Part 4

Almost the first fact of which we have very certain knowledge in connection with his life in England is the "Supplication" which he made for the degree of Bachelor of Music at Oxford, in April, 1610. In answer to an inquiry, the Keeper of the Archives said that there is a record of Deering's supplication, and it is stated that his plea is granted "providing he shall have composed a work of eight parts for the next 'Act.'" Dr Scott, the learned custodian of our Abbey Muniments for many years, made some inquiries for me on this matter, and gives the following note which he had apparently received from Oxford:

"Supplicateth in like manner Richard Deering, a scholar most highly trained in music, of Christ Church, forasmuch as he hath spent ten years in the study and practise of music, that this may suffice for him to be admitted to the lectures of the music of Boethius."

The statement by Deering that he had spent "ten years in the study and practise of music" absolutely disposes of the legend, so often repeated, that Deering published a set of 5-part Motets in Antwerp, in 1597. I have always entirely doubted that this had any foundation in {57} fact. I believe it is a misprint for 1617, and it was not likely twenty years would elapse between the publication of two sets of Motets by so prolific a composer. "Ten years" makes the date of Deering's _studies_ to begin in 1600, so he could not have published in 1597. I am glad to be able to correct this error on the authority of the Master himself.

It is very amusing, and rather annoying, to see how the musical historians have copied from one another the most untrue statements about Deering. Burney, Hawkins, and Mr Husk in the first edition of Grove's _Dictionary_, _all_ give 1597 instead of 1617; and Burney and Hawkins say he was forced to leave England when the troubles of Charles I began. Hawkins says he was Organist to Henrietta Maria until _she_ was compelled to leave England. The fact is Deering was dead before all this! He returned to England as Organist to Henrietta Maria in 1625, and died in 1630.

But space would fail me to point out more of the absurd statements about this musician. Let me rather now turn to his greatest contribution to our musical treasures.

I leave for a time further comment upon his work in England, and proceed to consider his magnificent Motets. It appears that on the {58} invitation of the English nuns at Brussels he proceeded to that city and became Organist to the Convent. It was whilst there that he published in 1617 his fine series of _Cantiones Sacrae_ for five voices; this was issued from the press of Peter Phalese in Antwerp. There are 18 Motets, all to Latin words, for five voices, and "Basso Continuo" for Organ.

I have already spoken of the way I made acquaintance with these masterpieces. It is very gratifying to find the increased favour with which they are received and the frequent performance of them by great choirs. The ignorant accounts of them which I have quoted shake one's faith in the opinion of such writers on other musical works.

The first set of Motets was dedicated to a remarkable personage, Sir William Stanley,[1] and {59} the Preface is so interesting I feel justified in giving it (with the title-page). The original Dedication is in Latin, but I give it in a translation.[2]

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In the second set, published in 1618, Deering claims to have written in the Madrigalian style. It looks as if he had tried to imitate the Madrigals he had heard, and to adapt some of the phrases to sacred words. I do not think the second set is as good as the first. But there are some very fine things in it, one of the best being "Silence prevailed in Heaven," a dramatic account of St Michael's war with the Dragon. I have had this printed, and it produces a splendid effect, and hope in time to restore to life many more of these unknown and really beautiful masterpieces.

I have not space to chronicle all Deering's musical works. But I must conclude this notice by some account of his secular music, and, more particularly, his remarkable _Humorous Fancy, The Crycs of London_. This is the third of these interesting Fancies which I have had the opportunity of recovering from oblivion. I have {61} already in the case of Weelkes and Gibbons explained the circumstances attending this recovery. Deering's _Fancy_ is the most elaborate of the three, and, besides a number of _Cryes_ which the other musicians omitted, he has preserved to us some most interesting and charming Tradesmen's Songs--those of the Swepe, the Blacking-seller, the Vendor of Garlick, the Rat-catcher, and the Tooth-drawer. The whole _Fancy_ is full of life, and shows Deering to be both dramatic and humourous. This work (and a similar one on _Country Cryes_) were written before he left England for Brussels, as the copy in the British Museum was made 1616.

There are a few Anthems scattered about in various Libraries, but as a Catholic his contributions to English Cathedral music would, no doubt, be few. Some are to be found in Durham Cathedral Library. On the marriage of Charles I, he was appointed Organist to the Queen Henrietta Maria. On July 11th, 1628, his name appears in a list of musicians in ordinary to the King, and he was evidently a member of the King's Private Band.

Most historians have stated that he lived to 1657, but this is just as incorrect as their other statements concerning Deering and his music. I have devoted much time to the elucidation of {62} the history and the reproduction of his work, and feel in doing this I have helped to restore to his rightful place one of the greatest English musicians of the 17th, or indeed of any, century.

