rivals Heav'nly Skill, and human Pow'r excels.
* * * * *
Ah, most unworthy! shou'd we leave unsung
Such wondrous Goodness in a Life so young.
In spight of Practice, he this Truth hath shown,
That Harmony and Vertue shou'd be one.
So true to Nature, and so just to Wit,
His Musick was the very Sense you Writ.
Nor were his Beauties to his Art confin'd;
So justly were his Soul and Body join'd,
You'd think his Form the Product of his Mind.
A conqu'ring sweetness in his Visage dwelt,
His Eyes would warm, his Wit like lightning melt.
But those must no more be seen, and that no more be felt.
Pride was the sole aversion of his Eye,
Himself as Humble as his Art was High.
Oh! let him Heav'n (in Life so much ador'd)
Be now as universally Deplor'd!
* * * * *
There rest thy Ashes--but thy nobler name
Shall soar aloft and last as long as fame.
Nor shall thy Worth be to our Isle confin'd,
But flie and leave the lagging day behind.
_Rome_, that did once extend its arms so far,
Y'ave conquer'd in a nobler Art than War;
To its proud Sons but only Earth was giv'n,
But thou hast triumph'd both in Earth and Heav'n."
Purcell's friend and fellow-student, Henry Hall, organist of Hereford
Cathedral, also printed an ode "To the Memory of my Dear Friend Mr.
Henry Purcell," which concludes thus:--
"Hail! and for ever hail, Harmonious shade,
I lov'd thee living, and admire thee Dead.
Apollo's harp at once our souls did strike;
We learnt together, but not learnt alike:
Though equal care our Master might bestow,
Yet only Purcell e're shall equal Blow:
For thou by Heaven for wondrous things design'd
Left'st thy companion lagging far behind.
Sometimes a Hero in an age appears,
But once a Purcell in a Thousand Years."
It is clear that Purcell attained the highest pinnacle in the
estimation of his countrymen;[53] but his fame was not confined to
England. I have seen a MS. volume of music written by a contemporary
musician, a native of France, and in it he designates Purcell as
M. Pourselle. Roger of Amsterdam engraved and printed a set of his
Sonatas; and the following anecdote is told in some of the biographies
of Corelli:--
"While Corelli flourished with such _éclat_ at Rome, Harry Purcell
was famous in England, and Corelli was so greatly affected with the
character and abilities of this famous English musician, that, as
fame reports, he declared him to be then the only thing worth seeing
in England. Accordingly the great opinion he held of Purcell made him
resolve to make a journey into this kingdom on purpose to visit him,"
but the journey was abandoned on hearing of Purcell's death.
Another version of the story makes Corelli start on his journey, but
hearing of Purcell's death on shipboard, when nearing Dover, he returns
immediately to Rome.
Purcell's secular music undoubtedly frequently suffered from the
worthless trash he had to accept as poetry; too often it was not only
devoid of literary merit, but still worse, indecent; that was, however,
the fault of the age, and pervaded most of the dramatic literature then
in vogue. Even the well-known and estimable Dean of Christ Church,
Oxford, Dr. Aldrich, condescended to set music to such words as shame
would not permit us to print at this day.
Tom D'Urfey was a notorious offender against good taste, and for him
Purcell composed very largely.
"Oh! who can view without a tear
Great Pindar's muse and D'Urfey near?
Whose soaring wit ne'er higher flew
Than to endite for Barthol'mew,
Setting, for sots at country fairs,
Dull saucy songs to _Purcell's_ airs."[54]
D'Urfey's verses were so uncouth and irregular in their construction,
that a writer of the last century said, "The modern Pindaric Odes which
are humorously resembled to a comb with the teeth broken by frequent
use are nothing to them." D'Urfey wrote some especially rugged lines
which he challenged Purcell to set to music; the challenge was accepted
and the composer triumphed, but he confessed that it cost him more
trouble than the composition of a _Te Deum_. The ballad in question
was called "The Parson among the Peas," and was printed with Purcell's
music in D'Urfey's _Pills to Purge Melancholy_, 1719.
At the present day music has become such an extensively developed
science, particularly as regards orchestration, that it is difficult
to apprehend the state of things which existed in Purcell's time; but
to estimate his genius fairly we must recall the condition of the
musical artistic world in which he lived. In so far as orchestration is
concerned he had no models, nor had he any instrumental performers to
suggest or incite his creative powers. Purcell was familiar with the
family of stringed instruments called viols, and although Charles II.
introduced violins from France, yet the instrument was not regarded
with favour by musicians or by the people generally. Doubtless this
arose from the fact that there were no remarkable players. Anthony Wood
of Oxford, speaking of the year 1657, says:--
"Gentlemen in private meetings, which A. W. frequented, played
three, four, and five parts with viols--as treble viol, tenor,
counter-tenor and bass, with an organ, virginal or harpsicon
joined to them; and they esteemed a _violin_ to be an instrument
only belonging to a _common_ fiddler, and could not endure that it
should come among them, for feare of making these meetings to be
vain and fiddling."
The first musician to introduce violin playing proper was Thomas
Baltzar, who played at Oxford in 1658, and A. W. "saw him run up his
fingers to the end of the finger-board of the violin, and run them back
insensibly, and all with great alacrity and _very good tune_, which he
nor any one in England saw the like before."
He also was the first to exhibit in England the practice of shifting,
or the whole shift on the violin, and the half shift was not
introduced until about 1714. Baltzar died in 1663, so that it is
not probable Purcell ever heard him play; indeed it has been justly
remarked that the probability is he never heard a great violinist.
Corelli's works were not introduced into England until after Purcell's
death, and the only violin music Purcell knew was that composed by
Bassani.
In 1773 Daines Barrington, a well-known writer, speaks of the "Amazing
improvements in execution which both singers and players have arrived
at within the last fifty years. When Corelli's music was first
published, our ablest violinists conceived that it was too difficult to
be performed. It is now, however, the first composition attempted by a
scholar. Every year now produces greater and greater prodigies on other
instruments in point of execution."
Wind instruments were equally wanting if we except the trumpet, hautboy
and bassoon, and only the former could be said to have arrived at any
excellence in performance: there were no flutes,[55] clarinets, horns,
or trombones. It cannot therefore be expected that grand orchestral
effects will be found in Purcell's music, but what we do discover is
an amazing comprehension of the precise sentiment and feeling required
by the words or by the situation; harmonies which surprise us by
their beauty and boldness (many of them must have been absolutely new
when they were created by Purcell), exquisite and refined melody,
true rhythm, and just accent. And when we look at Purcell's purely
instrumental music, his sonatas, we find that as music they are
superior to Corelli--containing more learning, more ingenuity, and
yet without any appearance of labour or restraint; but Corelli was a
violinist, and in that respect he had the advantage of Purcell, and
knew what passages were best adapted for the instruments for which he
wrote.
Of Purcell's contrapuntal skill it would be impossible to speak
too highly; he has left for our wonder and admiration numerous
canons constructed in all the many and artful modes that species of
composition is capable of; the ingenuity and contrivance exhibited give
ample evidence of his diligence and laborious study, and the highest
praise of all is that in spite of the deep learning of which they give
evidence they move as melodiously, and as freely, as if they were
unfettered by the stern and inflexible chains imposed by the rules of
the schools.
Purcell's weakness in accepting the prevailing taste for endless
"graces" and divisions has already been adverted to. Another
peculiarity which characterises his music may possibly be accounted
for by the statement by Stafford Smith that "Mr. Purcell has been
heard to declare more than once, that the _variety_ which the _minor_
key is capable of affording by the change of sounds in the ascending
and descending scales, induced him so frequently to give it the
preference."[56] Now-a-days few composers would select the _minor_ mode
when composing music to the joyful words of the "Gloria Patri," or to
the lines,--
"In these delightful pleasant groves
Let us celebrate our happy loves."
Yet Purcell did so with perfect success, as his music witnesses.
Very little has been said in the progress of this biography of
Purcell's anthems; they are easily obtainable in the fine edition
published with so much enthusiasm by Vincent Novello, and in themselves
form a most valuable material for study. It is to be hoped that before
many years have passed away equal facilities will exist for gaining an
intimate knowledge of his chamber and dramatic music.
Purcell's seeming repugnance to the publication of his own music
is remarkable. After his death his widow issued the following
advertisement:--
"All the excellent compositions of Mr. Henry Purcell, both vocal
and instrumental, that have been published, viz.:--
"_His First Book of Twelve Sonatas_, in four parts.
