Chapter II: Preface (2)

"These are to give Notice to all Gentlemen that have subscribed to
the Proposals Published by Mr. Henry Purcell for the Printing his
Sonata's of three Parts for two Violins and Base to the Harpsichord
or Organ, that the said Books are now completely finished, and
shall be delivered to them upon the 11th June next: and if any
who have not yet Subscribed, shall before that time Subscribe,
according to the said Proposals (which is Ten Shillings the whole
Sett), which are at Mr. Hall's house in Norfolk-street, or at Mr.
Playford's and Mr. Carr's shop in the Temple; for the said Books
will not after that time be Sold under 15_s._ the Sett."

Again on the following June the 7th, another advertisement appeared in the _London Gazette_:--

"Wheras the time is now expired, this is therefore to desire those
Persons that have subscribed to Mr. Henry Purcel's Sonata's to
repair to his house in St. Ann's Lane beyond Westminster Abbey,
or to send Proposal-Paper they received with the Receipt to it
when they Subscribed, and those who subscribed without a Paper
or Receipt to bring a Note under the Persons Hand to whom they
Subscribed, that there may be no mistake, and they shall receive
their Books, paying the remainder part of the money."

Judging by the extreme rarity of the work, the subscription list must have been a poor one, and as the price charged was only ten shillings for the completed work, Purcell must have been considerably out of pocket, when he came to balance his accounts after paying the engraver and printer; the former was the celebrated copper-plate engraver, Thomas Cross, junior. The title of the work reads thus: "Sonnata's of III parts. Two Viollins and Basse to the Organ or Harpsichord. Composed by Henry Purcell, Composer in Ordinary to his Most sacred Majesty, and Organist of his Chappell Royall, London. Printed for the Author, and sold by J. Playford and J. Carr at the Temple, Fleet St. 1683."

The sonatas are printed in four separate parts for the instruments named, but there is no score, the first violin part is embellished with a splendid portrait of the composer, lettered "Vera Effigies Henrici Purcell, Atat Suæ 24."

The dedication runs as follows:--

"To the King. May it please yoʳ Majᵗᵞ. I had not assum'd the
confidence of laying yᵉ following Compositions at your Sacred feet;
but that (as they are the immediate Results of your Majesties
Royall favour, and benignity to me which have made me what I am),
so, I am constrain'd to hope, I may presume, amongst Others of your
Majesties over-oblig'd and altogether undeserving Subjects, that
your Majᵗᵞ will with your accustom'd Clemency, Vouchsafe to Pardon
the best endeavours of yoʳ Majᵗᴵᵉˢ Most Humble and Obedient Subject
and Servant,

"H. PURCELL."

The modest preface is interesting from its reference to the novel use of Italian terms, and also as showing the comparative regard in which Italian and French music was held by the author, who writes:--

"Ingenious Reader. Instead of an elaborate harangue on the beauty
and the charms of Musick which (after all the learned Encomions
that words can contrive) commends itself best by the performances
of a skilful hand, and an angelical voice: I shall say but a very
few things by way of Preface, concerning the following Book, and
its Author: for its Author, he has faithfully endeavour'd a just
imitation of the most fam'd Italian Masters; principally, to bring
the Seriousness and gravity of that sort of Musick into vogue, and
reputation among our Country-men, whose humour, 'tis time now,
should begin to loath the levity and balladry of our neighbours:
The attempt he confesses to be bold and daring, there being Pens
and Artists of more eminent abilities, much better qualifi'd for
the imployment than his, or himself, which he well hopes these his
weak endeavours, will in due time provoke, and enflame to a more
accurate undertaking. He is not asham'd to own his unskilfulness
in Italian Language; but that's the unhappiness of his Education,
which cannot justly be accounted his fault, however he thinks he
may warrantably affirm, that he is not mistaken in the power of
the Italian Notes, or elegancy of their Compositions, which he
would recommend to the English Artists. There has been neither
care, nor industry wanting, as well in contriving, as revising the
whole Work; which had been abroad in the world much sooner, but
that he has now thought fit to cause the whole Thorough Bass to be
Engraven, which was a thing quite beside his first Resolutions.
It remains only that the English Practitioner be enform'd, that
he will find a few terms of Art perhaps unusual to him, the chief
of which are these following: _Adagio_ and _Grave_ which imports
nothing but a very slow movement: _Presto_, _Largo_, and _Vivace_,
a very brisk, swift, or fast movement: _Piano_, soft. The Author
has no more to add, but his hearty wishes, that his Book may fall
into no other hands but theirs who carry Musical Souls about them;
for he is willing to flatter himself into a belief, that with Such
his labours will seem neither unpleasant, nor unprofitable, Vale."

