William; and she once affronted Purcell by requesting to have it
sung to her, he being present. The story is as follows: the Queen
having a mind one afternoon to be entertained with music, sent to
Mr. Gostling, then one of the chapel, and afterwards sub-dean of
St. Paul's, to Henry Purcell and Mrs. Arabella Hunt, who had a very
fine voice and an admirable hand on the lute, with a request to
attend her; they obeyed her commands; Mr. Gostling and Mrs. Hunt
sang several compositions of Purcell, who accompanied them on the
harpsichord: at length the Queen beginning to grow tired, asked
Mrs. Hunt if she could not sing the old Scots' ballad, 'Cold and
raw.' Mrs. Hunt answered yes, and sang it to her lute. Purcell
was all the while sitting at the harpsichord unemployed, and not
a little nettled at the Queen's preference of a vulgar ballad to
his music; but seeing her majesty delighted with this tune, he
determined that she should hear it upon another occasion: and
accordingly in the next birthday song, viz. that for the year 1692,
he composed an air to the words, 'May her bright example,' the bass
whereof is the tune to 'Cold and raw:' it is printed in the second
part of the _Orpheus Britannicus_, and is note for note the same
with the Scots' tune."
Hawkins no doubt had this story from Gostling, the son of the Gostling
mentioned in the anecdote, and it is therefore probably true.
In the same year he composed one of his most celebrated odes, for
the festival held in honour of St. Cecilia at the Stationers' Hall,
November 22nd. The _Gentleman's Journal or Monthly Miscellany_, a
periodical published immediately afterward, gives an account of the
performance as follows:--
"In my first journal I gave you a large account of the music feast
on St. Cecilia's Day; so to avoid repetition, I shall only tell you
that the last was in no ways inferior to the former. The following
Ode was admirably set to music by Mr. Henry Purcell, and performed
twice with universal applause, particularly the second stanza,
which was sung with incredible graces by Mr. Purcell himself.
Though I was enjoined not to name the author of the Ode, I find a
great deal of reluctance to forbear letting you know whom you must
thank for so beautiful a poem; and to use Ovid's words, 'Sequoque
nunc, quàm vis est quiscere, Quinte Nominet invitum, vix mea, Musa
tenet.'"
The author was the Rev. Nicholas Brady of the churches of St. Catherine
Cree, and St. Michael, Wood Street, better known as the co-labourer
with Tate in the versions of the Psalms published under their joint
names.
The _Gentleman's Journal_, January, 1693, has an Epigram "by Mr. B--y,
whose Ode for St. Cecilia's Day you liked so well." The words of the
ode were printed in 1782[45] with Dr. Brady's name as author.
The air which Purcell "sang with incredible graces" we are able to
identify by means of various separate publications of the song. The
title of one copy printed in 1692 or 1693 reads thus, "'Tis Nature's
Voice (Ode for St. Cecilia's day), a song set by Mr. H. Purcell, and
sung by himself at St. Cecilia's Feast in 1692, the words by N. Brady."
The "incredible graces" are, of course, numerous division passages,
commonly called runs. These graces were much in vogue in Purcell's
day, and unfortunately he too often pandered to the vulgar taste of
the multitude, and injured his music by writing many such, both in his
sacred and secular works. The fashion was probably borrowed from the
Italians. Bedford, in his _Abuse of Musick_, printed in 1711, says:--
"Among the varieties which have been brought into our musick, the
_divisions_ of many and short notes to a syllable is the most
obvious to every hearer. These must be allowed to be some of the
finest _graces_ to our modern performances. They are design'd to
strike upon the passions, and increase our rapture, and when they
are well compos'd and well perform'd they set off the voice in a
most excellent and extraordinary manner."
The following curious anecdote told by Tony Aston, in his _Brief
Supplement to Colley Cibber_, further illustrates the custom of
_gracing_ music which descended to our own times:--
"As Mr. Verbruggen had nature for his directress in acting, so had
a known singer, Jemmy Bowen, the same in music. He, when practising
a song set by Mr. Purcell, some of the musick told him to grace and
run a division in such a place. 'O let him alone,' said Mr. Purcel;
'he will grace it more naturally than you or I can teach him.'"
The "Cecilia Ode" of 1692 was frequently performed, and must have been
an especial favourite, if we may judge by the numerous manuscript
copies of the score still in existence. The work was published by "The
Musical Antiquarian Society" a few years since.
