Professional Documents
Culture Documents
Dr.
From
JOHN BULL
Music School,
University of Oxford.
TWELVE GOOD
MUSICIANS
From
JOHN BULL
to
HENRY PURCELL
BY
SIR
FREDERICK BRIDGE
LONDON
NEW YORK:
E.
P.
DUTTON
CO. LTD.
& CO.
INTRODUCTORY
In
Preface of
the
his
admirable contribution
Volume
author's
INTRODUCTORY
vi
by selections from the great composers of the period- they will certainly form a
high opinion of what was accomplished then,
and, having finished the volume, their minds will
"
blank.''
assuredly not be a
To help to a useful view of what was done
illustrated
our
in
own country
that period
for
my
session 19 19 -19.20,
Good
century I took
University Course in this
in the 17th
and
my
for
subject Twelve
from
Musicians
John Bull to Henry
The substance of these lectures is
Purcell.
given in the following chapters.
For many biographical details and other
matter I have availed myself of the valuable
articles in Grove's Dictionary and in the Dictionary of National Biography, which I beg to
acknowledge.
To Mr Barclay Squire
for
much
History
is
thanks of
am
deeply indebted
in Musical
most valuable, and deserves the best
information.
all
His
work
students.
To my
The
Cloisters,
Frederick Bridge.
Westminster Abbey,
October,
1920.
CONTENTS
PAGE
CHAP.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
Dr John
vn
11
21
29
34
50
63
71
84
95
108
118
DR.
JOHN BULL.
There
is,
choice of the
first
considered.
l'ke a
was the
first
successor at
honour to be the
first
University of London,
think there
-T
is
justifi-
I.
DR JOHN BULL
men
of
such
men
good
movements
the
available, but I
17th
in the musical
century.
concentrating
my
And,
world
of
England
in
although necessarily
on the selected
attention
in this
men
I
shall
direct
my
chief attention.
Dr.
John
Bull.
shire family,
he became one
of a Somerset-
Chapel Royal
(as will
nursery of
gifts."
find
not
I.
DR JOHN BULL
master, Blytheman.
to get
on
He
A Mr. W.
rare
Chelps,
"
kindness
Bull's influence,
to
according
it
contemporary
writer,
by
his
"
Unfortunately there
is
no copy
of his
Biography,
gives
the
following
title-page
of
I.
the
first
of
it
"
DR JOHN BULL
which
lecture
The oration
all
is
that
survives
Commoners
of
of the
of the Citic of
London by Thomas
Este)."
page.
said about
Bull
know
his views
Sir
upon music
thing we may be
certain
ance
for
doubtless
in general.
to
Of one
by
Gresham to
insist
be adequately illustrated
an audience gains
I.
much from
DR JOHN BULL
The
lecturer.
direc-
"
concert of voice
the hour."
or
there seems
far,
medals."
and
Prince
"
John Bull,
According to Stowe,
of
one
the
Music,
Organists of His
Taylors' Hall.
Doctor
of
and
free of the
Merchant
cappe and
DR JOHN BULL
I.
chamber
time
"),
"
great
Besides
Hall.
all
this
the Choir of St
by
Ben Jonson. The King must have had a pretty
good programme of music to listen to, unless he
spent the evening in his own room where he
dined alone with Dr Bull playing to pass the
time.
The numerous
seem
somes
in
of
"
gratis,
same."
in
at
Gresham
DR JOHN BULL
I.
he had
that
many tempting
offers
to attach
"
England.
In 1607, on account of a desire to marry, he
relinquished the Gresham post, celibacy being one
Strand,
maiden,
Walter, citizen of
Nothing much
aged about
London."
is
chronicled of
of
daughter
24,
him
name heads
the
list
musicians at a salary
of.
anthem
"
made new
for that
purpose by Dr.
Bull."
We now
Bull's life
come
which culminated
England.
The
following
letter
first
hint
from
is
Bull
in his flight
from
suggested by the
to
Sir
M.
Hicks,
*'
Sir,
I have bin
many times to have spoken with
you, to desire your favor to my Lord and Mr.
Chancellor, to graunte me theire favors to chaunge
my name, and put in my childes, leaving out my
I.
DR JOHN BULL
but 40 by yeare for my service herematter is not great, yet it will be some
my poor childe, having nothing ells to
owne.
It is
tofore, the
reliefe for
leave it."
The
whose
letter
interest
of
Was
it an instance
coming events casting their shadows before ?
The
following entry in the Chapel Royal chequebook rather supports the supposition
:
"
John Bull, Doctor of Music, went beyond the
seas without licence, and was admitted into the
Archduke's Service, and entered into paie there
about Michaelmas."
Peter Hopkins
and
his quarter's
salary,
amongst members
of the
Royal Chapel.
to his
British Minister at
Brussels to King
James
I,
It
puts a rather different complexion on it.
would appear that the Minister had been charged
by James
I,
Archduke's want
of courtesy in
engaging Bull,
I.
and
DR JOHN BULL
in the letter
'$
of his
"
to
grievous crimes."
It
will
was, like
is
no doubt he
in
the Cathedral.
on Composition.
found
in
Many
fine
examples are to be
powers as performer
and
He
great,
joined Byrd
Gibbons in contributing to the celebrated
io
DR JOHN BULL
I.
Parthenia
collection
("
the
first
There
Virginals ever published in England.")
are examples of his Church Music in Boyce's
Cathedral Music (1760), but, like many other
specimens contained in that valuable and well-
known
Lamentations
In
the
opinion
voices
of the
Departure
of
and
his
full of
sive modulation.
favourably with
Lord gives
Church Music.
beautiful
It
a very high
for four
is
harmony and
Indeed,
much
me
think
of the
it
expres-
compares
kind written by
contemporary musicians.
I
hope
to be able to edit
it,
and round
"
it
is
written
A copy of this
portrait
is
WILLIAM BYRD
II.
1542 or 3-1623
A great contemporary
for
consideration.
of
William
Byrd
is
certainly
the
17th century.
Curiously
enough, he was not included amongst the conThere may
tributors to The Triumphs of Oriana.
early
years
be a reason,
Wood
of
"
Anthony
us
Gentleman
of
connection with
12
WILLIAM BYRD
II.
Records
of
of
Thomas
Choristers on the
tion of
"
Mr William Byrd."
In London he shared
Tallis,
all
petition from
some
printers,
it
was not
The complainher
Majesty's
Servants, have musicke bokes with note, which
:
the
privilege."
little
specimen
think this
of
may
be regarded as a
professional jealousy.
II.
WILLIAM BYRD
13
Some
Tallis in
particular
of
One by
is
Chorale,
melody
and
interesting
"
clever
imitation."
have
music
On
at
It
shows Byrd's
of
our Cathedral
and
some
Psalmcs,
fiictie,
of
coppies,
made
Sonets,
and Songs
hcere
whereof
divers, in untrue
truely corrected,
sadness
of
and
the other
Music ke
(1588).
WILLIAM BYRD
II.
i4
sing
To the above
is
Since Singing
I
wish
all
so good a thing
learne to sing.
men would
In the
To
"
stut
"
is still
German
(v.
stotlern.
Wilbraham's
II.
WILLIAM BYRD
15
wield
to
divers
of
excellent
and 6
Authors,
with
the
first
and
MAISTER
BYRD
name
And
may have
made by Morley
of his
possibly
name from
which,
of course,
Two
sweet
First
affection.*
sett of
of
May
for
Watson's
Among
and
It
his
i6
WILLIAM BYRD
II.
and
Sonets,
joyfull
framed
to
He
and Lamentations
many
Of course
of
this
is
win.
is
musical
bosco
was
It
sappc
worthy contemporary,
Alfonso
Fera-
ever lived,
Two
whom
Fcrabosco, Either of
'''
Now
published.
Barclay Squire.
II.
WILLIAM BYRD
17
Song Miserere.
"
"
outcome of a
which they
friendly contention
"
each one judging his rival's work, they
had
both set plaine song 40 different ways."
In private life Byrd's religious feelings
like
his career rather an anxious one
;
made
many
Roman
Catholic.
It was known that the Byrd family
"
"
were
as early as 1581
Papisticall recusants
;
is
"
house at Draighton."
It is a noticeable thing
that though his duties called him to the Chapel
Royal, he lived nearly the whole of his life out
of
London.
