 Chapter 8 of 12 Good Musicians from John Boll to Henry Purcell. This is a LibriVox recording. While LibriVox recordings are in the public domain. For more information or to volunteer, please visit LibriVox.org. 12 Good Musicians from John Boll to Henry Purcell by Frederick Bridge. Chapter 8. Henry Laws. 1595 through 1662. In Henry Laws we have a subject of particular interest. No musician of the 17th or probably of any century has been so praised by the poets. And few musicians of reputation have been so disdainfully treated by the old musical historians. I think we shall find Henry Laws worthy of inclusion amongst the 12 good musicians with whom I am dealing. His life was a checkered one. He lived in troubleous days and in an era of great changes in the political and musical worlds. Born in 1595 at Denton in Wiltshire he became a pupil of Giovanni Copperario or John Cooper to give him his English name. And I think this had a considerable influence on the direction which his compositions took and about which I shall say more later. We find him a gentleman of the Chapel Royal in 1625 and later on a gentleman of the private music to King Charles I. On the breaking out of the rebellion he lost his post and employed himself principally in teaching singing. He lived a long life long enough to see the restoration and to compose the coronation anthem for King Charles II. Dying in 1662. Laws contributions to English music begin with the mask. The earliest date seems to be 1633 or 1634 when he set the songs in a mask written by Thomas Carroll entitled Coella Britannica. This was written at the particular invitation of the King and was performed for the first time in Whitehall. The poem was published in 1634 and was wrongly attributed to Sir William Davenette. Another mask by James Shirley, the triumph of peace was produced in the same year. Laws and another well-known musician Simon Ives writing the music for which they received the sum of 100 pounds. The following year saw the production of Comus, the greatest of masks. It will be seen that laws differed from most of our English composers and devoting himself at the outset of his career, omus exclusively to the stage. 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 Copperario. Now this musician had an experience which few of his contemporaries enjoyed. He studied in Italy going there as plain John Cooper and returning to his native country as Giovanni Copperario. His sojourn in Italy was at a remarkable time, the time when the first opera and the first oratorio were given. It is very interesting to be told and I have been told on the authority of my friend, Reverend Sponer Lillingston, that among the names given in a certain record of the performance of the first opera was found that of the Englishman, Giovanni Copperario. This seems to me to be an important fact. In fact, laws would come under the influence of Copperario who, with his love for Italian music and experience of the beginning of opera, would no doubt help laws to take up the music of the stage instead of the music of the church. Our composer was not, however, long before he embarked on some church music by setting a paraphrase upon the Psalms of David by George Sandys and also contributing another volume of tunes to church Psalms in which he was joined by his clever brother, William, who was later on killed at the Siege of Chester. Among the commendatory poems prefixed to this volume was the well-known sonnet by Milton, addressed to laws, beginning, Harry, whose tuneful and well-measured song first taught our English music how to span words with just note and accent. He was a prolific writer of songs and mask music, but his greatest opportunity was in writing the music and producing Milton's Mask of Comus at Ludlow in 1634. Milton was a friend, and I think there is no doubt a pupil in music of laws. Milton's father had much music in the house in Red Street, and no doubt, laws was among the eminent musicians who gathered there. When Milton's father removed to Horton in Buckinghamshire, we are told that the young Milton came up to London to receive instruction in music, as well as in other things. It was laws who apparently got Milton to write the Mask, which he desired to produce at Ludlow Castle in September 1634. The story of Comus and its origin is so well known that I need not dwell upon it. The music of the Mask was not published in the composer's lifetime, but curiously enough, it was laws who edited Milton's poem in 1637. This was published without the name of the poet appearing, and was dedicated to Viscount Brackley, one of those who took part in the performance at Ludlow. In the dedication law says, although not openly acknowledged by the author, yet it is a legitimate offspring, so lovely and so much to be desired, that the often copying of it hath tired my pen to give my several friends satisfaction, and brought me to the necessity of producing it to the public view. Unfortunately, we have only five songs of the original music. There are a great number of places in the Mask for which Milton desires music in many directions for instrumental movements, particularly. What these were, we do not know. The merit of law's music have been decried, but having edited the Comus music after careful correction from law's original manuscript, which I was fortunate enough to be able to see, I am confident that all who hear it will find the songs full of beauty and expression, and well worthy of the words to which they were so admirably fitted. I must not dwell longer upon Comus, for there is much to be said about law's other work. Playfair was a great patron and admirer of law's. He published no fewer than three books of heirs and dialogues, which contained some charming settings of excellent poetry. The first book of heirs was dedicated to his pupils. Lady Alice Edgerton and her sister, daughters of Lord Bridgewater, and in it he says, no sooner had I thought of making this public than I resolved upon inscribing them to your ladyships, most of them being composed when I was employed by your ever honored parents to attend your ladyship's education and music. Laws is often said to have introduced the Italian style of music into this kingdom, but this is hardly correct. That he admired and understood the Italian style is quite certain. His studies with Copperario would have influenced him in that direction, and he himself, in one of his numerous prefaces, and he was a great writer of prefaces, speaks of the Italians as being great masters of music, but at the same time he contends that our own nation has produced as many able musicians as any in Europe. He laughs at the partiality of the age for songs sung in a foreign language. In one of the prefaces to his book of heirs, he says, this present generation is so sated with what's native that nothing takes their ears but what's sung in a language which, commonly, they understand as little as they do the music. And to make them a little sensible of this ridiculous humor, I took a table or index of old Italian songs for one, two, and three voices, and this index, which read together made a strange medley of nonsense. I set to a varied air and gave out that it came from Italy, whereby it hath passed for a rare Italian song, this very song I've since printed. This shows him a real humorist, and it is, I should suppose, the first real comic song. It is set quite in the style of an Italian song, with much declamation with some charming melodious phrases. I have often had it performed at my lectures, and when sung in Italian it is listened to very stylically, but when the English translation is given it creates much hilarity. I give the English translation whereby it will be seen it is indeed a strange medley of nonsense. The title is given in Law's book as tavala, i.e. a table or index. Tavala, in that frozen heart, for one voice, weep my lady, weep, and if your eyes, your two voices, it is ever thus, even when you seem to sigh of me, truly you scorn me, unhappy, unbelieving, alas, a splendor yet, but why oh why, from the pallet lips and so my life, for three voices. There is no doubt Law's was a well-educated man, and it was certainly one of those reasons why he set words with just note and accent, and obtained the great praise of so many contemporary poets. It is said he never set bad poetry, and he set songs to Italian, to Spanish, and even to Greek words. An interesting fact in connection with his love for good poetry is given in J.P. Collier's catalogue of early English literature in the Bridgewater House Library, 1837. Amongst the book's catalogue is a volume of poems by Francis Beaumont, which was presented to the Earl of Bridgewater by Henry Laws. The following inscription is found fastened to the cover. For the right honorable John Earl of Bridgewater, my most honored lord, from his lordship's most humble servant, Henry Laws. The Earl of Bridgewater is the nobleman for whom Comus was produced. Laws was a real champion of English music and English musicians, and certainly understood what he was writing about. Although somewhat lengthy, I really cannot refrain from giving the preface to one of his books of heirs, which goes into this subject. It is both amusing and improving, and deserves to be read by all. To all understanders or lovers of music, in my former you saw what temptations I had to publish my compositions, and now I had not repeated that error, if it proved to be one, but upon the same grounds, backed with a promise I made to the world. Though the civil reception my last book found were sufficient invitation, for which I gladly hear all from my thanks, especially to those worthy and grateful strangers who are far more candid and equal in their senses than some new judges of our own country, who in spite of their stars, will sit and pronounce upon things they understand not. But this is the fate of all mankind, to be rendered less at home than abroad. For my part I can say, and there are will believe me, that if any man have low thoughts of me, he is of my opinion. Yet the way of composition I chiefly possess, which is to shape notes to the words and sense, is not hit by too many. I have been often sad to observe some otherwise able musicians, guilty of such lapsis and mistakes this way, and possibly this is it makes many of us here so ill abroad, which works a belief among ourselves that English words will not run well in music. This I have said and must ever avow is one of the errors of this generation. I confess I could wish that some of our words could spare a consonant, which must not be slurred for fear of removing those landmarks and spelling, which tell their original. But those are very few, and seldom