wilfully ignorant of, because I have dearly loved them, and if I had
learnt them to a perfection, this satiety might have bred a nauseous
distaste and surfeit, as in other things, and then I had nothing to
delight in. But alas! this conceit hath failed me, _for now all church
music my highest terrene content is abandoned amongst us_."--PHILIP
KING'S "Surfeit," 1656.]
[Footnote 4: They acted together in "The Siege of Rhodes" in 1656.]
[Footnote 5: His name appears in the cheque-book of the Chapel Royal as
Henry _Purcill_, and from the same source we learn that he, in common
with the other gentlemen of the Chapel, received (each of them), four
yards of fine scarlet cloth for a gown to wear at the coronation.]
[Footnote 6: George Dalham, a well-known organ builder. Dr. Rimbault
says Father Smith built the organ erected in Westʳ Abbey at the
Restoration, but this payment would suggest a doubt as to his accuracy.]
[Footnote 7: Hill played the treble parts on the cornet in consequence
of the difficulty previously mentioned, of obtaining efficient boys. He
was buried in the cloisters of W. A., in 1667.]
[Footnote 8: Christopher Gibbons, son of the celebrated Orlando
Gibbons, was organist of Winchester Cathedral in the reign of Charles
I., but on the breaking out of the civil war he became a soldier.
He was admitted Doctor of Music at Oxford, by the special desire of
Charles II.]
[Footnote 9: Where the word "nil" now stands in the MS. there has
evidently been an erasure of some figure or figures.]
[Footnote 10: Harl. MSS. 1911.]
[Footnote 11: Cooke performed the part of "Solyman" in _The Siege of
Rhodes_, in 1656, and also composed the music for the second and third
acts of the opera.]
[Footnote 12: Wood, M.S. Ashmole, 8568.]
[Footnote 13: A copy of this birthday Ode, in the handwriting of Pelham
Humphreys, was in the possession of the late Dr. Rimbault.]
[Footnote 14: In my own library.--W. H. C.]
[Footnote 15: Johnson's music is printed in Stafford Smith's _Musica
Antiqua_.]
[Footnote 16: Spelt variously, Humfrey, Humphrey, Humphries.]
[Footnote 17: The following entries are from the account of Secret
Service moneys kept by Sir John Shaw:--
"1664. To Pelham Humphreys, to defray the charge of his journey to
France and Italy, 200_l._"
"1665. To Pelham Humphreys, bounty 100_l._"
"1666. To Pelham Humphreys, bounty 150_l._"
]
[Footnote 18: Louis Grabut.]
[Footnote 19: Dr. Burney is particularly severe in condemning Blow's
"crudites and violations of rule," and prints four pages of examples
of Blow's sins; but there can be little doubt that a musician of the
present day would regard the faults as mere spots on the sun of Blow's
splendid music. Those who care to see what Blow could write should look
at the anthems, "I was in the Spirit," and "I beheld, and lo."]
[Footnote 20: For a list of Copyists of Westminster Abbey, see p. 112.]
[Footnote 21: I am indebted to the late Dr. Rimbault for a copy of this
letter.]
[Footnote 22: He was succeeded by the Rev. William Tucker, Minor Canon
of the Abbey, and Priest of the Chapel Royal, an excellent composer,
who died in 1689. The following entry refers to his work:--
"In moneys recᵈ. and paid for secret services of Charles II." "To Eliza
Tucker, widᵒ relict of Wᵐ. Tucker, for her husband's writing in 15
books, the anthems with symphonies for King Charles the 2ᴺᴰˢ use in
his Chappell Royal, 15_l._"]
[Footnote 23: The original of this letter is in my possession.--W. H.
C.]
[Footnote 24: 1678 by the old style, but 1679 by the new.]
[Footnote 25: The music was published in a collection called _The Catch
Club; or, Merry Companions_.]
[Footnote 26: For a list of the Organists of Westminster Abbey, see p.