At one
place,
Stondon, Essex, he
connection with
"
it
In a law-
the said Byrd did give him vile and bitter words,"
that when told he had no right to the property
replied that
"
it
by
right
i8
II.
WILLIAM BYRD
he would hould
it by might."
Byrd lived a long
and died on July 4, 1623.
The exact entry recording this fact in the
"
1623, William
Chapel Royal Cheque Book runs
life,
minster,
his
Mr Barclay
much
of
of
In
and
humbly desyre
(if it
shall please
God)
may
be in
and
my
in
II.
WILLIAM BYKD
19
one
of
An
positions
is
is
ascribed
comvolume
his Clavier
of
interesting specimen
now
Mistress Mine.
being an arrangement of the air
of
of
is
the
few
one
This
pieces
Shakesperean
music which was published in the Poet's life-time.
It
air
is
appeared
ment
The same
Pandora, Lute,
seems
and
probable that this
air was a popular tune and that Shakespeare
wrote words to it, or possibly (as he did in Willo !
Bass
Viol.
It
!)
the man,
Mr.
Wm.
honour
of
preferre above
all
whether any
may
equall, I
am
know not
20
WILLIAM BYRD
II.
in his first
set
them
And Morley
speaks of him
as
my loving master, never without reuerence
to be named of Musicians."
Italian of
"
His
all."
Canon Non
difficult
it
would be very
the vocal.
form
There
them
is
"
much
truth in Peacham's
all."
III.
THOMAS MORLEY.
1557-1603
The
Paul's Cathedral.
at
He was a pupil
a
chorister of St
probabty
later
was
This position
appointed
he did, however, not hold long, as in 1592, he
was appointed a Gentleman of the Chapel Royal.
In 1598 he was granted the licence, which had
previously been held by Tallis and Byrd, for the
issued
and
by
Este,
others, as
Peter
Short, William
Barley,
Thomas
Morley.
the assigns of
21
22
THOMAS MORLEY
III.
Introduction
Practical
to
death
in 1604,
Details
of
is
1603.
are scanty,
Morley's
by his
His
must
know
him.
works we
compositions
are both vocal and instrumental, sacred and
secular
life
fame
rests
upon
satisfactory treatise
Easie
Introduction
This work
book
is
much
of
his
really
referred
full of interest,
of reference
first
and
to.
of valuable information to
in the
Pupil,
is
it
story
is
contains
in the early
many
who
III.
THOMAS MORLEY
It is interesting
of
(e.g.,
was
works
his
the Canzonets or
translated
into
German
Little Short
Songs
to
German and
lated into
and
Rostock
at
23
in
was
in 1593,
first
Three
trans-
1624
and the
Ballets for
Triumphs
have been compiled as
a tribute to Queen Elizabeth, whose title of
"
"
is
In this portly
Gloriana
well known.
volume he includes no fewer than twenty-six
of
This
Oriana.
contributed by
Madrigals,
famous
living
make
helped to
said to
is
many
of
the most
influence
And
it
is
temporary
to Morley
setting of
"
beautiful Lyric
It
we owe
a delightful con-
It.
This
is
one
of
the very
THOMAS MORLEY
HI.
24
"
times by the introduction of unwarranted
acci"
and have
collection),
in
it
correct form.
its
was sung
it
the play by
two pages."
The dialogue which precedes the song is very
amusing and rather suggests that Shakespeare
that
it
in
had some
little experience of the peculiar weaknesses of singers, both amateur and professional.
The following
is
the
Two
Enter
ist
Page
episode in question
little
Pages.
Touchstone
By my
and a song.
Wc arc for you
2nd Page :
1st Page :
Shall
we
sit
i'
Come
sit,
sit
the middle.
without
2nd Page
As You Like
The words
"
two
It,
gipsies
on a horse
"
3.
have been
III.
THOMAS MORLEY
25
should
in
in
Hence the
music
not
sing,
Canon, as
unison,
one
arrange the
effort to
But there
termed.
it is
but
is
no
of it.*
for
combined instruments, as
Much
Virginal
will
of his Virginal-music is
Book
in
and
be seen
contained
in Will Forster's
Buckingham
Palace.
For
First
Instruments,
Book
of
Lessons for
Consort
Lute, Pandora,
and Treble
also a collection
is
Bass
Cittern,
Six
Viol,
Viol.
"
(he says),
amount
26
THOMAS MORLEY
III.
the
question
scathing
if
Dr Burney
criticism.
is
justified in
this
and there
is
no record
but at
first
be found.
of
in
found
in the Christ
we
for
tunes played by the six instruments, under the direction of the Rev. W. Galpin.
We had to supply parts for Lute and Bass Viol,
one
of these little
but as
we had
the original
Harmony
supplied
III.
by the Flute
THOMAS MORLEY
(i.e.
27
was
wrong.
vain.
Anthem,
and a
collection,
which appears
also
was
which
examples
in
in
published in Barnard's
setting of the Burial Service,
MSS.,
in
Cambridge. A curious thing, rather, in connection with his Sacred works is, that, unlike
at
his
secular
compositions,
influence
upon the
art.
had a great
28
THOMAS MORLEY
III.
One
poraries.
is
a beautiful
of the
Lament
Thomas
Six Voices by
A remembrance of my friend
Mr.
Thomas
Morley.
The world
And
IV.
THOMAS WEELKES
1575
In
the
previous
1623
Lecture
have
mentioned
As
have said
all
the great
not
and Weelkes
as
is
selected,
to
must speak
later.
As a Madrigal-writer he
though
little
of
Of this
"
glorious
company
"
I
is
of
He
in
and he contributed
THOMAS WEELKES
IV.
3o
a Sorrowful Soul.
had some
at
his
of
Fancies
performed
have
my
them remark-
regards
is
His
Harmony.
surprising
and,
instrumental
writing
his
shall
in the early
and
it
was not
until
title-page
we
be
"
writing
was
and
was,
as a
rule,
work
of
so
It
some considerable
it
was lacking
in
IV.
real
any
"
his
development.
31
at his
It
THOMAS WEELKES
own sweet
will.
were then
common
to the streets
of
London.
He
what was a
"
There is a
Cherry Ripe into a charming song
"
Garden in her face in 1617 but the Humorous
;
Fancy by Weelkes
the
earliest
of
is,
this
so far as
kind of work.
Later,
in
Weelkes' example
is
London but
al-
stilted,
THOMAS WEELKES
IV.
32
yet there
is
latter,
tune
is
mean Twincledowne
whatever
'
It is
Tavye."
as
they
if
the
vendors of
street
"
The words
introduced.
of this
Broome
"
is
are
They
Conscience
"
who
No doubt
is
the
original one.
is
very charming
Then
And
With
let
so
us sing
we
Museum.
will
make an end
Alleluia.
of this
work
in the British
IV.
THOMAS WEELKES
33
is not only rather dull and proa little deviation into vulbut
includes
longed
as the longer
sets I
The discovery
I
Fancy
Weelkes instead
select
his
of this
great
is
part.
the reason
why
Wilbye, one
and I think
of
contemporaries,
of
all
lovers
of
in
his
daily walks.
"
known and
appreciated.
of this
composer, to "whose
him
in a
new and
interesting light.
ORLANDO GIBBONS
V.
1583 1625
Orlando Gibbons is
standing name of the
certainly the
most out-
A good deal of
due
to
the
fact
that his conno
doubt,
is,
tributions to Sacred Music have been one of the
early part of the 17th century.
this
venture to hope
will
always be- a
constant
He was
Church Music.
he
is
brother,
College.
might be noted
of the
34
V.
ORLANDO GIBBONS
35
this,
He
however,
died about
1653-
To
and 1603,
of
paid to Gibbons
for
inter-
entries in the
esting
1602,
return to Orlando.
music
ginac,"
and
or Gibbins, as it
"
in festo
composed
also in the
two
No
there spelt
Dominae Rcis
Christian
name
is
music
given,
is little
doubt
it
in
work
shall
We
called Parthcnia,
Virginals of which
later on.
speak
do not hear much more
Papers
of
of that period,
in 161 1 to
of
until 1612,
reversion of forty
him
for a lease in
of
Duchy
ORLANDO GIBBONS
V.
36
lands,
without
as
fine,
Queen."
his First
sett of
apt
viols
or
for
ORLANDO GIBBONS,
M. Chapel
of 5 parts,
Newly composed
voyces.