occur, and when they do, are manageable enough by giving each syllable its particular humor, provided the breath of the sense be observed. And I speak it freely once for all, that if English words which are fitted for song do not run smooth enough, tis the fault either of the composer or singer. Our English is so stored with plenty of monosyllables, which like small stones fill up the chinks, that it hath great privilege over divers of its neighbors, and in some particulars with reverence be it spoken, above the very Latin, which language we find overcharged with the letter s, especially in buss and such hissing terminations. But our new critics lodge not the fault in our words only, tis the artist they tax as a man unspirited for foreign delights, which vanity so spreads that those are productions they please to like must be born beyond the Alps and fathered upon strangers. This is so notorious that not long since some young gentlemen who were not untraveled, hearing some songs I had said to Italian words, publicly sung by excellent voices, concluded those songs were begotten in Italy, and said too loud they would fain hear such songs to be bade by an Englishman. Had they laid their scene a little nearer home, there had been more color, for a short air of mine, near 20 years old, was lately revived in our neighbor nation, and publicly sung to words of their own as a newborn piece without alteration of any one note. Tis the air to those words old poets, hypocrite and mire, etc. The sorry trifle a man would think to be raised from the dead after 18 years burial. But to meet with this humor of lusting after novelties, a friend of mine told some of that company that a rare new book was come from Italy, which taught the reason why an eighth was the sweetest of all notes in music. Because said he, Jubal, who was founder of music, was the eighth man from Adam, and this went down as current as my songs came from Italy. I beg your pardon for instancing such particulars, but there are knowing persons who have been long bred in those worthily admired parts of Europe, who ascribe more to us than we to ourselves, enable musicians returning from travail do wonder to see us so thirsty after foreigners. For they can tell us, if we knew it not, that music is the same in England as in Italy. The concords and discords, the passions, spirits, majesty and humours are all the same they are in England. Their manner of composing is sufficiently known to us, their best compositions being brought over hither by those who are able enough to choose. But we must not here expect to find music at the highest when all arts and sciences are at so low an ebb. As for myself, although I have lost my fortunes with my master of ever-blessed memory, I'm not so low to bow for a subsistence to the follies of this age, and to humour such as will seem to understand our art better than we that have spent our lives in it. If anything here brought you benefit or delight, I have my design. I have printed the Greek and a Roman character for the ease of musicians of both sexes. Farewell, H.L. This is the second book of errors and dialogues dedicated to the honourable, the Lady Dearing, wife to Sir Edward Dearing, Baronette. During the Civil War he appears to have lived in London, composing and teaching. His compositions for the church in the way of anthems were but few. As we have seen in his early days, he preferred the stage and during the Commonwealth there was no inducement to write cathedral music. But the words of several of his anthems are to be found in Clifford's Divine Services in Anthems, published in 1666. He joined Captain Cook and others in writing music for Davinat's first day's entertainment at Rutland House, e.g. Declimation and Music. A little later he assisted in the production of the Siege of Rhodes, which Roger North calls a semi-opera. This was produced during the Commonwealth and is of particular interest from the fact that Purcell's father, Henry Purcell the Elder, took part in the performance. This is the first notice we get of the Purcell family, about whom I hope to say more in a later lecture. It is an interesting fact that the composer of the music to the last important mask, Milton's Comus, should have helped also in what was apparently the first English opera. Laws at the Restoration was reappointed to his Chapel Royal post and composed the anthem, Zeduck the Priest, for the coronation of Charles II. He did not long survive the revival of his fortunes. He lived in the little almondry of Westminster, the block of ancient buildings in which the Purcell family lived. He probably knew the young Henry Purcell, then a child of ten to years, and one wonders if he detected the musical genius of the little boy. We get a glimpse of him in his last days from the diary of Samuel Peeps, who on December 30th, 1660, makes the following entry. Mr. Child and I spent some time at the loop, and so promising to prick me some lessons to my thoroughbore, he went away to see Henry Laws, who lies very sick, eye to the Abbey and walk there, seeing the great companies of people that come there to hear the organs. The coronation was in April 1661, so Laws recovered from his illness, though he died the following year. He was buried in the cloisters of Westminster Abbey, though unfortunately there is nothing to mark the spot of his internment. I think it is probably in the little cloister, as Dr. Wilson, a brother musician, was interred there a few years later. In Henry and William Laws we have two noble brothers who deserve to be remembered with affectionate respect. The portraits of both are preserved at Oxford. End of Chapter 8 Chapter 9 of Twelve Good Musicians From John Bull to Henry Purcell This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information or to volunteer, please visit LibriVox.org. Recording by Marilyn Rakes Twelve Good Musicians From John Bull to Henry Purcell By Frederick Bridge Chapter 9 Matthew Locke 1630 to 1677 A prominent personage in the 17th century musical world was Matthew Locke. The exact date of his birth is not known, but it was approximately 1630. Matthew Locke laid the foundation of his art as a chorister in an English cathedral, and at Exeter there is evidence that he occupied that position in 1638. The evidence cannot be disputed, as it is graven in the very fabric of the old cathedral. The embryo musician took the trouble, upon two occasions, to inscribe his name upon the walls of the cathedral, together with the dates. Upon the inner side of the old organ screen runs the legend Matthew Locke 1638, and in a more abbreviated form at a later date, ML 1641. As a boy he seems to have been content with the name of four letters, L-O-C-K. In his later years he always attached a final E to his patronymic. At Exeter he had the advantage of being trained by Edward Gibbons, brother of the great Orlando, and, in addition to Gibbons' share in his training, he owed much to William Wake, organist, for whom he wrote one of his first published works. The period following Locke's later inscription, 1641, was one not calculated to encourage or foster the art of music. The country was in a state of civil war. The soldiers of Cromwell wrought sad havoc in the cathedrals, and the musical portions of those establishments came in for no small share of their destroying wrath. At Westminster Abbey we are told the soldiers break down the organs for pots of ale, and the cathedral at which Locke served his pupillage fared very badly at the hands of the roundheads. It is natural, then, that during the stormy times which marked that period we have little intelligence concerning the doings of Locke. We have the dates of some of his compositions, one as early as 1651. The chief interest, however, which attaches to his work between 1650 and 1660, is that it is so much connected with the stage, and in that way marks the progress towards the opera of the English form of which Locke is sometimes credited with being the originator. As instances of this kind of work we might perhaps draw attention to his association with Christopher Givens in Shirley's Mask, Cupid and Death, 1653, and the music he wrote in 1656 for Davenants, Siege of Rhodes. In the production of which he himself shared, playing the part of the admiral. Henry Laws wrote some of the music of this opera, and Purcell's father was one of the actors. The next item of importance that we have concerning him is in the diary of Samuel Pappas. There, under date February 21st, 1659, 1660, we read, After dinner I back to Westminster Hall. Here met with Mr. Locke and Purcell, master of music, and with them to the coffee house, into a room next to the water by ourselves. Here we had a variety of brave Italian and Spanish songs, and a canon of eight voices which Mr. Locke had lately made on these words, Domini salvam facurism, an admirable thing. This is a very interesting entry. It shows Locke associated with Purcell's father. It gives another instance of Mr. Pappas never missing the opportunity of cultivating the friendship of good musicians, and, apart from the musical side, as a historical matter of interest, the words of the canon Domini salvam facurism show the feeling of loyalty towards the crown which ended in the restoration. Words which ten years before it would have been a heresy to utter. It may be pointed out that the entry February 1659 by the old way of reckoning was really February 1660, and therefore the year of the restoration. In the ceremonies connected with that great event, Locke played an important part. It was to his music for sagbuts and cornets that the royal progress was made, from the Tower to Whitehall, the day before the coronation, 1661. As a reward he was made composer in ordinary to his majesty, and one of the gentlemen of his majesty's private music. For the next year or two he appears to have been engaged in composition, both for church and stage. Amongst the former may be mentioned some anthems, whilst his music for Staphelan's stepmother presents another instance of his association with dramatic music. This dramatic side of his nature may have been the cause of Roger Nord's complaint that he sacrificed the old style for the modes of his time and of his theatrical way. The year 1666, the year of the fire of London, is rather an important one in the consideration of Locke's life. It introduces us to him in another character, and that of a literary type. As will be seen later he was a scathing and bitter critic of his detractors, and first gave evidence of this quality in the year now under notice. The cause of this outpouring of his wrath was the treatment a Kyrie of his composition had received at the hands of the chapel royal