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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) - - - - - - -</pre> - - - - -<div class="figcenter"> -<img src="images/coverpage.jpg" width="485" height="700" alt="" /> -</div> - - -<hr class="chap" /> - -<p class="p4a">THE GREAT MUSICIANS</p> - -<hr class="r10" /> - -<h1><span class="gesperrt">PURCELL</span></h1> - -<hr class="r10" /> - - -<p class="p7d">The Great Musicians <span class="mleft4a"> </span></p> - -<p class="p5a"><em>Edited by</em> <span class="smcap">Francis Hueffer</span></p> - -<p class="p8">PURCELL</p> - -<p class="p3a"><span class="smcap">By</span> WILLIAM H. CUMMINGS</p> - -<p class="p5a">LONDON</p> -<p class="p1c">SAMPSON LOW, MARSTON, SEARLE, & RIVINGTON<br /> -CROWN BUILDINGS, 188, FLEET STREET<br /> -1881</p> - -<p class="p1a">[<em>All Rights Reserved</em>]</p> - - - - -<p class="p6">London:</p> -<p class="p1c"><span class="smcap">R. Clay, Sons, and Taylor</span>.<br /> -BREAD STREET HILL.</p> - -<p> - -<!-- Autogenerated TOC. Modify or delete as required. --> - -<a href="#PREFACE">PREFACE.</a><br /> -<a href="#PURCELL">PURCELL.</a><br /> -<a href="#PURCELLS_FAMILY">PURCELL'S FAMILY.</a><br /> -<a href="#ORGANISTS_OF_WESTMINSTER_ABBEY">ORGANISTS OF WESTMINSTER ABBEY.</a><br /> -<a href="#CHRONOLOGICAL_MEMORANDA">CHRONOLOGICAL MEMORANDA.</a><br /> -<a href="#INDEX">INDEX.</a><br /> -<a href="#FOOTNOTES">FOOTNOTES.</a><br /> - -<!-- End Autogenerated TOC. --> - -</p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p> - - - - -<h2><a name="PREFACE" id="PREFACE"></a>PREFACE.</h2> - - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_vi" id="Page_vi">[Pg vi]</a></span></p> - -<p>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.</p> - -<p>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."</p> - -<p>Hawkins not only corresponded with Gostling, but -also frequently visited him at Canterbury; and at -his decease prepared the catalogue for the sale by<span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Other mis-statements will be dealt with in their -proper place. Enough has been said to show that the<span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span> -recognised musical historians are not to be implicitly -relied on when dealing with facts and dates.</p> - -<p>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.</p> - -<p>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.<br /> -<span class="stagright">WILLIAM H. CUMMINGS.</span><br /></p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> - - - - -<h2><a name="PURCELL" id="PURCELL"></a>PURCELL.</h2> - - -<p>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<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> -Prayer, bestrewing the whole pavement with the leaves -thereof." At Rochester cathedral, Colonel Sands, hearing -the organs, cryed, "<cite>A devil on those bag-pipes</cite>," 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, '<cite>Hark how the organs go!</cite>' 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."</p> - -<p><span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span></p> - -<p>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."</p> - -<p>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 <cite>Mercurius Rusticus</cite>, from -whence the foregoing extracts have been taken.</p> - -<p>So complete was the destruction of church music-books, -that examples of the pre-Commonwealth time -are now most rare.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Cromwell's secretary, the poet Milton, was no mean -performer on the organ, and being the son of an eminent -composer,<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> would doubtless, with his passionate<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> -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.</p> - -<p>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<em>l.</em> per annum, John Hingston, who had been one -of the musicians to Charles I. Cromwell was extremely -partial to the Latin <i xml:lang="la" lang="la">Motets</i> 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.</p> - -<p>Anthony Wood, who lived during the Protectorate, -tells the following characteristic anecdote of Cromwell:—</p> - -<blockquote> - -<p>"In October, 1659, James Quin, M.A., and one of -the senior students of Christ Church, a Middlesex man<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span> -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 <em>trouling</em>, 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: '<cite>Mr. Quin, you have -done very well, what shall I do for you?</cite>' To which -Quin made answer, with great compliments, of which -he had command, with a great grace, that '<cite>Your -Highness would be pleased to restore him to his student's -place</cite>,' which he did accordingly, and so kept it to his -dying day."</p></blockquote> - -<p>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<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> -at his hands. In 1656 he granted a licence to Sir -William Davenant to open a kind of theatre<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> 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.</p> - -<p>The extreme Puritan party did, however, so effectually -destroy and put down all Church music,<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> 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.</p> - -<p>We get a further insight into the condition of Church -music at the Restoration, from Matthew Locke's <cite>Present -Practice of Musick Vindicated</cite>, 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."</p> - -<p><span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span></p> - -<p>The original drawing, of which a reduced copy is -given, has the following note:—</p> - -<blockquote> - -<p>"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."</p></blockquote> - -<div class="figcenter"> -<img src="images/i_008.jpg" width="560" height="333" alt="" title="PURCELLS HOUSE" /> -<div class="caption"><p>PURCELL'S HOUSE.</p></div> -</div> - -<p><span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span></p> - -<p>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:—</p> - -<blockquote> - -<p>"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."</p></blockquote> - -<p>We may note here the intimacy which existed between -Purcell's father and Matthew Locke,<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> the celebrated -composer, an intimacy and friendship which was -afterwards extended to the son.</p> - -<p>Henry Purcell, senior, was a gentleman of the Chapel -Royal, and in that capacity sang in the choir at the -coronation of Charles II.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> He was also elected a -singing-man of Westminster Abbey, and master of the<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span> -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.</p> - -<p>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:—</p> - -<blockquote> - -<p>"Accounts of Richard Busby, D.D., 1664. The -money computed by John Needham (Gent.) receiver -of the college.</p></blockquote> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"Cantator in choro Henry Purcell £8 and 40<em>s.</em></div> - <div class="i1">In <sup>re</sup> chorist Henry Purcell £10.</div> - <div class="i1">Cantator in choro per stipend et regard—</div> - <div class="i1">John Harding, Christopher Chapman,</div> - <div class="i1">Henry Purcell, Edwd. Braddock,</div> - <div class="i1">William Hutton, Owen Adamson,</div> - <div class="i1">Thomas Hughes, Peter Amblett, Thomas Shorter,</div> - <div class="i1">Thomas Condy, Thomas Finnell—each £8 and 40<em>s.</em></div> - </div> - <div class="stanza"> - <div class="i0">"Choristicus—</div> - <div class="i1">Et in denariis solutis Henry Purcell,</div> - <div class="i1">Pro datum chorist ad—lxvi<sup>s</sup> viy<sup>d</sup></div> - <div class="i1">Intoto hoc anno <span class="mleft4b">xxxiy£ vi<sup>s</sup> viy<sup>d</sup>.</span></div> - <div class="i1">Ac etiam et contess Hen<sup>o</sup> Purcell, pro</div> - <div class="i1">Chorist. xx£.</div> - <div class="i1">Organista Chr. Gibbons £10.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span></p> -<blockquote> - -<p>"To Mr. Chaunter for nine Holly days—</p></blockquote> - -<div class="center"> -<table border="0" cellpadding="3" cellspacing="0" summary=""> -<tbody> -<tr> - <td> </td> - <td> </td> - <td class="tdr" rowspan="13"><span class="figcenter"> -<img src="images/i_011.png" width="25" alt="" /></span> - </td> -</tr> -<tr> - <td class="tdl">On All Saints day</td> - <td class="tdl">39<em>s.</em></td> - <td> </td> -</tr> -<tr> - <td class="tdl">The first of November</td> - <td class="tdl">"</td> - <td class="tdl"> </td> -</tr> -<tr> - <td class="tdl">Christmas day</td> - <td class="tdl">"</td> - <td class="tdl"> </td> -</tr> -<tr> - <td class="tdl">Epiphany</td> - <td class="tdl">"</td> - <td class="tdl">£ <em>s.</em></td> -</tr> -<tr> - <td class="tdl">Candlemas day</td> - <td class="tdl">"</td> - <td class="tdl">8 12</td> -</tr> -<tr> - <td class="tdl">Lady day</td> - <td class="tdl">"</td> - <td class="tdl"> </td> -</tr> -<tr> - <td class="tdl">Easter day</td> - <td class="tdl">"</td> - <td class="tdl"> </td> -</tr> -<tr> - <td class="tdl">Whitson day</td> - <td class="tdl">"</td> - <td class="tdl"> </td> -</tr> -<tr> - <td class="tdl">St. Peter's day</td> - <td class="tdl">"</td> - <td class="tdl"> </td> -</tr> -</tbody> -</table></div> - -<blockquote> - -<p>"To George Dalham, for tuning the organ this -year, 40<em>s.</em><a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a></p> - -<p>"To John Hill,<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> for playing on the cornett in the -church this year, £4.</p> - -<p>"To the organist for rent of his house, £8.</p> - -<p>"Given to the organist<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> out of the rents at the -taking of his degree, £5.</p> - -<p>"Given by order to the christened Turke—nil.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a></p> - -<p>"Jan. 11, 1664—"<span class="smcap">J. Dolben</span>, <i xml:lang="la" lang="la">Decanus</i>.<br /> -<span class="mleft7a"><span class="smcap">Wal. Jones</span>, <i xml:lang="la" lang="la">Sub Decanus</i>.</span><br /> -<span class="mleft7a"><span class="smcap">H. Killigrew</span>.</span><br /> -<span class="mleft7a"><span class="smcap">S. Bolton</span>.</span><br /> -<span class="mleft7a"><span class="smcap">Charles Gibbes</span>.</span><br /> -<span class="mleft7a"><span class="smcap">Robt. South</span>.</span><br /> -<span class="mleft7a"><span class="smcap">Ric. Perrinchief.</span>"</span><br /> -</p></blockquote> - -<p><span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span></p> - -<p>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:—</p> - -<blockquote> - -<p>"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.</p> - -<ul class="index"> -<li>"<span class="smcap">Henry Cooke.</span></li> -<li><span class="smcap">Tho. Purcell.</span></li> -<li><span class="smcap">Alphonso Marsh.</span></li> -<li><span class="smcap">Gregory Thorndale.</span></li> -<li><span class="smcap">Edward Colman.</span>"</li> -</ul> -</blockquote> - -<p>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<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span> -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.</p> - -<p>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:—</p> - -<blockquote> - -<p>"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).</p> - -<p>"Ex. pr. <span class="smcap">Warwick</span>."</p></blockquote> - -<p><span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span></p> - -<p>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:—</p> - -<blockquote> - -<p>"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).</p> - -<p>"Ex. <span class="smcap">John Nicolas</span>."</p></blockquote> - -<p>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.</p> - -<p>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:—</p> - -<p><span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p> - -<blockquote> - -<p>"The names of the Gen<sup>t</sup> of his Ma<sup>tles</sup> Private Musick -who are to attend his Ma<sup>tie</sup> at Windsor paid out the -Excheker:</p></blockquote> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tbody> -<tr> - <td class="tdl"> </td> - <td class="tdr">£</td> - <td class="tdr"><em>s.</em> </td> - <td class="tdr"><em>d.</em></td> -</tr> -<tr> - <td class="tdl">Tho. Mr. Purcell <span class="mleft3">}</span><br /> Pelham Mr. Humphreys }</td> - <td class="tdr">200</td> - <td class="tdr">0</td> - <td class="tdr">0</td> -</tr> -<tr> - <td class="tdl">Jo<sup>n</sup>. Mr. Hardinge</td> - <td class="tdr">40</td> - <td class="tdr">0</td> - <td class="tdr">0</td> -</tr> -<tr> - <td class="tdl">W<sup>m</sup>. Mr. Howes</td> - <td class="tdr">46</td> - <td class="tdr"> 10</td> - <td class="tdr"> 10</td> -</tr> -<tr> - <td class="tdl">Tho. Mr. Blagrave, Seig<sup>r</sup>. </td> - <td class="tdr">40</td> - <td class="tdr">9</td> - <td class="tdr">2</td> -</tr> -<tr> - <td class="tdl">Alphonso Mr. March</td> - <td class="tdr">40</td> - <td class="tdr">0</td> - <td class="tdr">0</td> -</tr> -<tr> - <td class="tdl">Jo<sup>n</sup>. Mr. Goodgroome</td> - <td class="tdr">40</td> - <td class="tdr">0</td> - <td class="tdr">0</td> -</tr> -<tr> - <td class="tdl">Nat. Mr. Wattkins</td> - <td class="tdr">40</td> - <td class="tdr">0</td> - <td class="tdr">0</td> -</tr> -<tr> - <td class="tdl">Math. Mr. Lock</td> - <td class="tdr">40</td> - <td class="tdr">0</td> - <td class="tdr">0</td> -</tr> -<tr> - <td class="tdl">Jo<sup>n</sup>. Mr. Clayton</td> - <td class="tdr">152</td> - <td class="tdr">13</td> - <td class="tdr">4</td> -</tr> -<tr> - <td class="tdl">Isaac Mr. Stagins, Seig<sup>r</sup>.</td> - <td class="tdr">46</td> - <td class="tdr">10</td> - <td class="tdr">10</td> -</tr> -<tr> - <td class="tdl">Nich. Mr. Stagings, Jun<sup>r</sup>.</td> - <td class="tdr">46</td> - <td class="tdr">10</td> - <td class="tdr">10</td> -</tr> -<tr> - <td class="tdl">Tho. Mr. Battes</td> - <td class="tdr">90</td> - <td class="tdr">0</td> - <td class="tdr">0</td> -</tr> -<tr> - <td class="tdl">John Mr. Lilly</td> - <td class="tdr">40</td> - <td class="tdr">0</td> - <td class="tdr">0</td> -</tr> -<tr> - <td class="tdl">Hen. Mr. Gregory</td> - <td class="tdr">60</td> - <td class="tdr">0</td> - <td class="tdr">0</td> -</tr> -<tr> - <td class="tdl">Theophilus Mr. Hills</td> - <td class="tdr">46</td> - <td class="tdr">10</td> - <td class="tdr">10</td> -</tr> -<tr> - <td class="tdl">Henry Mr. Madge</td> - <td class="tdr">86</td> - <td class="tdr">12</td> - <td class="tdr">8</td> -</tr> -<tr> - <td class="tdl">John Mr. Gombell</td> - <td class="tdr">46</td> - <td class="tdr">10</td> - <td class="tdr">10</td> -</tr> -<tr> - <td class="tdl">Rich<sup>d</sup>. Mr. Dorney</td> - <td class="tdr">20</td> - <td class="tdr">0</td> - <td class="tdr">0</td> -</tr> -<tr> - <td class="tdl">Jo<sup>n</sup>. Mr. Banister, Seig<sup>r</sup>.</td> - <td class="tdr">100</td> - <td class="tdr">0</td> - <td class="tdr">0</td> -</tr> -<tr> - <td class="tdl">Phil. Mr. Beckett</td> - <td class="tdr">60</td> - <td class="tdr">2</td> - <td class="tdr">6</td> -</tr> -<tr> - <td class="tdl">Ro<sup>b</sup>. Mr. Blagrave, Jun<sup>r</sup>.</td> - <td class="tdr">58</td> - <td class="tdr">14</td> - <td class="tdr">2</td> -</tr> -<tr> - <td class="tdl">John Mr. Singleton</td> - <td class="tdr">46</td> - <td class="tdr">10</td> - <td class="tdr">10</td> -</tr> -<tr> - <td class="tdl">Robt. Mr. Strange</td> - <td class="tdr bb">46</td> - <td class="tdr bb">10</td> - <td class="tdr bb">10</td> -</tr> -</tbody> -</table></div> -<blockquote> - -<p>"15 May, 1674. These 24 Gent. of his Ma<sup>tles</sup> private -musick are to attend at Windsore. "<span class="smcap">T. Purcell.</span>"</p></blockquote> - -<p>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.</p> - -<p>Pepys in his Diary (Dec. 19, 1666) made an entry that<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> -"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:—</p> - -<blockquote> - -<p>"Paid to Thomas Pursell at xx<sup>li</sup> pr. ann. for Wages, -and xvj<sup>li</sup> ij<sup>s</sup> vj<sup>d</sup> pr. ann. for a Livery, due for fower -yeares and 3 quarters ended at Mic'mas, 1672.</p></blockquote> - -<p class="center">clxxj<sup>li</sup> xj<sup>s</sup> x<sup>d</sup> ob."</p> - -<p>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,<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> 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.</p> - -<p>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<em>s.</em> 6<em>d.</em> yearly for a livery, payable quarterly, from -Lady-day 1674, and to continue during His Majesty's -pleasure."</p> - -<p><span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span></p> - -<p>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.</p> - -<p>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.</p> - -<p>Pepys' Diary contains frequent reference to Cooke, -and his compositions:—</p> - -<p><span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span></p> - -<blockquote> - -<p>"After sermon a brave anthem of Captain Cooke's -which he himself sang, and the king was well pleased -with it." (Aug. 12, 1660.)</p> - -<p>"A poor dry sermon, but a very good anthem of -Captain Cooke's afterwards." (Oct. 7, 1660.)</p> - -<p>"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.)</p> - -<p>"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.)</p> - -<p>"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.)</p> - -<p>"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.)</p> - -<p>"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.)</p> - -<p>"A most excellent anthem with symphonys between, -sung by Captain Cooke." (Sept. 7, 1662.)</p> - -<p>"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.)</p></blockquote> - -<p><span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span></p> - -<p>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."</p> - -<p>Captain Cooke's services were frequently required on -the stage,<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a> 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."<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a></p> - -<p>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<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> -musicians, amongst them notably Pelham Humphreys, -Wise, Blow, Turner, and Purcell.</p> - -<p>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.</p> - -<p>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 <cite>New Ayres and -Dialogues</cite>. This collection contained five other songs -by Henry Purcell.</p> - -<p>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, <span class="smcap">A.D.</span> 1670, composed by Master -Purcell, one of the Children of the said Chapel."<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> It is -also probable that in this youthful time Purcell composed -the music to <cite>Macbeth</cite>, now commonly associated<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> -with the name of Matthew Locke. That the latter did -compose music for <cite>Macbeth</cite> 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 <cite>Macbeth</cite> music has -many Purcell-like touches; that a copy of the score in -Purcell's youthful hand is in existence;<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> 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.</p> - -<p>The music itself is clearly an elaboration and development -of a series of short movements composed by -Robert Johnson for Middleton's play of <cite>The Witch</cite>.<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a></p> - -<p>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;<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> -he had been educated in the Chapel Royal under -Captain Cooke, where his abilities and his personal<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> -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."</p> - -<p>The <em>pretty boy</em> 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 -<cite>Cathedral Music</cite> 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.</p> - -<p>In 1664 the king sent Humphreys to Paris,<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a> 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.