Batchclor
by
Music,
of
The work
is dedicated to Sir Christopher Hatton, and the
"
dedication runs thus
The}/ were most of them
owne
house
and doc therefore
in
composed
your
properly belong to you. The language you provided them, I only furnished them with tongues
Organist of H.
in Ordinary.
It
is
was on terms
Coszyn's
shown by a
is
Hatten's
presented
by
collection,
Madrigals and
leading as to
it,
is
divided into
2,
and 4
It
is
The
Galliard.
is
re-
rather mis-
some
Madrigals,
One
an ordinary Madrigal,
Silver Swan.
"
Moltcts,
there
title, for
piece in
where Gibbons
Virginal Book,
"
AnBen
of close
of
the
'
'
sett
is
The
Madrigals,
no
secular
or
vocal
compositions
MS. except a kind of Burlesque Madrigal called The Crycs of London for 6 voices.
exist in
This statement
is
altogether
incorrect.
To
ORLANDO GIBBONS
V.
and
("
My
love,
adieu ")
37
it
is
in
existence,
performed.
And
the
of
composition.
Like
Weelkes'
Humourous
same Plainsong
is
"
In Nomines,"
by many composers
Byrd and Ferabosco amongst others. But this
is the only example I have come across where a
used
of
sacred melody
secular,
humourous
is
and,
in
works by
V.
38
of
composers
ORLANDO GIBBONS
the
Italian
school
of
the
16th
work.
It
by the Plainsong
of
one
the Viols. The
persistently played by
copy from which this interesting work is taken
is
a MS. written by
Thomas
Myriell in 1616, so
in
1622.
Extant.
prising,
when
lie
is
not
at
"
The word
late
"
is
rather
recorded to have
the Chapel
of
Royal.
surre-
He
Westminster Abbey
ORLANDO GIBBONS
39
by The
and in
V.
They are
when placed by the
veneration
for
No doubt
the
members
of
Church
writers.
edit
his
eminent
But one cannot have much
quarter of the seventeenth century, his instrumental music is characteristic of the sixteenth.
In
common
first
Gibbons shows
in his Clavier
works an
earlier
and more
successful attempt at a true Instrumental style than he does in his music for
The Viols were later in forsaking the
Strings.
V.
4o
ORLANDO GIBBONS
So we rind composers
Clavier.
Out
of
six
pieces
(a
by Gibbons in Parthenia,
Pa vane and two Galliards)
;
one
ludium
with
(a
as a Clavier piece, and also because of its protracted and serious working in the Canzona style.
In the Fitzwilliam Collection the only pieces by
Gibbons are an
air
Pavin, which
found also
is
in Parthenia.
"
or
of
expression.
They
To
this
fact
is
and
in
V.
ORLANDO GIBBONS
of
41
considerable effect
modern
is
"
of
Viall
"
obtainable.
"
tion,
but there
later composiis
distinctly
at the
end there
is
a complete repetition of an
and
part,
first viall
vice versa.
English
school.
drals.
in
my
of
composers
No name
is
better
the
known
contrapuntal
our Cathe-
in
great extent)
Gibbons'
to
us
ORLANDO GIBBONS
V.
42
cell
did
later
in
years.
Many
of
them were
One was a
special occasions.
composed
"
"
for
Anthem
Lord
Somerset
wedding
"
made for the King's being in Scotanother
"
land
(this was, of course, James I, and it was
for
my
Amen
"
The Anthem
"
"
Amen
").
has a
was
"
string
made
This
is
accompaniment
for
for
Viols
"
this
"
of
"
clap your
hands," which has always had a suspicion attached to it of having played the part of Dr
it
"
V.
ORLANDO GIBBONS
43
Professorship.
Westminster, and
two
He hath
pays him the following tribute:
chosen to make his music agreeable to the matter,
self
have trodden."
Gibbons appears to have had a sense of humour,
judging from a letter which we found in the
ago.
that
is
of the
believe this
known.
is
It is
know
it
runs as follows
"
ORLANDO GIBBONS
V.
44
We
playing in the
Life of Arch-
bishop
Great
Seal.
came over
The
French
Ambassadors
who
of
Chamber.
"
North Gate
of the
Flambeaux
everywhere
At the Door
upon
all
the stalls
Lord
Bishop
of
York
We
of
;
Lincoln,
he was Dean
by John Halket,
V.
ORLANDO GIBBONS
45
"
The
greatest masters of that delightful faculty frequented here above all others." I think it must
lowed
by
members
Choir
may
perhaps be
contemporary description
in
particular
by
another
of
as a
fol-
the
the
Abbey
Dean.
This
was Dean Earle, the first Dean after the RestoraBut the work from which I quote was first
tion.
it
The book
of
is
the
ters,
is
entitled Microcosmographie
later.
a piece
and
was
first
published
anonymously.
V.
46
I
hope
"
ORLANDO GIBBONS
this description of
Common
calls
Singing-men
in
it
is
is
worth quoting.
The
the Taverne.
They
to the Syntaxis of Service, and are distinguish 't by their noyses much like Bells, for they
make not a Consort but a Pcale. Their pastime or
which goe
Gownes
ORLANDO GIBBONS
V.
47
fill it
with
of
Casau-
sists of
yy
studies,
and
or
of
the
Characters," some of
them serious
humorous
sketches, not
satirical
intended to be true
and
charity,
gentleness,
and peaceableness
is
of
chronicled as
violently
Mr
on the occasion
Charles
I.
It
was to be
of
his last
commission, for
ORLANDO GIBBONS
V.
48
With regard to
his death,
histories,
have taught us
tionary,
of
Squire,
shown
so.
Mr
W. Barclay
this to be incorrect.
Sir
Albertus
and
by convulsions
so
"
died
thus
"he grew
apoplecticall
the
small-pox
of
favour
apoplexy.
theory
His portrait is in the collection at Oxford,
refuting
in
and a
line
monument with an
excellent bust
was
by the com-
poser's widow.
It
was
my
privilege to suggest
Musical
Festival
minster
Abbey
Gibbons'
of
in
1907.
and organize a
in West-
works
Some
of
his
finest
was
composer, which
unveiled.
reflection
It
upon the
lias
is
in
Canterbury Cathedral,
always seemed to me a
Abbey
that no memorial to
V.
the
ORLANDO GIBBONS
of
greatest
its
organists
save
49
Purcell
from
Mr
Master
Crews,
of the
well-known
Worshipful
Company
amateur and
of Musicians,
the
memorials
Blow, Purcell,
and
of
his
Croft.
worthy
successors,
RICHARD DEERING
VI.
all
musical histories.
But
of the
may
me
musical historians of
the
name
of
nay,
disdain with
which
Richard Deering.
In
common
with
my contemporaries,
never heard a note of his music until a few
all
years ago.
The
story of
my
of this admirable
awakening to the
composer
is
real merits
simple.
Looking
found among
many
fine collections of
50
VI.
51
Deering.
They were bound up
out of an illuminated MS.
Richard
covers
RICHARD DEERING
made
in
On
looking
researches)
of the
the
Abbey
Services.
Since then
many
Cathedrals
may
come
RICHARD DEERING
VI.
52
He applied to Mr
Motets.
member
of
Lay- Vicar
the
letter
may add Mr
Queen
Mr
(uncut
Sale
Victoria
Streatfeild's
/)
were sold
copies
of
a child.
the
1617 Motets
by auction, and
The
dinary.
neglect of Deering
He
is
certainly extraor-
VI.
RICHARD DEERING
innocent,
of his
music as
dry,
psalmoclic,
"
53
"
very
and uninter-
esting,"
discern in
either
genius,
And
in
his
melody or modulation."
Sir Frederick
style as
"
me
They
are absolutely
heard one
of
them.
Burney
ledge of
or Ouseley
for
them,
University Lecture
had any
one which
in
19 12
was
know-
real
produced at a
of a
high order
of merit.
name with
others
"
his
music,"
VI.
54
organist, with
RICHARD DEERING
two
"
two boys
sang Deer-
The mention
of
"
Gloria
Monument
Patri
and
(1676)
other
mentions Deerof
his
Latin
settings.
I
of this
good musician.
Richard Deering
was
ancient
family the
descended
from
an
Kent. The branch from which Richard Deering traces his descent was the one headed by
William Deering of Petworth, in co. Sussex, and
The Deering of this
his wife, Eleanor Dyke.
sketch was the son of Henry Deering of Liss,
near Petworth,
He
died in 1630.
