Chapter III: Preface (3)

"To the Right Reverend Father in God, Nathaniel, Lord Bishop of
Durham. My Lord, the ambition I have to do the greatest honour
I can to the memory of my Dear Husband, by inscribing some of
his best compositions to the best Patrons both of the science he
profess'd, and of his performances in it, is the fairest Apology I
can make to your Lordship; as it was the main Inducement to myself
for placing your Lordship's Name before this Piece of Musick. The
Pains he bestow'd in preparing it for so Great and Judicious an
Auditory, were highly rewarded by their kind Reception of it when
it was first Perform'd, and more yet by their Intention to have
it repeated at their _Annual Meeting_; but will receive the last
and highest Honour by your Lordship's favourable Reception of it
from the Press, to which I have committed it, that I might at once
gratifie the Desires of several gentlemen to see the Score, and at
the same time give myself an opportunity to acknowledge, in the
most Publick and Gratefull Manner, the many Favours Your Lordship
has bestow'd on my Deceased Husband, and consequently on

"Your Lordship's
Most oblig'd and most Humble Servant,
F. PURCELL."

The intention of annually performing the "Te Deum and Jubilate" must have been formed in 1697, the year of publication, as we know that in 1696 Dr. Blow composed a "Te Deum and Jubilate" which were performed. Purcell's work was immediately adopted by the "Corporation of the Sons of the Clergy"[48] for performance at their Annual Festival, and its use continued until Handel, in 1713, composed his "Te Deum and Jubilate" for the Peace of Utrecht. After that time the works of Purcell and Handel were performed alternately until 1743, when Handel's new work composed for the victory at Dettingen displaced the two former compositions. Of course Handel must have often heard Purcell's "Te Deum;" and that he greatly profited by it is evident from the striking resemblance of many passages in his own _Te Deum_, when compared with that of his illustrious predecessor.

But it must in candour be admitted that the remarkable likeness between Purcell's "Te Deum," as it is now performed, and Handel's "Dettingen Te Deum," is greatly due to Dr. Boyce, who, being a thorough Handelian scholar, re-scored and re-arranged Purcell's work.

Queen Mary died on the 28th of December, 1694, and Purcell composed the music for her funeral, which took place the 5th of March following (1695), in Westminster Abbey. Purcell composed two anthems, to the words, "Blessed is the man that feareth the Lord," and "Thou knowest, Lord, the secrets of our hearts." Contemporary records speak in affecting terms of the solemnity of the occasion;--"the day was dark and troubled, and a few ghastly plumes of snow fell on the black plumes of the funeral car." The procession was attended by the two Houses of Parliament with their maces, "the Lords robed in scarlet and ermine, and the Commons in long black mantles;" the banners of England and France, Scotland and Ireland, were borne before the corpse. On the gorgeous coffin of purple and gold were laid the crown and sceptre of the realm. Inside the Abbey, the whole of the church, nave, choir, and transepts were all ablaze with innumerable waxlights; and a little robin-redbreast, who had found refuge from the inclement weather, constantly flew down and perched on the hearse, seeming to the spectators as if he, too, mourned for the Queen who had been so loved and was now so lamented. Of Purcell's music, Dr. Tudway, one of the choir on this occasion, says: "The anthem, 'Blessed is the man,' was composed after the old way, and was sung at the interment of Queen Mary in Westminster Abbey; a great Queen and extremely lamented, being there to be interred, everybody present was disposed and serious at so solemn a service, as indeed they ought to be at all parts of Divine worship. I appeal to all that were present, as well such as understood music, as those that did not, whether they ever heard anything so rapturously fine, and solemn, and so heavenly in the operation, which drew tears from all; and yet a plain natural composition, which shows the power of music, when 'tis rightly fitted and adapted to devotional purposes." The second anthem, "Thou knowest, Lord, the secrets of our hearts," Dr. Tudway says, "was accompanied by flat, mournful trumpets." This majestic movement is a splendid monument to the memory of Purcell. It has been used at every choral funeral in Westminster Abbey and St. Paul's Cathedral since its first production. Dr. Croft, who subsequently set the "Burial Office" to music, refrained from composing to these words, on the ground that the music of Purcell was unapproachable, and adds, that in composing his own music he had endeavoured, as near as possible, to "imitate that great master and celebrated composer, whose name will for ever stand high in the rank of those who have laboured to improve the English style, in his so happily adapting his compositions to English words in that elegant and judicious manner, as was unknown to many of his predecessors."