In 1693 Purcell composed music for the plays, the _Old Bachelor_,
a comedy by Congreve; the _Richmond Heiress_, a comedy by D'Urfey;
the _Maid's Last Prayer_, a comedy by Southerne; and _Henry II._, a
tragedy by Bancroft. In addition to these pieces he composed music for
the "Queen's Birthday Ode," commencing "Celebrate this festival," the
libretto of which was written by Nahum Tate. The overture to this ode
is the same as that to the "Cecilia Ode" of the same year, transposed
one note lower, from D to C. It has been printed in a very incorrect
manner by Goodison.
One other ode belongs also to this year. It was written by Tate for the
commemoration of the centenary of the foundation of Trinity College,
Dublin, and commences "Great Parent, hail." It is supposed that the ode
was performed at Christ Church, Dublin, on the 9th of January, 1694;
but no information on the subject has as yet been discovered either at
Trinity College or Christ Church. The ode was included in Goodison's
"Purcell publications."
In 1694 Purcell revised the twelfth edition of _John Playford's
Introduction to the Skill of Musick_. The third part of the work, which
treats of _The Art of Descant_,[46] appears to have been almost wholly
re-written by Purcell. The directions for the use of "discords" were
quite novel for the time, and so also must have been the paragraph
where he says, "Formerly they used to compose from the _Bass_, but
modern authors compose to the _Treble_ when they make _Counterpoint_ or
_Basses_ to tunes or songs." Again, in speaking of composition in three
parts, he writes, "The first thing to treat of is _Counterpoint_, and
in this I must differ from Mr. _Simpson_ (whose _Compendium_ I admire
as the most ingenious book I e're met with on this subject); but his
rule in three parts for _Counterpoint_ is too strict and destructive to
good air, which ought to be preferred above such nice rules." He then
goes on to explain that in vocal music the parts should move smoothly,
but that in instrumental music greater freedom would be admissible, and
he points out the Italian composers as worthy models. He also gives a
"Canon, four in one," by Dr. Blow, of whom he says, his "character is
sufficiently known by his works, of which this very instance is enough
to recommend him for one of the greatest masters in the world."
To Purcell's labours of this year, 1694, we are indebted for the music
to the plays of _Don Quixote_, Parts I. and II. Purcell only composed a
portion of the music required, but amongst the number are two worthy of
particular mention,--a duet, "Sing all ye Muses," and a bass song, "Let
the dreadful engines." The libretto was the work of D'Urfey.
Purcell also wrote music for a comedy called the _Married Beau_, by
Crowne; for the _Double Dealer_, a comedy by Congreve; for the _Fatal
Marriage_, a tragedy by Southerne; and also for _Love Triumphant_, a
tragi-comedy by Dryden[47].
To these must be added another "Ode for the Queen's Birthday,"
beginning, "Come ye sons of art;" and last and best of all, the great
"Te Deum and Jubilate" in D, composed with orchestral accompaniments,
the first example of such a work this country had seen.
Composed expressly for the festival of St. Cecilia's Day, 1694, the
music was published by Purcell's widow in 1697, with the following
dedication:--
"To the Right Reverend Father in God, Nathaniel, Lord Bishop of
Durham. My Lord, the ambition I have to do the greatest honour
I can to the memory of my Dear Husband, by inscribing some of
his best compositions to the best Patrons both of the science he
profess'd, and of his performances in it, is the fairest Apology I
can make to your Lordship; as it was the main Inducement to myself
for placing your Lordship's Name before this Piece of Musick. The
Pains he bestow'd in preparing it for so Great and Judicious an
Auditory, were highly rewarded by their kind Reception of it when
it was first Perform'd, and more yet by their Intention to have
it repeated at their _Annual Meeting_; but will receive the last
and highest Honour by your Lordship's favourable Reception of it
from the Press, to which I have committed it, that I might at once
gratifie the Desires of several gentlemen to see the Score, and at
the same time give myself an opportunity to acknowledge, in the
most Publick and Gratefull Manner, the many Favours Your Lordship
has bestow'd on my Deceased Husband, and consequently on
"Your Lordship's
Most oblig'd and most Humble Servant,
F. PURCELL."
The intention of annually performing the "Te Deum and Jubilate" must
have been formed in 1697, the year of publication, as we know that in
1696 Dr. Blow composed a "Te Deum and Jubilate" which were performed.
Purcell's work was immediately adopted by the "Corporation of the
Sons of the Clergy"[48] for performance at their Annual Festival,
and its use continued until Handel, in 1713, composed his "Te Deum
and Jubilate" for the Peace of Utrecht. After that time the works of
Purcell and Handel were performed alternately until 1743, when Handel's
new work composed for the victory at Dettingen displaced the two former
compositions. Of course Handel must have often heard Purcell's "Te
Deum;" and that he greatly profited by it is evident from the striking
resemblance of many passages in his own _Te Deum_, when compared with
that of his illustrious predecessor.
