Chapter 2

"What hope for us remains now he is gone?He that knew all the power of numbers flown;Alas! too soon; even heWhose skilful harmonyHad charms for all the ills that we endure,And could apply a certain cure.From pointed griefs he'd take the pain away;Even ill nature did his lyre obey,And in kind thoughts his artful hand repay:His layes to anger and to war could move,Then calm the tempest they had raised with love,And with soft sounds to gentle thoughts incline,No passion reign'd, where he did not combine.He knew such mystic touches, that in deathCould cure the fear, or stop the parting breath:And if to die had been his fearOr life his care,He with his lyre could call,And could unite his spirits to the fight,And vanquish Death in his own field of night.Pleased with some powerful HallelujahHe, wrapp'd in the joys of his own harmonie,Sung on, and flew up to the Deitie."

"What hope for us remains now he is gone?

He that knew all the power of numbers flown;

Alas! too soon; even he

Whose skilful harmony

Had charms for all the ills that we endure,

And could apply a certain cure.

From pointed griefs he'd take the pain away;

Even ill nature did his lyre obey,

And in kind thoughts his artful hand repay:

His layes to anger and to war could move,

Then calm the tempest they had raised with love,

And with soft sounds to gentle thoughts incline,

No passion reign'd, where he did not combine.

He knew such mystic touches, that in death

Could cure the fear, or stop the parting breath:

And if to die had been his fear

Or life his care,

He with his lyre could call,

And could unite his spirits to the fight,

And vanquish Death in his own field of night.

Pleased with some powerful Hallelujah

He, wrapp'd in the joys of his own harmonie,

Sung on, and flew up to the Deitie."

Of the intimacy which existed between Locke and the Purcell family we had some indication in the paragraph previously quoted from Pepys, where he spoke of Purcell's father; and that the son was on similarly friendly terms with Locke is certain. Locke lived in the Savoy, and from thence he penned the following letter[21]to Purcell:—

"Dear Harry,—Some of the gentlemen of His Majesties musick will honor my poor lodgings with their company this evening, and I would have you come and join them: bring with thee, Harry, thy last anthem, and also the canon we tried over together at our last meeting. Thine in all kindness,"M. Locke."Savoy, March 16."

"Savoy, March 16."

In 1678 Purcell resigned his appointment ofCopyistat Westminster Abbey,[22]doubtless that he might devote more time to study and composition. In this year heproduced the fine music for the masque in Shadwell's mutilation of Shakespeare'sTimon of Athens.

In 1679 Purcell does not appear to have composed music for the theatres, but that he was deeply engrossed in his favourite occupation appears from the following very curious letter, now printed for the first time:—

"This ffor Mr. John Gostling, Chaunter of yequire of Canterbury Cathedral. London ye8th of ffeb.9⁄78."Sir, I have readyefavor of yours of ye4th with yeinclosed for my sonne Henry: I am sorry wee are like to be without you soe long as yours mentions: but 'tis very likely you may have a summons to appeare among us sooner than you imagine: for my sonne is composing wherin you will be chiefly concern'd. However, your occasions and tyes where you are must be considered and your conveniences ever complyde withall: in yemeantime assure yourself I shall be carefull of your concern's heir by minding and refreshing our master's memory of his Gratious promis when there is occasion. My wife returns thanks for yecompliment with her servis: and prayegive both our respects and humble services to Dr. Belk and his Lady, and beleeve ever that I am, Sir, your affectionate and humble servant,"T. Purcell.

"This ffor Mr. John Gostling, Chaunter of yequire of Canterbury Cathedral. London ye8th of ffeb.9⁄78.

"Sir, I have readyefavor of yours of ye4th with yeinclosed for my sonne Henry: I am sorry wee are like to be without you soe long as yours mentions: but 'tis very likely you may have a summons to appeare among us sooner than you imagine: for my sonne is composing wherin you will be chiefly concern'd. However, your occasions and tyes where you are must be considered and your conveniences ever complyde withall: in yemeantime assure yourself I shall be carefull of your concern's heir by minding and refreshing our master's memory of his Gratious promis when there is occasion. My wife returns thanks for yecompliment with her servis: and prayegive both our respects and humble services to Dr. Belk and his Lady, and beleeve ever that I am, Sir, your affectionate and humble servant,"T. Purcell.

"Dr. Perce is in toune but I have not seen him since. I have perform'd yecompliments to Dr. Blow, Will Turner, etc."F faut: and E lamy are preparing for you."[23]

"Dr. Perce is in toune but I have not seen him since. I have perform'd yecompliments to Dr. Blow, Will Turner, etc.

"F faut: and E lamy are preparing for you."[23]

The Rev. John Gostling, M.A., to whom the letter is addressed, was at the time a Minor Canon of Canterbury Cathedral, and was celebrated for the quality and extraordinary compass of his bass voice. It was especially for him that most of the bass solos in Purcell's anthems were written. Evelyn, in his Diary (January 1685,) speaks of that "stupendous bass, Gosling" singing before his Majesty and the Duke.

We learn from the above interesting letter that Thomas Purcell called Henry hisson, and we can estimate his influence with his master, Charles the Second, by the successful way in which he evidently refreshed the king's memory; for only a few days after the letter was written the "Gratious promis" was fulfilled by appointing Gosling to the Chapel Royal. On the 25th of February,9⁄78, Mr. John Gosling was sworn "Gentleman of his MatiesChappel extraordinary," which means that his was a special or supernumerary appointment; but a vacancy in the regular staff of the Chapel occurred almost immediately, and we find the following entry in the cheque-book: "Mr. William Tucker, gent., of his MatiesChappell Royal, departed this life the 28th day of February, 1678,[24]in whose place was admitted in ordinary Mr. John Gostling, a base from Canterbury, Master of Arts."

The postscript to the letter read in connection with the previous paragraph "my sonne is composing wherin you will be chiefly concern'd" is clearly a jocose reference to Gostling's exceptionally low voice.

Purcell not only wrote double F (F faut) and doubleE (E lamy) for him, as in the anthem, "Behold I bring you glad tidings," but in another anthem commencing, "They that go down to the sea in ships," he carried the bass solo part down to double D.

The history of the composition of the latter anthem is somewhat remarkable:—

"Charles the Second had given orders for building a yacht, which as soon as it was finished he named theFubbs, in honour of the Duchess of Portsmouth, who, we may suppose, was in her person rather full and plump. The sculptors and painters apply this epithet to children, and say, for instance, of the boys of Flammengo, that they are fubby. Soon after the vessel was launched the King made a party to sail in the yacht down the river and round the Kentish coast; and to keep up the mirth and good humour of the company Mr. Gostling was requested to be of the number. They had got as low as the North Foreland, when a violent storm arose, in which the King and the Duke of York were necessitated, in order to preserve the vessel, to hand the sails and work like common seamen. By good providence, however, they escaped to land: but the distress they were in made an impression on the mind of Mr. Gostling which was never effaced. Struck with a just sense of the deliverance, and the horror of the scene which he had but lately viewed, upon his return to London he selected from the Psalms those passages which declare the wonders and terrors of the deep and gave them to Purcell to compose as an anthem, which he did, adapting it so peculiarly to the compass of Mr. Gostling's voice, which was a deep bass, that hardly any person but himself was then, or has since, been able to sing it; but the King did not live to hear it."