Queen Mary died of small-pox, and the memory of her goodness was felt so universally by the people that writers vied with each other in their endeavours to perpetuate records of her worth. I have now before me a volume containing thirty-six odes and monodies to her memory, all published in 1695. Amongst them are an "Epicedium," set to music by Dr. Blow, the words by Mr. Herbert; a Latin version of the same, commencing, "Incassum Lesbia," set to music by Henry Purcell, for a solo voice; and another beginning, "O dive custos auriacæ domus," also set to music by Purcell, for two voices.

Purcell was in a delicate state of health at the time of writing the music for Queen Mary's funeral, yet he seems to have worked with undiminished determination, composing music for the comedy, the _Canterbury Guest_, written by Ravenscroft; the _Mock Marriage_, a comedy by Scott; the _Rival Sisters_, a tragedy by Gould; _Oroonoko_, a tragedy by Southerne; the _Knight of Malta_, a play by Beaumont and Fletcher; and _Bonduca, or the British Heroine_, a tragedy adapted from Beaumont and Fletcher,--this play included the catch, "Jack, Thou'rt a Toper," the admirable duets, "To Arms," and "Britons Strike Home." Some of the music was printed on single sheets immediately after performance, but it remained for the "Musical Antiquarian Society" to issue in 1842 a complete copy of the score, edited by Dr. Rimbault.

Purcell also, on 24th July in this year, produced a "Birthday Ode" for the Duke of Gloucester. The ode commences, "Who can from joy refrain." It was written for solo voices and chorus with orchestral accompaniments. Among the principal singers at the first performance were Mr. Howell, Mr. Robert, and Mr. Damascene.

Purcell also wrote some music for D'Urfey's third part of _Don Quixote_. Amongst the pieces he contributed to this play was the celebrated cantata, "From Rosie Bowers." This song was frequently reprinted, and with the note that it was "The last song the Author sett, it being in his sickness." It is probable that D'Urfey had hoped to have had the advantage of Purcell's musical skill for the setting of all his verses in the third part of _Don Quixote_, but it would seem that Purcell was too ill to accomplish the work.

"From Rosie Bowers" was considered so important by D'Urfey that he published the music of the third part of _Don Quixote_ with the following title:--

"New Songs in the Third Part of the Comical History of _Don
Quixote_. Written by Mr. D'Urfey, and sung at the Theatre Royal.
With other new songs by Mr. D'Urfey. Being the last piece set
to musick by the late Famous Mr. Henry Purcell, Mr. Courtivill,
Mr. Akroy'd, and other eminent Masters of the Age. Engrav'd
on Copper-Plates. London, printed for Samuel Briscoe, at the
Corner-shop of Charles-street, in Russell-street, Covent Garden,
1696. Price Three Shillings. Where are also to be had, the First
and Second Parts of Mr. D'Urfey's Songs, set to musick by Mr. Henry
Purcell."[49]

In the year of the publication just named another song was printed, commencing, "Lovely Albina," with the heading, "The last Song that Mr. Henry Purcell sett before he dy'd." But a later edition says, "The last song the author sett before his sickness." There cannot be much doubt, therefore, that the air "From Rosie Bowers" was really Purcell's last work. D'Urfey's print and tradition agree in this.

And now we come to the last scene of all. It is the 21st of November, 1695,--by a curious coincidence the eve of the festival of St. Cecilia, a day so frequently celebrated by Purcell. In a house on the West side of Dean's Yard, Westminster, in a darkened chamber, the dying musician is lying on his couch in full possession of all his faculties, as he himself had just said in his will, but with a thorough knowledge that he was about to pass into the land of shadows. He could possibly hear some faint murmurs of the evensong service wafted from the old Abbey close by, perhaps some well-remembered phrase of one of his own soul-stirring anthems. The psalm of the day which would be chanted at that evening service concluded with words which he had set to music the world was not likely soon to forget--music which still remains unsurpassed in truthfulness and dignity. A more noble or a more fitting death-chant for a child of song it would be difficult to find:--

"Blessed be the Lord God of Israel,
From everlasting, and world without end.
And let all the people say, Amen."