But it must in candour be admitted that the remarkable likeness between
Purcell's "Te Deum," as it is now performed, and Handel's "Dettingen
Te Deum," is greatly due to Dr. Boyce, who, being a thorough Handelian
scholar, re-scored and re-arranged Purcell's work.
Queen Mary died on the 28th of December, 1694, and Purcell composed
the music for her funeral, which took place the 5th of March following
(1695), in Westminster Abbey. Purcell composed two anthems, to the
words, "Blessed is the man that feareth the Lord," and "Thou knowest,
Lord, the secrets of our hearts." Contemporary records speak in
affecting terms of the solemnity of the occasion;--"the day was dark
and troubled, and a few ghastly plumes of snow fell on the black
plumes of the funeral car." The procession was attended by the two
Houses of Parliament with their maces, "the Lords robed in scarlet
and ermine, and the Commons in long black mantles;" the banners of
England and France, Scotland and Ireland, were borne before the corpse.
On the gorgeous coffin of purple and gold were laid the crown and
sceptre of the realm. Inside the Abbey, the whole of the church, nave,
choir, and transepts were all ablaze with innumerable waxlights; and
a little robin-redbreast, who had found refuge from the inclement
weather, constantly flew down and perched on the hearse, seeming to
the spectators as if he, too, mourned for the Queen who had been so
loved and was now so lamented. Of Purcell's music, Dr. Tudway, one of
the choir on this occasion, says: "The anthem, 'Blessed is the man,'
was composed after the old way, and was sung at the interment of Queen
Mary in Westminster Abbey; a great Queen and extremely lamented, being
there to be interred, everybody present was disposed and serious at so
solemn a service, as indeed they ought to be at all parts of Divine
worship. I appeal to all that were present, as well such as understood
music, as those that did not, whether they ever heard anything so
rapturously fine, and solemn, and so heavenly in the operation, which
drew tears from all; and yet a plain natural composition, which shows
the power of music, when 'tis rightly fitted and adapted to devotional
purposes." The second anthem, "Thou knowest, Lord, the secrets of
our hearts," Dr. Tudway says, "was accompanied by flat, mournful
trumpets." This majestic movement is a splendid monument to the memory
of Purcell. It has been used at every choral funeral in Westminster
Abbey and St. Paul's Cathedral since its first production. Dr. Croft,
who subsequently set the "Burial Office" to music, refrained from
composing to these words, on the ground that the music of Purcell
was unapproachable, and adds, that in composing his own music he had
endeavoured, as near as possible, to "imitate that great master and
celebrated composer, whose name will for ever stand high in the rank
of those who have laboured to improve the English style, in his so
happily adapting his compositions to English words in that elegant and
judicious manner, as was unknown to many of his predecessors."
Queen Mary died of small-pox, and the memory of her goodness was felt
so universally by the people that writers vied with each other in
their endeavours to perpetuate records of her worth. I have now before
me a volume containing thirty-six odes and monodies to her memory,
all published in 1695. Amongst them are an "Epicedium," set to music
by Dr. Blow, the words by Mr. Herbert; a Latin version of the same,
commencing, "Incassum Lesbia," set to music by Henry Purcell, for a
solo voice; and another beginning, "O dive custos auriacæ domus," also
set to music by Purcell, for two voices.
Purcell was in a delicate state of health at the time of writing the
music for Queen Mary's funeral, yet he seems to have worked with
undiminished determination, composing music for the comedy, the
_Canterbury Guest_, written by Ravenscroft; the _Mock Marriage_, a
comedy by Scott; the _Rival Sisters_, a tragedy by Gould; _Oroonoko_,
a tragedy by Southerne; the _Knight of Malta_, a play by Beaumont and
Fletcher; and _Bonduca, or the British Heroine_, a tragedy adapted
from Beaumont and Fletcher,--this play included the catch, "Jack,
Thou'rt a Toper," the admirable duets, "To Arms," and "Britons Strike
Home." Some of the music was printed on single sheets immediately after
performance, but it remained for the "Musical Antiquarian Society" to
issue in 1842 a complete copy of the score, edited by Dr. Rimbault.