111.]
[Footnote 27: In 1794 S. Harding published a portrait of "Henry
Purcell, musician and actor," copied from the original in Dulwich
College. I have made diligent search for the painting without
success.--W. H. C.]
[Footnote 28: Know all men by these presents that I, Thomas Purcell, of
the Parish of St. Martin's-in-the-Fields, in the County of Middx., one
of the gentlemen of his Maᵗˢ Chappell Royall, and servant to his
Maᵗᴵᵉ, have assign'd, ordain'd, and made, by these presents doe
assigne, ordayne, and make my trusty and well beloved son, Mathew
Purcell, my true and lawful Attorney for me and in my name, and to my
use to aske, take, and receive all such arrears and summes of money
as are due, and hereafter will become due and payable to me the said
Thomas Purcell out of his Maᵗˢ Treasury, Chambʳ Exchequer, Coffery
office, or any other place or office whatsomever, giving, and by these
presents granting unto my sᵈ Attorney my whole Power and authority in
and about the premisses, and upon Recᵗ of any such summes of money
aforesaid, Acquittance, or other discharges for me and in my name to
make and give, and for me and in my name to doe and performe as fully
and largely in every respect to all intents and purposes as I myself
might or could doe if I were there personally present, ratifying,
confirming, and allowing all and whatsomever my said Attorney shall
lawfully do or cause to be done in and about the premisses aforesaid
by Vertue of these presents. In witness whereof I have hereunto set my
hand and seale, this 15th day of May in the three-and-thirtieth yeare
of King Charles the Second over England, &c. Annoq. Domini 1681.
T. PURCELL.
Sealed and delivered in the
presence of
F. PURCELL.
Witt. WALLEY.
]
[Footnote 29: Giovanni Baptista Draghi, born in Italy, came to England
about the middle of the 17th century, and at the death of Matthew Locke
he obtained the appointment of organist to Catherine of Braganza,
wife of Charles II. Draghi was in great request as a performer and
teacher of the harpsichord; amongst his pupils were the Princess Anne
and probably her sister Mary. He was a good composer, and had by
diligent study made himself well acquainted with the compositions of
the best English masters whose manner of composing he adopted. He set
to music an Ode written by Dryden for St. Cecilia's day, 1687, and in
contemporary copies of the words we find his name anglicised to John
Baptist Draghi.]
[Footnote 30: This we learn from several advertisements of later
date, where it is stated, "At John Carr's shop may be had the musical
entertainment for last St. Cecilia's Day. The words made by Mr.
Christopher Fishburn, and set to music in two, three, four, and six
parts by Mr. Henry Purcell, Composer in Ordinary to His Sacred Majesty,
and one of the Organists of His Majesty's Chappel Royal."]
[Footnote 31: Smith was organist of St. Margaret, Westminster.]
[Footnote 32: So spelt in the registers of Westminster Abbey, but
"Banester" on his monument.]
[Footnote 33: See No. 15 of _The Ancient Vocal Music of England_, by E.
F. Rimbault, published by Novello & Co.]
[Footnote 34: See _Concordia_, April 15 and 22, 1876.]
[Footnote 35: _Apology for the Life of Colley Cibber._]
[Footnote 36: _History of Music_, Novello's Edition, vol. ii. p. 743.]
[Footnote 37: "_The Songs in Amphitryon, with the Musick._ Composed by
Mr. Henry Purcell. London: printed by J. Heptinstall for Jacob Tonson,
at the Judge's Head in Chancery Lane. MDCXC."]
[Footnote 38: _Dioclesian._]
[Footnote 39: North, in the _Memoires of Musick_, 1728, mentions
Purcell's _King Arthur_ as at that time "unhappily lost."]
[Footnote 40: _Round about Piccadilly_, by Wheatley, p. 294.]
[Footnote 41: Hawkins's _History of Music_, vol. ii. p. 753.]