By his bed-side were gathered his aged mother, his young wife, and his three infant children; and so amid their sighs and tears his gentle spirit passed into the better world, there to continue his service of song and praise in fulness and perfection.

That Purcell was sincerely loved and mourned by relations and friends we know, and the following testimony of tender regard will be read with interest. It is written on the fly-leaf of a copy of his opera _Dioclesian_:--[50]

Ex Dono Carissimi Desideratissimique Autoris HENRICI PURCELL
Musarum Sacerdotis: Qui Anno Domini 1695 Pridie Festi Sᵗᵃᵉ Cæcilæ
Multis Flebilis occidit, Nulli Flebilior quàm Amico suo atque
Admiratori JACOBO TALBOT.

_Translated thus_:

The gift of the most beloved and most distinguished author, HENRY
PURCELL, Priest of the Muses, who in the year of our Lord 1695, the
day before the feast of St. Cecilia, died with many tears, to none
more tearfully than to his friend and admirer, JACOB TALBOT.

Jacob Talbot was a Fellow of Trinity College, Cambridge, and the author of the words of an "Ode for the Consert at York Buildings, upon the death of Mr. Purcell," which will be found in the _Orpheus Britannicus_, 1698.

Purcell was buried on the 26th of November in Westminster Abbey, beneath the organ which had so often responded to his skilful touch. The anthems he had composed for Queen Mary's funeral only a few months before were again performed, so that Purcell had rehearsed and inaugurated his own dirge. Doubtless the remembrance of this would bring home to the mourners the intense pathos of the music with double force.

On the grave-stone the following lines were inscribed:

Plaudite, felices superi, tanto hospite; nostris
Præfuerat, vestris additur ille choris:
Invida nec vobis Purcellum terra reposcat,
Questa decus sedi deliciasque breves.
Tam cito decessisse, modos cui singula debet
Musa, prophana suos, religiosa suos,
Vivit, Io et vivat, dum vicina organa spirant,
Dumque colet numeris turba canora Deum.

_Translated thus_:

Applaud so great a guest, celestial pow'rs,
Who now resides with you, but once was ours;
Yet let invidious earth no more reclaim
Her short-lived fav'rite and her chiefest fame;
Complaining that so prematurely died
Good-nature's pleasure and devotion's pride.
Died? no, he lives, while yonder organs sound
And sacred echoes to the choir rebound.

Even in 1722 the inscription had become almost illegible from the wear of passing feet, and soon was entirely obliterated. The grave-stone remained in this condition until 1876, when, by the exertions of Mr. Henry F. Turle, son of the respected organist of the Abbey, a private subscription was made which provided funds for placing another stone and restoring the inscription. By permission of the Dean, the following lines were added:--

FRANCISCA
HENRICI PURCELL Uxor,
Cum conjuge sepulta est.
XIV. Feb. MDCCVI.

On the pillar adjacent to the grave there is a tablet with the inscription:--

Here lies Henry Purcell, Esq., who left this life, and is gone to
that blessed place where only his harmony can be exceeded. Obiit 21
mo die Novembris, anno ætates suæ 37ᵐᵒ. Annoq. Domini 1695.

This memorial was erected by the Lady Elizabeth Howard, whom Hawkins, and others, have supposed to have been the wife of Dryden, and a pupil of Purcell. Hawkins also inferred that it was Dryden who wrote the inscription for the memorial, and further, that the dedication of the _Orpheus Britannicus_ to Lady Elizabeth Howard was intended for Dryden's wife.

All these surmises are wrong. Dryden married Lady Elizabeth Howard, the eldest daughter of the Earl of Berkshire, in 1665, when Purcell was seven years old. Of course, after the marriage the wife ceased to be Lady Elizabeth _Howard_: moreover, her husband's (Dryden) means would scarcely have permitted the serious cost of Purcell's memorial tablet. This was in reality erected by the wife of Sir Robert Howard, the dramatist, who had been associated with Purcell in theatrical composition, and the lady had been a pupil of Purcell; the probability is, therefore, that Sir Robert wrote the inscription.