choir. It would appear that he had set the Kyrie in an original way, giving different music to each response. Such an innovation did not meet with the approval of the choir, and they seemed to have given it rather a tough time. The result was that Locke published it and supplied a preface entitled Modern Church Music, pre-accused, censured, and obstructed in its performance before his majesty, 1st of April 1666, vindicated by its author, Matthew Locke. Some of his observations are very severe and abusive. I give a small portion of the somewhat long and windy preface. He is a slender observer of human actions and finds not pride generally accompanied with ignorance and malice, in what habit so ever it wears. In my case, zeal was its visor and innovation the crime. The fact, changing the custom of the church by varying that which was ever sung in one tune, an occasioning confusion in the service by its ill performance. That such defects should take their rise from the difficulty or novelty of the composition I utterly deny. The whole being a kind of counterpoint and no one change from the beginning to end but what naturally flows from and returns to the proper center, the key. With regard to the vindication, however convincing it might be, I believe the carry was not performed again at the royal chapel. Pippus refers to the incident in his diary of September 2, 1667, in which he says, Spent all the afternoon, pelling howl and I and my boy, singing of Locke's response to the Ten Commandments, which he hath set very finely, and was a good while since sung before the king, and spoiled in the performance which occasioned the printing them and are excellent good. Mr. Pippus evidently sympathized with the lacerated feelings of the injured author. I may say that some little time ago I edited these curies and the creed, and they've been sung in the Abbey and in various cathedrals. The curies are, many of them, very tuneful, and the whole setting of curie and creed does lock great credit. I have not space to dwell longer upon his church music, of which we have some excellent specimens in the way of anthems. Somewhat later he was appointed organist of the chapel at Somerset House. This chapel was part of the establishment of Queen Catherine, the Queen of Charles II, who throughout her life remained a Roman Catholic. It would appear from Roger Nord that Locke was not altogether a success in this position. He says, Locke was organist of Somerset House chapel as long as he lived, but the Italian masters that served there did not approve of his manner of play, but must be attended by more polite hands, and one, while one Signor Baptista Sabancino and afterwards Signor Baptista Draghi used the great organ, and Locke, who must not be turned out of his place nor the execution, had a small chamber organ by on which he performed with them the same services. This seems a somewhat humbling position for such a man, and one wonders what he said about it. Another sharp controversy he took part in was an answer to Mr. Thomas Salmon, M.A., of Trinity College, Oxford, who had written and published an essay to The Advancement of Music by casting away the perplexity of different cliffs and writing all sorts of music in one universal character. The desire to simplify musical signs seemed to have been an old theme and one that gave rise to a fierce controversy between Matthew Locke and Mr. Salmon. It is only fair to say that Mr. Salmon was not overjudicious in his method of recommending his scheme. He seems to have purposely hit out at music masters, of whom Locke was one of the most eminent, and suggested that their opposition to his ideas sprang from the sword of desire to make as much as they could out of their pupils by keeping them as long as possible under tuition. Matthew Locke replied to this in a treatise entitled The Present Practice of Music Vindicated Against the Exceptions and New Way of Attaining Music Lately Published by Thomas Salmon, M.A. The controversy was very warm. You shall hear a short address to the reader, which will give some idea of the style of discussion Locke adopted. Though I may without scruple avir that nothing has done Mr. Salmon more kindness than that his books have had the honour to be answered, yet I have been forced to afford him this favour rather to chastise the reproaches which he hath thrown upon the most eminent professors of music than for anything of learning that I found in him. Those gentlemen he accused of ignorance for not embracing his illiterate absurdities for which it was necessary to bring him to the bar of reason to do him that justice which his follies merited. Though for the fame he gets by this I shall not much envy him with whom it will fare as with common criminals who are seldom talked of above two or three days after execution. A little farther on he gets angry and says, Had I been per-blind, copper-nosed, sparrow-mouthed, Google-eyed, hunch-backed, or the like, ornaments which the best of my antagonists are adorned with, what work would there have been with me? Attention has already been directed to Locke's association with dramatic music, and so it would be well to glance briefly at the claim he possesses to be considered the father of English opera. The work which entitles him to be ranked as the writer of the first English opera is Shadwell's Psyche. This, with the music to the tempest, was produced in 1673 with the title of the English opera. It contained a preface setting forth Locke's opinions on real opera. North calls his works in this branch of art semi-operas, but from the title just quoted it may be inferred that Locke, at any rate, considered them full-grown specimens. It should be added that the act tunes in Psyche were written by Draghi. The writer on opera in Grove's dictionary marks Purcell as the originator of English opera. Henry Purcell, he says, transformed the mask into the opera, or rather annihilated the one and introduced the other. Perhaps Roger North's term semi-opera is the best expression for Locke's essays in this connection. With regard to Locke's other dramatic music, reference must be made to the Macbeth music, which has for so many years been associated with his name. For long the matter has been the subject of conjecture as to whether he was really the author of it or not. The music of Psyche is so good that there is no ground for saying he could not have written the Macbeth music. He was exceedingly dramatic and also melodious. There is a beautiful dialogue on the death of Lord Sandwich, the great patron of Samuel Peppus, which is to be found in the Peppus Library of Magdalene College, Cambridge. No doubt this was written at the suggestion of Peppus and there is a remarkable setting of Hamlet's soliloquy, also in M.S. in Peppus' book, which I firmly believe is by Locke. As usual, Locke wrote an aggressive preface to Psyche. It begins, That poetry and music, the chief manifestives of harmonical fancy, should provoke such discordant effects in many as more to be pity than wonder that. It having become a fashionable art to peck and carve other men's conceptions. How mean, so ever, their own are. Expecting, therefore, to fall under the lash of some soft-headed or hard-hearted composers, for there are too many, better at finding faults than mending them. I shall endeavour to remove those few blocks which perhaps they may take occasion to stumble at. He goes on to say the title opera is of the Italian and claims that as far as his ability could reach he had written agreeably to the design of the author and that the variety of his setting was never in court or theatre till now presented to the nation. Though I must confess there has been something done and more by me than any other of this kind. Locke evidently considered Psyche as a real opera and a novelty in this country. The work was dedicated to James, Duke of Monmouth, who, the composer says, gave this life by ear often hearing this practice and encouraged and heartened the almost heartless undertakers and performers. Amongst his other works was one called Melathisia or Certain General Rules for playing upon a continued base. This is said to be the first book of its kind and he contributed to many other works. Roger North tells us Locke set most of the psalms to music in parts for the use of some virtuoso ladies in the city and he composed a magnifique consort of four parts after the old style which is the last that have been made. His life was not long but it was important and perhaps the greatest tribute to his memory was that Henry Purcell wrote an old commemorative of his disease. On the death of this worthy friend Mr. Matthew Locke music composer in ordinary to his Majesty an organist of Her Majesty's Chapel who died in August of 1677. End of chapter 9 Chapter 10 of 12 Good Musicians from John Bull to Henry Purcell This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information or volunteer please visit LibriVox.org 12 Good Musicians from John Bull to Henry Purcell by Frederick Bridge Pelham Humphrey 1647 to 1674 We have all heard of single speech Hamilton a member of parliament who it is said made a single speech and by it achieved lasting fame. As a matter of history Hamilton made other speeches but it was by the first that he earned his well-known cognomen. And we have a somewhat similar example in connection with a celebrated musician John Jenkins. Born in 1592 he lived until 1678 and wrote as North expresses it horse flows of music. He was most prolific and most celebrated and yet until a few years ago when I revived many of his compositions dialogues fancy for strings and Latin motets not a note of his music was heard anywhere save one little piece but this was sung in every school where vocal music was taught. It is the charming little round a boat a boat aced to the ferry. The subject of our present consideration is another example of the same fate. Pelham Humphrey composer of the grand chant it's about all people know of him. This so-called grand chant is known and sung in every Protestant church in the world. Humphrey is however a worthy member of the band of musicians whose work I have following and we'll see what else he did besides writing the grand chant. Born in 1647 he is said to have been a nephew of Chromal John Humphrey Bradshaw's sword bearer. From the arms which were on his tomb we can learn a little of his family and forebears. These arms I regret to say have long since been obliterated. In fact they had gone and searched on Hawkins time together with the epitaph and at the present time the exact position of the grave can only be a matter of conjecture. But what was on it has been preserved to us in a valuable old work keeps