Part 2

Tho. Mr. Purcell } 200 0 0 Pelham Mr. Humphreys } Joᴺ. Mr. Hardinge 40 0 0 Wᵐ. Mr. Howes 46 10 10 Tho. Mr. Blagrave, Seigʳ. 40 9 2 Alphonso Mr. March 40 0 0 Joᴺ. Mr. Goodgroome 40 0 0 Nat. Mr. Wattkins 40 0 0 Math. Mr. Lock 40 0 0 Joᴺ. Mr. Clayton 152 13 4 Isaac Mr. Stagins, Seigʳ. 46 10 10 Nich. Mr. Stagings, Junʳ. 46 10 10 Tho. Mr. Battes 90 0 0 John Mr. Lilly 40 0 0 Hen. Mr. Gregory 60 0 0 Theophilus Mr. Hills 46 10 10 Henry Mr. Madge 86 12 8 John Mr. Gombell 46 10 10 Richᵈ. Mr. Dorney 20 0 0 Joᴺ. Mr. Banister, Seigʳ. 100 0 0 Phil. Mr. Beckett 60 2 6 Roᵇ. Mr. Blagrave, Junʳ. 58 14 2 John Mr. Singleton 46 10 10 Robt. Mr. Strange 46 10 10 --------------

"15 May, 1674. These 24 Gent. of his Maᵗᴵᵉˢ private musick are to attend at Windsore. "T. PURCELL."

In the original of the foregoing document the Christian names were evidently prefixed after the list had been written out; the spelling of the surnames is curious; Stagins, father and son are spelt differently; another proof, if it were required, of the utter indifference to such matters at that period.

Pepys in his Diary (Dec. 19, 1666) made an entry that "many of the musique are ready to starve, they being five years behindhand for their wages." This irregularity of payment of the "King's musique" seems to have continued, for we find in the accounts of the "Treasurer of the Chamber," the following record:--

"Paid to Thomas Pursell at xxᴸᴵ pr. ann. for Wages, and xvjᴸᴵ ijˢ vjᵈ pr. ann. for a Livery, due for fower yeares and 3 quarters ended at Mic'mas, 1672.

clxxjᴸᴵ xjˢ xᵈ ob."

Thomas Purcell was evidently a popular man, and on the 24th of June, 1672, he was elected "Marshall of the Corporation of Musique in Westminster," in room of Captain Cooke,[10] who resigned "by reason of sicknesse." Two years later he received another court appointment from the King; a state paper preserved in the Record Office tells us that he succeeded "John Wilson, deceased, to hold during His Majesty's pleasure, with the fee of £20 per annum, payable quarterly out of the Exchequer, to commence 25th March, 1674," subscribed by warrant from the Earl of Burlington, Master of His Majesty's Household.

Another warrant under the signet gives an order to the treasurer of the chamber for the time being, "to pay unto Thomas Purcell (one of His Majesty's Musicians in Ordinary, in the place of Dr. John Wilson, deceased), the wages and fee of £20 by the day, and £16 2_s._ 6_d._ yearly for a livery, payable quarterly, from Lady-day 1674, and to continue during His Majesty's pleasure."

Thomas Purcell lived till 1682, so that he had the satisfaction of witnessing the extraordinary development of his nephew's genius, and could also rejoice to see the general recognition of his merits, and of the honourable rewards he was so rapidly acquiring. When, at last, full of years and honours, Thomas departed this life, he was buried near his brother in the cloisters of Westminster Abbey. We seek in vain for the musical compositions of either Henry (the elder) or of Thomas: with the exception of a few chants in common use in our cathedrals, nothing of their work remains to us.

When Henry Purcell, the younger, became a chorister in the Chapel Royal at six years of age, the master of the boys was Captain Henry Cooke, an old musician, who had belonged to the chapel of Charles I., but who, on the breaking out of civil war, had laid aside the peaceful art of music to engage in the rough dissonances of battle and strife, and changed his service from that of a Royal musician to become a Royalist soldier. In the latter capacity he won a captain's commission, and possibly it was not less as a reward for his devotion and bravery on behalf of his king than as a recognition of his musical ability that Charles II. appointed him "Master of the Children of the Chapel." That he was well qualified for the post can be shown by reference to the opinions of his contemporaries, and also to the numerous compositions of his still extant in manuscript.