Purcell made his will on the day of his death; it is important, and reads as follows:--

"In the name of God, Amen. I, Henry Purcell, of the Citty of
Westminster, gent., being dangerously ill as to the constitution
of my body, but in good and perfect mind and memory (thanks be
to God), doe by these presents publish and declare this to be
my last Will and Testament. And I doe hereby give and bequeath
unto my loveing Wife, Frances Purcell, all my Estate both reall
and personall of what nature and kind soever, to her and to her
assigns for ever. And I doe hereby constitute and appoint my said
loveing Wife my sole Executrix of this my last Will and Testament,
revokeing all former Will or Wills. Witnesse my hand and seale this
twentieth first day of November, Annoq. Dni., One thousand six
hundred ninety-five, and in the seventh yeare of the Raigne of King
William the Third, &c.

"H. PURCELL.

"Signed, sealed, published, and declared by the said Henry Purcell
in the presence of Wm. Ecles, John Capelin.

"B. PETERS."

Purcell's widow was thus left sole executrix, and she with her children--Frances, aged 7, Edward, aged 6, and Mary Peters, aged 2 years--continued to reside for a time at the house in Great Dean's Yard, from whence, in 1696, Mrs. Purcell issued _A Choice Collection of Lessons for the Harpsichord or Spinnet, composed by the late Mr. Henry Purcell, Organist of his Majesties Chappel Royal, and of St. Peter's, Westminster_. Of this popular little work three editions were speedily exhausted. In 1697 Mrs. Purcell published a collection of _Ten Sonatas in four parts, composed by the late Mr. Henry Purcell_, and also _A Collection of Ayres, compos'd for the Theatre, and upon other occasions, by the late Mr. Henry Purcell_; and in 1698 a further publication of the first volume of _Orpheus Britannicus: A Collection of all the Choicest Songs for one, two, and three voices, compos'd by Mr. Henry Purcell; together with such Symphonies for Violins or Flutes as were by him design'd for any of them: and a thorough-bass to each song; figur'd for the Organ, Harpsichord, or Theorbolute. All which are placed in their several Keys according to the order of the Gamut._

To each of the above-mentioned works Mrs. Purcell prefixed dedicatory epistles, and in all of them she speaks in most affectionate terms of her deceased husband; nevertheless, the breath of slander in later years attributed to her some measure of responsibility for her husband's untimely death. Mrs. Purcell eventually removed from the house in Westminster to Richmond, in Surrey, where she died in February, 1706, and was buried on the 14th of that month with her deceased husband in Westminster Abbey, having survived him eleven years. On the 7th of February, 1706, she made a nuncupative will as she sat in the parlour of her dwelling house, by which she appointed Mr. Thomas Tovey her executor until her daughter, Frances Purcell, should reach the age of eighteen, when she was to be her executrix. Mrs. Purcell goes on to say that, "According to her husband's desire, she had given her deare son (Edward) a good education, and she alsoe did give him all the Bookes of Musicke in generall, the Organ, the double spinett, the single spinett, a silver tankard, a silver watch, two pair of gold buttons, a hair ring, a mourning ring of Dr. Busby's, a Larum clock, Mr. Edward Purcell's picture, handsome furniture for a room, and he was to be maintained until provided for. All the residue of her property she gave to her said daughter Frances."[51]

Sir John Hawkins, in his _History of Music_, would seem to suggest that Purcell left his family in distressed circumstances, but the will of the widow, of which he evidently knew nothing, gives a satisfactory refutation of such a surmise. Hawkins also charges Purcell with associating with tavern company; his words are:--

"Mirth and good humour seemed to have been habitual to him;
and this is perhaps the best excuse that can be made for those
connections and intimacies with Brown and others, which show him
not to have been very nice in the choice of his company. Brown
spent his life in taverns and ale-houses; the Hole in the Wall in
Baldwin's Gardens was the citadel in which he baffled the assaults
of creditors and bailiffs, at the same time that he attracted
thither such as thought his wit atoned for his profligacy. Purcell
seems to have been of that number, and to merit censure for having
prostituted his invention, by adapting music to some of the most
wretched ribaldry that was ever obtruded on the world for humour."

Hawkins goes on to say:--

"There is a tradition that his death was occasioned by a cold which
he caught in the night waiting for admittance to his own house.
It is said that he used to keep late hours, and that his wife had
given orders to his servants not to let him in after midnight;
unfortunately he came home heated with wine from the tavern at an
hour later than that prescribed him, and through the inclemency of
the air contracted a disorder of which he died. If this be true,
it reflects but little honour on Madam Purcell, for so she is
styled in the advertisements of his works; and but ill agrees with
those expressions of grief for her dear, lamented husband, which
she makes use of to Lady Howard in the dedication of the _Orpheus
Britannicus_. It seems probable that the disease of which he died
was rather a lingering than an acute one, perhaps a consumption."

