in D'Urfey's _New Poems_, 1690, "An Epilogue to the Opera of _Dido and
Æneas_, performed at Mr. Priest's Boarding-school at Chelsey: spoken
by the Lady Dorothy Burk." We know that Priest removed to Chelsey
in 1680 by an advertisement in the _London Gazette_, November 25th,
1680: "Josias Priest, dancing-master, who kept a boarding-school of
gentlewomen in Leicester-fields, is removed to the great school-house
at Chelsey, that was Mr. Portman's. There will continue the same
masters and others to the improvement of the said school."
_Dido and Æneas_ will always remain a monument to Purcell's
extraordinary genius; it is in perfect opera form, with an entire
absence of dialogue, the whole of the libretto being set in recitative,
solos, duets, and chorus. The opera is short, yet we cannot but
recognise the fact that had there been a public demand for absolute
music-drama, or even a proper appreciation of a work cast in such a
mould, the composer had arisen who possessed the necessary genius,
inspiration, and feeling for building up a school of opera which would
have proved a model for his own and succeeding generations, but the
time was not ripe for such a development. Purcell, like many other
gifted mortals, lived before his time, and thus his perfect specimen of
music-drama remains unique: so far as we know he never attempted such
another work.
There is a tradition that the part of Belinda (or Anna), written for
alto voice, was sung and acted[27] by Purcell himself. The music of
this opera remained in MS. until 1840, when it was published by the
"Musical Antiquarian Society," edited by G. A. Macfarren, unfortunately
from an imperfect copy of the score, the only one then attainable. It
has been frequently performed since Purcell's time, notably at the
"Ancient Concerts" in London, and more recently at Liverpool. In this
eventful year, or the succeeding one, 1681, Purcell took unto himself a
wife, and in the latter year he again composed an ode or "Welcome Song"
which must have brought him favourably under the notice of the King. It
commences, "Swifter Isis, swifter flow."
In July, 1682, his abilities were publicly recognised by giving him the
appointment of Organist of the Chapel Royal in place of Edward Lowe,
deceased. The honour and the additional income would be welcomed by
the young couple just starting on the voyage of life as a favourable
augury for their future comfort and prosperity.
In this same year Purcell wrote music for a grand civic festival,
"The inauguration of the truly loyal and right honourable Sir William
Prichard, Knight, lord Mayor of the city of London, president of the
honourable Artillery Company, and a member of the worshipful company
of Merchant-Taylors. Perform'd on Monday, September xxx. 1682." In the
following month he composed another "Ode or Welcome Song to the King on
his return from Newmarket, Oct. 21."
The old uncle, Thomas Purcell, must have been well pleased to witness
his adopted son's happiness and success; of the intercourse and
friendship which continued to exist between them we have evidence. When
Thomas became too old to go himself to the Pay-office for his salaries
he executed a power of attorney authorizing his son Matthew to act for
him, and this document was witnessed by Frances Purcell--Henry's wife.
The quaint deed is worthy of reproduction here.[28] The original is in
my possession.
A few months afterwards, July 31st, 1682, the old man died, and on the
2nd of August his mortal remains were laid to rest in the cloisters of
Westminster Abbey. We can easily imagine the grief of Purcell who had
to mourn the loss of one who had been more than a father to him.
A few days after the funeral of the uncle Thomas, Purcell had occasion
to rejoice in the birth of a son and heir; the child was baptized in
Westminster Abbey, receiving the names of John Baptista, probably a
mark of friendly regard for the well-known musician, John Baptist
Draghi,[29] but the infant survived only a few months and was buried
with his kindred in the Abbey cloisters. There is a volume of music
in the handwriting of Henry Purcell in the Fitzwilliam Library at
Cambridge, containing an entry which is worthy of note in this place as
showing the serious tone of his mind at that period: at the end of an
anthem he has written, "God bless Mr. Henry Purcell. September yᵉ 10th,
1682."
In the following year Purcell ventured on his first publication, for
which he solicited subscribers. His prospectus or proposals are lost,
but the following advertisement from the _London Gazette_, May 24th,
1683, throws much light on the subject:--
"These are to give Notice to all Gentlemen that have subscribed to
the Proposals Published by Mr. Henry Purcell for the Printing his
Sonata's of three Parts for two Violins and Base to the Harpsichord
or Organ, that the said Books are now completely finished, and
shall be delivered to them upon the 11th June next: and if any
who have not yet Subscribed, shall before that time Subscribe,
according to the said Proposals (which is Ten Shillings the whole
Sett), which are at Mr. Hall's house in Norfolk-street, or at Mr.
Playford's and Mr. Carr's shop in the Temple; for the said Books
will not after that time be Sold under 15_s._ the Sett."
Again on the following June the 7th, another advertisement appeared in
the _London Gazette_:--
"Wheras the time is now expired, this is therefore to desire those
Persons that have subscribed to Mr. Henry Purcel's Sonata's to
repair to his house in St. Ann's Lane beyond Westminster Abbey,
or to send Proposal-Paper they received with the Receipt to it
when they Subscribed, and those who subscribed without a Paper
or Receipt to bring a Note under the Persons Hand to whom they
Subscribed, that there may be no mistake, and they shall receive
their Books, paying the remainder part of the money."
Judging by the extreme rarity of the work, the subscription list must
have been a poor one, and as the price charged was only ten shillings
for the completed work, Purcell must have been considerably out of
pocket, when he came to balance his accounts after paying the engraver
and printer; the former was the celebrated copper-plate engraver,
Thomas Cross, junior. The title of the work reads thus: "Sonnata's of
III parts. Two Viollins and Basse to the Organ or Harpsichord. Composed
by Henry Purcell, Composer in Ordinary to his Most sacred Majesty, and
Organist of his Chappell Royall, London. Printed for the Author, and
sold by J. Playford and J. Carr at the Temple, Fleet St. 1683."
The sonatas are printed in four separate parts for the instruments
named, but there is no score, the first violin part is embellished with
a splendid portrait of the composer, lettered "Vera Effigies Henrici
Purcell, Atat Suæ 24."
The dedication runs as follows:--
"To the King. May it please yoʳ Majᵗᵞ. I had not assum'd the
confidence of laying yᵉ following Compositions at your Sacred feet;
but that (as they are the immediate Results of your Majesties
Royall favour, and benignity to me which have made me what I am),
so, I am constrain'd to hope, I may presume, amongst Others of your
Majesties over-oblig'd and altogether undeserving Subjects, that
your Majᵗᵞ will with your accustom'd Clemency, Vouchsafe to Pardon
the best endeavours of yoʳ Majᵗᴵᵉˢ Most Humble and Obedient Subject
and Servant,
"H. PURCELL."
The modest preface is interesting from its reference to the novel use
of Italian terms, and also as showing the comparative regard in which
Italian and French music was held by the author, who writes:--
"Ingenious Reader. Instead of an elaborate harangue on the beauty
and the charms of Musick which (after all the learned Encomions
that words can contrive) commends itself best by the performances
of a skilful hand, and an angelical voice: I shall say but a very
few things by way of Preface, concerning the following Book, and
its Author: for its Author, he has faithfully endeavour'd a just
imitation of the most fam'd Italian Masters; principally, to bring
the Seriousness and gravity of that sort of Musick into vogue, and
reputation among our Country-men, whose humour, 'tis time now,
should begin to loath the levity and balladry of our neighbours:
The attempt he confesses to be bold and daring, there being Pens
and Artists of more eminent abilities, much better qualifi'd for
the imployment than his, or himself, which he well hopes these his
weak endeavours, will in due time provoke, and enflame to a more
accurate undertaking. He is not asham'd to own his unskilfulness
in Italian Language; but that's the unhappiness of his Education,
which cannot justly be accounted his fault, however he thinks he
may warrantably affirm, that he is not mistaken in the power of
the Italian Notes, or elegancy of their Compositions, which he
would recommend to the English Artists. There has been neither
care, nor industry wanting, as well in contriving, as revising the
whole Work; which had been abroad in the world much sooner, but
that he has now thought fit to cause the whole Thorough Bass to be
Engraven, which was a thing quite beside his first Resolutions.
It remains only that the English Practitioner be enform'd, that
he will find a few terms of Art perhaps unusual to him, the chief
of which are these following: _Adagio_ and _Grave_ which imports
nothing but a very slow movement: _Presto_, _Largo_, and _Vivace_,
a very brisk, swift, or fast movement: _Piano_, soft. The Author
has no more to add, but his hearty wishes, that his Book may fall
into no other hands but theirs who carry Musical Souls about them;
for he is willing to flatter himself into a belief, that with Such
his labours will seem neither unpleasant, nor unprofitable, Vale."
The foregoing preface is eminently characteristic of the unassuming and
retiring disposition of Purcell. The sonatas have never been printed in
score, but a few masterly movements selected from the parts and reduced
for the pianoforte are inserted in Dr. Crotch's specimens of ancient
music; a perusal of these will whet the appetite for more music of such
sterling quality.
This year, 1683, was a prolific one with Purcell, for we find that
he composed another "Ode, or Welcome Song for the King," commencing,
"Fly bold rebellion," and also an ode to celebrate the marriage of
George, Prince of Denmark, with the Princess Anne, afterwards Queen.
The marriage took place in July. The words of the ode commence, "From
hardy climes." A large manuscript volume entirely in Purcell's hand,
is still in existence, which shows that he had been busy from June,
1680, to February, 1683, in composing Fantasias in three, four, five,
six, seven, and eight parts; the book in which these are written was
evidently the commencement of what was intended to be a complete and
lasting record of the composer's works, and perhaps it was intended for
presentation to the King.
The publication of the sonatas was soon followed by another entitled,
"A musical entertainment perform'd on November xxii. 1683; it being the
festival of St. Cecilia, a great Patroness of Music, whose Memory is
annually honoured by a Public Feast made on that day by the Masters and
lovers of Music as well in England as in foreign parts. London: Printed
by J. Playford, junior, and are to be sold by John Playford near the
Temple Church, and John Carr, at the Middle Temple Gate, 1684."
The book, unlike the sonatas, which were beautifully engraven, is a
wretched specimen of type-printing, and copies of it are now very rare.
The Preface was addressed,
"To the Gentlemen of the Musical Society, and particularly the
Stewards for the year ensuing, William Bridgman, Esq., Nicholas
Staggins, Doctor in Music, Gilbert Dolben, Esq., and Mr. Francis
Forcer. Gentlemen, your kind Approbation and benign Reception of
the performance of these _Musical Compositions_ on _St. Cecilia's
Day_, by way of Gratitude, claim this Dedication; which likewise
furnishes the Author with an opportunity of letting the World know
the Obligations he lies under to you; and that he is to all Lovers
of Music, a real Friend and Servant.--HENRY PURCELL."
The music consists of an introductory symphony, choruses, and soli,
with accompaniments for strings, and has a very novel termination
to the words "Iô Cecilia." The words are poor, and were written by
Christopher Fishbourne,[30] who seems to have been both a poet and
a musician, but of no great pretension in either art. Purcell's
enthusiasm and industry are well exemplified by the amount of music
which he wrote for the first public observance of St. Cecilia's Day in
this country. In addition to the ode already mentioned as published, he
composed two other odes, one in English and one in Latin; the former
is remarkable for being scored without any part for the tenor violin,
and without parts for counter-tenor voices, although the latter voice
was in great favour in Purcell's day, and his music generally abounds
with solos for that voice. The Latin ode is interesting as being
scored for three men's voices with accompaniments for two violins and
bass. Both these odes remain at present in manuscript. The Fitzwilliam
Library at Cambridge possesses a large volume of manuscript music
in the handwriting of Dr. Blow, and internal evidence shows that it
must have been completed in 1683; it contains the following anthems
by Purcell:--1. "By the Waters of Babylon;" 2. "O God Thou hast cast
us out;" 3. "Remember not, Lord, our Offences;" 4. "I will Sing unto
the Lord;" 5. "Blessed be the Lord my Strength;" 6. "O Lord, our
Governour;" 7. "Let God Arise;" 8. "Blessed is He;" 9. "Hear me, O
Lord;" 10. "Bow down Thine Ear;" 11. "Jerusalem is Built;" 12. "My
Beloved Spake;" 13. "O God, Thou art my God;" 14. "Lord, who can tell?"
15. "Benedicite" in B ♭.
The year 1684 is notable for the remarkable organ competition at the
Temple Church, in which the two great organ-builders of the day,
Father Smith and Renatus Harris, exhibited their skill by erecting
rival organs for the approval of the benchers of the Temple, and which
eventually resulted in the selection and retention of the splendid
instrument built by Smith. The organ then chosen is still standing
in the church, and eloquently proclaims the fame of its builder.
How far Smith's success was due to the judicious choice he made of
organists to show off the qualities and varieties of his stops, it is
only possible now to guess, but certainly no more skilful performers
could have been found than Dr. Blow and Henry Purcell. Smith's rival,
Harris, was also fortunate in obtaining the services of John Baptist
Draghi, the friend of Purcell previously mentioned, and whose skill
and popularity as an organist contemporary records frequently mention.
Smith's organ had the singular advantage of possessing keys for two
extra quarter-tones in each octave, which enabled the performer to
use distinct pitches or sounds for G sharp and A flat, and also for
D sharp and E flat. Those who are familiar with Purcell's sacred
music will readily understand what use he would have made of these
additional facilities for modulating into remote keys. In his anthems
he frequently wrote chords which must have sounded most crude and harsh
on all the keyed instruments of his day, tuned as they were on unequal
temperament. Purcell, we know, was on very intimate terms with Smith,
who was not only an organ-builder, but also an organist,[31] and it is
quite probable that it was at Purcell's suggestion that he added the
quarter-tones which constituted so remarkable a feature in the Temple
organ. In 1684 Purcell composed yet another "Ode, or Welcome Song, on
the King's return to Whitehall after his summer's progress;" the words,
commencing, "From these serene and rapturous joys," were written by
Thomas Flatman.
In 1685 Purcell was actively concerned in superintending the erection
of an organ in Westminster Abbey expressly for the coronation of James
II. and his queen. On April 23rd he was paid the sum of 34_l._ 12_s._
for his services out of the "secret service money." This organ was
evidently a small instrument erected just behind the seats occupied
by the "King's Choir of Vocal Music," who sat in a gallery in front
of and under a south chancel arch, the second from the transept,
whilst opposite them, in a similar gallery, were placed the "King's
Instrumental Musick." For the coronation service Purcell produced two
anthems, "I was Glad," and "My Heart is Inditing," but it would seem
that he did not officiate at the organ, for we find that "Purcell,
Blow, Child, and Staggins," sang with the basses in the choir on that
occasion.
In this same year he composed an ode in honour of King James,
commencing, "Why are all the Muses mute?" and it is very likely that
he also composed the music for the tragedy of _Circe_ at or about this
period. This play, the work of Charles Davenant, when first produced,
was accompanied by music from the pen of John Banister,[32] some of
which was published in 1679.
A few years since Dr. Rimbault unfortunately published a portion
of Purcell's music to _Circe_ with Banister's name attached as the
composer,[33] but he afterwards discovered the error he had fallen
into.[34] _Circe_ is one of Purcell's best dramatic works, and contains
music which no other composer of his time could have written; it still
remains in manuscript. Only music to the first act is now to be found.
Perhaps Purcell never completed it.
In 1686 Purcell was again afflicted by the death of a child who had
been christened Thomas in remembrance of the deceased uncle. The
infant was buried in the cloisters of Westminster Abbey. In this year
Purcell composed the music for Dryden's tragedy, _Tyrannic Love_, in
which there are several effective and elegant pieces, notably "Hark,
my Daridear," a duet, and "Ah, how sweet it is to love," a song. In
addition to this, he wrote another "Ode, or Welcome Song for the King,"
commencing, "Ye tuneful Muses."
In 1687 Purcell had another son born who was named Henry, but he
survived only two months, and was buried with his kindred in the
cloisters of Westminster Abbey. Purcell composed another "Ode in honour
of King James," commencing "Sound the trumpet, beat the drum," in which
occurs a duet to the words, "Let Cæsar and Urania live;" this became so
great a favourite that succeeding composers were wont to insert it in
their own royal birthday odes. This practice continued till the close
of the succeeding century.
About this time Purcell composed a "March" and a "Quickstep," which
soon became popular and familiar to the soldiers; a short time
afterward some one, probably Lord Wharton, the Irish Viceroy, with much
foresight and wisdom, selected the tune of the "Quickstep" as a vehicle
for making known the absurd verses of the song called "Lillibullero."
Thanks to the music, the song spread like wildfire, with the result
described by Bishop Burnet, who says, "A foolish ballad was made at
that time, treating the Papists, and chiefly the Irish, in a very
ridiculous manner, which had a burden said to be Irish words, 'Lero,
lero, lillibullero,' that made an impression on the army that cannot
be imagined by those that saw it not. The whole army, and at last the
people, both in city and country, were singing it perpetually, and
perhaps never had so slight a thing so great an effect." The Viceroy
"boasted that the song had sung a deluded Prince out of the three
kingdoms." Other testimony speaks of the song "having contributed not a
little towards the great Revolution of 1688."
The earliest existing printed copies of these tunes are dated 1686,
but he reprinted the "Quickstep" in 1689, under the title of "A new
Irish tune," in a work called _Musick's Handmaid for the Virginals or
Harpsichord_; and he again used the tune as a ground-bass to a piece of
incidental music in the play of _The Gordian Knot Unty'd_. The music of
"Lillibullero" remains in use to this day in the north of Ireland as a
political and party tune, but its use is discontinued by our military
bands out of respect for the feelings of our Irish Roman Catholic
brethren.
In 1687 Henry Playford published _A Pastoral Elegy on the Death of
Mr. John Playford, the Words by Mr. Tate, set to Musick by Mr. Henry
Purcell_. It has commonly been believed that this was an elegy on
"honest John," as he was familiarly called, but in truth it was in
memory of the youngest son of the celebrated old publisher. We have no
particulars of his death, but judging from the words of the elegy it
must have occurred suddenly:--
"Then waste no more in sighs your breath,
Nor think his fate was hard;
There's no such thing as sudden death
To those that always are prepar'd."
This John Playford was only twenty-one years of age when he died; he
had commenced business as a music publisher, and would seem to have
been remarkable for amiability and piety.
In January, 1688, Purcell, by virtue of his office as "composer in
ordinary to his Majesty," received instructions from the King, James
II., to compose an anthem to be performed at the Chapel Royal on the
25th of that month, a day which was commanded to be observed as a
general thanksgiving in London and twelve miles round, in consequence
of the supposed pregnancy of the Queen. As news travelled but slowly in
those days, places beyond the radius named were commanded to keep the
29th as a day of joyful thanksgiving. For the occasion Purcell wrote
the anthem commencing, "Blessed are they that fear the Lord;" it is
scored for the usual solo voices and chorus, with accompaniments for
the organ and quartet of strings.
In May, 1688, Purcell had a daughter born; she was baptized in
Westminster Abbey, receiving the name of Frances. This child attained
to years of maturity, surviving both her father and her mother.
This year was a troublous one; the political horizon was black, and
the national fortunes were in great jeopardy, people had small time
or inclination for public amusements, but Purcell contributed music
for at least one play, _The Fool's Preferment, or the Three Dukes
of Dunstable_, a comedy by D'Urfey. The songs were sung by William
Mountford, who, Colley Cibber says,[35] "sung a clear counter-tenor,
and had a melodious warbling throat." "His voice was clear, full, and
melodious."
Mountford was a great favourite with the public as an actor and singer,
and he was also a dramatic author, but his career was brought to an
untimely end in his thirty-third year by Lord Mohun and Captain Hill,
who murdered him in revenge for the part he took in preventing the
abduction of the celebrated actress, Mrs. Bracegirdle.
The songs in the _Fool's Preferment_, were published with the play
soon after its production at the Queen's Theatre in Dorset Gardens,
the title partly reads "together with all the songs and notes to 'em.
Excellently compos'd by Mr. Henry Purcell." Purcell still continued
composing for the church; an anthem, "The Lord is King," bearing date
1688. He also composed one more "Ode or Welcome Song" for James II.;
the last music he had occasion to pen for this King.
Curiously we find that Purcell again became _Copyist_ of Westminster
Abbey in this year; he succeeded Charles Taylour, but for what reason
has not been discovered. No information respecting Taylour can now be
found.
In December the unhappy monarch, James II., fled from his throne and
kingdom, and was succeeded by William and Mary, who were crowned at
Westminster Abbey in 1689, and in connection with that event a curious
story is told by Hawkins:--[36]