Pepys' Diary contains frequent reference to Cooke, and his compositions:--

"After sermon a brave anthem of Captain Cooke's which he himself sang, and the king was well pleased with it." (Aug. 12, 1660.)

"A poor dry sermon, but a very good anthem of Captain Cooke's afterwards." (Oct. 7, 1660.)

"To Whitehall Chapel with Mr. Childe, and there did hear Captain Cooke and his boys make trial of an anthem against to-morrow, which was brave musique." (Feb. 23, 1661.)

"Captain Cooke, Mr. Gibbons, and others of the king's musicians, were come to present my Lord with some songs and symphonys, which were performed very finely." (May 19, 1661.)

"After dinner Mr. Townsend was called upon by Captain Cooke; so we three went to a taverne hard by, and there he did give us a song or two, and without doubt he hath the best manner of singing in the world." (July 27, 1661.)

"To Whitehall Chapel, where sermon almost done, and I heard Captain Cooke's new musique. This the first day of having vialls and other instruments to play a symphony between every verse of the anthems, but the musique more full than it was last Sunday, and very fine it is. But yet I could discerne Captain Cooke to overdo his part at singing, which I never did before." (September 14, 1662.)

"We had an excellent anthem sung by Captain Cooke and another, and brave musique.... After dinner to chappel again, and there had another anthem of Captain Cooke's." (May 18, 1662.)

"A most excellent anthem with symphonys between, sung by Captain Cooke." (Sept. 7, 1662.)

"Captain Cooke, and his two boys, did sing some Italian songs which, I must in a word say, I think was fully the best musique that I ever yet heard in all my life." (Dec. 21, 1663.)

Cooke composed a considerable number of pieces of music for various royal and festal occasions; one curious hymn for a ceremony in connection with a festival service of the Knights of the Garter at Windsor was accompanied by "two double sackbuts and two double courtals placed at convenient distances among the classes of the gentlemen of both choirs, to the end that all might distinctly hear, and consequently keep together both in time and tune; for one sackbut and courtal was placed before the four petty canons who begun the hymn, and the other two immediately before the prebends of the college."

Captain Cooke's services were frequently required on the stage,[11] and with his many accomplishments there is no great wonder that he became conceited. Pepys, from whom so many quotations have already been made, wrote: "A vain coxcomb he is, though he sings so well;" and this charge of vanity is supported by other evidence. A contemporary historian says: "Captain Cooke was the best musician of his time till Mr. Pelham Humphreys, one of the children of the chapel educated by himself, began to rival him, after which he died with great discontent."[12]

Cooke was buried in the cloisters of Westminster Abbey in July, 1672. During the years that he was master of the children of the chapel he had as pupils many who won for themselves distinguished names as musicians, amongst them notably Pelham Humphreys, Wise, Blow, Turner, and Purcell.

Purcell profited by Captain Cooke's instructions for a period of eight years--from the age of six to that of fourteen, a very important time in the life of a clever boy. Historians seem to have forgotten this fact, and have been disposed to credit the whole of Purcell's musical education to Pelham Humphreys or to Dr. Blow.

During these early years Purcell had already put forth specimens of his talent for musical composition. In 1667 Playford published a little three-part song entitled, "Sweet Tyraness, I now resign," which Dr. Burney has included in his history under the supposition that it was composed by Purcell's father; but there is reason to believe that it was the composition of the boy who, at the date of publication, was nine years of age. Possibly the music was originally intended as an air or song for a single voice, as we find it published in this form in 1678, in a work called _New Ayres and Dialogues_. This collection contained five other songs by Henry Purcell.

When Purcell was eleven years old, he essayed his powers in the composition of music for a piece called "The Address of the Children of the Chapel Royal to the King, and their Master, Captain Cooke, on his Majesties Birthday, A.D. 1670, composed by Master Purcell, one of the Children of the said Chapel."[13] It is also probable that in this youthful time Purcell composed the music to _Macbeth_, now commonly associated with the name of Matthew Locke. That the latter did compose music for _Macbeth_ is certain, as some of it is still in existence, but it does not bear the slightest resemblance to that popularly known as his. In favour of Purcell, it may be noted that the _Macbeth_ music has many Purcell-like touches; that a copy of the score in Purcell's youthful hand is in existence;[14] that many old MS. copies of the music have his name attached as composer; and that he was entitled to the credit of it was believed by Dr. William Hayes, Dr. Philip Hayes, Dr. Arnold, and many other eminent musicians.