[Footnote 42: See Sir Walter Scott's _Life of Dryden_.]
[Footnote 43: Hogarth's _Memoirs of the Musical Drama_, 1838.]
[Footnote 44: Reading and Pate some three years afterwards figured in
another kind of Duo; the _Post-Boy_, June 20th, 1695, has the following
paragraph:--"I am informed that the Lord Chamberlain hath been pleased
to displace Mr. Pate and Mr. Reading from their places in the Playhouse
for being in the late riot at Drury Lane." The riot had occurred at
the "Dog Tavern," and in consequence several persons were prosecuted
and found guilty; some were fined 500 marks each, but Reading and Pate
were fined only twenty marks each; probably their fines were reduced in
consideration of their dismissal by the Lord Chamberlain. They were,
however, soon afterwards reinstated in their previous appointments.]
[Footnote 45: _Nichol's Select Collection of Poems._]
[Footnote 46: In the thirteenth edition published in 1697, the third
part has the following heading:--"The art of Descant, or composing
musick in parts; made very plain and easie by the late Mr. Henry
Purcell."]
[Footnote 47: The last piece Dryden wrote for the stage.]
[Footnote 48: The music was published by Walsh with the following new
title, "Te Deum et Jubilate for voices and instruments perform'd before
the _Sons of the Clergy_ at the Cathedral Church of St. Paul. Composed
by the late Mr. Henry Purcel." This led to a notion that the music had
been composed for the "Sons of the Clergy" festival.]
[Footnote 49: This third part is so scarce that probably only one or
two perfect copies now exist.]
[Footnote 50: In my own library.]
[Footnote 51: It is evident from this will that Purcell's youngest
child, Mary Peters, had died since her father's decease.]
[Footnote 52: _Anecdotes, Biographical Sketches_, by Letitia Matilda
Hawkins.]
[Footnote 53: "The English affect more the Italian than the French
music, and their own compositions are between the gravity of the first
and the levity of the other. They have had several great masters of
their own. _Henry Purcell's_ works in that kind are esteemed beyond
_Lully's_ everywhere, and they have now a good many very eminent
masters; but the taste of the town being at this day all Italian, it is
a great discouragement to them."--_Mackay's Journey Through England_,
1722-3.]
[Footnote 54: Dr. King's _Bibliotheca_, 1712.]
[Footnote 55: The flute of Purcell's day was blown at the extreme end
like a flageolet, the modern _flauto traverso_ was unknown.]
[Footnote 56: Stafford Smith's _Collection of English Songs_, 1779.]
PURCELL'S FAMILY.
In the foregoing pages I have spoken of Purcell's father and uncle, but
made no mention of his ancestry. Nothing absolutely certain is known
of them. Various surmises have been made from time to time, and as
the name of Purcel had been common in Ireland for some centuries,[57]
people have endeavoured to trace the composer's family in that country,
but no reason or evidence has as yet been found for supposing that
Purcell inherited Celtic blood.
The national archives preserved at Somerset House furnish material for
speculation in this matter; the following wills may very probably have
been made by some of the great composer's ancestors:--
"Will proved 1547-8 (fo: 3 Populwell).
DAVJD FYSSHER of Salopp Sherman--
to my Kynsman Nicholas pursell
to John pursell of Marten, Vᴸᴵ.
to George pursell, Vᴸᴵ.
to Thomas purshell, Nicholas sonne, Vᴸᴵ.
to Roger Calcott of Buttington, Viijˢ."
JOHN FYSSHER, gentᴺ of Hen. VII., Hen. VIII., and Edw. VI. chapels--
'to my Cosyn,[58] John Pursell, XXˢ sterling, all my londes in Clevedon
and Clopton: ... Countie of Somers nye to Bristowe;' to brother David
Fyssher of Shrewsbury for life and after to Cosyn Nicholas pursell and
heirs for ever."