We see from this, that Hawkins had some doubt as to the truth of the story, and his daughter writing in 1822,[52] respecting some aspersions which had been cast on her mother in reference to her treatment of her father, says, "Sir John Hawkins was not at home at all the sooner for his wife's fetching him. Mrs. Purcell, I should conjecture, had other modes of attracting Mr. Purcell; yet _perhaps the whole may have been as gross a falsification as that_ by which Lady Hawkins is vilified."

In a volume of poetry of glees published by Richard Clark in 1824, he improves the tale told by Hawkins, and boldly adds details. He prints the words of the catch, "Jack, thou'rt a toper."

"Jack, thou'rt a toper; let's have t'other quart.
Ring, we're so sober 'twere a shame to part;
None but a cuckold bully'd, by his wife
For coming late, fears a domestic strife;
I'm free, and so are you! to call and knock
Boldly, the watchman cries, 'Past two o'clock.'"

To these lines he appends the name of Tom Brown, and tells us that _Jack_ was intended for Dr. Blow, and that "Purcell appears to have spent much of his time with Tom Brown, who wrote the words of most of his catches." Purcell never set a single line of Brown's, and they were wholly unacquainted with each other, as may be learnt from the following verses written by Brown in June, 1693, two years before Purcell's death, "To his unknown friend, Mr. _H. Purcell_, upon his excellent compositions in the _Harmonia Sacra_."

"Long did dark Ignorance our Isle 'ore-spread,
Our Musick and our Poetry lay dead;
But the dull Malice of a barbarous age
Fell most severe on _David's_ sacred page:
To wound his Sense and quench his Heav'n born fire
Three vile Translators lewdly did conspire;
In holy Doggerel and low chiming Prose
The King and Poet they at once depose:
Vainly the unrighteous charge he did bemoan,
And languish'd in strange numbers, not his own.
Nor stopt his Usage here;
For what escap'd in Wisdom's ancient Rhimes
Was murder'd o're and o're in the Composer's Chimes.
What praises _Purcell_ to thy Skill are due,
Who hast to Judah's Monarch been so true?
By thee he moves our Hearts, by thee he reigns,
By thee shakes off the old inglorious Chains,
And sees new Honours done to his immortal strains.
Not _Italy_, the Mother of each Art,
Did e're a juster, happier Son impart.
In thy performance we with wonder find
_Corelli's_ genius to _Bassani's_ join'd.
Sweetness, combined with Majesty, prepares
To sing Devotion with inspiring airs.
Thus I, unknown, my Gratitude express
And conscious Gratitude could do no less.
This Tribute from each _British_ Muse is due;
The whole Poetic Tribe's obliged to you;
For when the Author's scanty Words have fail'd,
Thy happier Graces, _Purcell_, have prevail'd!
And surely none but you with equal ease,
Cou'd add to David, and make D'Urfy please."

The above lines were printed in the _Gentleman's Journal_ with an editorial note: "A music book intituled _Harmonia Sacra_ will shortly be printed for Mr. Playford. I need not say anything more to recommend it to you, than that you will find in it many of Mr. _Henry Purcell's_ admirable composures. As they charm all men, they are universally extolled, and even those who know him no otherwise than by his Notes are fond of expressing their sense of his merit. _Mr. Thomas Brown_ is one of those, as you will find by these lines."

The lines appeared in the several editions of _Harmonia Sacra_ even as late as 1714, and there is no ground for believing that the poet and musician ever met.

Dr. Arne gave a concert at Drury Lane Theatre on the 21st of June, 1768, for which he published a book of the words; and one of the pieces is Purcell's catch, "Jack, thou'rt a toper." To this Arne has appended the following note:--

"The words of this catch are said to be written by Mr. Purcell,
wherein, it is obvious, that he meant no elegance with regard to
the poetry; but made it intirely subservient to his extream pretty
design in the music."

The catch, as has been noticed previously, forms a part of the opera _Bonduca_.