"
Nuns
many
entreaties,
VI.
ston,
RICHARD DEERING
made some
inquiries for
me
55
in Italy,
and
is
many
years,
before,
May
Italian
training."
As to
Dr Spooner Lillingston
no record of his first
St John Lateran, so probably he
continues
There
Communion
at
is
Dr
St
John
is
's
Lateran."
a record of an
in Italy
observation in his
Motets
it
"
Dedication
he wrote them.
it
"
was
of
in
the 1617
that
Rome
RICHARD DEERING
VI.
56
"
to Deering
Catholic
was
Rome.
Almost the
first
fact of
England
is
the
life in
which he made
Supplication
April, 1610.
of the
Music at Oxford, in
In answer to an inquiry, the Keeper
plea
"
granted
it
is
providing he
is
a record of
shall
have com-
"
posed a work of eight parts for the next Act.'
Dr Scott, the learned custodian of our Abbey
'
Muniments
for
many
years,
made some
inquiries
me
Oxford
"
"
ten
in
VI.
RICHARD DEERING
57
and it
was not likely twenty years would elapse between
the publication of two sets of Motets by so prolific
"
"
makes the date of
Ten years
a composer.
believe
fact.
it
is
himself.
ing.
edition
He
returned to England as
Organist to Henrietta Maria in 1625, and died
before
in
all
this
1630.
contribution to
comment upon
and
England,
proceed to consider
work
in
magnificent
Motets.
It
appears that
on
his
his
the
RICHARD DEERING
VI.
58
Brussels he
this
of
Continuo
I
"
for Organ.
of the
way
made
which they are received and the frequent performance of them by great choirs. The ignorant
accounts of them which
musical works.
The
first
set
of
RICHARD DEERING
VI.
the Preface
giving
it
Dedication
is
(with
is
59
the
title-page).
in Latin,
but
give
The
it
original
in a trans-
lation.*
When Elizabeth
Milford Haven rather than at Portsmouth.
died Stanley sent no less a person than Guy Fawkes, his
subaltern officer, with an emissary of Catesby to Spain, to
warn Philip against James. There is no evidence that he
was concerned in the Gunpowder Plot, but he was placed
under arrest at Brussels on suspicion of being concerned in it.
He spent the latter part of his life in complete obscurity.
In 1616 he contributed largely to a Jesuit College of Liege,
and was Governor of Mechlin. He sought in vain for permission to return to England, and died at Ghent in 1630,
and was honoured with a magnificent public funeral. He
married Elizabeth, daughter of John Egerton of Egerton,
who was buried in Mechlin Cathedral, in 1614. The male line
of the Stanleys of Horton became extinct by the death of the
twelfth baronet Sir John Stanley-Errington in 1883.
* Cantiones Sacrae for
5 Voices
with Basso Continno for Organ.
by
Richard Deering, Englishman,
Organist to the venerable
English Nuns in the Monastery
of the Blessed Virgin Mary at Brussels.
Antwerp.
at the house of Peter Phalcse
1617.
Dedication
To
but she
is
modest.
For
it
is
6o
RICHARD DEERING
VI.
as good as the
fine things in
it,
first.
one
"
Silence
printed,
and
pieces.
musical works.
The Crycs
of
London.
This
tunity
of
recovering
is
servant,
R. Deering.
RICHARD DEERING
VI.
61
already in the case of Weelkes and Gibbons explained the circumstances attending this recovery.
Deering's Fancy is the most elaborate of the
three, and, besides a number of Cryes which the
some most
interesting
Songs those
Tooth-drawer.
is full
of
life,
1616.
in
various Libraries, but as a Catholic his contributions to English Cathedral music would,
be few.
Some
are to be found in
no doubt,
Durham
Cathe-
On
in a list of
Band.
is
62
VI.
RICHARD DEERING
rightful
musicians of
JOHN MILTON
VII.
1553 1646-7
To many the name
of
John Milton
will
hardly
musical
I
a
And
am
able
composer.
suggest
yet
name
of
the
this
name
the
father of
to include
"
Good Musicians "
the poet among the band of
felt
am
considering.
greatly interested in
him and
We are told he
a really accomplished musician.
educated his distinguished son in music, and that
he had an organ
Dr Burney
in his house.
"
We
age
his
was
to
who though
of
a scrivener
a voluminous composer,
by proand equal in
science,
:
come now
if
63
JOHN MILTON
VII.
64
old
Wilbye
by Morley
in the
Triumphs
of
Oriana published
in the
;
Ravenscroft's Psalms
in
the curious.
Mr Warton,
on
Church, Oxford
and
of Christ
in
of being disinherited.
consequence
His son celebrates his musical
abilities in
an
admirable Latin poem, Ad Patron, where, alluding to his father's musical science, he says that
Apollo had divided his favours in the sister arts
between them
sire
the sacred Nine,
thee have honour'd with such gifts divine
taught thee how to charm the list'ning throng,
With all the sweetness of a siren's song
Blending such tones as every breast inflame
And made thee heir to great Orion's fame.
By blood united, and by kindred arts,
On each Apollo his refulgence darts
To thee points out the magic power of sound,
To me the mazes of poetic ground
And fostered thus by his parental care,
We equal seem Divinity to share." {Translation).
!
Who
Who
JOHN MILTON
VII.
The
elder Milton
was born
to have
been
Oxford.
it is
in 1553,
65
and
is
said
in
Roman
Catholic,
and
Catholic faith.
became a member
of the
to London,
Scriveners
1600).
(1599
and
Company
London he
In
fortune.
lived in
Bread
Street,
ton's
Now
here
is
man who
contributed to three
included
in
list
of
the
best
and was
known Eng-
lish composers.
Had he been a professional
musician he could not have done more. But we
know he was
a scrivener.
he became a scrivener
What was he
before
his
But
this information
66
VII.
JOHN MILTON
Dr
Strong, the
Dean
of
letter
Christ Church,
Oxford.
June
My
25, 1919.
dear Bridge,
various heads.
But what makes them of interest
that all the members of the Foundation, from
the Dean down to the cook, received their payments
through the Treasurer and signed a receipt for them
in the book.
So there is a whole list of signatures
beginning about 1570 and going down (with the
exception of the Civil War period) to about 1830,
is
in residence on a particular
Unfortunately, they do not go back beyond
I searched
1570.
through a volume in hopes that
Mr. Milton or the organist might be among the
day.
was no
organist,
to Milton or any
:
JOHN MILTON
VII.
useful.
Also,
67
my
is
in
how very
stand
when
interesting these
signatures are
Yours very
sincerely,
Thomas
B. Strong.
is
may
before the
course,
entries
began.
As to
this
upon
it.
Roman
Churchwarden
in 1552.
Mr
of the poet,
Catholic, appears to
have been
of the Parish
(Stanton St John)
Allnutt, of Oxford, who contributed
father
it
less
ing the
known
office of
Does
other instances
"
:
of
of
Stanton, or are
Roman
Catholics serv-
68
JOHN MILTON
VII.
"
&
Q.,
Clarke writes
Hyde
011
who has
laboured in this investigation have looked unfavourably on my proposition {i.e. that he was a
Chorister of Christ Church), because they consider the
Roman
now given
An answer
heretical school.
any
ship
for
in
his
son
one.
confirmed
Roman
Hyde
years."
Catholic
only
in
It is
became a
his
later
Clarke.
think
Christ Church.
ever
it
musician.
and, as
Who-
we have
seen,
he
is
associated with
all
it,
the
more than
one work. Coming to London, we are told he had
an organ and other instruments in his house and
best English composers of the period in
JOHN MILTON
VII.
69
and
is
it
possible on his
first
coming to London
and
many
of
is
his
The
in a good contrapuntal
which a man would use
in a
his
style,
The
Cathedral Choir.
with
devices
many
if
style
had
"
eaten into
is
Milton's contri-
of Psalms,
Here are found two tunes
published in 162 1.
credited to John Milton, but I think there is no
The
Churches
entitled
burgh
croft's
in 1615.
It
it
tune
is,
this
seems to be an
was published
York
in
in
Ravens-
different harmonies,
elder Milton.
Edin-
two
of
The melody in
was
VII.
70
was
so well
known
JOHN MILTON
that half the nurses in England
a musician
think
name
in
may
my
list.
VIII.
HENRY LAWES
1595
1C62
interest.
so
of
by the
reputation have
praised
historians.
worthy
of
inclusion
Musicians with
whom
am
dealing.