The foregoing preface is eminently characteristic of the unassuming and retiring disposition of Purcell. The sonatas have never been printed in score, but a few masterly movements selected from the parts and reduced for the pianoforte are inserted in Dr. Crotch's specimens of ancient music; a perusal of these will whet the appetite for more music of such sterling quality.

This year, 1683, was a prolific one with Purcell, for we find that he composed another "Ode, or Welcome Song for the King," commencing, "Fly bold rebellion," and also an ode to celebrate the marriage of George, Prince of Denmark, with the Princess Anne, afterwards Queen. The marriage took place in July. The words of the ode commence, "From hardy climes." A large manuscript volume entirely in Purcell's hand, is still in existence, which shows that he had been busy from June, 1680, to February, 1683, in composing Fantasias in three, four, five, six, seven, and eight parts; the book in which these are written was evidently the commencement of what was intended to be a complete and lasting record of the composer's works, and perhaps it was intended for presentation to the King.

The publication of the sonatas was soon followed by another entitled, "A musical entertainment perform'd on November xxii. 1683; it being the festival of St. Cecilia, a great Patroness of Music, whose Memory is annually honoured by a Public Feast made on that day by the Masters and lovers of Music as well in England as in foreign parts. London: Printed by J. Playford, junior, and are to be sold by John Playford near the Temple Church, and John Carr, at the Middle Temple Gate, 1684."

The book, unlike the sonatas, which were beautifully engraven, is a wretched specimen of type-printing, and copies of it are now very rare. The Preface was addressed,

"To the Gentlemen of the Musical Society, and particularly the
Stewards for the year ensuing, William Bridgman, Esq., Nicholas
Staggins, Doctor in Music, Gilbert Dolben, Esq., and Mr. Francis
Forcer. Gentlemen, your kind Approbation and benign Reception of
the performance of these _Musical Compositions_ on _St. Cecilia's
Day_, by way of Gratitude, claim this Dedication; which likewise
furnishes the Author with an opportunity of letting the World know
the Obligations he lies under to you; and that he is to all Lovers
of Music, a real Friend and Servant.--HENRY PURCELL."

The music consists of an introductory symphony, choruses, and soli, with accompaniments for strings, and has a very novel termination to the words "Iô Cecilia." The words are poor, and were written by Christopher Fishbourne,[30] who seems to have been both a poet and a musician, but of no great pretension in either art. Purcell's enthusiasm and industry are well exemplified by the amount of music which he wrote for the first public observance of St. Cecilia's Day in this country. In addition to the ode already mentioned as published, he composed two other odes, one in English and one in Latin; the former is remarkable for being scored without any part for the tenor violin, and without parts for counter-tenor voices, although the latter voice was in great favour in Purcell's day, and his music generally abounds with solos for that voice. The Latin ode is interesting as being scored for three men's voices with accompaniments for two violins and bass. Both these odes remain at present in manuscript. The Fitzwilliam Library at Cambridge possesses a large volume of manuscript music in the handwriting of Dr. Blow, and internal evidence shows that it must have been completed in 1683; it contains the following anthems by Purcell:--1. "By the Waters of Babylon;" 2. "O God Thou hast cast us out;" 3. "Remember not, Lord, our Offences;" 4. "I will Sing unto the Lord;" 5. "Blessed be the Lord my Strength;" 6. "O Lord, our Governour;" 7. "Let God Arise;" 8. "Blessed is He;" 9. "Hear me, O Lord;" 10. "Bow down Thine Ear;" 11. "Jerusalem is Built;" 12. "My Beloved Spake;" 13. "O God, Thou art my God;" 14. "Lord, who can tell?" 15. "Benedicite" in B ♭.

