THE GREAT MUSICIANS
PURCELL
The Great Musicians
_Edited by_ FRANCIS HUEFFER
PURCELL
BY WILLIAM H. CUMMINGS
LONDON
SAMPSON LOW, MARSTON, SEARLE, & RIVINGTON
CROWN BUILDINGS, 188, FLEET STREET
1881
[_All Rights Reserved_]
London:
R. CLAY, SONS, AND TAYLOR.
BREAD STREET HILL.
PREFACE.
The attempt to write a Life of Henry Purcell has been beset with many
difficulties. So much information which might have been preserved
for the instruction of after times has been lost, either through the
indifference or culpable neglect of those who had it in their power
to have placed on record details which would have been interesting.
Sir John Hawkins and Dr. Burney are particularly open to censure on
this head. They possessed many opportunities for gaining authentic
knowledge of facts and circumstances now lost for ever. In reading
their histories of music we cannot but feel regret that they neglected
to gather and garner the stores of Purcellian lore which were so
accessible to them, and which they could so easily have rescued from
oblivion.
Both Hawkins and Burney had a personal acquaintance with Leveridge,
the celebrated bass vocalist and actor, who had been on friendly terms
with Purcell, and could have solved many doubts which now perplex
the musical student. Leveridge could have supplied very interesting
details, which would have enriched the meagre narrations handed down to
us respecting the great English musician.
Hawkins was on most intimate terms with the Rev. William Gostling, a
minor canon of Canterbury Cathedral, and son of the "wondrous" bass of
Purcell's day. The Rev. William Gostling possessed a very extensive
library, rich in musical manuscripts, particularly those of Purcell.
Miss Hawkins says of him: "Adding his father's recollections to his
own, his knowledge of facts in the musical world reached back to the
time of King William and Queen Mary, and he talked of Purcell as we do
of Arne."
Hawkins not only corresponded with Gostling, but also frequently
visited him at Canterbury; and at his decease prepared the catalogue
for the sale by auction, in 1777, of his library. There can be little
doubt that Dr. Burney had also a personal acquaintance with the Rev.
W. Gostling. I possess a copy of the catalogue before mentioned, which
belonged to Burney, and in it he has noted the prices the various lots
fetched, himself being the purchaser of several.
Both Hawkins and Burney were well acquainted with Mr. Henry Needler, an
eminent musician and violinist, who had been a pupil of Purcell, and
resided near St. Clement's Church, in the Strand, where he died in 1760.
Among the mis-statements of Hawkins and Burney may be mentioned the one
which has been oft repeated, and caused endless trouble to biographers.
They agree in saying Purcell was elected organist of Westminster Abbey
at the age of eighteen. An examination of the Abbey records, which
Hawkins had access to, would have prevented the promulgation of this
error.
Other mis-statements will be dealt with in their proper place. Enough
has been said to show that the recognised musical historians are not
to be implicitly relied on when dealing with facts and dates.
My endeavour has been to follow an accurate chronological arrangement;
but I am fully sensible that perfection is impossible, and therefore I
shall be grateful for corrections of errors, or additional information
for future use.
My hope is that this little work may be the fore-runner of other
Purcell studies, in which it will be possible to give further details
respecting Purcell's ancestry, descendants, and family, and also to say
something more of his noteworthy contemporaries and pupils.
WILLIAM H. CUMMINGS.
PURCELL.
Music and poetry attained to a high state of cultivation in the
reign of Elizabeth; the Queen herself was an admirable performer
on the virginals, and by her example and authority did all that
was possible to elevate the art of music, and to encourage learned
musicians throughout her dominions. This happy condition of things
was continued by her successors, James I. and Charles I., but with
the establishment of the Commonwealth all music, both of church and
theatre, was rigidly suppressed. We read with horror and indignation of
the wanton destruction of church organs and other musical instruments,
and of the tearing and burning of the various Service-books which
had been in use in the cathedrals and collegiate establishments. At
Canterbury cathedral "the soldiers violated the monuments of the dead,
spoyled the organs, broke down the ancient rails and seats with the
brazen eagle which did support the Bible, forced open the cupboards
of the singing-men, rent some of their surplices, gowns, and Bibles,
and carryed away others, mangled all our Service-books and books of
Common Prayer, bestrewing the whole pavement with the leaves thereof."
At Rochester cathedral, Colonel Sands, hearing the organs, cryed,
"_A devil on those bag-pipes_," and "one of the rebels" discharged a
pistol at the head of Prebend Larken, who interposed and endeavoured to
prevent the spoliation of the cathedral. At Chichester cathedral, the
officers having sacked the plate and vestments, left the "destructive
and spoyling part to be finished by the common soldiers, who brake down
the organs, and dashing the pipes with their pole-axes, scoffingly
said, '_Hark how the organs go!_' They force open all the locks, either
of doors or desks wherein the singing-men laid up their Common Prayer
books, their singing-books, their gowns and surplesses; they rent the
books in pieces, and scatter the torn leaves all over the church, even
to the covering of the pavement." At Winchester "They enter the church
with colours flying, their drums beating, their matches fired, and that
all might have their part in so horrid an attempt, some of their troops
of horse also accompanied them in their march, and rode up through the
body of the church and quire until they came to the altar; there they
begin their work; they rudely pluck down the table and break the rail,
and afterwards carrying it to an ale-house they set it on fire, and in
that fire burnt the books of Common Prayer and all the singing-books
belonging to the Quire; they throw down the organ and break the stories
of the Old and New Testament curiously cut out in carved work. The
troopers ride through the streets in surplesses, carrying Common Prayer
books and some broken organ pipes."