His
life
him
(or
On
71
VIII.
72
posts,
HENRY LAWES
principally in teach-
tion
in
Anthem
for
1662.
to
Sir
wrongly
Another Masque, by James
of Peace,
was produced
in
in 1634 an d was
William Davenant.
Shirley,
The Triumph
cannot help thinking this is to be explained by the fact that he was not educated
in a Cathedral Choir, but was a pupil of Giovanni
stage.
Coperario.
which few
experience
contemporaries enjoyed.
He
HENRY LAWES
VIII.
studied
in
Italy going
there
as
73
plain
John
remarkable time
first
the time
when the
first
It is
Lillingston that
in a
important
of
fact.
influence of Coperario,
and experience
Italian music
of the
up the music
of
beginning
Lawes to take
of the Church.
Paraphrase upon
who
was,
later
on,
killed
at
the
siege
of
Chester.
Among
this
VIII.
74
HENRY LAWES
He was
to Horton, in Buckinghamshire,
we
Comus and
its origin is
so well
known
that
need
Milton's
Poem
name
it
in 1637.
out the
dedication
The
Lawes says
Author's
name
first
"
:
HENRY LAWES
VIII.
75
my
give
several
hath tired
it
friends
my
pen
and
satisfaction,
it
to
music
and
movements
many
directions
particularly.
do not know.
The merits
been
but
decried,
for
What
of
the
Comus
able to see*,
it
find the
will
am
we
having
instrumental
these were
ori-
songs
full
all
who hear
of
pression,
I
is
much
for there
books
of
some charming
The first book
settings
of
of
excellent
poetry.
*It
is
VIII.
76
HENRY LA WES
Alice
Lady
Egerton
to attend
kingdom," but
That he admired and
this
is hardly correct.
understood the Italian style is quite certain.
His studies with Coperario would have influenced
Prefaces),
of music,
many
able
is
generation
nothing takes their ears but what's sung in a
little
humour
took
HENRY LA WES
VIII.
made
read together
yy
sense) I set to a
came from
have since
printed."
humorist, and
it
is,
It
much
melodious phrases.
at
declamation
I
my
ranslation
is
given
it
creates
in Italian
it
is
The
(i.e.
title is
a Table or Index)
Tavola.
In that frozen heart
Weep,
....
my
lady, weep,
(for two voices)
Tis ever thus, ev'n when
And
so
There
my
is
man, and
life
(for
and
if
one voice)
your eyes
you seem
to save
me,
....
....
(for
lips
three voices).
was
certainly one
of
the reasons
VIII.
?8
why he
set
HENRY LAWES
words with
"
just note
and accent,"
and obtained the great praise of so many contemporary poets. It is said he never set bad
and he set songs to Italian, to Spanish,
poetry*
and even to Greek words. An interesting fact
;
in
is
1837.
Amongst
Henry
Lawes.
The
following
inscription
is
my
humble servant
Henry Lawes.
VIII.
HENRY LAWES
79
what he was writing about. Although somewhat lengthy, I really cannot refrain from giving
the Preface to one of his Books of Ayrcs, which
It is both amusing and
goes into this subject.
improving, and deserves to be read by all.
To
In
all
publish
Generation.
I confess I could wish that some of our words
could spare a Consonant (which must not be slur'd,
for fear of removing those Landmarks in spelling
8o
HENRY LAWES
VIII.
humour
observed.
poser or Singer.
Our English is so stor'd with plenty of Monosyllables (which, like small stones, fill up the chinks)
that it hath great priviledge over divers of its
neighbours, and in some particulars (with reverence
be it spoken) above the very Latin, which Language
we find overcharg'd with the letter (S) especially in
But our new
(bus) and such hissing Terminations.
Cri ticks lodge not the fault in our words only
'tis the Artist they tax as a man unspirited for
which vanity so spreads, that
forraign delights
those our productions they please to like must
be born beyond the Alpes, and father'd upon
And this is so notorious, that not long
Strangers.
since some young Gentlemen, who were not un,'
HENRY LA WES
VIII.
sweetest of
all
notes in Musick
81
England
known
my
Memory)
have
Farewell,
H. L.
This
logues.
to
Sir
is
in the
Second Book
Dedicated
to the
Edward Dering,
Hon.
of
the
Lady Dering,
wife
Bart.
War he
During the
Civil
VIII.
82
HENRY LA WES
Cathedral
several of his
ford's
music.
Anthems
But
to
words
of
the
1666.
in
writing
tion
and music.
production
North
of
calls
little later
The Siege
of
he assisted
in the
semi-opera.
Henry
we
to say
more
in a later Lecture.
It is
an
interest-
in
first
English Opera.*
at the Restoration was re-appointed
to his Chapel Royal post, and composed the
Lawes
It
first
VIII.
HENRY LA WES
83
He
Almonry
lived.
He
probably
We
get a glimpse of
him
in his last
days from
my
Westminster
there
Cloister
April, 1661, so
illness,
He was
Lawes
nothing to
is
ment.
in
"
think
as
it
is
probably
Dr Wilson,
in
the
"
Little
brother musician,
IX.
MATTHEW LOCKE
1630
(?) 1677
A prominent
century
English Cathedral, and at Exeter there is evidence that he occupied that position in 1638.
it is
graven
very fabric of the old Cathedral. The
embryo musician took the trouble, upon two
in the
walls of
"
e
to his patronymic.
always attached a final
At Exeter he had the advantage of being
trained by
Orlando, and,
in addition to
84
of the great
Gibbons' share in
IX.
his training,
Organist,
published
for
MATTHEW LOCKE
85
works.
state
of
civil
the
war,
soldiers
of
Cromwell
no small share
At
at
"
the
ale,"
Roundheads.
It
is
We
one
early
as
of
some
165 1.
of his compositions,
The
chief
interest,
the originator.
ciation
with
Christopher Gibbons in
Shirley's
86
MATTHEW LOCKE
IX.
(1653),
wrote some
cell's
1656 for
of
father
was one
of
in the
Diary
there,
"
After dinner
of
Samuel Pepys
we read
21st, 16;,
back to Westminster
Hall.
Here
an admirable thing."
This
is
another instance of
opportunity
of
Purcell's father
Mr Pepys never
cultivating
the
shows
It
it
gives
missing the
;
friendship
of
years before
it
utter.
It
may
MATTHEW LOCKE
IX.
87
was
really
year
connected with that great event Locke played
it
was to his music for
an important part
;
was made
Composer
"
and
jesty,"
One
of
As
1661.
a reward he
in ordinary to
His Ma-
Gentlemen
the
of
His
sacrificed the
"
and
The year
is
been the
"
of
time
may have
'
of
old Style
"
'
for the
his theatrical
modes
he
of his
way."
of Locke's
other character,
As
will
be seen
and that
later,
of
he was
The cause
of
literary
a scathing
and
type.
and
gave evinotice.
under
year now
this outpouring of his wrath was
dence
first
88
IX.
MATTHEW LOCKE
original
way,
set
different
giving
the Kyrie in an
music to each
response
the approval of the Choir, and they seem to have
given it rather a rough time. The result was
;
it,
"
Some
windy preface.
"
He is a slender
Vindi-
observer of
human
actions
who
finds not pride generally accompanied with ignorance and malice, in what habit soever it wears.
With regard to the Vindication, however convincing it might be, I believe the Kyrie was not
performed again at the Royal Chapel.
IX.
Pepys
MATTHEW LOCKE
89
September
2nd, 1667, in
which he says
Diary of
"
Spent
in
the
performance which
occasioned
may
little
time ago
edited
The Kyries
are,
many
of
of
in
Somewhat
of
the
way
of
Anthems.
He says
altogether a success in this position.
"
Locke was organist of Somerset House Chapel
:
IX.
go
MATTHEW LOCKE
hands,
and
Sabancino,
one
and
one
while,
afterwards
Signor
Baptista
Signor
Baptista
said about
it
An
Essay
away
and writing all
by casting
to the
Advancement
of
of
Music
cliffs
character.
The
seems to
MATTHEW LOCKE
IX.
91
them as
Mustek
vindi-
of at-
of
Thomas Salmon,
The controversy was very warm. You
"
To the Reader "
shall hear a short address
which will give some idea of the style of discustaining music lately published by
M.A.
sion
Locke adopted.
little
and says
"
IX.
