Part 7

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 a _violin_ to be an instrument only belonging to a _common_ fiddler, 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 and _very 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 the _variety_ which the _minor_ key 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 the _minor_ mode when composing music to the joyful words of the "Gloria Patri," or to the lines,--

"In these delightful pleasant groves Let us celebrate our happy loves."

Yet Purcell did so with perfect success, as his music witnesses.

Very little has been said in the progress of this biography of Purcell's anthems; they are easily obtainable in the fine edition published with so much enthusiasm by Vincent Novello, and in themselves form a most valuable material for study. It is to be hoped that before many years have passed away equal facilities will exist for gaining an intimate knowledge of his chamber and dramatic music.

Purcell's seeming repugnance to the publication of his own music is remarkable. After his death his widow issued the following advertisement:--

"All the excellent compositions of Mr. Henry Purcell, both vocal and instrumental, that have been published, viz.:--

"_His First Book of Twelve Sonatas_, in four parts.

"_His Ayrs and Sonatas_, newly printed in four parts.

"_The Opera of Diocletian._

"_Te Deum and Jubilate in Score._

"_A Choice Collection of Lessons_, for the Harpsichord or Spinett, with instructions for beginners.

"These six printed for Madam Purcell, and sold for her by Henry Playford."

This list as already shown is not quite complete. Henry Purcell published an _Ode for Cecilia's Day_, in 1684, and the _Songs in the Fairy Queen_, in 1692. What a meagre selection from the catalogue of his known works, which numbered nearly 150 sacred compositions, and nearly 50 dramatic compilations, 28 odes, and a large number of other vocal and instrumental pieces which cannot be classed under either of the foregoing heads.

* * * * *

Professor Taylor has eloquently said--

"It would seem as if the view which Purcell had obtained of the powers and resources of his art, and his conviction of what it might hereafter accomplish, had led him to regard all that he had produced but as the efforts of a learner (and we are justified in this conclusion from his own words), fitted to give a brief and transient impulse to his art, and having accomplished this purpose, to be forgotten. It may be that he was right: it may be that we stand, as he stood, but at the threshold of music: it may be that in his 'clear dream and solemn vision' he saw further than his successors: nor will it be denied, that some of its recesses have been further explored by geniuses and talent like his own; but all the great attributes which belong to the true artist, all the requirements which make the true musician, we may yet learn of Purcell."

FOOTNOTES:

[Footnote 1: John Milton the father of the poet was the author of a six-part madrigal, "Fayre Oriane in the Morne," printed in 1601, of four motets in Leighton's "Tears or Lamentacions" (1614), and of several Psalm tunes. He also composed an "In Nomine" in forty parts, for which he received a gold medal and chain from a Polish prince.]

[Footnote 2: In a room behind Rutland House, Aldersgate Street.]

[Footnote 3: "Instrumental and Cathedral music I have ever been wilfully ignorant of, because I have dearly loved them, and if I had learnt them to a perfection, this satiety might have bred a nauseous distaste and surfeit, as in other things, and then I had nothing to delight in. But alas! this conceit hath failed me, _for now all church music my highest terrene content is abandoned amongst us_."--PHILIP KING'S "Surfeit," 1656.]

[Footnote 4: They acted together in "The Siege of Rhodes" in 1656.]

[Footnote 5: His name appears in the cheque-book of the Chapel Royal as Henry _Purcill_, and from the same source we learn that he, in common with the other gentlemen of the Chapel, received (each of them), four yards of fine scarlet cloth for a gown to wear at the coronation.]

[Footnote 6: George Dalham, a well-known organ builder. Dr. Rimbault says Father Smith built the organ erected in Westʳ Abbey at the Restoration, but this payment would suggest a doubt as to his accuracy.]

[Footnote 7: Hill played the treble parts on the cornet in consequence of the difficulty previously mentioned, of obtaining efficient boys. He was buried in the cloisters of W. A., in 1667.]

[Footnote 8: Christopher Gibbons, son of the celebrated Orlando Gibbons, was organist of Winchester Cathedral in the reign of Charles I., but on the breaking out of the civil war he became a soldier. He was admitted Doctor of Music at Oxford, by the special desire of Charles II.]

[Footnote 9: Where the word "nil" now stands in the MS. there has evidently been an erasure of some figure or figures.]

[Footnote 10: Harl. MSS. 1911.]

[Footnote 11: Cooke performed the part of "Solyman" in _The Siege of Rhodes_, in 1656, and also composed the music for the second and third acts of the opera.]

[Footnote 12: Wood, M.S. Ashmole, 8568.]