In Westminster Abbey, in 1643, "Soldiers were quartered who brake down
the rail about the altar, and burnt it in the place where it stood;
they brake down the organ and pawned the pipes at several ale-houses
for pots of ale; they put on some of the singing-men's surplesses, and
in contempt of that canonical habit, ran up and down the church; he
that wore the surpless was the hare, the rest were the hounds."
It would be needless to add to these miserable stories; those who care
to read further on the subject, are referred to the quaint old book
_Mercurius Rusticus_, from whence the foregoing extracts have been
taken.
So complete was the destruction of church music-books, that examples of
the pre-Commonwealth time are now most rare.
Not only were the organs and music destroyed, but musicians, organists,
and singers were turned adrift, and had to seek precarious livelihoods
by teaching music to the few who cared or were willing to learn the
art, or else to escape starvation by adopting some less congenial
occupation than that for which they were fitted by nature and education.
If tradition may be relied on, the Protector, Cromwell, was himself a
lover of music, and not unwilling, when opportunity served, to assist
and befriend musicians.
Cromwell's secretary, the poet Milton, was no mean performer on the
organ, and being the son of an eminent composer,[1] would doubtless,
with his passionate love for music, be at all times ready to use his
sympathetic voice and counsel on behalf of any distressed and poor
musician who might petition the Protector for help or redress.
It is well known that the organ which stood in Magdalen College,
Oxford, was saved from destruction through the intervention of
Cromwell, who privately caused it to be removed to Hampton Court, where
it was placed in the great gallery, in order that he might have the
frequent pleasure of hearing it; and he also appointed as his organist
and music-master, at a salary of 100_l._ per annum, John Hingston, who
had been one of the musicians to Charles I. Cromwell was extremely
partial to the Latin _Motets_ composed by Richard Dering, and these
were performed on the organ by Hingston, who was assisted by his pupils
in the vocal parts. The interesting organ which must have often poured
forth its sweet sounds under the fingers of Milton, was, after the
Protector's death, returned to Magdalen College; but subsequently the
College authorities sold it, and it was removed to Tewkesbury Abbey,
where it now stands.
Anthony Wood, who lived during the Protectorate, tells the following
characteristic anecdote of Cromwell:--
"In October, 1659, James Quin, M.A., and one of the senior students
of Christ Church, a Middlesex man born, but son of Walter Quin,
of Dublin, died in a crazed condition. A. W. had some acquaintance
with him, and hath several times heard him sing, with great
admiration. His voice was a bass, and he had a great command of it.
'Twas very strong and exceeding _trouling_, but he wanted skill,
and could scarce sing in consort. He had been turned out of his
student's place by the visitors, but being well acquainted with
some great men of those times that loved music, they introduced him
into the company of Oliver Cromwell, the Protector, who loved a
good voice and instrumental music well. He heard him sing with very
great delight, liquored him with sack, and in conclusion, said:
'_Mr. Quin, you have done very well, what shall I do for you?_' To
which Quin made answer, with great compliments, of which he had
command, with a great grace, that '_Your Highness would be pleased
to restore him to his student's place_,' which he did accordingly,
and so kept it to his dying day."
It must not be forgotten that although during the Commonwealth
musicians found it difficult to earn their bread in consequence of the
prohibition of all public exhibition of their executive skill, yet many
of the learned and erudite musical treatises which have been handed
down to us were published at that time. From this we may be sure that
the musical predilections of Cromwell were regarded with secret hope
by the few musicians who were able privately to pursue their calling;
and indeed public signs were not wanting during the latter years of
the Protector's life, that had he been spared, the art of music would
probably have received more emphatic and distinct assistance at his
hands. In 1656 he granted a licence to Sir William Davenant to open
a kind of theatre[2] for "an entertainment in declamation and music
after the manner of the ancients;" and later on he licensed certain
theatrical performances at the Cockpit, in Drury Lane.
The extreme Puritan party did, however, so effectually destroy and
put down all Church music,[3] deeming organs and service-books
superstitious and ungodly, that at the Restoration, when the
authorities set about re-establishing musical services in the
cathedrals, it was impossible to find either instruments, books, or
singers necessary for the purpose; and, indeed, out of the large
musical establishment of Charles I., only three men--Dr. Wilson,
Christopher Gibbons, and Henry Lawes--came forward at the Restoration
to claim their former appointments.
We get a further insight into the condition of Church music at
the Restoration, from Matthew Locke's _Present Practice of Musick
Vindicated_, published in 1673, wherein he says, "For above a year
after the opening of His Majestie's Chappel, the orderers of the musick
there were necessitated to supply superior parts of the music with
cornets and men's feigned voices, there being not one lad for all that
time capable of singing his part readily."
An examination of the old MS. copies of anthems composed by the
organists and singing-men of the various cathedrals in the reign of
Charles II., shows that a dearth of singing-boys (trebles) was general
throughout the kingdom, the compositions being chiefly for men's voices
only.
From the preceding slight and brief sketch of the state of music during
the Commonwealth, it will be evident that the Puritan rule was most
unpropitious for the art; with its professors banned, and its public
performance well-nigh extinguished, music might perhaps have been
expected to have died an unnatural death; but heaven-born, it retained
a vital spark which needed only the breath of freedom and gentle
encouragement to foster it into a flame.
With the death of Cromwell, the sun of the Puritan world vanished, but
happily at the same time a new star in the musical firmament arose.
