Chapter 3

To Purcell's labours of this year, 1694, we are indebted for the music to the plays ofDon Quixote, Parts I. and II. Purcell only composed a portion of the music required, but amongst the number are two worthy of particular mention,—a duet, "Sing all ye Muses," and a bass song, "Let the dreadful engines." The libretto was the work of D'Urfey.

Purcell also wrote music for a comedy called theMarried Beau, by Crowne; for theDouble Dealer, a comedy by Congreve; for theFatal Marriage, a tragedy by Southerne; and also forLove Triumphant, a tragi-comedy by Dryden[47].

To these must be added another "Ode for the Queen's Birthday," beginning, "Come ye sons of art;" and last and best of all, the great "Te Deum and Jubilate" in D, composed with orchestral accompaniments, the first example of such a work this country had seen.

Composed expressly for the festival of St. Cecilia's Day, 1694, the music was published by Purcell's widow in 1697, with the following dedication:—

"To the Right Reverend Father in God, Nathaniel, Lord Bishop of Durham. My Lord, the ambition I have to do the greatest honour I can to the memory of my Dear Husband, by inscribing some of his best compositions to the best Patrons both of the science he profess'd, and of his performances in it, is the fairest Apology I can make to your Lordship; as it was the main Inducement to myself for placing your Lordship's Name before this Piece of Musick. The Pains he bestow'd in preparing it for so Great and Judicious an Auditory, were highly rewarded by their kind Receptionof it when it was first Perform'd, and more yet by their Intention to have it repeated at theirAnnual Meeting; but will receive the last and highest Honour by your Lordship's favourable Reception of it from the Press, to which I have committed it, that I might at once gratifie the Desires of several gentlemen to see the Score, and at the same time give myself an opportunity to acknowledge, in the most Publick and Gratefull Manner, the many Favours Your Lordship has bestow'd on my Deceased Husband, and consequently on

"Your Lordship'sMost oblig'd and most Humble Servant,F. Purcell."

"Your Lordship's

Most oblig'd and most Humble Servant,

F. Purcell."

The intention of annually performing the "Te Deum and Jubilate" must have been formed in 1697, the year of publication, as we know that in 1696 Dr. Blow composed a "Te Deum and Jubilate" which were performed. Purcell's work was immediately adopted by the "Corporation of the Sons of the Clergy"[48]for performance at their Annual Festival, and its use continued until Handel, in 1713, composed his "Te Deum and Jubilate" for the Peace of Utrecht. After that time the works of Purcell and Handel were performed alternately until 1743, when Handel's new work composed for the victory at Dettingen displaced the two former compositions. Of course Handel must have often heard Purcell's "Te Deum;" andthat he greatly profited by it is evident from the striking resemblance of many passages in his ownTe Deum, when compared with that of his illustrious predecessor.

But it must in candour be admitted that the remarkable likeness between Purcell's "Te Deum," as it is now performed, and Handel's "Dettingen Te Deum," is greatly due to Dr. Boyce, who, being a thorough Handelian scholar, re-scored and re-arranged Purcell's work.

Queen Mary died on the 28th of December, 1694, and Purcell composed the music for her funeral, which took place the 5th of March following (1695), in Westminster Abbey. Purcell composed two anthems, to the words, "Blessed is the man that feareth the Lord," and "Thou knowest, Lord, the secrets of our hearts." Contemporary records speak in affecting terms of the solemnity of the occasion;—"the day was dark and troubled, and a few ghastly plumes of snow fell on the black plumes of the funeral car." The procession was attended by the two Houses of Parliament with their maces, "the Lords robed in scarlet and ermine, and the Commons in long black mantles;" the banners of England and France, Scotland and Ireland, were borne before the corpse. On the gorgeous coffin of purple and gold were laid the crown and sceptre of the realm. Inside the Abbey, the whole of the church, nave, choir, and transepts were all ablaze with innumerable waxlights; and a little robin-redbreast, who had found refuge from the inclement weather, constantly flew down and perched on the hearse, seeming to thespectators as if he, too, mourned for the Queen who had been so loved and was now so lamented. Of Purcell's music, Dr. Tudway, one of the choir on this occasion, says: "The anthem, 'Blessed is the man,' was composed after the old way, and was sung at the interment of Queen Mary in Westminster Abbey; a great Queen and extremely lamented, being there to be interred, everybody present was disposed and serious at so solemn a service, as indeed they ought to be at all parts of Divine worship. I appeal to all that were present, as well such as understood music, as those that did not, whether they ever heard anything so rapturously fine, and solemn, and so heavenly in the operation, which drew tears from all; and yet a plain natural composition, which shows the power of music, when 'tis rightly fitted and adapted to devotional purposes." The second anthem, "Thou knowest, Lord, the secrets of our hearts," Dr. Tudway says, "was accompanied by flat, mournful trumpets." This majestic movement is a splendid monument to the memory of Purcell. It has been used at every choral funeral in Westminster Abbey and St. Paul's Cathedral since its first production. Dr. Croft, who subsequently set the "Burial Office" to music, refrained from composing to these words, on the ground that the music of Purcell was unapproachable, and adds, that in composing his own music he had endeavoured, as near as possible, to "imitate that great master and celebrated composer, whose name will for ever stand high in the rank of those who have laboured to improve the English style, in his so happily adapting his compositions to English wordsin that elegant and judicious manner, as was unknown to many of his predecessors."