Monumenta, West Monasterancia, 1682. In this work the description is given of the armorial bearings and by them we can trace him to an old Northampton sheer stock. The family is mentioned as being settled in the country in the visitation of Northampton of 1564 but had disappeared from it before the next visitation some years later. We know nothing of Pelham Humphrey's life until 1660, the year of the restoration when we find him at the age of 13 entered as one of the first set of children of the reconstructed Chapel Royal Choir under Henry Cook, generally known as Captain Cook who having fought in the Civil War obtained his captain's commission early in the struggle of 1642 and retained his military title for the rest of his life. While at the Chapel Royal Humphrey displayed signs of that crocosity which so often shows itself in the musical genius. He began composition while yet a boy and in 1664 we find the words of no fewer than five of his anthems published in Clifford's Divine Services A reference to one of these anthems is in the diary of Samuel Peeps which contains, by the way, several interesting references to Humphrey's career under date November 22, 1663 we find A chapel-eyed room in the privy seal pew with other gentlemen and there her Dr. Lilligrew Preach the anthem was good after sermon on the 51st Psalm made for five voices by one of Captain Cook's boys 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 in the Royal Chapel but it is a remarkable fact as Peeps says he is not the only boy composer in the same choir and at the same time Captain Cook appears to have been rarely fortunate in having in his newly formed choral body a set of phenomenally gifted boys and doubtless no small credit is due to the loyal and gallant musician for the skill and care he must have devoted to their training. Captain Cook must have been a clever teacher and a still cleverer selector of boys for his choir in this brilliant little school he gathered round him including such names as Humphrey, Blow and Purcell shines out like a beacon light in our musical world. A curious and interesting fact bearing upon this came to my knowledge quite lately a thesis for a doctor's degree in the University of Paris in 1912 was on the subject of Captain Cook's choir boys a clever yet concise account of the work done by these three pupils of Cook, Humphrey, Blow and Purcell English music seems to be looking up when we find a period of our musical history and three of our past great musicians taken as the subject for a thesis in a foreign university the same year that witnessed the production of this anthem was an all important one not only for Humphrey but also for English art on leaving the royal choir Charles II sent him abroad to continue his musical studies the cost of the trip was paid out of the secret service fund and was expended in the following way 1664 to defray the charge of his journey into France and Italy 200 pounds in the following two years also he was granted 100 pounds and 150 pounds respectively most of the time Humphrey spent abroad was passed in Paris with J.B. Lully in Italian by birth but a Frenchman by adoption the most celebrated dramatic musical composer of his day he wrote many operas in the most varied styles both grave and gay was the composer of a good deal of sacred music was also a reformer in opera writing he used the accompanying recetative in place of the Italian recetative making many changes in the ballets of still more importance was his development of the overture by which service he cannot be too highly valued it is very probable that the instruction given by Lully to Humphrey was less by preset than by example the pupil learned with eager ears to his master's music the atlas often took part in the performance of it under this influence the influence of the greatest master of dramatic music of his time it is not surprising that the already precocious genius of the young Englishman Quicken in that he returned to his native country with a different conception of his art another world had been open up to him whose earliest instruction had necessarily been chiefly assigned to the ecclesiastical side of it before his return to England he had been appointed a gentleman of the chapel royal in the place of one Thomas Hazard January 1667 and he was duly sworn in the October following a glance at Peeps diary under dates November 1st and 15th 1667 gives us that shrewd observers opinion as he appears fresh from his continental trip November 1st 1667 to chapel and her to find anthem made by Pelham who has come over the entry however of a fortnight later is of more interest as apparently being Mr. Peeps first personal encounter with him since his return November 15th 1667 home and there I find as I expected Mr. Caesar and little Pelham Humphrey lately returned from France and is an absolute monsoir is full of form and confidence and vanity and disparages everything in everybody's skill but his own but to hear how he laughs at all the king's music here as the grave and others that they cannot keep time nor tune nor understand anything but to give us the Frenchman the king's master of the music how he understands nothing nor can play on any instrument so cannot compose and that he will give him a lift out of his place and that he and the king are mighty great I had a good dinner for them a venison pasty and some foul and after dinner we did play he on the the horrible Mr. Caesar on the French flute made but mean music nor do I see that this Frenchman do so much wonders on the the horrible but without question he is a good musician but his vanity do offend me Graebus or rather Graebu was the king's master of the music he displaced Bannister who was dismissed according to the historians because he championed English violinist and said he preferred them to Frenchman he may have said this but the real cause of his dismissal was that he kept back the money which he ought to have paid to the private band King Charles has often been blamed for dismissing Bannister on account of his patriotic sentiments and defensive English players but this charge is not true returning to Mr. Peeps for a record of his days doings November 16 1667 we find a very interesting reference to Humphrey and a somewhat scathing criticism from the diarist 1667 November 16 to Whitehall where there is to be a performance of music of pellums before the king the company not come but I did go into the music room where Captain Cook and many others and here I did hear the best and the smallest organ go that ever I saw in my life such as one as by the grace of God I will have the next year if I continue in this condition whatever it cost me Mr. Peeps then records a short walk and talk with Mr. Gregory returning to Whitehall and there got into the theater room and there heard both the vocal and instrumental music where the little fellow Pelham Humphrey stood keeping time but for my part I see no great matter but quite the contrary in both sorts of music the composition I believe is very good but no more of delightfulness to the ear or understanding but what is very ordinary in addition to being a composer Humphrey was an accomplished luteinist and in the state papers for the year 1668 underdate January 20 we find a promotion of his in the royal service the record runs as follows January 20 1668 warrant to pay Pelham Humphrey's music in ordinary on the lute in place of Nicholas Sawyer deceased 40 pounds yearly and 16 pounds two shillings six pence for livery on May 29 of the same year Mr. Peeps again refers to him May 29 1668 home wither by agreement by and by comes Mercer and Gayhet and two gentlemen with them Mr. Monteith and Pelham the former a swaggering young handsome gentleman the latter a sober citizen merchant both sing and the latter with great skill the other no skill but a good voice and a good bass but used to tavern tunes and so I spent all this evening till eleven at night singing with them till I was tired of them because of the swaggering fellow the girl Mercer did mildly commended before me footnote I cannot help thinking Peeps met Pelham as the swaggering young handsome gentleman and Monteith as the sober citizen merchant and a footnote later in the year July another reference is made in the diary July 11 1668 so home at being almost night Mr. Peeps had been at an espionette at Deptford and there find in the garden Pelling who had brought Tempest Wallington and Pelham to sing and there had most excellent music late in the dark with great pleasure Humphrey's sacred music is a clear evidence of his French experience he puts symphonies for strings and is dramatic at times and often somewhat light and at them will praise the Lord as a good example of the latter tendency there are two short bass solos one to the word sing praises lustily which is almost like the saw of a jovial sailor it is in triple time and is the sort of thing King Charles would certainly have beaten time to with his hand all along the anthem in Peeps words the bass solo in the anthem he wrote when a boy and before his French training is in a quite different style and have been written by any of our good cathedral riders such as Locke or Blow or even Purcell in addition to his sacred works Humphrey wrote three odes and many songs these latter fall under the critical notice of Dr. Bernie who refers to them I think rather unfairly and harshly speaking of a collection called choice songs and heirs Bernie says among these songs to the number of near 50 there's not one air that is either ingenious graceful cheerful or solemn an insipid lango or vulgar pertness pervades the whole from Pelham Humphrey whose church music is so excellent I own I expected to find originality or merit of some kind or other but his songs are quite on the level with the rest Bernie's remarks are not only spiteful but untrue to mention only one song Humphrey's setting which he wrote for Dryden and Devinance altered version of the Tempest the oldest setting but one which we possess is charming both as regards melody and harmony the first part is in the minor key for which Humphrey seems like Purcell to have a weakness there is an effective change to the tonic major at Merrily Merrily Shall I Live Now with a most striking and delicious drop of a seventh Bernie regarded this as a crudity to me the song seems one of the best of the time Humphrey went on adding to his honors on January 24, 1672 he was elected one of the wardens of the corporation for regulating the art and science of music and in July of the same year his old master Captain Cook died his death being accelerated so Anthony Wood tells us to find himself getting supplanted by his old pupil this I do not believe