</p> - -<p><span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> - -<p>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,<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a> 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.</p> - -<p>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.</p> - -<p>There exists a very interesting manuscript anthem -in Purcell's handwriting, which was originally composed<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> -by Humphreys, but afterwards altered and improved -by Purcell.</p> - -<p>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.</p> - -<p>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 <em>boys whose voices have changed</em>, -for payment, there being no money assigned to the -treasurer of the chamber for those purposes."</p> - -<p>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<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> -their harmonical progressions.<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a> 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.</p> - -<p>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 <em>copyist</em><a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a> 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<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> -Burney and Hawkins, and constantly repeated on their -authority, that Purcell was appointed <em>organist</em> of Westminster -Abbey at eighteen. The office of copyist he -held for two years only.</p> - -<p>Mention has previously been made of the music to -<cite>Macbeth</cite> 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 <cite>Epsom-Wells</cite>, -Dryden's <cite>Aurenge-Zebe</cite>, and Shadwell's <cite>Libertine</cite>. The -latter contains a four-part chorus, "In these delightful, -pleasant groves," still popular with choral societies. -The whole of the music of <cite>The Libertine</cite> 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, <cite>Don -Giovanni</cite>. In 1677 Purcell wrote the music for Mrs. -Behn's tragedy, <cite>Abdelazor</cite>, 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:—</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"What hope for us remains now he is gone?</div> - <div class="i0">He that knew all the power of numbers flown;</div> - <div class="i0">Alas! too soon; even he</div> - <div class="i0">Whose skilful harmony</div> - <div class="i0">Had charms for all the ills that we endure,</div> - <div class="i0">And could apply a certain cure.</div> - <div class="i0">From pointed griefs he'd take the pain away;</div> -<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span> - <div class="i0">Even ill nature did his lyre obey,</div> - <div class="i0">And in kind thoughts his artful hand repay:</div> - <div class="i0">His layes to anger and to war could move,</div> - <div class="i0">Then calm the tempest they had raised with love,</div> - <div class="i0">And with soft sounds to gentle thoughts incline,</div> - <div class="i0">No passion reign'd, where he did not combine.</div> - <div class="i0">He knew such mystic touches, that in death</div> - <div class="i0">Could cure the fear, or stop the parting breath:</div> - <div class="i0">And if to die had been his fear</div> - <div class="i0">Or life his care,</div> - <div class="i0">He with his lyre could call,</div> - <div class="i0">And could unite his spirits to the fight,</div> - <div class="i0">And vanquish Death in his own field of night.</div> - <div class="i0">Pleased with some powerful Hallelujah</div> - <div class="i0">He, wrapp'd in the joys of his own harmonie,</div> - <div class="i0">Sung on, and flew up to the Deitie."</div> - </div> -</div> -</div> - -<p>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<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a> to Purcell:—</p> - -<blockquote> - -<p>"<span class="smcap">Dear Harry</span>,—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,<br /> -<span class="rightline">"<span class="smcap">M. Locke</span>.</span><br /></p> - -<p>"<cite>Savoy, March 16.</cite>"</p></blockquote> - -<p>In 1678 Purcell resigned his appointment of <em>Copyist</em> -at Westminster Abbey,<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a> doubtless that he might devote -more time to study and composition. In this year he<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> -produced the fine music for the masque in Shadwell's -mutilation of Shakespeare's <cite>Timon of Athens</cite>.</p> - -<p>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:—</p> - -<blockquote> - -<p>"This ffor Mr. John Gostling, Chaunter of y<sup>e</sup> quire -of Canterbury Cathedral. London y<sup>e</sup> 8th of ffeb. <sup>9</sup>⁄<sub>78</sub>.</p> - -<p>"Sir, I have re<sup>ad</sup> y<sup>e</sup> favor of yours of y<sup>e</sup> 4th with y<sup>e</sup> 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 y<sup>e</sup> -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 y<sup>e</sup> compliment with her -servis: and pray <sup>e</sup> 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,<br /> -<span class="rightline">"<span class="smcap">T. Purcell</span>.</span><br /></p> -</blockquote> - -<blockquote> - -<p>"Dr. Perce is in toune but I have not seen him -since. I have perform'd y<sup>e</sup> compliments to Dr. Blow, -Will Turner, etc.</p> - -<p>"F faut: and E lamy are preparing for you."<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a></p></blockquote> -<p><span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span></p> -<p>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.</p> - -<p>We learn from the above interesting letter that -Thomas Purcell called Henry his <em>son</em>, 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, <sup>9</sup>⁄<sub>78</sub>, Mr. John Gosling was sworn "Gentleman -of his Ma<sup>ties</sup> 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 Ma<sup>ties</sup> Chappell Royal, departed this life the 28th -day of February, 1678,<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a> in whose place was admitted -in ordinary Mr. John Gostling, a base from Canterbury, -Master of Arts."</p> - -<p>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.</p> - -<p>Purcell not only wrote double F (F faut) and double<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> -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.</p> - -<p>The history of the composition of the latter anthem -is somewhat remarkable:—</p> - -<blockquote> - -<p>"Charles the Second had given orders for building -a yacht, which as soon as it was finished he named the -<cite>Fubbs</cite>, 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."</p></blockquote> - -<p>Charles the Second became extremely partial to the<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> -singing of Gostling, and was heard to say, "You may -talk as much as you please of your nightingales, but I -have a <em>gosling</em> 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."</p> - -<p>Gostling was a devoted admirer of, and a performer -on, the <i xml:lang="fr" lang="fr">viol da gamba</i>, 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,<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a> -which he presented to Gostling:—</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"Of all the instruments that are,</div> - <div class="i0">None with the viol can compare.</div> - <div class="i0">Mark how the strings their order keep</div> - <div class="i0">With a whet, whet, whet, and a sweep, sweep, sweep.</div> - <div class="i0">But above all this still abounds</div> - <div class="i0">With a zingle, zingle, zing, and a zit zan zounds."</div> - </div> -</div> -</div> - -<p>In 1680 Dr. Blow magnanimously resigned the -appointment of organist of Westminster Abbey in -favour of Purcell,<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a> who thus became possessed of one -of the most distinguished musical positions in the -kingdom at the early age of twenty-two.</p> - -<p>In the same year Purcell composed the music for -Lee's tragedy, <cite>Theodosius, or the Force of Love</cite>. 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,<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> -<cite>The Virtuous Wife</cite>, 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."</p> - -<p>But the most remarkable work of Purcell in this year -(1680) was the composition of the opera <cite>Dido and -Æneas</cite>, 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."</p> - -<p>That this was the first performance is tolerably -certain, for we find in D'Urfey's <cite>New Poems</cite>, 1690, "An -Epilogue to the Opera of <cite>Dido and Æneas</cite>, 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 <cite>London -Gazette</cite>, 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."</p> - -<p><cite>Dido and Æneas</cite> 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<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span> -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.</p> - -<p>There is a tradition that the part of Belinda (or -Anna), written for alto voice, was sung and acted<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a> 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."</p> - -<p>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<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> -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.</p> - -<p>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."</p> - -<p>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.</p> - -<p>The quaint deed is worthy of reproduction here.<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a> The -original is in my possession.</p> - -<p><span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span></p> - -<p>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.</p> - -<p>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,<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a> but the infant survived only a few<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> -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 y<sup>e</sup> 10th, -1682."</p> - -<p>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 <cite>London Gazette</cite>, May 24th, 1683, throws -much light on the subject:—</p> - -<blockquote> - -<p>"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<em>s.</em> the Sett."</p></blockquote> - -<p>Again on the following June the 7th, another -advertisement appeared in the <cite>London Gazette</cite>:—</p> - -<p><span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span></p> - -<blockquote> - -<p>"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."</p></blockquote> - -<p>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."</p> - -<p>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."</p> - -<p>The dedication runs as follows:—</p> - -<p><span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span></p><blockquote> - -<p>"To the King. May it please yo<sup>r</sup> Maj<sup>ty</sup>. I had not -assum'd the confidence of laying y<sup>e</sup> 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 Maj<sup>ty</sup> will with your -accustom'd Clemency, Vouchsafe to Pardon the best -endeavours of yo<sup>r</sup> Maj<sup>ties</sup> Most Humble and Obedient -Subject and Servant,<br /> -<span class="rightline">"<span class="smcap">H. Purcell</span>."</span><br /></p></blockquote> - -<p>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:—</p> - -<blockquote> - -<p>"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;<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> -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: <em>Adagio</em> -and <em>Grave</em> which imports nothing but a very slow -movement: <em>Presto</em>, <em>Largo</em>, and <em>Vivace</em>, a very brisk, -swift, or fast movement: <em>Piano</em>, 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."</p></blockquote> - -<p>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.</p> - -<p>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,<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> -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.</p> - -<p>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."</p> - -<p>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,</p> - -<blockquote> - -<p>"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 <cite>Musical Compositions</cite> on -<cite>St. Cecilia's Day</cite>, by way of Gratitude, claim this Dedication; -which likewise furnishes the Author with an<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span> -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.—<span class="smcap">Henry Purcell.</span>"</p></blockquote> - -<p>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,<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a> 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<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span> -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 ♭.</p> - -<p>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<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> -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,<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a> 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.</p> - -<p>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<em>l.</em> 12<em>s.</em> 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.</p> - -<p><span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span></p> - -<p>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 <cite>Circe</cite> 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,<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a> some of which was published -in 1679.</p> - -<p>A few years since Dr. Rimbault unfortunately published -a portion of Purcell's music to <cite>Circe</cite> with Banister's -name attached as the composer,<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a> but he afterwards -discovered the error he had fallen into.<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a> <cite>Circe</cite> 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.</p> - -<p>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, <cite>Tyrannic -Love</cite>, 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."</p> - -<p>In 1687 Purcell had another son born who was<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span> -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.</p> - -<p>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."</p> - -<p>The earliest existing printed copies of these tunes<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> -are dated 1686, but he reprinted the "Quickstep" in -1689, under the title of "A new Irish tune," in a work -called <cite>Musick's Handmaid for the Virginals or Harpsichord</cite>; -and he again used the tune as a ground-bass -to a piece of incidental music in the play of <cite>The -Gordian Knot Unty'd</cite>. 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.</p> - -<p>In 1687 Henry Playford published <cite>A Pastoral Elegy on -the Death of Mr. John Playford, the Words by Mr. Tate, -set to Musick by Mr. Henry Purcell</cite>. 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:—</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"Then waste no more in sighs your breath,</div> - <div class="i0">Nor think his fate was hard;</div> - <div class="i0">There's no such thing as sudden death</div> - <div class="i0">To those that always are prepar'd."</div> - </div> -</div> -</div> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span> -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.</p> - -<p>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.</p> - -<p>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, <cite>The Fool's Preferment, or the Three -Dukes of Dunstable</cite>, a comedy by D'Urfey. The songs -were sung by William Mountford, who, Colley Cibber -says,<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a> "sung a clear counter-tenor, and had a melodious -warbling throat." "His voice was clear, full, -and melodious."</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span></p> - -<p>The songs in the <cite>Fool's Preferment</cite>, 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.</p> - -<p>Curiously we find that Purcell again became <cite>Copyist</cite> -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.</p> - -<p>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:—<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a></p> - -<blockquote> - -<p>"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<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span> -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."</p></blockquote> - -<p>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:—</p> - -<blockquote> - -<p>"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<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span> -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 <cite>Organ-blower</cite>, as he is in the former, but he is -stil'd organist.—B. C."</p></blockquote> - -<p>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.</p> - -<p>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 -<cite>Orpheus Britannicus</cite>, and other collections, and the -entire work was printed by Goodison in 1788 or 1789,<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span> -but in a very incorrect fashion. It has lately been -published in a very satisfactory manner by the new -"Purcell Society."</p> - -<p>In the year 1690 Purcell must have worked assiduously -for the theatres; we can trace to this period the -production of <cite>The Tempest</cite>, an alteration from Shakespeare -by Shadwell; <cite>The Prophetess</cite>, or <cite>Dioclesian</cite>, an -adaptation from Beaumont and Fletcher by Betterton; -the <cite>Massacre of Paris</cite>, by Lee; and <cite>Amphitryon</cite>, by -Dryden.</p> - -<p>The music of <cite>The Tempest</cite> 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 <cite>The Tempest</cite> is married to -verse not Shakespeare's, and cannot therefore find any -fitting place in a performance of the play.</p> - -<p><cite>Dioclesian</cite>, at first called <cite>The Prophetess</cite>, was advertised -for publication in the <cite>London Gazette</cite>, July 3rd, -1690:—</p> - -<blockquote> - -<p>"The vocal and instrumental musick in the opera -called <cite>The Prophetess</cite>, 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."</p></blockquote> - -<p>It was published the following year with the title, -"<cite>The Vocal and Instrumental Musick of the Prophetess,</cite><span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span> -<cite>or the History of Dioclesian</cite>, 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."</p> - -<p>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:—</p> - -<blockquote> - -<p>"Your Grace has been pleas'd so particularly to -favour the Composition of the Musick in <cite>Dioclesian</cite>, -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.</p> - -<p>"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<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span> -hereafter in <span class="smcap">England</span>, when the Masters of it shall -find more Encouragement. 'Tis now learning <span class="smcap">Italian</span>, -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,<br /> -<span class="stagright">"<span class="smcap">Henry Purcell</span>."</span><br /></p></blockquote> - -<p>The music of <cite>Dioclesian</cite> 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<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span> -the printed copies were corrected by his own hand. At -the end of the book is printed the following:—</p> - -<blockquote> - -<p>"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.</p> - -<p>"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."</p></blockquote> - -<p>Although <cite>Dioclesian</cite> 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 <cite>Roscius Anglicanus</cite>, 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 <cite>The -Beggar's Opera</cite>.</p> - -<p>The songs from <cite>Amphitryon</cite><a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a> were published by -Heptinstall soon after the production of the comedy.