[Footnote 13: A copy of this birthday Ode, in the handwriting of Pelham Humphreys, was in the possession of the late Dr. Rimbault.]

[Footnote 14: In my own library.--W. H. C.]

[Footnote 15: Johnson's music is printed in Stafford Smith's _Musica Antiqua_.]

[Footnote 16: Spelt variously, Humfrey, Humphrey, Humphries.]

[Footnote 17: The following entries are from the account of Secret Service moneys kept by Sir John Shaw:--

"1664. To Pelham Humphreys, to defray the charge of his journey to France and Italy, 200_l._"

"1665. To Pelham Humphreys, bounty 100_l._"

"1666. To Pelham Humphreys, bounty 150_l._" ]

[Footnote 18: Louis Grabut.]

[Footnote 19: Dr. Burney is particularly severe in condemning Blow's "crudites and violations of rule," and prints four pages of examples of Blow's sins; but there can be little doubt that a musician of the present day would regard the faults as mere spots on the sun of Blow's splendid music. Those who care to see what Blow could write should look at the anthems, "I was in the Spirit," and "I beheld, and lo."]

[Footnote 20: For a list of Copyists of Westminster Abbey, see p. 112.]

[Footnote 21: I am indebted to the late Dr. Rimbault for a copy of this letter.]

[Footnote 22: He was succeeded by the Rev. William Tucker, Minor Canon of the Abbey, and Priest of the Chapel Royal, an excellent composer, who died in 1689. The following entry refers to his work:--

"In moneys recᵈ. and paid for secret services of Charles II." "To Eliza Tucker, widᵒ relict of Wᵐ. Tucker, for her husband's writing in 15 books, the anthems with symphonies for King Charles the 2ᴺᴰˢ use in his Chappell Royal, 15_l._"]

[Footnote 23: The original of this letter is in my possession.--W. H. C.]

[Footnote 24: 1678 by the old style, but 1679 by the new.]

[Footnote 25: The music was published in a collection called _The Catch Club; or, Merry Companions_.]

[Footnote 26: For a list of the Organists of Westminster Abbey, see p. 111.]

[Footnote 27: In 1794 S. Harding published a portrait of "Henry Purcell, musician and actor," copied from the original in Dulwich College. I have made diligent search for the painting without success.--W. H. C.]

[Footnote 28: Know all men by these presents that I, Thomas Purcell, of the Parish of St. Martin's-in-the-Fields, in the County of Middx., one of the gentlemen of his Maᵗˢ Chappell Royall, and servant to his Maᵗᴵᵉ, have assign'd, ordain'd, and made, by these presents doe assigne, ordayne, and make my trusty and well beloved son, Mathew Purcell, my true and lawful Attorney for me and in my name, and to my use to aske, take, and receive all such arrears and summes of money as are due, and hereafter will become due and payable to me the said Thomas Purcell out of his Maᵗˢ Treasury, Chambʳ Exchequer, Coffery office, or any other place or office whatsomever, giving, and by these presents granting unto my sᵈ Attorney my whole Power and authority in and about the premisses, and upon Recᵗ of any such summes of money aforesaid, Acquittance, or other discharges for me and in my name to make and give, and for me and in my name to doe and performe as fully and largely in every respect to all intents and purposes as I myself might or could doe if I were there personally present, ratifying, confirming, and allowing all and whatsomever my said Attorney shall lawfully do or cause to be done in and about the premisses aforesaid by Vertue of these presents. In witness whereof I have hereunto set my hand and seale, this 15th day of May in the three-and-thirtieth yeare of King Charles the Second over England, &c. Annoq. Domini 1681.

T. PURCELL.

Sealed and delivered in the presence of

F. PURCELL.

Witt. WALLEY. ]

[Footnote 29: Giovanni Baptista Draghi, born in Italy, came to England about the middle of the 17th century, and at the death of Matthew Locke he obtained the appointment of organist to Catherine of Braganza, wife of Charles II. Draghi was in great request as a performer and teacher of the harpsichord; amongst his pupils were the Princess Anne and probably her sister Mary. He was a good composer, and had by diligent study made himself well acquainted with the compositions of the best English masters whose manner of composing he adopted. He set to music an Ode written by Dryden for St. Cecilia's day, 1687, and in contemporary copies of the words we find his name anglicised to John Baptist Draghi.]

[Footnote 30: This we learn from several advertisements of later date, where it is stated, "At John Carr's shop may be had the musical entertainment for last St. Cecilia's Day. The words made by Mr. Christopher Fishburn, and set to music in two, three, four, and six parts by Mr. Henry Purcell, Composer in Ordinary to His Sacred Majesty, and one of the Organists of His Majesty's Chappel Royal."]