Cromwell died in 1658, at Whitehall, and in the same year, within a
bow-shot of the Palace, was born the favoured child of the muses,
destined to raise the musical fame of England to a height it had never
before attained, and by his beautiful creations to make for himself a
name of undying fame.
This welcome prodigy was Henry Purcell, his birth-place St. Ann's Lane,
Old Pye Street, Westminster. The precise day of his birth there is
unknown, but there is no doubt about the year 1658. Some remains of the
house are still standing. A sketch of it and the adjoining premises was
made on the 15th of April, 1845, by R. W. Withall.
The original drawing, of which a reduced copy is given, has the
following note:--
"Three ancient houses in Westminster; in the right-hand one of
which the great H. Purcell was born, 1658, and passed his early
life. They are now in the last state of ruin, and have long been
uninhabited. The houses adjoining that of Purcell are of modern
date, and project before the others, as well as encroach somewhat
on Purcell's doorway, hiding one side of the door-frame. Of the old
houses the windows and doorways are nearly all boarded up in the
roughest manner, under which, however, the original panelled doors
are still to be partly found. The houses are of old red brick. The
first door was the back way into the public-house called the 'Bell
and Fish,' kept by Mr. Oldsworth, who lost his licence. The second
door the entrance to the skittle-ground. The third was Purcell's
house."
[Illustration: PURCELL'S HOUSE.]
Purcell was named Henry after his father, a thoroughly competent and
efficient musician, of whom Pepys made this quaint entry in his diary
on the 21st of February, 1659:--
"After dinner I back to Westminster Hall with him (Mr. Crewe)
in his coach. Here I met with Mr. Lock and Pursell, masters of
musique, and with them to the Coffee House, into a room next the
water, by ourselves, where we spent an hour or two, till Captain
Taylor came and told us that the House had voted the gates of the
city to be made up again, and the members of the city that are
in prison to be set at liberty; and that Sir G. Booth's case be
brought into the House to-morrow. Here we had variety of brave
Italian and Spanish songs, and a canon for eight voices, which Mr.
Lock had lately made on these words, 'Domine salvum fac Regem,'--an
admirable thing. Here out of the window it was a most pleasant
sight to see the city from one end to the other with a glory about
it, so high was the light of the bonfires, and so thick round the
City; and the bells rang everywhere."
We may note here the intimacy which existed between Purcell's father
and Matthew Locke,[4] the celebrated composer, an intimacy and
friendship which was afterwards extended to the son.
Henry Purcell, senior, was a gentleman of the Chapel Royal, and in
that capacity sang in the choir at the coronation of Charles II.[5] He
was also elected a singing-man of Westminster Abbey, and master of the
chorister boys of that church; to these appointments he added that
of music copyist of Westminster Abbey, at that time a very honourable
and important position, in consequence of the wholesale destruction of
Service-books which had taken place during the Commonwealth.
A very interesting official document, now preserved in the British
Museum, of which the following is a copy, gives us information
respecting the appointments held by Henry Purcell, the father, in
Westminster Abbey:--
"Accounts of Richard Busby, D.D., 1664. The money computed by John
Needham (Gent.) receiver of the college.
"Cantator in choro Henry Purcell £8 and 40_s._
In ʳᵉ chorist Henry Purcell £10.
Cantator in choro per stipend et regard--
John Harding, Christopher Chapman,
Henry Purcell, Edwd. Braddock,
William Hutton, Owen Adamson,
Thomas Hughes, Peter Amblett, Thomas Shorter,
Thomas Condy, Thomas Finnell--each £8 and 40_s._
"Choristicus--
Et in denariis solutis Henry Purcell,
Pro datum chorist ad--lxviˢ viyᵈ
Intoto hoc anno xxxiy£ viˢ viyᵈ.
Ac etiam et contess Henᵒ Purcell, pro
Chorist. xx£.
Organista Chr. Gibbons £10.
"To Mr. Chaunter for nine Holly days--
On All Saints day 39_s._ }
The first of November " }
Christmas day " }
Epiphany " } £ _s._
Candlemas day " } 8 12
Lady day " }
Easter day " }
Whitson day " }
St. Peter's day " }
"To George Dalham, for tuning the organ this year, 40_s._[6]
"To John Hill,[7] for playing on the cornett in the church this
year, £4.
"To the organist for rent of his house, £8.
"Given to the organist[8] out of the rents at the taking of his
degree, £5.
"Given by order to the christened Turke--nil.[9]
"Jan. 11, 1664--"J. DOLBEN, _Decanus_.
WAL. JONES, _Sub Decanus_.
H. KILLIGREW.
S. BOLTON.
CHARLES GIBBES.
ROBT. SOUTH.
RIC. PERRINCHIEF."
In addition to the before-mentioned appointments at the Chapel Royal
and Westminster Abbey held by Purcell, senior, we find that he was also
a member of the Royal band. The old cheque-book of the Chapel Royal in
recording his death places the matter beyond doubt:--
"These are to certify that Mr. Henry Purcell, who succeeded Segnor
Angello in his place of the private musicke; that the said Mr.
Henry Purcell took possession of his place in the year 1663, upon
St. Thomas's day; deceased the 11th August, 1664. These are to
certifye the death of Mr. Henry Purcell.
"HENRY COOKE.
THO. PURCELL.
ALPHONSO MARSH.
GREGORY THORNDALE.
EDWARD COLMAN."