The parish registers of St. Margaret's, Westminster, contain occasional
mention of the name of Pursell or Purcell, the earliest being 1575;
but whether the records before 1658 refer to members of the composer's
family it has not been possible to determine.
Purcell's mother died in August, 1699, having survived her son nearly
four years; her burial is recorded in the books of St. Margaret's,
Westminster, thus:--"Mrs. Elizᵗʰ Pursell, Ch.[59] August 26, 1699;" her
estate was "administered to" on the 7th of the following September by
her daughter Katherine, who had been baptized in Westminster Abbey on
the 13th of March, 1662. This younger sister of Purcell was married on
the 20th June, 1691, to the Rev. William Sale, of Sheldwich, Kent.
Purcell had two brothers, Edward and Daniel: the former was born in
1653. The story of his life is briefly told in the inscription placed
on his gravestone in the chancel of Wytham Church, near Oxford:
"Here lyeth the body of Edward Purcell, eldest son of Mr. Purcell,
gentleman of the Royal Chapel, and brother to Mr. Henry Purcell so
much renowned for his skill in musick. He was gentleman usher to
King Charles the 2nd, and lieutenant in Col. Trelawney's regiment
of foot, in which for his many gallant actions in the wars of
Ireland and Flanders he was gradually advanced to the honour of
Lieutenant-colonel. He assisted Sir George Rook in the taking of
Gibraltar, and the Prince of Hesse in the memorable defence of it.
He followed that Prince to Barcelona, was at the taking of Mountjoy
where that brave Prince was killed; and continued to signalize
his courage in the siege and taking of the city in the year 1705.
He enjoyed the glory of his great services till the much lamented
death of his late mistress, Queen Anne, when, decayed with age and
broken with misfortunes, he retired to the house of the Right Hon.
Montague, Earl of Abingdon, and died June 20, 1717, aged 64."
Daniel Purcell was a younger brother of the great composer; the exact
date of his birth is not known, but it is believed to have been about
1660. Of his early musical training nothing has been ascertained, he
was too young when his father died to have received any instructions
from him; possibly in his boyhood he may not have shown remarkable
traits of musical ability; and in his more mature years his undoubted
talent was altogether over-shadowed by the superior genius of his
brother, to whom he was indebted for some part of the practical and
theoretical knowledge of music he possessed. The first official
appointment with which we can identify him is that of organist of
Magdalen College, Oxford, to which he succeeded in 1686, soon after the
ejectment from that post of Dr. Benjamin Rogers, who with the other
fellows of the College was unjustly expelled by James II. In 1693
Daniel Purcell composed music for a "Saint Cecilia's Day Ode" written
by Thomas Yalden, which is believed to have been performed at Oxford.
He resigned his appointment at Magdalen College in 1695, in order that
he might reside in London, and in the following year, 1696, composed
music for the tragedy "Ibrahim XII.," written by Mary Pix; also for an
opera called "Brutus of Alba, or Augusta's Triumph." This was written
by George Powell, the comedian, and John Verbruggen; it was performed
at the theatre in Dorset Gardens in the following year. The songs were
immediately published with a dedication "to P. Norton and A. Henley,
Esquires." In 1697, in conjunction with Jeremiah Clarke, he composed
music for Settle's opera, "The New World in the Moon," and also for
D'Urfey's opera, "Cynthia and Endymion." In 1698 he composed songs
for a tragedy, "Phaeton, or the Fatal Divorce," written by Gildon,
also an ode for the Princess Anne's birthday,[60] and an ode for Saint
Cecilia's Day, written by Bishop.[61] In 1699, he was associated with
Jeremiah Clarke and Leveridge in composing music for "The Island
Princess," an opera by Motteux, and he also composed music for a "Saint
Cecilia Ode" written by Addison for performance at Oxford. In 1700 he
composed the work which has generally been considered his greatest
success, an opera entitled "The Grove, or Love's Paradise," written
by J. Oldmixon, and performed at Drury Lane. Daniel Purcell is said to
have designed and penned this music whilst staying with his patron,
Anthony Henley, of the Grange, in Hampshire, or at the residence
of Philip Norton, of Southwick, in the same county, another of his
patrons, who was in the habit of entertaining his friends in the summer
time with dramatic representations.