Cook would have had a soul above such foibles and had too many successful pupils to be jealous of poor little Humphrey however this may be Humphrey seceded him as master of the children of the chapel royal and later jointly with Thomas Purcell he was appointed composer and ordinary for the violence to his majesty this year 1672 that he wrote a charming little song called Wherever I Am and Whatever I Do it was written for Dryden's Conquest of Grenada produced in that year nothing of any importance is chronicled of him for the last two years of his all too short life he died at Windsor on July 13, 1674 and was buried in the cloisters of Westminster Abbey near the southeast door his last will and testament witnessed by his old school fellow Dr. Blow is interesting April the 23rd 74 be it known to all people whosoever it may concern that I leave my dear wife my soul executress and mistress of all I have in the world after those few debts I owe are paid I only desire that three legacies may be given that is to say to my cousin Betty Jelfrey to Mr. Blow and to Bessie Gill each of them 20 shillings to buy them rings Pelham Humphrey 30 July 1674 which they appear personally John Blow of Westminster made oath that he was present when Mr. Pelham Humphrey wrote the above written writing containing his last will and testament and he the said Mr. Pelham Humphrey being a perfect mind and sound memory published and declared the same for his last will and testament John Blow 30 July 74 Proof 30 July 1674 by Catherine Humphrey Relict and Soul Executress Humphrey's life brief though it was must be regarded as a turning point in our arts history alone by his own compositions but by the infusion of his influence into the greater Purcell he was not only Purcell's master at the Chapel Royal but actually composed an anthem jointly with Purcell called by the Waters of Babylon in Boyce's opinion he was the first of our ecclesiastical composers who had the least idea of musical pathos and expression of the words but this is an exaggeration this great advance in our music was carried on by the immortal Purcell who as a choir boy under Humphrey was no doubt an eager listener to the new effects which his master introduced the pupil is so great one is in danger of forgetting the master at least here we have endeavored to do some justice to the short-lived genius Pelham Humphrey End of Chapter 10 Chapter 11 of 12 Good Musicians from John Bull to Henry Purcell this is a LibriVox recording all LibriVox recordings are in the public domain for more information or to volunteer please visit LibriVox.org recording by Chad Jackson 12 Good Musicians from John Bull to Henry Purcell by Frederick Bridge Chapter 11 Dr. John Blow 1648 to 1708 If there is one name among the 12 Musicians with whom I am dealing in this course of lectures to which I desire especially to do justice it is that of Dr. John Blow as a child I sang his anthems in Rochester Cathedral and I well remembered the delight with which I listened to and took part in his beautiful and expressive I beheld and lo a great multitude and I was in the spirit on the Lord's Day in those days the great masterpieces of the English Cathedral School were constantly done and very well done at Rochester and none of the anthems except I may say perhaps Purcell's great anthem Oh Sing Unto the Lord touched me and thrilled me as did that of Blow and as long as I played in Manchester Cathedral and Westminster Abbey so long did I feel the power and religious impressions of these splendid specimens of Blow's genius of course there are many anthems and services by this master but none to me at least ever spoke so eloquently as did the two I have mentioned this is one reason why I approached the subject of Blow's career with such a desire to do him justice another is the strange neglect of most of the secular music and lastly the absurd and ignorant criticism of Dr. Bernie as displayed in his history where he talks of Blow's crudities without further delay let us proceed to trace his musical life I refrain on account of time from dwelling much on biographical details in these lectures so I will merely state that it seems pretty certain that Blow was born at North Cullingham in Nottinghamshire and baptized in the parish church of Newark in February of 1648 or 1649 let us begin with recording his admission as a chorister to the Chapel Royal one of the four boys whom Captain Cook got together and taught of his school fellow Pelham Humphrey I have already spoken and like Humphrey Blow composed anthems while in the choir it is possible, or rather I think probable that an entry in Pepe's diary refers to him under the head of August 21st 1667 we read this morning come two of Captain Cook's boys whose voices are broke and are gone from the chapel and they and my boy with his broken voice did sing three parts their names were Blau and Loggins but not withstanding their skill yet to hear them sing with their broken voices which they could not command to keep in tune would make a man mad so bad it was if this refers to Blow he would be about 19 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 continue singing alto in a moderate sort of style it is hardly likely there would be a boy named Blau and one named Blow and there was some arrangement whereby boys who had left the choir continued to reside with the masters possibly to study at the early age of 21 in 1669 he became organist of Westminster Abbey and the appointment apparently was not enough for his ambition or more probably for his needs for in 1674 he succeeded Humphrey as master of the children of Chapel Royal becoming organist also while still holding Westminster Abbey in 1676 as regards his degree of music doctorate I have on the authority of the late Dr Southgate to make a little correction of former statements it is generally been said the degree was conferred upon Blow by Archbishop Samcroft but Dr Southgate told me in a note when I was about to lecture on Blow the degree was granted by Bancroft's representative the Dean of Canterbury the Archbishop being dead it is marked in the Lambeth register said Vacant is thus bestowed when the sea was vacant it is a curious fact that Blow gave up his Abbey post in 1680 being succeeded by Purcell and on Purcell's death in 1695 he was again appointed organist of the Abbey and held that post until his death but I have to record yet another important cathedral appointment which our indefatigable musician held he was almanar and master of the choristers in St. Paul's Cathedral holding those offices for six years from 1687 to 1693 again he seems to have resigned in favor of a pupil Mr Jeremiah Clark it is a remarkable testimony to the esteem in which he was held that he should have filled a post at the Chapel Royal St. Paul's Cathedral all the same time bishops in the old days often presided over a diocese filled a cannery or directed a college and occupied a living or two simultaneously but Blow seems to me to have been the greatest organist pluralist on record but this is a testimony to his worth and in following up our investigation of his contribution to music I will not dwell longer upon his church music except to mention that he wrote an anthem I was glad the opening of St. Paul's Cathedral in 1697 and to tell the story of the composition of the anthem which I mentioned in the early part of my lecture I beheld and lo when it was performed in the Chapel Royal the King who had asked him to compose it sent Father Peter to say that he was greatly pleased with it but added Peter I myself think it too long that answer Blow is the opinion of but one fool I heed it not the priest was greatly incensed at this remark and it is said that had not James II lost his place by a sudden flight to France Dr. Blow would have lost his among the anthems of this composer maybe mentioned two which he wrote for the coronation of James II and he also took part in the funeral of William III in the Abbey receiving according to an Abbey record the very large fee of seven shillings ten pence for the latter he does not seem to have directed the music at the coronation part in the choir. On the death of his pupil Purcell he wrote an ode the words by Dryden beginning mark how the lark and linnet sing I must not omit to mention that he and Purcell were the organists selected by Father Smith to display the organ of the temple church at the memorable competition between Smith and Harris the two rival organ builders Smith won the day and showed his wisdom in getting the best men to preside at his instrument it was the custom for many years to have an ode for Saint Cecilia's day composed for and performed in stationers hall on the saint's day blow wrote the second of these odes in 1684 the year of the temple church competition he published in 1700 a great collection of a secular vocal music under the title of Amphion Anglicus and in his dedication to the princess and of Denmark he announces that he is preparing as fast as I can a second musical present my church to the princess and divine composition he gives his sentiments with regard to sacred composition in the same dedication which are worth repeating to those in truth I have ever more especially consecrated the thoughts of my whole life all the rest I consider but the blossoms or rather the leaves those I only esteem as the fruits of all my labors in this kind with them I began my first raptures in this art with them I hope calmly and comfortably to finish my days the composer did not carry out his design though he lived about eight years after this a very interesting work which is only of late years been made known as a mask entitled Venus and Adonis some years ago I noticed it among the music in the chapter library at Westminster it is since been edited by Mr. Arkwright and quite lately produced upon the stage at Glastonbury it is very interesting as it shows that blow like Purcell had a leaning to dramatic music and this mask is specially noticeable as it consists of musical dialogue not spoken thus coming very near to a little opera blow also contributed to some choice lessons for the harpsichord a collection published by Playford to which also Henry Purcell contributed there are also interesting specimens of organ music among which is a curious arrangement of the hundredth Psalm tune as they are played in churches and chapels I have also a copy of a master's lesson on the hundredth Psalm it would now be called a choral prelude for the organ after a short introduction the whole tune appears at intervals in the base with very flored upper counterpoint it is evidence of blows knowledge of organ effects and of his ability as a player a writer in 1711 three years after blows death tells us he was reckoned the greatest master in the world for playing most gravely and serenely in his voluntaries and we have Purcell's testimony to him as one of the greatest masters in the world with this testimony before him it seems incredible that Dr. Bernie should have made such a fierce onslaught upon this really excellent man and versatile musician on account of what he calls his crudities he has actually given four pages of music type in his history full of quotations of blows misdeeds I've examined these carefully and in many cases the examples are really a remarkable testimony to blows advanced ideas and is feeling for pathetic and expressive harmony in some specimens there are obvious misprints accidentals omitted etc which Bernie had he not been prejudiced would certainly have proceed but it is not worthwhile to follow up this matter although I am sorry to say Sir Frederick Ousley took rather the same line when commenting on blows music he really pays blow a compliment that he always appears to have been trying experiments and harmony are introducing new combinations and discords this was what was said of another great musician Montverde to whom we owe so much and such criticisms only bring discredit upon the writers who failed to see the value behind the novelty Sir Hubert Perry in speaking of these crudities says they do blow for the most part great credit for they show that he invented beyond the range of mere conventional and often with the success that but tokens genuine musical insight I have already commented upon his greatest anthems I beheld and low and I was in the spirit there are full of examples of blows melodious power and this also comes out in some of the secular airs perhaps one of his best is his beautiful song which is to be found in Amphion Anglicus entitled the self banished beginning it is not that I love you less the words are by waller and the music is worthy of them blow as described by Sir John Hawkins was a very handsome man in his person and remarkable for a gravity and decency in his deportment suited to his station this worthy musician died in 1708 aged 60 and is buried in Westminster Abbey near the old entrance to the organ loft and in close proximity to Purcell a fine monument is erected near the spot and a specimen of his composition in the form of Gloria from one of his services is engraved there upon this Gloria is said to have been sung at St. Peter's at Rome I remember an interesting matter in connection with this monument in my early days at the Abbey during Dean Stanley's time the Emperor of Brazil paid a visit and was shown round the Abbey by the Dean the only thing he specially asked to be shown was Dr. Blow's monument the Dean told me his majesty inspected and seemed to be reading the music he probably knew more about Blow's music than Bernie's history notation one there is an account preserved in the Bodleian library of Blow being paid 40 pounds a year for keeping and teaching two boys but this was in 1685 it shows that it was usual for boys whose voices were gone to be kept on for tuition end of chapter 11 Dr. John Blow chapter 12 of 12 Good Musicians from John Bull to Henry Purcell this is a LibriVox recording all LibriVox recordings are in the public domain for more information or to volunteer please visit LibriVox.org 12 Good Musicians from John Bull to Henry Purcell by Frederick Bridge chapter 12 Henry Purcell in Henry Purcell I reached the last and the greatest of my 12 Good Musicians and to attempt to consider and discuss completely his life and work in the short space of a university lecture would be an absurd effort but as I have before pointed out my object has been to endeavor to interest the musical student amateur and professional in certain prominent masters of music and in the remarkable progress of our own country by their aid in the 17th century I can do a little more than arouse interest and I cannot pretend to write a complete history but I trust the lectures will have helped to fill up the blank which Sir Hubert Perry declared existed in many minds as regards to the music of this period in the consideration of the various musicians of whom I have already treated I've avoided biographical detail as a rule information in these matters may be gleaned from the well-known books of reference but in the case of Purcell I'm obliged to enlarge a little on his life and the hope that I may be able to contribute a few interesting facts with regard to his family that are not generally known let me begin then with Purcell's father it is an extraordinary thing that we know nothing whatever of him until we find his name among distinguished musicians such as Captain Cook Lock and Laws as one of the performers in the Siege of Rhodes in 1656 in the preface to this publication it is claimed that the music was composed in both the vocal and instrumental is exercised by the most transcendent of England in that art what did the elder Purcell do before he attained such a position we know absolutely nothing to his origin his training or his career up to this I've made diligent search in the archives of Westminster to see if there were anything to be learned there and have gleaned a few small facts the name of Roger Purcell occurs in a bill for bringing lumber to the college in August 1628 the items of the bill include carriage by land one shilling six pence for watching six pence for helping to land the timber six pence this would seem to apply to a load of lumber brought from a distance for the use of carpenters of the college Roger Purcell would have come up with the lumber or he may have been one of the carpenters he was paid three shillings for two days work the name appears again in 1659 when we find in a page of accounts expended by George Blackbourne and Joseph Hobbs for the traveling charges about the college affairs at Oxford in the country of Huntington the following note in the bonds taken by Mr. Throgmorton and Roger Purcell there is included four pounds rewards traveling charges then Roger Purcell is spoken of as the bailiff of Mr. Giles it is rather curious that the name of Roger Purcell should occur in a wide interval 1628 and again in 1659 one wonders if Roger's connection with the Abbey and its property was the beginning of the musical members of the family coming to Westminster there was a Shropshire Purcell family of some standing and then the Heralds visitation of Shropshire in 1623 it was given as of Anslow and Shrewsbury and there were many distinguished purcells in Ireland we know and hear nothing more of the elder Purcell after the production of The Siege of Roads in 1656 until his name appears in a book in the library at Westminster this book records the emission of one or two petty cannons in 1660 in the payment of them of five shillings for the entry Mr. Henry Purcell's name is also entered with the note instead of five shillings here then we have the great musician's father installed in the Abbey as master of the choristers not organist also and copyist he was also a gentleman of the Royal Chapel and a singing man of Westminster later on we find him a member of the royal band 1663 all these important appointments testify to his leading musical position we have a glimpse of him in the Peppus Diary under date February 21st 1660 after dinner I went back to Westminster Hall here I met with Mr. Locke and Purcell master of music and with them to the coffee house into a room next to the water by ourselves here we had a variety of brave Italian and Spanish songs and a canon for eight voices which Mr. Locke had lately made on these words Domini salfum fac regium another small fact of interest and connection with the elder Purcell has furnished me by my brother of Chester he finds in the church castle accounts by the steward of Sir Thomas Middleton an illusion to Mr. Purcell who is no doubt our elder Purcell Dr. Bridge writes this follows in 1661 the family had gone up to London and we find the steward there and recording December 24 paid for a court of Pearl with Mr. Purcell two shillings as rule only the names of important personages are put in the accounts as the steward did not live in London it looks as if Mr. Purcell was a former acquaintance from someone near church this place is on the borders of three counties of which the structure is one and as the Purcells probably came from Salah their birth place or place of residence may have been at the church end of the county possibly Mr. Purcell was an old friend of the stewards there is no doubt the elder Purcell lived in the place called the Almondry where the singing men had houses these stood where the well known Westminster palace hotel now stands and here his distinguished son it is generally stated that he was born in 1658 it seems however just as likely or even more likely the date should be 1659 unfortunately it has been impossible to find the record of his baptism the register at St. Margaret's church Westminster for this period which was then very carefully kept does not show Henry Purcell's name the approximate date is fixed fairly well for us by the fact that in June 1683 Purcell published some sonatas to which his portrait was prefixed on this portrait he is said to be a Tate Swahe 24 i.e. in the 24th year of his age again on his monument in the abbey we find Anno Itates Swahe 37 i.e. in the 37th year of his age therefore if he was in his 37th year on November 21st 1695 the date of his death he must have been born between November 21st 1658 and November 20th 1659 not only is his baptism during these years not recorded at St. Margaret's but the rape books of St. Margaret's for 1658 and 1659 do not contain the name of Purcell as they certainly would have had his father had a house in the parish a friend has made most careful inquiries from me on this point I expect the almanery was in the precincts of Westminster Abbey and so would not be in the parish and it's quite reasonable to suppose the child born in the almanery was christened in the abbey on the record of this Purcell's own son Edward was christened in the abbey in 1689 it is interesting to know that Henry Laws lived also in the almanery and so must have known the little boy Purcell but as Laws died in 1662 the child could not have given any proof of his future genius the elder Purcell died in 1664 and the young boy was in the chapel royal choir at the early age of six years Thomas Purcell, brother of the elder Purcell was a distinguished musician also and a member of the chapel royal besides holding other important posts he looked after his clever little nephew and was a real father to him and as in the case of Henry Purcell's senior we know nothing of the previous