The music itself is clearly an elaboration and development of a series of short movements composed by Robert Johnson for Middleton's play of _The Witch_.[15]

It must not be forgotten that many of Purcell's anthems now in use in our cathedrals were the product of his youthful pen and genius whilst he was still a pupil of Cooke. Captain Cooke, the soldier musician, died, as previously stated, in 1672, and was succeeded in his appointment as "Master of the Children of the Chapel" by one whose nature, genius, and scientific knowledge of music must have stimulated and excited in a special manner the dawning powers of the youthful musical company committed to his charge, and the force of whose example must have proved of the greatest service to Purcell. This man was Pelham Humphreys;[16] he had been educated in the Chapel Royal under Captain Cooke, where his abilities and his personal attractions made a strong impression on Charles II. In Nov., 1663, Pepys made the following entry in his Diary: "The anthem was good after sermon, being the fifty-first psalme, made for five voices, by one of Captain Cooke's boys--a pretty boy. And they say there are four or five of them that can do as much. And here I first perceived that the king is musicall, and kept good time with his hand all along the anthem."

The _pretty boy_ was undoubtedly Pelham Humphreys. Clifford's book of anthems, published in 1664, the year after the incident just recorded, contains the words of five anthems, "composed by Pelham Humphrey, one of the Children of His Majesties Chappel;" and in Boyce's _Cathedral Music_ we find Humphreys' anthem, "Have mercy upon me," the words of which are taken from the fifty-first psalm. There can be little doubt, therefore, that this was the very anthem heard and approved by Pepys.

In 1664 the king sent Humphreys to Paris,[17] to study under Lully; and he also probably went to Italy. During his absence the king gave him an appointment as one of the Gentlemen of the Chapel Royal; and on his return to London in October, 1667, he was "sworn in" to the place. He speedily produced several new compositions, sacred and secular, by command of the king.

Pepys' entry in his Diary for November 15, 1667, is very quaint. He says, "Home, and there find, as I expected, Mr. Cæsar and little Pelham Humphreys, lately returned from France, and is an absolute Monsieur, as full of form and confidence and vanity, and disparages everything and everybody's skill but his own. But to hear how he laughs at all the king's musick here, at Blagrave and others, that they cannot keep time or tune, nor understand anything: and at Grebus,[18] the Frenchman, the king's master of musick, how he understands nothing, nor can play on any instrument, and so cannot compose: and that he will give him a lift out of his place, and that he and the king are mighty great." On the following day, the 16th, Pepys notes that there was a performance of Pelham Humphreys' musick given before the king at Whitehall.

That Humphreys was an admirable musician, possessed of uncommon genius, is easily discernible from the numerous compositions of his which have come down to us. He took as his models Lulli and Carissimi; but fortunately Purcell's genius was stronger and more emphatic than that of his master: had it been otherwise he would have become a mere copyist; but, as we shall hereafter see, Purcell looked to Italy for good musical models, and was not afraid to express his dislike to the frivolity of the French school.

There exists a very interesting manuscript anthem in Purcell's handwriting, which was originally composed by Humphreys, but afterwards altered and improved by Purcell.

Poor Humphreys had but a short career, or we may be sure he would have accomplished greater things than he did. Two years before he died he married a very beautiful lady, who followed him to his grave in the cloisters of Westminster Abbey in 1674, he being only twenty-seven years of age.

Purcell was then sixteen years old, and his boy-soprano voice must have been near its breaking--perhaps it had already departed. It was, however, the good custom of the period to retain as supernumeraries of the King's Chapel any of the old boys who gave evidence of musical ability. In 1666 we find "Hen. Cooke, Thomas Purcell, and other Gentlemen of the Chapel Royal, petition on behalf of themselves, the pages of the chapel, and _boys whose voices have changed_, for payment, there being no money assigned to the treasurer of the chamber for those purposes."