It is clear from the foregoing account of the numerous important
musical posts which the father held, that he was a man of considerable
ability, and fully equal to the task of guiding and fostering the
musical predilections of his infant son; and there can be no doubt that
Henry Purcell received his earliest instructions in the art of music
from his father. When the latter died he was buried in the cloisters of
Westminster Abbey; his age has not been ascertained, but presumably he
was but a young man--perhaps he was naturally weak in constitution--and
from him the boy Henry may have inherited the seeds of consumption.
The elder Purcell died in 1664, at which time the young Henry was just
six years old, and with his natural genius he had doubtless already
acquired some considerable skill in music. It is certain that he was
immediately admitted as a chorister of the Chapel Royal. Happily for
him he had been left by his father to the guardianship of his uncle
Thomas Purcell, who most warmly and affectionately endeavoured to
supply the place of the lost parent by adopting the orphan as his own
son.
Thomas Purcell's abilities and professional qualifications well fitted
him for the task which had fallen to his lot. He was a gentleman of
the Chapel Royal and had been associated with his brother Henry at
the coronation of Charles II.; he must have been held in high favour
and regard by the king, for court appointments in various musical
capacities fell to him in rapid succession. Amongst other honourable
positions we find him holding the post of lutenist as described in the
following warrant:--
"Charles R., by the Grace of God, &c., to our trusty and
well-beloved Sr Edward Griffin, Knight, Treasurer of our Chamber,
&c. Whereas wee have made choice of Thomas Purcell to serve us in
the office and place of one of our musitians in ordinary for the
lute and voyce, in the roome of Henry Lawes, deceased, and for this
service and attendance in that place, are pleased to allow him
the wages and livery of six-and-thirty pounds two shillings and
sixpence by the year during his life. Our will and pleasure is, and
We do hereby will and command you to pay, or cause to be paid, unto
the said Thomas Purcell or his assigns, the said wages and livery,
&c. The first payment to commence and begin from the birth of our
Lord, next ensuing the date hereof, and to continue the same during
the natural life of him, the said Thomas Purcell. Given the 29th of
November, in the 14th year of our reign (1662).
"Ex. pr. WARWICK."
In 1672 Thomas Purcell was appointed a "composer in ordinary for the
violins" in conjunction with Pelham Humphries, the warrant which is
extremely curious runs thus:--
"Charles R., by the Grace of God, &c., to our trusty and
well-beloved Sir Edward Griffin, Knight, Treasurer of our Chamber,
now being, &c. Whereas we have been pleased to take into our
service as Composer in Ordinary for the Violins, Thomas Purcell and
Pelham Humphreys, Gents., in the room of George Hudson, deceased,
and for their entertainments in consideration of services done,
and to be done, unto us, we have given and granted, and by these
presents do for us and Our Heirs and Successors, Wee do give and
grant unto the said Thomas Purcell and Pelham Humphreys for their
wages and fee, the sum of fifty-two pounds fifteen shillings and
tenpence, by the year, during their natural lives, and the life of
the longer liver of them, the first payment to commence from the
feast of St. Michael the Archangel, 1672. Given under our Signet at
our Palace of Westminster, the Eighth day of August, in the year of
our Lord God, One thousand six hundred and seventy-two (1672).
"Ex. JOHN NICOLAS."
Thomas Purcell and Pelham Humphries were also associated as masters of
the King's band of "four-and-twenty fiddlers;" but Purcell was chief
and leader, either by virtue of seniority or special appointment.
A curious document in Thomas Purcell's autograph is preserved by the
"Royal Society of Musicians," which gives the names of the gentlemen of
the band and other interesting particulars; it reads as follows:--
"The names of the Genᵗ of his Maᵗᴵᵉˢ Private Musick who are to
attend his Maᵗᴵᵉ at Windsor paid out the Excheker:
£ _s._ _d._
Tho. Mr. Purcell } 200 0 0
Pelham Mr. Humphreys }
Joᴺ. Mr. Hardinge 40 0 0
Wᵐ. Mr. Howes 46 10 10
Tho. Mr. Blagrave, Seigʳ. 40 9 2
Alphonso Mr. March 40 0 0
Joᴺ. Mr. Goodgroome 40 0 0
Nat. Mr. Wattkins 40 0 0
Math. Mr. Lock 40 0 0
Joᴺ. Mr. Clayton 152 13 4
Isaac Mr. Stagins, Seigʳ. 46 10 10
Nich. Mr. Stagings, Junʳ. 46 10 10
Tho. Mr. Battes 90 0 0
John Mr. Lilly 40 0 0
Hen. Mr. Gregory 60 0 0
Theophilus Mr. Hills 46 10 10
Henry Mr. Madge 86 12 8
John Mr. Gombell 46 10 10
Richᵈ. Mr. Dorney 20 0 0
Joᴺ. Mr. Banister, Seigʳ. 100 0 0
Phil. Mr. Beckett 60 2 6
Roᵇ. Mr. Blagrave, Junʳ. 58 14 2
John Mr. Singleton 46 10 10
Robt. Mr. Strange 46 10 10
--------------
"15 May, 1674. These 24 Gent. of his Maᵗᴵᵉˢ private musick are to
attend at Windsore. "T. PURCELL."
In the original of the foregoing document the Christian names were
evidently prefixed after the list had been written out; the spelling of
the surnames is curious; Stagins, father and son are spelt differently;
another proof, if it were required, of the utter indifference to such
matters at that period.