Charles the Second became extremely partial to thesinging of Gostling, and was heard to say, "You may talk as much as you please of your nightingales, but I have agoslingwho excels them all." At another time he presented Gostling with a silver egg filled with guineas, saying, "He had heard eggs were good for the voice."

Gostling was a devoted admirer of, and a performer on, theviol da gamba, an instrument which Purcell detested. We can therefore readily imagine that his musical susceptibilities were frequently severely taxed by the persistent practice of his friend. He accordingly composed a round for three voices to the following words,[25]which he presented to Gostling:—

"Of all the instruments that are,None with the viol can compare.Mark how the strings their order keepWith a whet, whet, whet, and a sweep, sweep, sweep.But above all this still aboundsWith a zingle, zingle, zing, and a zit zan zounds."

"Of all the instruments that are,

None with the viol can compare.

Mark how the strings their order keep

With a whet, whet, whet, and a sweep, sweep, sweep.

But above all this still abounds

With a zingle, zingle, zing, and a zit zan zounds."

In 1680 Dr. Blow magnanimously resigned the appointment of organist of Westminster Abbey in favour of Purcell,[26]who thus became possessed of one of the most distinguished musical positions in the kingdom at the early age of twenty-two.

In the same year Purcell composed the music for Lee's tragedy,Theodosius, or the Force of Love. It was performed at the Duke's Theatre, and the music of the songs was soon after published by Bently as an Appendix to the play. He also wrote music for D'Urfey's comedy,The Virtuous Wife, and two odes, the first, addressed to the Duke of York, entitled "An Ode or Welcome Song for his Royal Highness on his Return from Scotland," and the second called "A Song to Welcome Home His Majesty from Windsor."

But the most remarkable work of Purcell in this year (1680) was the composition of the operaDido and Æneas, usually ascribed to his seventeenth year, 1675, a complete mistake. An original copy of the libretto still exists, with the following title, "An Opera performed at Mr. Josias Priest's Boarding-school at Chelsey, by young gentlewomen, the words made by Mr. Nat. Tate. The musick composed by Mr. Henry Purcell."

That this was the first performance is tolerably certain, for we find in D'Urfey'sNew Poems, 1690, "An Epilogue to the Opera ofDido and Æneas, performed at Mr. Priest's Boarding-school at Chelsey: spoken by the Lady Dorothy Burk." We know that Priest removed to Chelsey in 1680 by an advertisement in theLondon Gazette, November 25th, 1680: "Josias Priest, dancing-master, who kept a boarding-school of gentlewomen in Leicester-fields, is removed to the great school-house at Chelsey, that was Mr. Portman's. There will continue the same masters and others to the improvement of the said school."

Dido and Æneaswill always remain a monument to Purcell's extraordinary genius; it is in perfect opera form, with an entire absence of dialogue, the whole of the libretto being set in recitative, solos, duets, and chorus. The opera is short, yet we cannot but recognise the fact that had there been a publicdemand for absolute music-drama, or even a proper appreciation of a work cast in such a mould, the composer had arisen who possessed the necessary genius, inspiration, and feeling for building up a school of opera which would have proved a model for his own and succeeding generations, but the time was not ripe for such a development. Purcell, like many other gifted mortals, lived before his time, and thus his perfect specimen of music-drama remains unique: so far as we know he never attempted such another work.

There is a tradition that the part of Belinda (or Anna), written for alto voice, was sung and acted[27]by Purcell himself. The music of this opera remained in MS. until 1840, when it was published by the "Musical Antiquarian Society," edited by G. A. Macfarren, unfortunately from an imperfect copy of the score, the only one then attainable. It has been frequently performed since Purcell's time, notably at the "Ancient Concerts" in London, and more recently at Liverpool. In this eventful year, or the succeeding one, 1681, Purcell took unto himself a wife, and in the latter year he again composed an ode or "Welcome Song" which must have brought him favourably under the notice of the King. It commences, "Swifter Isis, swifter flow."

In July, 1682, his abilities were publicly recognised by giving him the appointment of Organist of the Chapel Royal in place of Edward Lowe, deceased. The honourand the additional income would be welcomed by the young couple just starting on the voyage of life as a favourable augury for their future comfort and prosperity.

In this same year Purcell wrote music for a grand civic festival, "The inauguration of the truly loyal and right honourable Sir William Prichard, Knight, lord Mayor of the city of London, president of the honourable Artillery Company, and a member of the worshipful company of Merchant-Taylors. Perform'd on Monday, September xxx. 1682." In the following month he composed another "Ode or Welcome Song to the King on his return from Newmarket, Oct. 21."

The old uncle, Thomas Purcell, must have been well pleased to witness his adopted son's happiness and success; of the intercourse and friendship which continued to exist between them we have evidence. When Thomas became too old to go himself to the Pay-office for his salaries he executed a power of attorney authorizing his son Matthew to act for him, and this document was witnessed by Frances Purcell—Henry's wife.

The quaint deed is worthy of reproduction here.[28]The original is in my possession.

A few months afterwards, July 31st, 1682, the old man died, and on the 2nd of August his mortal remains were laid to rest in the cloisters of Westminster Abbey. We can easily imagine the grief of Purcell who had to mourn the loss of one who had been more than a father to him.

A few days after the funeral of the uncle Thomas, Purcell had occasion to rejoice in the birth of a son and heir; the child was baptized in Westminster Abbey, receiving the names of John Baptista, probably a mark of friendly regard for the well-known musician, John Baptist Draghi,[29]but the infant survived only a fewmonths and was buried with his kindred in the Abbey cloisters. There is a volume of music in the handwriting of Henry Purcell in the Fitzwilliam Library at Cambridge, containing an entry which is worthy of note in this place as showing the serious tone of his mind at that period: at the end of an anthem he has written, "God bless Mr. Henry Purcell. September ye10th, 1682."

In the following year Purcell ventured on his first publication, for which he solicited subscribers. His prospectus or proposals are lost, but the following advertisement from theLondon Gazette, May 24th, 1683, throws much light on the subject:—

"These are to give Notice to all Gentlemen that have subscribed to the Proposals Published by Mr. Henry Purcell for the Printing his Sonata's of three Parts for two Violins and Base to the Harpsichord or Organ, that the said Books are now completely finished, and shall be delivered to them upon the 11th June next: and if any who have not yet Subscribed, shall before that time Subscribe, according to the said Proposals (which is Ten Shillings the whole Sett), which are at Mr. Hall's house in Norfolk-street, or at Mr. Playford's and Mr. Carr's shop in the Temple; for the said Books will not after that time be Sold under 15s.the Sett."

Again on the following June the 7th, another advertisement appeared in theLondon Gazette:—

"Wheras the time is now expired, this is therefore to desire those Persons that have subscribed to Mr. Henry Purcel's Sonata's to repair to his house in St. Ann's Lane beyond Westminster Abbey, or to send Proposal-Paper they received with the Receipt to it when they Subscribed, and those who subscribed without a Paper or Receipt to bring a Note under the Persons Hand to whom they Subscribed, that there may be no mistake, and they shall receive their Books, paying the remainder part of the money."

Judging by the extreme rarity of the work, the subscription list must have been a poor one, and as the price charged was only ten shillings for the completed work, Purcell must have been considerably out of pocket, when he came to balance his accounts after paying the engraver and printer; the former was the celebrated copper-plate engraver, Thomas Cross, junior. The title of the work reads thus: "Sonnata's of III parts. Two Viollins and Basse to the Organ or Harpsichord. Composed by Henry Purcell, Composer in Ordinary to his Most sacred Majesty, and Organist of his Chappell Royall, London. Printed for the Author, and sold by J. Playford and J. Carr at the Temple, Fleet St. 1683."