92
MATTHEW LOCKE
and so
it
would
title of
face,
forth
setting
North
Locke's
calls his
works
opinions
in this
on
real
branch of
Opera.
"
Art
semi-Operas," but from the title just
quoted it may be inferred that Locke, at any
considered them full-grown specimens.
should be added that the Act tunes in Psyche
were written by Draghi. The writer on Opera
rate,
It
in
ori-
"
other."
Perhaps
"
"
semi-Opera
Roger
North's
term
MATTHEW LOCKE
IX.
The music
93
There
of
is
a beautiful
found
lege,
in the
Pepys Library
Cambridge. No doubt
of
this
And
is
to be
Magdalene Col-
was written
there
is
at
a remark-
Locke.
It
begins
of
mean
at finding of faults than mending them) I shall endeavour to remove these few blocks which perhaps
they
may
at.
He
of
the
IX.
94
MATTHEW LOCKE
"
the nation,
who
(the
composer says)
of
Monmouth,
gave this
life
by
and performers."
Amongst his other works was one
called
of the
Psalms to music
in
in parts for
the use of
is
the
last
made."
His
life
was not
long, but
it
was important,
1677."
in
August,
PELHAM HUMFREY
X.
1647 1674
We
a
"
have
heard
all
Member
of
"
Single-speech Hamilton,"
who, it is said, made a
of Parliament,
and by
what
it
prolific
when
years ago,
positions Dialogues,
Latin Motets
of
his
com-
was
every school where vocal music was
in
taught
many
few
revived
until a
it
is
a boat, haste
little
piece.
the charming
little
But
this
round
boat,
to the ferry.
The subject
about
all
of
people
know
of
95
him.
This so-called
X.
96
PELHAM HUMFREY
Born
of
is
he
is
said to
bearer.
From
tomb we can
learn a
of his family
little
position
of the
valuable
old
work, Kecpc's
in
1682.
The
In this
Visitation
of Northampton of
had disappeared from it before the next
Visitation some years later.
We know nothing of Pelham Humfrey's life
County
1564, but
*I
have lately
Abbey
Choir,
PELHAM HUMFREY
X.
97
when we
one
Chapel Royal Choir, under Henry Cooke, generally known as Captain Cooke, who having fought
in the Civil War, obtained his Captain's Commission as early in the struggle as 1642
retained his military title for the rest of his
;
Royal,
Humfrey
and
life.
dis-
played
shows
published
Anthems.
in
itself
Clifford's
in
Divine
Services
Anthems
is
and
in the
find:
I had room in the Privy Seale pew
At Chapel
with other gentlemen, and there heard Dr. Lilligrew preach. The Anthem was good after Sermon,
being the 51st Psalm 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 a little
Musical and kept good time with his hand all along
:
the Anthem.
Now
that
Anthem was
written by a Choir-boy
X.
98
PELHAM HUMFREY
Captain
is
lately.
pupils
Purcell.
when we
of
of this
only
for
Anthem was an
art.
On
X.
PELHAM HUMFREY
99
"
1664.
into France
and
of his
journey
In the
respectively.
Most
of the
in
passed
Paris with
Opera- writing
It is
ence
the
of
X.
ioo
PELHAM HUMFREY
it.
in the
1667,
and
October following.
glance at Pepys'
Continental
trip.
fine
15th, 1667.
Home, and
there
find,
expected, Mr. Caesar and little Pelham Humfrey lately returned from France, and is an absolute
Monsieur as full of form and confidence and vanity,
as
PELHAM HUMFREY
X.
101
Grebus
Master
who
rather
(or
of the
Grabu)
was the
King's
He
Music.
displaced Bannister,
was dismissed, according to the historians,
have said
this,
of English players,
Returning to
day's doings,
Mr Pepys
November
interesting reference to
scathing criticism
not true.
is
16, 1667,
we
Humfrey and
next
find a very
somewhat
PELHAM HUMFREY
X.
102
Mr Pepys then
Mr Gregory,
with
And
returning to Whitehall
room and
there
or understanding,
promotion
his in the
Royal Service
On May
refers to
him
Mr Pepys
again
Mr.
PELHAM HUMFREY
X.
103
is
what
and
is
An Anthem
light.
good example
two short Bass
There are
solos,
praises lustily,
which
jovial sailor
It is
is
is
X.
104
PELHAM HUMFREY
in
different
quite
style,
many
These latter
songs.
Dr Burney, who
Speaking
of a collection called
"
Burney says
number
refers
and harshly.
Choice Songs and
to them,
Aires,
fall
Among
one
air that is
Church Music
so excellent,
own
expected to
find originality, or merit of some kind or other
but his songs are quite on a level with the rest."
is
untrue.
for
altered version of
PELHAM HUMFREY
X.
7th
To
105
On January
ours.
24th,
"
Cooke, died
Antony Wood
himself
his
tells
us by
so
chagrin at finding
This
soul
above such
successful
pupils
foibles,
to
be jealous of poor
little
Humfrey.
However
this
may
be,
jointly with
appointed Composer
Thomas
in
he
Purcell,
Ordinary
and
was
to His Majesty.
It
was
in
this year,
charming
little
Whatever I
do.
1672,
It
was written
Nothing
that he wrote a
am and
Dryden's
in that year.
of
He
died at
PELHAM HUMFREY
X.
io6
Blow,
is
interesting
Dr
Bee
itt
knowne
Conccrne that
trix
and Mrs.
few debts
to all people
leave
of all
whomsoever
itt
may
my dcare
owe
are payd
I only desire that 3 Lcgacyes may bee given that
is to say to my cousin Betty Jclfe
to Mr. Blow ad
to Besse Gill each of them twenty shillings to buy
I
them Rings.
Pell.
Humfrey.
30 July, 1674.
John Blow.
30 July, 74.
(Proved 30 July 1674 by Catherine
and
Humfrey
Relict
sole executrix).
He was
"
he was the
first
of our eccle-
X.
siastical
PELHAM HUMFREY
107
least
idea
of
is
an exaggeration.
The
pupil
getting
is
the
so great, one
master.
At
is
in
least
danger of
here
for-
we have
Pelham Humfrey.
DR JOHN BLOW
XT.
1708
1648
If there
with
one
name among
whom I am
to which
do
desire specially to
John Blow. As a
of Dr.
in
is
child
justice,
it is
that
well
his beautiful
great
the Spirit
listened to,
and expressive /
multitude, and / ivas in
on the
touched
And
me and
as long as
thrilled
played
me
in
Manchester Cathedral
of
Blow's genius.
Services
by
two
have mentioned.
108
This
is
one reason
DR JOHN BLOW
X.
109
why
"
Blow's crudities."
life.
us proceed to trace
refrain, on account of time,
let
in
it
February 1648-9.
Cooke got together and taught. Of his schoolfellow, Pelham Humfrey, I have already spoken,
and, like Humfrey, Blow composed Anthems
while in the choir.
think,
probable that
refers to him.
1667,
It is possible - or rather,
we read
no
DR JOHN BLOW
XI.
Blow he would be about nineteen years old, and could have had but a very
broken voice. But it is not impossible, as many
boys retain their voices until a good age, and
"
"
in a moderate sort of
alto
continue singing
It is hardly likely there would be a
oy
style.
to
If this refers
And there
was some arrangement whereby boys who had
named Blaew and one named Blow.
left
possibly to study.*
(or,
more probably,
for his
needs
!),
also (while
1C76.
still
Dr Southgate) to
former statements.
make
a little correction
of
has generally been said the degree was conferred upon Blow by Archbishop Sancroft, but
It
There
an account preserved
Bodleian Library
keeping and teaching
It shows that it was
boys whose voices were gone, to be kept on for
is
usu.il
fur
tuition.
in the
"
BLOW
XI .DR JOHN
Dr Southgate
told
me in
to lecture on Blow,
a note,
when
some years
in
I
was about
Mr Jeremiah
Clarke.
It is
in
favour of a
a remarkable
St
Abbey,
all
Paul's
at the
days, often
Cathedral,
same time.
presided
over
and Westminster
Bishops, in the old
Diocese, filled a
pluralist
But
on record
this
is
and
in
DR JOHN BLOW
XI.
ii2
up our investigation
following
tions to music
will
of his contribu-
in
and to
1697,
composition of the
the early part of
in
When
tell
Anthem which
my
mentioned
lecture, I beheld
and Lo
it
"
'
of
James
France,
II,
and he
He
DR JOHN BLOW
XI.
memorable
the day,
two
and showed
best
men
Temple Church
between
competition
Harris, the
rival organ-builders.
his
113
wisdom
and
Smith won
in getting
It
the
was
at the
Smith
many
Day composed
for
and performed in
Day. Blow wrote
He published, in
of
a
collection
his
secular
vocal music,
1700,
great
title of
announces that he
is
"
preparing
my
as fast as
can a
With them
my
his design,
DR JOHN BLOW
XI.
ii 4
made known,
Venus and Adonis. Some
years been
a Masque entitled
is
Glastonbury.