Purcell also, on 24th July in this year, produced a "Birthday Ode"
for the Duke of Gloucester. The ode commences, "Who can from joy
refrain." It was written for solo voices and chorus with orchestral
accompaniments. Among the principal singers at the first performance
were Mr. Howell, Mr. Robert, and Mr. Damascene.
Purcell also wrote some music for D'Urfey's third part of _Don
Quixote_. Amongst the pieces he contributed to this play was the
celebrated cantata, "From Rosie Bowers." This song was frequently
reprinted, and with the note that it was "The last song the Author
sett, it being in his sickness." It is probable that D'Urfey had hoped
to have had the advantage of Purcell's musical skill for the setting of
all his verses in the third part of _Don Quixote_, but it would seem
that Purcell was too ill to accomplish the work.
"From Rosie Bowers" was considered so important by D'Urfey that he
published the music of the third part of _Don Quixote_ with the
following title:--
"New Songs in the Third Part of the Comical History of _Don
Quixote_. Written by Mr. D'Urfey, and sung at the Theatre Royal.
With other new songs by Mr. D'Urfey. Being the last piece set
to musick by the late Famous Mr. Henry Purcell, Mr. Courtivill,
Mr. Akroy'd, and other eminent Masters of the Age. Engrav'd
on Copper-Plates. London, printed for Samuel Briscoe, at the
Corner-shop of Charles-street, in Russell-street, Covent Garden,
1696. Price Three Shillings. Where are also to be had, the First
and Second Parts of Mr. D'Urfey's Songs, set to musick by Mr. Henry
Purcell."[49]
In the year of the publication just named another song was printed,
commencing, "Lovely Albina," with the heading, "The last Song that Mr.
Henry Purcell sett before he dy'd." But a later edition says, "The last
song the author sett before his sickness." There cannot be much doubt,
therefore, that the air "From Rosie Bowers" was really Purcell's last
work. D'Urfey's print and tradition agree in this.
And now we come to the last scene of all. It is the 21st of November,
1695,--by a curious coincidence the eve of the festival of St. Cecilia,
a day so frequently celebrated by Purcell. In a house on the West side
of Dean's Yard, Westminster, in a darkened chamber, the dying musician
is lying on his couch in full possession of all his faculties, as
he himself had just said in his will, but with a thorough knowledge
that he was about to pass into the land of shadows. He could possibly
hear some faint murmurs of the evensong service wafted from the old
Abbey close by, perhaps some well-remembered phrase of one of his own
soul-stirring anthems. The psalm of the day which would be chanted at
that evening service concluded with words which he had set to music
the world was not likely soon to forget--music which still remains
unsurpassed in truthfulness and dignity. A more noble or a more fitting
death-chant for a child of song it would be difficult to find:--
"Blessed be the Lord God of Israel,
From everlasting, and world without end.
And let all the people say, Amen."
By his bed-side were gathered his aged mother, his young wife, and his
three infant children; and so amid their sighs and tears his gentle
spirit passed into the better world, there to continue his service of
song and praise in fulness and perfection.
That Purcell was sincerely loved and mourned by relations and friends
we know, and the following testimony of tender regard will be read
with interest. It is written on the fly-leaf of a copy of his opera
_Dioclesian_:--[50]
Ex Dono Carissimi Desideratissimique Autoris HENRICI PURCELL
Musarum Sacerdotis: Qui Anno Domini 1695 Pridie Festi Sᵗᵃᵉ Cæcilæ
Multis Flebilis occidit, Nulli Flebilior quàm Amico suo atque
Admiratori JACOBO TALBOT.
_Translated thus_:
The gift of the most beloved and most distinguished author, HENRY
PURCELL, Priest of the Muses, who in the year of our Lord 1695, the
day before the feast of St. Cecilia, died with many tears, to none
more tearfully than to his friend and admirer, JACOB TALBOT.
Jacob Talbot was a Fellow of Trinity College, Cambridge, and the
author of the words of an "Ode for the Consert at York Buildings,
upon the death of Mr. Purcell," which will be found in the _Orpheus
Britannicus_, 1698.
Purcell was buried on the 26th of November in Westminster Abbey,
beneath the organ which had so often responded to his skilful touch.
The anthems he had composed for Queen Mary's funeral only a few months
before were again performed, so that Purcell had rehearsed and
inaugurated his own dirge. Doubtless the remembrance of this would
bring home to the mourners the intense pathos of the music with double
force.
On the grave-stone the following lines were inscribed:
Plaudite, felices superi, tanto hospite; nostris
Præfuerat, vestris additur ille choris:
Invida nec vobis Purcellum terra reposcat,
Questa decus sedi deliciasque breves.