The sonatas are printed in four separate parts for the instruments named, but there is no score, the first violin part is embellished with a splendid portrait of the composer, lettered "Vera Effigies Henrici Purcell, Atat Suæ 24."

The dedication runs as follows:—

"To the King. May it please yorMajty. I had not assum'd the confidence of laying yefollowing Compositions at your Sacred feet; but that (as they are the immediate Results of your Majesties Royall favour, and benignity to me which have made me what I am), so, I am constrain'd to hope, I may presume, amongst Others of your Majesties over-oblig'd and altogether undeserving Subjects, that your Majtywill with your accustom'd Clemency, Vouchsafe to Pardon the best endeavours of yorMajtiesMost Humble and Obedient Subject and Servant,"H. Purcell."

The modest preface is interesting from its reference to the novel use of Italian terms, and also as showing the comparative regard in which Italian and French music was held by the author, who writes:—

"Ingenious Reader. Instead of an elaborate harangue on the beauty and the charms of Musick which (after all the learned Encomions that words can contrive) commends itself best by the performances of a skilful hand, and an angelical voice: I shall say but a very few things by way of Preface, concerning the following Book, and its Author: for its Author, he has faithfully endeavour'd a just imitation of the most fam'd Italian Masters; principally, to bring the Seriousness and gravity of that sort of Musick into vogue, and reputation among our Country-men, whose humour, 'tis time now, should begin to loath the levity and balladry of our neighbours: The attempt he confesses to be bold and daring, there being Pens and Artists of more eminent abilities, much better qualifi'd for the imployment than his, or himself, which he well hopes these his weak endeavours, will in due time provoke, and enflame to a more accurate undertaking. He is not asham'd to own his unskilfulness in Italian Language;but that's the unhappiness of his Education, which cannot justly be accounted his fault, however he thinks he may warrantably affirm, that he is not mistaken in the power of the Italian Notes, or elegancy of their Compositions, which he would recommend to the English Artists. There has been neither care, nor industry wanting, as well in contriving, as revising the whole Work; which had been abroad in the world much sooner, but that he has now thought fit to cause the whole Thorough Bass to be Engraven, which was a thing quite beside his first Resolutions. It remains only that the English Practitioner be enform'd, that he will find a few terms of Art perhaps unusual to him, the chief of which are these following:AdagioandGravewhich imports nothing but a very slow movement:Presto,Largo, andVivace, a very brisk, swift, or fast movement:Piano, soft. The Author has no more to add, but his hearty wishes, that his Book may fall into no other hands but theirs who carry Musical Souls about them; for he is willing to flatter himself into a belief, that with Such his labours will seem neither unpleasant, nor unprofitable, Vale."

The foregoing preface is eminently characteristic of the unassuming and retiring disposition of Purcell. The sonatas have never been printed in score, but a few masterly movements selected from the parts and reduced for the pianoforte are inserted in Dr. Crotch's specimens of ancient music; a perusal of these will whet the appetite for more music of such sterling quality.

This year, 1683, was a prolific one with Purcell, for we find that he composed another "Ode, or Welcome Song for the King," commencing, "Fly bold rebellion," and also an ode to celebrate the marriage of George,Prince of Denmark, with the Princess Anne, afterwards Queen. The marriage took place in July. The words of the ode commence, "From hardy climes." A large manuscript volume entirely in Purcell's hand, is still in existence, which shows that he had been busy from June, 1680, to February, 1683, in composing Fantasias in three, four, five, six, seven, and eight parts; the book in which these are written was evidently the commencement of what was intended to be a complete and lasting record of the composer's works, and perhaps it was intended for presentation to the King.

The publication of the sonatas was soon followed by another entitled, "A musical entertainment perform'd on November xxii. 1683; it being the festival of St. Cecilia, a great Patroness of Music, whose Memory is annually honoured by a Public Feast made on that day by the Masters and lovers of Music as well in England as in foreign parts. London: Printed by J. Playford, junior, and are to be sold by John Playford near the Temple Church, and John Carr, at the Middle Temple Gate, 1684."

The book, unlike the sonatas, which were beautifully engraven, is a wretched specimen of type-printing, and copies of it are now very rare. The Preface was addressed,

"To the Gentlemen of the Musical Society, and particularly the Stewards for the year ensuing, William Bridgman, Esq., Nicholas Staggins, Doctor in Music, Gilbert Dolben, Esq., and Mr. Francis Forcer. Gentlemen, your kind Approbation and benign Reception of the performance of theseMusical CompositionsonSt. Cecilia's Day, by way of Gratitude, claim this Dedication; which likewise furnishes the Author with anopportunity of letting the World know the Obligations he lies under to you; and that he is to all Lovers of Music, a real Friend and Servant.—Henry Purcell."

The music consists of an introductory symphony, choruses, and soli, with accompaniments for strings, and has a very novel termination to the words "Iô Cecilia." The words are poor, and were written by Christopher Fishbourne,[30]who seems to have been both a poet and a musician, but of no great pretension in either art. Purcell's enthusiasm and industry are well exemplified by the amount of music which he wrote for the first public observance of St. Cecilia's Day in this country. In addition to the ode already mentioned as published, he composed two other odes, one in English and one in Latin; the former is remarkable for being scored without any part for the tenor violin, and without parts for counter-tenor voices, although the latter voice was in great favour in Purcell's day, and his music generally abounds with solos for that voice. The Latin ode is interesting as being scored for three men's voices with accompaniments for two violins and bass. Both these odes remain at present in manuscript. The Fitzwilliam Library at Cambridge possesses a large volume of manuscript music in the handwriting of Dr. Blow, and internal evidence shows that it must have been completed in 1683; it contains the following anthems byPurcell:—1. "By the Waters of Babylon;" 2. "O God Thou hast cast us out;" 3. "Remember not, Lord, our Offences;" 4. "I will Sing unto the Lord;" 5. "Blessed be the Lord my Strength;" 6. "O Lord, our Governour;" 7. "Let God Arise;" 8. "Blessed is He;" 9. "Hear me, O Lord;" 10. "Bow down Thine Ear;" 11. "Jerusalem is Built;" 12. "My Beloved Spake;" 13. "O God, Thou art my God;" 14. "Lord, who can tell?" 15. "Benedicite" in B ♭.

The year 1684 is notable for the remarkable organ competition at the Temple Church, in which the two great organ-builders of the day, Father Smith and Renatus Harris, exhibited their skill by erecting rival organs for the approval of the benchers of the Temple, and which eventually resulted in the selection and retention of the splendid instrument built by Smith. The organ then chosen is still standing in the church, and eloquently proclaims the fame of its builder. How far Smith's success was due to the judicious choice he made of organists to show off the qualities and varieties of his stops, it is only possible now to guess, but certainly no more skilful performers could have been found than Dr. Blow and Henry Purcell. Smith's rival, Harris, was also fortunate in obtaining the services of John Baptist Draghi, the friend of Purcell previously mentioned, and whose skill and popularity as an organist contemporary records frequently mention. Smith's organ had the singular advantage of possessing keys for two extra quarter-tones in each octave, which enabled the performer to use distinct pitches or sounds for G sharp and A flat, and also for D sharp and E flat. Those who are familiar with Purcell's sacred musicwill readily understand what use he would have made of these additional facilities for modulating into remote keys. In his anthems he frequently wrote chords which must have sounded most crude and harsh on all the keyed instruments of his day, tuned as they were on unequal temperament. Purcell, we know, was on very intimate terms with Smith, who was not only an organ-builder, but also an organist,[31]and it is quite probable that it was at Purcell's suggestion that he added the quarter-tones which constituted so remarkable a feature in the Temple organ. In 1684 Purcell composed yet another "Ode, or Welcome Song, on the King's return to Whitehall after his summer's progress;" the words, commencing, "From these serene and rapturous joys," were written by Thomas Flatman.