"_His Ayrs and Sonatas_, newly printed in four parts.
"_The Opera of Diocletian._
"_Te Deum and Jubilate in Score._
"_A Choice Collection of Lessons_, for the Harpsichord or Spinett,
with instructions for beginners.
"These six printed for Madam Purcell, and sold for her by Henry
Playford."
This list as already shown is not quite complete. Henry Purcell
published an _Ode for Cecilia's Day_, in 1684, and the _Songs in the
Fairy Queen_, in 1692. What a meagre selection from the catalogue of
his known works, which numbered nearly 150 sacred compositions, and
nearly 50 dramatic compilations, 28 odes, and a large number of other
vocal and instrumental pieces which cannot be classed under either of
the foregoing heads.
* * * * *
Professor Taylor has eloquently said--
"It would seem as if the view which Purcell had obtained of the
powers and resources of his art, and his conviction of what it
might hereafter accomplish, had led him to regard all that he had
produced but as the efforts of a learner (and we are justified
in this conclusion from his own words), fitted to give a brief
and transient impulse to his art, and having accomplished this
purpose, to be forgotten. It may be that he was right: it may be
that we stand, as he stood, but at the threshold of music: it may
be that in his 'clear dream and solemn vision' he saw further than
his successors: nor will it be denied, that some of its recesses
have been further explored by geniuses and talent like his own;
but all the great attributes which belong to the true artist, all
the requirements which make the true musician, we may yet learn of
Purcell."
FOOTNOTES:
[Footnote 1: John Milton the father of the poet was the author of
a six-part madrigal, "Fayre Oriane in the Morne," printed in 1601,
of four motets in Leighton's "Tears or Lamentacions" (1614), and of
several Psalm tunes. He also composed an "In Nomine" in forty parts,
for which he received a gold medal and chain from a Polish prince.]
[Footnote 2: In a room behind Rutland House, Aldersgate Street.]
[Footnote 3: "Instrumental and Cathedral music I have ever been
wilfully ignorant of, because I have dearly loved them, and if I had
learnt them to a perfection, this satiety might have bred a nauseous
distaste and surfeit, as in other things, and then I had nothing to
delight in. But alas! this conceit hath failed me, _for now all church
music my highest terrene content is abandoned amongst us_."--PHILIP
KING'S "Surfeit," 1656.]
[Footnote 4: They acted together in "The Siege of Rhodes" in 1656.]
[Footnote 5: His name appears in the cheque-book of the Chapel Royal as
Henry _Purcill_, and from the same source we learn that he, in common
with the other gentlemen of the Chapel, received (each of them), four
yards of fine scarlet cloth for a gown to wear at the coronation.]
[Footnote 6: George Dalham, a well-known organ builder. Dr. Rimbault
says Father Smith built the organ erected in Westʳ Abbey at the
Restoration, but this payment would suggest a doubt as to his accuracy.]
[Footnote 7: Hill played the treble parts on the cornet in consequence
of the difficulty previously mentioned, of obtaining efficient boys. He
was buried in the cloisters of W. A., in 1667.]
[Footnote 8: Christopher Gibbons, son of the celebrated Orlando
Gibbons, was organist of Winchester Cathedral in the reign of Charles
I., but on the breaking out of the civil war he became a soldier.
He was admitted Doctor of Music at Oxford, by the special desire of
Charles II.]
[Footnote 9: Where the word "nil" now stands in the MS. there has
evidently been an erasure of some figure or figures.]
[Footnote 10: Harl. MSS. 1911.]
[Footnote 11: Cooke performed the part of "Solyman" in _The Siege of
Rhodes_, in 1656, and also composed the music for the second and third
acts of the opera.]
[Footnote 12: Wood, M.S. Ashmole, 8568.]
[Footnote 13: A copy of this birthday Ode, in the handwriting of Pelham
Humphreys, was in the possession of the late Dr. Rimbault.]
[Footnote 14: In my own library.--W. H. C.]
[Footnote 15: Johnson's music is printed in Stafford Smith's _Musica
Antiqua_.]
[Footnote 16: Spelt variously, Humfrey, Humphrey, Humphries.]
[Footnote 17: The following entries are from the account of Secret
Service moneys kept by Sir John Shaw:--
"1664. To Pelham Humphreys, to defray the charge of his journey to
France and Italy, 200_l._"
"1665. To Pelham Humphreys, bounty 100_l._"
"1666. To Pelham Humphreys, bounty 150_l._"
]
[Footnote 18: Louis Grabut.]
[Footnote 19: Dr. Burney is particularly severe in condemning Blow's
"crudites and violations of rule," and prints four pages of examples
of Blow's sins; but there can be little doubt that a musician of the
present day would regard the faults as mere spots on the sun of Blow's
splendid music. Those who care to see what Blow could write should look
at the anthems, "I was in the Spirit," and "I beheld, and lo."]
[Footnote 20: For a list of Copyists of Westminster Abbey, see p. 112.]
[Footnote 21: I am indebted to the late Dr. Rimbault for a copy of this
letter.]
[Footnote 22: He was succeeded by the Rev. William Tucker, Minor Canon
of the Abbey, and Priest of the Chapel Royal, an excellent composer,
who died in 1689. The following entry refers to his work:--
"In moneys recᵈ. and paid for secret services of Charles II." "To Eliza
Tucker, widᵒ relict of Wᵐ. Tucker, for her husband's writing in 15
books, the anthems with symphonies for King Charles the 2ᴺᴰˢ use in
his Chappell Royal, 15_l._"]
[Footnote 23: The original of this letter is in my possession.--W. H.
C.]
[Footnote 24: 1678 by the old style, but 1679 by the new.]
[Footnote 25: The music was published in a collection called _The Catch
Club; or, Merry Companions_.]
[Footnote 26: For a list of the Organists of Westminster Abbey, see p.
111.]
[Footnote 27: In 1794 S. Harding published a portrait of "Henry
Purcell, musician and actor," copied from the original in Dulwich
College. I have made diligent search for the painting without
success.--W. H. C.]
[Footnote 28: Know all men by these presents that I, Thomas Purcell, of
the Parish of St. Martin's-in-the-Fields, in the County of Middx., one
of the gentlemen of his Maᵗˢ Chappell Royall, and servant to his
Maᵗᴵᵉ, have assign'd, ordain'd, and made, by these presents doe
assigne, ordayne, and make my trusty and well beloved son, Mathew
Purcell, my true and lawful Attorney for me and in my name, and to my
use to aske, take, and receive all such arrears and summes of money
as are due, and hereafter will become due and payable to me the said
Thomas Purcell out of his Maᵗˢ Treasury, Chambʳ Exchequer, Coffery
office, or any other place or office whatsomever, giving, and by these
presents granting unto my sᵈ Attorney my whole Power and authority in
and about the premisses, and upon Recᵗ of any such summes of money
aforesaid, Acquittance, or other discharges for me and in my name to
make and give, and for me and in my name to doe and performe as fully
and largely in every respect to all intents and purposes as I myself
might or could doe if I were there personally present, ratifying,
confirming, and allowing all and whatsomever my said Attorney shall
lawfully do or cause to be done in and about the premisses aforesaid
by Vertue of these presents. In witness whereof I have hereunto set my
hand and seale, this 15th day of May in the three-and-thirtieth yeare
of King Charles the Second over England, &c. Annoq. Domini 1681.
T. PURCELL.
Sealed and delivered in the
presence of
F. PURCELL.
Witt. WALLEY.
]
[Footnote 29: Giovanni Baptista Draghi, born in Italy, came to England
about the middle of the 17th century, and at the death of Matthew Locke
he obtained the appointment of organist to Catherine of Braganza,
wife of Charles II. Draghi was in great request as a performer and
teacher of the harpsichord; amongst his pupils were the Princess Anne
and probably her sister Mary. He was a good composer, and had by
diligent study made himself well acquainted with the compositions of
the best English masters whose manner of composing he adopted. He set
to music an Ode written by Dryden for St. Cecilia's day, 1687, and in
contemporary copies of the words we find his name anglicised to John
Baptist Draghi.]
[Footnote 30: This we learn from several advertisements of later
date, where it is stated, "At John Carr's shop may be had the musical
entertainment for last St. Cecilia's Day. The words made by Mr.