</p> - -<p><span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span></p> - -<p>Purcell's music for <cite>Dioclesian</cite> and for <cite>Amphitryon</cite> -seems to have opened the eyes of Dryden, who had -evidently been blind to the distinguished talent of the -composer. In the <cite>Epistle Dedicatory</cite> to <cite>Amphitryon</cite>, -dated October 24, 1690, Dryden says:—</p> - -<blockquote> - -<p>"What has been wanting on my part has been abundantly -supplyed by the Excellent Composition of -Mr. <em>Purcell</em>; in whose Person we have at length found -an <em>Englishman</em> equal with the best abroad. At least -my Opinion of him has been such, since his happy and -judicious Performances in the late Opera,<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> and the Experiences -I have had of him, in the setting of my three -Songs for this <cite>Amphitryon</cite>: To all which, and particularly -to the Composition of the <cite>Pastoral Dialogue</cite>, the -numerous Quire of Fair Ladies gave so just an Applause -on the Third Day."</p></blockquote> - -<p>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."</p> - -<p>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.</p> - -<p>In the succeeding year, 1691, Purcell produced the -music for <cite>King Arthur</cite>, 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.</p> - -<p><span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span></p> - -<p>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."</p> - -<p>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.<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a> -The success at the time of its production is thus recorded -by Downes in his <cite>Roscius Anglicanus</cite>:—</p> - -<blockquote> - -<p>"<cite>King Arthur</cite>, 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."</p></blockquote> - -<p>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<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span> -<cite>Albion and Albanius</cite>. In the preface to the work -he says:—</p> - -<blockquote> - -<p>"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."</p></blockquote> - -<p>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 <cite>Albion and Albanius</cite>, addressed to -James II. by Grabu himself:—</p> - -<blockquote> - -<p>"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."</p></blockquote> - -<p>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, <cite>Albion and Albanius</cite> 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 <cite>King Arthur</cite>, intended by Dryden as a sequel to -<cite>Albion and Albanius</cite>, the author says, "he submitted<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span> -himself in writing and preparing it for the stage" -entirely to the guidance of Purcell. This confession -was probably made with considerable compunction.</p> - -<p>The following extracts from Dryden's <cite>Epistle Dedicatory</cite>, -prefixed to the libretto, will be read with interest:—</p> - -<blockquote> - -<p>"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 <em>Royal Sovereign</em>, 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. <em>Purcel</em>, 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."</p></blockquote> - -<p>Dryden had evidently by this time become aware<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span> -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.<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a></p> - -<p><cite>King Arthur</cite> 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 <em>Theatre Ayres</em> -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 <cite>History of Music</cite>; he writes:—</p> - -<blockquote> - -<p>"It is said that Dryden wrote his <cite>Alexander's Feast</cite> -with a view to its being set by Purcell, but that Purcell<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span> -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 <cite>Te -Deum</cite>, 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."<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a></p></blockquote> - -<p>Had Hawkins made proper inquiry he would have -discovered that <cite>Alexander's Feast</cite> 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 <cite>St. Cecilia's Feast</cite>," and by the -additional testimony of Mr. St. John, afterwards Lord -Bolingbroke.<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a></p> - -<p>In 1691 Purcell composed the music for <cite>Distressed -Innocence</cite>, a tragedy by Elkanah Settle, and also for the -comedies called the <cite>Gordian Knot Untyed</cite>, by an anonymous -author, and <cite>Sir Anthony Love</cite> by Southerne. In -addition to these works he wrote an "Ode for the Queen's -Birthday," commencing "Welcome glorious morn."</p> - -<p>In 1692, he composed music for the plays, entitled, -the <cite>Wife's Excuse</cite>, by Southerne; the <cite>Indian Queen</cite>, by -Howard and Dryden; the <cite>Indian Emperour</cite>, by Dryden; -<cite>Œdipus</cite>, a tragedy by Dryden and Lee; the <cite>Marriage-hater -match'd</cite>, by D'Urfey; and the so-called opera, -the <cite>Fairy Queen</cite>, anonymously adapted from Shakespeare's -<cite>Midsummer Night's Dream</cite>. The music of the -<cite>Indian Queen</cite> abounds in very striking passages; it is<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span> -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.<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a></p> - -<p>Three years after the first performance of the <cite>Indian -Queen</cite>, 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:—</p> - -<blockquote> - -<p>"The songs in the <cite>Indian Queen</cite>, 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."</p></blockquote> - -<p>The preface is too curious to be omitted:—</p> - -<blockquote> - -<p>"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 <cite>Indian Queen</cite>, 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<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span> -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,<br /> -<span class="stagright">"<span class="smcap">J. May</span>,<br /> -<span class="smcap">J. Hudgebutt</span>."</span><br /></p> -</blockquote> - -<p>Comment on this legal robbery of the fruit of an -author's brain-work is quite unnecessary.</p> - -<p>The music to <cite>Œdipus</cite> is very dramatic, but not of -great importance. That of the <cite>Fairy Queen</cite>, on the -contrary, is of considerable pretension and was a great -success. Downes, in his <cite>Roscius Anglicanus</cite>, says:—</p> - -<blockquote> - -<p>"This in ornaments was superior to the other two (<cite>King -Arthur</cite> and <cite>Dioclesian</cite>), 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."</p></blockquote> - -<p>A portion of the music was published by the composer -with the title, "Some select songs as they are -sung in the <cite>Fairy Queen</cite>, set to musick by Mr. Henry -Purcell, London. Printed by J. Heptinstall for the<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span> -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."</p> - -<p>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 <cite>Fairy Queen</cite>, set by Mr. Henry Purcell, -sung by Mr. Reading<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a> and (Mr. Pate in Woman's -habit), and exactly engrav'd by Tho. Cross."</p> - -<p><cite>The Fairy Queen</cite> seems to have shared the fate of -much other music of Purcell's, for the <cite>London Gazette</cite>, -Oct. 13th, 1700, has the following advertisement:—"The -score of the musick for the <cite>Fairy Queen</cite> 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,<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span> -"If Love's a Sweet Passion," was adapted to words -by Gay for the <cite>Beggar's Opera</cite>.</p> - -<p>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:—</p> - -<blockquote> - -<p>"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<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span> -the tune to 'Cold and raw:' it is printed in the second -part of the <cite>Orpheus Britannicus</cite>, and is note for note -the same with the Scots' tune."</p></blockquote> - -<p>Hawkins no doubt had this story from Gostling, the -son of the Gostling mentioned in the anecdote, and it -is therefore probably true.</p> - -<p>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 -<cite>Gentleman's Journal or Monthly Miscellany</cite>, a periodical -published immediately afterward, gives an account of -the performance as follows:—</p> - -<blockquote> - -<p>"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.'"</p></blockquote> - -<p>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.</p> - -<p>The <cite>Gentleman's Journal</cite>, January, 1693, has an -Epigram "by Mr. B—y, whose Ode for St. Cecilia's<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span> -Day you liked so well." The words of the ode were -printed in 1782<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a> with Dr. Brady's name as author.</p> - -<p>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."</p> - -<p>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 -<cite>Abuse of Musick</cite>, printed in 1711, says:—</p> - -<blockquote> - -<p>"Among the varieties which have been brought into -our musick, the <em>divisions</em> 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 <em>graces</em> 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."</p></blockquote> - -<p>The following curious anecdote told by Tony Aston, -in his <cite>Brief Supplement to Colley Cibber</cite>, further illustrates -the custom of <em>gracing</em> music which descended to -our own times:—</p> - -<p><span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span></p> - -<blockquote> - -<p>"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.'"</p></blockquote> - -<p>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.</p> - -<p>In 1693 Purcell composed music for the plays, the -<cite>Old Bachelor</cite>, a comedy by Congreve; the <cite>Richmond -Heiress</cite>, a comedy by D'Urfey; the <cite>Maid's Last Prayer</cite>, -a comedy by Southerne; and <cite>Henry II.</cite>, 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.</p> - -<p>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<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span> -Christ Church. The ode was included in Goodison's -"Purcell publications."</p> - -<p>In 1694 Purcell revised the twelfth edition of <cite>John -Playford's Introduction to the Skill of Musick</cite>. The third -part of the work, which treats of <cite>The Art of Descant</cite>,<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a> -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 <em>Bass</em>, but modern authors compose to -the <em>Treble</em> when they make <em>Counterpoint</em> or <em>Basses</em> to -tunes or songs." Again, in speaking of composition in -three parts, he writes, "The first thing to treat of is -<em>Counterpoint</em>, and in this I must differ from Mr. <cite>Simpson</cite> -(whose <em>Compendium</em> I admire as the most ingenious -book I e're met with on this subject); but his rule in -three parts for <em>Counterpoint</em> 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."</p> - -<p><span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span></p> - -<p>To Purcell's labours of this year, 1694, we are -indebted for the music to the plays of <cite>Don Quixote</cite>, -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.</p> - -<p>Purcell also wrote music for a comedy called the -<cite>Married Beau</cite>, by Crowne; for the <cite>Double Dealer</cite>, a -comedy by Congreve; for the <cite>Fatal Marriage</cite>, a tragedy -by Southerne; and also for <cite>Love Triumphant</cite>, a tragi-comedy -by Dryden<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a>.</p> - -<p>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.</p> - -<p>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:—</p> - -<blockquote> - -<p>"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 -<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span>of it when it was first Perform'd, and more yet by their -Intention to have it repeated at their <cite>Annual Meeting</cite>; -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</p></blockquote> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i2">"Your Lordship's</div> - <div class="i0">Most oblig'd and most Humble Servant,</div> - <div class="i12"><span class="smcap">F. Purcell</span>."</div> - </div> -</div> -</div> - -<p>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"<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a> 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<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span> -that he greatly profited by it is evident from the -striking resemblance of many passages in his own -<cite>Te Deum</cite>, when compared with that of his illustrious -predecessor.</p> - -<p>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.</p> - -<p>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<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span> -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<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span> -in that elegant and judicious manner, as was unknown -to many of his predecessors."</p> - -<p>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.</p> - -<p>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 <cite>Canterbury Guest</cite>, -written by Ravenscroft; the <cite>Mock Marriage</cite>, a comedy -by Scott; the <cite>Rival Sisters</cite>, a tragedy by Gould; -<cite>Oroonoko</cite>, a tragedy by Southerne; the <cite>Knight of Malta</cite>, -a play by Beaumont and Fletcher; and <cite>Bonduca, or -the British Heroine</cite>, 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.</p> - -<p>Purcell also, on 24th July in this year, produced<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span> -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.</p> - -<p>Purcell also wrote some music for D'Urfey's third -part of <cite>Don Quixote</cite>. 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 <cite>Don Quixote</cite>, but it would seem that Purcell was -too ill to accomplish the work.</p> - -<p>"From Rosie Bowers" was considered so important -by D'Urfey that he published the music of the third -part of <cite>Don Quixote</cite> with the following title:—</p> - -<blockquote> - -<p>"New Songs in the Third Part of the Comical History -of <cite>Don Quixote</cite>. 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."<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a></p></blockquote> - -<p><span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span></p> - -<p>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.</p> - -<p>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:—</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"Blessed be the Lord God of Israel,</div> - <div class="i0">From everlasting, and world without end.</div> - <div class="i0">And let all the people say, Amen."</div> - </div> -</div> -</div> - -<p>By his bed-side were gathered his aged mother, his<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span> -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.</p> - -<p>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 -<cite>Dioclesian</cite>:—<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a></p> - -<blockquote> - -<p>Ex Dono Carissimi Desideratissimique Autoris <span class="smcap">Henrici Purcell</span> -Musarum Sacerdotis: Qui Anno Domini 1695 Pridie Festi -S<sup>tae</sup> Cæcilæ Multis Flebilis occidit, Nulli Flebilior quàm Amico -suo atque Admiratori <span class="smcap">Jacobo Talbot</span>.</p></blockquote> - -<p><cite>Translated thus</cite>:</p> - -<blockquote> - -<p>The gift of the most beloved and most distinguished author, -<span class="smcap">Henry Purcell</span>, 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, -<span class="smcap">Jacob Talbot</span>.</p></blockquote> - -<p>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 <cite>Orpheus -Britannicus</cite>, 1698.</p> - -<p>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<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span> -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.</p> - -<p>On the grave-stone the following lines were inscribed:</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Plaudite, felices superi, tanto hospite; nostris</div> - <div class="i0">Præfuerat, vestris additur ille choris:</div> - <div class="i0">Invida nec vobis Purcellum terra reposcat,</div> - <div class="i0">Questa decus sedi deliciasque breves.</div> - <div class="i0">Tam cito decessisse, modos cui singula debet</div> - <div class="i0">Musa, prophana suos, religiosa suos,</div> - <div class="i0">Vivit, Io et vivat, dum vicina organa spirant,</div> - <div class="i0">Dumque colet numeris turba canora Deum.</div> - </div> -</div> -</div> - -<p><cite>Translated thus</cite>:</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Applaud so great a guest, celestial pow'rs,</div> - <div class="i0">Who now resides with you, but once was ours;</div> - <div class="i0">Yet let invidious earth no more reclaim</div> - <div class="i0">Her short-lived fav'rite and her chiefest fame;</div> - <div class="i0">Complaining that so prematurely died</div> - <div class="i0">Good-nature's pleasure and devotion's pride.</div> - <div class="i0">Died? no, he lives, while yonder organs sound</div> - <div class="i0">And sacred echoes to the choir rebound.</div> - </div> -</div> -</div> - -<p>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:—</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i2"><span class="smcap">Francisca</span></div> - <div class="i0"><span class="smcap">Henrici Purcell</span> Uxor,</div> - <div class="i0">Cum conjuge sepulta est.</div> - <div class="i1"><span class="smcap">xiv.</span> Feb. <span class="smcap">mdccvi.</span></div> - </div> -</div> -</div> - -<p><span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span></p> - -<p>On the pillar adjacent to the grave there is a tablet -with the inscription:—</p> - -<blockquote> - -<p>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 37<sup>mo</sup>. Annoq. -Domini 1695.</p></blockquote> - -<p>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 <cite>Orpheus Britannicus</cite> to Lady Elizabeth -Howard was intended for Dryden's wife.</p> - -<p>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 <em>Howard</em>: 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.</p> - -<p>Purcell made his will on the day of his death; it is -important, and reads as follows:—</p> - -<blockquote> - -<p>"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<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span> -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. <span class="rightline">"<span class="smcap">H. Purcell</span>.</span><br /></p></blockquote> - -<blockquote> - -<p>"Signed, sealed, published, and declared by the said -Henry Purcell in the presence of Wm. Ecles, John -Capelin. <span class="rightline">"<span class="smcap">B. Peters</span>.</span>"<br /></p></blockquote> - -<p>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 <cite>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</cite>. Of this popular -little work three editions were speedily exhausted. In -1697 Mrs. Purcell published a collection of <cite>Ten Sonatas -in four parts, composed by the late Mr. Henry Purcell</cite>, -and also <cite>A Collection of Ayres, compos'd for the Theatre, -and upon other occasions, by the late Mr. Henry Purcell</cite>; -and in 1698 a further publication of the first volume of -<cite>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<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span> -the Organ, Harpsichord, or Theorbolute. All which are -placed in their several Keys according to the order of the -Gamut.</cite></p> - -<p>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."<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a></p> - -<p><span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span></p> - -<p>Sir John Hawkins, in his <cite>History of Music</cite>, 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:—</p> - -<blockquote> - -<p>"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."</p></blockquote> - -<p>Hawkins goes on to say:—</p> - -<blockquote> - -<p>"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<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span> -with those expressions of grief for her dear, lamented -husband, which she makes use of to Lady Howard -in the dedication of the <cite>Orpheus Britannicus</cite>. It -seems probable that the disease of which he died -was rather a lingering than an acute one, perhaps a -consumption."