Queen Mary died of small-pox, and the memory of her goodness was felt so universally by the people that writers vied with each other in their endeavours to perpetuate records of her worth. I have now before me a volume containing thirty-six odes and monodies to her memory, all published in 1695. Amongst them are an "Epicedium," set to music by Dr. Blow, the words by Mr. Herbert; a Latin version of the same, commencing, "Incassum Lesbia," set to music by Henry Purcell, for a solo voice; and another beginning, "O dive custos auriacæ domus," also set to music by Purcell, for two voices.

Purcell was in a delicate state of health at the time of writing the music for Queen Mary's funeral, yet he seems to have worked with undiminished determination, composing music for the comedy, theCanterbury Guest, written by Ravenscroft; theMock Marriage, a comedy by Scott; theRival Sisters, a tragedy by Gould;Oroonoko, a tragedy by Southerne; theKnight of Malta, a play by Beaumont and Fletcher; andBonduca, or the British Heroine, a tragedy adapted from Beaumont and Fletcher,—this play included the catch, "Jack, Thou'rt a Toper," the admirable duets, "To Arms," and "Britons Strike Home." Some of the music was printed on single sheets immediately after performance, but it remained for the "Musical Antiquarian Society" to issue in 1842 a complete copy of the score, edited by Dr. Rimbault.

Purcell also, on 24th July in this year, produceda "Birthday Ode" for the Duke of Gloucester. The ode commences, "Who can from joy refrain." It was written for solo voices and chorus with orchestral accompaniments. Among the principal singers at the first performance were Mr. Howell, Mr. Robert, and Mr. Damascene.

Purcell also wrote some music for D'Urfey's third part ofDon Quixote. Amongst the pieces he contributed to this play was the celebrated cantata, "From Rosie Bowers." This song was frequently reprinted, and with the note that it was "The last song the Author sett, it being in his sickness." It is probable that D'Urfey had hoped to have had the advantage of Purcell's musical skill for the setting of all his verses in the third part ofDon Quixote, but it would seem that Purcell was too ill to accomplish the work.

"From Rosie Bowers" was considered so important by D'Urfey that he published the music of the third part ofDon Quixotewith the following title:—

"New Songs in the Third Part of the Comical History ofDon Quixote. Written by Mr. D'Urfey, and sung at the Theatre Royal. With other new songs by Mr. D'Urfey. Being the last piece set to musick by the late Famous Mr. Henry Purcell, Mr. Courtivill, Mr. Akroy'd, and other eminent Masters of the Age. Engrav'd on Copper-Plates. London, printed for Samuel Briscoe, at the Corner-shop of Charles-street, in Russell-street, Covent Garden, 1696. Price Three Shillings. Where are also to be had, the First and Second Parts of Mr. D'Urfey's Songs, set to musick by Mr. Henry Purcell."[49]

In the year of the publication just named another song was printed, commencing, "Lovely Albina," with the heading, "The last Song that Mr. Henry Purcell sett before he dy'd." But a later edition says, "The last song the author sett before his sickness." There cannot be much doubt, therefore, that the air "From Rosie Bowers" was really Purcell's last work. D'Urfey's print and tradition agree in this.

And now we come to the last scene of all. It is the 21st of November, 1695,—by a curious coincidence the eve of the festival of St. Cecilia, a day so frequently celebrated by Purcell. In a house on the West side of Dean's Yard, Westminster, in a darkened chamber, the dying musician is lying on his couch in full possession of all his faculties, as he himself had just said in his will, but with a thorough knowledge that he was about to pass into the land of shadows. He could possibly hear some faint murmurs of the evensong service wafted from the old Abbey close by, perhaps some well-remembered phrase of one of his own soul-stirring anthems. The psalm of the day which would be chanted at that evening service concluded with words which he had set to music the world was not likely soon to forget—music which still remains unsurpassed in truthfulness and dignity. A more noble or a more fitting death-chant for a child of song it would be difficult to find:—

"Blessed be the Lord God of Israel,From everlasting, and world without end.And let all the people say, Amen."

"Blessed be the Lord God of Israel,

From everlasting, and world without end.

And let all the people say, Amen."

By his bed-side were gathered his aged mother, hisyoung wife, and his three infant children; and so amid their sighs and tears his gentle spirit passed into the better world, there to continue his service of song and praise in fulness and perfection.

That Purcell was sincerely loved and mourned by relations and friends we know, and the following testimony of tender regard will be read with interest. It is written on the fly-leaf of a copy of his operaDioclesian:—[50]

Ex Dono Carissimi Desideratissimique AutorisHenrici PurcellMusarum Sacerdotis: Qui Anno Domini 1695 Pridie Festi StaeCæcilæ Multis Flebilis occidit, Nulli Flebilior quàm Amico suo atque AdmiratoriJacobo Talbot.