[Footnote 31: Smith was organist of St. Margaret, Westminster.]

[Footnote 32: So spelt in the registers of Westminster Abbey, but "Banester" on his monument.]

[Footnote 33: See No. 15 of _The Ancient Vocal Music of England_, by E. F. Rimbault, published by Novello & Co.]

[Footnote 34: See _Concordia_, April 15 and 22, 1876.]

[Footnote 35: _Apology for the Life of Colley Cibber._]

[Footnote 36: _History of Music_, Novello's Edition, vol. ii. p. 743.]

[Footnote 37: "_The Songs in Amphitryon, with the Musick._ Composed by Mr. Henry Purcell. London: printed by J. Heptinstall for Jacob Tonson, at the Judge's Head in Chancery Lane. MDCXC."]

[Footnote 38: _Dioclesian._]

[Footnote 39: North, in the _Memoires of Musick_, 1728, mentions Purcell's _King Arthur_ as at that time "unhappily lost."]

[Footnote 40: _Round about Piccadilly_, by Wheatley, p. 294.]

[Footnote 41: Hawkins's _History of Music_, vol. ii. p. 753.]

[Footnote 42: See Sir Walter Scott's _Life of Dryden_.]

[Footnote 43: Hogarth's _Memoirs of the Musical Drama_, 1838.]

[Footnote 44: Reading and Pate some three years afterwards figured in another kind of Duo; the _Post-Boy_, June 20th, 1695, has the following paragraph:--"I am informed that the Lord Chamberlain hath been pleased to displace Mr. Pate and Mr. Reading from their places in the Playhouse for being in the late riot at Drury Lane." The riot had occurred at the "Dog Tavern," and in consequence several persons were prosecuted and found guilty; some were fined 500 marks each, but Reading and Pate were fined only twenty marks each; probably their fines were reduced in consideration of their dismissal by the Lord Chamberlain. They were, however, soon afterwards reinstated in their previous appointments.]

[Footnote 45: _Nichol's Select Collection of Poems._]

[Footnote 46: In the thirteenth edition published in 1697, the third part has the following heading:--"The art of Descant, or composing musick in parts; made very plain and easie by the late Mr. Henry Purcell."]

[Footnote 47: The last piece Dryden wrote for the stage.]

[Footnote 48: The music was published by Walsh with the following new title, "Te Deum et Jubilate for voices and instruments perform'd before the _Sons of the Clergy_ at the Cathedral Church of St. Paul. Composed by the late Mr. Henry Purcel." This led to a notion that the music had been composed for the "Sons of the Clergy" festival.]

[Footnote 49: This third part is so scarce that probably only one or two perfect copies now exist.]

[Footnote 50: In my own library.]

[Footnote 51: It is evident from this will that Purcell's youngest child, Mary Peters, had died since her father's decease.]

[Footnote 52: _Anecdotes, Biographical Sketches_, by Letitia Matilda Hawkins.]

[Footnote 53: "The English affect more the Italian than the French music, and their own compositions are between the gravity of the first and the levity of the other. They have had several great masters of their own. _Henry Purcell's_ works in that kind are esteemed beyond _Lully's_ everywhere, and they have now a good many very eminent masters; but the taste of the town being at this day all Italian, it is a great discouragement to them."--_Mackay's Journey Through England_, 1722-3.]

[Footnote 54: Dr. King's _Bibliotheca_, 1712.]

[Footnote 55: The flute of Purcell's day was blown at the extreme end like a flageolet, the modern _flauto traverso_ was unknown.]

[Footnote 56: Stafford Smith's _Collection of English Songs_, 1779.]

PURCELL'S FAMILY.

In the foregoing pages I have spoken of Purcell's father and uncle, but made no mention of his ancestry. Nothing absolutely certain is known of them. Various surmises have been made from time to time, and as the name of Purcel had been common in Ireland for some centuries,[57] people have endeavoured to trace the composer's family in that country, but no reason or evidence has as yet been found for supposing that Purcell inherited Celtic blood.

The national archives preserved at Somerset House furnish material for speculation in this matter; the following wills may very probably have been made by some of the great composer's ancestors:--

"Will proved 1547-8 (fo: 3 Populwell). DAVJD FYSSHER of Salopp Sherman-- to my Kynsman Nicholas pursell to John pursell of Marten, Vᴸᴵ. to George pursell, Vᴸᴵ. to Thomas purshell, Nicholas sonne, Vᴸᴵ. to Roger Calcott of Buttington, Viijˢ."