Christopher Fishburn, and set to music in two, three, four, and six
parts by Mr. Henry Purcell, Composer in Ordinary to His Sacred Majesty,
and one of the Organists of His Majesty's Chappel Royal."]
[Footnote 31: Smith was organist of St. Margaret, Westminster.]
[Footnote 32: So spelt in the registers of Westminster Abbey, but
"Banester" on his monument.]
[Footnote 33: See No. 15 of _The Ancient Vocal Music of England_, by E.
F. Rimbault, published by Novello & Co.]
[Footnote 34: See _Concordia_, April 15 and 22, 1876.]
[Footnote 35: _Apology for the Life of Colley Cibber._]
[Footnote 36: _History of Music_, Novello's Edition, vol. ii. p. 743.]
[Footnote 37: "_The Songs in Amphitryon, with the Musick._ Composed by
Mr. Henry Purcell. London: printed by J. Heptinstall for Jacob Tonson,
at the Judge's Head in Chancery Lane. MDCXC."]
[Footnote 38: _Dioclesian._]
[Footnote 39: North, in the _Memoires of Musick_, 1728, mentions
Purcell's _King Arthur_ as at that time "unhappily lost."]
[Footnote 40: _Round about Piccadilly_, by Wheatley, p. 294.]
[Footnote 41: Hawkins's _History of Music_, vol. ii. p. 753.]
[Footnote 42: See Sir Walter Scott's _Life of Dryden_.]
[Footnote 43: Hogarth's _Memoirs of the Musical Drama_, 1838.]
[Footnote 44: Reading and Pate some three years afterwards figured in
another kind of Duo; the _Post-Boy_, June 20th, 1695, has the following
paragraph:--"I am informed that the Lord Chamberlain hath been pleased
to displace Mr. Pate and Mr. Reading from their places in the Playhouse
for being in the late riot at Drury Lane." The riot had occurred at
the "Dog Tavern," and in consequence several persons were prosecuted
and found guilty; some were fined 500 marks each, but Reading and Pate
were fined only twenty marks each; probably their fines were reduced in
consideration of their dismissal by the Lord Chamberlain. They were,
however, soon afterwards reinstated in their previous appointments.]
[Footnote 45: _Nichol's Select Collection of Poems._]
[Footnote 46: In the thirteenth edition published in 1697, the third
part has the following heading:--"The art of Descant, or composing
musick in parts; made very plain and easie by the late Mr. Henry
Purcell."]
[Footnote 47: The last piece Dryden wrote for the stage.]
[Footnote 48: The music was published by Walsh with the following new
title, "Te Deum et Jubilate for voices and instruments perform'd before
the _Sons of the Clergy_ at the Cathedral Church of St. Paul. Composed
by the late Mr. Henry Purcel." This led to a notion that the music had
been composed for the "Sons of the Clergy" festival.]
[Footnote 49: This third part is so scarce that probably only one or
two perfect copies now exist.]
[Footnote 50: In my own library.]
[Footnote 51: It is evident from this will that Purcell's youngest
child, Mary Peters, had died since her father's decease.]
[Footnote 52: _Anecdotes, Biographical Sketches_, by Letitia Matilda
Hawkins.]
[Footnote 53: "The English affect more the Italian than the French
music, and their own compositions are between the gravity of the first
and the levity of the other. They have had several great masters of
their own. _Henry Purcell's_ works in that kind are esteemed beyond
_Lully's_ everywhere, and they have now a good many very eminent
masters; but the taste of the town being at this day all Italian, it is
a great discouragement to them."--_Mackay's Journey Through England_,
1722-3.]
[Footnote 54: Dr. King's _Bibliotheca_, 1712.]
[Footnote 55: The flute of Purcell's day was blown at the extreme end
like a flageolet, the modern _flauto traverso_ was unknown.]
[Footnote 56: Stafford Smith's _Collection of English Songs_, 1779.]
PURCELL'S FAMILY.
In the foregoing pages I have spoken of Purcell's father and uncle, but
made no mention of his ancestry. Nothing absolutely certain is known
of them. Various surmises have been made from time to time, and as
the name of Purcel had been common in Ireland for some centuries,[57]
people have endeavoured to trace the composer's family in that country,
but no reason or evidence has as yet been found for supposing that
Purcell inherited Celtic blood.
The national archives preserved at Somerset House furnish material for
speculation in this matter; the following wills may very probably have
been made by some of the great composer's ancestors:--
"Will proved 1547-8 (fo: 3 Populwell).
DAVJD FYSSHER of Salopp Sherman--
to my Kynsman Nicholas pursell
to John pursell of Marten, Vᴸᴵ.
to George pursell, Vᴸᴵ.
to Thomas purshell, Nicholas sonne, Vᴸᴵ.
to Roger Calcott of Buttington, Viijˢ."
JOHN FYSSHER, gentᴺ of Hen. VII., Hen. VIII., and Edw. VI. chapels--
'to my Cosyn,[58] John Pursell, XXˢ sterling, all my londes in Clevedon
and Clopton: ... Countie of Somers nye to Bristowe;' to brother David
Fyssher of Shrewsbury for life and after to Cosyn Nicholas pursell and
heirs for ever."
The parish registers of St. Margaret's, Westminster, contain occasional
mention of the name of Pursell or Purcell, the earliest being 1575;
but whether the records before 1658 refer to members of the composer's
family it has not been possible to determine.
Purcell's mother died in August, 1699, having survived her son nearly
four years; her burial is recorded in the books of St. Margaret's,
Westminster, thus:--"Mrs. Elizᵗʰ Pursell, Ch.[59] August 26, 1699;" her
estate was "administered to" on the 7th of the following September by
her daughter Katherine, who had been baptized in Westminster Abbey on
the 13th of March, 1662. This younger sister of Purcell was married on
the 20th June, 1691, to the Rev. William Sale, of Sheldwich, Kent.
Purcell had two brothers, Edward and Daniel: the former was born in
1653. The story of his life is briefly told in the inscription placed
on his gravestone in the chancel of Wytham Church, near Oxford:
"Here lyeth the body of Edward Purcell, eldest son of Mr. Purcell,
gentleman of the Royal Chapel, and brother to Mr. Henry Purcell so
much renowned for his skill in musick. He was gentleman usher to
King Charles the 2nd, and lieutenant in Col. Trelawney's regiment
of foot, in which for his many gallant actions in the wars of
Ireland and Flanders he was gradually advanced to the honour of
Lieutenant-colonel. He assisted Sir George Rook in the taking of
Gibraltar, and the Prince of Hesse in the memorable defence of it.
He followed that Prince to Barcelona, was at the taking of Mountjoy
where that brave Prince was killed; and continued to signalize
his courage in the siege and taking of the city in the year 1705.
He enjoyed the glory of his great services till the much lamented
death of his late mistress, Queen Anne, when, decayed with age and
broken with misfortunes, he retired to the house of the Right Hon.
Montague, Earl of Abingdon, and died June 20, 1717, aged 64."
Daniel Purcell was a younger brother of the great composer; the exact
date of his birth is not known, but it is believed to have been about
1660. Of his early musical training nothing has been ascertained, he
was too young when his father died to have received any instructions
from him; possibly in his boyhood he may not have shown remarkable
traits of musical ability; and in his more mature years his undoubted
talent was altogether over-shadowed by the superior genius of his
brother, to whom he was indebted for some part of the practical and
theoretical knowledge of music he possessed. The first official
appointment with which we can identify him is that of organist of
Magdalen College, Oxford, to which he succeeded in 1686, soon after the
ejectment from that post of Dr. Benjamin Rogers, who with the other
fellows of the College was unjustly expelled by James II. In 1693
Daniel Purcell composed music for a "Saint Cecilia's Day Ode" written
by Thomas Yalden, which is believed to have been performed at Oxford.