</p></blockquote> - -<p>We see from this, that Hawkins had some doubt as -to the truth of the story, and his daughter writing in -1822,<a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a> 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 <em>perhaps the whole may have been -as gross a falsification as that</em> by which Lady Hawkins -is vilified."</p> - -<p>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."</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"Jack, thou'rt a toper; let's have t'other quart.</div> - <div class="i0">Ring, we're so sober 'twere a shame to part;</div> - <div class="i0">None but a cuckold bully'd, by his wife</div> - <div class="i0">For coming late, fears a domestic strife;</div> - <div class="i0">I'm free, and so are you! to call and knock</div> - <div class="i0">Boldly, the watchman cries, 'Past two o'clock.'"</div> - </div> -</div> -</div> - -<p>To these lines he appends the name of Tom Brown, -and tells us that <em>Jack</em> 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 -<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span>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. -<em>H. Purcell</em>, upon his excellent compositions in the -<cite>Harmonia Sacra</cite>."</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"Long did dark Ignorance our Isle 'ore-spread,</div> - <div class="i0">Our Musick and our Poetry lay dead;</div> - <div class="i0">But the dull Malice of a barbarous age</div> - <div class="i0">Fell most severe on <em>David's</em> sacred page:</div> - <div class="i0">To wound his Sense and quench his Heav'n born fire</div> - <div class="i0">Three vile Translators lewdly did conspire;</div> - <div class="i0">In holy Doggerel and low chiming Prose</div> - <div class="i0">The King and Poet they at once depose:</div> - <div class="i0">Vainly the unrighteous charge he did bemoan,</div> - <div class="i0">And languish'd in strange numbers, not his own.</div> - <div class="i0">Nor stopt his Usage here;</div> - <div class="i0">For what escap'd in Wisdom's ancient Rhimes</div> - <div class="i0">Was murder'd o're and o're in the Composer's Chimes.</div> - <div class="i0">What praises <em>Purcell</em> to thy Skill are due,</div> - <div class="i0">Who hast to Judah's Monarch been so true?</div> - <div class="i0">By thee he moves our Hearts, by thee he reigns,</div> - <div class="i0">By thee shakes off the old inglorious Chains,</div> - <div class="i0">And sees new Honours done to his immortal strains.</div> - <div class="i0">Not <em>Italy</em>, the Mother of each Art,</div> - <div class="i0">Did e're a juster, happier Son impart.</div> - <div class="i0">In thy performance we with wonder find</div> - <div class="i0"><em>Corelli's</em> genius to <em>Bassani's</em> join'd.</div> - <div class="i0">Sweetness, combined with Majesty, prepares</div> - <div class="i0">To sing Devotion with inspiring airs.</div> - <div class="i0">Thus I, unknown, my Gratitude express</div> - <div class="i0">And conscious Gratitude could do no less.</div> - <div class="i0">This Tribute from each <em>British</em> Muse is due;</div> - <div class="i0">The whole Poetic Tribe's obliged to you;</div> - <div class="i0">For when the Author's scanty Words have fail'd,</div> - <div class="i0">Thy happier Graces, <em>Purcell</em>, have prevail'd!</div> - <div class="i0">And surely none but you with equal ease,</div> - <div class="i0">Cou'd add to David, and make D'Urfy please."</div> - </div> -</div> -</div> - -<p>The above lines were printed in the <cite>Gentleman's<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span> -Journal</cite> with an editorial note: "A music book intituled -<cite>Harmonia Sacra</cite> 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. <cite>Henry Purcell's</cite> 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. <cite>Mr. -Thomas Brown</cite> is one of those, as you will find by -these lines."</p> - -<p>The lines appeared in the several editions of <cite>Harmonia -Sacra</cite> even as late as 1714, and there is no ground for -believing that the poet and musician ever met.</p> - -<p>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:—</p> - -<blockquote> - -<p>"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."</p></blockquote> - -<p>The catch, as has been noticed previously, forms a -part of the opera <cite>Bonduca</cite>.</p> - -<p>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<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span> -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 -<cite>Memoires of Musick</cite>, was wont to employ him in that -capacity at his house in Queen Street.</p> - -<p>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 <cite>Great -Abuse of Musick</cite>, 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, <cite>On the Evil and Danger of Stage -Plays</cite>, 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:—</p> - -<blockquote> - -<p>"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<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span> -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. <cite>Our Purcell -was the delight of the nation and the wonder of the world</cite>, -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."</p></blockquote> - -<p>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.</p> - -<p>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:—</p> - -<p><span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span></p> - -<blockquote> - -<p>"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 <cite>Te Deum, &c.</cite>, with -instruments, a composition for skill and invention -beyond what was ever attempted in England before -his time."</p></blockquote> - -<p>Evidence respecting Purcell's personal virtues and gifts -is to be found in an ode printed at the commencement -of the second volume of <cite>Orpheus Britannicus</cite>, 1702. -The poem is too long to quote entire, but the following -extracts will suffice:—</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"Make room ye happy natures of the sky,</div> - <div class="i0">Room for a soul, all Love and Harmony;</div> - <div class="i0">A Soul that rose to such Perfection here,</div> - <div class="i0">It scarce will be advanced by being there.</div> - <div class="i0">Whether (to us by Transmigration given),</div> - <div class="i0">He once was an Inhabitant of Heav'n,</div> - <div class="i0">And form'd for Musick, with Diviner fire</div> - <div class="i0">Endu'd, compos'd, for the Celestial Choir;</div> - <div class="i0">Not for the Vulgar Race of Light to hear,</div> - <div class="i0">But on High-days to glad th' Immortal Ear.</div> - <div class="i0">So in some leisure hour was sent away,</div> - <div class="i0">(Their Hour is here a Life, a Thousand years their Day.)</div> -<span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span> - <div class="i0">And what th' Ætherial Musick was to show,</div> - <div class="i0">And teach the wonders of that Art below;</div> - <div class="i0">Whether this might not be, the Muse appeals</div> - <div class="i0">To his Composures, where such Magick dwells,</div> - <div class="i0">As rivals Heav'nly Skill, and human Pow'r excels.</div> - </div> - <div class="stanza"> - <div class="i3">* <span class="mleft2a">*</span> <span class="mleft2a">*</span> <span class="mleft2a">*</span> <span class="mleft2a">*</span></div> - </div> - <div class="stanza"> - <div class="i0">Ah, most unworthy! shou'd we leave unsung</div> - <div class="i0">Such wondrous Goodness in a Life so young.</div> - <div class="i0">In spight of Practice, he this Truth hath shown,</div> - <div class="i0">That Harmony and Vertue shou'd be one.</div> - <div class="i0">So true to Nature, and so just to Wit,</div> - <div class="i0">His Musick was the very Sense you Writ.</div> - <div class="i0">Nor were his Beauties to his Art confin'd;</div> - <div class="i0">So justly were his Soul and Body join'd,</div> - <div class="i0">You'd think his Form the Product of his Mind.</div> - <div class="i0">A conqu'ring sweetness in his Visage dwelt,</div> - <div class="i0">His Eyes would warm, his Wit like lightning melt.</div> - <div class="i0">But those must no more be seen, and that no more be felt.</div> - <div class="i0">Pride was the sole aversion of his Eye,</div> - <div class="i0">Himself as Humble as his Art was High.</div> - <div class="i0">Oh! let him Heav'n (in Life so much ador'd)</div> - <div class="i0">Be now as universally Deplor'd!</div> - </div> - <div class="stanza"> - <div class="i3">* <span class="mleft2a">*</span> <span class="mleft2a">*</span> <span class="mleft2a">*</span> <span class="mleft2a">*</span></div> - </div> - <div class="stanza"> - <div class="i0">There rest thy Ashes—but thy nobler name</div> - <div class="i0">Shall soar aloft and last as long as fame.</div> - <div class="i0">Nor shall thy Worth be to our Isle confin'd,</div> - <div class="i0">But flie and leave the lagging day behind.</div> - <div class="i0"><em>Rome</em>, that did once extend its arms so far,</div> - <div class="i0">Y'ave conquer'd in a nobler Art than War;</div> - <div class="i0">To its proud Sons but only Earth was giv'n,</div> - <div class="i0">But thou hast triumph'd both in Earth and Heav'n."</div> - </div> -</div> -</div> - -<p>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:—</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"Hail! and for ever hail, Harmonious shade,</div> - <div class="i0">I lov'd thee living, and admire thee Dead.</div> - <div class="i0">Apollo's harp at once our souls did strike;</div> - <div class="i0">We learnt together, but not learnt alike:</div> - <div class="i0">Though equal care our Master might bestow,</div> -<span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span> - <div class="i0">Yet only Purcell e're shall equal Blow:</div> - <div class="i0">For thou by Heaven for wondrous things design'd</div> - <div class="i0">Left'st thy companion lagging far behind.</div> - <div class="i0">Sometimes a Hero in an age appears,</div> - <div class="i0">But once a Purcell in a Thousand Years."</div> - </div> -</div> -</div> - -<p>It is clear that Purcell attained the highest pinnacle -in the estimation of his countrymen;<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a> 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:—</p> - -<p>"While Corelli flourished with such <i xml:lang="fr" lang="fr">éclat</i> 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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span></p> - -<p>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.</p> - -<p>Tom D'Urfey was a notorious offender against good -taste, and for him Purcell composed very largely.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"Oh! who can view without a tear</div> - <div class="i0">Great Pindar's muse and D'Urfey near?</div> - <div class="i0">Whose soaring wit ne'er higher flew</div> - <div class="i0">Than to endite for Barthol'mew,</div> - <div class="i0">Setting, for sots at country fairs,</div> - <div class="i0">Dull saucy songs to <em>Purcell's</em> airs."<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a></div> - </div> -</div> -</div> - -<p>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 <cite>Te Deum</cite>. The ballad -in question was called "The Parson among the Peas," -and was printed with Purcell's music in D'Urfey's -<cite>Pills to Purge Melancholy</cite>, 1719.</p> - -<p>At the present day music has become such an exten<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span>sively -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:—</p> - -<blockquote> - -<p>"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 <em>violin</em> to be an instrument only belonging to -a <em>common</em> fiddler, and could not endure that it should -come among them, for feare of making these meetings -to be vain and fiddling."</p></blockquote> - -<p>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 <em>very -good tune</em>, which he nor any one in England saw the -like before."</p> - -<p>He also was the first to exhibit in England the -practice of shifting, or the whole shift on the violin,<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span> -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.</p> - -<p>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."</p> - -<p>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,<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a> 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,<span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span> -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.</p> - -<p>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.</p> - -<p>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 <em>variety</em> which -the <em>minor</em> 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."<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a> Now-a-days -few composers would select the <em>minor</em> mode when<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span> -composing music to the joyful words of the "Gloria -Patri," or to the lines,—</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"In these delightful pleasant groves</div> - <div class="i0">Let us celebrate our happy loves."</div> - </div> -</div> -</div> - -<p>Yet Purcell did so with perfect success, as his music -witnesses.</p> - -<p>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.</p> - -<p>Purcell's seeming repugnance to the publication of -his own music is remarkable. After his death his -widow issued the following advertisement:—</p> - -<blockquote> - -<p>"All the excellent compositions of Mr. Henry -Purcell, both vocal and instrumental, that have been -published, viz.:—</p> - -<p>"<cite>His First Book of Twelve Sonatas</cite>, in four parts.</p> - -<p>"<cite>His Ayrs and Sonatas</cite>, newly printed in four -parts.</p> - -<p>"<cite>The Opera of Diocletian.</cite></p> - -<p>"<cite>Te Deum and Jubilate in Score.</cite></p> - -<p>"<cite>A Choice Collection of Lessons</cite>, for the Harpsichord -or Spinett, with instructions for beginners.</p></blockquote> - -<p>"These six printed for Madam Purcell, and sold for -her by Henry Playford."</p> - -<p>This list as already shown is not quite complete.<span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span> -Henry Purcell published an <cite>Ode for Cecilia's Day</cite>, -in 1684, and the <cite>Songs in the Fairy Queen</cite>, 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.</p> - -<hr class="tb" /> - -<p>Professor Taylor has eloquently said—</p> - -<blockquote> - -<p>"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."</p></blockquote> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span></p> - - -<h2><a name="PURCELLS_FAMILY" id="PURCELLS_FAMILY"></a>PURCELL'S FAMILY.</h2> - - -<p>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,<a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a> 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.</p> - -<p>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:—</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"Will proved 1547-8 (fo: 3 Populwell).</div> - <div class="i0"><span class="smcap">Davjd Fyssher</span> of Salopp Sherman—</div> - <div class="i1">to my Kynsman Nicholas pursell</div> - <div class="i1">to John pursell of Marten, V<sup>li</sup>.</div> - <div class="i1">to George pursell, V<sup>li</sup>.</div> - <div class="i1">to Thomas purshell, Nicholas sonne, V<sup>li</sup>.</div> - <div class="i1">to Roger Calcott of Buttington, Viij<sup>s</sup>."</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span></p> - -<p>"Will proved 1547 (43 Alen.)</p> - -<p><span class="smcap">John Fyssher</span>, gent<sup>n</sup> of Hen. VII., Hen. VIII., and -Edw. VI. chapels—</p> - -<blockquote> -<p>'to my Cosyn,<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a> John Pursell, XX<sup>s</sup> 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."</p></blockquote> - -<p>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.</p> - -<p>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. -Eliz<sup>th</sup> Pursell, Ch.<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a> 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.</p> - -<p>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:</p> - -<blockquote> - -<p>"Here lyeth the body of Edward Purcell, eldest son -of Mr. Purcell, gentleman of the Royal Chapel, and<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span> -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."</p></blockquote> - -<p>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<span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span> -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,<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a> and an ode for Saint Cecilia's Day, -written by Bishop.<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a> 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<span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span> -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.</p> - -<p>On the 21st of March, 1699,<a name="FNanchor_62_62" id="FNanchor_62_62"></a><a href="#Footnote_62_62" class="fnanchor">[62]</a> the following advertisement -appeared in the <cite>London Gazette</cite>:—</p> - -<blockquote> - -<p>"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."</p></blockquote> - -<p>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,<a name="FNanchor_63_63" id="FNanchor_63_63"></a><a href="#Footnote_63_63" class="fnanchor">[63]</a> the second -by John Eccles, <em>the third by Daniel Purcell</em>, and the -fourth by Godfrey Finger.</p> - -<p>The prize compositions of Daniel Purcell and Eccles -were speedily published, but Weldon's work remains in<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span> -MS., as does also that by Finger, who was so annoyed -at the small success his composition achieved that he -left England in disgust.</p> - -<p>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 <cite>Diverting Post</cite>, October 28th, 1704, we read—</p> - -<blockquote> - -<p>"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."</p></blockquote> - -<p>This composition was very highly commended in the -<cite>Muses Mercury</cite>, 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.</p> - -<p>An advertisement in the <cite>Spectator</cite>, No. 340, March -31, 1712, tells us—</p> - -<blockquote> - -<p>"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."</p></blockquote> - -<p>Amongst his compositions, printed and manuscript; not -already mentioned, are Anthems, Songs for the plays<span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span> -"The Careless Husband," "The Humor of the Age," -and "Magbeth."<a name="FNanchor_64_64" id="FNanchor_64_64"></a><a href="#Footnote_64_64" class="fnanchor">[64]</a> "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."</p> - -<p>The words of this "Lamentation" were written by -Nahum Tate, and conclude with the following lines:—</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i2">"A sighing Wind, a murm'ring Rill,</div> - <div class="i2">Our Ears with doleful Accents fill:</div> - <div class="i2">They are heard, and only they,</div> - <div class="i2">For sadly thus they seem to say,</div> - <div class="i2">The Joy, the Pride of Spring is Dead,</div> - <div class="i2">The Soul of Harmony is fled.</div> - <div class="i2">Pleasure's flown from Albion's Shore,</div> - <div class="i2">Wit and Mirth's bright Reign is o're,</div> - <div class="i2">Strephon and music are no more!</div> - <div class="i0">Since Nature thus pays Tribute to his Urn,</div> - <div class="i0">How should a sad, forsaken Brother mourn!"</div> - </div> -</div> -</div> - -<p>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,<a name="FNanchor_65_65" id="FNanchor_65_65"></a><a href="#Footnote_65_65" class="fnanchor">[65]</a> -says:—</p> - -<blockquote> - -<p>"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<span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span> -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."</p></blockquote> - -<p>That Hawkins has made a series of mistakes in the -above statement, is clear from the following advertisement, -which appeared in the <cite>Daily Courant</cite>, December -12, 1717:—</p> - -<blockquote> - -<p>"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.