JOHN FYSSHER, gentᴺ of Hen. VII., Hen. VIII., and Edw. VI. chapels--

'to my Cosyn,[58] John Pursell, XXˢ sterling, all my londes in Clevedon and Clopton: ... Countie of Somers nye to Bristowe;' to brother David Fyssher of Shrewsbury for life and after to Cosyn Nicholas pursell and heirs for ever."

The parish registers of St. Margaret's, Westminster, contain occasional mention of the name of Pursell or Purcell, the earliest being 1575; but whether the records before 1658 refer to members of the composer's family it has not been possible to determine.

Purcell's mother died in August, 1699, having survived her son nearly four years; her burial is recorded in the books of St. Margaret's, Westminster, thus:--"Mrs. Elizᵗʰ Pursell, Ch.[59] August 26, 1699;" her estate was "administered to" on the 7th of the following September by her daughter Katherine, who had been baptized in Westminster Abbey on the 13th of March, 1662. This younger sister of Purcell was married on the 20th June, 1691, to the Rev. William Sale, of Sheldwich, Kent.

Purcell had two brothers, Edward and Daniel: the former was born in 1653. The story of his life is briefly told in the inscription placed on his gravestone in the chancel of Wytham Church, near Oxford:

"Here lyeth the body of Edward Purcell, eldest son of Mr. Purcell, gentleman of the Royal Chapel, and brother to Mr. Henry Purcell so much renowned for his skill in musick. He was gentleman usher to King Charles the 2nd, and lieutenant in Col. Trelawney's regiment of foot, in which for his many gallant actions in the wars of Ireland and Flanders he was gradually advanced to the honour of Lieutenant-colonel. He assisted Sir George Rook in the taking of Gibraltar, and the Prince of Hesse in the memorable defence of it. He followed that Prince to Barcelona, was at the taking of Mountjoy where that brave Prince was killed; and continued to signalize his courage in the siege and taking of the city in the year 1705. He enjoyed the glory of his great services till the much lamented death of his late mistress, Queen Anne, when, decayed with age and broken with misfortunes, he retired to the house of the Right Hon. Montague, Earl of Abingdon, and died June 20, 1717, aged 64."

Daniel Purcell was a younger brother of the great composer; the exact date of his birth is not known, but it is believed to have been about 1660. Of his early musical training nothing has been ascertained, he was too young when his father died to have received any instructions from him; possibly in his boyhood he may not have shown remarkable traits of musical ability; and in his more mature years his undoubted talent was altogether over-shadowed by the superior genius of his brother, to whom he was indebted for some part of the practical and theoretical knowledge of music he possessed. The first official appointment with which we can identify him is that of organist of Magdalen College, Oxford, to which he succeeded in 1686, soon after the ejectment from that post of Dr. Benjamin Rogers, who with the other fellows of the College was unjustly expelled by James II. In 1693 Daniel Purcell composed music for a "Saint Cecilia's Day Ode" written by Thomas Yalden, which is believed to have been performed at Oxford. He resigned his appointment at Magdalen College in 1695, in order that he might reside in London, and in the following year, 1696, composed music for the tragedy "Ibrahim XII.," written by Mary Pix; also for an opera called "Brutus of Alba, or Augusta's Triumph." This was written by George Powell, the comedian, and John Verbruggen; it was performed at the theatre in Dorset Gardens in the following year. The songs were immediately published with a dedication "to P. Norton and A. Henley, Esquires." In 1697, in conjunction with Jeremiah Clarke, he composed music for Settle's opera, "The New World in the Moon," and also for D'Urfey's opera, "Cynthia and Endymion." In 1698 he composed songs for a tragedy, "Phaeton, or the Fatal Divorce," written by Gildon, also an ode for the Princess Anne's birthday,[60] and an ode for Saint Cecilia's Day, written by Bishop.[61] In 1699, he was associated with Jeremiah Clarke and Leveridge in composing music for "The Island Princess," an opera by Motteux, and he also composed music for a "Saint Cecilia Ode" written by Addison for performance at Oxford. In 1700 he composed the work which has generally been considered his greatest success, an opera entitled "The Grove, or Love's Paradise," written by J. Oldmixon, and performed at Drury Lane. Daniel Purcell is said to have designed and penned this music whilst staying with his patron, Anthony Henley, of the Grange, in Hampshire, or at the residence of Philip Norton, of Southwick, in the same county, another of his patrons, who was in the habit of entertaining his friends in the summer time with dramatic representations.

On the 21st of March, 1699,[62] the following advertisement appeared in the _London Gazette_:--