On the 21st of March, 1699,[62] the following advertisement appeared in
the _London Gazette_:--
"Several persons of quality, having for the encouragement of musick
advanced 200 guineas, to be distributed in 4 prizes, the first
of 100, the second of 50, the third of 30, and the fourth of 20
guineas, to such masters as shall be adjudged to compose the best;
this is therefore to give notice, that those who intend to put in
for the prizes are to repair to Jacob Tonson at Gray's-Inn Gate,
before Easter next day, where they may be further informed."
The Earl of Halifax was the originator and one of the principal
contributors to the prize fund; he was also one of the adjudicators.
The poem selected for the composers to exercise their skill and fancy
on was "The Judgment of Paris," written by Congreve. The first prize
was won by John Weldon,[63] the second by John Eccles, _the third by
Daniel Purcell_, and the fourth by Godfrey Finger.
The prize compositions of Daniel Purcell and Eccles were speedily
published, but Weldon's work remains in MS., as does also that by
Finger, who was so annoyed at the small success his composition
achieved that he left England in disgust.
In 1701 Daniel Purcell composed music for "The Unhappy Penitent," a
tragedy by Catherine Trotter; in 1702 for "The Inconstant," a comedy by
Farquhar. In the _Diverting Post_, October 28th, 1704, we read--
"The Play-house in the Hay-Market (the architect being John
Vanbrugh, Esq.), built by the subscription money of most of
our Nobility, is almost finish'd: in the meantime two operas,
translated from the Italian by good Hands, are setting to musick,
one by Mr. Daniel Purcel, which is called 'Orlando Furioso,' and
the other by Mr. Clayton: both operas are to be perform'd by the
best artists, eminent both for Vocal and Instrumental Musick, at
the Opening of the House."
This composition was very highly commended in the _Muses Mercury_,
1707, which speaks also in warm terms of a masque set by Daniel Purcell
called "Orpheus and Euridice." In 1707 he composed a "Saint Cecilia
Ode," which was performed at Oxford in St. Mary's Hall.
An advertisement in the _Spectator_, No. 340, March 31, 1712, tells us--
"On Wednesday the 3rd of April, at Stationers' Hall, Mr. Daniel
Purcell, brother of the memorable Mr. Henry Purcell, will exhibit
an entertainment of Vocal and Instrumental Musick entirely new, and
all parts to be performed with the greatest excellence."
Amongst his compositions, printed and manuscript; not already
mentioned, are Anthems, Songs for the plays "The Careless Husband,"
"The Humor of the Age," and "Magbeth."[64] "Sonatas or Solos for the
violin with a thorough bass for the harpsichord, or bass-violin."
"Sonatas for flute and bass," and "A Lamentation for the Death of Mr.
Henry Purcell."
The words of this "Lamentation" were written by Nahum Tate, and
conclude with the following lines:--
"A sighing Wind, a murm'ring Rill,
Our Ears with doleful Accents fill:
They are heard, and only they,
For sadly thus they seem to say,
The Joy, the Pride of Spring is Dead,
The Soul of Harmony is fled.
Pleasure's flown from Albion's Shore,
Wit and Mirth's bright Reign is o're,
Strephon and music are no more!
Since Nature thus pays Tribute to his Urn,
How should a sad, forsaken Brother mourn!"