Translated thus:

The gift of the most beloved and most distinguished author,Henry Purcell, Priest of the Muses, who in the year of our Lord 1695, the day before the feast of St. Cecilia, died with many tears, to none more tearfully than to his friend and admirer,Jacob Talbot.

Jacob Talbot was a Fellow of Trinity College, Cambridge, and the author of the words of an "Ode for the Consert at York Buildings, upon the death of Mr. Purcell," which will be found in theOrpheus Britannicus, 1698.

Purcell was buried on the 26th of November in Westminster Abbey, beneath the organ which had so often responded to his skilful touch. The anthems he had composed for Queen Mary's funeral only a few months before were again performed, so that Purcellhad rehearsed and inaugurated his own dirge. Doubtless the remembrance of this would bring home to the mourners the intense pathos of the music with double force.

On the grave-stone the following lines were inscribed:

Plaudite, felices superi, tanto hospite; nostrisPræfuerat, vestris additur ille choris:Invida nec vobis Purcellum terra reposcat,Questa decus sedi deliciasque breves.Tam cito decessisse, modos cui singula debetMusa, prophana suos, religiosa suos,Vivit, Io et vivat, dum vicina organa spirant,Dumque colet numeris turba canora Deum.

Plaudite, felices superi, tanto hospite; nostris

Præfuerat, vestris additur ille choris:

Invida nec vobis Purcellum terra reposcat,

Questa decus sedi deliciasque breves.

Tam cito decessisse, modos cui singula debet

Musa, prophana suos, religiosa suos,

Vivit, Io et vivat, dum vicina organa spirant,

Dumque colet numeris turba canora Deum.

Translated thus:

Applaud so great a guest, celestial pow'rs,Who now resides with you, but once was ours;Yet let invidious earth no more reclaimHer short-lived fav'rite and her chiefest fame;Complaining that so prematurely diedGood-nature's pleasure and devotion's pride.Died? no, he lives, while yonder organs soundAnd sacred echoes to the choir rebound.

Applaud so great a guest, celestial pow'rs,

Who now resides with you, but once was ours;

Yet let invidious earth no more reclaim

Her short-lived fav'rite and her chiefest fame;

Complaining that so prematurely died

Good-nature's pleasure and devotion's pride.

Died? no, he lives, while yonder organs sound

And sacred echoes to the choir rebound.

Even in 1722 the inscription had become almost illegible from the wear of passing feet, and soon was entirely obliterated. The grave-stone remained in this condition until 1876, when, by the exertions of Mr. Henry F. Turle, son of the respected organist of the Abbey, a private subscription was made which provided funds for placing another stone and restoring the inscription. By permission of the Dean, the following lines were added:—

FranciscaHenrici PurcellUxor,Cum conjuge sepulta est.xiv.Feb.mdccvi.

Francisca

Henrici PurcellUxor,

Cum conjuge sepulta est.

xiv.Feb.mdccvi.

On the pillar adjacent to the grave there is a tablet with the inscription:—

Here lies Henry Purcell, Esq., who left this life, and is gone to that blessed place where only his harmony can be exceeded. Obiit 21 mo die Novembris, anno ætates suæ 37mo. Annoq. Domini 1695.

This memorial was erected by the Lady Elizabeth Howard, whom Hawkins, and others, have supposed to have been the wife of Dryden, and a pupil of Purcell. Hawkins also inferred that it was Dryden who wrote the inscription for the memorial, and further, that the dedication of theOrpheus Britannicusto Lady Elizabeth Howard was intended for Dryden's wife.

All these surmises are wrong. Dryden married Lady Elizabeth Howard, the eldest daughter of the Earl of Berkshire, in 1665, when Purcell was seven years old. Of course, after the marriage the wife ceased to be Lady ElizabethHoward: moreover, her husband's (Dryden) means would scarcely have permitted the serious cost of Purcell's memorial tablet. This was in reality erected by the wife of Sir Robert Howard, the dramatist, who had been associated with Purcell in theatrical composition, and the lady had been a pupil of Purcell; the probability is, therefore, that Sir Robert wrote the inscription.

Purcell made his will on the day of his death; it is important, and reads as follows:—

"In the name of God, Amen. I, Henry Purcell, of the Citty of Westminster, gent., being dangerously ill as to the constitution of my body, but in good and perfect mind and memory (thanks be to God), doe by these presents publish and declare this to be my last Will and Testament. And I doe hereby give and bequeathunto my loveing Wife, Frances Purcell, all my Estate both reall and personall of what nature and kind soever, to her and to her assigns for ever. And I doe hereby constitute and appoint my said loveing Wife my sole Executrix of this my last Will and Testament, revokeing all former Will or Wills. Witnesse my hand and seale this twentieth first day of November, Annoq. Dni., One thousand six hundred ninety-five, and in the seventh yeare of the Raigne of King William the Third, &c."H. Purcell.

