Twelve Good Musicians: From John Bull to Henry Purcell

Returning to Mr Pepys for a record of his next day's doings, November 16, 1667, we find a very interesting reference to Humfrey and a somewhat scathing criticism from the Diarist:

1667, November 16th. To White Hall, where there is to be a performance of Music of Pelham's before the King. The company not come; but I did go into the Music Room where Captain Cooke and many others, and here I did hear the best and the smallest Organ go that ever I saw in my life and such a one as by the grace of God I will have the next year, if I continue in this Condition, whatever it cost me.

Mr Pepys then records a short walk and talk with Mr Gregory, returning to Whitehall:

And there got into the theatre room and there heard both the vocall and instrumentall Music, where the little fellow (Pelham Humfrey) stood keeping time, but for my part I see no great matter, but quite the contrary, in both sorts of Music. The composition, I believe, is very good, but no more of delightfulness to the eare or understanding, but what is very ordinary.

In addition to being a composer, Humfrey was an accomplished lutenist, and in the State Papers for the year 1668, under date January 20th, we find a promotion of his in the Royal Service; the record runs as follows:

January 20th, 1668. Warrant to pay Pelham Humfreys, Musician in Ordinary on the Lute, in place of Nich. Sawyer deceased £40 yearly, and £16 2s. 6d. for Livery.

On May 29th of this same year Mr Pepys again refers to him:

May 29th, 1668. Home, whither by agreement by and by comes Mercer and Gayet and two gentlemen with them, Mr. Monteith and Pelham, the former a swaggering young handsome gentleman, the latter a sober citizen merchant.12 Both sing, and the latter with great skill, the other no skill, but a good voice and a good basse, but used only to tavern tunes; and so I spent all this evening till eleven at night, singing with them till I was tired of them, because of the swaggering fellow, tho' the girl Mercer did mightily commend him before me.

Later in the year (July) another reference is made in the Diary:

July 11th, 1668. So home, it being almost night (Mr. Pepys had been after an espinette at Deptford), and there find in the garden Pelling, who hath brought Tempest, Wallington, and Pelham to sing, and there had most excellent Musick late, in the dark with great pleasure.

Humfrey's Sacred music is a clear evidence of his French experience. He puts symphonies for strings and is dramatic at times and often somewhat light. An Anthem O Praise the Lord is a good example of the latter tendency. There are two short Bass solos, one to the words Sing praises lustily, which is almost like the song of a jovial sailor! It is in triple time, and is the sort of thing King Charles would certainly have beaten time to with his hand "all along the Anthem," in Pepys' words. The Bass solo in the Anthem he wrote when a boy and before his French training is in a quite different style, and might have been written by any of our good Cathedral writers, such as Locke, or Blow, or even Purcell.

In addition to his Sacred works Humfrey wrote three Odes and many songs. These latter fall under the critical notice of Dr Burney, who refers to them, I think, rather unfairly and harshly. Speaking of a collection called Choice Songs and Aires, Burney says: "Among these songs, to the number of near fifty, there is not one air that is either ingenious, graceful, cheerful or solemn: an insipid languor or vulgar pertness pervades the whole. From Pelham Humphry, whose Church Music is so excellent, I own I expected to find originality, or merit of some kind or other; but his songs are quite on a level with the rest."

Burney's remarks are not only spiteful, but untrue. To mention only one song, Humfrey's setting of Where the Bee Sucks, which he wrote for Dryden and Davenant's altered version of The Tempest (the oldest setting but one which we possess), is charming, both as regards melody and harmony. The first part is in the minor key, for which Humfrey seems – like Purcell – to have a weakness. There is an effective change to the Tonic Major at Merrily, merrily shall I live now, with a most striking and delicious drop of a 7th (I expect Burney regarded this as a crudity), To me the song seems one of the best of the time.