He resigned his appointment at Magdalen College in 1695, in order that
he might reside in London, and in the following year, 1696, composed
music for the tragedy "Ibrahim XII.," written by Mary Pix; also for an
opera called "Brutus of Alba, or Augusta's Triumph." This was written
by George Powell, the comedian, and John Verbruggen; it was performed
at the theatre in Dorset Gardens in the following year. The songs were
immediately published with a dedication "to P. Norton and A. Henley,
Esquires." In 1697, in conjunction with Jeremiah Clarke, he composed
music for Settle's opera, "The New World in the Moon," and also for
D'Urfey's opera, "Cynthia and Endymion." In 1698 he composed songs
for a tragedy, "Phaeton, or the Fatal Divorce," written by Gildon,
also an ode for the Princess Anne's birthday,[60] and an ode for Saint
Cecilia's Day, written by Bishop.[61] In 1699, he was associated with
Jeremiah Clarke and Leveridge in composing music for "The Island
Princess," an opera by Motteux, and he also composed music for a "Saint
Cecilia Ode" written by Addison for performance at Oxford. In 1700 he
composed the work which has generally been considered his greatest
success, an opera entitled "The Grove, or Love's Paradise," written
by J. Oldmixon, and performed at Drury Lane. Daniel Purcell is said to
have designed and penned this music whilst staying with his patron,
Anthony Henley, of the Grange, in Hampshire, or at the residence
of Philip Norton, of Southwick, in the same county, another of his
patrons, who was in the habit of entertaining his friends in the summer
time with dramatic representations.
On the 21st of March, 1699,[62] the following advertisement appeared in
the _London Gazette_:--
"Several persons of quality, having for the encouragement of musick
advanced 200 guineas, to be distributed in 4 prizes, the first
of 100, the second of 50, the third of 30, and the fourth of 20
guineas, to such masters as shall be adjudged to compose the best;
this is therefore to give notice, that those who intend to put in
for the prizes are to repair to Jacob Tonson at Gray's-Inn Gate,
before Easter next day, where they may be further informed."
The Earl of Halifax was the originator and one of the principal
contributors to the prize fund; he was also one of the adjudicators.
The poem selected for the composers to exercise their skill and fancy
on was "The Judgment of Paris," written by Congreve. The first prize
was won by John Weldon,[63] the second by John Eccles, _the third by
Daniel Purcell_, and the fourth by Godfrey Finger.
The prize compositions of Daniel Purcell and Eccles were speedily
published, but Weldon's work remains in MS., as does also that by
Finger, who was so annoyed at the small success his composition
achieved that he left England in disgust.
In 1701 Daniel Purcell composed music for "The Unhappy Penitent," a
tragedy by Catherine Trotter; in 1702 for "The Inconstant," a comedy by
Farquhar. In the _Diverting Post_, October 28th, 1704, we read--
"The Play-house in the Hay-Market (the architect being John
Vanbrugh, Esq.), built by the subscription money of most of
our Nobility, is almost finish'd: in the meantime two operas,
translated from the Italian by good Hands, are setting to musick,
one by Mr. Daniel Purcel, which is called 'Orlando Furioso,' and
the other by Mr. Clayton: both operas are to be perform'd by the
best artists, eminent both for Vocal and Instrumental Musick, at
the Opening of the House."
This composition was very highly commended in the _Muses Mercury_,
1707, which speaks also in warm terms of a masque set by Daniel Purcell
called "Orpheus and Euridice." In 1707 he composed a "Saint Cecilia
Ode," which was performed at Oxford in St. Mary's Hall.
An advertisement in the _Spectator_, No. 340, March 31, 1712, tells us--
"On Wednesday the 3rd of April, at Stationers' Hall, Mr. Daniel
Purcell, brother of the memorable Mr. Henry Purcell, will exhibit
an entertainment of Vocal and Instrumental Musick entirely new, and
all parts to be performed with the greatest excellence."
Amongst his compositions, printed and manuscript; not already
mentioned, are Anthems, Songs for the plays "The Careless Husband,"
"The Humor of the Age," and "Magbeth."[64] "Sonatas or Solos for the
violin with a thorough bass for the harpsichord, or bass-violin."
"Sonatas for flute and bass," and "A Lamentation for the Death of Mr.
Henry Purcell."
The words of this "Lamentation" were written by Nahum Tate, and
conclude with the following lines:--
"A sighing Wind, a murm'ring Rill,
Our Ears with doleful Accents fill:
They are heard, and only they,
For sadly thus they seem to say,
The Joy, the Pride of Spring is Dead,
The Soul of Harmony is fled.
Pleasure's flown from Albion's Shore,
Wit and Mirth's bright Reign is o're,
Strephon and music are no more!
Since Nature thus pays Tribute to his Urn,
How should a sad, forsaken Brother mourn!"
Daniel Purcell was appointed organist of St. Andrew, Holborn, in 1713,
and retained the position until his death in 1717. Sir John Hawkins in
his History,[65] says:--
"The occasion of Daniel Purcell's coming to London was as
follows:--Dr. Sacheverell, who had been a friend of his brother
Henry, having been presented to the living of St. Andrew, Holborn,
found an organ in the church of Harris's building, which having
never been paid for, had from the time of its erection, in 1699,
been shut up. The Doctor upon his coming to the living, by a
collection from the parishioners, raised money to pay for it;
but the title to the place of organist was litigated, the right
of election being in question between the rector, the vestry, and
the parish at large. Nevertheless he invited Daniel Purcell to
London, and he accepted it; but in February, 1717, the vestry,
which in that parish is a select one, thought proper to elect Mr.
Maurice Greene, afterwards Dr. Greene, in preference to Purcell,
who submitted to stand as a candidate. In the year following Greene
was made organist of St. Paul's, and Daniel Purcell being then
dead, his nephew Edward was a candidate for the place; but it was
conferred on Mr. John Isum, who died in June, 1726."
That Hawkins has made a series of mistakes in the above statement, is
clear from the following advertisement, which appeared in the _Daily
Courant_, December 12, 1717:--
"Whereas Edward Purcell, only son to the Famous Mr. Henry Purcell,
stands candidate for the Organist's place of St. Andrew, Holborn,
in the room of his uncle Mr. Daniel Purcell, deceased,--This is
to give notice, that the place is to be decided by a general
Poll of Housekeepers of the said Parish, whom he humbly hopes,
notwithstanding the false and malicious reports of his being a
Papist, will be assistant to him in obtaining the said place.
"N.B.--The election will begin upon Tuesday the 17th, at nine in
the morning, and continue till Friday following, to four in the
afternoon."
This shows that Daniel vacated his organistship by death. Unfortunately
the parish book which might tell us the result of the election by the
householders cannot be found; but it evidently was not permitted to
be a final decision, for on the 17th of the ensuing February, 1718, a
Vestry was held, of which the following is a minute:--[66]
"The question being put whether the vestry should take the election
of an organist into their nomination, it was agreed in the
affirmative.
"The candidates were--
MR. SHORT
" ISHAM
" YOUNG
" GREEN //////
" PURSILL
" HAYDON
" HARRIS
" HART
"Mr. Green is elected Organist of the Parish of St. Andrew,
Holborn."
The strokes show that Greene was elected by six votes, seemingly the
whole vestry, as no votes are marked against the names of the other
candidates. Greene, however, soon resigned the appointment, and a new
election took place.
"1718, 3ᵈ of April, Mr. Green yᵉ Organist being elected Organist of
St. Paul's and his place as Organist of this Church being become
vacant, the Vestry do order his salary be continued to Sunday
the 4th of May. It is also ordered that such person who shall be
elected Organist of this Parish in the room of Mr. Green, shall
be obliged to a constant personall attendance on all Sundays and
Holydays.
"The several candidates--
MR. G. HAYDON /
" C. YOUNG
" EDWARD PURSIL
" JOHN ISHAM ///////////
"Agreed that Mr. John Isham be elected Organist of the Parish
Church in the room of Mr. Green, and that he have a yearly salary
of Fifty pounds payd him out of the Bells and Palls."
Here again Edward Purcell was unsuccessful, Mr. John Isham obtaining
eleven votes.
After the death of Daniel Purcell the following advertisement appeared
in the _Post Boy_, Saturday, 26th April, 1718:--
"Musick this day published, Being a choice Collection, &c., to
which is added all the Psalm tunes by the late Mr. Daniel Purcell."
This work was probably the curious collection still extant bearing the
following title: "The Psalms Set full for the Organ or Harpsichord as
they are Plaid in Churches and Chappels in the maner given out; as
also with their interludes of great Variety, by Mr. Danᴸ Purcell, late
Organist of St. Andrew's, Holbourn."
Daniel Purcell is credited by Hawkins as having been more skilful and
successful as a punster than as a composer. Of his puns we have now no
evidence upon which to form a judgment, but his music exists to show
that the historian's verdict is not always to be relied on.