Pepys in his Diary (Dec. 19, 1666) made an entry that "many of the
musique are ready to starve, they being five years behindhand for their
wages." This irregularity of payment of the "King's musique" seems to
have continued, for we find in the accounts of the "Treasurer of the
Chamber," the following record:--
"Paid to Thomas Pursell at xxᴸᴵ pr. ann. for Wages, and
xvjᴸᴵ ijˢ vjᵈ pr. ann. for a Livery, due for fower yeares
and 3 quarters ended at Mic'mas, 1672.
clxxjᴸᴵ xjˢ xᵈ ob."
Thomas Purcell was evidently a popular man, and on the 24th of June,
1672, he was elected "Marshall of the Corporation of Musique in
Westminster," in room of Captain Cooke,[10] who resigned "by reason
of sicknesse." Two years later he received another court appointment
from the King; a state paper preserved in the Record Office tells us
that he succeeded "John Wilson, deceased, to hold during His Majesty's
pleasure, with the fee of £20 per annum, payable quarterly out of the
Exchequer, to commence 25th March, 1674," subscribed by warrant from
the Earl of Burlington, Master of His Majesty's Household.
Another warrant under the signet gives an order to the treasurer of
the chamber for the time being, "to pay unto Thomas Purcell (one of
His Majesty's Musicians in Ordinary, in the place of Dr. John Wilson,
deceased), the wages and fee of £20 by the day, and £16 2_s._ 6_d._
yearly for a livery, payable quarterly, from Lady-day 1674, and to
continue during His Majesty's pleasure."
Thomas Purcell lived till 1682, so that he had the satisfaction of
witnessing the extraordinary development of his nephew's genius, and
could also rejoice to see the general recognition of his merits, and of
the honourable rewards he was so rapidly acquiring. When, at last, full
of years and honours, Thomas departed this life, he was buried near his
brother in the cloisters of Westminster Abbey. We seek in vain for the
musical compositions of either Henry (the elder) or of Thomas: with the
exception of a few chants in common use in our cathedrals, nothing of
their work remains to us.
When Henry Purcell, the younger, became a chorister in the Chapel Royal
at six years of age, the master of the boys was Captain Henry Cooke, an
old musician, who had belonged to the chapel of Charles I., but who, on
the breaking out of civil war, had laid aside the peaceful art of music
to engage in the rough dissonances of battle and strife, and changed
his service from that of a Royal musician to become a Royalist soldier.
In the latter capacity he won a captain's commission, and possibly it
was not less as a reward for his devotion and bravery on behalf of his
king than as a recognition of his musical ability that Charles II.
appointed him "Master of the Children of the Chapel." That he was well
qualified for the post can be shown by reference to the opinions of
his contemporaries, and also to the numerous compositions of his still
extant in manuscript.
Pepys' Diary contains frequent reference to Cooke, and his
compositions:--
"After sermon a brave anthem of Captain Cooke's which he himself
sang, and the king was well pleased with it." (Aug. 12, 1660.)
"A poor dry sermon, but a very good anthem of Captain Cooke's
afterwards." (Oct. 7, 1660.)
"To Whitehall Chapel with Mr. Childe, and there did hear Captain
Cooke and his boys make trial of an anthem against to-morrow, which
was brave musique." (Feb. 23, 1661.)
"Captain Cooke, Mr. Gibbons, and others of the king's musicians,
were come to present my Lord with some songs and symphonys, which
were performed very finely." (May 19, 1661.)
"After dinner Mr. Townsend was called upon by Captain Cooke; so we
three went to a taverne hard by, and there he did give us a song or
two, and without doubt he hath the best manner of singing in the
world." (July 27, 1661.)
"To Whitehall Chapel, where sermon almost done, and I heard Captain
Cooke's new musique. This the first day of having vialls and other
instruments to play a symphony between every verse of the anthems,
but the musique more full than it was last Sunday, and very fine it
is. But yet I could discerne Captain Cooke to overdo his part at
singing, which I never did before." (September 14, 1662.)
"We had an excellent anthem sung by Captain Cooke and another, and
brave musique.... After dinner to chappel again, and there had
another anthem of Captain Cooke's." (May 18, 1662.)
"A most excellent anthem with symphonys between, sung by Captain
Cooke." (Sept. 7, 1662.)
"Captain Cooke, and his two boys, did sing some Italian songs
which, I must in a word say, I think was fully the best musique
that I ever yet heard in all my life." (Dec. 21, 1663.)
Cooke composed a considerable number of pieces of music for various
royal and festal occasions; one curious hymn for a ceremony in
connection with a festival service of the Knights of the Garter at
Windsor was accompanied by "two double sackbuts and two double courtals
placed at convenient distances among the classes of the gentlemen
of both choirs, to the end that all might distinctly hear, and
consequently keep together both in time and tune; for one sackbut and
courtal was placed before the four petty canons who begun the hymn, and
the other two immediately before the prebends of the college."
Captain Cooke's services were frequently required on the stage,[11] and
with his many accomplishments there is no great wonder that he became
conceited. Pepys, from whom so many quotations have already been made,
wrote: "A vain coxcomb he is, though he sings so well;" and this charge
of vanity is supported by other evidence. A contemporary historian
says: "Captain Cooke was the best musician of his time till Mr. Pelham
Humphreys, one of the children of the chapel educated by himself, began
to rival him, after which he died with great discontent."[12]
Cooke was buried in the cloisters of Westminster Abbey in July, 1672.
During the years that he was master of the children of the chapel
he had as pupils many who won for themselves distinguished names as
musicians, amongst them notably Pelham Humphreys, Wise, Blow, Turner,
and Purcell.