Humfrey went on adding rapidly to his honours. On January 24th, 1672, he was elected one of the wardens of "the Corporation for regulating the Art and Science of Musick," and in July of the same year his old master, Captain Cooke, died; his death being accelerated – so Antony Wood tells us – by chagrin at finding himself getting supplanted by his old pupil. This I do not believe: Cooke would have had a soul above such foibles, and had too many successful pupils to be jealous of poor little Humfrey.

However this may be, Humfrey succeeded him as Master of the Children of the Chapel Royal, and later, jointly with Thomas Purcell, he was appointed Composer in Ordinary for the Violins to His Majesty.

It was in this year, 1672, that he wrote a charming little song called Wherever I am and Whatever I do. It was written for Dryden's Conquest of Granada, produced in that year.

Nothing of any importance is chronicled of him for the last two years of his all too short life. He died at Windsor on July 13th, 1674, and was buried in the Cloisters of Westminster Abbey, near the south east door. His last will and testament, witnessed by his old schoolfellow, Dr Blow, is interesting:

Aprill ye 23rd, 74.

Bee itt knowne to all people whomsoever itt may Concerne that I leave my deare wife my sole executrix and Mrs. of all I have in the world after those few debts I owe are payd:

I only desire that 3 Legacyes may bee given that is to say to my cousin Betty Jelfe: to Mr. Blow ad to Besse Gill each of them twenty shillings to buy them Rings.

Pell. Humfrey.

30 July, 1674.

Which day appeared personally John Blow of Westminster and made oath that he was present when Mr. Pelham Humfrey wrote the above written writing containing his last will and testament and he the sd Mr. Pelham Humfrey being of perfect mind and sound memory published and declared the same for his last will and testament.

John Blow.

30 July, 74.

(Proved 30 July 1674 by Catherine Humfrey Relict and sole executrix).

Humfrey's life, brief though it was, must be regarded as a turning point in our art's history – not alone by his own compositions, but by the infusion of his influence into the greater Purcell. He was not only Purcell's master at the Chapel Royal, but actually composed an Anthem jointly with Purcell, called By the Waters of Babylon. In Boyce's opinion "he was the first of our ecclesiastical composers who had the least idea of musical pathos and expression of the words," but this is an exaggeration.

This great advance in our music was carried on by the immortal Purcell, who, as a choir-boy under Humfrey, was, no doubt, an eager listener to the "new effects" which his master introduced. The pupil is so great, one is in danger of forgetting the master. At least here we have endeavoured to do some justice to the short-lived genius Pelham Humfrey.

XI. DR JOHN BLOW

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 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 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.13

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 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 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 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 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 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 "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 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!

XII. HENRY PURCELL

1658 – 1695

In Henry Purcell I reach the last and the greatest of my Twelve Good Musicians. And to attempt to consider and discuss completely his life and work in the short space of a University Lecture, would be an absurd effort. But, as I have before pointed out, my object has been to endeavour to interest the musical student – amateur and professional – in certain prominent masters of music, and in the remarkable progress made in our own country by their aid in the seventeenth century. I can do little more than arouse interest, and I cannot pretend to write a complete history, but I trust the Lectures will have helped to fill up the "blank" which Sir Hubert Parry declared existed in many minds as regards the music of this period.

In the consideration of the various musicians of whom I have already treated I have avoided biographical detail. As a rule information in these matters may be gleaned from the well-known books of reference. But in the case of Purcell I am obliged to enlarge a little on his life, in the hope that I may be able to contribute a few interesting facts with regard to his family that are not generally known.

Let me begin, then, with Purcell's father. It is an extraordinary thing that we know nothing whatever of him until we find his name among distinguished musicians, such as Captain Cooke, Locke, and Lawes, as one of the performers in the Siege of Rhodes, in 1656. In the Preface to this publication it is claimed that "The Musick was composed and both the Vocal and Instrumental is exercised by the most transcendent of England in that Art."

What did the elder Purcell do before he attained to such a position? We know absolutely nothing as regards his origin, his training, or his career up to this. I have made diligent search in the archives of Westminster to see if there were anything to be learned there, and have gleaned a few small facts.