"Signed, sealed, published, and declared by the said Henry Purcell in the presence of Wm. Ecles, John Capelin."B. Peters."

Purcell's widow was thus left sole executrix, and she with her children—Frances, aged 7, Edward, aged 6, and Mary Peters, aged 2 years—continued to reside for a time at the house in Great Dean's Yard, from whence, in 1696, Mrs. Purcell issuedA Choice Collection of Lessons for the Harpsichord or Spinnet, composed by the late Mr. Henry Purcell, Organist of his Majesties Chappel Royal, and of St. Peter's, Westminster. Of this popular little work three editions were speedily exhausted. In 1697 Mrs. Purcell published a collection ofTen Sonatas in four parts, composed by the late Mr. Henry Purcell, and alsoA Collection of Ayres, compos'd for the Theatre, and upon other occasions, by the late Mr. Henry Purcell; and in 1698 a further publication of the first volume ofOrpheus Britannicus: A Collection of all the Choicest Songs for one, two, and three voices, compos'd by Mr. Henry Purcell; together with such Symphonies for Violins or Flutes as were by him design'd for any of them: and a thorough-bass to each song; figur'd forthe Organ, Harpsichord, or Theorbolute. All which are placed in their several Keys according to the order of the Gamut.

To each of the above-mentioned works Mrs. Purcell prefixed dedicatory epistles, and in all of them she speaks in most affectionate terms of her deceased husband; nevertheless, the breath of slander in later years attributed to her some measure of responsibility for her husband's untimely death. Mrs. Purcell eventually removed from the house in Westminster to Richmond, in Surrey, where she died in February, 1706, and was buried on the 14th of that month with her deceased husband in Westminster Abbey, having survived him eleven years. On the 7th of February, 1706, she made a nuncupative will as she sat in the parlour of her dwelling house, by which she appointed Mr. Thomas Tovey her executor until her daughter, Frances Purcell, should reach the age of eighteen, when she was to be her executrix. Mrs. Purcell goes on to say that, "According to her husband's desire, she had given her deare son (Edward) a good education, and she alsoe did give him all the Bookes of Musicke in generall, the Organ, the double spinett, the single spinett, a silver tankard, a silver watch, two pair of gold buttons, a hair ring, a mourning ring of Dr. Busby's, a Larum clock, Mr. Edward Purcell's picture, handsome furniture for a room, and he was to be maintained until provided for. All the residue of her property she gave to her said daughter Frances."[51]

Sir John Hawkins, in hisHistory of Music, would seem to suggest that Purcell left his family in distressed circumstances, but the will of the widow, of which he evidently knew nothing, gives a satisfactory refutation of such a surmise. Hawkins also charges Purcell with associating with tavern company; his words are:—

"Mirth and good humour seemed to have been habitual to him; and this is perhaps the best excuse that can be made for those connections and intimacies with Brown and others, which show him not to have been very nice in the choice of his company. Brown spent his life in taverns and ale-houses; the Hole in the Wall in Baldwin's Gardens was the citadel in which he baffled the assaults of creditors and bailiffs, at the same time that he attracted thither such as thought his wit atoned for his profligacy. Purcell seems to have been of that number, and to merit censure for having prostituted his invention, by adapting music to some of the most wretched ribaldry that was ever obtruded on the world for humour."

Hawkins goes on to say:—

"There is a tradition that his death was occasioned by a cold which he caught in the night waiting for admittance to his own house. It is said that he used to keep late hours, and that his wife had given orders to his servants not to let him in after midnight; unfortunately he came home heated with wine from the tavern at an hour later than that prescribed him, and through the inclemency of the air contracted a disorder of which he died. If this be true, it reflects but little honour on Madam Purcell, for so she is styled in the advertisements of his works; and but ill agreeswith those expressions of grief for her dear, lamented husband, which she makes use of to Lady Howard in the dedication of theOrpheus Britannicus. It seems probable that the disease of which he died was rather a lingering than an acute one, perhaps a consumption."

We see from this, that Hawkins had some doubt as to the truth of the story, and his daughter writing in 1822,[52]respecting some aspersions which had been cast on her mother in reference to her treatment of her father, says, "Sir John Hawkins was not at home at all the sooner for his wife's fetching him. Mrs. Purcell, I should conjecture, had other modes of attracting Mr. Purcell; yetperhaps the whole may have been as gross a falsification as thatby which Lady Hawkins is vilified."

In a volume of poetry of glees published by Richard Clark in 1824, he improves the tale told by Hawkins, and boldly adds details. He prints the words of the catch, "Jack, thou'rt a toper."

"Jack, thou'rt a toper; let's have t'other quart.Ring, we're so sober 'twere a shame to part;None but a cuckold bully'd, by his wifeFor coming late, fears a domestic strife;I'm free, and so are you! to call and knockBoldly, the watchman cries, 'Past two o'clock.'"

"Jack, thou'rt a toper; let's have t'other quart.

