1648--1708
If there is one name among the Twelve Musicians with whom I am dealing
in this course of Lectures to which I desire specially to do justice,
it is that of Dr. John Blow. As a child I sang his Anthems in
Rochester Cathedral, and I well remember the delight with which I
listened to, and took part in, his beautiful and expressive _I beheld,
and lo a great multitude_, and _I was in the Spirit on the Lord's day_.
In those days the great masterpieces of the English Cathedral School
were constantly done, and very well done, at Rochester, and none of the
Anthems except I may say, perhaps, Purcell's great Anthem _O Sing unto
the Lord_, touched me and thrilled me as did that of Blow. And as long
as I played in Manchester Cathedral and Westminster Abbey, so long did
I feel the power and religious impressions of these splendid specimens
of Blow's genius. Of course there are many Anthems and Services by
this master, but none, to me at least, ever spoke so eloquently as did
the two I have mentioned. This is one reason {109} why I approach the
subject of Blow's career with such a desire to do him justice. Another
is the strange neglect of most of his secular music, and lastly the
absurd and ignorant criticism of Dr Burney, as displayed in his
_History_, when he talks of "Blow's crudities."
Without further delay let us proceed to trace his musical life. I
refrain, on account of time, from dwelling much on biographical details
in these Lectures. So I will merely state that it seems pretty certain
that Blow was born at North Collingham, in Nottinghamshire, and
baptised in the Parish Church of Newark in February 1648-9. Let us
begin with recording his admission as a Chorister to the Chapel
Royal--one of the "clever boys" whom Captain Cooke got together and
taught. Of his school-fellow, Pelham Humfrey, I have already spoken,
and, like Humfrey, Blow composed Anthems while in the choir. It is
possible--or rather, I think, probable--that an entry in Pepys' _Diary_
refers to him. Under the head of August 21, 1667, we read:
This morning come two of Captain Cooke's boys, whose voices are
broke, and are gone from the Chappell, but have extraordinary
skill, and they and my boy, with his broken voice, did sing three
parts: their names were Blaew and Loggings, but notwithstanding
their skill, yet to hear them sing with their {110} broken voices,
which they could not command to keep in tune, would make a man mad,
so bad it was.
If this refers to Blow he would be about nineteen years old, and could
have had but a very broken voice. But it is not impossible, as many
boys retain their voices until a good age, and continue singing "alto"
in a moderate sort of style. It is hardly likely there would be a boy
named Blaew and one named Blow. And there was some arrangement whereby
boys who had left the Choir continued to reside with the Masters,
possibly to study.[1]
At the early age of twenty-one, in 1669, he became Organist of
Westminster Abbey, and the appointment, apparently, was not enough for
his ambition (or, more probably, for his needs!), for in 1674 he
succeeded Humfrey as Master of the Children of the Chapel Royal,
becoming Organist also (while still holding Westminster Abbey) in 1676.
As regards his degree of Mus. Doc. I have (on the authority of the late
Dr Southgate) to make a little correction of former statements. It has
generally been said the degree was conferred upon Blow by Archbishop
Sancroft, but {111} Dr Southgate told me in a note, when I was about to
lecture on Blow, some years ago, that the degree was granted by
Bancroft's _representative_ the Dean of Canterbury--the Archbishop
being dead. It is marked in the Lambeth Register "_Sede vacante_": it
was thus bestowed when the "See was vacant." It is a curious fact that
Blow gave up his Abbey post in 1680, being succeeded by Purcell; and on
Purcell's death, in 1695, he was again appointed organist of the Abbey,
and held that post until his death.
But I have to record yet another important Cathedral appointment which
our indefatigable musician held. He was Almoner and Master of the
Choristers in St Paul's Cathedral, holding those offices for six years,
from 1687 to 1693. Again he seems to have resigned in favour of a
pupil, Mr Jeremiah Clarke. It is a remarkable testimony to the esteem
in which he was held that he should have filled posts at the Chapel
Royal, St Paul's Cathedral, and Westminster Abbey, all at the same
time. Bishops, in the old days, often presided over a Diocese, filled
a Canonry or directed a College and occupied a "Living" or two,
simultaneously; but Blow seems to me to have been the greatest Organist
pluralist on record!
But this is a testimony to his worth, and in {112} following up our
investigation of his contributions to music I will not dwell longer
upon his Church music, except to mention that he wrote an Anthem _I was
glad_, for the opening of St Paul's Cathedral in 1697, and to tell the
story of the composition of the Anthem which I mentioned in the early
part of my lecture, _I beheld and Lo_! When it was performed in the
Chapel Royal, the King (who had asked him to compose it) sent Father
Petre to say he was greatly pleased with it; "but (added Petre) I
myself think it too long!" "That (answered Blow) is the opinion of but
one fool--I heed it not." The Priest was greatly incensed at this
remark, and it is said that, had not James II lost his place by his
sudden flight to France, Dr Blow would have lost _his_!
Among the Anthems of this composer may be mentioned two which he wrote
for the Coronation of James II, and he also took part in the funeral of
William III in the Abbey, receiving, according to an Abbey record, the
very large fee of 7s. 10d. for the latter. He does not seem to have
directed the music at the Coronation, but took part in the choir. On
the death of his pupil, Purcell, he wrote an ode, the words by Dryden,
beginning _Mark how the lark and linnet sing_.