The name of Roger Pursell occurs in a bill for bringing timber to the College – in August 1628. The items of the bill include Carriage by land 1s. 6d., for watching 6d., for helping to land ye timber 6d. This would seem to apply to a load of timber brought from a distance for the use of the carpenters of the College. Roger Pursell may have come up with the timber or he may have been one of the carpenters. He was paid 3s. for two days' work. The name appears again in 1659 when we find in a page of accounts "Expended by George Blackborn and Joseph Hobbes for the travelling charges about the Colledge affaires at Offord, in the County of Huntingdon" the following note: "In the Bonds taken from Mr Throgmorton and Roger Pursell there is included £4 towards travelling charges." Then Roger Pursell is spoken of as "the 'Bayliffe' of Mr Giles." It is rather curious that the name of Roger Pursell should occur at such a wide interval, 1628 and again in 1659. One wonders if Roger's connection with the Abbey and its property was the beginning of the musical members of the family coming to Westminster.

There was a Shropshire Purcell family of some standing, and in the Herald's Visitation of Shropshire in 1623 it was given as of Onslow, and Shrewsbury; and there were many distinguished Purcells in Ireland.

We know and hear nothing more of the elder Purcell after the production of the Siege of Rhodes in 1656 until his name appears in a book in the Library at Westminster. This book records the admission of one or two Petty Canons in 1660, and the payment by them of 5s. for the entry. Mr Henry Purcell's name is also entered with the note "instead of 5s. this book."

Here, then, we have the great musician's father installed in the Abbey as Master of the Choristers (not organist also) and Copyist. He was also a Gentleman of the Chapel Royal and a Singing Man of Westminster. Later on we find him a member of the Royal Band (1663). All these important appointments testify to his leading musical position.

We have a glimpse of him in Pepys' Diary, under date February 21st, 1660.

"After dinner I back to Westminster Hall. Here I met with Mr. Lock and Pursell, Master of Music, and with them to the Coffee House into a room next the Water by ourselves. Here we had variety of brave Italian and Spanish songs and a Canon for eight voices which Mr. Locke had lately made on these words 'Domine Salvum fac Regem.'"

Another small fact of interest in connection with the elder Purcell is furnished me by my brother of Chester. He finds in the Chirk Castle accounts, by the steward of Sir Thomas Myddelton, an allusion to Mr Purcell, who is, no doubt, our elder Purcell. Dr. Bridge writes as follows:

"In 1661 the family had gone up to London and we find the Steward there and recording

Dec. 24, Paid for a quart of

Purle with Mr. Purcell … 2d.

As a rule only the names of important personages are put in the accounts. As the Steward did not live in London, it looks as if Mr. Purcell was a former acquaintance from somewhere near Chirk. This place is on the borders of three Counties of which Shropshire is one, and as the Purcells probably came from Salop, their birth-place or place of residence, may have been at the Chirk end of the County. Possibly Mr. Purcell was an old friend of the Steward's."

There is no doubt the elder Purcell lived in the place called the Almonry, where the "Singing Men" had houses. These stood where the well-known Westminster Palace Hotel now stands. And here his distinguished son was born.14

It is generally stated that he was born in 1658. It seems, however, just as likely – or even more likely – the date should be 1659. Unfortunately it has been impossible to find the record of his baptism. The Register at St Margaret's Church, Westminster, for this period (which was then very carefully kept) does not show Henry Purcell's name. The approximate date is fixed fairly well for us by the fact that in June, 1683, Purcell published some Sonatas to which his portrait was prefixed. On this portrait he is said to be "aetat: suae 24," i.e. in the twenty-fourth year of his age. Again on his monument in the Abbey we find "Anno Aetatis suae 37," i.e., in the thirty-seventh year of his age. Therefore, if he was in his thirty-seventh year on November 21, 1695 (the date of his death), he must have been born between November 21st, 1658, and November 20th, 1659.