The year 1684 is notable for the remarkable organ competition at the Temple Church, in which the two great organ-builders of the day, Father Smith and Renatus Harris, exhibited their skill by erecting rival organs for the approval of the benchers of the Temple, and which eventually resulted in the selection and retention of the splendid instrument built by Smith. The organ then chosen is still standing in the church, and eloquently proclaims the fame of its builder. How far Smith's success was due to the judicious choice he made of organists to show off the qualities and varieties of his stops, it is only possible now to guess, but certainly no more skilful performers could have been found than Dr. Blow and Henry Purcell. Smith's rival, Harris, was also fortunate in obtaining the services of John Baptist Draghi, the friend of Purcell previously mentioned, and whose skill and popularity as an organist contemporary records frequently mention. Smith's organ had the singular advantage of possessing keys for two extra quarter-tones in each octave, which enabled the performer to use distinct pitches or sounds for G sharp and A flat, and also for D sharp and E flat. Those who are familiar with Purcell's sacred music will readily understand what use he would have made of these additional facilities for modulating into remote keys. In his anthems he frequently wrote chords which must have sounded most crude and harsh on all the keyed instruments of his day, tuned as they were on unequal temperament. Purcell, we know, was on very intimate terms with Smith, who was not only an organ-builder, but also an organist,[31] and it is quite probable that it was at Purcell's suggestion that he added the quarter-tones which constituted so remarkable a feature in the Temple organ. In 1684 Purcell composed yet another "Ode, or Welcome Song, on the King's return to Whitehall after his summer's progress;" the words, commencing, "From these serene and rapturous joys," were written by Thomas Flatman.

In 1685 Purcell was actively concerned in superintending the erection of an organ in Westminster Abbey expressly for the coronation of James II. and his queen. On April 23rd he was paid the sum of 34_l._ 12_s._ for his services out of the "secret service money." This organ was evidently a small instrument erected just behind the seats occupied by the "King's Choir of Vocal Music," who sat in a gallery in front of and under a south chancel arch, the second from the transept, whilst opposite them, in a similar gallery, were placed the "King's Instrumental Musick." For the coronation service Purcell produced two anthems, "I was Glad," and "My Heart is Inditing," but it would seem that he did not officiate at the organ, for we find that "Purcell, Blow, Child, and Staggins," sang with the basses in the choir on that occasion.

In this same year he composed an ode in honour of King James, commencing, "Why are all the Muses mute?" and it is very likely that he also composed the music for the tragedy of _Circe_ at or about this period. This play, the work of Charles Davenant, when first produced, was accompanied by music from the pen of John Banister,[32] some of which was published in 1679.

A few years since Dr. Rimbault unfortunately published a portion of Purcell's music to _Circe_ with Banister's name attached as the composer,[33] but he afterwards discovered the error he had fallen into.[34] _Circe_ is one of Purcell's best dramatic works, and contains music which no other composer of his time could have written; it still remains in manuscript. Only music to the first act is now to be found. Perhaps Purcell never completed it.

In 1686 Purcell was again afflicted by the death of a child who had been christened Thomas in remembrance of the deceased uncle. The infant was buried in the cloisters of Westminster Abbey. In this year Purcell composed the music for Dryden's tragedy, _Tyrannic Love_, in which there are several effective and elegant pieces, notably "Hark, my Daridear," a duet, and "Ah, how sweet it is to love," a song. In addition to this, he wrote another "Ode, or Welcome Song for the King," commencing, "Ye tuneful Muses."

In 1687 Purcell had another son born who was named Henry, but he survived only two months, and was buried with his kindred in the cloisters of Westminster Abbey. Purcell composed another "Ode in honour of King James," commencing "Sound the trumpet, beat the drum," in which occurs a duet to the words, "Let Cæsar and Urania live;" this became so great a favourite that succeeding composers were wont to insert it in their own royal birthday odes. This practice continued till the close of the succeeding century.

About this time Purcell composed a "March" and a "Quickstep," which soon became popular and familiar to the soldiers; a short time afterward some one, probably Lord Wharton, the Irish Viceroy, with much foresight and wisdom, selected the tune of the "Quickstep" as a vehicle for making known the absurd verses of the song called "Lillibullero." Thanks to the music, the song spread like wildfire, with the result described by Bishop Burnet, who says, "A foolish ballad was made at that time, treating the Papists, and chiefly the Irish, in a very ridiculous manner, which had a burden said to be Irish words, 'Lero, lero, lillibullero,' that made an impression on the army that cannot be imagined by those that saw it not. The whole army, and at last the people, both in city and country, were singing it perpetually, and perhaps never had so slight a thing so great an effect." The Viceroy "boasted that the song had sung a deluded Prince out of the three kingdoms." Other testimony speaks of the song "having contributed not a little towards the great Revolution of 1688."

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]

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:--