Ring, we're so sober 'twere a shame to part;

None but a cuckold bully'd, by his wife

For coming late, fears a domestic strife;

I'm free, and so are you! to call and knock

Boldly, the watchman cries, 'Past two o'clock.'"

To these lines he appends the name of Tom Brown, and tells us thatJackwas intended for Dr. Blow, and that "Purcell appears to have spent much of his time with Tom Brown, who wrote the words of mostof his catches." Purcell never set a single line of Brown's, and they were wholly unacquainted with each other, as may be learnt from the following verses written by Brown in June, 1693, two years before Purcell's death, "To his unknown friend, Mr.H. Purcell, upon his excellent compositions in theHarmonia Sacra."

"Long did dark Ignorance our Isle 'ore-spread,Our Musick and our Poetry lay dead;But the dull Malice of a barbarous ageFell most severe onDavid'ssacred page:To wound his Sense and quench his Heav'n born fireThree vile Translators lewdly did conspire;In holy Doggerel and low chiming ProseThe King and Poet they at once depose:Vainly the unrighteous charge he did bemoan,And languish'd in strange numbers, not his own.Nor stopt his Usage here;For what escap'd in Wisdom's ancient RhimesWas murder'd o're and o're in the Composer's Chimes.What praisesPurcellto thy Skill are due,Who hast to Judah's Monarch been so true?By thee he moves our Hearts, by thee he reigns,By thee shakes off the old inglorious Chains,And sees new Honours done to his immortal strains.NotItaly, the Mother of each Art,Did e're a juster, happier Son impart.In thy performance we with wonder findCorelli'sgenius toBassani'sjoin'd.Sweetness, combined with Majesty, preparesTo sing Devotion with inspiring airs.Thus I, unknown, my Gratitude expressAnd conscious Gratitude could do no less.This Tribute from eachBritishMuse is due;The whole Poetic Tribe's obliged to you;For when the Author's scanty Words have fail'd,Thy happier Graces,Purcell, have prevail'd!And surely none but you with equal ease,Cou'd add to David, and make D'Urfy please."

"Long did dark Ignorance our Isle 'ore-spread,

Our Musick and our Poetry lay dead;

But the dull Malice of a barbarous age

Fell most severe onDavid'ssacred page:

To wound his Sense and quench his Heav'n born fire

Three vile Translators lewdly did conspire;

In holy Doggerel and low chiming Prose

The King and Poet they at once depose:

Vainly the unrighteous charge he did bemoan,

And languish'd in strange numbers, not his own.

Nor stopt his Usage here;

For what escap'd in Wisdom's ancient Rhimes

Was murder'd o're and o're in the Composer's Chimes.

What praisesPurcellto thy Skill are due,

Who hast to Judah's Monarch been so true?

By thee he moves our Hearts, by thee he reigns,

By thee shakes off the old inglorious Chains,

And sees new Honours done to his immortal strains.

NotItaly, the Mother of each Art,

Did e're a juster, happier Son impart.

In thy performance we with wonder find

Corelli'sgenius toBassani'sjoin'd.

Sweetness, combined with Majesty, prepares

To sing Devotion with inspiring airs.

Thus I, unknown, my Gratitude express

And conscious Gratitude could do no less.

This Tribute from eachBritishMuse is due;

The whole Poetic Tribe's obliged to you;

For when the Author's scanty Words have fail'd,

Thy happier Graces,Purcell, have prevail'd!

And surely none but you with equal ease,

Cou'd add to David, and make D'Urfy please."

The above lines were printed in theGentleman'sJournalwith an editorial note: "A music book intituledHarmonia Sacrawill shortly be printed for Mr. Playford. I need not say anything more to recommend it to you, than that you will find in it many of Mr.Henry Purcell'sadmirable composures. As they charm all men, they are universally extolled, and even those who know him no otherwise than by his Notes are fond of expressing their sense of his merit.Mr. Thomas Brownis one of those, as you will find by these lines."

The lines appeared in the several editions ofHarmonia Sacraeven as late as 1714, and there is no ground for believing that the poet and musician ever met.

Dr. Arne gave a concert at Drury Lane Theatre on the 21st of June, 1768, for which he published a book of the words; and one of the pieces is Purcell's catch, "Jack, thou'rt a toper." To this Arne has appended the following note:—

"The words of this catch are said to be written by Mr. Purcell, wherein, it is obvious, that he meant no elegance with regard to the poetry; but made it intirely subservient to his extream pretty design in the music."

The catch, as has been noticed previously, forms a part of the operaBonduca.

When we consider the immense amount and varied kind of labour Purcell accomplished during his short life of thirty-seven years, we must conclude that although of a bright and joyous nature he was of temperate habits; he had not only his duties at Westminster Abbeyand the Chapel Royal to fulfil, but there was also constant occupation in composing for the Church, the Court, and the Theatre; he had numerous professional pupils, and gave lessons in the families of some of the most distinguished gentry and aristocracy; he also was frequently called upon to preside over and direct the concerts which were given in private assemblies. The Lord Keeper North, well known for his theoretical and practical skill in music, and the author of theMemoires of Musick, was wont to employ him in that capacity at his house in Queen Street.