</p> - -<p>"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."</p></blockquote> - -<p>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<span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span> -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:—<a name="FNanchor_66_66" id="FNanchor_66_66"></a><a href="#Footnote_66_66" class="fnanchor">[66]</a></p> - -<blockquote> - -<p>"The question being put whether the vestry should -take the election of an organist into their nomination, -it was agreed in the affirmative.</p> - -<p>"The candidates were—</p></blockquote> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="The candidates were"> -<tbody> -<tr> - <td class="tdl"><span class="smcap">Mr.</span> </td> - <td class="tdl"><span class="smcap">Short</span></td> - <td class="tdc"> </td> -</tr> -<tr> - <td class="tdc">" </td> - <td class="tdl"><span class="smcap">Isham</span></td> - <td class="tdc"> </td> -</tr> -<tr> - <td class="tdc">" </td> - <td class="tdl"><span class="smcap">Young</span></td> - <td class="tdc"> </td> -</tr> -<tr> - <td class="tdc">" </td> - <td class="tdl"><span class="smcap">Green</span> </td> - <td class="tdl">//////</td> -</tr> -<tr> - <td class="tdc">" </td> - <td class="tdl"><span class="smcap">Pursill</span></td> - <td class="tdc"> </td> -</tr> -<tr> - <td class="tdc">" </td> - <td class="tdl"><span class="smcap">Haydon</span> </td> - <td class="tdc"> </td> -</tr> -<tr> - <td class="tdc">" </td> - <td class="tdl"><span class="smcap">Harris</span></td> - <td class="tdc"> </td> -</tr> -<tr> - <td class="tdc">" </td> - <td class="tdl"><span class="smcap">Hart</span></td> - <td class="tdc"> </td> -</tr> -</tbody> -</table></div> - -<blockquote> - -<p>"Mr. Green is elected Organist of the Parish of -St. Andrew, Holborn."</p></blockquote> - -<p>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.</p> - -<blockquote> - -<p>"1718, 3<sup>d</sup> of April, Mr. Green y<sup>e</sup> 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<span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span> -Mr. Green, shall be obliged to a constant personall -attendance on all Sundays and Holydays.</p> - -<p>"The several candidates—</p></blockquote> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="The several candidates"> -<tbody> -<tr> - <td class="tdl"><span class="smcap">Mr.</span> </td> - <td class="tdl">G. <span class="smcap">Haydon</span></td> - <td class="tdl">/</td> -</tr> -<tr> - <td class="tdc">" </td> - <td class="tdl"><span class="smcap">C. Young</span></td> - <td class="tdl"> </td> -</tr> -<tr> - <td class="tdc">" </td> - <td class="tdl"><span class="smcap">Edward Pursil</span> </td> - <td class="tdl"> </td> -</tr> -<tr> - <td class="tdc">" </td> - <td class="tdl"><span class="smcap">John Isham</span> </td> - <td class="tdl">///////////</td> -</tr> -</tbody> -</table></div> - -<blockquote> - -<p>"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."</p></blockquote> - -<p>Here again Edward Purcell was unsuccessful, Mr. -John Isham obtaining eleven votes.</p> - -<p>After the death of Daniel Purcell the following -advertisement appeared in the <cite>Post Boy</cite>, Saturday, 26th -April, 1718:—</p> - -<blockquote> - -<p>"Musick this day published, Being a choice Collection, -&c., to which is added all the Psalm tunes by -the late Mr. Daniel Purcell."</p></blockquote> - -<p>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. Dan<sup>l</sup> -Purcell, late Organist of St. Andrew's, Holbourn."</p> - -<p>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.</p> - -<p>Of the children of Henry Purcell mention has<span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span> -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."<a name="FNanchor_67_67" id="FNanchor_67_67"></a><a href="#Footnote_67_67" class="fnanchor">[67]</a></p> - -<p>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.<a name="FNanchor_68_68" id="FNanchor_68_68"></a><a href="#Footnote_68_68" class="fnanchor">[68]</a> -Mrs. Welsted died in 1724, not having attained the age -of her celebrated father, and the daughter died in 1726, -aged eighteen.</p> - -<p>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 conscien<span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span>tiously -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.</p> - -<p>He had a son, the date of whose birth I have not -been able to trace, who was named <em>Edward Henry</em>.<span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span> -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.<a name="FNanchor_69_69" id="FNanchor_69_69"></a><a href="#Footnote_69_69" class="fnanchor">[69]</a> His father was a good organist, -but himself a very indifferent one."</p> - -<p>The statement is brimful of errors, as we shall see.</p> - -<p>Chamberlaine's <cite>Magnæ Britannia Notitia</cite>, 1737, on -page 219, gives the "children's names" of the Chapel -Royal,<a name="FNanchor_70_70" id="FNanchor_70_70"></a><a href="#Footnote_70_70" class="fnanchor">[70]</a> and there we find <cite>Edward Henry Purcell</cite>. 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, "E<sup>d</sup> H. Purcell, Grandson to the Author -of this book."</p> - -<p>In 1753, August 11th, the vestry of St. John, Hackney,</p> - -<blockquote> - -<p>"Resolved and agreed that y<sup>e</sup> place of organist of the -Parish be and is declared vacant; agreed that the sallary -of y<sup>e</sup> organist of the Parish be settled.</p> - -<p>"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."</p> -<p><span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span></p> -<p>"Ordered, that an advertisement be published in the -paper called the <cite>Daily Advertiser</cite>, 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."</p> - -<p>"On the 22nd Sept., 1753, the candidates appeared -separately before the Vestry, 'and a Vestry was held to -choose an organist.' Candidates being—</p></blockquote> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="candidates appeared separately"> -<tbody> -<tr> - <td class="tdl"><span class="smcap">Mr. Edward Henry Purcell</span> </td> - <td class="tdl">9</td> - <td class="tdl">Votes.</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Mr. David L. Heureux</span></td> - <td class="tdl">6 </td> - <td class="tdc"> "</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Mr. William Ward</span></td> - <td class="tdl">2 </td> - <td class="tdc"> "</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Mr. Richard Low</span></td> - <td class="tdl">0 </td> - <td class="tdc"> "</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Mr. Thomas Archer</span></td> - <td class="tdl">1 </td> - <td class="tdc"> "</td> -</tr> -<tr> - <td class="tdl"><span class="smcap">Mr. Moses Patence</span></td> - <td class="tdl">0 </td> - <td class="tdc"> "</td> -</tr> -</tbody> -</table></div> - -<blockquote> - -<p>"The majority being for Mr. Ed. Hen. Purcell, he was -declared Organist of this Parish till Easter next."</p></blockquote> - -<p>The parish books show that he was re-elected annually -down to Easter Tuesday, April 24, 1764, when there is -an entry—</p> - -<blockquote> - -<p>"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."</p> - -<p>"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."</p></blockquote> - -<p><span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span></p> - -<p>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."</p> - -<p>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—</p> - -<blockquote> - -<p>"Resolved that David L<sup>d</sup> Heureux organist, Sarah -Palmer organ-blower, Be and they are hereby continued -in their respective offices at their annual Sallarys until -Easter Tuesday next."</p></blockquote> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span></p> - - -<p class="p6b"><a name="ORGANISTS_OF_WESTMINSTER_ABBEY" id="ORGANISTS_OF_WESTMINSTER_ABBEY"></a>ORGANISTS OF WESTMINSTER ABBEY.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="ORGANISTS OF WESTMINSTER ABBEY"> -<tbody> -<tr> - <td class="tdl">NAME</td> - <td class="tdl">DATE</td> -</tr> -<tr> - <td class="tdl">John Howe</td> - <td class="tdl">1549</td> -</tr> -<tr> - <td class="tdl">Master Whitt</td> - <td class="tdl">1560</td> -</tr> -<tr> - <td class="tdl">John Taylor</td> - <td class="tdl">1562</td> -</tr> -<tr> - <td class="tdl">Robert White</td> - <td class="tdl">1570</td> -</tr> -<tr> - <td class="tdl">Henry Leeve</td> - <td class="tdl">1575</td> -</tr> -<tr> - <td class="tdl">Edmund Hooper, the first regular appointment as Organist</td> - <td class="tdl">1588</td> -</tr> -<tr> - <td class="tdl">John Parsons</td> - <td class="tdl">1621</td> -</tr> -<tr> - <td class="tdl">Orlando Gibbons</td> - <td class="tdl">1623</td> -</tr> -<tr> - <td class="tdl">Thomas Day</td> - <td class="tdl">1625</td> -</tr> -<tr> - <td class="tdl">Richard Portman</td> - <td class="tdl">1633</td> -</tr> -<tr> - <td class="tdl">Christopher Gibbons</td> - <td class="tdl">1660</td> -</tr> -<tr> - <td class="tdl">Albertus Bryne</td> - <td class="tdl">1666</td> -</tr> -<tr> - <td class="tdl">John Blow</td> - <td class="tdl">1669</td> -</tr> -<tr> - <td class="tdl">Henry Purcell</td> - <td class="tdl">1680</td> -</tr> -<tr> - <td class="tdl">John Blow</td> - <td class="tdl">1695</td> -</tr> -<tr> - <td class="tdl">William Croft</td> - <td class="tdl">1708</td> -</tr> -<tr> - <td class="tdl">John Robinson</td> - <td class="tdl">1727</td> -</tr> -<tr> - <td class="tdl">Benjamin Cooke</td> - <td class="tdl">1762</td> -</tr> -<tr> - <td class="tdl">Samuel Arnold</td> - <td class="tdl">1794</td> -</tr> -<tr> - <td class="tdl">Robert Cooke</td> - <td class="tdl">1803</td> -</tr> -<tr> - <td class="tdl">George Ebenezer Williams</td> - <td class="tdl">1815</td> -</tr> -<tr> - <td class="tdl">Thomas Greatorex</td> - <td class="tdl">1819</td> -</tr> -<tr> - <td class="tdl">James Turle (living)<a name="FNanchor_71_71" id="FNanchor_71_71"></a><a href="#Footnote_71_71" class="fnanchor">[71]</a></td> - <td class="tdl">1831</td> -</tr> -</tbody> -</table></div> - - -<p class="p6b">MASTERS OF THE CHORISTER BOYS OF -WESTMINSTER ABBEY.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="MASTERS OF THE CHORISTER BOYS"> -<tbody> -<tr> - <td class="tdl">NAME</td> - <td class="tdl">DATE</td> -</tr> -<tr> - <td class="tdl">John Taylor</td> - <td class="tdl">1562</td> -</tr> -<tr> - <td class="tdl">Robert White</td> - <td class="tdl">1574</td> -</tr> -<tr> - <td class="tdl">Henry Leeve</td> - <td class="tdl">1575</td> -</tr> -<tr> - <td class="tdl">Edmund Hooper</td> - <td class="tdl">1585</td> -</tr> -<tr> - <td class="tdl">John Gibbs</td> - <td class="tdl">1605</td> -</tr> -<tr> - <td class="tdl">John Parsons</td> - <td class="tdl">1613<span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span></td> -</tr> -<tr> - <td class="tdl">Thomas Day</td> - <td class="tdl">1623</td> -</tr> -<tr> - <td class="tdl">Richard Portman</td> - <td class="tdl">1633</td> -</tr> -<tr> - <td class="tdl">James Trye</td> - <td class="tdl">1637</td> -</tr> -<tr> - <td class="tdl">Walter Porter</td> - <td class="tdl">1639</td> -</tr> -<tr> - <td class="tdl">Henry Purcell (senior) </td> - <td class="tdl">1661</td> -</tr> -<tr> - <td class="tdl">Christopher Gibbons</td> - <td class="tdl">1664</td> -</tr> -<tr> - <td class="tdl">Thomas Blagrave</td> - <td class="tdl">1666</td> -</tr> -<tr> - <td class="tdl">Edward Braddock</td> - <td class="tdl">1670</td> -</tr> -<tr> - <td class="tdl">John Church</td> - <td class="tdl">1704</td> -</tr> -<tr> - <td class="tdl">Bernard Gates</td> - <td class="tdl">1740</td> -</tr> -</tbody> -</table></div> - - -<p class="p6b">MUSIC COPYISTS OF WESTMINSTER ABBEY.</p> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="MUSIC COPYISTS OF WESTMINSTER ABBEY"> -<tbody> -<tr> - <td class="tdl">NAME</td> - <td class="tdl">DATE</td> -</tr> -<tr> - <td class="tdl">Henry Purcell (senior) </td> - <td class="tdl">1661</td> -</tr> -<tr> - <td class="tdl">Christopher Gibbons</td> - <td class="tdl">1664</td> -</tr> -<tr> - <td class="tdl">Stephen Byng</td> - <td class="tdl">1673</td> -</tr> -<tr> - <td class="tdl">Henry Purcell (junior)</td> - <td class="tdl">1676</td> -</tr> -<tr> - <td class="tdl">William Tucker</td> - <td class="tdl">1678</td> -</tr> -<tr> - <td class="tdl">Charles Taylour</td> - <td class="tdl">1684</td> -</tr> -<tr> - <td class="tdl">Henry Purcell</td> - <td class="tdl">1688</td> -</tr> -<tr> - <td class="tdl">Edward Braddock</td> - <td class="tdl">1690</td> -</tr> -<tr> - <td class="tdl">John Church</td> - <td class="tdl">1710</td> -</tr> -<tr> - <td class="tdl">John Buswell</td> - <td class="tdl">1761</td> -</tr> -<tr> - <td class="tdl">Thomas Vanderman</td> - <td class="tdl">1763</td> -</tr> -<tr> - <td class="tdl">Thomas Barrow</td> - <td class="tdl">1782</td> -</tr> -</tbody> -</table></div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span></p> - - - -<h3><a name="CHRONOLOGICAL_MEMORANDA" id="CHRONOLOGICAL_MEMORANDA"></a>CHRONOLOGICAL MEMORANDA.</h3> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tbody> -<tr> - <td class="tdl top">1658.</td> - <td class="tdl">Henry Purcell, the composer, born.</td> -</tr> -<tr> - <td class="tdl top">1659.</td> - <td class="tdl">Meeting of Purcell's father, Matthew Locke, and Pepys.</td> -</tr> -<tr> - <td class="tdl top">1661.</td> - <td class="tdl">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.</td> -</tr> -<tr> - <td class="tdl top">1663.</td> - <td class="tdl">Purcell's father appointed a member of the Royal Band.</td> -</tr> -<tr> - <td class="tdl top">1664.</td> - <td class="tdl">The father died. Purcell entered the Chapel Royal under Captain Cooke.</td> -</tr> -<tr> - <td class="tdl top">1667.</td> - <td class="tdl">Purcell's three-part song, "Sweet Tyraness," published.</td> -</tr> -<tr> - <td class="tdl top">1669.</td> - <td class="tdl">Purcell composed "An Address to the King."</td> -</tr> -<tr> - <td class="tdl top">1672.</td> - <td class="tdl">Purcell's master, Captain Cooke, died; succeeded by Pelham Humphreys.</td> -</tr> -<tr> - <td class="tdl top">1674.</td> - <td class="tdl">Humphreys died; succeeded by Dr. John Blow.</td> -</tr> -<tr> - <td class="tdl top">1676.</td> - <td class="tdl">Purcell appointed copyist of Westminster Abbey. Composed music for (1) "Epsom Wells;" (2) "Aurenge-Zebe; (3) "The Libertine."</td> -</tr> -<tr> - <td class="tdl top">1677.</td> - <td class="tdl">Purcell composed an Elegy on the death of Matthew Locke; also the music for "Abdelazor."</td> -</tr> -<tr> - <td class="tdl top">1678.</td> - <td class="tdl">Resigned the appointment of copyist at Westminster Abbey. "Sweet Tyraness," newly arranged, republished. Music for "Timon of Athens" composed.</td> -</tr> -<tr> - <td class="tdl top">1679.</td> - <td class="tdl">Composed music for Rev. John Gostling's voice.</td> -</tr> -<tr> - <td class="tdl top">1680.</td> - <td class="tdl">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."</td> -</tr> -<tr> - <td class="tdl top">1681.</td> - <td class="tdl">Composed an Ode for the King, "Swifter, Isis, swifter flow."</td> -</tr> -<tr> - <td class="tdl top">1682.</td> - <td class="tdl">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.</td> -</tr> -<tr> - <td class="tdl top">1683.</td> - <td class="tdl">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 <span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span> -for the King;" "Fly, bold rebellion;" and Ode, "From hardy climes," for Prince George of Denmark, on his marriage with the Princess Anne.</td> -</tr> -<tr> - <td class="tdl top">1684.</td> - <td class="tdl">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.</td> -</tr> -<tr> - <td class="tdl top">1685.</td> - <td class="tdl">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."</td> -</tr> -<tr> - <td class="tdl top">1686.</td> - <td class="tdl">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.</td> -</tr> -<tr> - <td class="tdl top">1687.</td> - <td class="tdl">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.</td> -</tr> -<tr> - <td class="tdl top">1688.</td> - <td class="tdl">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.</td> -</tr> -<tr> - <td class="tdl top">1689.</td> - <td class="tdl">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.</td> -</tr> -<tr> - <td class="tdl top">1690.</td> - <td class="tdl">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."</td> -</tr> -<tr> - <td class="tdl top">1691.</td> - <td class="tdl">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.</td> -</tr> -<tr> - <td class="tdl top">1692.</td> - <td class="tdl">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 <span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span> -birthday, and an Ode, "Hail, great Cecilia," for the anniversary of St. Cecilia.</td> -</tr> -<tr> - <td class="tdl top">1693.</td> - <td class="tdl">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.</td> -</tr> -<tr> - <td class="tdl top">1694.</td> - <td class="tdl">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.</td> -</tr> -<tr> - <td class="tdl top">1695.</td> - <td class="tdl">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.</td> -</tr> -<tr> - <td class="tdl top">1699.</td> - <td class="tdl">Purcell's mother died.</td> -</tr> -<tr> - <td class="tdl top">1706.</td> - <td class="tdl">Purcell's widow died.</td> -</tr> -<tr> - <td class="tdl top">1707.</td> - <td class="tdl">Purcell's daughter married to L. Welsted.</td> -</tr> -<tr> - <td class="tdl top">1710.</td> - <td class="tdl">Purcell's son, Edward, married.</td> -</tr> -<tr> - <td class="tdl top">1717.</td> - <td class="tdl">Edward Purcell and Daniel Purcell, the composer's brothers, died.</td> -</tr> -<tr> - <td class="tdl top">1726.</td> - <td class="tdl">Purcell's son, Edward, organist of St. Margaret's, Westminster.</td> -</tr> -<tr> - <td class="tdl top">1737.</td> - <td class="tdl">Edward Henry Purcell, grandson of the composer, a child of the Chapel Royal.</td> -</tr> -<tr> - <td class="tdl top">1738.</td> - <td class="tdl">Purcell's son, Edward, organist of St. Margaret's, Westminster.</td> -</tr> -<tr> - <td class="tdl top">1740.</td> - <td class="tdl">Edward died.</td> -</tr> -<tr> - <td class="tdl top">1753.</td> - <td class="tdl">Edward Henry Purcell, grandson of the composer organist of St. John, Hackney.</td> -</tr> -<tr> - <td class="tdl top">1765.</td> - <td class="tdl">Not re-elected to St. John, Hackney.</td> -</tr> -</tbody> -</table></div> - -<p><span class="pagenum"><a name="Page_116" id="Page_116"></a></span></p> - -<p><span class="pagenum"><a name="Page_117" id="Page_117"></a></span></p> - -<p><span class="pagenum"><a name="Page_118" id="Page_118"></a></span></p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span></p> - -<h2><a name="INDEX" id="INDEX"></a>INDEX.</h2> - - -<ul class="index"> -<li class="isub5">A.</li> - -<li class="ifrst">Abdelazor, <a href="#Page_26">26</a></li> - - <li class="indx">Abingdon, Earl, <a href="#Page_98">98</a></li> - - <li class="indx">Abuse of musick, <a href="#Page_66">66</a></li> - - <li class="indx">Adamson, <a href="#Page_10">10</a></li> - - <li class="indx">Addison, <a href="#Page_99">99</a></li> - - <li class="indx">Akroy'd, <a href="#Page_74">74</a></li> - - <li class="indx">Albion and Albanius, <a href="#Page_56">56</a>, <a href="#Page_57">57</a></li> - - <li class="indx">Aldrich, <a href="#Page_90">90</a></li> - - <li class="indx">Alexander's Feast, <a href="#Page_59">59</a>, <a href="#Page_60">60</a></li> - - <li class="indx">Amblett, <a href="#Page_10">10</a></li> - - <li class="indx">Amphytryon, <a href="#Page_51">51</a>, <a href="#Page_54">54</a>, <a href="#Page_55">55</a></li> - - <li class="indx">Ancient vocal music, <a href="#Page_44">44</a></li> - - <li class="indx">Ancient Concerts, <a href="#Page_33">33</a></li> - - <li class="indx">Angello, <a href="#Page_12">12</a></li> - - <li class="indx">Anna, <a href="#Page_33">33</a></li> - - <li class="indx">Anne (Princess), <a href="#Page_35">35</a>, <a href="#Page_40">40</a>, <a href="#Page_99">99</a></li> - - <li class="indx">Anne (Queen), <a href="#Page_86">86</a>-<a href="#Page_98">98</a></li> - - <li class="indx">Anthems, <a href="#Page_94">94</a></li> - - <li class="indx">Archer, <a href="#Page_109">109</a></li> - - <li class="indx">Arise, my muse, <a href="#Page_55">55</a></li> - - <li class="indx">Arne, <a href="#Page_84">84</a></li> - - <li class="indx">Arnold, <a href="#Page_21">21</a>, <a href="#Page_111">111</a></li> - - <li class="indx">Art of descant, <a href="#Page_68">68</a></li> - - <li class="indx">Artillery Company, <a href="#Page_34">34</a></li> - - <li class="indx">Aston, <a href="#Page_66">66</a></li> - - <li class="indx">Augusta's triumph, <a href="#Page_99">99</a></li> - - <li class="indx">Aurenge-Zebe, <a href="#Page_26">26</a></li> - - -<li class="isub5">B.