In 1685 Purcell was actively concerned in superintending the erection of an organ in Westminster Abbey expressly for the coronation of James II. and his queen. On April 23rd he was paid the sum of 34l.12s.for his services out of the "secret service money." This organ was evidently a small instrument erected just behind the seats occupied by the "King's Choir of Vocal Music," who sat in a gallery in front of and under a south chancel arch, the second from the transept, whilst opposite them, in a similar gallery, were placed the "King's Instrumental Musick." For the coronation service Purcell produced two anthems, "I was Glad," and "My Heart is Inditing," but it would seem that he did not officiate at the organ, for we find that "Purcell, Blow, Child, and Staggins," sang with the basses in the choir on that occasion.

In this same year he composed an ode in honour of King James, commencing, "Why are all the Muses mute?" and it is very likely that he also composed the music for the tragedy ofCirceat or about this period. This play, the work of Charles Davenant, when first produced, was accompanied by music from the pen of John Banister,[32]some of which was published in 1679.

A few years since Dr. Rimbault unfortunately published a portion of Purcell's music toCircewith Banister's name attached as the composer,[33]but he afterwards discovered the error he had fallen into.[34]Circeis one of Purcell's best dramatic works, and contains music which no other composer of his time could have written; it still remains in manuscript. Only music to the first act is now to be found. Perhaps Purcell never completed it.

In 1686 Purcell was again afflicted by the death of a child who had been christened Thomas in remembrance of the deceased uncle. The infant was buried in the cloisters of Westminster Abbey. In this year Purcell composed the music for Dryden's tragedy,Tyrannic Love, in which there are several effective and elegant pieces, notably "Hark, my Daridear," a duet, and "Ah, how sweet it is to love," a song. In addition to this, he wrote another "Ode, or Welcome Song for the King," commencing, "Ye tuneful Muses."

In 1687 Purcell had another son born who wasnamed Henry, but he survived only two months, and was buried with his kindred in the cloisters of Westminster Abbey. Purcell composed another "Ode in honour of King James," commencing "Sound the trumpet, beat the drum," in which occurs a duet to the words, "Let Cæsar and Urania live;" this became so great a favourite that succeeding composers were wont to insert it in their own royal birthday odes. This practice continued till the close of the succeeding century.

About this time Purcell composed a "March" and a "Quickstep," which soon became popular and familiar to the soldiers; a short time afterward some one, probably Lord Wharton, the Irish Viceroy, with much foresight and wisdom, selected the tune of the "Quickstep" as a vehicle for making known the absurd verses of the song called "Lillibullero." Thanks to the music, the song spread like wildfire, with the result described by Bishop Burnet, who says, "A foolish ballad was made at that time, treating the Papists, and chiefly the Irish, in a very ridiculous manner, which had a burden said to be Irish words, 'Lero, lero, lillibullero,' that made an impression on the army that cannot be imagined by those that saw it not. The whole army, and at last the people, both in city and country, were singing it perpetually, and perhaps never had so slight a thing so great an effect." The Viceroy "boasted that the song had sung a deluded Prince out of the three kingdoms." Other testimony speaks of the song "having contributed not a little towards the great Revolution of 1688."

The earliest existing printed copies of these tunesare dated 1686, but he reprinted the "Quickstep" in 1689, under the title of "A new Irish tune," in a work calledMusick's Handmaid for the Virginals or Harpsichord; and he again used the tune as a ground-bass to a piece of incidental music in the play ofThe Gordian Knot Unty'd. The music of "Lillibullero" remains in use to this day in the north of Ireland as a political and party tune, but its use is discontinued by our military bands out of respect for the feelings of our Irish Roman Catholic brethren.

In 1687 Henry Playford publishedA Pastoral Elegy on the Death of Mr. John Playford, the Words by Mr. Tate, set to Musick by Mr. Henry Purcell. It has commonly been believed that this was an elegy on "honest John," as he was familiarly called, but in truth it was in memory of the youngest son of the celebrated old publisher. We have no particulars of his death, but judging from the words of the elegy it must have occurred suddenly:—

"Then waste no more in sighs your breath,Nor think his fate was hard;There's no such thing as sudden deathTo those that always are prepar'd."

"Then waste no more in sighs your breath,

Nor think his fate was hard;

There's no such thing as sudden death

To those that always are prepar'd."

This John Playford was only twenty-one years of age when he died; he had commenced business as a music publisher, and would seem to have been remarkable for amiability and piety.

In January, 1688, Purcell, by virtue of his office as "composer in ordinary to his Majesty," received instructions from the King, James II., to compose an anthem to be performed at the Chapel Royal on the 25th of that month, a day which was commanded tobe observed as a general thanksgiving in London and twelve miles round, in consequence of the supposed pregnancy of the Queen. As news travelled but slowly in those days, places beyond the radius named were commanded to keep the 29th as a day of joyful thanksgiving. For the occasion Purcell wrote the anthem commencing, "Blessed are they that fear the Lord;" it is scored for the usual solo voices and chorus, with accompaniments for the organ and quartet of strings.

In May, 1688, Purcell had a daughter born; she was baptized in Westminster Abbey, receiving the name of Frances. This child attained to years of maturity, surviving both her father and her mother.

This year was a troublous one; the political horizon was black, and the national fortunes were in great jeopardy, people had small time or inclination for public amusements, but Purcell contributed music for at least one play,The Fool's Preferment, or the Three Dukes of Dunstable, a comedy by D'Urfey. The songs were sung by William Mountford, who, Colley Cibber says,[35]"sung a clear counter-tenor, and had a melodious warbling throat." "His voice was clear, full, and melodious."

Mountford was a great favourite with the public as an actor and singer, and he was also a dramatic author, but his career was brought to an untimely end in his thirty-third year by Lord Mohun and Captain Hill, who murdered him in revenge for the part he took in preventing the abduction of the celebrated actress, Mrs. Bracegirdle.

The songs in theFool's Preferment, were published with the play soon after its production at the Queen's Theatre in Dorset Gardens, the title partly reads "together with all the songs and notes to 'em. Excellently compos'd by Mr. Henry Purcell." Purcell still continued composing for the church; an anthem, "The Lord is King," bearing date 1688. He also composed one more "Ode or Welcome Song" for James II.; the last music he had occasion to pen for this King.

Curiously we find that Purcell again becameCopyistof Westminster Abbey in this year; he succeeded Charles Taylour, but for what reason has not been discovered. No information respecting Taylour can now be found.