[1] Sir William Stanley was a Roman Catholic and a very extraordinary man. I think the following account from the _Dictionary of National Biography_ will be of interest.

Sir W. Stanley, Adventurer, one of the Cheshire Stanleys. He served in the Netherlands under Alva. He quitted the Spanish service in 1570 and served in Ireland under Elizabeth, and later on was appointed Sheriff of Cork. He was very severe on the rebels and he reported he had hanged 300 of them and so terrified the rest that "a man might now travel the whole country and no one molest him." He thought he was not properly rewarded, and later on was guilty of treachery. He was, of course, Roman Catholic and greatly in the confidence of the Jesuits. He actually went to Spain to advise the best method of conquering England. He recommended that Ireland should be made the basis of operations, and that troops should disembark at Milford Haven rather than at Portsmouth. When Elizabeth died Stanley sent no less a person than Guy Fawkes, his subaltern officer, with an emissary of Catesby to Spain, to warn Philip against James. There is no evidence that he was concerned in the Gunpowder Plot, but he was placed under arrest at Brussels on suspicion of being concerned in it.

He spent the latter part of his life in complete obscurity. In 1616 he contributed largely to a Jesuit College of Liége, and was Governor of Mechlin. He sought in vain for permission to return to England, and died at Ghent in 1630, and was honoured with a magnificent public funeral. He married Elizabeth, daughter of John Egerton of Egerton, who was buried in Mechlin Cathedral, in 1614. The male line of the Stanleys of Horton became extinct by the death of the twelfth baronet Sir John Stanley-Errington in 1883.

[2] Cantiones Sacrae for 5 Voices with Basso Continuo for Organ.

by

RICHARD DEERING, Englishman, Organist to the venerable English Nuns in the Monastery of the Blessed Virgin Mary at Brussels. Antwerp. at the house of Peter Phalese 1617.

_Dedication_

To Sir William Stanley, Knight, renewed at home and in Military life, Councillor at war to the most honourable and invincible Catholic King, his most worshipful Lord.

For long my Music has desired to come forward. She is not unpolished (for she was born in the first City of the World) but she is modest. For it is customary with new men, especially those that are bashful, not to bring their offspring however excellent to the light, until they find some distinguished man, whose approval if they win, they need fear neither the abuse of rivals nor the criticism of the ignorant.

But what patron should my music choose in preference to your lordship? When permitted to relax your mind from military cares, you think no delight, no pleasure greater than music. To music you give the chief place after war, in which none surpass you. Therefore let my child go forth with you for its patron. If you are the first to smile upon it as it takes its first modest steps, you will give it wonderful courage, for greater things. Live, flourish and conquer.

In War we long for Peace; Peace endeth wars, Music makes jocund Peace to know no jars.

Your most obedient servant, R. Deering.

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VII. JOHN MILTON

1553--1646-7

To many the name of John Milton will hardly suggest a musical composer. And yet I am able to include this name--the name of the father of the poet--among the band of "Good Musicians" whose careers and works I am considering. I have always felt greatly interested in him and desired to find out all I could of his personal history, and particularly of his musical education, for undoubtedly in the elder Milton we have a really accomplished musician. We are told he educated his distinguished son in music, and that he had an organ in his house.

Dr Burney gives a very good and concise account of him, upon which I cannot improve and from which I venture to quote. (Burney, Vol. III, p. 134):

"We come now to John Milton, the father of our great poet, who though a scrivener by profession, was a voluminous composer, and equal in science, if not genius, to the best musicians of his age: in conjunction and on a level with whom, his name and works appeared in numerous musical publications of the time, particularly in those of {64} old Wilbye; in the _Triumphs of Oriana_ published by Morley; in Ravenscroft's _Psalms_; in the _Lamentations_ published by Sir William Leighton; and in MS. collections, still in the possession of the curious.

Mr Warton, in his Notes upon Milton's _Poems on Several Occasions_, tells us, from the MS. _Life of the Poet_ by Aubrey, the antiquary, in the Mus. Ashm. Oxon, that Milton's father, though a "scrivener," was not apprenticed to that trade, having been bred a scholar and of Christ Church, Oxford; and that he took to trade in consequence of being disinherited.

His son celebrates his musical abilities in an admirable Latin poem, _Ad Patrem_, where, alluding to his father's musical science, he says that Apollo had divided his favours in the sister arts between them; giving Music to the father and Poetry to the son.

