Part 3

"Charles the Second had given orders for building a yacht, which as soon as it was finished he named the _Fubbs_, 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 the singing of Gostling, and was heard to say, "You may talk as much as you please of your nightingales, but I have a _gosling_ who 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, the _viol 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 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 opera _Dido 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's _New Poems_, 1690, "An Epilogue to the Opera of _Dido 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 the _London 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 Æneas_ will 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 public demand 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 honour and 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 few months 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 yᵉ 10th, 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 the _London 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 15_s._ the Sett."

Again on the following June the 7th, another advertisement appeared in the _London 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 yoʳ Majᵗᵞ. I had not assum'd the confidence of laying yᵉ following 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 Majᵗᵞ will with your accustom'd Clemency, Vouchsafe to Pardon the best endeavours of yoʳ Majᵗᴵᵉˢ Most 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: _Adagio_ and _Grave_ which imports nothing but a very slow movement: _Presto_, _Largo_, and _Vivace_, 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 these _Musical Compositions_ on _St. Cecilia's Day_, by way of Gratitude, claim this Dedication; which likewise furnishes the Author with an opportunity 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 by Purcell:--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 music will 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 34_l._ 12_s._ 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 of _Circe_ at 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 to _Circe_ with Banister's name attached as the composer,[33] but he afterwards discovered the error he had fallen into.[34] _Circe_ is 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 was named 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."