Of the children of Henry Purcell mention has already been made: he
had six in all, three of them, John Baptista, Thomas, and Henry, died
in infancy, during the lifetime of their father; and it is probable
that a fourth child, Mary Peters, survived him but a few months. The
daughter Frances, who was born in 1688, outlived both her parents;
her mother immediately before her death, in February, 1706, nominated
Frances as her executrix and residuary legatee: accordingly she proved
the will on the 4th July following. She married Leonard Welsted, a poet
and dramatist, son of the Rev. Leonard Welsted, Rector of Abington,
Northamptonshire. Welsted had been a King's scholar at Westminster
School, from whence he was elected to Trinity College, Cambridge. "When
very young he married the daughter of Henry Purcell, the celebrated
musician, and obtained an appointment in the Secretary of State's
office."[67]
The young couple were of the same age, and must have married when
nineteen, as the register of St. Margaret's, Westminster, records the
baptism of their daughter Frances on the 2nd of September, 1708.[68]
Mrs. Welsted died in 1724, not having attained the age of her
celebrated father, and the daughter died in 1726, aged eighteen.
Purcell's youngest son, Edward, born in 1689, was the only one who
survived him, and like his father, was but six years old when he became
an orphan. His mother had promised her dying husband carefully to
attend to the child's education, a promise she conscientiously and
affectionately kept for ten years, until 1706, when she died, leaving
the lad of sixteen to the guidance of his sister Frances, who was but
two years older. The children, however, possessed many influential
friends, and in the following year, 1707, Frances married. We know
nothing more of Edward's doings for a few succeeding years, but it
is probable that he married in 1710, as the register-book of St.
Margaret's, Westminster, contains the entry of a baptism on "May 4th,
1711, of Frances, daughter of Edward and Anne Purcell, born on 19th
April." The register-book of St. Martin-in-the-Fields for 1716 contains
a baptismal entry which seems to refer to a son of Edward Purcell:
"Dec. 11, Henry, son of Edward and Anne Purcell, born 26 Nov." In
1717 Edward was a candidate for the organist's place of St. Andrew's,
Holborn, as I have shown when speaking of Daniel Purcell; but Edward
was, as we have seen, unsuccessful, not only on that occasion, but also
in 1718 when he again applied for the appointment. In 1726, on the
8th of July, he was made organist of St. Margaret's, Westminster, and
it is said that he succeeded his father as organist of St. Clement's,
Eastcheap. In 1738 he was enrolled amongst the first list of members
and founders of the "Society of Musicians," now known as the "Royal
Society of Musicians," and it is supposed that he died in 1740, as in
that year he ceased to be organist of St. Margaret's, Westminster. His
successor was appointed on the 6th of August, 1740.
He had a son, the date of whose birth I have not been able to trace,
who was named _Edward Henry_. Hawkins blunders here again: he says
Edward Purcell "was succeeded by his son Henry, who had been bred up in
the King's Chapel under Mr. Gates. This Henry became also organist of
St. Edmund the King, London, and after that of St. John, Hackney. He
died about twenty-five years ago.[69] His father was a good organist,
but himself a very indifferent one."
The statement is brimful of errors, as we shall see.
Chamberlaine's _Magnæ Britannia Notitia_, 1737, on page 219, gives
the "children's names" of the Chapel Royal,[70] and there we find
_Edward Henry Purcell_. The correctness of the name is confirmed by
an entry in a magnificent book of music now in the Queen's library in
Buckingham Palace. The volume is wholly in Henry Purcell's autograph.
It had belonged to Edward Purcell, and contains an entry in his hand:
"Score booke--Anthems and Welcome Songs, and other songs, all by my
father." At the other end of the book is an autograph inscription, "Eᵈ
H. Purcell, Grandson to the Author of this book."
In 1753, August 11th, the vestry of St. John, Hackney,
"Resolved and agreed that yᵉ place of organist of the Parish be and
is declared vacant; agreed that the sallary of yᵉ organist of the
Parish be settled.
"Organist his duty.--That the salary of the organist shall for the
future be £20 by the year, and that for his said salary he shall
attend all Sundays in the year, and on all days whenever a sermon
shall be preached, Fast-days excepted, and that on every Sunday
throughout the year a voluntary shall be played after both morning
and evening service."
"Ordered, that an advertisement be published in the paper called
the _Daily Advertiser_, that the place of Organist of this Parish
is vacant, and that all persons who are willing to be candidates
for the same may apply to Mr. Ch.-warden Barnard."
"On the 22nd Sept., 1753, the candidates appeared separately
before the Vestry, 'and a Vestry was held to choose an organist.'
Candidates being--
MR. EDWARD HENRY PURCELL 9 Votes.
MR. DAVID L. HEUREUX 6 "
MR. WILLIAM WARD 2 "
MR. RICHARD LOW 0 "
MR. THOMAS ARCHER 1 "
MR. MOSES PATENCE 0 "
"The majority being for Mr. Ed. Hen. Purcell, he was declared
Organist of this Parish till Easter next."
The parish books show that he was re-elected annually down to Easter
Tuesday, April 24, 1764, when there is an entry--
"Complaint having been made against Edward Henry Purcell the
present organist. Resolved--That the Vestry Clerk do write to the
said Edward Henry Purcell and acquaint him that the Vestry insists
on his being regular in his attendance, and that he do give in the
name of his Deputy to the Churchwardens, and also give notice from
time to time to the Churchwardens for the time being when he shall
charge him and who he shall appoint in his stead."
"April 30, 1764. The Vestry Clerk acquainted the Vestry that he
had wrote to Mr. Purcell the Organist agreeable to the Resolution
of the last Vestry. Resolved that the choice of an organist be
deferred until the next Vestry and that Mr. Purcell do officiate in
the meantime."
There is also an entry made by the Vestry Clerk, April, 1764:
"N.B.--Wrote to him and he said he would name his deputy."
On Easter Tuesday, April 8th, 1765, the Vestry minutes record the
appointment of organ-blower, but no mention is made of the organist; we
may therefore infer that Purcell was not continued in the post, as in
the following year, 1766, we read--
"Resolved that David Lᵈ Heureux organist, Sarah Palmer
organ-blower, Be and they are hereby continued in their respective
offices at their annual Sallarys until Easter Tuesday next."
FOOTNOTES:
[Footnote 57: Purcell is named as one of the possessors of property in
a map of Ireland made about the middle of the seventeenth century.]
[Footnote 58: Cosyn usually meant nephew.]
[Footnote 59: Meaning buried in the Church.]
[Footnote 60: The autograph score is in the British Museum.]
[Footnote 61: "On Wednesday next will be performed at York Buildings
Mr. Daniel Purcell's musick, made for last St. Cecilia's Feast, for the
benefit of Mr. Howel and Mr. Shore, with an addition of new vocal and
instrumental musick."--_London Gazette_, December 29, 1698.]
[Footnote 62: 1700 according to the new style.]
[Footnote 63: A pupil of Henry Purcell.]
[Footnote 64: "A Song sung by Mr. Mason in _Magbeth_, sett by Mr. D.
Purcell, 'Cease, gentle Swain,' in the Queen's library, Buckingham
Palace."]
[Footnote 65: Vol. ii. p. 759, new Edition. Novello & Co.]
[Footnote 66: Extracted from the Vestry books of St. Andrew's, Holborn.]
[Footnote 67: Baker's _History of Northamptonshire_, vol. i. p. 17.]
[Footnote 68: "Frances, daughter of Leonard Welsted, Gent, and Frances
his wife."]
[Footnote 69: 1750.]
[Footnote 70: The master was Bernard Gates.]
ORGANISTS OF WESTMINSTER ABBEY.
NAME DATE
John Howe 1549
Master Whitt 1560
John Taylor 1562
Robert White 1570
Henry Leeve 1575
Edmund Hooper, the first regular appointment as Organist 1588
John Parsons 1621
Orlando Gibbons 1623
Thomas Day 1625
Richard Portman 1633
Christopher Gibbons 1660
Albertus Bryne 1666
John Blow 1669
Henry Purcell 1680
John Blow 1695
William Croft 1708
John Robinson 1727
Benjamin Cooke 1762
Samuel Arnold 1794
Robert Cooke 1803
George Ebenezer Williams 1815
Thomas Greatorex 1819
James Turle (living)[71] 1831
MASTERS OF THE CHORISTER BOYS OF WESTMINSTER ABBEY.
