Part 5

In 1691 Purcell composed the music for _Distressed Innocence_, a tragedy by Elkanah Settle, and also for the comedies called the _Gordian Knot Untyed_, by an anonymous author, and _Sir Anthony Love_ by Southerne. In addition to these works he wrote an "Ode for the Queen's Birthday," commencing "Welcome glorious morn."

In 1692, he composed music for the plays, entitled, the _Wife's Excuse_, by Southerne; the _Indian Queen_, by Howard and Dryden; the _Indian Emperour_, by Dryden; _Œdipus_, a tragedy by Dryden and Lee; the _Marriage-hater match'd_, by D'Urfey; and the so-called opera, the _Fairy Queen_, anonymously adapted from Shakespeare's _Midsummer Night's Dream_. The music of the _Indian Queen_ abounds in very striking passages; it is only necessary to recall the titles of "Ye Twice ten Hundred Deities," which Dr. Burney considered the best recitative in the English language; the dramatic air, "By the Croaking of the Toad," and the delightful song, "I Attempt from Love's Sickness to fly," a ditty again made popular by the exquisite singing of Hobbs in the generation just passed away.[43]

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

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

The preface is too curious to be omitted:--

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

"J. MAY, J. HUDGEBUTT."

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

The music to _Œdipus_ is very dramatic, but not of great importance. That of the _Fairy Queen_, on the contrary, is of considerable pretension and was a great success. Downes, in his _Roscius Anglicanus_, says:--

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The following curious anecdote told by Tony Aston, in his _Brief Supplement to Colley Cibber_, further illustrates the custom of _gracing_ music which descended to our own times:--

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

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

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

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

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

To Purcell's labours of this year, 1694, we are indebted for the music to the plays of _Don 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 the _Married Beau_, by Crowne; for the _Double Dealer_, a comedy by Congreve; for the _Fatal Marriage_, a tragedy by Southerne; and also for _Love 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 Reception of it when it was first Perform'd, and more yet by their Intention to have it repeated at their _Annual 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'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;" and that he greatly profited by it is evident from the striking resemblance of many passages in his own _Te 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 the spectators 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 words in 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, the _Canterbury Guest_, written by Ravenscroft; the _Mock Marriage_, a comedy by Scott; the _Rival Sisters_, a tragedy by Gould; _Oroonoko_, a tragedy by Southerne; the _Knight of Malta_, a play by Beaumont and Fletcher; and _Bonduca, 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, produced a "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 of _Don 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 of _Don 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 of _Don Quixote_ with the following title:--

"New Songs in the Third Part of the Comical History of _Don 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."