I must not omit to mention that he and Purcell were the Organists
selected by Father Smith to {113} display the organ of the Temple
Church at the memorable competition between Smith and Harris, the two
rival organ-builders. Smith won the day, and showed his wisdom in
getting the best men to preside at his instrument. It was the custom
for many years to have an _Ode for St Cecilia's Day_ composed for and
performed in Stationers Hall on the Saint's Day. Blow wrote the second
of these _Odes_ in 1684--the year of the Temple Church competition. He
published, in 1700, a great collection of his secular vocal music,
under the title of _Amphion Anglicus_, and in his dedication to the
Princess Anne of Denmark he announces that he is preparing "as fast as
I can a second musical Present, my Church Services and Divine
composition." He gives his sentiments with regard to Sacred
composition in the same dedication, which are worth repeating:
To those in truth I have ever more especially consecrated the
thoughts of my whole life. All the rest I consider but the
blossoms or rather the leaves those I only esteem as the Fruits of
all my labours in this kind. With them I began my first Raptures
in this Art, with them I hope calmly and comfortably to finish my
days.
The composer did not carry out his design, though he lived about eight
years after this.
A very interesting work, which has only of late {114} years been made
known, is a Masque entitled _Venus and Adonis_. Some years ago I
noticed it among the music in the Chapter Library at Westminster. It
has since been edited by Mr Arkwright, and, quite lately, produced upon
the stage at Glastonbury. It is very interesting, as it shows that
Blow, like Purcell, had a leaning to dramatic music and this Masque is
specially noticeable as it consists of musical dialogue--not
spoken--thus coming very near to a little Opera.
Blow also contributed to some _Choice Lessons for the Harpsichord_, a
collection published by Playford, to which also Henry Purcell
contributed. There are also interesting specimens of organ music,
among which is a curious arrangement of the _Hundredth Psalm Tune_ "as
they are played in Churches and Chapels." I have also a copy of a MS.
_Lesson on the Hundredth Psalm_. It would now be called a Choral
Prelude for the Organ. After a short introduction, the whole tune
appears at intervals in the Bass, with very florid upper counterpoint.
It is evidence of Blow's knowledge of organ effects and of his ability
as a player.
A writer in 1711, three years after Blow's death, tells us "he was
reckoned the greatest Master in the world for playing most gravely and
{115} serenely in his Voluntaries", and we have Purcell's testimony to
him as "one of the greatest masters in the world". With this testimony
before him it seems incredible that Dr Burney should have made such a
fierce onslaught upon this really excellent man and versatile musician,
on account of what he calls his "crudities." He has actually given
four pages of music type in his History, full of quotations of Blow's
misdeeds. I have examined these carefully, and in many cases the
examples are really a remarkable testimony to Blow's advanced ideas,
and his feeling for pathetic and expressive harmony. In some specimens
there are obvious mis-prints, accidentals omitted, etc., which Burney,
had he not been prejudiced, would certainly have perceived. But it is
not worth while to follow up this matter, although I am sorry to say
Sir Frederick Ouseley took rather the same line when commenting on
Blow's music. He really pays Blow a compliment when he says that "he
always appears to have been trying experiments in harmony or
introducing new combinations and discords". This was what was said of
another great musician, Monteverde, to whom we owe so much, and such
criticisms only bring discredit upon the writers who failed to see the
value behind the novelty. Sir Hubert Parry, in speaking of these {116}
"crudities" says "they do Blow, for the most part, great credit, for
they show that he adventured beyond the range of the mere conventional,
and often with the success that betokens genuine musical insight."
I have already commented upon his greatest Anthems _I beheld and lo!_
and _I was in the Spirit_. They are full of examples of Blow's
melodious power, and this also comes out in some of his secular airs.
Perhaps one of the best is his beautiful song which is to be found in
_Amphion Anglicus_ entitled _The Self Banished_ beginning "It is not
that I love you less"; the words are by Waller, and the music is worthy
of them.
Blow, as described by Sir John Hawkins, was "a very handsome man in his
person, and remarkable for a gravity and decency in his deportment,
suited to his station".
This worthy musician died in 1708, aged 60, and is buried in
Westminster Abbey, near the old entrance to the organ-loft and in close
proximity to Purcell. A fine monument is erected near the spot, and a
specimen of his composition, in the form of a _Gloria_ from one of his
services is engraved thereupon. This _Gloria_ is said to have been
sung at St Peter's at Rome. I remember an interesting matter in
connection with this monument. In my early days at the Abbey (during
{117} Dean Stanley's time) the Emperor of Brazil paid a visit and was
shown round the Abbey by the Dean. The only thing he specially asked
to be shown was "Dr. Blow's monument"! The Dean told me His Majesty
inspected it very closely and seemed to be reading the music. He
probably knew more about Blow's music than Burney's _History_!
[1] There is an account preserved in the Bodleian Library of Blow being
paid L40 a year for "keeping and teaching two boys" but this was in
1685. It shows that it was usual for boys whose voices were gone, to
be kept on for tuition.
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