When we consider the immense amount and varied kind of labour Purcell accomplished during his short life of thirty-seven years, we must conclude that although of a bright and joyous nature he was of temperate habits; he had not only his duties at Westminster Abbey and the Chapel Royal to fulfil, but there was also constant occupation in composing for the Church, the Court, and the Theatre; he had numerous professional pupils, and gave lessons in the families of some of the most distinguished gentry and aristocracy; he also was frequently called upon to preside over and direct the concerts which were given in private assemblies. The Lord Keeper North, well known for his theoretical and practical skill in music, and the author of the _Memoires of Musick_, was wont to employ him in that capacity at his house in Queen Street.

The position Purcell held in his profession necessitated his keeping late hours, which undoubtedly overtaxed a delicate constitution and culminated in his fatal illness in the prime of his manhood. Valuable testimony to this view of the circumstances attending Purcell's death is to be found in a curious volume called the _Great Abuse of Musick_, published in 1711 by the Rev. Arthur Bedford, Chaplain to the Duke of Bedford, and Vicar of the Temple in Bristol. The author, himself a musician and composer, was also the writer of a companion volume, _On the Evil and Danger of Stage Plays_, and in both books he vigorously exposes the vice and immorality prevalent in his day, and is justly severe on poets and musicians; therefore the passages in which he speaks of his contemporaries, Blow and Purcell, are of great importance. He says:--

"It must be confess'd, that whilst musick was chiefly employ'd
in the nation for the glory of God, God was pleas'd to shew his
approbation thereof by wonderfully improving the skill of the
composers, insomuch that I believe no Art was advanced from so
mean a beginning to so vast a height in so short a time as the
Science in the last century. Our musick began to equal that of the
Italians and to exceed all other. _Our Purcell was the delight of
the nation and the wonder of the world_, and the character of Dr.
Blow was but little inferior to him. But when we made not that use
thereof which we ought, it pleas'd God to shew his resentment, and
a stop to our progress by taking away our Purcell in the prime of
his age, and Dr. Blow soon after. We all lamented our misfortunes,
but never considered them as judgements for the abuse of this
science, so that instead of growing better we grew worse and worse.
Now, therefore, musick declines as fast as it did improve before."

This testimony respecting Purcell, from a contemporary, a distinguished divine and musician, ought surely to wipe out the preposterous stories of Purcell's cold-catching and low associations.

Valuable testimony to Purcell's high aims and laborious life is to be found in the MSS. written by Dr. Tudway for Edward, Lord Harley, and now deposited in the British Museum. Dr. Tudway was just two years older than Purcell, so that he entered the choir of the Chapel Royal first; he afterwards became a tenor singer in St. George's Chapel, Windsor, and in 1670 organist of King's College, Cambridge, where he afterwards took successively the degrees of Bachelor and Doctor in Music, and eventually became Professor of the University. He was also appointed "composer extraordinary" to Queen Anne. Writing of Purcell, his fellow-student, he says:--

"I knew him perfectly well. He had a most commendable ambition of
exceeding every one of his time, and he succeeded in it without
contradiction, there being none in England, nor anywhere else that
I know of, that could come in competition with him for compositions
of all kinds. Towards the latter end of his life he was prevailed
on to compose for the English stage. There was nothing that ever
had appeared in England like the representations he made of all
kinds, whether for pomp or solemnity, in his grand chorus, &c.,
or that exquisite piece called the freezing piece of musick; in
representing a mad couple, or country swains making love, or
indeed any other kind of musick whatever. But these are trifles
in comparison of the solemn pieces he made for the Church, in
which I will name but one, and that is his _Te Deum, &c._, with
instruments, a composition for skill and invention beyond what was
ever attempted in England before his time."

Evidence respecting Purcell's personal virtues and gifts is to be found in an ode printed at the commencement of the second volume of _Orpheus Britannicus_, 1702. The poem is too long to quote entire, but the following extracts will suffice:--

"Make room ye happy natures of the sky,
Room for a soul, all Love and Harmony;
A Soul that rose to such Perfection here,
It scarce will be advanced by being there.
Whether (to us by Transmigration given),
He once was an Inhabitant of Heav'n,
And form'd for Musick, with Diviner fire
Endu'd, compos'd, for the Celestial Choir;
Not for the Vulgar Race of Light to hear,
But on High-days to glad th' Immortal Ear.
So in some leisure hour was sent away,
(Their Hour is here a Life, a Thousand years their Day.)
And what th' Ætherial Musick was to show,
And teach the wonders of that Art below;
Whether this might not be, the Muse appeals
To his Composures, where such Magick dwells,
As rivals Heav'nly Skill, and human Pow'r excels.