In December the unhappy monarch, James II., fled from his throne and kingdom, and was succeeded by William and Mary, who were crowned at Westminster Abbey in 1689, and in connection with that event a curious story is told by Hawkins:—[36]

"In the beginning of the year 1689 he (Purcell) became engaged in a dispute with Dr. Sprat, the then Dean, and the Chapter of Westminster, the occasion whereof was this. It seems that at the coronation of King William and Queen Mary, he had received and claimed as his right, the money taken for admission into the organ loft of persons desirous of being near spectators of that ceremony, which for the following reasons must be supposed to have amounted to a considerable sum; the profit arising to the owner of one of the houses at the west end of the Abbey, where only the procession could be viewed, amounted at the last coronation tofive hundred pounds. The organ in Purcell's time was on the north side of the choir, and was much nearer the altar than now, so that the spectators from thence might behold the whole of the august ceremony. A sum like that which this must be presumed to have been was worth contending for, and if Purcell had the authority of precedent for his support, he was right in retaining it as a perquisite arising from his office; but his masters thought otherwise, and insisted on it as their due, for in an old Chapter book I find the following entry: '18 April, 1689, Mr. Purcell, the organ-blower, to pay to Mr. Needham such money as was received by him for places in the organ-loft, and in default thereof his place to be declared null and void, and that his stipend or salary to be detained in the treasurer's hands until further orders.' Upon which it may be observed that the penning of it is an evidence of great ignorance or malice, in that it describes him by the appellation of organ-blower who was the organist of their own church, and in truth the most excellent musician of his time. What the issue of this contest was does not appear. It may be supposed either that he refunded the money, or compounded the matter with the Dean and Chapter, it being certain that he continued to execute his office for some years after."

The above account in Sir John Hawkins's hand is now lying before me with a note that it is to be inserted in vol. iv. p. 497; it fills two pages of letter paper, and on the third page of the same sheet is a further note by Dr. Benjamin Cooke, which certainly ought to have been printed with the foregoing:—

"The order herein alluded to is not the real entry in the Chapter minutes, but is in another old book which contains copies or memorandums of many of theChapter minutes, and probably was the rough draft, or it might be done by Mr. Needham afterwards from his recollection, and so the wording is different tho' the substance of both is the same, and this book was shown to me, and afterwards by my desire to Sir John Hawkins, at which time we understood it to be the original Chapter minutes, but have since been convinced of the contrary by having seen the original minute; and in this last he is not described by the title ofOrgan-blower, as he is in the former, but he is stil'd organist.—B. C."

Whatever may have been the end of this dispute, it probably was speedily concluded, for we find by the Abbey registers of the 6th September following, that Purcell had an infant son baptized in the Abbey, who received the name of Edward; this child survived his parents and became an organist of some note.

On the 5th of August, 1689, a new ode by Purcell, called "A Welcome Song at the Prince of Denmark's Coming Home," and commencing, "Celestial music," was performed at Mr. Maidwell's, a schoolmaster. In commemoration of the accession of William and Mary, Tom D'Urfey prepared an ode abounding in praise of "The Great Nassau." This Purcell set to music, and it was subsequently performed at a cost of £100 in the "Merchant Taylors' Hall," at the gathering of the natives of the County of York at their feast, March 27th, 1690; from which circumstance the ode is known as "The Yorkshire Feast Song." The music became extremely popular; portions of it were printed in theOrpheus Britannicus, and other collections, and the entire work was printed by Goodison in 1788 or 1789,but in a very incorrect fashion. It has lately been published in a very satisfactory manner by the new "Purcell Society."

In the year 1690 Purcell must have worked assiduously for the theatres; we can trace to this period the production ofThe Tempest, an alteration from Shakespeare by Shadwell;The Prophetess, orDioclesian, an adaptation from Beaumont and Fletcher by Betterton; theMassacre of Paris, by Lee; andAmphitryon, by Dryden.

The music ofThe Tempestis extremely beautiful, witness "Come unto these Yellow Sands" and "Full Fathom Five," which are known and admired and in vogue to this day. These pieces being allied to Shakespeare's lines are not likely to be superseded by other composers' music, but unfortunately the major part of Purcell's work inThe Tempestis married to verse not Shakespeare's, and cannot therefore find any fitting place in a performance of the play.

Dioclesian, at first calledThe Prophetess, was advertised for publication in theLondon Gazette, July 3rd, 1690:—

"The vocal and instrumental musick in the opera calledThe Prophetess, composed by Mr. Henry Purcell, is designed to be printed by way of subscriptions. Proposals may be seen at Mr. John Carr's shop at the Middle Temple Gate, and at Mr. Henry Playford's shop near the Inner Temple Church, who are appointed to take subscriptions."

It was published the following year with the title, "The Vocal and Instrumental Musick of the Prophetess,or the History of Dioclesian, composed by Henry Purcell, Organist of their Majesties' Chappel, and of St. Peter's, Westminster. London, Printed by J. Heptinstall, for the Author, and are to be sold by John Carr, at his shop at the Middle Temple Gate near Temple-Barr. M.DCXCI."

The libretto was made into a so-called opera. Purcell dedicated the work to the Duke of Somerset, and, as was the manner of the times, introduced his published score of the music with a flowery preface; it contains many interesting passages and reads as follows:—

"Your Grace has been pleas'd so particularly to favour the Composition of the Musick inDioclesian, that from thence I have been encourag'd to this presumption of Dedicating not only It, but also the unworthy Author of it to your Protection. All Arts and Sciences have receiv'd their first encouragement from Great Persons, and owe their Propagation and Success to their esteem: like some sort of Fruit-trees, which being of a tender Constitution, and delicate in their Nature, require the shadow of the Cedar to shield their Infancy from Blites and Storms."Music and Poetry have ever been acknowledged Sisters, which walking hand in hand supports each other; As Poetry is the harmony of Words, So Musick is that of Notes: and as Poetry is a Rise above Prose and Oratory, so is Musick the exaltation of Poetry. Both of them may excel apart, but sure they are most excellent when they are joyn'd because nothing is then wanting to either of their Perfections: for thus they appear like Wit and Beauty in the same Person. Poetry and Painting have arriv'd to their perfection in our own Country: Musick is yet but in its Nonage, a forward Child which gives hope of what it may behereafter inEngland, when the Masters of it shall find more Encouragement. 'Tis now learningItalian, which is its best Master, and studying a little of the French Air, to give it somewhat more of Gayety and Fashion. Thus being farther from the Sun, we are of later Growth than our Neighbour Countries, and must be content to shake off our Barbarity by degrees. The present Age seems already dispos'd to be refin'd, and to distinguish betwixt wild Fancy, and a just, numerous Composition. So far the Genius of your Grace has already prevail'd on Us. Many of the Nobility and Gentry have followed your Illustrious Example in the Patronage of Musick. Nay, even our Poets begin to grow asham'd of their harsh and broken Numbers, and promise to file our uncouth Language into smoother Words. Once more, therefore, I presume to offer Myself and this Composition with all humility to Your Grace's Protection, at least till I can redeem so mean a Present by One which may better deserve Your Acceptation. Be pleas'd to pardon my Ambition, which had no other means to obtain the Honour of being made known to You, but only this. The Town, which has been so indulgent to my first Endeavours in this kind, has encourag'd me to proceed in the same Attempt; and Your Favour to this Trifle will be a good Omen not only to the Success of the Next, but also to all the future Performances of Your Grace's most Obedient and most Obliged Servant,"Henry Purcell."

"Music and Poetry have ever been acknowledged Sisters, which walking hand in hand supports each other; As Poetry is the harmony of Words, So Musick is that of Notes: and as Poetry is a Rise above Prose and Oratory, so is Musick the exaltation of Poetry. Both of them may excel apart, but sure they are most excellent when they are joyn'd because nothing is then wanting to either of their Perfections: for thus they appear like Wit and Beauty in the same Person. Poetry and Painting have arriv'd to their perfection in our own Country: Musick is yet but in its Nonage, a forward Child which gives hope of what it may behereafter inEngland, when the Masters of it shall find more Encouragement. 'Tis now learningItalian, which is its best Master, and studying a little of the French Air, to give it somewhat more of Gayety and Fashion. Thus being farther from the Sun, we are of later Growth than our Neighbour Countries, and must be content to shake off our Barbarity by degrees. The present Age seems already dispos'd to be refin'd, and to distinguish betwixt wild Fancy, and a just, numerous Composition. So far the Genius of your Grace has already prevail'd on Us. Many of the Nobility and Gentry have followed your Illustrious Example in the Patronage of Musick. Nay, even our Poets begin to grow asham'd of their harsh and broken Numbers, and promise to file our uncouth Language into smoother Words. Once more, therefore, I presume to offer Myself and this Composition with all humility to Your Grace's Protection, at least till I can redeem so mean a Present by One which may better deserve Your Acceptation. Be pleas'd to pardon my Ambition, which had no other means to obtain the Honour of being made known to You, but only this. The Town, which has been so indulgent to my first Endeavours in this kind, has encourag'd me to proceed in the same Attempt; and Your Favour to this Trifle will be a good Omen not only to the Success of the Next, but also to all the future Performances of Your Grace's most Obedient and most Obliged Servant,"Henry Purcell."

The music ofDioclesianis scored for "1st Violins, 2nd Violins, Tener Violins, Base Violins, 2 Flutes, 3 Hautboys (1st, 2nd, and Tener), 1 Basoon and 2 Trumpets;" the vocal parts have solos for all the voices, and there are numerous choruses. It is evident Purcell regarded this work with some affection and pride; allthe printed copies were corrected by his own hand. At the end of the book is printed the following:—

"Advertisement. In order to the speedier Publication of this Book, I employed two several Printers; but One of them falling into some trouble, and the Volume swelling to a Bulk beyond my expectation, have been the Occasions of this Delay."It has been objected that some of the Songs are already common; but I presume that the Subscribers, upon perusal of the Work, will easily be convinced that they are not the Essential Parts of it. I have, according to my Promise in the Proposals, been very carefull in the Examination of every Sheet, and hope the Whole will appear as Correct as any yet Extant. My desire to make it as cheap as possibly I cou'd to the Subscribers, prevail'd with me so far above the consideration of my own Interest, that I find too late the Subscription money will scarcely amount to the Expense of compleating this Edition."

"It has been objected that some of the Songs are already common; but I presume that the Subscribers, upon perusal of the Work, will easily be convinced that they are not the Essential Parts of it. I have, according to my Promise in the Proposals, been very carefull in the Examination of every Sheet, and hope the Whole will appear as Correct as any yet Extant. My desire to make it as cheap as possibly I cou'd to the Subscribers, prevail'd with me so far above the consideration of my own Interest, that I find too late the Subscription money will scarcely amount to the Expense of compleating this Edition."

AlthoughDioclesiandid not prove a lucrative investment for the composer it must have added considerably to his fame; produced at the Queen's Theatre in 1690, Downes, in hisRoscius Anglicanus, says, "It gratify'd the expectation of Court and City; and got the author great reputation." One of the airs in the piece, "What shall I do to show how much I love her," was afterwards adapted to the words, "Virgins are like the Fair Flower in its Lustre," and did duty as a part ofThe Beggar's Opera.

The songs fromAmphitryon[37]were published by Heptinstall soon after the production of the comedy.

Purcell's music forDioclesianand forAmphitryonseems to have opened the eyes of Dryden, who had evidently been blind to the distinguished talent of the composer. In theEpistle DedicatorytoAmphitryon, dated October 24, 1690, Dryden says:—

"What has been wanting on my part has been abundantly supplyed by the Excellent Composition of Mr.Purcell; in whose Person we have at length found anEnglishmanequal with the best abroad. At least my Opinion of him has been such, since his happy and judicious Performances in the late Opera,[38]and the Experiences I have had of him, in the setting of my three Songs for thisAmphitryon: To all which, and particularly to the Composition of thePastoral Dialogue, the numerous Quire of Fair Ladies gave so just an Applause on the Third Day."

In addition to the before-mentioned plays, Purcell composed in 1690 the music for D'Urfey's "Ode for the Queen's Birthday, April 29," commencing "Arise, my muse," and also an ode for King William beginning with the words, "Sound the trumpet."

We find that he again resigned his appointment as Copyist at Westminster Abbey, and was succeeded by Edward Braddock, who was one of the Lay Vicars and Master of the Choristers, and also a Gentleman of the Chapels Royal.

In the succeeding year, 1691, Purcell produced the music forKing Arthur, written by Dryden. It was one of Purcell's most elaborate and most successful efforts in dramatic composition, and contains several pieces which have always been held in popular favour.

The solo and chorus, "Come, if you Dare," is to this day one of the most stirring and effective displays which a tenor vocalist could select, and is therefore frequently heard. The whole of the frost scene is remarkable from its vocal realism of intense and freezing cold. The peculiar and original effects here introduced by Purcell were afterwards copied by Jeremiah Clark, a fellow-student of Purcell, in the anthem, "I will love Thee, O Lord." Mention must also be made of the lovely duet, "Two daughters of this aged stream."

Unfortunately no complete copy of the score of this work, the outcome of the composer's mature judgment, exists. It is presumed that Purcell wrote only one perfect copy, which was retained by the managers of the theatre, who, jealous of possible rivals, would neither permit it to be copied in manuscript or printed.[39]The success at the time of its production is thus recorded by Downes in hisRoscius Anglicanus:—

"King Arthur, an opera, wrote by Mr. Dryden; it was excellently adorned with scenes and machines: the musical part set by the famous Mr. Henry Purcell, and Dances made by Mr. Jo. Priest: the play and musick pleas'd the Court and City, and being well perform'd 'twas very gainful to the company."

Dryden's courtly servility has been deplored by more than one author. He had followed the lead set by Charles II., who had imported Monsieur Grabu from France, and set him up as a musical king, and for him, by royal command, Dryden wrote the opera ofAlbion and Albanius. In the preface to the work he says:—

"The best judges, and those too of the best quality, who have honoured his (Grabu's) rehearsals with their presence, have no less commended the happiness of his genius than his skill. These and other qualities have raised M. Grabu to a degree above any man who shall pretend to be his rival on our stage."

The composer who was thus set above Purcell appears to have enjoyed a somewhat exalted opinion of his own ability, as will be seen by the following extract from the dedication ofAlbion and Albanius, addressed to James II. by Grabu himself:—

"As the subject of this opera is naturally magnificent, it could not but excite my genius, and raise it to a greater height in the composition—even so as to surpass itself. The only displeasure which remains with me is, that I could not possibly be furnished with variety of excellent voices to present it to your Majesty in full perfection."

Contrast this bumptious self-assertion with the modest prefaces of Purcell previously quoted. However, notwithstanding the patronage of the King and the flatteries of Dryden,Albion and Albaniusproved a great failure: it was performed only six times, and from the date of its last performance (1685) Dryden became impressed with the conviction that he must look elsewhere for his future composer, and, as we have already seen, he at last recognised the merits of Purcell. In the preface toKing Arthur, intended by Dryden as a sequel toAlbion and Albanius, the author says, "he submittedhimself in writing and preparing it for the stage" entirely to the guidance of Purcell. This confession was probably made with considerable compunction.