history of Thomas Purcell until we find him in his position who trained him and his brother Henry we know not. Henry Purcell was thus one of the remarkable set of boys to which I have often alluded in these lectures among his fellow choristers being Pellum Humphrey and Blow like the other boys he began to compose and the first reliable composition we have was the address of the children of the chapel royal to the king and their master Captain Cook on his majesty's birthday A.D. 1670 composed by master Purcell one of the children of the said chapel. Purcell no doubt owed much to Captain Cook but it is also certain that the influence of Pellum Humphrey with the experience he gained by his studies with Lully must have made a deep impression as we know Humphrey died at the early age of 27 and Purcell continued his studies with Blow whose monument in the Abbey records he was master to the famous Henry Purcell the first appointment Purcell held was that of copyist to Westminster Abbey 1676 a post which his father held before him we know little for certain as to his compositions for the church in his early days as a matter of fact he seems to have been drawn like Henry Laws more to the secular side writing for the theatre it has been suggested that he was introduced this kind of work by Locke who we know was a prominent composer for the stage we must also remember that Humphrey would very likely have helped to influence the mind of the young Purcell in that direction on Locke's death in 1677 Purcell wrote an Ode on the death of his worthy friend Matthew Locke in 1680 Dr. Blow resigned his position as organist of Westminster Abbey and Purcell seceded him there's no record of Blow resigning or the cause of it in the chapter books one simply finds in the treasurer's accounts that Purcell drew the salary as organist instead of Blow probably his appointment to Westminster turned his mind more towards church than stage the composition of the opera Ditto and Aeneas is I think by Mr. Barclay Squire's clever article on Purcell's dramatic music not to be a composition of his early years it's not possible for me to go minutely into the subject of Purcell's many compositions but I will for a few moments call attention to what I consider almost his masterpiece I alluded to this splendid and original set of sonatas which he issued in 1683 this was Purcell's first publication and it was issued from St. Anne's Lane beyond Westminster Abbey where the composer resided having been married in 1681 should be added that he was made organist of the Chapel Royal in 1682 holding that post at the same time as the Abbey these sonatas are a very interesting study in Purcell's career like many of the composers mentioned in these lectures but the sonatas are a very different thing written for two violins cello and basso continual and continuing of three or four movements of differing character they are a wonderful advance of anything previously done in this direction either in England or abroad Corelli issued his sonatas in the same year that Purcell's appeared but Corelli's although beautiful have not the depth or originality of Purcell's which are admirably written for the strings and abound in clever devices but are in no way dull or suggestive of vocal writing the three strings are often complete without the continual but occasionally there is an extra part for this my own experience of them in performance is that the least possible accompaniment is best and it should be remembered that the continual is not written for piano forte with its powerful tone but for the harpsichord or organ Purcell and his preface says for its author he has faithfully endeavored a just imitation of the most favorite Italian masters he goes on to explain the meaning of certain Italian terms of art perhaps unusual such as Adagio, Grave, Presto, Largo etc and concludes with a wish that his book may fall into no other hands but those who carry musical souls about them for he is willing to flatter himself into a belief that with such his labors will seem neither unpleasant nor unprofitable the question of the models that Purcell had in writing these fond sonatas and what famous Italian masters he imitated has been often debated for myself I cannot but Purcell owed much to a remarkable Neapolitan violinist Nicola Mateus this Italian violinist and composer came to London about 1672 and resided there till after Purcell's death the death of Mateus' birth is not known but the accounts of his playing given from personal observation by such authorities as John Evelyn in his contemporary diary and in his memoirs of music show that he came here as a mature artist Purcell was then 15 years old and during the 11 years which elapsed till the publication of the 1683 Purcell sonatas Mateus was much the most prominent foreign musician and the only Italian musician of any rank resident in London the propagation of musical styles from one country to another was carried out in those days very little by the dissemination of copies whether manuscript or printed and much more by the activities of persons who went here and there giving performances and concerts and Roger North says specifically but as yet we have given no account of the decadence of the French music and the Italian coming in its room this happened by degrees and the overture by accident for the coming over of senior Nicolai Mateus gave the first start he was an excellent musician etc etc etc Purcell the organist of Westminster Abbey must of course have known Mateus as he directed the concerts of Chief Justice Francis North Roger North's brother in Queen Street and it is evident from the writings of Roger that the Norths were supporters of Mateus in the Bodleian Library I have found Chief Justice North's name inscribed as the owner of one of the volumes of Mateus's heirs for the violin then as to the explanation of Italian terms in Purcell's preface it is a little singular that much the same sort of information is found prefix to Mateus's second volume of violin pieces again I have discovered manuscript parts in the Bodleian Library and had performed at a lecture at the Royal Institution a sonata in A by Mateus in the exact sonata form used by Purcell in 1683 and though the date of this manuscript composition cannot be traced it is at least as likely to have been composed before 1683 as after however I'm not asserting that a composer like David Mateus's works I'm only saying that it was Mateus who made the Italian chamber music prevalent in London and that but for him Purcell would possibly never have thought or written in that style and I cannot better conclude then by quoting from one of North's voluminous manuscripts essay on musical air British Museum added manuscript 1536 folio 78 the poor man Mateus as a grateful legacy to the English nation left with him a general saver for the Italian manner of harmony and after him the French was wholly laid aside and nothing in town had a relish without a spice of Italy and the masters here began to imitate them witness Mr. H. Purcell in his noble set of sonatas Purcell composed another set of sonatas which was published after his death one of them generally called the golden sonata is perhaps the best known of any and either of the issues but it is inferior to others particularly number four of the first set and altogether I do not think the second is at all on a level with the first I may add that I have in my library the parts of the original publication of the first set the continue contains an immense number of additional figures and there are a few corrections in the other parts which I have never found in any other copy it would appear almost as if Purcell himself made the corrections and indeed Sir Hubert Perry was of opinion this was so I hope I may be able shortly to print these sonatas in separate parts so they may be accessible to lovers of Purcell not linger now over these interesting sonatas but must glance at Purcell's further activities he wrote an ode for Saint Cecilia's day in this year 1683 and many anthems about this time in 1686 he took part in the competition of organ builders at the temple church already spoken of in my lecture on Dr. Blow in 1685 he produced music for the coronation of James II himself singing in the choir with Blow, Child and others who directed the music i.e. play the organ as was customary we are not told I possess a very rare engraving of this great ceremony and one of the choirs seemed certainly to hold a baton in his hand but it was not usual to have a conductor the second coronation in which Purcell took part had a rather serious turn it was that of William and Mary and Purcell admitted persons to the organ loft to see the ceremony for which they evidently paid pretty well Purcell thought it was a perk with it I do not suppose he was paid for his extra work on the occasion but the dean and chapter claimed the money and passed the following chapter order April 18th 1689 it is ordered that Mr. Purcell an organist to the dean and chapter of Westminster do pay to the hand of Mr. John Needham receiver of the college all such monies as was received for him for places in the organ loft at the coronation of King William and Queen Mary by her before Saturday next being the 20th day of this instant April and a default there of his places ordered to be null and void and it is further ordered that his stipend or salary due at our lady day passed he detained in the hands of the treasurer until further order entry and chapter book poor Purcell paid up as an entry in the treasurer's book states received a Mr. Purcell his poundage and charges being deducted seventy-eight pounds four shillings six pence the visitors to the organ loft could not have been many as it was but small so they paid pretty well for their seats and Purcell seems to have had some sort of commission in the way of poundage and other charges the opera of Dito Ananias has often been quoted as a marvelous effort of Purcell's early days being a complete opera without spoken dialogue it is most interesting example of Purcell's advanced views and had he in sixteen seventy-five when only seventeen years of age it would indeed have been a marvel but I feel sure Mr. Barkley Squire is right in putting it much later in sixteen eighty-nine although a splendid piece of work it is that of a man of experience and not of a youth one of the composers best operas is Dioclesian an adaptation from Beaumont and Fletcher by Betterton it is scored for strings flute, hot boys bassoons and trumpets it is very interesting music and there is a mask included in it containing some of the host of Purcell's operatic work Purcell corrected the copies of the first issue by his own