Purcell profited by Captain Cooke's instructions for a period of eight
years--from the age of six to that of fourteen, a very important time
in the life of a clever boy. Historians seem to have forgotten this
fact, and have been disposed to credit the whole of Purcell's musical
education to Pelham Humphreys or to Dr. Blow.
During these early years Purcell had already put forth specimens of his
talent for musical composition. In 1667 Playford published a little
three-part song entitled, "Sweet Tyraness, I now resign," which Dr.
Burney has included in his history under the supposition that it was
composed by Purcell's father; but there is reason to believe that it
was the composition of the boy who, at the date of publication, was
nine years of age. Possibly the music was originally intended as an
air or song for a single voice, as we find it published in this form
in 1678, in a work called _New Ayres and Dialogues_. This collection
contained five other songs by Henry Purcell.
When Purcell was eleven years old, he essayed his powers in the
composition of music for a piece called "The Address of the Children
of the Chapel Royal to the King, and their Master, Captain Cooke, on
his Majesties Birthday, A.D. 1670, composed by Master Purcell, one of
the Children of the said Chapel."[13] It is also probable that in this
youthful time Purcell composed the music to _Macbeth_, now commonly
associated with the name of Matthew Locke. That the latter did compose
music for _Macbeth_ is certain, as some of it is still in existence,
but it does not bear the slightest resemblance to that popularly known
as his. In favour of Purcell, it may be noted that the _Macbeth_ music
has many Purcell-like touches; that a copy of the score in Purcell's
youthful hand is in existence;[14] that many old MS. copies of the
music have his name attached as composer; and that he was entitled to
the credit of it was believed by Dr. William Hayes, Dr. Philip Hayes,
Dr. Arnold, and many other eminent musicians.
The music itself is clearly an elaboration and development of a series
of short movements composed by Robert Johnson for Middleton's play of
_The Witch_.[15]
It must not be forgotten that many of Purcell's anthems now in use
in our cathedrals were the product of his youthful pen and genius
whilst he was still a pupil of Cooke. Captain Cooke, the soldier
musician, died, as previously stated, in 1672, and was succeeded in
his appointment as "Master of the Children of the Chapel" by one whose
nature, genius, and scientific knowledge of music must have stimulated
and excited in a special manner the dawning powers of the youthful
musical company committed to his charge, and the force of whose example
must have proved of the greatest service to Purcell. This man was
Pelham Humphreys;[16] he had been educated in the Chapel Royal under
Captain Cooke, where his abilities and his personal attractions made
a strong impression on Charles II. In Nov., 1663, Pepys made the
following entry in his Diary: "The anthem was good after sermon, being
the fifty-first psalme, made for five voices, by one of Captain Cooke's
boys--a pretty boy. And they say there are four or five of them that
can do as much. And here I first perceived that the king is musicall,
and kept good time with his hand all along the anthem."
The _pretty boy_ was undoubtedly Pelham Humphreys. Clifford's book of
anthems, published in 1664, the year after the incident just recorded,
contains the words of five anthems, "composed by Pelham Humphrey, one
of the Children of His Majesties Chappel;" and in Boyce's _Cathedral
Music_ we find Humphreys' anthem, "Have mercy upon me," the words of
which are taken from the fifty-first psalm. There can be little doubt,
therefore, that this was the very anthem heard and approved by Pepys.
In 1664 the king sent Humphreys to Paris,[17] to study under Lully;
and he also probably went to Italy. During his absence the king gave
him an appointment as one of the Gentlemen of the Chapel Royal; and on
his return to London in October, 1667, he was "sworn in" to the place.
He speedily produced several new compositions, sacred and secular, by
command of the king.
Pepys' entry in his Diary for November 15, 1667, is very quaint. He
says, "Home, and there find, as I expected, Mr. Cæsar and little Pelham
Humphreys, lately returned from France, and is an absolute Monsieur,
as full of form and confidence and vanity, and disparages everything
and everybody's skill but his own. But to hear how he laughs at all the
king's musick here, at Blagrave and others, that they cannot keep time
or tune, nor understand anything: and at Grebus,[18] the Frenchman, the
king's master of musick, how he understands nothing, nor can play on
any instrument, and so cannot compose: and that he will give him a lift
out of his place, and that he and the king are mighty great." On the
following day, the 16th, Pepys notes that there was a performance of
Pelham Humphreys' musick given before the king at Whitehall.
That Humphreys was an admirable musician, possessed of uncommon
genius, is easily discernible from the numerous compositions of his
which have come down to us. He took as his models Lulli and Carissimi;
but fortunately Purcell's genius was stronger and more emphatic than
that of his master: had it been otherwise he would have become a mere
copyist; but, as we shall hereafter see, Purcell looked to Italy for
good musical models, and was not afraid to express his dislike to the
frivolity of the French school.
There exists a very interesting manuscript anthem in Purcell's
handwriting, which was originally composed by Humphreys, but
afterwards altered and improved by Purcell.
Poor Humphreys had but a short career, or we may be sure he would have
accomplished greater things than he did. Two years before he died he
married a very beautiful lady, who followed him to his grave in the
cloisters of Westminster Abbey in 1674, he being only twenty-seven
years of age.
Purcell was then sixteen years old, and his boy-soprano voice must
have been near its breaking--perhaps it had already departed. It was,
however, the good custom of the period to retain as supernumeraries
of the King's Chapel any of the old boys who gave evidence of musical
ability. In 1666 we find "Hen. Cooke, Thomas Purcell, and other
Gentlemen of the Chapel Royal, petition on behalf of themselves, the
pages of the chapel, and _boys whose voices have changed_, for payment,
there being no money assigned to the treasurer of the chamber for those
purposes."