NAME DATE
John Taylor 1562
Robert White 1574
Henry Leeve 1575
Edmund Hooper 1585
John Gibbs 1605
John Parsons 1613
Thomas Day 1623
Richard Portman 1633
James Trye 1637
Walter Porter 1639
Henry Purcell (senior) 1661
Christopher Gibbons 1664
Thomas Blagrave 1666
Edward Braddock 1670
John Church 1704
Bernard Gates 1740
MUSIC COPYISTS OF WESTMINSTER ABBEY.
NAME DATE
Henry Purcell (senior) 1661
Christopher Gibbons 1664
Stephen Byng 1673
Henry Purcell (junior) 1676
William Tucker 1678
Charles Taylour 1684
Henry Purcell 1688
Edward Braddock 1690
John Church 1710
John Buswell 1761
Thomas Vanderman 1763
Thomas Barrow 1782
FOOTNOTES:
[Footnote 71: Mr. Turle having retired from active duty, Dr. J. F.
Bridge is now appointed permanent deputy organist.]
CHRONOLOGICAL MEMORANDA.
1658. Henry Purcell, the composer, born.
1659. Meeting of Purcell's father, Matthew Locke, and Pepys.
1661. Charles the Second crowned. Henry Purcell, the father, and
Thomas Purcell, the uncle of the composer, attend the coronation as
gentlemen of the Chapel Royal.
1663. Purcell's father appointed a member of the Royal Band.
1664. The father died. Purcell entered the Chapel Royal under
Captain Cooke.
1667. Purcell's three-part song, "Sweet Tyraness," published.
1669. Purcell composed "An Address to the King."
1672. Purcell's master, Captain Cooke, died; succeeded by Pelham
Humphreys.
1674. Humphreys died; succeeded by Dr. John Blow.
1676. Purcell appointed copyist of Westminster Abbey. Composed
music for (1) "Epsom Wells;" (2) "Aurenge-Zebe; (3) "The Libertine."
1677. Purcell composed an Elegy on the death of Matthew Locke; also
the music for "Abdelazor."
1678. Resigned the appointment of copyist at Westminster Abbey.
"Sweet Tyraness," newly arranged, republished. Music for "Timon of
Athens" composed.
1679. Composed music for Rev. John Gostling's voice.
1680. Appointed organist of Westminster Abbey. Composed music for
(1) "The Virtuous Wife;" (2) "Theodosius;" and the Opera "Dido and
Æneas." Also two Odes, "A welcome song for his Royal Highness's
return from Scotland," and "A song to welcome his Majesty home from
Windsor."
1681. Composed an Ode for the King, "Swifter, Isis, swifter flow."
1682. Purcell appointed organist of the Chapel Royal. Composed
an Ode for the King "On his return from Newmarket;" also music
for "The Lord Mayor's Show." His uncle Thomas died; a son, John
Baptista, born and died.
1683. Sonatas of three parts published. Appointed "composer in
ordinary" to the King. Composed three "Odes for the festival of
St. Cecilia;" also "A welcome song for the King;" "Fly, bold
rebellion;" and Ode, "From hardy climes," for Prince George of
Denmark, on his marriage with the Princess Anne.
1684. Published a "St. Cecilia" Ode. Composed an Ode to welcome the
King, "On his return to Whitehall after his summer's progress."
Performed on the new organ erected by Father Smith in the Temple
Church.
1685. James II. crowned in Westminster Abbey. For the ceremony
Purcell composed two Anthems, "I was glad," and "My heart is
inditing." Composed an Ode, "Why are all the muses mute," in honour
of the King. Also the music for "Circe."
1686. Composed "Lilliburlero," also the music for "Tyrannic Love."
His brother and pupil, Daniel, appointed organist of Magdalen
College, Oxford. His infant son, Thomas, died. An Ode for the King,
"Ye tuneful muses," composed.
1687. Composed an Elegy on the death of John Playford, the younger.
An Ode for the King, "Sound the trumpet, beat the drum." Purcell's
son, Henry, born and died.
1688. Purcell composed, by command, a thanksgiving Anthem for the
Queen's pregnancy, "Blessed are they that fear the Lord." Composed
also the music for "A fool's preferment," an Ode "For the King,"
and the Anthem, "The Lord is King." A daughter, Frances, born.
1689. William and Mary crowned in Westminster Abbey. Purcell
threatened, by Dean and Chapter of Westminster, with suspension.
Composed "Celestial music" an Ode "At the Prince of Denmark's
coming home," also "The Yorkshire feast song." A son, Edward, born.
1690. Purcell composed an Ode, "Arise my muse," for the Queen's
birthday, and another, "Sound the trumpet," for King William. Also
music for (1) "The Tempest;" (2) "Dioclesian;" (3) "Massacre of
Paris;" (4) "Amphitryon."
1691. He composed music for (1) "Distressed innocence;" (2) "King
Arthur;" (3) "The Gordian knot untyed;" (4) "Sir Anthony Love;"
also an Ode, "Welcome, glorious morn," for the Queen's birthday.
1692. He composed the music for (1) "The Fairy Queen" (and
published "Some select songs" from that opera); (2) "The Wife's
excuse;" (3) "The Indian Queen;" (4) "The Indian Emperour;" (5)
"Œdipus;" (6) "Cleomenes;" (7) "The marriage-hater match'd;" also
an Ode, "Love's goddess sure was blind," for the Queen's birthday,
and an Ode, "Hail, great Cecilia," for the anniversary of St.
Cecilia.
1693. He composed a Commemoration Ode, "Great Parent, hail," for
Trinity College, Dublin, and music for (1) "The old bachelor;" (2)
"The Richmond heiress;" (3) "The maid's last prayer;" (4) "Henry
the Second." Also an Ode, "Celebrate this festival," for the
Queen's birthday.
1694. He composed music for the first and second parts of (1) "Don
Quixote;" (2) "The married beau;" (3) "The double dealer;" (4)
"The fatal marriage;" (5) "Love triumphant;" also the Te Deum and
Jubilate in D for the festival of St. Cecilia, and an Ode, "Come,
ye sons of art," for the Queen's birthday. "The art of descant,"
for John Playford.
1695. He composed Anthems for the funeral of Queen Mary, "Blessed
is the man," and "Thou knowest, Lord." Two Latin Elegies on the
Queen. A birthday Ode, "Who can from joy refrain?" for the Duke of
Gloucester. Music for (1) "The Canterbury Guests;" (2) "The Mock
Marriage;" (3) "The Rival Sisters;" (4) "Oroonoko;" (5) "The Knight
of Malta;" (6) "Bonduca;" (7) "The third part of Don Quixote."
Purcell died Nov. 21st; buried in Westminster Abbey, Nov. 26th.
1699. Purcell's mother died.
1706. Purcell's widow died.
1707. Purcell's daughter married to L. Welsted.
1710. Purcell's son, Edward, married.
1717. Edward Purcell and Daniel Purcell, the composer's brothers,
died.
1726. Purcell's son, Edward, organist of St. Margaret's,
Westminster.
1737. Edward Henry Purcell, grandson of the composer, a child of
the Chapel Royal.
1738. Purcell's son, Edward, organist of St. Margaret's,
Westminster.
1740. Edward died.
1753. Edward Henry Purcell, grandson of the composer organist of
St. John, Hackney.
1765. Not re-elected to St. John, Hackney.
INDEX.
A.
Abdelazor, 26
Abingdon, Earl, 98
Abuse of musick, 66
Adamson, 10
Addison, 99
Akroy'd, 74
Albion and Albanius, 56, 57
Aldrich, 90
Alexander's Feast, 59, 60
Amblett, 10
Amphytryon, 51, 54, 55
Ancient vocal music, 44
Ancient Concerts, 33
Angello, 12
Anna, 33
Anne (Princess), 35, 40, 99
Anne (Queen), 86-98
Anthems, 94
Archer, 109
Arise, my muse, 55
Arne, 84
Arnold, 21, 111
Art of descant, 68
Artillery Company, 34
Aston, 66
Augusta's triumph, 99
Aurenge-Zebe, 26
B.