Nor blame, Oh much-lov'd sire! the sacred Nine, Who thee have honour'd with such gifts divine; Who taught thee how to charm the list'ning throng, With all the sweetness of a siren's song; Blending such tones as every breast inflame And made thee heir to great Orion's fame. By blood united, and by kindred arts, On each Apollo his refulgence darts: To thee points out the magic power of sound, To me the mazes of poetic ground; And fostered thus by his parental care, We equal seem Divinity to share." (_Translation_).

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The elder Milton was born in 1553, and is said to have been in the choir of Christ Church, Oxford. His father was a Roman Catholic, and it is said he disinherited his son for abjuring the Catholic faith. The son went to London, and became a member of the Scriveners Company (1599-1600). In 1632 he retired to Horton, in Buckinghamshire, having made a considerable fortune. In London he lived in Bread Street, where John Milton, the poet, was born. He contributed an admirable six-part Madrigal to _The Triumphs of Oriana_ (1601), Motets to Leighton's _Teares and Lamentations_ (1614), and Tunes to Ravenscroft's _Psalter_ (1621). There are various Anthems and Fancies in five and six parts in MS. in various libraries.

Now here is a man who contributed to three or four important musical publications, and was included in a list of the best known English composers. Had he been a professional musician he could not have done more. But we know he was a scrivener. What was he before he became a scrivener? and whence did he get his musical knowledge? If we could prove that the suggestion is true which makes him a Chorister at Christ Church, Oxford, we should know where he probably got his musical knowledge and his proficiency in Latin. But this information {66} seems to be impossible of proof. For the purpose of these Lectures I have devoted a good deal of time to this subject. Dr Strong, the Dean of Christ Church, now Bishop of Ripon, has been kind enough to look into the matter very carefully, and he writes me the following interesting letter:

Christ Church, Oxford. June 25, 1919.

My dear Bridge,

I am sorry to say that I cannot discover anything about Mr. John Milton, Senior. We have here a very important series of books called Disbursement books. These contain a sort of summary statement of the payments made under various heads. But what makes them of interest is that all the members of the Foundation, from the Dean down to the cook, received their payments through the Treasurer and signed a receipt for them in the book. So there is a whole list of signatures beginning about 1570 and going down (with the exception of the Civil War period) to about 1830, when new methods were adopted. It is always possible to discover by this who held each office, and whether they were in residence on a particular day. Unfortunately, they do not go back beyond 1570. I searched through a volume in hopes that Mr. Milton or the organist might be among the signatories. The singing-men and even the choristers are there. But apparently at that time there was no organist, and certainly there is no allusion to Milton or any names such as you want, I think. It is a great pity we have not got the books from the beginning: the first 23 years would have been very {67} useful. Also, my matriculation book, which is in this house, is very inaccurate and incomplete for the earlier years. I am afraid, therefore, I cannot help you as regards Mr. Milton. You will understand how very interesting these signatures are when I say that in the volumes I looked at the other day I found a whole series of signatures of Richard Hakluyt the geographer, who was a student of the House.

Yours very sincerely, THOMAS B. STRONG.

It is very unfortunate that the records in Christ Church do not exist before 1570. But it may be remarked, if Milton the elder was born in 1553, he would be seventeen in 1570, and would therefore certainly have left the choir of Christ Church, if he ever belonged to it; and this, of course, before the entries began. As to this matter, there are one or two facts brought out in _Notes and Queries_ some years since which bear upon it.

Richard Milton, the grandfather of the poet, although a Roman Catholic, appears to have been Churchwarden of the Parish (Stanton St John) in 1552. Mr Allnutt, of Oxford, who contributed this bit of historical knowledge, writes: "Does this render it less probable that the Poet's grandfather was Richard Milton of Stanton, or are other instances known of Roman Catholics serving the office of Churchwarden under the {68} Protestant regime of the period?" (_N. & Q._, Feby. 1880; W. H. Allnutt, Oxford.)

In the same paper, a little later, Mr Hyde Clarke writes on the subject of Milton's father being a choir-boy at Christ Church: "My Oxford and other correspondents, including Mr Mark Pattison, the eloquent critic of the Poet, who has laboured in this investigation have looked unfavourably on my proposition (_i.e._ that he was a Chorister of Christ Church), because they consider the Roman Catholic _recusant_ can never have sent his son to any heretical school. An answer is now given in my favour by Mr. Allnutt, because if in 1552 Richard Milton could serve as Churchwarden, the other matter of providing a scholarship for his son was but a small one. It is further probable that Richard Milton became a confirmed Roman Catholic only in his later years."--Hyde Clarke.

I think it is quite possible and even very probable that Milton's father learnt his music at Christ Church. Then who taught him? Whoever it was, he turned out a thoroughly good musician. Milton's own compositions prove it, and, as we have seen, he is associated with all the best English composers of the period in more than one work. Coming to London, we are told he had an organ and other instruments in his house and {69} to the practice of music he devoted his leisure. Masson says: "His special faculty was music, and it is possible on his first coming to London he had taught or practised music professionally." He was evidently in the musical world of London, and his house was probably the resort of many of the best musicians of the time.