The following extracts from Dryden'sEpistle Dedicatory, prefixed to the libretto, will be read with interest:—

"I humbly offer you this trifle, which if it succeed upon the stage, is like to be the chiefest Entertainment of our Ladies and Gentlemen this summer. When I wrote it, seven years ago, I employ'd some reading about it, to inform myself out of Beda, Bochartus, and other authors, concerning the rites and customs of the heathen Saxons; as I also used the little skill I have in Poetry to adorn it. But not to offend the present times, nor a government which has hitherto protected me, I have been obliged so much to alter the first design, and take away so many beauties from the writing, that it is now no more what it was formerly, than the ship of theRoyal Sovereign, after so often taking down, and altering, to the vessel it was at the first building. There is nothing better, than what I intended, than the Musick; which has since arriv'd to a greater perfection in England, than ever formerly; especially passing through the artful hands of Mr.Purcel, who has compos'd it with so great a genius, that he has nothing to fear but an ignorant, ill-judging audience. But the numbers of poetry and vocal musick, are sometimes so contrary, that in many places I have been oblig'd to cramp my Verses, and make them rugged to the reader, that they may be harmonious to the hearer: of which I have no reason to repent me, because these sorts of Entertainments are principally design'd for the ear and the eye; and therefore, in reason, my art on this occasion ought to be subservient to his."

Dryden had evidently by this time become awareof Purcell's superiority to his contemporary musical brethren; the poet and musician met on intimate and friendly terms. It is recorded that Purcell, by virtue of his court appointments, had an apartment in the clock tower of St. James's Palace, and that Dryden when in debt availed himself of his friendship with Purcell, to escape arrest by taking refuge in Purcell's room, where he was perfectly safe, and could moreover enjoy the air and exercise in the Palace gardens.[40]

King Arthurafter many years of neglect, possibly in consequence of the loss of the score of the music, was revived at Drury Lane theatre in 1770 with enormous success; again in 1781, in 1784, in 1803, and in 1842. The music remained unpublished until 1843, when it was edited by Edward Taylor, the Gresham music professor, and printed by the "Musical Antiquarian Society." Unfortunately the edition is imperfect, several pieces being still wanting, and of those which are printed we can be quite certain that they are not presented to us in the complete form composed by Purcell: for instance, the first overture is simply scored for strings, whereas Purcell freely uses flutes, hautboys, and trumpets in other parts of the work. Professor Taylor could find no trace of this overture excepting in theTheatre Ayrespublished by Mrs. Purcell in 1697, a collection which only gave string parts. Whilst speaking of Dryden and Purcell it will be well to correct a great blunder made by Hawkins in hisHistory of Music; he writes:—

"It is said that Dryden wrote hisAlexander's Feastwith a view to its being set by Purcell, but that Purcelldeclined the task, as thinking it beyond the power of music to express sentiments so superlatively energetic as that ode abounds with; the truth of the assertion may well be questioned, seeing that he composed theTe Deum, and scrupled not to set to music some of the most sublime passages in the Psalms, the Prophecy of Isaiah, and other parts of Holy Scriptures."[41]

Had Hawkins made proper inquiry he would have discovered thatAlexander's Feastwas not written by Dryden until two years after Purcell's death. This fact is verified by a letter addressed by Dryden to his son in September, 1697, in which he says: "I am writing a song forSt. Cecilia's Feast," and by the additional testimony of Mr. St. John, afterwards Lord Bolingbroke.[42]

In 1691 Purcell composed the music forDistressed Innocence, a tragedy by Elkanah Settle, and also for the comedies called theGordian Knot Untyed, by an anonymous author, andSir Anthony Loveby Southerne. In addition to these works he wrote an "Ode for the Queen's Birthday," commencing "Welcome glorious morn."

In 1692, he composed music for the plays, entitled, theWife's Excuse, by Southerne; theIndian Queen, by Howard and Dryden; theIndian Emperour, by Dryden;Œdipus, a tragedy by Dryden and Lee; theMarriage-hater match'd, by D'Urfey; and the so-called opera, theFairy Queen, anonymously adapted from Shakespeare'sMidsummer Night's Dream. The music of theIndian Queenabounds in very striking passages; it isonly necessary to recall the titles of "Ye Twice ten Hundred Deities," which Dr. Burney considered the best recitative in the English language; the dramatic air, "By the Croaking of the Toad," and the delightful song, "I Attempt from Love's Sickness to fly," a ditty again made popular by the exquisite singing of Hobbs in the generation just passed away.[43]

Three years after the first performance of theIndian Queen, some portion of the music was published without the consent, or even consultation, of the composer; the publication, now become very rare, has the following title:—

"The songs in theIndian Queen, as it is now compos'd into an opera by Mr. Henry Purcell, composer in ordinary to his Majesty, and one of the organists of his Majesty's Chapel Royal, London. Printed by J. Heptinstall, and are now to be sold by John May, at his shop under St. Dunstan's church; and for John Hudgbutt at Thomas Dring's, bookseller at the Harrow at Clifford's-lane-end in Fleet Street, 1695."

The preface is too curious to be omitted:—

"The publishers to Mr. Henry Purcell. Sir, having had the good Fortune to meet with the Score or Original Draught of your Incomparable Essay of Musick compos'd for the Play, call'd theIndian Queen, It soon appear'd that we had found a Jewel of very great Value; on which account we were unwilling that so rich a Treasure should any longer lie bury'd in Oblivion; and that the Commonwealth of Musick should be depriv'd of so considerable a Benefit. Indeed, we well knew your innate Modesty to be such, as not to be easily prevailed upon to set forth anything inPrint, much less to Patronize your own Works, although in some respects Inimitable. But in regard that (the Press being now open) any one might print an imperfect Copy of these admirable Songs, or publish them in the nature of a Common Ballad, We were so much the more emboldened to make this Attempt, even without acquainting you with our Design; not doubting but your accustomed Candor and Generosity will induce you to pardon this Presumption. As for our parts, if you shall think fit to condescend so far, we shall always endeavour to approve ourselves your obedient servants,"J. May,J. Hudgebutt."

Comment on this legal robbery of the fruit of an author's brain-work is quite unnecessary.

The music toŒdipusis very dramatic, but not of great importance. That of theFairy Queen, on the contrary, is of considerable pretension and was a great success. Downes, in hisRoscius Anglicanus, says:—

"This in ornaments was superior to the other two (King ArthurandDioclesian), especially in cloaths for all the singers and dancers; scenes, machines, and decorations, all most profusely set off, and excellently perform'd: chiefly the instrumental and vocal part compos'd by the said Mr. Purcell, and dances by Mr. Priest. The Court and town were wonderfully satisfy'd with it, but the expences in setting it out being so great the company got little by it."

A portion of the music was published by the composer with the title, "Some select songs as they are sung in theFairy Queen, set to musick by Mr. Henry Purcell, London. Printed by J. Heptinstall for theAuthor, and are to be sold by John Carr, at the Inner Temple Gate, near Temple Barr, by Henry Playford at his shop in the Temple, and at the Theatre in Dorset Gardens, 1692."