Baggs, 63
Baker, 106
Baldwin's Gardens, 81
Balter, 15
Baltzar, 91, 92
Bancroft, 67
Banister, 15, 44
Barcelona, 98
Barnard, 109
Barrington, 92
Barrow, 112
Bassani, 83, 92
Beaumont, 51, 73
Beckett, 15
Bedford, 66, 85
Beggars' Opera, 54, 64
Behn, 26
Behold I bring you, 30
Belinda, 33
Belk, 28
Bellerton, 51
Benedicite, 42
Bently, 31
Birthday Ode, 74
Bishop, 99
Blagrave, 15, 23, 112
Blessed are they, 47
Blessed be the Lord, 42
Blessed is he, 42
Blessed is the man, 71, 72
Blow, 20, 24, 25, 28, 31, 41, 42, 43, 68, 70, 73, 82, 85, 86, 111
Bolingbroke, 60
Bolton, 10
Bonduca, 73, 84
Bow down thine ear, 42
Bowen, 67
Boyce, 22, 71
Braddock, 10, 55, 112
Brady, 66
Bridge, 111
Bridgman, 40
Brief supplement to Colley Cibber, 66
Briscoe, 74
British heroine, 73
British Museum, 10, 86, 99
Britons strike home, 73
Brown, 81, 82, 83, 84
Brutus, 99
Bryne, 111
Burial office, 72
Burk, 32
Burlington, 16
Burnet, 45
Burney, 20, 25, 26, 61
Busby, 10, 80
Buswell, 112
By the croaking, 61
By the waters, 42
Byng, 25, 112
C.
Cæsar, 22
Calcott, 96
Cambridge, 36, 41
Canon, 68
Canterbury, 1, 28, 29
Canterbury guest, 73
Capelin, 79
Careless husband, 102
Carissimi, 23
Carr, 36, 37, 40, 41, 45, 52
Catch Club, 31
Catherine of Braganza, 35
Cecilia, _see_ St. C.
Celebrate this festival, 67
Celestial music, 50
Chamberlaine, 108
Chapel Royal, 9, 12, 22, 24, 25, 27, 28, 29, 33, 34, 37, 41, 46,
52, 55, 61, 64, 84, 86, 108
Chapman, 10
Charles I., 1, 6, 17
Charles II., 7, 9, 10, 13, 14, 17, 22, 28, 29, 30, 35, 56, 91, 98
Chelsey, 32
Chichester, 2
Childe, 18, 43
Choice collection of lessons, 79, 94
Christ Church, 4, 67, 68
Chronological memoranda, 113
Church, 112
Cibber, 47
Circe, 43
Clark, 82
Clarke, 25, 56, 99
Clayton, 15
Cockpit, 6
Cold and raw, 64, 65
Collection of Ayres, 79
Colman, 12
Come if you dare, 56
Come unto these yellow sands, 51
Come, ye sons of art, 69
Commonwealth, 1, 7
Condy, 10
Congreve, 67, 69, 100
Cooke, 12, 16, 17, 18, 19, 20, 21, 22, 24, 49, 111
Copyists, 25, 26, 27, 48, 55
Corelli, 83, 89, 92, 93
Corporation of Musique, 16
Corporation of the Sons of the Clergy, 70
Courtvill, 74
Covent Garden, 63
Croft, 72, 111
Cromwell, 3, 4, 5, 7
Cross, 37, 63
Crotch, 39
Crowne, 69
Cynthia and Endymion, 99
D.
_Daily Advertizer_, 109
_Daily Courant_, 103
Dalham, 10
Damascene, 74
Davenant, 5, 43
Day, 111
Denmark (Prince of), 40, 50
Dering, 4
Dettingen Te Deum, 70, 71
Dido and Æneas, 32
Dioclesian, 51, 52, 53, 54, 55, 62, 76, 94
Distressed Innocence, 60
Diverting post, 101
Dog Tavern, 63
Dolben, 10, 40
Don Giovanni, 26
Don Quixote, 69, 74
Dorney, 15
Dorset Gardens, 48, 63
Double Dealer, 69
Downes, 54, 56, 57, 62
Draghi, 35, 36, 42
Dring, 61
Dryden, 26, 36, 44, 51, 55, 56, 57, 58, 69, 78
Drury Lane, 63
Dublin, 67
Duchess of Portsmouth, 30
Duke of York, 30, 32
Duke's Theatre, 31
Dulwich College, 33
D'Urfey, 31, 32, 50, 55, 60, 67, 69, 74, 75, 83, 90, 99
E.
Eccles, 100
Ecles, 79
Elizabeth (Queen), 1
Epicedium, 73
Epsom Wells, 26
Evelyn, 29
F.
Fairy Queen, 60, 62, 63, 95
Fantasias, 40
Farquhar, 101
Fatal marriage, 69
Finger, 100, 101
Finnell, 10
Fishbourne, 41
Fitzwilliam library, 36, 41
Flatman, 43
Fletcher, 51, 73
Fly bold rebellion, 39
Fool's preferment, 47, 48
Forcer, 40
French, 38
From hardy climes, 40
From these serene, 43
Fubbs, 30
Full fathom five, 51
Fyssher, David, 96, 97
Fyssher, John, 97
G.
Gates, 108-112
_Gentleman's Journal_, 65, 83
Gibbes, 10
Gibbons, 6, 10, 11, 18, 111, 112
Gibralter, 98
Gildon, 99
Gloucester (Duke), 74
Gloria Patri, 94
Gombell, 15
Goodgroome, 15
Goodison, 50, 67, 68
Gordian Knot, 46, 60
Gostling, 28, 29, 30, 31, 64, 65
Gould, 73
Grabut, 23, 56, 57
Great abuse of musick, 85
Greatorex, 111
Great parent hail, 67
Greene, 103, 104, 105
Gregory, 15
Grove, 100
H.
Halifax, 100
Hall, 36, 88
Hampton Court, 4
Handel, 70, 71
Harding, 10, 33
Hardinge, 15
Harley, 86
Hark, my Daridear, 44
Harmonia Sacra, 83, 84
Harris, 42, 102, 104
Hart, 104
Hawkins, 26, 48, 49, 50, 59, 60, 64, 65, 78, 81, 82, 102, 103, 108
Haydon, 104, 105
Hayes, 21
Haymarket, 101
Hear me, O Lord, 42
Henley, 99, 100
Henry II., 67
Heptenstall, 52, 54, 61, 62
Herbert, 73
Hesse (Prince), 98
Heureux, 109, 110
Hill, 11, 47
Hills, 15
Hilton, 64
Hingston, 4
Hobbs, 61
Hogarth, 61
Hooper, 111
Howard, 60, 78, 82
Howe, 111
Howell, 74, 99
Howes, 15
Hudgbutt, 61, 62
Hughes, 10
Humour of the age, 102
Humphreys, 14, 15, 19, 20, 21, 22, 23, 24
Hunt, 64
Hutton, 10
I.
I attempt from love's sickness, 61
Ibrahim XII., 99
If love's a sweet, 64
Incassum Lesbia, 73
Inconstant, 101
Indian Queen, 60, 61
In these delightful, 26, 94
Isum or Isham, 103, 104, 105
Italian, 38, 53, 68, 89
Italian songs, 18
Italy, 22, 23, 35
I was glad, 43
I will love Thee, 56
I will sing, 42
J.
Jack, thou'rt a toper, 73, 82
James I., 1
James II., 43, 44, 45, 46, 48, 57, 99
Jerusalem is built, 42
Johnson, 21
Jones, 10
Jubilate, 69, 94
Judgment of Paris, 100
K.
Killigrew, 10
King, 6, 90
King Arthur, 55, 56, 57, 59, 62
King's choir, 43
King's instrumental musick, 43
King's musique, 16
Knight of Malta, 73
L.
Lamentation for the death of Mr. H. Purcell, 102
Larken, 2
Last song (Purcell's), 45, 74
Lawes, 6, 13
Lee, 60
Leeve, 111
Leicester Fields, 32
Leighton, 4
Let Cæsar and Urania, 4, 5
Let God arise, 42
Let the dreadful, 69
Leveridge, 99
Libertine, 26
Lileburlero, 45, 46
Lilley, 15
Liverpool, 33
Locke, 6, 9, 15, 20, 26, 27, 35
_London Gazette_, 32, 36, 51, 99, 100
Lord is King, 48
Lord Mayor, 34
Lord, who can tell, 42
Lovely Albina, 75
Love's a blind Goddess, 64
Love's Paradise, 100
Love triumphant, 69
Low, 109
Lowe, 33
Lully, 22, 23, 89
M.