Daniel Purcell was appointed organist of St. Andrew, Holborn, in 1713,
and retained the position until his death in 1717. Sir John Hawkins in
his History,[65] says:--
"The occasion of Daniel Purcell's coming to London was as
follows:--Dr. Sacheverell, who had been a friend of his brother
Henry, having been presented to the living of St. Andrew, Holborn,
found an organ in the church of Harris's building, which having
never been paid for, had from the time of its erection, in 1699,
been shut up. The Doctor upon his coming to the living, by a
collection from the parishioners, raised money to pay for it;
but the title to the place of organist was litigated, the right
of election being in question between the rector, the vestry, and
the parish at large. Nevertheless he invited Daniel Purcell to
London, and he accepted it; but in February, 1717, the vestry,
which in that parish is a select one, thought proper to elect Mr.
Maurice Greene, afterwards Dr. Greene, in preference to Purcell,
who submitted to stand as a candidate. In the year following Greene
was made organist of St. Paul's, and Daniel Purcell being then
dead, his nephew Edward was a candidate for the place; but it was
conferred on Mr. John Isum, who died in June, 1726."
That Hawkins has made a series of mistakes in the above statement, is
clear from the following advertisement, which appeared in the _Daily
Courant_, December 12, 1717:--
"Whereas Edward Purcell, only son to the Famous Mr. Henry Purcell,
stands candidate for the Organist's place of St. Andrew, Holborn,
in the room of his uncle Mr. Daniel Purcell, deceased,--This is
to give notice, that the place is to be decided by a general
Poll of Housekeepers of the said Parish, whom he humbly hopes,
notwithstanding the false and malicious reports of his being a
Papist, will be assistant to him in obtaining the said place.
"N.B.--The election will begin upon Tuesday the 17th, at nine in
the morning, and continue till Friday following, to four in the
afternoon."
This shows that Daniel vacated his organistship by death. Unfortunately
the parish book which might tell us the result of the election by the
householders cannot be found; but it evidently was not permitted to
be a final decision, for on the 17th of the ensuing February, 1718, a
Vestry was held, of which the following is a minute:--[66]
"The question being put whether the vestry should take the election
of an organist into their nomination, it was agreed in the
affirmative.
"The candidates were--
MR. SHORT
" ISHAM
" YOUNG
" GREEN //////
" PURSILL
" HAYDON
" HARRIS
" HART
"Mr. Green is elected Organist of the Parish of St. Andrew,
Holborn."
The strokes show that Greene was elected by six votes, seemingly the
whole vestry, as no votes are marked against the names of the other
candidates. Greene, however, soon resigned the appointment, and a new
election took place.
"1718, 3ᵈ of April, Mr. Green yᵉ Organist being elected Organist of
St. Paul's and his place as Organist of this Church being become
vacant, the Vestry do order his salary be continued to Sunday
the 4th of May. It is also ordered that such person who shall be
elected Organist of this Parish in the room of Mr. Green, shall
be obliged to a constant personall attendance on all Sundays and
Holydays.
"The several candidates--
MR. G. HAYDON /
" C. YOUNG
" EDWARD PURSIL
" JOHN ISHAM ///////////
"Agreed that Mr. John Isham be elected Organist of the Parish
Church in the room of Mr. Green, and that he have a yearly salary
of Fifty pounds payd him out of the Bells and Palls."
Here again Edward Purcell was unsuccessful, Mr. John Isham obtaining
eleven votes.
After the death of Daniel Purcell the following advertisement appeared
in the _Post Boy_, Saturday, 26th April, 1718:--
"Musick this day published, Being a choice Collection, &c., to
which is added all the Psalm tunes by the late Mr. Daniel Purcell."
This work was probably the curious collection still extant bearing the
following title: "The Psalms Set full for the Organ or Harpsichord as
they are Plaid in Churches and Chappels in the maner given out; as
also with their interludes of great Variety, by Mr. Danᴸ Purcell, late
Organist of St. Andrew's, Holbourn."
Daniel Purcell is credited by Hawkins as having been more skilful and
successful as a punster than as a composer. Of his puns we have now no
evidence upon which to form a judgment, but his music exists to show
that the historian's verdict is not always to be relied on.