It
is
very interesting,
as
it
little
as
it
musical dialogue
coming very near to a
consists
spoken thus
not
of
Opera.
also contributed to some Choice Lessons for
Blow
ford, to
published by Play-
"
I have also a
in Churches and Chapels."
copy
of a MS. Lesson on the Hundredth Psalm.
It
would now be called a Choral Prelude for the
knowledge
of
of his ability as a
player.
writer in
death, tells us
Master
in
171 1,
"
Blow's
XI.
DR JOHN BLOW
115
cell's
With
him
it
should have
this
testimony
seems incredible that Dr Burney
made such
a fierce onslaught
upon
man and
on account of what he
versatile musician,
"
calls his
crudities."
He
carefully,
and
in
many
cases
and
pathetic and expressive harmony. In some specimens there are obvious mis-prints, accidentals
omitted,
etc.,
prejudiced,
But
it is
am
although
took rather the same
Blow's music.
up
this matter,
He
line
really
"
when commenting on
pays Blow a compli-
he always appears to
ment when he says that
have been trying experiments in harmony or
introducing
discords".
who
Sir
Hubert Parry,
in
upon the
writers
speaking of these
"
crudi-
n6
ties
DR JOHN BLOW
XI.
"
"
says
great credit,
of the
musical insight."
I
Anthems
airs.
imity to Purcell.
fine
and
in close
monument
is
prox-
erected
ment.
In
my
is
said to
have
remember an
connection with this monu-
Abbey
(during
XI.
Dean
DR JOHN BLOW
Emperor
117
of Brazil paid
visit
Dean.
Burney's History
HENRY PURCELL
XII.
1658 -1695
I reach the last and the greatTwelve Good Musicians. And to at-
In Henry Purcell
est of
my
made
in
own country by
our
seventeenth century.
arouse interest, and
can do
little
more than
in
many minds
whom
biographical
these matters
known books
may
As
rule
have avoided
information in
of reference.
118
WENRLCl
.
~-i^ jkif\,.\.:
ffio-ics
TurcellA
tat:\
jM
III
HENRY PURCELL
XII.
Purcell
in the
am
obliged to enlarge a
hope that
may
little
119
on his
life,
be able to contribute a
Let
me
It
the Siege
of
Rhodes, in 1656.
In the Preface to
"
The Musick
was composed and both the Vocal and Instrumental is exercised by the most transcendent of
this publication
England
What
it is
claimed that
in that Art."
We know
absolutely
up to
this.
have made
diligent search
if
there
The name
of
in a bill for
The items
timber 6d.
of
Roger Pursell
HENRY PURCELL
XII.
120
may
we
1659 when
a page of accounts
Blackborn
and Joseph
Expended by George
Hobbes for the travelling charges about the
in
find
in
"
is
Then Roger
charges."
"
the
Bayliffe
'
of Mr Giles."
name of Roger
'
It
is
rather
Pursell should
the musical
of
to
Westminster.
and
standing,
Shropshire
in
in
the
1623
it
and Shrewsbury
Herald's
of
some
Visitation
was given as
of
of
Onslow,
dis-
We know
Purcell
after
the
production
of
of the elder
the
Siege
of
Rhodes
in
XII.
HENRY PURCELL
in 1660,
entry.
Mr Henry
"
then,
name
Purcell's
instead of
also a
Gentleman
also entered
book."
musician's
great
Abbey
as Master of the
and Copyist.
was
is
5s. this
we have the
121
He
of the
a Singing
find
We
have a glimpse
After dinner
of
him
21st,
in Pepys'
Diary,
1660.
Here
'
Another small
fact
of interest
He
is
furnished
"
me by my
by the steward
of Sir
Thomas Myddel-
connection
in
is,
no doubt,
find the
we
HENRY PURCELL
XII.
122
As a
There
in
is
lived
"
"
Singing Men
the well-known Westminster Palace Hotel
stands.
And
here
his
distinguished son
now
was
born.*
generally stated that he was born in 1658.
seems, however, just as likely or even more
It is
It
it
1659.
Unfortunately
has been impossible to find the record of his
likely
baptism.
The Register
at St Margaret's Church,
name.
Purcell
portrait
XII.
said to be
"
HENRY PURCELL
aetat
suae 24,"
i.e.
123
the twenty-
in
the thirty-seventh year of his age. Therehe was in his thirty-seventh year on
in
i.e.,
if
fore,
November
21,
Not only
his
name
had
of Purcell, as
his father
A friend
me on this
the
and 1659 do
not contain
had a house
precincts
would not be
of Westminster
"
in the parish,"
Abbey, and so
and it is quite
reasonable to suppose the child born in the Almonry was christened in the Abbey but I have
:
own
in
son,
of this.
Purcell' s
in the
Abbey
1689.
know
Henry Lawes
lived also in the Almonry, and so must have
known the little boy Purcell
but, as Lawes
It
is
interesting to
that
HENRY PURCELL
XII.
124
Thomas
also
and a member
Chapel Royal, besides holding other imHe looked after his clever little
portant posts.
As in the
was
a real father to him.
and
nephew,
of the
case of
Henry
we know nothing
Thomas Purcell until
Purcell, Senior,
among
of the
1670,
composed by
MASTER PURCELL,
one
Purcell,
Cooke, but
no doubt,
it
is
whose monument
in
the
XII.
Abbey
Henry
The
HENRY PURCELL
records he
was
"
125
Purcell."
little for
As a matter of fact,
he seems to have been drawn (like Henry Lawes)
more to the secular side, writing for the theatre.
It has been suggested that he was introduced to
this kind of work by Locke, who we know was
We must
a prominent composer for the stage.
also remember that Humfrey would, very likely,
have helped to influence the mind of the young
Church
On Locke's death in
wrote an ode On the death of his
1677 Purcell
as
Chapter Books
the Treasurer's accounts that
it
in the
than stage.
The
Mneas
composition
is,
of
think, proved
the
Opera
Dido
by Mr Barclay
and
Squire's
HENRY PURCELL
XII.
126
It
is
not
me
few moments
call
attention to what
consider
1683.*
first
publication,
and
it
having
been married
in 1681.
(It
should be
the Chapel
Royal in 1682, holding that post at the same
time as the Abbey.)
of
Purcell's career.
mentioned
Fancies
thing.
in
these
Lectures,
Purcell
wrote
Continuo, and consisting of three or four movements of differing character, they are a wonderful
England or abroad.
But Corelli's
although
appeared.
beautiful have not the depth or originality of
Purcell's
The
portrait
reproduced for
this
volume.
HENRY PURCELL
XII.
127
three
strings
My own
for this.
formance
ment
is
is
best,
and
the Continuo
it
is
sichord or Organ.
Purcell in his Preface says
"
:
for its
Author
but those
for
he
that
is
may
fall
into
no other hands
who
writing
Italian Masters
fine
bated.
For myself
Purcell
owed much
violinist,
famous
to a remarkable Neapolitan
Nicola Matteis.
XII.
128
HENRY PURCELL
The date
of Mattcis's birth is
musician
till
of
propagation
of musical styles
in
London.
The
to another
of persons
who went
specifically
account
of
and the
Italian
coming in its room. This happened by degrees, and the overture was by accident, for the coming over of Sig. Nicolai Matteis
gave the first start. He was an excellent musicthe Organist of
Westminster Abbey, must of course have known
Matteis, as he directed the concerts of Chief
ian,
&'c,
&c, &c."
Purcell,
HENRY PURCELL
XII.
129
ings of
of
Then
terms
much
singular that
as to the explanation
it is a little
in Purcell's Preface,
is
parts in the Bodleian Library, and had performed at a Lecture at the Royal Institution,
a Sonata in
by Matteis,
it is
in
in the exact
1683
Sonata
and, though
composition cannot be
at least as likely to have been com-
However, I am not
posed before 1683 as after
asserting that a composer like Purcell copied
I am only saying that it was
Matteis's works.
