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diff --git a/old/50972-0.txt b/old/50972-0.txt deleted file mode 100644 index 288e0af..0000000 --- a/old/50972-0.txt +++ /dev/null @@ -1,5303 +0,0 @@ -Project Gutenberg's The Great Musicians: Purcell, by William H. Cummings - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: The Great Musicians: Purcell - -Author: William H. Cummings - -Editor: Francis Hueffer - -Release Date: January 19, 2016 [EBook #50972] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE GREAT MUSICIANS: PURCELL *** - - - - -Produced by Jane Robins and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - - - - - -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. | - +------------------------------------------------------------+ - - - - - - -End of the Project Gutenberg EBook of The Great Musicians: Purcell, by -William H. 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