* * * * *

Ah, most unworthy! shou'd we leave unsung
Such wondrous Goodness in a Life so young.
In spight of Practice, he this Truth hath shown,
That Harmony and Vertue shou'd be one.
So true to Nature, and so just to Wit,
His Musick was the very Sense you Writ.
Nor were his Beauties to his Art confin'd;
So justly were his Soul and Body join'd,
You'd think his Form the Product of his Mind.
A conqu'ring sweetness in his Visage dwelt,
His Eyes would warm, his Wit like lightning melt.
But those must no more be seen, and that no more be felt.
Pride was the sole aversion of his Eye,
Himself as Humble as his Art was High.
Oh! let him Heav'n (in Life so much ador'd)
Be now as universally Deplor'd!

* * * * *

There rest thy Ashes--but thy nobler name
Shall soar aloft and last as long as fame.
Nor shall thy Worth be to our Isle confin'd,
But flie and leave the lagging day behind.
_Rome_, that did once extend its arms so far,
Y'ave conquer'd in a nobler Art than War;
To its proud Sons but only Earth was giv'n,
But thou hast triumph'd both in Earth and Heav'n."

Purcell's friend and fellow-student, Henry Hall, organist of Hereford Cathedral, also printed an ode "To the Memory of my Dear Friend Mr. Henry Purcell," which concludes thus:--

"Hail! and for ever hail, Harmonious shade,
I lov'd thee living, and admire thee Dead.
Apollo's harp at once our souls did strike;
We learnt together, but not learnt alike:
Though equal care our Master might bestow,
Yet only Purcell e're shall equal Blow:
For thou by Heaven for wondrous things design'd
Left'st thy companion lagging far behind.
Sometimes a Hero in an age appears,
But once a Purcell in a Thousand Years."

It is clear that Purcell attained the highest pinnacle in the estimation of his countrymen;[53] but his fame was not confined to England. I have seen a MS. volume of music written by a contemporary musician, a native of France, and in it he designates Purcell as M. Pourselle. Roger of Amsterdam engraved and printed a set of his Sonatas; and the following anecdote is told in some of the biographies of Corelli:--

"While Corelli flourished with such _éclat_ at Rome, Harry Purcell was famous in England, and Corelli was so greatly affected with the character and abilities of this famous English musician, that, as fame reports, he declared him to be then the only thing worth seeing in England. Accordingly the great opinion he held of Purcell made him resolve to make a journey into this kingdom on purpose to visit him," but the journey was abandoned on hearing of Purcell's death.

Another version of the story makes Corelli start on his journey, but hearing of Purcell's death on shipboard, when nearing Dover, he returns immediately to Rome.

Purcell's secular music undoubtedly frequently suffered from the worthless trash he had to accept as poetry; too often it was not only devoid of literary merit, but still worse, indecent; that was, however, the fault of the age, and pervaded most of the dramatic literature then in vogue. Even the well-known and estimable Dean of Christ Church, Oxford, Dr. Aldrich, condescended to set music to such words as shame would not permit us to print at this day.

Tom D'Urfey was a notorious offender against good taste, and for him Purcell composed very largely.

"Oh! who can view without a tear
Great Pindar's muse and D'Urfey near?
Whose soaring wit ne'er higher flew
Than to endite for Barthol'mew,
Setting, for sots at country fairs,
Dull saucy songs to _Purcell's_ airs."[54]

D'Urfey's verses were so uncouth and irregular in their construction, that a writer of the last century said, "The modern Pindaric Odes which are humorously resembled to a comb with the teeth broken by frequent use are nothing to them." D'Urfey wrote some especially rugged lines which he challenged Purcell to set to music; the challenge was accepted and the composer triumphed, but he confessed that it cost him more trouble than the composition of a _Te Deum_. The ballad in question was called "The Parson among the Peas," and was printed with Purcell's music in D'Urfey's _Pills to Purge Melancholy_, 1719.

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: