in a dispute with Dr. Sprat, the then Dean, and the Chapter of
Westminster, the occasion whereof was this. It seems that at the
coronation of King William and Queen Mary, he had received and
claimed as his right, the money taken for admission into the
organ loft of persons desirous of being near spectators of that
ceremony, which for the following reasons must be supposed to have
amounted to a considerable sum; the profit arising to the owner
of one of the houses at the west end of the Abbey, where only the
procession could be viewed, amounted at the last coronation to
five hundred pounds. The organ in Purcell's time was on the north
side of the choir, and was much nearer the altar than now, so that
the spectators from thence might behold the whole of the august
ceremony. A sum like that which this must be presumed to have
been was worth contending for, and if Purcell had the authority
of precedent for his support, he was right in retaining it as
a perquisite arising from his office; but his masters thought
otherwise, and insisted on it as their due, for in an old Chapter
book I find the following entry: '18 April, 1689, Mr. Purcell, the
organ-blower, to pay to Mr. Needham such money as was received by
him for places in the organ-loft, and in default thereof his place
to be declared null and void, and that his stipend or salary to be
detained in the treasurer's hands until further orders.' Upon which
it may be observed that the penning of it is an evidence of great
ignorance or malice, in that it describes him by the appellation
of organ-blower who was the organist of their own church, and in
truth the most excellent musician of his time. What the issue of
this contest was does not appear. It may be supposed either that
he refunded the money, or compounded the matter with the Dean and
Chapter, it being certain that he continued to execute his office
for some years after."
The above account in Sir John Hawkins's hand is now lying before me
with a note that it is to be inserted in vol. iv. p. 497; it fills two
pages of letter paper, and on the third page of the same sheet is a
further note by Dr. Benjamin Cooke, which certainly ought to have been
printed with the foregoing:--
"The order herein alluded to is not the real entry in the Chapter
minutes, but is in another old book which contains copies or
memorandums of many of the Chapter minutes, and probably was the
rough draft, or it might be done by Mr. Needham afterwards from his
recollection, and so the wording is different tho' the substance of
both is the same, and this book was shown to me, and afterwards by
my desire to Sir John Hawkins, at which time we understood it to
be the original Chapter minutes, but have since been convinced of
the contrary by having seen the original minute; and in this last
he is not described by the title of _Organ-blower_, as he is in the
former, but he is stil'd organist.--B. C."
Whatever may have been the end of this dispute, it probably was
speedily concluded, for we find by the Abbey registers of the 6th
September following, that Purcell had an infant son baptized in the
Abbey, who received the name of Edward; this child survived his parents
and became an organist of some note.
On the 5th of August, 1689, a new ode by Purcell, called "A Welcome
Song at the Prince of Denmark's Coming Home," and commencing,
"Celestial music," was performed at Mr. Maidwell's, a schoolmaster.
In commemoration of the accession of William and Mary, Tom D'Urfey
prepared an ode abounding in praise of "The Great Nassau." This
Purcell set to music, and it was subsequently performed at a cost of
£100 in the "Merchant Taylors' Hall," at the gathering of the natives
of the County of York at their feast, March 27th, 1690; from which
circumstance the ode is known as "The Yorkshire Feast Song." The music
became extremely popular; portions of it were printed in the _Orpheus
Britannicus_, and other collections, and the entire work was printed
by Goodison in 1788 or 1789, but in a very incorrect fashion. It has
lately been published in a very satisfactory manner by the new "Purcell
Society."
In the year 1690 Purcell must have worked assiduously for the
theatres; we can trace to this period the production of _The Tempest_,
an alteration from Shakespeare by Shadwell; _The Prophetess_, or
_Dioclesian_, an adaptation from Beaumont and Fletcher by Betterton;
the _Massacre of Paris_, by Lee; and _Amphitryon_, by Dryden.
The music of _The Tempest_ is extremely beautiful, witness "Come unto
these Yellow Sands" and "Full Fathom Five," which are known and admired
and in vogue to this day. These pieces being allied to Shakespeare's
lines are not likely to be superseded by other composers' music, but
unfortunately the major part of Purcell's work in _The Tempest_ is
married to verse not Shakespeare's, and cannot therefore find any
fitting place in a performance of the play.
_Dioclesian_, at first called _The Prophetess_, was advertised for
publication in the _London Gazette_, July 3rd, 1690:--
"The vocal and instrumental musick in the opera called _The
Prophetess_, composed by Mr. Henry Purcell, is designed to be
printed by way of subscriptions. Proposals may be seen at Mr. John
Carr's shop at the Middle Temple Gate, and at Mr. Henry Playford's
shop near the Inner Temple Church, who are appointed to take
subscriptions."
It was published the following year with the title, "_The Vocal and
Instrumental Musick of the Prophetess, or the History of Dioclesian_,
composed by Henry Purcell, Organist of their Majesties' Chappel, and
of St. Peter's, Westminster. London, Printed by J. Heptinstall, for
the Author, and are to be sold by John Carr, at his shop at the Middle
Temple Gate near Temple-Barr. M.DCXCI."
The libretto was made into a so-called opera. Purcell dedicated the
work to the Duke of Somerset, and, as was the manner of the times,
introduced his published score of the music with a flowery preface; it
contains many interesting passages and reads as follows:--
"Your Grace has been pleas'd so particularly to favour the
Composition of the Musick in _Dioclesian_, that from thence I
have been encourag'd to this presumption of Dedicating not only
It, but also the unworthy Author of it to your Protection. All
Arts and Sciences have receiv'd their first encouragement from
Great Persons, and owe their Propagation and Success to their
esteem: like some sort of Fruit-trees, which being of a tender
Constitution, and delicate in their Nature, require the shadow of
the Cedar to shield their Infancy from Blites and Storms.
"Music and Poetry have ever been acknowledged Sisters, which
walking hand in hand supports each other; As Poetry is the harmony
of Words, So Musick is that of Notes: and as Poetry is a Rise
above Prose and Oratory, so is Musick the exaltation of Poetry.
Both of them may excel apart, but sure they are most excellent
when they are joyn'd because nothing is then wanting to either
of their Perfections: for thus they appear like Wit and Beauty
in the same Person. Poetry and Painting have arriv'd to their
perfection in our own Country: Musick is yet but in its Nonage,
a forward Child which gives hope of what it may be hereafter in
ENGLAND, when the Masters of it shall find more Encouragement.
'Tis now learning ITALIAN, which is its best Master, and studying
a little of the French Air, to give it somewhat more of Gayety and
Fashion. Thus being farther from the Sun, we are of later Growth
than our Neighbour Countries, and must be content to shake off
our Barbarity by degrees. The present Age seems already dispos'd
to be refin'd, and to distinguish betwixt wild Fancy, and a just,
numerous Composition. So far the Genius of your Grace has already
prevail'd on Us. Many of the Nobility and Gentry have followed
your Illustrious Example in the Patronage of Musick. Nay, even our
Poets begin to grow asham'd of their harsh and broken Numbers, and
promise to file our uncouth Language into smoother Words. Once
more, therefore, I presume to offer Myself and this Composition
with all humility to Your Grace's Protection, at least till I can
redeem so mean a Present by One which may better deserve Your
Acceptation. Be pleas'd to pardon my Ambition, which had no other
means to obtain the Honour of being made known to You, but only
this. The Town, which has been so indulgent to my first Endeavours
in this kind, has encourag'd me to proceed in the same Attempt;
and Your Favour to this Trifle will be a good Omen not only to the
Success of the Next, but also to all the future Performances of
Your Grace's most Obedient and most Obliged Servant,
"HENRY PURCELL."
The music of _Dioclesian_ is scored for "1st Violins, 2nd Violins,
Tener Violins, Base Violins, 2 Flutes, 3 Hautboys (1st, 2nd, and
Tener), 1 Basoon and 2 Trumpets;" the vocal parts have solos for all
the voices, and there are numerous choruses. It is evident Purcell
regarded this work with some affection and pride; all the printed
copies were corrected by his own hand. At the end of the book is
printed the following:--
"Advertisement. In order to the speedier Publication of this Book,
I employed two several Printers; but One of them falling into some
trouble, and the Volume swelling to a Bulk beyond my expectation,
have been the Occasions of this Delay.
"It has been objected that some of the Songs are already common;
but I presume that the Subscribers, upon perusal of the Work,
will easily be convinced that they are not the Essential Parts of
it. I have, according to my Promise in the Proposals, been very
carefull in the Examination of every Sheet, and hope the Whole
will appear as Correct as any yet Extant. My desire to make it as
cheap as possibly I cou'd to the Subscribers, prevail'd with me so
far above the consideration of my own Interest, that I find too
late the Subscription money will scarcely amount to the Expense of
compleating this Edition."
Although _Dioclesian_ did not prove a lucrative investment for the
composer it must have added considerably to his fame; produced at the
Queen's Theatre in 1690, Downes, in his _Roscius Anglicanus_, says, "It
gratify'd the expectation of Court and City; and got the author great
reputation." One of the airs in the piece, "What shall I do to show how
much I love her," was afterwards adapted to the words, "Virgins are
like the Fair Flower in its Lustre," and did duty as a part of _The
Beggar's Opera_.
The songs from _Amphitryon_[37] were published by Heptinstall soon
after the production of the comedy.
Purcell's music for _Dioclesian_ and for _Amphitryon_ seems to have
opened the eyes of Dryden, who had evidently been blind to the
distinguished talent of the composer. In the _Epistle Dedicatory_ to
_Amphitryon_, dated October 24, 1690, Dryden says:--
"What has been wanting on my part has been abundantly supplyed by
the Excellent Composition of Mr. _Purcell_; in whose Person we
have at length found an _Englishman_ equal with the best abroad.
At least my Opinion of him has been such, since his happy and
judicious Performances in the late Opera,[38] and the Experiences
I have had of him, in the setting of my three Songs for this
_Amphitryon_: To all which, and particularly to the Composition of
the _Pastoral Dialogue_, the numerous Quire of Fair Ladies gave so
just an Applause on the Third Day."
In addition to the before-mentioned plays, Purcell composed in 1690
the music for D'Urfey's "Ode for the Queen's Birthday, April 29,"
commencing "Arise, my muse," and also an ode for King William beginning
with the words, "Sound the trumpet."
We find that he again resigned his appointment as Copyist at
Westminster Abbey, and was succeeded by Edward Braddock, who was one of
the Lay Vicars and Master of the Choristers, and also a Gentleman of
the Chapels Royal.
In the succeeding year, 1691, Purcell produced the music for _King
Arthur_, written by Dryden. It was one of Purcell's most elaborate and
most successful efforts in dramatic composition, and contains several
pieces which have always been held in popular favour.
The solo and chorus, "Come, if you Dare," is to this day one of the
most stirring and effective displays which a tenor vocalist could
select, and is therefore frequently heard. The whole of the frost scene
is remarkable from its vocal realism of intense and freezing cold.
The peculiar and original effects here introduced by Purcell were
afterwards copied by Jeremiah Clark, a fellow-student of Purcell, in
the anthem, "I will love Thee, O Lord." Mention must also be made of
the lovely duet, "Two daughters of this aged stream."
Unfortunately no complete copy of the score of this work, the outcome
of the composer's mature judgment, exists. It is presumed that Purcell
wrote only one perfect copy, which was retained by the managers of the
theatre, who, jealous of possible rivals, would neither permit it to
be copied in manuscript or printed.[39] The success at the time of its
production is thus recorded by Downes in his _Roscius Anglicanus_:--
"_King Arthur_, an opera, wrote by Mr. Dryden; it was excellently
adorned with scenes and machines: the musical part set by the
famous Mr. Henry Purcell, and Dances made by Mr. Jo. Priest:
the play and musick pleas'd the Court and City, and being well
perform'd 'twas very gainful to the company."
Dryden's courtly servility has been deplored by more than one author.
He had followed the lead set by Charles II., who had imported Monsieur
Grabu from France, and set him up as a musical king, and for him, by
royal command, Dryden wrote the opera of _Albion and Albanius_. In the
preface to the work he says:--
"The best judges, and those too of the best quality, who have
honoured his (Grabu's) rehearsals with their presence, have no less
commended the happiness of his genius than his skill. These and
other qualities have raised M. Grabu to a degree above any man who
shall pretend to be his rival on our stage."
The composer who was thus set above Purcell appears to have enjoyed
a somewhat exalted opinion of his own ability, as will be seen by
the following extract from the dedication of _Albion and Albanius_,
addressed to James II. by Grabu himself:--
"As the subject of this opera is naturally magnificent, it could
not but excite my genius, and raise it to a greater height in the
composition--even so as to surpass itself. The only displeasure
which remains with me is, that I could not possibly be furnished
with variety of excellent voices to present it to your Majesty in
full perfection."
Contrast this bumptious self-assertion with the modest prefaces of
Purcell previously quoted. However, notwithstanding the patronage of
the King and the flatteries of Dryden, _Albion and Albanius_ proved a
great failure: it was performed only six times, and from the date of
its last performance (1685) Dryden became impressed with the conviction
that he must look elsewhere for his future composer, and, as we have
already seen, he at last recognised the merits of Purcell. In the
preface to _King Arthur_, intended by Dryden as a sequel to _Albion
and Albanius_, the author says, "he submitted himself in writing and
preparing it for the stage" entirely to the guidance of Purcell. This
confession was probably made with considerable compunction.
The following extracts from Dryden's _Epistle Dedicatory_, prefixed to
the libretto, will be read with interest:--
"I humbly offer you this trifle, which if it succeed upon the
stage, is like to be the chiefest Entertainment of our Ladies and
Gentlemen this summer. When I wrote it, seven years ago, I employ'd
some reading about it, to inform myself out of Beda, Bochartus,
and other authors, concerning the rites and customs of the heathen
Saxons; as I also used the little skill I have in Poetry to adorn
it. But not to offend the present times, nor a government which has
hitherto protected me, I have been obliged so much to alter the
first design, and take away so many beauties from the writing, that
it is now no more what it was formerly, than the ship of the _Royal
Sovereign_, after so often taking down, and altering, to the vessel
it was at the first building. There is nothing better, than what
I intended, than the Musick; which has since arriv'd to a greater
perfection in England, than ever formerly; especially passing
through the artful hands of Mr. _Purcel_, who has compos'd it with
so great a genius, that he has nothing to fear but an ignorant,
ill-judging audience. But the numbers of poetry and vocal musick,
are sometimes so contrary, that in many places I have been oblig'd
to cramp my Verses, and make them rugged to the reader, that they
may be harmonious to the hearer: of which I have no reason to
repent me, because these sorts of Entertainments are principally
design'd for the ear and the eye; and therefore, in reason, my art
on this occasion ought to be subservient to his."
Dryden had evidently by this time become aware of Purcell's
superiority to his contemporary musical brethren; the poet and musician
met on intimate and friendly terms. It is recorded that Purcell, by
virtue of his court appointments, had an apartment in the clock tower
of St. James's Palace, and that Dryden when in debt availed himself
of his friendship with Purcell, to escape arrest by taking refuge in
Purcell's room, where he was perfectly safe, and could moreover enjoy
the air and exercise in the Palace gardens.[40]
_King Arthur_ after many years of neglect, possibly in consequence of
the loss of the score of the music, was revived at Drury Lane theatre
in 1770 with enormous success; again in 1781, in 1784, in 1803, and in
1842. The music remained unpublished until 1843, when it was edited
by Edward Taylor, the Gresham music professor, and printed by the
"Musical Antiquarian Society." Unfortunately the edition is imperfect,
several pieces being still wanting, and of those which are printed we
can be quite certain that they are not presented to us in the complete
form composed by Purcell: for instance, the first overture is simply
scored for strings, whereas Purcell freely uses flutes, hautboys, and
trumpets in other parts of the work. Professor Taylor could find no
trace of this overture excepting in the _Theatre Ayres_ published by
Mrs. Purcell in 1697, a collection which only gave string parts. Whilst
speaking of Dryden and Purcell it will be well to correct a great
blunder made by Hawkins in his _History of Music_; he writes:--
"It is said that Dryden wrote his _Alexander's Feast_ with a view
to its being set by Purcell, but that Purcell declined the task,
as thinking it beyond the power of music to express sentiments so
superlatively energetic as that ode abounds with; the truth of the
assertion may well be questioned, seeing that he composed the _Te
Deum_, and scrupled not to set to music some of the most sublime
passages in the Psalms, the Prophecy of Isaiah, and other parts of
Holy Scriptures."[41]
Had Hawkins made proper inquiry he would have discovered that
_Alexander's Feast_ was not written by Dryden until two years after
Purcell's death. This fact is verified by a letter addressed by Dryden
to his son in September, 1697, in which he says: "I am writing a song
for _St. Cecilia's Feast_," and by the additional testimony of Mr. St.
John, afterwards Lord Bolingbroke.[42]
In 1691 Purcell composed the music for _Distressed Innocence_, a
tragedy by Elkanah Settle, and also for the comedies called the
_Gordian Knot Untyed_, by an anonymous author, and _Sir Anthony Love_
by Southerne. In addition to these works he wrote an "Ode for the
Queen's Birthday," commencing "Welcome glorious morn."
In 1692, he composed music for the plays, entitled, the _Wife's
Excuse_, by Southerne; the _Indian Queen_, by Howard and Dryden; the
_Indian Emperour_, by Dryden; _Œdipus_, a tragedy by Dryden and Lee;
the _Marriage-hater match'd_, by D'Urfey; and the so-called opera,
the _Fairy Queen_, anonymously adapted from Shakespeare's _Midsummer
Night's Dream_. The music of the _Indian Queen_ abounds in very
striking passages; it is only necessary to recall the titles of "Ye
Twice ten Hundred Deities," which Dr. Burney considered the best
recitative in the English language; the dramatic air, "By the Croaking
of the Toad," and the delightful song, "I Attempt from Love's Sickness
to fly," a ditty again made popular by the exquisite singing of Hobbs
in the generation just passed away.[43]
Three years after the first performance of the _Indian Queen_, some
portion of the music was published without the consent, or even
consultation, of the composer; the publication, now become very rare,
has the following title:--
"The songs in the _Indian Queen_, as it is now compos'd into an
opera by Mr. Henry Purcell, composer in ordinary to his Majesty,
and one of the organists of his Majesty's Chapel Royal, London.
Printed by J. Heptinstall, and are now to be sold by John May,
at his shop under St. Dunstan's church; and for John Hudgbutt at
Thomas Dring's, bookseller at the Harrow at Clifford's-lane-end in
Fleet Street, 1695."
The preface is too curious to be omitted:--
"The publishers to Mr. Henry Purcell. Sir, having had the good
Fortune to meet with the Score or Original Draught of your
Incomparable Essay of Musick compos'd for the Play, call'd the
_Indian Queen_, It soon appear'd that we had found a Jewel of very
great Value; on which account we were unwilling that so rich a
Treasure should any longer lie bury'd in Oblivion; and that the
Commonwealth of Musick should be depriv'd of so considerable a
Benefit. Indeed, we well knew your innate Modesty to be such, as
not to be easily prevailed upon to set forth anything in Print,
much less to Patronize your own Works, although in some respects
Inimitable. But in regard that (the Press being now open) any one
might print an imperfect Copy of these admirable Songs, or publish
them in the nature of a Common Ballad, We were so much the more
emboldened to make this Attempt, even without acquainting you with
our Design; not doubting but your accustomed Candor and Generosity
will induce you to pardon this Presumption. As for our parts, if
you shall think fit to condescend so far, we shall always endeavour
to approve ourselves your obedient servants,
"J. MAY,
J. HUDGEBUTT."
Comment on this legal robbery of the fruit of an author's brain-work is
quite unnecessary.
The music to _Œdipus_ is very dramatic, but not of great importance.
That of the _Fairy Queen_, on the contrary, is of considerable
pretension and was a great success. Downes, in his _Roscius
Anglicanus_, says:--
"This in ornaments was superior to the other two (_King Arthur_
and _Dioclesian_), especially in cloaths for all the singers and
dancers; scenes, machines, and decorations, all most profusely set
off, and excellently perform'd: chiefly the instrumental and vocal
part compos'd by the said Mr. Purcell, and dances by Mr. Priest.
The Court and town were wonderfully satisfy'd with it, but the
expences in setting it out being so great the company got little by
it."
A portion of the music was published by the composer with the title,
"Some select songs as they are sung in the _Fairy Queen_, set to musick
by Mr. Henry Purcell, London. Printed by J. Heptinstall for the
Author, and are to be sold by John Carr, at the Inner Temple Gate, near
Temple Barr, by Henry Playford at his shop in the Temple, and at the
Theatre in Dorset Gardens, 1692."
A few pieces from the opera were also published separately; one
beginning "Now the maids and the men," with the curious heading "A
Dialogue in the Opera call'd the _Fairy Queen_, set by Mr. Henry
Purcell, sung by Mr. Reading[44] and (Mr. Pate in Woman's habit), and
exactly engrav'd by Tho. Cross."
_The Fairy Queen_ seems to have shared the fate of much other music of
Purcell's, for the _London Gazette_, Oct. 13th, 1700, has the following
advertisement:--"The score of the musick for the _Fairy Queen_ set
by the late Mr. Henry Purcell, and belonging to the Patentees of the
Theatre Royal in Covent Garden, London, being lost by his death,
whosoever brings the said score, or a copy thereof, to Mr. Zackary
Baggs, Treasurer of the said Theatre, shall have 20 guineas reward."
The advertisement was repeated, evidently without any successful
result, as the opera was not reproduced, but long years afterwards one
of the songs, "If Love's a Sweet Passion," was adapted to words by Gay
for the _Beggar's Opera_.
In this same year, 1692, Purcell composed an ode for the Queen's
birthday to words of Sir Charles Sedley, commencing "Love's Goddess
sure was blind." This ode is notable as containing the song, "May
her blest example chase," the bass of which is the melody of the old
ballad "Cold and raw," a very popular song of the day. It had been
wrought into a catch by John Hilton in 1652, but the reason for its
incorporation by Purcell in the Queen's birthday ode is narrated by
Hawkins as follows:--