The short Motet for _Teares and Lamentations_ is in a good contrapuntal style, with many devices which a man would use if he had been educated in a Cathedral Choir. The style had "eaten into his marrow," as old Sir John Goss once said to me, in reference to a Chorister's daily musical work.

Another interesting matter is Milton's contribution to Ravenscroft's _Whole Book of Psalms_, published in 1621. Here are found two tunes credited to John Milton, but I think there is no doubt they were merely harmonized by him. The best one is a tune still often sung in our Churches--entitled _York_: this seems to be an old Scottish tune; it was published in Edinburgh in 1615. It appears three times in Ravenscroft's book and with different harmonies, two of them being by the elder Milton. The melody in this tune is, of course, given to the tenor, as was the custom at this time. The tune has always been a favourite, and an old author says that "it {70} was so well known that half the nurses in England used to sing the tenor part as a lullaby."

This sounds rather startling! One would not believe that any baby could be put to sleep by hearing the tenor part of any hymn-tune. But the tenor part here is the melody, and really it has a gentle, swaying style about it, so that I, for one, believe the story of the Nurses and the Babies!

The melody is given in _English Country Songs_ edited by Miss Broadwood and Mr Fuller Maitland, allied to some amusing words.

Although we cannot claim the elder Milton as a musician who did much to advance the art, I think I may be forgiven for having included his name in my list. So little is said about him in musical histories, and I have been able, I think, to get together some comparatively unknown matter regarding him, that I hope I have done right in giving a place among my Twelve Good Musicians to John Milton the elder.

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VIII. HENRY LAWES

1595--1662

In Henry Lawes we have a subject of particular interest. No musician of the 17th or probably of any century, has been so praised by the poets, and few musicians of reputation have been so disdainfully treated by the old musical historians. I think we shall find Henry Lawes worthy of inclusion amongst the Twelve Good Musicians with whom I am dealing. His life was a chequered one. He lived in troublous days, and in an era of great changes in the political and musical worlds. Born in 1595, at Dinton, in Wiltshire, he became a pupil of Giovanni Coperario (or John Cooper, to give him his English name), and I think this had a considerable influence on the direction which his compositions took, and about which I shall say more later. We find him a Gentleman of the Chapel Royal in 1625, and later on a Gentleman of the Private Music to King Charles the First. On the breaking out of the Rebellion, he lost his {72} posts, and employed himself principally in teaching singing. He lived a long life; long enough to see the Restoration, and to compose the Coronation Anthem for King Charles the Second, dying in 1662.

Lawes' contributions to English music begin with the Masque. The earliest date seems to be 1633-4, when he set the songs in a Masque written by Thomas Carew, entitled _Coelum Britannicum_. This was written at the particular invitation of the King, and performed for the first time at Whitehall.

The poem was published in 1634 and was wrongly attributed to Sir William Davenant. Another Masque, by James Shirley, _The Triumph of Peace_, was produced in the same year, Lawes and another well-known musician, Simon Ives, writing the music, for which they received the sum of £100. The following year saw the production of _Comus_, the greatest of Masques. It will be seen that Lawes differed from most of our English Composers in devoting himself, at the outset of his career, almost exclusively to the stage. I cannot help thinking this is to be explained by the fact that he was not educated in a Cathedral Choir, but was a pupil of Giovanni Coperario. Now this musician had an experience which few of his contemporaries enjoyed. He {73} studied in Italy--going there as plain John Cooper and returning to his native country as Giovanni Coperario. His sojourn in Italy was at a remarkable time; the time when the first Opera and the first Oratorio were given. It is very interesting to be told--and I have been told on the authority of my friend Rev. Spooner Lillingston--that among the names given in a certain record of the performance of the first Opera was found that of the Englishman, Giovanni Coperario. This seems to me to be an important fact. Lawes would come under the influence of Coperario, who, with his love for Italian music and experience of the beginning of Opera would, no doubt, help Lawes to take up the music of the stage, instead of the music of the Church.

Our composer was not, however, long before he embarked on some Church music by setting _A Paraphrase upon the Psalms of David_ by George Sandys, and also contributing another volume of tunes to _Church Psalms_, in which he was joined by his clever brother William, who was, later on, killed at the siege of Chester.

Among the commendatory poems prefixed to this volume was the well-known sonnet by Milton addressed to Lawes, beginning:

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Harry, whose tuneful and well measured Song First taught our English musick how to span Words with just note and accent----