The position Purcell held in his profession necessitated his keeping late hours, which undoubtedly overtaxed a delicate constitution and culminated in his fatal illness in the prime of his manhood. Valuable testimony to this view of the circumstances attending Purcell's death is to be found in a curious volume called theGreat Abuse of Musick, published in 1711 by the Rev. Arthur Bedford, Chaplain to the Duke of Bedford, and Vicar of the Temple in Bristol. The author, himself a musician and composer, was also the writer of a companion volume,On the Evil and Danger of Stage Plays, and in both books he vigorously exposes the vice and immorality prevalent in his day, and is justly severe on poets and musicians; therefore the passages in which he speaks of his contemporaries, Blow and Purcell, are of great importance. He says:—

"It must be confess'd, that whilst musick was chiefly employ'd in the nation for the glory of God, God was pleas'd to shew his approbation thereof by wonderfully improving the skill of the composers, insomuch thatI believe no Art was advanced from so mean a beginning to so vast a height in so short a time as the Science in the last century. Our musick began to equal that of the Italians and to exceed all other.Our Purcell was the delight of the nation and the wonder of the world, and the character of Dr. Blow was but little inferior to him. But when we made not that use thereof which we ought, it pleas'd God to shew his resentment, and a stop to our progress by taking away our Purcell in the prime of his age, and Dr. Blow soon after. We all lamented our misfortunes, but never considered them as judgements for the abuse of this science, so that instead of growing better we grew worse and worse. Now, therefore, musick declines as fast as it did improve before."

This testimony respecting Purcell, from a contemporary, a distinguished divine and musician, ought surely to wipe out the preposterous stories of Purcell's cold-catching and low associations.

Valuable testimony to Purcell's high aims and laborious life is to be found in the MSS. written by Dr. Tudway for Edward, Lord Harley, and now deposited in the British Museum. Dr. Tudway was just two years older than Purcell, so that he entered the choir of the Chapel Royal first; he afterwards became a tenor singer in St. George's Chapel, Windsor, and in 1670 organist of King's College, Cambridge, where he afterwards took successively the degrees of Bachelor and Doctor in Music, and eventually became Professor of the University. He was also appointed "composer extraordinary" to Queen Anne. Writing of Purcell, his fellow-student, he says:—

"I knew him perfectly well. He had a most commendable ambition of exceeding every one of his time, and he succeeded in it without contradiction, there being none in England, nor anywhere else that I know of, that could come in competition with him for compositions of all kinds. Towards the latter end of his life he was prevailed on to compose for the English stage. There was nothing that ever had appeared in England like the representations he made of all kinds, whether for pomp or solemnity, in his grand chorus, &c., or that exquisite piece called the freezing piece of musick; in representing a mad couple, or country swains making love, or indeed any other kind of musick whatever. But these are trifles in comparison of the solemn pieces he made for the Church, in which I will name but one, and that is hisTe Deum, &c., with instruments, a composition for skill and invention beyond what was ever attempted in England before his time."

Evidence respecting Purcell's personal virtues and gifts is to be found in an ode printed at the commencement of the second volume ofOrpheus Britannicus, 1702. The poem is too long to quote entire, but the following extracts will suffice:—

"Make room ye happy natures of the sky,Room for a soul, all Love and Harmony;A Soul that rose to such Perfection here,It scarce will be advanced by being there.Whether (to us by Transmigration given),He once was an Inhabitant of Heav'n,And form'd for Musick, with Diviner fireEndu'd, compos'd, for the Celestial Choir;Not for the Vulgar Race of Light to hear,But on High-days to glad th' Immortal Ear.So in some leisure hour was sent away,(Their Hour is here a Life, a Thousand years their Day.)And what th' Ætherial Musick was to show,And teach the wonders of that Art below;Whether this might not be, the Muse appealsTo his Composures, where such Magick dwells,As rivals Heav'nly Skill, and human Pow'r excels.*****Ah, most unworthy! shou'd we leave unsungSuch wondrous Goodness in a Life so young.In spight of Practice, he this Truth hath shown,That Harmony and Vertue shou'd be one.So true to Nature, and so just to Wit,His Musick was the very Sense you Writ.Nor were his Beauties to his Art confin'd;So justly were his Soul and Body join'd,You'd think his Form the Product of his Mind.A conqu'ring sweetness in his Visage dwelt,His Eyes would warm, his Wit like lightning melt.But those must no more be seen, and that no more be felt.Pride was the sole aversion of his Eye,Himself as Humble as his Art was High.Oh! let him Heav'n (in Life so much ador'd)Be now as universally Deplor'd!*****There rest thy Ashes—but thy nobler nameShall soar aloft and last as long as fame.Nor shall thy Worth be to our Isle confin'd,But flie and leave the lagging day behind.Rome, that did once extend its arms so far,Y'ave conquer'd in a nobler Art than War;To its proud Sons but only Earth was giv'n,But thou hast triumph'd both in Earth and Heav'n."

"Make room ye happy natures of the sky,

Room for a soul, all Love and Harmony;

A Soul that rose to such Perfection here,

It scarce will be advanced by being there.

Whether (to us by Transmigration given),

He once was an Inhabitant of Heav'n,

And form'd for Musick, with Diviner fire

Endu'd, compos'd, for the Celestial Choir;

Not for the Vulgar Race of Light to hear,

But on High-days to glad th' Immortal Ear.

So in some leisure hour was sent away,

(Their Hour is here a Life, a Thousand years their Day.)

And what th' Ætherial Musick was to show,

And teach the wonders of that Art below;

Whether this might not be, the Muse appeals

To his Composures, where such Magick dwells,

As rivals Heav'nly Skill, and human Pow'r excels.

*****

Ah, most unworthy! shou'd we leave unsungSuch wondrous Goodness in a Life so young.In spight of Practice, he this Truth hath shown,That Harmony and Vertue shou'd be one.So true to Nature, and so just to Wit,His Musick was the very Sense you Writ.Nor were his Beauties to his Art confin'd;So justly were his Soul and Body join'd,You'd think his Form the Product of his Mind.A conqu'ring sweetness in his Visage dwelt,His Eyes would warm, his Wit like lightning melt.But those must no more be seen, and that no more be felt.Pride was the sole aversion of his Eye,Himself as Humble as his Art was High.Oh! let him Heav'n (in Life so much ador'd)Be now as universally Deplor'd!

Ah, most unworthy! shou'd we leave unsung

Such wondrous Goodness in a Life so young.

In spight of Practice, he this Truth hath shown,

That Harmony and Vertue shou'd be one.

So true to Nature, and so just to Wit,

His Musick was the very Sense you Writ.

Nor were his Beauties to his Art confin'd;

So justly were his Soul and Body join'd,

You'd think his Form the Product of his Mind.

A conqu'ring sweetness in his Visage dwelt,

His Eyes would warm, his Wit like lightning melt.

But those must no more be seen, and that no more be felt.

Pride was the sole aversion of his Eye,

Himself as Humble as his Art was High.

Oh! let him Heav'n (in Life so much ador'd)

Be now as universally Deplor'd!

*****

There rest thy Ashes—but thy nobler nameShall soar aloft and last as long as fame.Nor shall thy Worth be to our Isle confin'd,But flie and leave the lagging day behind.Rome, that did once extend its arms so far,Y'ave conquer'd in a nobler Art than War;To its proud Sons but only Earth was giv'n,But thou hast triumph'd both in Earth and Heav'n."

There rest thy Ashes—but thy nobler name

Shall soar aloft and last as long as fame.

Nor shall thy Worth be to our Isle confin'd,

But flie and leave the lagging day behind.

Rome, that did once extend its arms so far,

Y'ave conquer'd in a nobler Art than War;

To its proud Sons but only Earth was giv'n,

But thou hast triumph'd both in Earth and Heav'n."

Purcell's friend and fellow-student, Henry Hall, organist of Hereford Cathedral, also printed an ode "To the Memory of my Dear Friend Mr. Henry Purcell," which concludes thus:—

"Hail! and for ever hail, Harmonious shade,I lov'd thee living, and admire thee Dead.Apollo's harp at once our souls did strike;We learnt together, but not learnt alike:Though equal care our Master might bestow,Yet only Purcell e're shall equal Blow:For thou by Heaven for wondrous things design'dLeft'st thy companion lagging far behind.Sometimes a Hero in an age appears,But once a Purcell in a Thousand Years."

"Hail! and for ever hail, Harmonious shade,

I lov'd thee living, and admire thee Dead.

Apollo's harp at once our souls did strike;

We learnt together, but not learnt alike:

Though equal care our Master might bestow,

Yet only Purcell e're shall equal Blow:

For thou by Heaven for wondrous things design'd

Left'st thy companion lagging far behind.

Sometimes a Hero in an age appears,

But once a Purcell in a Thousand Years."

It is clear that Purcell attained the highest pinnacle in the estimation of his countrymen;[53]but his fame was not confined to England. I have seen a MS. volume of music written by a contemporary musician, a native of France, and in it he designates Purcell as M. Pourselle. Roger of Amsterdam engraved and printed a set of his Sonatas; and the following anecdote is told in some of the biographies of Corelli:—

"While Corelli flourished with suchéclatat Rome, Harry Purcell was famous in England, and Corelli was so greatly affected with the character and abilities of this famous English musician, that, as fame reports, he declared him to be then the only thing worth seeing in England. Accordingly the great opinion he held of Purcell made him resolve to make a journey into this kingdom on purpose to visit him," but the journey was abandoned on hearing of Purcell's death.

Another version of the story makes Corelli start on his journey, but hearing of Purcell's death on shipboard, when nearing Dover, he returns immediately to Rome.

Purcell's secular music undoubtedly frequently suffered from the worthless trash he had to accept as poetry; too often it was not only devoid of literary merit, but still worse, indecent; that was, however, the fault of the age, and pervaded most of the dramatic literature then in vogue. Even the well-known and estimable Dean of Christ Church, Oxford, Dr. Aldrich, condescended to set music to such words as shame would not permit us to print at this day.

Tom D'Urfey was a notorious offender against good taste, and for him Purcell composed very largely.

"Oh! who can view without a tearGreat Pindar's muse and D'Urfey near?Whose soaring wit ne'er higher flewThan to endite for Barthol'mew,Setting, for sots at country fairs,Dull saucy songs toPurcell'sairs."[54]

"Oh! who can view without a tear

Great Pindar's muse and D'Urfey near?

Whose soaring wit ne'er higher flew

Than to endite for Barthol'mew,

Setting, for sots at country fairs,

Dull saucy songs toPurcell'sairs."[54]

D'Urfey's verses were so uncouth and irregular in their construction, that a writer of the last century said, "The modern Pindaric Odes which are humorously resembled to a comb with the teeth broken by frequent use are nothing to them." D'Urfey wrote some especially rugged lines which he challenged Purcell to set to music; the challenge was accepted and the composer triumphed, but he confessed that it cost him more trouble than the composition of aTe Deum. The ballad in question was called "The Parson among the Peas," and was printed with Purcell's music in D'Urfey'sPills to Purge Melancholy, 1719.

At the present day music has become such an extensively developed science, particularly as regards orchestration, that it is difficult to apprehend the state of things which existed in Purcell's time; but to estimate his genius fairly we must recall the condition of the musical artistic world in which he lived. In so far as orchestration is concerned he had no models, nor had he any instrumental performers to suggest or incite his creative powers. Purcell was familiar with the family of stringed instruments called viols, and although Charles II. introduced violins from France, yet the instrument was not regarded with favour by musicians or by the people generally. Doubtless this arose from the fact that there were no remarkable players. Anthony Wood of Oxford, speaking of the year 1657, says:—

"Gentlemen in private meetings, which A. W. frequented, played three, four, and five parts with viols—as treble viol, tenor, counter-tenor and bass, with an organ, virginal or harpsicon joined to them; and they esteemed aviolinto be an instrument only belonging to acommonfiddler, and could not endure that it should come among them, for feare of making these meetings to be vain and fiddling."

The first musician to introduce violin playing proper was Thomas Baltzar, who played at Oxford in 1658, and A. W. "saw him run up his fingers to the end of the finger-board of the violin, and run them back insensibly, and all with great alacrity andvery good tune, which he nor any one in England saw the like before."

He also was the first to exhibit in England the practice of shifting, or the whole shift on the violin,and the half shift was not introduced until about 1714. Baltzar died in 1663, so that it is not probable Purcell ever heard him play; indeed it has been justly remarked that the probability is he never heard a great violinist. Corelli's works were not introduced into England until after Purcell's death, and the only violin music Purcell knew was that composed by Bassani.

In 1773 Daines Barrington, a well-known writer, speaks of the "Amazing improvements in execution which both singers and players have arrived at within the last fifty years. When Corelli's music was first published, our ablest violinists conceived that it was too difficult to be performed. It is now, however, the first composition attempted by a scholar. Every year now produces greater and greater prodigies on other instruments in point of execution."

Wind instruments were equally wanting if we except the trumpet, hautboy and bassoon, and only the former could be said to have arrived at any excellence in performance: there were no flutes,[55]clarinets, horns, or trombones. It cannot therefore be expected that grand orchestral effects will be found in Purcell's music, but what we do discover is an amazing comprehension of the precise sentiment and feeling required by the words or by the situation; harmonies which surprise us by their beauty and boldness (many of them must have been absolutely new when they were created by Purcell), exquisite and refined melody, true rhythm,and just accent. And when we look at Purcell's purely instrumental music, his sonatas, we find that as music they are superior to Corelli—containing more learning, more ingenuity, and yet without any appearance of labour or restraint; but Corelli was a violinist, and in that respect he had the advantage of Purcell, and knew what passages were best adapted for the instruments for which he wrote.

Of Purcell's contrapuntal skill it would be impossible to speak too highly; he has left for our wonder and admiration numerous canons constructed in all the many and artful modes that species of composition is capable of; the ingenuity and contrivance exhibited give ample evidence of his diligence and laborious study, and the highest praise of all is that in spite of the deep learning of which they give evidence they move as melodiously, and as freely, as if they were unfettered by the stern and inflexible chains imposed by the rules of the schools.

Purcell's weakness in accepting the prevailing taste for endless "graces" and divisions has already been adverted to. Another peculiarity which characterises his music may possibly be accounted for by the statement by Stafford Smith that "Mr. Purcell has been heard to declare more than once, that thevarietywhich theminorkey is capable of affording by the change of sounds in the ascending and descending scales, induced him so frequently to give it the preference."[56]Now-a-days few composers would select theminormode whencomposing music to the joyful words of the "Gloria Patri," or to the lines,—

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