Tam cito decessisse, modos cui singula debet
Musa, prophana suos, religiosa suos,
Vivit, Io et vivat, dum vicina organa spirant,
Dumque colet numeris turba canora Deum.
_Translated thus_:
Applaud so great a guest, celestial pow'rs,
Who now resides with you, but once was ours;
Yet let invidious earth no more reclaim
Her short-lived fav'rite and her chiefest fame;
Complaining that so prematurely died
Good-nature's pleasure and devotion's pride.
Died? no, he lives, while yonder organs sound
And sacred echoes to the choir rebound.
Even in 1722 the inscription had become almost illegible from the wear
of passing feet, and soon was entirely obliterated. The grave-stone
remained in this condition until 1876, when, by the exertions of Mr.
Henry F. Turle, son of the respected organist of the Abbey, a private
subscription was made which provided funds for placing another stone
and restoring the inscription. By permission of the Dean, the following
lines were added:--
FRANCISCA
HENRICI PURCELL Uxor,
Cum conjuge sepulta est.
XIV. Feb. MDCCVI.
On the pillar adjacent to the grave there is a tablet with the
inscription:--
Here lies Henry Purcell, Esq., who left this life, and is gone to
that blessed place where only his harmony can be exceeded. Obiit 21
mo die Novembris, anno ætates suæ 37ᵐᵒ. Annoq. Domini 1695.
This memorial was erected by the Lady Elizabeth Howard, whom Hawkins,
and others, have supposed to have been the wife of Dryden, and a pupil
of Purcell. Hawkins also inferred that it was Dryden who wrote the
inscription for the memorial, and further, that the dedication of
the _Orpheus Britannicus_ to Lady Elizabeth Howard was intended for
Dryden's wife.
All these surmises are wrong. Dryden married Lady Elizabeth Howard,
the eldest daughter of the Earl of Berkshire, in 1665, when Purcell
was seven years old. Of course, after the marriage the wife ceased to
be Lady Elizabeth _Howard_: moreover, her husband's (Dryden) means
would scarcely have permitted the serious cost of Purcell's memorial
tablet. This was in reality erected by the wife of Sir Robert Howard,
the dramatist, who had been associated with Purcell in theatrical
composition, and the lady had been a pupil of Purcell; the probability
is, therefore, that Sir Robert wrote the inscription.
Purcell made his will on the day of his death; it is important, and
reads as follows:--
"In the name of God, Amen. I, Henry Purcell, of the Citty of
Westminster, gent., being dangerously ill as to the constitution
of my body, but in good and perfect mind and memory (thanks be
to God), doe by these presents publish and declare this to be
my last Will and Testament. And I doe hereby give and bequeath
unto my loveing Wife, Frances Purcell, all my Estate both reall
and personall of what nature and kind soever, to her and to her
assigns for ever. And I doe hereby constitute and appoint my said
loveing Wife my sole Executrix of this my last Will and Testament,
revokeing all former Will or Wills. Witnesse my hand and seale this
twentieth first day of November, Annoq. Dni., One thousand six
hundred ninety-five, and in the seventh yeare of the Raigne of King
William the Third, &c.
"H. PURCELL.
"Signed, sealed, published, and declared by the said Henry Purcell
in the presence of Wm. Ecles, John Capelin.
"B. PETERS."
Purcell's widow was thus left sole executrix, and she with her
children--Frances, aged 7, Edward, aged 6, and Mary Peters, aged 2
years--continued to reside for a time at the house in Great Dean's
Yard, from whence, in 1696, Mrs. Purcell issued _A Choice Collection
of Lessons for the Harpsichord or Spinnet, composed by the late Mr.
Henry Purcell, Organist of his Majesties Chappel Royal, and of St.
Peter's, Westminster_. Of this popular little work three editions were
speedily exhausted. In 1697 Mrs. Purcell published a collection of
_Ten Sonatas in four parts, composed by the late Mr. Henry Purcell_,
and also _A Collection of Ayres, compos'd for the Theatre, and upon
other occasions, by the late Mr. Henry Purcell_; and in 1698 a further
publication of the first volume of _Orpheus Britannicus: A Collection
of all the Choicest Songs for one, two, and three voices, compos'd by
Mr. Henry Purcell; together with such Symphonies for Violins or Flutes
as were by him design'd for any of them: and a thorough-bass to each
song; figur'd for the Organ, Harpsichord, or Theorbolute. All which
are placed in their several Keys according to the order of the Gamut._