Matteis
chamber-music
Italian
conclude
North's
than
by
voluminous
Musical Ayre
536, folio 78)
(Brit.
And
quoting
cannot better
from
manuscripts,
Museum,
one
of
Essay
of
HENRY PURCELL
XII.
130
composed another
Purcell
set
of
Sonatas,
known
But
issues.
it
in either of
is,
the
No. 4 of the
any
is
first
of
of
set,
is
at all
additional figures,
Purcell
indeed,
was
so.
cannot
hope
linger
now over
these
interesting
this
HENRY PURCELL
XII.
In 1686 he took
time.
part in the
Organ-Builders at the
tion of
spoken
already
Blow.
of
131
my
in
competi-
Temple Church,
Lecture
on
Dr
Blow,
Child,
and
others.
Who
directed
the
we
i.e.,
are
it
ductor.
second Coronation
in
It was that of
part had a rather serious turn.
William and Mary, and Purcell admitted persons
to the organ-loft to see the Ceremony, for which
well.
Purcell thought
do
not suppose he was
perquisite
(I
but
his extra work on the occasion)
was a
"
"
paid for
the Dean and Chapter claimed the
passed the following Chapter Order
money and
:
XII.
132
HENRY PURCELL
order.
Book
states
as
an entry
in
the
"
Received of Mr. Purcell (his poundage and
other charges being deducted) 78 4s. 6d."
The
been many, as
it
was but
have
"
days.
Purcell's
it
in
sure
Mr Barclay
later in
work
it is
Squire
is
right in putting
it
much
1689.
Although a splendid piece of
that of a man of experience and not of a
youth.
One
of the
XII.
Betterton.
hautboys
It
(3),
HENRY PURCELL
is
scored
for
133
strings,
flutes,
It is
very
"
"
Masque
interesting music, and there is a
included in it, containing some of the best of
copies of the
I
tells
first
issue
by
own hand.
He
possess one of these scarce books.
us a little of his troubles with the printer in
of the book.
"
In
falling into
to a bulk beyond
who
my
opinion of
in
since his
the last
(Dryden's.)
in
1691,
This
King
is,
HENRY PURCELL
XII.
i34
Come
celebrated Air
if
Scene.
Day
in 1692.
at
And now
Purcell's
contributions to the
Church.
In 1694
and
lie
of the finest of
Services
of
wrote an elaborate Tc
accompaniment
the
Dcum
:
this
the
first of its
poser's death.
St Paul's at
Sons
Dcum, composed
its
place.
From
for the
when Handel's Te
HENRY PURCELL
XII.
two
rival
it
135
of resemblance.
Handel
which, until lately, was known --and somewas a sad corruption of the
times performed
original.
Purcell's
helping
Handel's, broke
made some
added
up
it
into various
alterations in
dull
many
movements,
The original
and Boyce
was disastrous and
symphonies.
formance
of
it
The
result
the
Purcell
killed
was given
setting.
writer,
is
from M.
Fetis,
I will
quote
very inter-
preserved in a musical
1829, which
per-
paper
of
June
my
my
HENRY PURCELL
XII.
i36
me no way
which appeared to
superior.
It
do about introducing
of the
this
Abbey
"
Dcum
Purcell Celebration.
Sir
Te
And
said
it
was
in
the music
consulted
"
long-winded
dull
so
me
brought to
Abbey
bration had
He
sold
it
to
was Boyce's
A new
edition
looked
it
over
again restored to
life
In another direction
markable
versatility.
Purcell
He
showed
corrected and
his
re-
amended
Mustek, a
Purcell's observations on
"
by Boyce.
XII.
HENRY PURCELL
137
mournful trumpets
and published
"
this
is
it is
a beautiful specimen of
said,
was played
at his
own
funeral.
Purcell died on
Cummings,
November
21st, 1695,
and Dr
draws a moving
"
house
now
and 1695
Marsham
in
Street.
existed
until
made from
lately,
and
possess cupboards
mantelpieces and
the staircase of Purcell's house.
the
balusters of
the time of
my
predecessor,
The death
to
English
of this great
music.
man was
a grievous loss
XII.
138
pupils in
Dr
successor
HENRY PURCELL
Croft
and
and the
had no real
Handel and the
others, yet he
arrival of
much
to cause Purcell's
oblivion.
there
is
fame
is
gradually publishing
is still
constantly on the
our Cathedrals.
lists of
must
A
in
Westminster
upon
Abbey may
his gravestone
fitly
close
this
chapter.
Applaud
Who now
And
HENRY PURCELL
XII.
139
NOTE
Since the preceding pages were written I have heen in
correspondence with Dr W. H. Grattan-Flood, of
with
Enniscorthy,
reference
to
the
Irish
Purcclls
'
which
points
me
Dr Grattan-Flood
will
make
public
but appendhope
his observations on the most important
:
"
of
HENRY PURCELL
XII.
140
"
inasmuch as
Charles II.
"
Henry Purccll the Elder was the son of Thomas
Purccll of Gortanny and Ballycross, Co. Tippcrary,
the son of Thomas Fitz Piers Purcell, cousin of the
Baron of Loughmoe, and cousin of the Purcells of
Croagh, Co. Limerick. Both Henry and Thomas
Purcell were brought when quite young to England
by their aunt, and placed in the Chapel Royal. Their
aunt was a blood-relation of the Marquis of Ormonde,
who was on intimate terms with King Charles I. Mrs
James Purccll, their aunt, took for her second husband Colonel John Fitzpatrick, who was also a perThis lady
sonal friend of Charles I and of Charles II.
was Elizabeth Butler, 4th daughter of Thomas,
Viscount Thurles
11
February, 1639.
1643.
It will
XII.
HENRY PURCELL
141
suggestion
that
Thomas were
father, his
"
But
can
F.
13.
INDEX
Abbey Amen, The, 42
Allnutt (Mr), 67
Amphion Anglicus, 113
Anne
of
Denmark
(Henry), 54
(William), 54
(Princess),
"3
Dioclcsian,
Bach
(Michael), 28
(Eleanor), 54
Earle's
Microcosmographie,
Drayton
Choir, 51
Bannister, 10 1
Dyke
Beaumont and
Fletcher, 132
Bleaw, no
Blow (Dr John), 108-117
Bodleian Library, 26
Boethius, 56
Boyce's Cathedral Music, 10
Brackly (Viscount), 74
45-47
Campion, 31
Canterbury Cathedral, 48
Cantiones (Byrd),
13
Casaubon, 47
Clarke (Hyde), 68
Clarke (Jeremiah),
in
Coleman
Collier
(Mrs),
(J.
P.),
82 (note)
Catalogues
of
Comus
125, 132
132
(Milton), 72
9,
36
Galliard,
Hatton
(Sir Christopher), 36
Hawkins (Sir John), 116
Heyther
cise,
(Dr),
Doctor's
Exer-
42
John), 96
James
143
II,
Coronation
of,
131
INDEX
144
Jenkins (John), 95
Jerusalem Chamber, 44
Jonson (Ben), 6
Keepe's Monumenta Westmonasteriensia, 96
Lady Nevill's Booke, 16
Lambeth Register,
Lawes (Henry), 71-83
Lawes (William), 83
/ ifc
of Archbishop Williams, 44
Locke (Matthew), 84 94
Locke's Response to the Ten
Commandments, 89
London University,
Ludlow Castle, 74
Purcell
Mine
(Byrri),
Family, 120
Society, 138
Ravenscroft, 31
Ripon, Bishop of, 66
Robinson (Dr Armitage), 51
Rochester Cathedral. 108
,,
Salmon (Thomas), 90
Sancroft (Archbishop),
Sandwich (J-ord), 93
Sandys (George), 73
Scott (Dr), 56
Scrivener's
"
10,
no
Company, 65
Semi-operas," 92
19
105,
124,
139. 14. 141
,,
(Thomas),
35
(Leighton),
10
Tewkesbury, 3
Three
adies of London, 32
of Oriana, 11, 23
Triumphs
Twinclcdowne Tavye, 32
Venus and Adonis, 114
Waelrant, 9
Weelkcs (Thomas), 28-33
Westminster Abbey, Gibbons'
Festival (1907), 48
Westminster Abbey, Chapter
Library, 50
Where
Wood
Church, 43
(Anthony),
1 1,
Sonqr, of
54
York, 69
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1973
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