Part 4
The earliest existing printed copies of these tunes are dated 1686, but he reprinted the "Quickstep" in 1689, under the title of "A new Irish tune," in a work called _Musick'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 of _The 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 published _A 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 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 to be 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 the _Fool'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 became _Copyist_ of 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 to five 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 the Chapter 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 of _Organ-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 the _Orpheus 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 of _The Tempest_, an alteration from Shakespeare by Shadwell; _The Prophetess_, or _Dioclesian_, an adaptation from Beaumont and Fletcher by Betterton; the _Massacre of Paris_, by Lee; and _Amphitryon_, by Dryden.
The music of _The Tempest_ is 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 in _The Tempest_ is married to verse not Shakespeare's, and cannot therefore find any fitting place in a performance of the play.
_Dioclesian_, at first called _The Prophetess_, was advertised for publication in the _London Gazette_, July 3rd, 1690:--
"The vocal and instrumental musick in the opera called _The 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 in _Dioclesian_, 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 be hereafter in ENGLAND, when the Masters of it shall find more Encouragement. 'Tis now learning ITALIAN, 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 of _Dioclesian_ is 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; all the 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."
Although _Dioclesian_ did 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 his _Roscius 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 of _The Beggar's Opera_.
The songs from _Amphitryon_[37] were published by Heptinstall soon after the production of the comedy.
Purcell's music for _Dioclesian_ and for _Amphitryon_ seems to have opened the eyes of Dryden, who had evidently been blind to the distinguished talent of the composer. In the _Epistle Dedicatory_ to _Amphitryon_, 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 an _Englishman_ equal 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 this _Amphitryon_: To all which, and particularly to the Composition of the _Pastoral 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 for _King 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 his _Roscius 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 of _Albion 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 of _Albion 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 Albanius_ proved 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 to _King Arthur_, intended by Dryden as a sequel to _Albion and Albanius_, the author says, "he submitted himself 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's _Epistle 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 the _Royal 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 aware of 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 Arthur_ after 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 the _Theatre Ayres_ published 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 his _History of Music_; he writes:--
"It is said that Dryden wrote his _Alexander's Feast_ with a view to its being set by Purcell, but that Purcell declined 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 the _Te 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 that _Alexander's Feast_ was 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 for _St. Cecilia's Feast_," and by the additional testimony of Mr. St. John, afterwards Lord Bolingbroke.[42]