Purcell therefore continued attached to the Chapel Royal, and became a
pupil of Dr. John Blow, the successor to Pelham Humphreys, as "Master
of the Children." That Purcell studied under Blow is certain from
the inscription on Blow's monument in Westminster Abbey, where it is
stated that he was "master to the famous Henry Purcell." Blow was
undoubtedly the very master Purcell then needed, for he was eminent
for his goodness, amiability, and moral character, and combined with
those excellent qualities all the learning and experience of a sound
musician. His compositions are remarkable for their melodies and the
boldness of their harmonical progressions.[19] He held appointments
at the Chapel Royal, Westminster Abbey, St. Paul's Cathedral, and St.
Margaret's, Westminster; and it speaks strongly for his singleness
of heart, and the total absence of envy and jealousy in his nature,
that recognising and proclaiming the remarkable abilities of his
pupils, Purcell and Jeremiah Clarke, he resigned his appointments at
Westminster Abbey and St. Paul's Cathedral, in order that they might
occupy those prominent and advantageous positions. This estimable man,
Blow, survived his dear friend and pupil, Purcell, some years, and so
became his successor at Westminster Abbey, and was eventually laid in
a grave close to him, nearly beneath the organ where they had so often
discoursed sweet music together.
That Blow fully estimated the genius of his pupil Purcell, there
can be no doubt, since many manuscript copies of the compositions
of the latter exist in the handwriting of Blow. Probably it was at
the suggestion of Blow that Purcell was appointed _copyist_[20] to
Westminster Abbey in 1676. He succeeded the Rev. Stephen Byng, one of
the minor canons, who probably resigned the post, as he did not die
till 1681. Purcell was eighteen years of age when he became copyist of
Westminster Abbey; hence arose the mistake made by Burney and Hawkins,
and constantly repeated on their authority, that Purcell was appointed
_organist_ of Westminster Abbey at eighteen. The office of copyist he
held for two years only.
Mention has previously been made of the music to _Macbeth_ as the
composition of Purcell; probably the recognition of the excellence and
effectiveness of this work induced the managers of the theatres to give
him further employment; for in 1676 we find him composing music for at
least three plays--Shadwell's _Epsom-Wells_, Dryden's _Aurenge-Zebe_,
and Shadwell's _Libertine_. The latter contains a four-part chorus,
"In these delightful, pleasant groves," still popular with choral
societies. The whole of the music of _The Libertine_ is very bold, and
would be an interesting work to revive for its merits; it is further
curious from the fact that the libretto is founded on the same story
which was long years afterwards adopted by Mozart for his opera, _Don
Giovanni_. In 1677 Purcell wrote the music for Mrs. Behn's tragedy,
_Abdelazor_, and also the music, solo and chorus, of an ode "On the
death of his Worthy Friend, Mr. Matthew Locke, musick composer in
ordinary to His Majesty, and Organist of Her Majesties Chappel, who
Dyed in August 1677." The words of the ode are as follow:--
"What hope for us remains now he is gone?
He that knew all the power of numbers flown;
Alas! too soon; even he
Whose skilful harmony
Had charms for all the ills that we endure,
And could apply a certain cure.
From pointed griefs he'd take the pain away;
Even ill nature did his lyre obey,
And in kind thoughts his artful hand repay:
His layes to anger and to war could move,
Then calm the tempest they had raised with love,
And with soft sounds to gentle thoughts incline,
No passion reign'd, where he did not combine.
He knew such mystic touches, that in death
Could cure the fear, or stop the parting breath:
And if to die had been his fear
Or life his care,
He with his lyre could call,
And could unite his spirits to the fight,
And vanquish Death in his own field of night.
Pleased with some powerful Hallelujah
He, wrapp'd in the joys of his own harmonie,
Sung on, and flew up to the Deitie."
Of the intimacy which existed between Locke and the Purcell family we
had some indication in the paragraph previously quoted from Pepys,
where he spoke of Purcell's father; and that the son was on similarly
friendly terms with Locke is certain. Locke lived in the Savoy, and
from thence he penned the following letter[21] to Purcell:--
"DEAR HARRY,--Some of the gentlemen of His Majesties musick will
honor my poor lodgings with their company this evening, and I
would have you come and join them: bring with thee, Harry, thy
last anthem, and also the canon we tried over together at our last
meeting. Thine in all kindness,
"M. LOCKE.
"_Savoy, March 16._"
In 1678 Purcell resigned his appointment of _Copyist_ at Westminster
Abbey,[22] doubtless that he might devote more time to study and
composition. In this year he produced the fine music for the masque in
Shadwell's mutilation of Shakespeare's _Timon of Athens_.
In 1679 Purcell does not appear to have composed music for the
theatres, but that he was deeply engrossed in his favourite occupation
appears from the following very curious letter, now printed for the
first time:--
"This ffor Mr. John Gostling, Chaunter of yᵉ quire of Canterbury
Cathedral. London yᵉ 8th of ffeb. 9/78.
"Sir, I have reᵉᵈ yᵉ favor of yours of yᵉ 4th with yᵉ
inclosed for my sonne Henry: I am sorry wee are like to be
without you soe long as yours mentions: but 'tis very likely you
may have a summons to appeare among us sooner than you imagine:
for my sonne is composing wherin you will be chiefly concern'd.