Purcell therefore continued attached to the Chapel Royal, and became a pupil of Dr. John Blow, the successor to Pelham Humphreys, as "Master of the Children." That Purcell studied under Blow is certain from the inscription on Blow's monument in Westminster Abbey, where it is stated that he was "master to the famous Henry Purcell." Blow was undoubtedly the very master Purcell then needed, for he was eminent for his goodness, amiability, and moral character, and combined with those excellent qualities all the learning and experience of a sound musician. His compositions are remarkable for their melodies and the boldness of their harmonical progressions.[19] He held appointments at the Chapel Royal, Westminster Abbey, St. Paul's Cathedral, and St. Margaret's, Westminster; and it speaks strongly for his singleness of heart, and the total absence of envy and jealousy in his nature, that recognising and proclaiming the remarkable abilities of his pupils, Purcell and Jeremiah Clarke, he resigned his appointments at Westminster Abbey and St. Paul's Cathedral, in order that they might occupy those prominent and advantageous positions. This estimable man, Blow, survived his dear friend and pupil, Purcell, some years, and so became his successor at Westminster Abbey, and was eventually laid in a grave close to him, nearly beneath the organ where they had so often discoursed sweet music together.

That Blow fully estimated the genius of his pupil Purcell, there can be no doubt, since many manuscript copies of the compositions of the latter exist in the handwriting of Blow. Probably it was at the suggestion of Blow that Purcell was appointed _copyist_[20] to Westminster Abbey in 1676. He succeeded the Rev. Stephen Byng, one of the minor canons, who probably resigned the post, as he did not die till 1681. Purcell was eighteen years of age when he became copyist of Westminster Abbey; hence arose the mistake made by Burney and Hawkins, and constantly repeated on their authority, that Purcell was appointed _organist_ of Westminster Abbey at eighteen. The office of copyist he held for two years only.

Mention has previously been made of the music to _Macbeth_ as the composition of Purcell; probably the recognition of the excellence and effectiveness of this work induced the managers of the theatres to give him further employment; for in 1676 we find him composing music for at least three plays--Shadwell's _Epsom-Wells_, Dryden's _Aurenge-Zebe_, and Shadwell's _Libertine_. The latter contains a four-part chorus, "In these delightful, pleasant groves," still popular with choral societies. The whole of the music of _The Libertine_ is very bold, and would be an interesting work to revive for its merits; it is further curious from the fact that the libretto is founded on the same story which was long years afterwards adopted by Mozart for his opera, _Don Giovanni_. In 1677 Purcell wrote the music for Mrs. Behn's tragedy, _Abdelazor_, and also the music, solo and chorus, of an ode "On the death of his Worthy Friend, Mr. Matthew Locke, musick composer in ordinary to His Majesty, and Organist of Her Majesties Chappel, who Dyed in August 1677." The words of the ode are as follow:--

"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._"

In 1678 Purcell resigned his appointment of _Copyist_ at Westminster Abbey,[22] doubtless that he might devote more time to study and composition. In this year he produced the fine music for the masque in Shadwell's mutilation of Shakespeare's _Timon 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 yᵉ quire of Canterbury Cathedral. London yᵉ 8th of ffeb. 9/78.

"Sir, I have reᵉᵈ yᵉ favor of yours of yᵉ 4th with yᵉ inclosed for my sonne Henry: I am sorry wee are like to be without you soe long as yours mentions: but 'tis very likely you may have a summons to appeare among us sooner than you imagine: for my sonne is composing wherin you will be chiefly concern'd. However, your occasions and tyes where you are must be considered and your conveniences ever complyde withall: in yᵉ meantime assure yourself I shall be carefull of your concern's heir by minding and refreshing our master's memory of his Gratious promis when there is occasion. My wife returns thanks for yᵉ compliment with her servis: and pray yᵉ give both our respects and humble services to Dr. Belk and his Lady, and beleeve ever that I am, Sir, your affectionate and humble servant,

"T. PURCELL.

"Dr. Perce is in toune but I have not seen him since. I have perform'd yᵉ compliments 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 his _son_, 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 Maᵗᴵᵉˢ Chappel extraordinary," which means that his was a special or supernumerary appointment; but a vacancy in the regular staff of the Chapel occurred almost immediately, and we find the following entry in the cheque-book: "Mr. William Tucker, gent., of his Maᵗᴵᵉˢ Chappell 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 double E (E lamy) for him, as in the anthem, "Behold I bring you glad tidings," but in another anthem commencing, "They that go down to the sea in ships," he carried the bass solo part down to double D.

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