A few pieces from the opera were also published separately; one beginning "Now the maids and the men," with the curious heading "A Dialogue in the Opera call'd theFairy Queen, set by Mr. Henry Purcell, sung by Mr. Reading[44]and (Mr. Pate in Woman's habit), and exactly engrav'd by Tho. Cross."

The Fairy Queenseems to have shared the fate of much other music of Purcell's, for theLondon Gazette, Oct. 13th, 1700, has the following advertisement:—"The score of the musick for theFairy Queenset by the late Mr. Henry Purcell, and belonging to the Patentees of the Theatre Royal in Covent Garden, London, being lost by his death, whosoever brings the said score, or a copy thereof, to Mr. Zackary Baggs, Treasurer of the said Theatre, shall have 20 guineas reward." The advertisement was repeated, evidently without any successful result, as the opera was not reproduced, but long years afterwards one of the songs,"If Love's a Sweet Passion," was adapted to words by Gay for theBeggar's Opera.

In this same year, 1692, Purcell composed an ode for the Queen's birthday to words of Sir Charles Sedley, commencing "Love's Goddess sure was blind." This ode is notable as containing the song, "May her blest example chase," the bass of which is the melody of the old ballad "Cold and raw," a very popular song of the day. It had been wrought into a catch by John Hilton in 1652, but the reason for its incorporation by Purcell in the Queen's birthday ode is narrated by Hawkins as follows:—

"This tune was greatly admired by Queen Mary, the consort of King William; and she once affronted Purcell by requesting to have it sung to her, he being present. The story is as follows: the Queen having a mind one afternoon to be entertained with music, sent to Mr. Gostling, then one of the chapel, and afterwards sub-dean of St. Paul's, to Henry Purcell and Mrs. Arabella Hunt, who had a very fine voice and an admirable hand on the lute, with a request to attend her; they obeyed her commands; Mr. Gostling and Mrs. Hunt sang several compositions of Purcell, who accompanied them on the harpsichord: at length the Queen beginning to grow tired, asked Mrs. Hunt if she could not sing the old Scots' ballad, 'Cold and raw.' Mrs. Hunt answered yes, and sang it to her lute. Purcell was all the while sitting at the harpsichord unemployed, and not a little nettled at the Queen's preference of a vulgar ballad to his music; but seeing her majesty delighted with this tune, he determined that she should hear it upon another occasion: and accordingly in the next birthday song, viz. that for the year 1692, he composed an air to the words, 'May her bright example,' the bass whereof isthe tune to 'Cold and raw:' it is printed in the second part of theOrpheus Britannicus, and is note for note the same with the Scots' tune."

Hawkins no doubt had this story from Gostling, the son of the Gostling mentioned in the anecdote, and it is therefore probably true.

In the same year he composed one of his most celebrated odes, for the festival held in honour of St. Cecilia at the Stationers' Hall, November 22nd. TheGentleman's Journal or Monthly Miscellany, a periodical published immediately afterward, gives an account of the performance as follows:—

"In my first journal I gave you a large account of the music feast on St. Cecilia's Day; so to avoid repetition, I shall only tell you that the last was in no ways inferior to the former. The following Ode was admirably set to music by Mr. Henry Purcell, and performed twice with universal applause, particularly the second stanza, which was sung with incredible graces by Mr. Purcell himself. Though I was enjoined not to name the author of the Ode, I find a great deal of reluctance to forbear letting you know whom you must thank for so beautiful a poem; and to use Ovid's words, 'Sequoque nunc, quàm vis est quiscere, Quinte Nominet invitum, vix mea, Musa tenet.'"

The author was the Rev. Nicholas Brady of the churches of St. Catherine Cree, and St. Michael, Wood Street, better known as the co-labourer with Tate in the versions of the Psalms published under their joint names.

TheGentleman's Journal, January, 1693, has an Epigram "by Mr. B—y, whose Ode for St. Cecilia'sDay you liked so well." The words of the ode were printed in 1782[45]with Dr. Brady's name as author.

The air which Purcell "sang with incredible graces" we are able to identify by means of various separate publications of the song. The title of one copy printed in 1692 or 1693 reads thus, "'Tis Nature's Voice (Ode for St. Cecilia's day), a song set by Mr. H. Purcell, and sung by himself at St. Cecilia's Feast in 1692, the words by N. Brady."

The "incredible graces" are, of course, numerous division passages, commonly called runs. These graces were much in vogue in Purcell's day, and unfortunately he too often pandered to the vulgar taste of the multitude, and injured his music by writing many such, both in his sacred and secular works. The fashion was probably borrowed from the Italians. Bedford, in hisAbuse of Musick, printed in 1711, says:—

"Among the varieties which have been brought into our musick, thedivisionsof many and short notes to a syllable is the most obvious to every hearer. These must be allowed to be some of the finestgracesto our modern performances. They are design'd to strike upon the passions, and increase our rapture, and when they are well compos'd and well perform'd they set off the voice in a most excellent and extraordinary manner."

The following curious anecdote told by Tony Aston, in hisBrief Supplement to Colley Cibber, further illustrates the custom ofgracingmusic which descended to our own times:—

"As Mr. Verbruggen had nature for his directress in acting, so had a known singer, Jemmy Bowen, the same in music. He, when practising a song set by Mr. Purcell, some of the musick told him to grace and run a division in such a place. 'O let him alone,' said Mr. Purcel; 'he will grace it more naturally than you or I can teach him.'"

The "Cecilia Ode" of 1692 was frequently performed, and must have been an especial favourite, if we may judge by the numerous manuscript copies of the score still in existence. The work was published by "The Musical Antiquarian Society" a few years since.

In 1693 Purcell composed music for the plays, theOld Bachelor, a comedy by Congreve; theRichmond Heiress, a comedy by D'Urfey; theMaid's Last Prayer, a comedy by Southerne; andHenry II., a tragedy by Bancroft. In addition to these pieces he composed music for the "Queen's Birthday Ode," commencing "Celebrate this festival," the libretto of which was written by Nahum Tate. The overture to this ode is the same as that to the "Cecilia Ode" of the same year, transposed one note lower, from D to C. It has been printed in a very incorrect manner by Goodison.

One other ode belongs also to this year. It was written by Tate for the commemoration of the centenary of the foundation of Trinity College, Dublin, and commences "Great Parent, hail." It is supposed that the ode was performed at Christ Church, Dublin, on the 9th of January, 1694; but no information on the subject has as yet been discovered either at Trinity College orChrist Church. The ode was included in Goodison's "Purcell publications."

In 1694 Purcell revised the twelfth edition ofJohn Playford's Introduction to the Skill of Musick. The third part of the work, which treats ofThe Art of Descant,[46]appears to have been almost wholly re-written by Purcell. The directions for the use of "discords" were quite novel for the time, and so also must have been the paragraph where he says, "Formerly they used to compose from theBass, but modern authors compose to theTreblewhen they makeCounterpointorBassesto tunes or songs." Again, in speaking of composition in three parts, he writes, "The first thing to treat of isCounterpoint, and in this I must differ from Mr.Simpson(whoseCompendiumI admire as the most ingenious book I e're met with on this subject); but his rule in three parts forCounterpointis too strict and destructive to good air, which ought to be preferred above such nice rules." He then goes on to explain that in vocal music the parts should move smoothly, but that in instrumental music greater freedom would be admissible, and he points out the Italian composers as worthy models. He also gives a "Canon, four in one," by Dr. Blow, of whom he says, his "character is sufficiently known by his works, of which this very instance is enough to recommend him for one of the greatest masters in the world."

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