hand I possess one of these scarce books he tells us a little of his troubles with a printer and an advertisement at the end of the book in order to speed your publication of the book I employed two several printers but one of them falling into some trouble and the volume swelling to a bulk beyond my expectations have been the occasion of this delay the music to Dioclesian and to Impe Trouhan played by Dryden added greatly to Purcell's fame and Dryden who at once thought Grabu the French master of the king's music to be far superior to any English composer now mentions Purcell as one in whose person we have at length found an Englishman equal with the best abroad at least my opinion of him has been such since his happy and judicious performances in the last opera Dryden's Dryden wrote another opera in 1691 King Arthur which Purcell set to music this is I think the best accepting Dito and Aeneas of Purcell's dramatic works contain as it does the celebrated air come if you dare in the frost scene I cannot dwell longer on Purcell's dramatic music but we'll turn for a moment to the music for Saint Cecilia's day in 1692 this was performed as usual in Stationers Hall the hall still stands at the bottom of Potter Nostra Row and the gentleman's magazine of the time mentions the performance and tells us the interesting fact that the second stanza was sung with incredible graces by Mr. Purcell himself so it seems that Purcell had an alto voice but it is pleasant to go into the very hall with the musician's company of the present day and think of the old building equine years ago to the strains of Purcell's voice and now I must turn to one of the finest of Purcell's contribution to the services of the church in 1694 he wrote an elaborate te diem and jubilate with orchestral accompaniment this is the first of its kind by an English composer it was written for the festival of Saint Cecilia's day 1694 but was not published until after the composer's death the te diem was performed in St. Paul's at the annual festival service of the sons of the clergy until 1713 when Handel's te diem composed for the piece of Utrecht took its place from that time for some years the two rival te diems were performed alternately there are some points of resemblance Handel must have heard Purcell's setting but the version of it which until lately was known and sometimes performed was a sad corruption of the original Boyce with the intention no doubt of helping Purcell's te diem to compete with Handel's broke it up into various movements made some alterations in the harmony and added many dull symphonies the original Purcell score consisted of 325 bars and Boyce added 149 more the result was disastrous and practically killed the Purcell's setting because of it was given in 1829 again at the festival of the sons of the clergy a very interesting letter from Mr. Faitis the great French writer is preserved in a musical paper of June 1829 which I will quote I must confess that my curiosity was considerable to hear the music of Purcell from the English proudly cited as being worthy of being placed in the same rank composers of Germany and Italy I was in a perfectly admiring disposition of mine when the te diem of this giant began but what was my disappointment upon hearing and instead of the masterpiece which they had promised me a long succession of insignificant phrases ill connected modulations and incorrect albeit pretending harmonies at first I imagined myself deceived and thought I ought to doubt my judgment on a style of music to which I was unaccustomed but Mr. Felix Mendelssohn a young and highly distinguished German composer who stood beside me received precisely the same impressions such indeed was the inconvenience felt by him that he would not prolong it but escape leaving me to encounter Purcell alone during the performance of the jubilate which appeared to be superior it was a great anxiety to me to know what to do about introducing this te diem in the music of the Abbey Purcell celebration I consulted Sir Hubert Perry who said it was long winded and dull and so I had always found it and the result was I gave up the idea but most providentially the manuscript score of this work was brought to me one day in the cloisters of the Abbey the announcement of the coming celebration had called the owner's attention to it he sold it to me and when I looked it over I found out what was the real reason of its failure it was Boyce's edition and not Purcell's music a new edition was prepared and the te diem again restored to life in another direction Purcell showed his remarkable versatility he corrected an amended play for its introduction to the skill of music a book of great interest Purcell's observation on canon are particularly good and valuable in 1695 the funeral of Queen Mary took place in the Abbey Purcell contributing an anthem and other music the solemn march for a flat mournful trumpets has lately been recovered and published this is a beautiful specimen of Purcell's art that is made at his own funeral Purcell died on November 21st 1695 and Dr. Cummings in his life of Purcell draws a moving picture of the death of the composer in a house on the west side of Dean's Yard but Purcell never lived in Dean's Yard rate books are not romantic but generally trustworthy the rate books of Westminster show that in 1682 Purcell paid rates for a house in Great St. Anne's Lane in 1686 for a house in Bowling Alley East and in 1693 1694 and 1695 the year of his death for a house in Marsham Street all these houses are now demolished but the ones in Bowling Alley existed until lately and I possess cupboards made from the mantelpieces and balusters of the staircase of Purcell's house further proof that he rented houses lies in the fact that he was allowed 8 pounds a year in lieu of a house and the same payment continued up to the time of my predecessor who had no house for the early years of his organist ship the death of this great man was a grievous loss to English music although he had worthy pupils in Dr. Croft and others yet he had no real successor in the arrival of Handel and the musical domination which he exercised did much to cause Purcell's name to sink somewhat into oblivion but it was only for a time and now there is no English musician whose name and fame is more assured a Purcell society is gradually publishing all his works and making them more accessible his operas of Dito and Aeneas and the Fairy Queen have been performed with great success and his church music is still constantly on the list of our cathedrals it has not been possible for me to notice all his work as I would wish to have done but we must all feel that not only was he the last of my 12 good musicians but by far the greatest a translation of the lines upon his gravestone in Westminster Abbey may fitly close this chapter applaud so great a guest celestial powers who now resides with you but once was ours yet let invidious earth no more reclaim her short-lived favourite and her chiefest fame complaining that so prematurely died good-natured pleasure and devotion's pride died no he lives while yonder organ sound and sacred echoes to the choir rebound note since the preceding pages were written I have been in correspondence with Dr. W. H. Grotten-Flood of Innis Curthy with reference to the Irish Persils mentioned on page 120 Dr. Grotten-Flood claims to have proved Henry Persil to be descended from a distinguished Irish family before quoting from his kind communication it seems to me very probable the Persils were of good family both the elder Henry and his brother Thomas were musicians of note when we first hear of them and at the restoration were members of the king's band Henry being also master the choristers of Westminster Abbey Edward Persil and elder brother the composer was a distinguished officer who took part in the siege of Gibraltar and ended his days in honourable retirement at the seat of the Earl of Abington at Witham near Oxford in the chancel of which church he is interred another small point is the fact that Persil's first published work the Sonatas was issued with a portrait of the composer and with a coat of arms all this looks as if Roger Persil the bailiff of Mr. Giles see page 120 is not so likely to have been an ancestor of the musician as one of the Irish Persils I am not able to give all the matter kindly sent to me which I hope Dr. Gratton Flood will make public but append his observations on the most important points Henry Persil the composer was the younger son of Henry Persil the Elder and was adopted at the age of six by his uncle Thomas the puzzle then is the father of Henry Persil the Elder and of Thomas Persil in order to answer this I have made a systematic search in the Fiance of Elizabeth and James I in the calendars of state papers Ireland 1623 through 1670 in the inquisitions funeral entries in the office of arms etc. and has succeeded in tracing the father and grandfather of Henry Persil I had unusual opportunities of making this investigation in as much as I assisted Captain R. P. Mahaffey B. L. in the editing of the Irish State Papers of Charles I and Charles II Henry Persil the Elder was the son of Thomas Persil of Guartani in Ballet Cross County, Tipperary the son of Thomas Fitzpiers Persil cousin of the Baron of Lomo the Persils of Croix County, Limerick both Henry and Thomas Persil 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 Persil their aunt took for her second husband Colonel John Fitzpatrick who was also a personal friend of Charles I this lady was Elizabeth Butler fourth daughter of Thomas Viscount Thurles her marriage jointures dated 11 February 1639 she returned from London in 1643 at the restoration through the influence of the Marquis of Ormonde who was created Duke of Ormonde on March 30, 1661 both Henry Persil the Elder and his brother Thomas were given posts as gentlemen in the Chapel Royal and were in the immediate entourage of the court and not unregarded by the observant peeps Henry married circa 1651 and his eldest son Edward called after an uncle of the same name was born in 1653 W. H. Groton Flood it will be seen Dr. Groton Flood gives interesting particulars of the Irish family on one point the suggestion that the Elder Persil and his brother Thomas were placed in the Chapel Royal I wish he could give some real proof for it would I think explain all the ensuing musical success of Persil's father his uncle Thomas and himself but I can only hope that Dr. Groton Flood's further research may end in completely clearing up the mystery of the ancestry of Henry Persil J. F. B End of Chapter 12 Henry Persil End of 12 Good Musicians from John Bull to Henry Persil by Frederick Bridge