Macbeth, 20, 21, 26
Macfarren, 33
Mackay, 89
Madge, 15
Magbeth, 102
Magdalen College, 4, 98, 99
Magnæ Brittannia, 108
Maid's last prayer, 67
Maidwell's, 50
March, 45
Marriage hater, 60
Married beau, 69
Marsh, 12, 15
Mary (Princess), 35
Mary (Queen), 64, 71, 73, 76
Massacre of Paris, 51
Masters of Choristers of Westminster Abbey, 111
May, 61, 62
May her blest example, 64
Memoires of musick, 56, 85
Memoirs of the musical drama, 61
Merchant Taylors, 34, 50
Mercurius Rusticus, 3
Middleton, 21
Midsummer Night's Dream, 60
Milton, 3
Mock marriage, 73
Mohun, 47
Montague, 98
Motteux, 99
Mountford, 47
Mountjoy, 98
Mozart, 26
Muses Mercury, 101
Musica Antiqua, 21
Musical Antiquarian Society, 33, 59, 67, 73
Music copyists of Westminster Abbey, 112
Musick's handmaid, 46
My beloved spake, 42
My heart is inditing, 43
N.
Needham, 49, 50
New Ayres and dialogues, 20
New Irish tune, 46
New world in the moon, 99
Nichol, 66
Nicholas, 14
North, 56, 85
Norton, 99, 100
Now the maids, 63
O.
Ode for the Queen, 60, 64, 69
Ode on Purcell, 76
Odive custos, 73
Œdipus, 62
Of all the instruments, 33
O God thou art, 42
O God thou hast, 42
Old bachelor, 67
Oldmixon, 100
O Lord our governour, 42
Organists of Westminster Abbey, 111
Orlando Furioso, 101
Oroonoko, 73
Orpheus and Euridice, 101
Orpheus Britannicus, 50, 65, 78, 78, 79, 82, 87
P.
Palmer, 110
Paris, 22
Parson among the peas, 90
Parsons, 111
Pastoral dialogue, 55
Pate, 63
Patence, 109
Pepys, 9, 15, 17, 19, 22, 23, 27
Perce, 28
Perrinchief, 10
Peters, 79
Phaeton, 99
Pills to purge melancholy, 90
Pix, 99
Playford, 36, 37, 40, 46, 51, 62, 68, 94
Portman, 111, 112
Postboy, 63, 105
Pourselle, 89
Powell, 99
Prichard, 34
Priest, 33, 56, 62
Prophetess, 51
Purcell ancestry, 96
Purcell, Anne, 107
Purcell, Daniel, 97, 98, 99, 100, 101, 102, 103, 105, 107
Purcell, Edward, 50, 79, 80, 97, 103, 104, 105, 106, 107, 108
Purcell, Edward Henry, 107, 108, 109, 110
Purcell, Elizabeth, 97
Purcell, Frances, 34, 79, 80, 106, 107
Purcell Henry (senior), 9, 10, 12, 20, 21, 97, 112
Purcell, Henry, 7, 8, 12, 17, 20, 23 _et sequentes_, 108, 111, 112
Purcell, Henry (infant), 106
Purcell, John Baptista, 35, 106
Purcell, Katherine, 97
Purcell, Mary Peters, 79, 106
Purcell, Matthew, 34
Purcell, Mrs., 76, 79, 80, 81, 82, 94, 106, 107
Purcell, Thomas, 12, 13, 14, 15, 16, 17, 24, 29, 34, 35, 44, 106
Purcell Society, 51
Pursell, George, 96
Pursell, John, 96, 97
Pursell, Nicholas, 96, 97
Purshell, Thomas, 96
Q.
Queen, 4, 5
Queen's birthday ode, 67
Queen's library, 102
Queen's Theatre, 48, 54
Quickstep, 45, 46
Quire of fair ladies, 55
R.
Ravenscroft, 73
Reading, 63
Remember not, Lord, 42
Restoration, 6
Richmond, 80
Richmond heiress, 67
Rimbault, 10, 20, 27, 44, 73
Rival sisters, 73
Robert, 74
Robinson, 111
Rochester, 2
Roger, 89
Rogers, 98
Rook, 98
Roscius Anglicanus, 50, 56, 62
Royal Society of Musicians, 14, 107
Rutland House, 6
S.
Sacheverell, 102
Sands, 2
Sale, 97
Scott, 60, 73
Secret service, 22
Sedley, 64
Settle, 60, 99
Shadwell, 26, 28, 51
Shakespeare, 51, 60
Shaw, 22
Shore, 99
Short, 104
Shorter, 10
Siege of Rhodes, 19
Simpson, 68
Sing, all ye muses, 69
Singleton, 15
Smith, 10, 21, 42, 43, 93
Somerset (Duke), 52
Somerset House, 96
Sonatas, 36, 37, 40, 79, 94, 102
Sound the trumpet, 45, 55
South, 10
Southerne, 60, 67, 69, 73
Southwick, 100
_Spectator_, 101
Sprat, 48
Stagins, 14, 15, 43
Stationers' Hall, 65, 101
St. Andrew, 102, 103, 104, 105, 107
St. Ann's Lane, 7, 37
St. Cecilia, 36, 40, 41, 60, 65, 66, 69, 75, 76, 95, 99, 101
St. Clement, 107
St. Edmund, 108
St. George, 86
St. James's Palace, 59
St. John, 60, 108, 109
St. Margaret, 25, 97, 106, 107
St. Martin, 34
St. Mary, 101
St. Paul's Cathedral, 25, 64, 70, 72
Strange, 15
Sweet tyraness, 20
Swifter Isis, 33
T.
Talbot, 76
Tate, 32, 46, 65, 67, 102
Taylor, 59, 95, 111
Taylour, 48, 112
Te Deum, 60, 69, 70, 71, 87, 90, 94
Tempest, 51
Temple, 36, 37, 40, 42, 43, 51, 63
Theatre Ayres, 59
Theodosius, 31
They that go down to the sea, 30
Thou knowest, Lord, 71, 72
Three dukes of Dunstable, 47
Timon of Athens, 28
'Tis nature's voice, 66
To arms, 73
Tonson, 54, 100
Tony Aston, 66
Tovey, 80
Townsend, 18
Trelawney, 98
Trinity College, 67, 76, 106
Trotter, 101
Trye, 112
Tucker, 27, 28, 29, 112
Tudway, 72, 86
Turle, 77, 111
Turner, 20, 28
Two daughters, 56
Tyrannick love, 44
U.
Unhappy penitent, 101
Utrecht Te Deum, 70
V.
Vanbrugh, 101
Vanderman, 112
Verbruggen, 67, 99
Viol da gamba, 31
Virgins are alike, 54
Virtuous wife, 30
W.
Walsh, 70
Ward, 109
Warwick, 13
Watkins, 15
Welcome glorious morn, 60
Welcome song, 32, 33, 34, 39, 43, 44, 48, 50
Weldon, 100
Welsted, 106
Westminster Abbey, 3, 9, 10, 12, 16, 19, 24, 25, 26, 27, 31, 34, 35,
36, 37, 43, 44, 45, 48, 50, 52, 55, 71, 72, 75, 76, 77, 80,
84, 97
Westminster Palace, 14
Westminster School, 106
Wharton, 45
Wheatley, 59
Whitall, 7
White, 111
Whitehall, 7, 18, 23
Whitt, 111
Who can from joy refrain, 74
Why are all the muses, 44
Wife's excuse, 60
William and Mary, 48, 50, 55, 64
Williams, 111
Wilson, 6, 16
Winchester, 2, 11
Wise, 20
Witch, 21
Wood, 4, 91
Y.
Yalden, 99
Ye tuneful muses, 44
Ye twice ten hundred, 61
York Buildings, 99
Yorkshire feast, 50
Young, 104, 105
THE END.
LONDON: R. CLAY, SONS, AND TAYLOR, PRINTERS.
* * * * *
+------------------------------------------------------------+
| Transcriber notes: |
| |
| P.2. 'set in on fire' changed to 'set it on fire'. |
| P.36. 'Harpsecord' changed to 'Harpsichord'. |
| P.37. 'he complete' changed to 'the completed'. |
| P.69. Added footnote anchor. |
| P.77. 'permaturely' changed to 'prematurely'. |
| P.95. 'genuises' chagned to 'geniuses'. |
| Footnote 29. 'harpischord' changed to 'harpsichord'. |
| P.107. 'founders of he' changed to founders of the'. |
| Index: Wood, 4, 91 |
| Corrected various punctuation. |
| |
| Tags that surround the words: __Spectator__ |
| indicate italics. |
+------------------------------------------------------------+
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