However, your occasions and tyes where you are must be considered
and your conveniences ever complyde withall: in yᵉ meantime assure
yourself I shall be carefull of your concern's heir by minding and
refreshing our master's memory of his Gratious promis when there is
occasion. My wife returns thanks for yᵉ compliment with her servis:
and pray yᵉ give both our respects and humble services to Dr. Belk
and his Lady, and beleeve ever that I am, Sir, your affectionate
and humble servant,
"T. PURCELL.
"Dr. Perce is in toune but I have not seen him since. I have
perform'd yᵉ compliments to Dr. Blow, Will Turner, etc.
"F faut: and E lamy are preparing for you."[23]
The Rev. John Gostling, M.A., to whom the letter is addressed, was at
the time a Minor Canon of Canterbury Cathedral, and was celebrated
for the quality and extraordinary compass of his bass voice. It was
especially for him that most of the bass solos in Purcell's anthems
were written. Evelyn, in his Diary (January 1685,) speaks of that
"stupendous bass, Gosling" singing before his Majesty and the Duke.
We learn from the above interesting letter that Thomas Purcell called
Henry his _son_, and we can estimate his influence with his master,
Charles the Second, by the successful way in which he evidently
refreshed the king's memory; for only a few days after the letter was
written the "Gratious promis" was fulfilled by appointing Gosling to
the Chapel Royal. On the 25th of February, 9/78, Mr. John Gosling was
sworn "Gentleman of his Maᵗᴵᵉˢ Chappel extraordinary," which means that
his was a special or supernumerary appointment; but a vacancy in the
regular staff of the Chapel occurred almost immediately, and we find
the following entry in the cheque-book: "Mr. William Tucker, gent., of
his Maᵗᴵᵉˢ Chappell Royal, departed this life the 28th day of February,
1678,[24] in whose place was admitted in ordinary Mr. John Gostling, a
base from Canterbury, Master of Arts."
The postscript to the letter read in connection with the previous
paragraph "my sonne is composing wherin you will be chiefly concern'd"
is clearly a jocose reference to Gostling's exceptionally low voice.
Purcell not only wrote double F (F faut) and double E (E lamy) for
him, as in the anthem, "Behold I bring you glad tidings," but in
another anthem commencing, "They that go down to the sea in ships," he
carried the bass solo part down to double D.
The history of the composition of the latter anthem is somewhat
remarkable:--
"Charles the Second had given orders for building a yacht, which
as soon as it was finished he named the _Fubbs_, in honour of
the Duchess of Portsmouth, who, we may suppose, was in her
person rather full and plump. The sculptors and painters apply
this epithet to children, and say, for instance, of the boys of
Flammengo, that they are fubby. Soon after the vessel was launched
the King made a party to sail in the yacht down the river and round
the Kentish coast; and to keep up the mirth and good humour of the
company Mr. Gostling was requested to be of the number. They had
got as low as the North Foreland, when a violent storm arose, in
which the King and the Duke of York were necessitated, in order to
preserve the vessel, to hand the sails and work like common seamen.
By good providence, however, they escaped to land: but the distress
they were in made an impression on the mind of Mr. Gostling which
was never effaced. Struck with a just sense of the deliverance,
and the horror of the scene which he had but lately viewed, upon
his return to London he selected from the Psalms those passages
which declare the wonders and terrors of the deep and gave them
to Purcell to compose as an anthem, which he did, adapting it so
peculiarly to the compass of Mr. Gostling's voice, which was a deep
bass, that hardly any person but himself was then, or has since,
been able to sing it; but the King did not live to hear it."
Charles the Second became extremely partial to the singing of
Gostling, and was heard to say, "You may talk as much as you please
of your nightingales, but I have a _gosling_ who excels them all."
At another time he presented Gostling with a silver egg filled with
guineas, saying, "He had heard eggs were good for the voice."
Gostling was a devoted admirer of, and a performer on, the _viol da
gamba_, an instrument which Purcell detested. We can therefore readily
imagine that his musical susceptibilities were frequently severely
taxed by the persistent practice of his friend. He accordingly composed
a round for three voices to the following words,[25] which he presented
to Gostling:--
"Of all the instruments that are,
None with the viol can compare.
Mark how the strings their order keep
With a whet, whet, whet, and a sweep, sweep, sweep.
But above all this still abounds
With a zingle, zingle, zing, and a zit zan zounds."
In 1680 Dr. Blow magnanimously resigned the appointment of organist of
Westminster Abbey in favour of Purcell,[26] who thus became possessed
of one of the most distinguished musical positions in the kingdom at
the early age of twenty-two.
In the same year Purcell composed the music for Lee's tragedy,
_Theodosius, or the Force of Love_. It was performed at the Duke's
Theatre, and the music of the songs was soon after published by Bently
as an Appendix to the play. He also wrote music for D'Urfey's comedy,
_The Virtuous Wife_, and two odes, the first, addressed to the Duke of
York, entitled "An Ode or Welcome Song for his Royal Highness on his
Return from Scotland," and the second called "A Song to Welcome Home
His Majesty from Windsor."
But the most remarkable work of Purcell in this year (1680) was the
composition of the opera _Dido and Æneas_, usually ascribed to his
seventeenth year, 1675, a complete mistake. An original copy of the
libretto still exists, with the following title, "An Opera performed at
Mr. Josias Priest's Boarding-school at Chelsey, by young gentlewomen,
the words made by Mr. Nat. Tate. The musick composed by Mr. Henry
Purcell."