</li> - -<li class="ifrst">Baggs, <a href="#Page_63">63</a></li> - - <li class="indx">Baker, <a href="#Page_106">106</a></li> - - <li class="indx">Baldwin's Gardens, <a href="#Page_81">81</a></li> - - <li class="indx">Balter, <a href="#Page_15">15</a></li> - - <li class="indx">Baltzar, <a href="#Page_91">91</a>, <a href="#Page_92">92</a></li> - - <li class="indx">Bancroft, <a href="#Page_67">67</a></li> - - <li class="indx">Banister, <a href="#Page_15">15</a>, <a href="#Page_44">44</a></li> - - <li class="indx">Barcelona, <a href="#Page_98">98</a></li> - - <li class="indx">Barnard, <a href="#Page_109">109</a></li> - - <li class="indx">Barrington, <a href="#Page_92">92</a></li> - - <li class="indx">Barrow, <a href="#Page_112">112</a></li> - - <li class="indx">Bassani, <a href="#Page_83">83</a>, <a href="#Page_92">92</a></li> - - <li class="indx">Beaumont, <a href="#Page_51">51</a>, <a href="#Page_73">73</a></li> - - <li class="indx">Beckett, <a href="#Page_15">15</a></li> - - <li class="indx">Bedford, <a href="#Page_66">66</a>, <a href="#Page_85">85</a></li> - - <li class="indx">Beggars' Opera, <a href="#Page_54">54</a>, <a href="#Page_64">64</a></li> - - <li class="indx">Behn, <a href="#Page_26">26</a></li> - - <li class="indx">Behold I bring you, <a href="#Page_30">30</a></li> - - <li class="indx">Belinda, <a href="#Page_33">33</a></li> - - <li class="indx">Belk, <a href="#Page_28">28</a></li> - - <li class="indx">Bellerton, <a href="#Page_51">51</a></li> - - <li class="indx">Benedicite, <a href="#Page_42">42</a></li> - - <li class="indx">Bently, <a href="#Page_31">31</a></li> - - <li class="indx">Birthday Ode, <a href="#Page_74">74</a></li> - - <li class="indx">Bishop, <a href="#Page_99">99</a></li> - - <li class="indx">Blagrave, <a href="#Page_15">15</a>, <a href="#Page_23">23</a>, <a href="#Page_112">112</a></li> - - <li class="indx">Blessed are they, <a href="#Page_47">47</a></li> - - <li class="indx">Blessed be the Lord, <a href="#Page_42">42</a></li> - - <li class="indx">Blessed is he, <a href="#Page_42">42</a></li> - - <li class="indx">Blessed is the man, <a href="#Page_71">71</a>, <a href="#Page_72">72</a></li> - - <li class="indx">Blow, <a href="#Page_20">20</a>, <a href="#Page_24">24</a>, <a href="#Page_25">25</a>, <a href="#Page_28">28</a>, <a href="#Page_31">31</a>, <a href="#Page_41">41</a>, <a href="#Page_42">42</a>, <a href="#Page_43">43</a>, <a href="#Page_68">68</a>, <a href="#Page_70">70</a>, <a href="#Page_73">73</a>, <a href="#Page_82">82</a>, <a href="#Page_85">85</a>, <a href="#Page_86">86</a>, <a href="#Page_111">111</a></li> - - <li class="indx">Bolingbroke, <a href="#Page_60">60</a></li> - - <li class="indx">Bolton, <a href="#Page_10">10</a></li> - - <li class="indx">Bonduca, <a href="#Page_73">73</a>, <a href="#Page_84">84</a></li> - - <li class="indx">Bow down thine ear, <a href="#Page_42">42</a></li> - - <li class="indx">Bowen, <a href="#Page_67">67</a></li> - - <li class="indx">Boyce, <a href="#Page_22">22</a>, <a href="#Page_71">71</a></li> - - <li class="indx">Braddock, <a href="#Page_10">10</a>, <a href="#Page_55">55</a>, <a href="#Page_112">112</a></li> - - <li class="indx">Brady, <a href="#Page_66">66</a></li> - - <li class="indx">Bridge, <a href="#Page_111">111</a></li> - - <li class="indx">Bridgman, <a href="#Page_40">40</a></li> - - <li class="indx">Brief supplement to Colley Cibber, <a href="#Page_66">66</a></li> - - <li class="indx">Briscoe, <a href="#Page_74">74</a></li> - - <li class="indx">British heroine, <a href="#Page_73">73</a></li> - - <li class="indx">British Museum, <a href="#Page_10">10</a>, <a href="#Page_86">86</a>, <a href="#Page_99">99</a></li> - - <li class="indx">Britons strike home, <a href="#Page_73">73</a></li> - - <li class="indx">Brown, <a href="#Page_81">81</a>, <a href="#Page_82">82</a>, <a href="#Page_83">83</a>, <a href="#Page_84">84</a></li> - - <li class="indx">Brutus, <a href="#Page_99">99</a></li> - - <li class="indx">Bryne, <a href="#Page_111">111</a></li> - - <li class="indx">Burial office, <a href="#Page_72">72</a></li> - - <li class="indx">Burk, <a href="#Page_32">32</a></li> - - <li class="indx">Burlington, <a href="#Page_16">16</a></li> - - <li class="indx">Burnet, <a href="#Page_45">45</a></li> - - <li class="indx">Burney, <a href="#Page_20">20</a>, <a href="#Page_25">25</a>, <a href="#Page_26">26</a>, <a href="#Page_61">61</a></li> - - <li class="indx">Busby, <a href="#Page_10">10</a>, <a href="#Page_80">80</a></li> - - <li class="indx">Buswell, <a href="#Page_112">112</a></li> - - <li class="indx">By the croaking, <a href="#Page_61">61</a></li> - - <li class="indx">By the waters, <a href="#Page_42">42</a></li> - - <li class="indx">Byng, <a href="#Page_25">25</a>, <a href="#Page_112">112</a><span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span></li> - - -<li class="isub5">C.</li> - -<li class="ifrst">Cæsar, <a href="#Page_22">22</a></li> - - <li class="indx">Calcott, <a href="#Page_96">96</a></li> - - <li class="indx">Cambridge, <a href="#Page_36">36</a>, <a href="#Page_41">41</a></li> - - <li class="indx">Canon, <a href="#Page_68">68</a></li> - - <li class="indx">Canterbury, <a href="#Page_1">1</a>, <a href="#Page_28">28</a>, <a href="#Page_29">29</a></li> - - <li class="indx">Canterbury guest, <a href="#Page_73">73</a></li> - - <li class="indx">Capelin, <a href="#Page_79">79</a></li> - - <li class="indx">Careless husband, <a href="#Page_102">102</a></li> - - <li class="indx">Carissimi, <a href="#Page_23">23</a></li> - - <li class="indx">Carr, <a href="#Page_36">36</a>, <a href="#Page_37">37</a>, <a href="#Page_40">40</a>, <a href="#Page_41">41</a>, <a href="#Page_45">45</a>, <a href="#Page_52">52</a></li> - - <li class="indx">Catch Club, <a href="#Page_31">31</a></li> - - <li class="indx">Catherine of Braganza, <a href="#Page_35">35</a></li> - - <li class="indx">Cecilia, <em>see</em> St. C.</li> - - <li class="indx">Celebrate this festival, <a href="#Page_67">67</a></li> - - <li class="indx">Celestial music, <a href="#Page_50">50</a></li> - - <li class="indx">Chamberlaine, <a href="#Page_108">108</a></li> - - <li class="indx">Chapel Royal, <a href="#Page_9">9</a>, <a href="#Page_12">12</a>, <a href="#Page_22">22</a>, <a href="#Page_24">24</a>, <a href="#Page_25">25</a>, <a href="#Page_27">27</a>, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>, <a href="#Page_33">33</a>, <a href="#Page_34">34</a>, <a href="#Page_37">37</a>, <a href="#Page_41">41</a>, <a href="#Page_46">46</a>, <a href="#Page_52">52</a>, <a href="#Page_55">55</a>, <a href="#Page_61">61</a>, <a href="#Page_64">64</a>, <a href="#Page_84">84</a>, <a href="#Page_86">86</a>, <a href="#Page_108">108</a></li> - - <li class="indx">Chapman, <a href="#Page_10">10</a></li> - - <li class="indx">Charles I., <a href="#Page_1">1</a>, <a href="#Page_6">6</a>, <a href="#Page_17">17</a></li> - - <li class="indx">Charles II., <a href="#Page_7">7</a>, <a href="#Page_9">9</a>, <a href="#Page_10">10</a>, <a href="#Page_13">13</a>, <a href="#Page_14">14</a>, <a href="#Page_17">17</a>, <a href="#Page_22">22</a>, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>, <a href="#Page_30">30</a>, <a href="#Page_35">35</a>, <a href="#Page_56">56</a>, <a href="#Page_91">91</a>, <a href="#Page_98">98</a></li> - - <li class="indx">Chelsey, <a href="#Page_32">32</a></li> - - <li class="indx">Chichester, <a href="#Page_2">2</a></li> - - <li class="indx">Childe, <a href="#Page_18">18</a>, <a href="#Page_43">43</a></li> - - <li class="indx">Choice collection of lessons, <a href="#Page_79">79</a>, <a href="#Page_94">94</a></li> - - <li class="indx">Christ Church, <a href="#Page_4">4</a>, <a href="#Page_67">67</a>, <a href="#Page_68">68</a></li> - - <li class="indx">Chronological memoranda, <a href="#Page_113">113</a></li> - - <li class="indx">Church, <a href="#Page_112">112</a></li> - - <li class="indx">Cibber, <a href="#Page_47">47</a></li> - - <li class="indx">Circe, <a href="#Page_43">43</a></li> - - <li class="indx">Clark, <a href="#Page_82">82</a></li> - - <li class="indx">Clarke, <a href="#Page_25">25</a>, <a href="#Page_56">56</a>, <a href="#Page_99">99</a></li> - - <li class="indx">Clayton, <a href="#Page_15">15</a></li> - - <li class="indx">Cockpit, <a href="#Page_6">6</a></li> - - <li class="indx">Cold and raw, <a href="#Page_64">64</a>, <a href="#Page_65">65</a></li> - - <li class="indx">Collection of Ayres, <a href="#Page_79">79</a></li> - - <li class="indx">Colman, <a href="#Page_12">12</a></li> - - <li class="indx">Come if you dare, <a href="#Page_56">56</a></li> - - <li class="indx">Come unto these yellow sands, <a href="#Page_51">51</a></li> - - <li class="indx">Come, ye sons of art, <a href="#Page_69">69</a></li> - - <li class="indx">Commonwealth, <a href="#Page_1">1</a>, <a href="#Page_7">7</a></li> - - <li class="indx">Condy, <a href="#Page_10">10</a></li> - - <li class="indx">Congreve, <a href="#Page_67">67</a>, <a href="#Page_69">69</a>, <a href="#Page_100">100</a></li> - - <li class="indx">Cooke, <a href="#Page_12">12</a>, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>, <a href="#Page_18">18</a>, <a href="#Page_19">19</a>, <a href="#Page_20">20</a>, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>, <a href="#Page_24">24</a>, <a href="#Page_49">49</a>, <a href="#Page_111">111</a></li> - - <li class="indx">Copyists, <a href="#Page_25">25</a>, <a href="#Page_26">26</a>, <a href="#Page_27">27</a>, <a href="#Page_48">48</a>, <a href="#Page_55">55</a></li> - - <li class="indx">Corelli, <a href="#Page_83">83</a>, <a href="#Page_89">89</a>, <a href="#Page_92">92</a>, <a href="#Page_93">93</a></li> - - <li class="indx">Corporation of Musique, <a href="#Page_16">16</a></li> - - <li class="indx">Corporation of the Sons of the Clergy, <a href="#Page_70">70</a></li> - - <li class="indx">Courtvill, <a href="#Page_74">74</a></li> - - <li class="indx">Covent Garden, <a href="#Page_63">63</a></li> - - <li class="indx">Croft, <a href="#Page_72">72</a>, <a href="#Page_111">111</a></li> - - <li class="indx">Cromwell, <a href="#Page_3">3</a>, <a href="#Page_4">4</a>, <a href="#Page_5">5</a>, <a href="#Page_7">7</a></li> - - <li class="indx">Cross, <a href="#Page_37">37</a>, <a href="#Page_63">63</a></li> - - <li class="indx">Crotch, <a href="#Page_39">39</a></li> - - <li class="indx">Crowne, <a href="#Page_69">69</a></li> - - <li class="indx">Cynthia and Endymion, <a href="#Page_99">99</a></li> - - -<li class="isub5">D.</li> - - -<li class="ifrst"><cite>Daily Advertizer</cite>, <a href="#Page_109">109</a></li> - - <li class="indx"><cite>Daily Courant</cite>, <a href="#Page_103">103</a></li> - - <li class="indx">Dalham, <a href="#Page_10">10</a></li> - - <li class="indx">Damascene, <a href="#Page_74">74</a></li> - - <li class="indx">Davenant, <a href="#Page_5">5</a>, <a href="#Page_43">43</a></li> - - <li class="indx">Day, <a href="#Page_111">111</a></li> - - <li class="indx">Denmark (Prince of), <a href="#Page_40">40</a>, <a href="#Page_50">50</a></li> - - <li class="indx">Dering, <a href="#Page_4">4</a></li> - - <li class="indx">Dettingen Te Deum, <a href="#Page_70">70</a>, <a href="#Page_71">71</a></li> - - <li class="indx">Dido and Æneas, <a href="#Page_32">32</a></li> - - <li class="indx">Dioclesian, <a href="#Page_51">51</a>, <a href="#Page_52">52</a>, <a href="#Page_53">53</a>, <a href="#Page_54">54</a>, <a href="#Page_55">55</a>, <a href="#Page_62">62</a>, <a href="#Page_76">76</a>, <a href="#Page_94">94</a></li> - - <li class="indx">Distressed Innocence, <a href="#Page_60">60</a></li> - - <li class="indx">Diverting post, <a href="#Page_101">101</a></li> - - <li class="indx">Dog Tavern, <a href="#Page_63">63</a></li> - - <li class="indx">Dolben, <a href="#Page_10">10</a>, <a href="#Page_40">40</a></li> - - <li class="indx">Don Giovanni, <a href="#Page_26">26</a></li> - - <li class="indx">Don Quixote, <a href="#Page_69">69</a>, <a href="#Page_74">74</a></li> - - <li class="indx">Dorney, <a href="#Page_15">15</a></li> - - <li class="indx">Dorset Gardens, <a href="#Page_48">48</a>, <a href="#Page_63">63</a></li> - - <li class="indx">Double Dealer, <a href="#Page_69">69</a></li> - - <li class="indx">Downes, <a href="#Page_54">54</a>, <a href="#Page_56">56</a>, <a href="#Page_57">57</a>, <a href="#Page_62">62</a></li> - - <li class="indx">Draghi, <a href="#Page_35">35</a>, <a href="#Page_36">36</a>, <a href="#Page_42">42</a></li> - - <li class="indx">Dring, <a href="#Page_61">61</a></li> - - <li class="indx">Dryden, <a href="#Page_26">26</a>, <a href="#Page_36">36</a>, <a href="#Page_44">44</a>, <a href="#Page_51">51</a>, <a href="#Page_55">55</a>, <a href="#Page_56">56</a>, <a href="#Page_57">57</a>, <a href="#Page_58">58</a>, <a href="#Page_69">69</a>, <a href="#Page_78">78</a></li> - - <li class="indx">Drury Lane, <a href="#Page_63">63</a></li> - - <li class="indx">Dublin, <a href="#Page_67">67</a></li> - - <li class="indx">Duchess of Portsmouth, <a href="#Page_30">30</a></li> - - <li class="indx">Duke of York, <a href="#Page_30">30</a>, <a href="#Page_32">32</a></li> - - <li class="indx">Duke's Theatre, <a href="#Page_31">31</a></li> - - <li class="indx">Dulwich College, <a href="#Page_33">33</a></li> - - <li class="indx">D'Urfey, <a href="#Page_31">31</a>, <a href="#Page_32">32</a>, <a href="#Page_50">50</a>, <a href="#Page_55">55</a>, <a href="#Page_60">60</a>, <a href="#Page_67">67</a>, <a href="#Page_69">69</a>, <a href="#Page_74">74</a>, <a href="#Page_75">75</a>, <a href="#Page_83">83</a>, <a href="#Page_90">90</a>, <a href="#Page_99">99</a></li> - - -<li class="isub5">E.</li> - -<li class="ifrst">Eccles, <a href="#Page_100">100</a></li> - - <li class="indx">Ecles, <a href="#Page_79">79</a></li> - - <li class="indx">Elizabeth (Queen), <a href="#Page_1">1</a></li> - - <li class="indx">Epicedium, <a href="#Page_73">73</a></li> - - <li class="indx">Epsom Wells, <a href="#Page_26">26</a></li> - - <li class="indx">Evelyn, <a href="#Page_29">29</a></li> - - -<li class="isub5">F.</li> - -<li class="ifrst">Fairy Queen, <a href="#Page_60">60</a>, <a href="#Page_62">62</a>, <a href="#Page_63">63</a>, <a href="#Page_95">95</a></li> - - <li class="indx">Fantasias, <a href="#Page_40">40</a></li> - - <li class="indx">Farquhar, <a href="#Page_101">101</a></li> - - <li class="indx">Fatal marriage, <a href="#Page_69">69</a></li> - - <li class="indx">Finger, <a href="#Page_100">100</a>, <a href="#Page_101">101</a></li> - - <li class="indx">Finnell, <a href="#Page_10">10</a></li> - - <li class="indx">Fishbourne, <a href="#Page_41">41</a></li> - - <li class="indx">Fitzwilliam library, <a href="#Page_36">36</a>, <a href="#Page_41">41</a></li> - - <li class="indx">Flatman, <a href="#Page_43">43</a></li> - - <li class="indx">Fletcher, <a href="#Page_51">51</a>, <a href="#Page_73">73</a></li> - - <li class="indx">Fly bold rebellion, <a href="#Page_39">39</a></li> - - <li class="indx">Fool's preferment, <a href="#Page_47">47</a>, <a href="#Page_48">48</a></li> - - <li class="indx">Forcer, <a href="#Page_40">40</a></li> - - <li class="indx">French, <a href="#Page_38">38</a><span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span></li> - - <li class="indx">From hardy climes, <a href="#Page_40">40</a></li> - - <li class="indx">From these serene, <a href="#Page_43">43</a></li> - - <li class="indx">Fubbs, <a href="#Page_30">30</a></li> - - <li class="indx">Full fathom five, <a href="#Page_51">51</a></li> - - <li class="indx">Fyssher, David, <a href="#Page_96">96</a>, <a href="#Page_97">97</a></li> - - <li class="indx">Fyssher, John, <a href="#Page_97">97</a></li> - - -<li class="isub5">G.</li> - -<li class="ifrst">Gates, <a href="#Page_108">108</a>-<a href="#Page_112">112</a></li> - - <li class="indx"><cite>Gentleman's Journal</cite>, <a href="#Page_65">65</a>, <a href="#Page_83">83</a></li> - - <li class="indx">Gibbes, <a href="#Page_10">10</a></li> - - <li class="indx">Gibbons, <a href="#Page_6">6</a>, <a href="#Page_10">10</a>, <a href="#Page_11">11</a>, <a href="#Page_18">18</a>, <a href="#Page_111">111</a>, <a href="#Page_112">112</a></li> - - <li class="indx">Gibralter, <a href="#Page_98">98</a></li> - - <li class="indx">Gildon, <a href="#Page_99">99</a></li> - - <li class="indx">Gloucester (Duke), <a href="#Page_74">74</a></li> - - <li class="indx">Gloria Patri, <a href="#Page_94">94</a></li> - - <li class="indx">Gombell, <a href="#Page_15">15</a></li> - - <li class="indx">Goodgroome, <a href="#Page_15">15</a></li> - - <li class="indx">Goodison, <a href="#Page_50">50</a>, <a href="#Page_67">67</a>, <a href="#Page_68">68</a></li> - - <li class="indx">Gordian Knot, <a href="#Page_46">46</a>, <a href="#Page_60">60</a></li> - - <li class="indx">Gostling, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>, <a href="#Page_30">30</a>, <a href="#Page_31">31</a>, <a href="#Page_64">64</a>, <a href="#Page_65">65</a></li> - - <li class="indx">Gould, <a href="#Page_73">73</a></li> - - <li class="indx">Grabut, <a href="#Page_23">23</a>, <a href="#Page_56">56</a>, <a href="#Page_57">57</a></li> - - <li class="indx">Great abuse of musick, <a href="#Page_85">85</a></li> - - <li class="indx">Greatorex, <a href="#Page_111">111</a></li> - - <li class="indx">Great parent hail, <a href="#Page_67">67</a></li> - - <li class="indx">Greene, <a href="#Page_103">103</a>, <a href="#Page_104">104</a>, <a href="#Page_105">105</a></li> - - <li class="indx">Gregory, <a href="#Page_15">15</a></li> - - <li class="indx">Grove, <a href="#Page_100">100</a></li> - - -<li class="isub5">H.</li> - -<li class="ifrst">Halifax, <a href="#Page_100">100</a></li> - - <li class="indx">Hall, <a href="#Page_36">36</a>, <a href="#Page_88">88</a></li> - - <li class="indx">Hampton Court, <a href="#Page_4">4</a></li> - - <li class="indx">Handel, <a href="#Page_70">70</a>, <a href="#Page_71">71</a></li> - - <li class="indx">Harding, <a href="#Page_10">10</a>, <a href="#Page_33">33</a></li> - - <li class="indx">Hardinge, <a href="#Page_15">15</a></li> - - <li class="indx">Harley, <a href="#Page_86">86</a></li> - - <li class="indx">Hark, my Daridear, <a href="#Page_44">44</a></li> - - <li class="indx">Harmonia Sacra, <a href="#Page_83">83</a>, <a href="#Page_84">84</a></li> - - <li class="indx">Harris, <a href="#Page_42">42</a>, <a href="#Page_102">102</a>, <a href="#Page_104">104</a></li> - - <li class="indx">Hart, <a href="#Page_104">104</a></li> - - <li class="indx">Hawkins, <a href="#Page_26">26</a>, <a href="#Page_48">48</a>, <a href="#Page_49">49</a>, <a href="#Page_50">50</a>, <a href="#Page_59">59</a>, <a href="#Page_60">60</a>, <a href="#Page_64">64</a>, <a href="#Page_65">65</a>, <a href="#Page_78">78</a>, <a href="#Page_81">81</a>, <a href="#Page_82">82</a>, <a href="#Page_102">102</a>, <a href="#Page_103">103</a>, <a href="#Page_108">108</a></li> - - <li class="indx">Haydon, <a href="#Page_104">104</a>, <a href="#Page_105">105</a></li> - - <li class="indx">Hayes, <a href="#Page_21">21</a></li> - - <li class="indx">Haymarket, <a href="#Page_101">101</a></li> - - <li class="indx">Hear me, O Lord, <a href="#Page_42">42</a></li> - - <li class="indx">Henley, <a href="#Page_99">99</a>, <a href="#Page_100">100</a></li> - - <li class="indx">Henry II., <a href="#Page_67">67</a></li> - - <li class="indx">Heptenstall, <a href="#Page_52">52</a>, <a href="#Page_54">54</a>, <a href="#Page_61">61</a>, <a href="#Page_62">62</a></li> - - <li class="indx">Herbert, <a href="#Page_73">73</a></li> - - <li class="indx">Hesse (Prince), <a href="#Page_98">98</a></li> - - <li class="indx">Heureux, <a href="#Page_109">109</a>, <a href="#Page_110">110</a></li> - - <li class="indx">Hill, <a href="#Page_11">11</a>, <a href="#Page_47">47</a></li> - - <li class="indx">Hills, <a href="#Page_15">15</a></li> - - <li class="indx">Hilton, <a href="#Page_64">64</a></li> - - <li class="indx">Hingston, <a href="#Page_4">4</a></li> - - <li class="indx">Hobbs, <a href="#Page_61">61</a></li> - - <li class="indx">Hogarth, <a href="#Page_61">61</a></li> - - <li class="indx">Hooper, <a href="#Page_111">111</a></li> - - <li class="indx">Howard, <a href="#Page_60">60</a>, <a href="#Page_78">78</a>, <a href="#Page_82">82</a></li> - - <li class="indx">Howe, <a href="#Page_111">111</a></li> - - <li class="indx">Howell, <a href="#Page_74">74</a>, <a href="#Page_99">99</a></li> - - <li class="indx">Howes, <a href="#Page_15">15</a></li> - - <li class="indx">Hudgbutt, <a href="#Page_61">61</a>, <a href="#Page_62">62</a></li> - - <li class="indx">Hughes, <a href="#Page_10">10</a></li> - - <li class="indx">Humour of the age, <a href="#Page_102">102</a></li> - - <li class="indx">Humphreys, <a href="#Page_14">14</a>, <a href="#Page_15">15</a>, <a href="#Page_19">19</a>, <a href="#Page_20">20</a>, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_24">24</a></li> - - <li class="indx">Hunt, <a href="#Page_64">64</a></li> - - <li class="indx">Hutton, <a href="#Page_10">10</a></li> - - -<li class="isub5">I.</li> - -<li class="ifrst">I attempt from love's sickness, <a href="#Page_61">61</a></li> - - <li class="indx">Ibrahim XII., <a href="#Page_99">99</a></li> - - <li class="indx">If love's a sweet, <a href="#Page_64">64</a></li> - - <li class="indx">Incassum Lesbia, <a href="#Page_73">73</a></li> - - <li class="indx">Inconstant, <a href="#Page_101">101</a></li> - - <li class="indx">Indian Queen, <a href="#Page_60">60</a>, <a href="#Page_61">61</a></li> - - <li class="indx">In these delightful, <a href="#Page_26">26</a>, <a href="#Page_94">94</a></li> - - <li class="indx">Isum or Isham, <a href="#Page_103">103</a>, <a href="#Page_104">104</a>, <a href="#Page_105">105</a></li> - - <li class="indx">Italian, <a href="#Page_38">38</a>, <a href="#Page_53">53</a>, <a href="#Page_68">68</a>, <a href="#Page_89">89</a></li> - - <li class="indx">Italian songs, <a href="#Page_18">18</a></li> - - <li class="indx">Italy, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_35">35</a></li> - - <li class="indx">I was glad, <a href="#Page_43">43</a></li> - - <li class="indx">I will love Thee, <a href="#Page_56">56</a></li> - - <li class="indx">I will sing, <a href="#Page_42">42</a></li> - - -<li class="isub5">J.</li> - -<li class="ifrst">Jack, thou'rt a toper, <a href="#Page_73">73</a>, <a href="#Page_82">82</a></li> - - <li class="indx">James I., <a href="#Page_1">1</a></li> - - <li class="indx">James II., <a href="#Page_43">43</a>, <a href="#Page_44">44</a>, <a href="#Page_45">45</a>, <a href="#Page_46">46</a>, <a href="#Page_48">48</a>, <a href="#Page_57">57</a>, <a href="#Page_99">99</a></li> - - <li class="indx">Jerusalem is built, <a href="#Page_42">42</a></li> - - <li class="indx">Johnson, <a href="#Page_21">21</a></li> - - <li class="indx">Jones, <a href="#Page_10">10</a></li> - - <li class="indx">Jubilate, <a href="#Page_69">69</a>, <a href="#Page_94">94</a></li> - - <li class="indx">Judgment of Paris, <a href="#Page_100">100</a></li> - - -<li class="isub5">K.</li> - -<li class="ifrst">Killigrew, <a href="#Page_10">10</a></li> - - <li class="indx">King, <a href="#Page_6">6</a>, <a href="#Page_90">90</a></li> - - <li class="indx">King Arthur, <a href="#Page_55">55</a>, <a href="#Page_56">56</a>, <a href="#Page_57">57</a>, <a href="#Page_59">59</a>, <a href="#Page_62">62</a></li> - - <li class="indx">King's choir, <a href="#Page_43">43</a></li> - - <li class="indx">King's instrumental musick, <a href="#Page_43">43</a></li> - - <li class="indx">King's musique, <a href="#Page_16">16</a></li> - - <li class="indx">Knight of Malta, <a href="#Page_73">73</a></li> - - -<li class="isub5">L.</li> - -<li class="ifrst">Lamentation for the death of Mr. H. Purcell, <a href="#Page_102">102</a></li> - - <li class="indx">Larken, <a href="#Page_2">2</a></li> - - <li class="indx">Last song (Purcell's), <a href="#Page_45">45</a>, <a href="#Page_74">74</a></li> - - <li class="indx">Lawes, <a href="#Page_6">6</a>, <a href="#Page_13">13</a></li> - - <li class="indx">Lee, <a href="#Page_60">60</a><span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span></li> - - <li class="indx">Leeve, <a href="#Page_111">111</a></li> - - <li class="indx">Leicester Fields, <a href="#Page_32">32</a></li> - - <li class="indx">Leighton, <a href="#Page_4">4</a></li> - - <li class="indx">Let Cæsar and Urania, <a href="#Page_4">4</a>, <a href="#Page_5">5</a></li> - - <li class="indx">Let God arise, <a href="#Page_42">42</a></li> - - <li class="indx">Let the dreadful, <a href="#Page_69">69</a></li> - - <li class="indx">Leveridge, <a href="#Page_99">99</a></li> - - <li class="indx">Libertine, <a href="#Page_26">26</a></li> - - <li class="indx">Lileburlero, <a href="#Page_45">45</a>, <a href="#Page_46">46</a></li> - - <li class="indx">Lilley, <a href="#Page_15">15</a></li> - - <li class="indx">Liverpool, <a href="#Page_33">33</a></li> - - <li class="indx">Locke, <a href="#Page_6">6</a>, <a href="#Page_9">9</a>, <a href="#Page_15">15</a>, <a href="#Page_20">20</a>, <a href="#Page_26">26</a>, <a href="#Page_27">27</a>, <a href="#Page_35">35</a></li> - - <li class="indx"><cite>London Gazette</cite>, <a href="#Page_32">32</a>, <a href="#Page_36">36</a>, <a href="#Page_51">51</a>, <a href="#Page_99">99</a>, <a href="#Page_100">100</a></li> - - <li class="indx">Lord is King, <a href="#Page_48">48</a></li> - - <li class="indx">Lord Mayor, <a href="#Page_34">34</a></li> - - <li class="indx">Lord, who can tell, <a href="#Page_42">42</a></li> - - <li class="indx">Lovely Albina, <a href="#Page_75">75</a></li> - - <li class="indx">Love's a blind Goddess, <a href="#Page_64">64</a></li> - - <li class="indx">Love's Paradise, <a href="#Page_100">100</a></li> - - <li class="indx">Love triumphant, <a href="#Page_69">69</a></li> - - <li class="indx">Low, <a href="#Page_109">109</a></li> - - <li class="indx">Lowe, <a href="#Page_33">33</a></li> - - <li class="indx">Lully, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_89">89</a></li> - - -<li class="isub5">M.</li> - -<li class="ifrst">Macbeth, <a href="#Page_20">20</a>, <a href="#Page_21">21</a>, <a href="#Page_26">26</a></li> - - <li class="indx">Macfarren, <a href="#Page_33">33</a></li> - - <li class="indx">Mackay, <a href="#Page_89">89</a></li> - - <li class="indx">Madge, <a href="#Page_15">15</a></li> - - <li class="indx">Magbeth, <a href="#Page_102">102</a></li> - - <li class="indx">Magdalen College, <a href="#Page_4">4</a>, <a href="#Page_98">98</a>, <a href="#Page_99">99</a></li> - - <li class="indx">Magnæ Brittannia, <a href="#Page_108">108</a></li> - - <li class="indx">Maid's last prayer, <a href="#Page_67">67</a></li> - - <li class="indx">Maidwell's, <a href="#Page_50">50</a></li> - - <li class="indx">March, <a href="#Page_45">45</a></li> - - <li class="indx">Marriage hater, <a href="#Page_60">60</a></li> - - <li class="indx">Married beau, <a href="#Page_69">69</a></li> - - <li class="indx">Marsh, <a href="#Page_12">12</a>, <a href="#Page_15">15</a></li> - - <li class="indx">Mary (Princess), <a href="#Page_35">35</a></li> - - <li class="indx">Mary (Queen), <a href="#Page_64">64</a>, <a href="#Page_71">71</a>, <a href="#Page_73">73</a>, <a href="#Page_76">76</a></li> - - <li class="indx">Massacre of Paris, <a href="#Page_51">51</a></li> - - <li class="indx">Masters of Choristers of Westminster Abbey, <a href="#Page_111">111</a></li> - - <li class="indx">May, <a href="#Page_61">61</a>, <a href="#Page_62">62</a></li> - - <li class="indx">May her blest example, <a href="#Page_64">64</a></li> - - <li class="indx">Memoires of musick, <a href="#Page_56">56</a>, <a href="#Page_85">85</a></li> - - <li class="indx">Memoirs of the musical drama, <a href="#Page_61">61</a></li> - - <li class="indx">Merchant Taylors, <a href="#Page_34">34</a>, <a href="#Page_50">50</a></li> - - <li class="indx">Mercurius Rusticus, <a href="#Page_3">3</a></li> - - <li class="indx">Middleton, <a href="#Page_21">21</a></li> - - <li class="indx">Midsummer Night's Dream, <a href="#Page_60">60</a></li> - - <li class="indx">Milton, <a href="#Page_3">3</a></li> - - <li class="indx">Mock marriage, <a href="#Page_73">73</a></li> - - <li class="indx">Mohun, <a href="#Page_47">47</a></li> - - <li class="indx">Montague, <a href="#Page_98">98</a></li> - - <li class="indx">Motteux, <a href="#Page_99">99</a></li> - - <li class="indx">Mountford, <a href="#Page_47">47</a></li> - - <li class="indx">Mountjoy, <a href="#Page_98">98</a></li> - - <li class="indx">Mozart, <a href="#Page_26">26</a></li> - - <li class="indx">Muses Mercury, <a href="#Page_101">101</a></li> - - <li class="indx">Musica Antiqua, <a href="#Page_21">21</a></li> - - <li class="indx">Musical Antiquarian Society, <a href="#Page_33">33</a>, <a href="#Page_59">59</a>, <a href="#Page_67">67</a>, <a href="#Page_73">73</a></li> - - <li class="indx">Music copyists of Westminster Abbey, <a href="#Page_112">112</a></li> - - <li class="indx">Musick's handmaid, <a href="#Page_46">46</a></li> - - <li class="indx">My beloved spake, <a href="#Page_42">42</a></li> - - <li class="indx">My heart is inditing, <a href="#Page_43">43</a></li> - - -<li class="isub5">N.</li> - -<li class="ifrst">Needham, <a href="#Page_49">49</a>, <a href="#Page_50">50</a></li> - - <li class="indx">New Ayres and dialogues, <a href="#Page_20">20</a></li> - - <li class="indx">New Irish tune, <a href="#Page_46">46</a></li> - - <li class="indx">New world in the moon, <a href="#Page_99">99</a></li> - - <li class="indx">Nichol, <a href="#Page_66">66</a></li> - - <li class="indx">Nicholas, <a href="#Page_14">14</a></li> - - <li class="indx">North, <a href="#Page_56">56</a>, <a href="#Page_85">85</a></li> - - <li class="indx">Norton, <a href="#Page_99">99</a>, <a href="#Page_100">100</a></li> - - <li class="indx">Now the maids, <a href="#Page_63">63</a></li> - - -<li class="isub5">O.</li> - -<li class="ifrst">Ode for the Queen, <a href="#Page_60">60</a>, <a href="#Page_64">64</a>, <a href="#Page_69">69</a></li> - - <li class="indx">Ode on Purcell, <a href="#Page_76">76</a></li> - - <li class="indx">Odive custos, <a href="#Page_73">73</a></li> - - <li class="indx">Œdipus, <a href="#Page_62">62</a></li> - - <li class="indx">Of all the instruments, <a href="#Page_33">33</a></li> - - <li class="indx">O God thou art, <a href="#Page_42">42</a></li> - - <li class="indx">O God thou hast, <a href="#Page_42">42</a></li> - - <li class="indx">Old bachelor, <a href="#Page_67">67</a></li> - - <li class="indx">Oldmixon, <a href="#Page_100">100</a></li> - - <li class="indx">O Lord our governour, <a href="#Page_42">42</a></li> - - <li class="indx">Organists of Westminster Abbey, <a href="#Page_111">111</a></li> - - <li class="indx">Orlando Furioso, <a href="#Page_101">101</a></li> - - <li class="indx">Oroonoko, <a href="#Page_73">73</a></li> - - <li class="indx">Orpheus and Euridice, <a href="#Page_101">101</a></li> - - <li class="indx">Orpheus Britannicus, <a href="#Page_50">50</a>, <a href="#Page_65">65</a>, <a href="#Page_78">78</a>, <a href="#Page_78">78</a>, <a href="#Page_79">79</a>, <a href="#Page_82">82</a>, <a href="#Page_87">87</a></li> - - -<li class="isub5">P.</li> - -<li class="ifrst">Palmer, <a href="#Page_110">110</a></li> - - <li class="indx">Paris, <a href="#Page_22">22</a></li> - - <li class="indx">Parson among the peas, <a href="#Page_90">90</a></li> - - <li class="indx">Parsons, <a href="#Page_111">111</a></li> - - <li class="indx">Pastoral dialogue, <a href="#Page_55">55</a></li> - - <li class="indx">Pate, <a href="#Page_63">63</a></li> - - <li class="indx">Patence, <a href="#Page_109">109</a></li> - - <li class="indx">Pepys, <a href="#Page_9">9</a>, <a href="#Page_15">15</a>, <a href="#Page_17">17</a>, <a href="#Page_19">19</a>, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_27">27</a></li> - - <li class="indx">Perce, <a href="#Page_28">28</a></li> - - <li class="indx">Perrinchief, <a href="#Page_10">10</a></li> - - <li class="indx">Peters, <a href="#Page_79">79</a></li> - - <li class="indx">Phaeton, <a href="#Page_99">99</a></li> - - <li class="indx">Pills to purge melancholy, <a href="#Page_90">90</a></li> - - <li class="indx">Pix, <a href="#Page_99">99</a></li> - - <li class="indx">Playford, <a href="#Page_36">36</a>, <a href="#Page_37">37</a>, <a href="#Page_40">40</a>, <a href="#Page_46">46</a>, <a href="#Page_51">51</a>, <a href="#Page_62">62</a>, <a href="#Page_68">68</a>, <a href="#Page_94">94</a></li> - - <li class="indx">Portman, <a href="#Page_111">111</a>, <a href="#Page_112">112</a></li> - - <li class="indx">Postboy, <a href="#Page_63">63</a>, <a href="#Page_105">105</a></li> - - <li class="indx">Pourselle, <a href="#Page_89">89</a></li> - - <li class="indx">Powell, <a href="#Page_99">99</a></li> - - <li class="indx">Prichard, <a href="#Page_34">34</a></li> - - <li class="indx">Priest, <a href="#Page_33">33</a>, <a href="#Page_56">56</a>, <a href="#Page_62">62</a><span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span></li> - - <li class="indx">Prophetess, <a href="#Page_51">51</a></li> - - <li class="indx">Purcell ancestry, <a href="#Page_96">96</a></li> - - <li class="indx">Purcell, Anne, <a href="#Page_107">107</a></li> - - <li class="indx">Purcell, Daniel, <a href="#Page_97">97</a>, <a href="#Page_98">98</a>, <a href="#Page_99">99</a>, <a href="#Page_100">100</a>, <a href="#Page_101">101</a>, <a href="#Page_102">102</a>, <a href="#Page_103">103</a>, <a href="#Page_105">105</a>, <a href="#Page_107">107</a></li> - - <li class="indx">Purcell, Edward, <a href="#Page_50">50</a>, <a href="#Page_79">79</a>, <a href="#Page_80">80</a>, <a href="#Page_97">97</a>, <a href="#Page_103">103</a>, <a href="#Page_104">104</a>, <a href="#Page_105">105</a>, <a href="#Page_106">106</a>, <a href="#Page_107">107</a>, <a href="#Page_108">108</a></li> - - <li class="indx">Purcell, Edward Henry, <a href="#Page_107">107</a>, <a href="#Page_108">108</a>, <a href="#Page_109">109</a>, <a href="#Page_110">110</a></li> - - <li class="indx">Purcell, Elizabeth, <a href="#Page_97">97</a></li> - - <li class="indx">Purcell, Frances, <a href="#Page_34">34</a>, <a href="#Page_79">79</a>, <a href="#Page_80">80</a>, <a href="#Page_106">106</a>, <a href="#Page_107">107</a></li> - - <li class="indx">Purcell Henry (senior), <a href="#Page_9">9</a>, <a href="#Page_10">10</a>, <a href="#Page_12">12</a>, <a href="#Page_20">20</a>, <a href="#Page_21">21</a>, <a href="#Page_97">97</a>, <a href="#Page_112">112</a></li> - - <li class="indx">Purcell, Henry, <a href="#Page_7">7</a>, <a href="#Page_8">8</a>, <a href="#Page_12">12</a>, <a href="#Page_17">17</a>, <a href="#Page_20">20</a>, <a href="#Page_23">23</a> <i xml:lang="la" lang="la">et sequentes</i>, <a href="#Page_108">108</a>, <a href="#Page_111">111</a>, <a href="#Page_112">112</a></li> - - <li class="indx">Purcell, Henry (infant), <a href="#Page_106">106</a></li> - - <li class="indx">Purcell, John Baptista, <a href="#Page_35">35</a>, <a href="#Page_106">106</a></li> - - <li class="indx">Purcell, Katherine, <a href="#Page_97">97</a></li> - - <li class="indx">Purcell, Mary Peters, <a href="#Page_79">79</a>, <a href="#Page_106">106</a></li> - - <li class="indx">Purcell, Matthew, <a href="#Page_34">34</a></li> - - <li class="indx">Purcell, Mrs., <a href="#Page_76">76</a>, <a href="#Page_79">79</a>, <a href="#Page_80">80</a>, <a href="#Page_81">81</a>, <a href="#Page_82">82</a>, <a href="#Page_94">94</a>, <a href="#Page_106">106</a>, <a href="#Page_107">107</a></li> - - <li class="indx">Purcell, Thomas, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>, <a href="#Page_14">14</a>, <a href="#Page_15">15</a>, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>, <a href="#Page_24">24</a>, <a href="#Page_29">29</a>, <a href="#Page_34">34</a>, <a href="#Page_35">35</a>, <a href="#Page_44">44</a>, <a href="#Page_106">106</a></li> - - <li class="indx">Purcell Society, <a href="#Page_51">51</a></li> - - <li class="indx">Pursell, George, <a href="#Page_96">96</a></li> - - <li class="indx">Pursell, John, <a href="#Page_96">96</a>, <a href="#Page_97">97</a></li> - - <li class="indx">Pursell, Nicholas, <a href="#Page_96">96</a>, <a href="#Page_97">97</a></li> - - <li class="indx">Purshell, Thomas, <a href="#Page_96">96</a></li> - - -<li class="isub5">Q.</li> - -<li class="ifrst">Queen, <a href="#Page_4">4</a>, <a href="#Page_5">5</a></li> - - <li class="indx">Queen's birthday ode, <a href="#Page_67">67</a></li> - - <li class="indx">Queen's library, <a href="#Page_102">102</a></li> - - <li class="indx">Queen's Theatre, <a href="#Page_48">48</a>, <a href="#Page_54">54</a></li> - - <li class="indx">Quickstep, <a href="#Page_45">45</a>, <a href="#Page_46">46</a></li> - - <li class="indx">Quire of fair ladies, <a href="#Page_55">55</a></li> - - -<li class="isub5">R.</li> - -<li class="ifrst">Ravenscroft, <a href="#Page_73">73</a></li> - - <li class="indx">Reading, <a href="#Page_63">63</a></li> - - <li class="indx">Remember not, Lord, <a href="#Page_42">42</a></li> - - <li class="indx">Restoration, <a href="#Page_6">6</a></li> - - <li class="indx">Richmond, <a href="#Page_80">80</a></li> - - <li class="indx">Richmond heiress, <a href="#Page_67">67</a></li> - - <li class="indx">Rimbault, <a href="#Page_10">10</a>, <a href="#Page_20">20</a>, <a href="#Page_27">27</a>, <a href="#Page_44">44</a>, <a href="#Page_73">73</a></li> - - <li class="indx">Rival sisters, <a href="#Page_73">73</a></li> - - <li class="indx">Robert, <a href="#Page_74">74</a></li> - - <li class="indx">Robinson, <a href="#Page_111">111</a></li> - - <li class="indx">Rochester, <a href="#Page_2">2</a></li> - - <li class="indx">Roger, <a href="#Page_89">89</a></li> - - <li class="indx">Rogers, <a href="#Page_98">98</a></li> - - <li class="indx">Rook, <a href="#Page_98">98</a></li> - - <li class="indx">Roscius Anglicanus, <a href="#Page_50">50</a>, <a href="#Page_56">56</a>, <a href="#Page_62">62</a></li> - - <li class="indx">Royal Society of Musicians, <a href="#Page_14">14</a>, <a href="#Page_107">107</a></li> - - <li class="indx">Rutland House, <a href="#Page_6">6</a></li> - - -<li class="isub5">S.</li> - -<li class="ifrst">Sacheverell, <a href="#Page_102">102</a></li> - - <li class="indx">Sands, <a href="#Page_2">2</a></li> - - <li class="indx">Sale, <a href="#Page_97">97</a></li> - - <li class="indx">Scott, <a href="#Page_60">60</a>, <a href="#Page_73">73</a></li> - - <li class="indx">Secret service, <a href="#Page_22">22</a></li> - - <li class="indx">Sedley, <a href="#Page_64">64</a></li> - - <li class="indx">Settle, <a href="#Page_60">60</a>, <a href="#Page_99">99</a></li> - - <li class="indx">Shadwell, <a href="#Page_26">26</a>, <a href="#Page_28">28</a>, <a href="#Page_51">51</a></li> - - <li class="indx">Shakespeare, <a href="#Page_51">51</a>, <a href="#Page_60">60</a></li> - - <li class="indx">Shaw, <a href="#Page_22">22</a></li> - - <li class="indx">Shore, <a href="#Page_99">99</a></li> - - <li class="indx">Short, <a href="#Page_104">104</a></li> - - <li class="indx">Shorter, <a href="#Page_10">10</a></li> - - <li class="indx">Siege of Rhodes, <a href="#Page_19">19</a></li> - - <li class="indx">Simpson, <a href="#Page_68">68</a></li> - - <li class="indx">Sing, all ye muses, <a href="#Page_69">69</a></li> - - <li class="indx">Singleton, <a href="#Page_15">15</a></li> - - <li class="indx">Smith, <a href="#Page_10">10</a>, <a href="#Page_21">21</a>, <a href="#Page_42">42</a>, <a href="#Page_43">43</a>, <a href="#Page_93">93</a></li> - - <li class="indx">Somerset (Duke), <a href="#Page_52">52</a></li> - - <li class="indx">Somerset House, <a href="#Page_96">96</a></li> - - <li class="indx">Sonatas, <a href="#Page_36">36</a>, <a href="#Page_37">37</a>, <a href="#Page_40">40</a>, <a href="#Page_79">79</a>, <a href="#Page_94">94</a>, <a href="#Page_102">102</a></li> - - <li class="indx">Sound the trumpet, <a href="#Page_45">45</a>, <a href="#Page_55">55</a></li> - - <li class="indx">South, <a href="#Page_10">10</a></li> - - <li class="indx">Southerne, <a href="#Page_60">60</a>, <a href="#Page_67">67</a>, <a href="#Page_69">69</a>, <a href="#Page_73">73</a></li> - - <li class="indx">Southwick, <a href="#Page_100">100</a></li> - - <li class="indx"><cite>Spectator</cite>, <a href="#Page_101">101</a></li> - - <li class="indx">Sprat, <a href="#Page_48">48</a></li> - - <li class="indx">Stagins, <a href="#Page_14">14</a>, <a href="#Page_15">15</a>, <a href="#Page_43">43</a></li> - - <li class="indx">Stationers' Hall, <a href="#Page_65">65</a>, <a href="#Page_101">101</a></li> - - <li class="indx">St. Andrew, <a href="#Page_102">102</a>, <a href="#Page_103">103</a>, <a href="#Page_104">104</a>, <a href="#Page_105">105</a>, <a href="#Page_107">107</a></li> - - <li class="indx">St. Ann's Lane, <a href="#Page_7">7</a>, <a href="#Page_37">37</a></li> - - <li class="indx">St. Cecilia, <a href="#Page_36">36</a>, <a href="#Page_40">40</a>, <a href="#Page_41">41</a>, <a href="#Page_60">60</a>, <a href="#Page_65">65</a>, <a href="#Page_66">66</a>, <a href="#Page_69">69</a>, <a href="#Page_75">75</a>, <a href="#Page_76">76</a>, <a href="#Page_95">95</a>, <a href="#Page_99">99</a>, <a href="#Page_101">101</a></li> - - <li class="indx">St. Clement, <a href="#Page_107">107</a></li> - - <li class="indx">St. Edmund, <a href="#Page_108">108</a></li> - - <li class="indx">St. George, <a href="#Page_86">86</a></li> - - <li class="indx">St. James's Palace, <a href="#Page_59">59</a></li> - - <li class="indx">St. John, <a href="#Page_60">60</a>, <a href="#Page_108">108</a>, <a href="#Page_109">109</a></li> - - <li class="indx">St. Margaret, <a href="#Page_25">25</a>, <a href="#Page_97">97</a>, <a href="#Page_106">106</a>, <a href="#Page_107">107</a></li> - - <li class="indx">St. Martin, <a href="#Page_34">34</a></li> - - <li class="indx">St. Mary, <a href="#Page_101">101</a></li> - - <li class="indx">St. Paul's Cathedral, <a href="#Page_25">25</a>, <a href="#Page_64">64</a>, <a href="#Page_70">70</a>, <a href="#Page_72">72</a></li> - - <li class="indx">Strange, <a href="#Page_15">15</a></li> - - <li class="indx">Sweet tyraness, <a href="#Page_20">20</a></li> - - <li class="indx">Swifter Isis, <a href="#Page_33">33</a></li> - - -<li class="isub5">T.</li> - -<li class="ifrst">Talbot, <a href="#Page_76">76</a></li> - - <li class="indx">Tate, <a href="#Page_32">32</a>, <a href="#Page_46">46</a>, <a href="#Page_65">65</a>, <a href="#Page_67">67</a>, <a href="#Page_102">102</a></li> - - <li class="indx">Taylor, <a href="#Page_59">59</a>, <a href="#Page_95">95</a>, <a href="#Page_111">111</a></li> - - <li class="indx">Taylour, <a href="#Page_48">48</a>, <a href="#Page_112">112</a></li> - - <li class="indx">Te Deum, <a href="#Page_60">60</a>, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>, <a href="#Page_71">71</a>, <a href="#Page_87">87</a>, <a href="#Page_90">90</a>, <a href="#Page_94">94</a></li> - - <li class="indx">Tempest, <a href="#Page_51">51</a></li> - - <li class="indx">Temple, <a href="#Page_36">36</a>, <a href="#Page_37">37</a>, <a href="#Page_40">40</a>, <a href="#Page_42">42</a>, <a href="#Page_43">43</a>, <a href="#Page_51">51</a>, <a href="#Page_63">63</a></li> - - <li class="indx">Theatre Ayres, <a href="#Page_59">59</a></li> - - <li class="indx">Theodosius, <a href="#Page_31">31</a></li> - - <li class="indx">They that go down to the sea, <a href="#Page_30">30</a></li> - - <li class="indx">Thou knowest, Lord, <a href="#Page_71">71</a>, <a href="#Page_72">72</a></li> - - <li class="indx">Three dukes of Dunstable, <a href="#Page_47">47</a></li> - - <li class="indx">Timon of Athens, <a href="#Page_28">28</a></li> - - <li class="indx">'Tis nature's voice, <a href="#Page_66">66</a></li> - - <li class="indx">To arms, <a href="#Page_73">73</a></li> - - <li class="indx">Tonson, <a href="#Page_54">54</a>, <a href="#Page_100">100</a><span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span></li> - - <li class="indx">Tony Aston, <a href="#Page_66">66</a></li> - - <li class="indx">Tovey, <a href="#Page_80">80</a></li> - - <li class="indx">Townsend, <a href="#Page_18">18</a></li> - - <li class="indx">Trelawney, <a href="#Page_98">98</a></li> - - <li class="indx">Trinity College, <a href="#Page_67">67</a>, <a href="#Page_76">76</a>, <a href="#Page_106">106</a></li> - - <li class="indx">Trotter, <a href="#Page_101">101</a></li> - - <li class="indx">Trye, <a href="#Page_112">112</a></li> - - <li class="indx">Tucker, <a href="#Page_27">27</a>, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>, <a href="#Page_112">112</a></li> - - <li class="indx">Tudway, <a href="#Page_72">72</a>, <a href="#Page_86">86</a></li> - - <li class="indx">Turle, <a href="#Page_77">77</a>, <a href="#Page_111">111</a></li> - - <li class="indx">Turner, <a href="#Page_20">20</a>, <a href="#Page_28">28</a></li> - - <li class="indx">Two daughters, <a href="#Page_56">56</a></li> - - <li class="indx">Tyrannick love, <a href="#Page_44">44</a></li> - - -<li class="isub5">U.</li> - -<li class="ifrst">Unhappy penitent, <a href="#Page_101">101</a></li> - - <li class="indx">Utrecht Te Deum, <a href="#Page_70">70</a></li> - - -<li class="isub5">V.</li> - -<li class="ifrst">Vanbrugh, <a href="#Page_101">101</a></li> - - <li class="indx">Vanderman, <a href="#Page_112">112</a></li> - - <li class="indx">Verbruggen, <a href="#Page_67">67</a>, <a href="#Page_99">99</a></li> - - <li class="indx">Viol da gamba, <a href="#Page_31">31</a></li> - - <li class="indx">Virgins are alike, <a href="#Page_54">54</a></li> - - <li class="indx">Virtuous wife, <a href="#Page_30">30</a></li> - - -<li class="isub5">W.</li> - -<li class="ifrst">Walsh, <a href="#Page_70">70</a></li> - - <li class="indx">Ward, <a href="#Page_109">109</a></li> - - <li class="indx">Warwick, <a href="#Page_13">13</a></li> - - <li class="indx">Watkins, <a href="#Page_15">15</a></li> - - <li class="indx">Welcome glorious morn, <a href="#Page_60">60</a></li> - - <li class="indx">Welcome song, <a href="#Page_32">32</a>, <a href="#Page_33">33</a>, <a href="#Page_34">34</a>, <a href="#Page_39">39</a>, <a href="#Page_43">43</a>, <a href="#Page_44">44</a>, <a href="#Page_48">48</a>, <a href="#Page_50">50</a></li> - - <li class="indx">Weldon, <a href="#Page_100">100</a></li> - - <li class="indx">Welsted, <a href="#Page_106">106</a></li> - - <li class="indx">Westminster Abbey, <a href="#Page_3">3</a>, <a href="#Page_9">9</a>, <a href="#Page_10">10</a>, <a href="#Page_12">12</a>, <a href="#Page_16">16</a>, <a href="#Page_19">19</a>, <a href="#Page_24">24</a>, <a href="#Page_25">25</a>, <a href="#Page_26">26</a>, <a href="#Page_27">27</a>, <a href="#Page_31">31</a>, <a href="#Page_34">34</a>, <a href="#Page_35">35</a>, <a href="#Page_36">36</a>, <a href="#Page_37">37</a>, <a href="#Page_43">43</a>, <a href="#Page_44">44</a>, <a href="#Page_45">45</a>, <a href="#Page_48">48</a>, <a href="#Page_50">50</a>, <a href="#Page_52">52</a>, <a href="#Page_55">55</a>, <a href="#Page_71">71</a>, <a href="#Page_72">72</a>, <a href="#Page_75">75</a>, <a href="#Page_76">76</a>, <a href="#Page_77">77</a>, <a href="#Page_80">80</a>, <a href="#Page_84">84</a>, <a href="#Page_97">97</a></li> - - <li class="indx">Westminster Palace, <a href="#Page_14">14</a></li> - - <li class="indx">Westminster School, <a href="#Page_106">106</a></li> - - <li class="indx">Wharton, <a href="#Page_45">45</a></li> - - <li class="indx">Wheatley, <a href="#Page_59">59</a></li> - - <li class="indx">Whitall, <a href="#Page_7">7</a></li> - - <li class="indx">White, <a href="#Page_111">111</a></li> - - <li class="indx">Whitehall, <a href="#Page_7">7</a>, <a href="#Page_18">18</a>, <a href="#Page_23">23</a></li> - - <li class="indx">Whitt, <a href="#Page_111">111</a></li> - - <li class="indx">Who can from joy refrain, <a href="#Page_74">74</a></li> - - <li class="indx">Why are all the muses, <a href="#Page_44">44</a></li> - - <li class="indx">Wife's excuse, <a href="#Page_60">60</a></li> - - <li class="indx">William and Mary, <a href="#Page_48">48</a>, <a href="#Page_50">50</a>, <a href="#Page_55">55</a>, <a href="#Page_64">64</a></li> - - <li class="indx">Williams, <a href="#Page_111">111</a></li> - - <li class="indx">Wilson, <a href="#Page_6">6</a>, <a href="#Page_16">16</a></li> - - <li class="indx">Winchester, <a href="#Page_2">2</a>, <a href="#Page_11">11</a></li> - - <li class="indx">Wise, <a href="#Page_20">20</a></li> - - <li class="indx">Witch, <a href="#Page_21">21</a></li> - - <li class="indx">Wood, <a href="#Page_4">4</a>, <a href="#Page_91">91</a></li> - - -<li class="isub5">Y.</li> - -<li class="ifrst">Yalden, <a href="#Page_99">99</a></li> - - <li class="indx">Ye tuneful muses, <a href="#Page_44">44</a></li> - - <li class="indx">Ye twice ten hundred, <a href="#Page_61">61</a></li> - - <li class="indx">York Buildings, <a href="#Page_99">99</a></li> - - <li class="indx">Yorkshire feast, <a href="#Page_50">50</a></li> - - <li class="indx">Young, <a href="#Page_104">104</a>, <a href="#Page_105">105</a></li> -</ul> - - -<p class="p5a">THE END.</p> - -<p class="center">LONDON: R. CLAY, SONS, AND TAYLOR, PRINTERS.</p> - -<div class="footnotes"><h3><a name="FOOTNOTES" id="FOOTNOTES"></a>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> In a room behind Rutland House, Aldersgate Street.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> "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, -<em>for now all church music my highest terrene content is abandoned -amongst us</em>."—<span class="smcap">Philip King's</span> "Surfeit," 1656.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> They acted together in "The Siege of Rhodes" in 1656.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> His name appears in the cheque-book of the Chapel Royal -as Henry <em>Purcill</em>, 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> George Dalham, a well-known organ builder. Dr. Rimbault -says Father Smith built the organ erected in West<sup>r</sup> Abbey at -the Restoration, but this payment would suggest a doubt as to -his accuracy.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> Where the word "nil" now stands in the MS. there has -evidently been an erasure of some figure or figures.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> Harl. MSS. 1911.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> Cooke performed the part of "Solyman" in <cite>The Siege of -Rhodes</cite>, in 1656, and also composed the music for the second and -third acts of the opera.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> Wood, M.S. Ashmole, 8568.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> A copy of this birthday Ode, in the handwriting of Pelham -Humphreys, was in the possession of the late Dr. Rimbault.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> In my own library.—W. H. C.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> Johnson's music is printed in Stafford Smith's <cite>Musica -Antiqua</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> Spelt variously, Humfrey, Humphrey, Humphries.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> The following entries are from the account of Secret Service -moneys kept by Sir John Shaw:—</p> - -<blockquote><p>"1664. To Pelham Humphreys, to defray the charge of his -journey to France and Italy, 200<em>l.</em>"</p> - -<p>"1665. To Pelham Humphreys, bounty 100<em>l.</em>"</p> - -<p>"1666. To Pelham Humphreys, bounty 150<em>l.</em>"</p></blockquote> -</div> - -<div class="footnote"> - -<p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> Louis Grabut.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> 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."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> For a list of Copyists of Westminster Abbey, see p. 112.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> I am indebted to the late Dr. Rimbault for a copy of this letter.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> 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:—</p> - -<p>"In moneys rec<sup>d</sup>. and paid for secret services of Charles II."</p> - -<p>"To Eliza Tucker, wid<sup>o</sup> relict of W<sup>m</sup>. Tucker, for her husband's -writing in 15 books, the anthems with symphonies for King -Charles the 2<sup>nds</sup> use in his Chappell Royal, 15<em>l.</em>"</p></div> - -<div class="footnote"> - -<p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> The original of this letter is in my possession.—W. H. C.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> 1678 by the old style, but 1679 by the new.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> The music was published in a collection called <cite>The Catch -Club; or, Merry Companions</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> For a list of the Organists of Westminster Abbey, see p. 111.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> 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 Ma<sup>ts</sup> Chappell Royall, and servant -to his Ma<sup>tle</sup>, 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 Ma<sup>ts</sup> Treasury, Chamb<sup>r</sup> Exchequer, Coffery office, or any -other place or office whatsomever, giving, and by these presents -granting unto my s<sup>d</sup> Attorney my whole Power and authority -in and about the premisses, and upon Rec<sup>t</sup> 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. <span class="rightline"><span class="smcap">T. Purcell</span>.</span><br /></p> - -<blockquote><p>Sealed and delivered in the<br /> - presence of</p> - -<p><span class="mleft2a">F. P</span><span class="smcap">urcell</span>.<br /> -Witt. <span class="smcap">Walley.</span></p></blockquote> - -</div> - -<div class="footnote"> - -<p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> 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."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> Smith was organist of St. Margaret, Westminster.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> So spelt in the registers of Westminster Abbey, but -"Banester" on his monument.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> See No. 15 of <cite>The Ancient Vocal Music of England</cite>, by -E. F. Rimbault, published by Novello & Co.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> See <cite>Concordia</cite>, April 15 and 22, 1876.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> <cite>Apology for the Life of Colley Cibber.</cite></p></div> - -<div class="footnote"> - -<p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> <cite>History of Music</cite>, Novello's Edition, vol. ii. p. 743.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> "<cite>The Songs in Amphitryon, with the Musick.</cite> Composed by -Mr. Henry Purcell. London: printed by J. Heptinstall for -Jacob Tonson, at the Judge's Head in Chancery Lane. MDCXC."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> <cite>Dioclesian.</cite></p></div> - -<div class="footnote"> - -<p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> North, in the <cite>Memoires of Musick</cite>, 1728, mentions Purcell's -<cite>King Arthur</cite> as at that time "unhappily lost."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> <cite>Round about Piccadilly</cite>, by Wheatley, p. 294.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> Hawkins's <cite>History of Music</cite>, vol. ii. p. 753.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> See Sir Walter Scott's <cite>Life of Dryden</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> Hogarth's <cite>Memoirs of the Musical Drama</cite>, 1838.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> Reading and Pate some three years afterwards figured in -another kind of Duo; the <cite>Post-Boy</cite>, 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> <cite>Nichol's Select Collection of Poems.</cite></p></div> - -<div class="footnote"> - -<p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> 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."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> The last piece Dryden wrote for the stage.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a> The music was published by Walsh with the following new -title, "Te Deum et Jubilate for voices and instruments perform'd -before the <cite>Sons of the Clergy</cite> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> This third part is so scarce that probably only one or two -perfect copies now exist.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> In my own library.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> It is evident from this will that Purcell's youngest child, -Mary Peters, had died since her father's decease.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> <cite>Anecdotes, Biographical Sketches</cite>, by Letitia Matilda Hawkins.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> "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. <cite>Henry Purcell's</cite> works in that -kind are esteemed beyond <cite>Lully's</cite> 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."—<cite>Mackay's Journey Through England</cite>, 1722-3.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> Dr. King's <cite>Bibliotheca</cite>, 1712.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55"><span class="label">[55]</span></a> The flute of Purcell's day was blown at the extreme end like -a flageolet, the modern <em>flauto traverso</em> was unknown.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_56_56" id="Footnote_56_56"></a><a href="#FNanchor_56_56"><span class="label">[56]</span></a> Stafford Smith's <cite>Collection of English Songs</cite>, 1779.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_57_57" id="Footnote_57_57"></a><a href="#FNanchor_57_57"><span class="label">[57]</span></a> Purcell is named as one of the possessors of property in -a map of Ireland made about the middle of the seventeenth -century.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_58_58" id="Footnote_58_58"></a><a href="#FNanchor_58_58"><span class="label">[58]</span></a> Cosyn usually meant nephew.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_59_59" id="Footnote_59_59"></a><a href="#FNanchor_59_59"><span class="label">[59]</span></a> Meaning buried in the Church.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_60_60" id="Footnote_60_60"></a><a href="#FNanchor_60_60"><span class="label">[60]</span></a> The autograph score is in the British Museum.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"><span class="label">[61]</span></a> "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."—<cite>London Gazette</cite>, December -29, 1698.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_62_62" id="Footnote_62_62"></a><a href="#FNanchor_62_62"><span class="label">[62]</span></a> 1700 according to the new style.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_63_63" id="Footnote_63_63"></a><a href="#FNanchor_63_63"><span class="label">[63]</span></a> A pupil of Henry Purcell.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_64_64" id="Footnote_64_64"></a><a href="#FNanchor_64_64"><span class="label">[64]</span></a> "A Song sung by Mr. Mason in <cite>Magbeth</cite>, sett by Mr. D. -Purcell, 'Cease, gentle Swain,' in the Queen's library, Buckingham -Palace."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_65_65" id="Footnote_65_65"></a><a href="#FNanchor_65_65"><span class="label">[65]</span></a> Vol. ii. p. 759, new Edition. Novello & Co.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_66_66" id="Footnote_66_66"></a><a href="#FNanchor_66_66"><span class="label">[66]</span></a> Extracted from the Vestry books of St. Andrew's, Holborn.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_67_67" id="Footnote_67_67"></a><a href="#FNanchor_67_67"><span class="label">[67]</span></a> Baker's <cite>History of Northamptonshire</cite>, vol. i. p. 17.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_68_68" id="Footnote_68_68"></a><a href="#FNanchor_68_68"><span class="label">[68]</span></a> "Frances, daughter of Leonard Welsted, Gent, and Frances -his wife."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_69_69" id="Footnote_69_69"></a><a href="#FNanchor_69_69"><span class="label">[69]</span></a> 1750.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_70_70" id="Footnote_70_70"></a><a href="#FNanchor_70_70"><span class="label">[70]</span></a> The master was Bernard Gates.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_71_71" id="Footnote_71_71"></a><a href="#FNanchor_71_71"><span class="label">[71]</span></a> Mr. Turle having retired from active duty, Dr. J. F. Bridge is now appointed -permanent deputy organist.</p></div> - -</div> - -<hr class="tb" /> - -<div class="transnote"> -<p class="p3a">TRANSCRIBER NOTES:</p> - -<p>P. <a href="#Page_2">2</a>. 'set in on fire' changed to 'set it on fire'.</p> -<p>P. <a href="#Page_36">36</a>. 'Harpsecord' changed to 'Harpsichord'.</p> -<p>P. <a href="#Page_37">37</a>. 'he complete' changed to 'the completed'.</p> -<p>P. <a href="#Page_69">69</a>. Added footnote anchor.</p> -<p>P. <a href="#Page_77">77</a>. 'permaturely' changed to 'prematurely'.</p> -<p>P. <a href="#Page_95">95</a>. 'genuises' changed to 'geniuses'.</p> -<p>Footnote 29. 'harpischord' changed to 'harpsichord'.</p> -<p>P. <a href="#Page_107">107</a>. 'founders of he' changed to founders of the'.</p> -<p>Index: Wood, 4, 91</p> -Corrected various punctuation. - -</div> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Great Musicians: Purcell, by -William H. 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