Dr. Burney says of this song that the modulation is monotonous, but that the chief merit lies in “the airy, pastoral correspondence of the melody with the words”—a merit which many modern compositions of the “popular” type are very far from possessing. Under the Tudors music made rapid strides. Dr. Robert Fairfax was well known as a composer in those days, and a collection of old English songs with their music (often in parts), made by him, has been preserved to this day. Besides himself, such writers as Cornyshe, Syr Thomas Phelyppes, Davy, Brown, Banister, Tudor, Turges, Sheryngham, and William of Newark are represented. Of these, Cornyshe was the best, and Purcell, two hundred years later, imitated much of his rondeau style, most of these composers being entirely secular. Henry VIII. himself wrote music for two Masses, and had them sung in his chapel; and to be able to take a part in madrigals, and sing at sight in any piece of concerted music, was reckoned a part of a gentleman’s education in those days. The invention of printing gave a great impulse to song-writing and composing, though for some time after the words were printed the music was probably still copied by hand over the words; for the printing of notes was of course a further and subsequent development of the new art. A musician and poet of the name of Gray became a favorite of Henry VIII. and of the Protector Somerset “for making certain merry ballades, whereof one chiefly was ‘The hunt is up—the hunt is up.’”[164]
“A popular species of harmony,” says Ritson, “arose in this reign; it was called ‘King Henry’s Mirth,’ or ‘Freemen’s Songs,’ that monarch being a great admirer of vocal music. ‘Freemen’s Songs’ is a corruption of ‘Three-men’s Songs,’ from their being generally for three voices.” Very few songs were written for one voice.
Ballads were very popular, and formed one of the great attractions at fairs. An old pamphlet, published in the reign of Elizabeth, mentions with astonishment that “Out-roaring Dick and Wat Winbars” got twenty shillings a day by singing at Braintree Fair, in Essex. It does seem a good deal, considering that the sum was equal to five pounds of the present money, which again is equivalent to about thirty dollars currency. These wandering singers, the lowly successors of the proud minstrels, were in their way quite as successful; but, what is more wonderful, their songs were for the most part neither coarse nor vulgar. Good poets wrote for music in those days; now, as a general rule, it is only rhymers who avowedly write that their words may be set to music. As quack-doctors, fortune-tellers, pedlers, etc., mounted benches and barrel-heads to harangue the people, and thus gained the now ill-sounding name of mountebanks, so too did these singers call over their songs and sing those chosen by their audience; and they are frequently called by the writers of those times cantabanchi, an Italian compound of cantare (to sing) and banchi (benches). Among the headings given of these popular songs are the following: “The Three Ravens: a dirge”; “By a bank as I lay”; “So woe is me, begone”; “Three merry men we be”; “But now he is dead and gone”; “Now, Robin, lend me thy Bow”; “Bonny Lass upon a green”; “He is dead and gone, Lady,” etc. There is a quaint grace and sadness about the titles which speaks well for the manners of those who listened and applauded. Popular taste has certainly degenerated in many parts of England; for such titles now would only provoke a sneer among an average London or Midland county audience of the lower classes. Gardiner says: “The most ancient of our English songs are of a grave cast, and commonly written in the key of G minor.”
Among the composers of the reigns of Elizabeth and James I. was Birde, who wrote a still popular canon on the Latin words “Non nobis, Domine,” and set to music the celebrated song ascribed to Sir Edward Dyer, a friend of Sir Philip Sidney, “My Mind to me a Kingdom is.”
Birde’s scholar, Morley, produced a great number of canzonets, or short songs for three or more voices; and Ford, who was an original genius, published some pieces for four voices, with an accompaniment for lutes and viols, besides other pieces, especially catches of an humorous character. George Kirbye was another canzonet composer, and Thomas Weelkes has been immortalized by the good-fortune which threw him in Shakspere’s way, so that the latter often wrote words for his music. Yet doubtless the fame of the one, as that of the other, was chiefly posthumous; and poet and musician, on a par in those days, may have starved in company, unknowing that a MS. of theirs would fetch its weight in gold a hundred years after they were in their graves.
“The musical reputation of England,” says a writer in an old review of 1834, “must mainly rest on the songs in parts of the period between 1560 and 1625.” And Gardiner says: “If we can set up any claim to originality, it is in our glees and anthems.” The gleemen, who were at first a class of the minstrels, are supposed to have been the first who performed vocal music in parts, according to set rules and by notes, though the custom must have existed long before it was thus technically sanctioned. The earliest pieces of the kind upon record are by the madrigal writers, and were, perhaps, founded upon the taste of the Italian school; but there soon grew up a distinction sufficient to mark English glee-music as a separate species of the art. It is said that glee-singing did not become generally popular till about the year 1770, when glees formed a prominent part of the private concerts of the nobility; but their being adopted into fashionable circles only at that date is scarcely a proof of their late origin. The canzonets for three or four voices must have been closely allied to glees, and a family likeness existed between these and the madrigals for four or five voices, the ballets, or fa-las, for five, and the songs for six and seven parts, which are so prodigally mentioned in a list of works by Morley within the short space of only four years—1593 to 1597. The number of these songs proves their wonderful popularity, and we incline to think, with the writer we have quoted, that the English, in the catches and glees, the works of the composers of the days of Elizabeth and James I., and those of Purcell, Tallis, Croft, Bull, Blow, Boyce, etc., at a later period, possess a music essentially national and original—not imitative, as is the modern English school, and not more indebted to foreign sources than any other progressive and liberal art is to the lessons given it by its practisers in other civilized communities. For if national is to mean isolated and petrified, by all means let us forswear nationalism.
Shakspere’s songs are scattered throughout his works, and were evidently written for music. Both old and new composers have set them to music, and of the latter none so happily as Bishop Weelkes and John Dowland, his contemporaries and friends; the latter, the composer of Shakspere’s favorite song (not his own), “Awake, sweet Love,” often wrote music for his words. In his plays Shakspere has introduced many fragments of old songs and ballads; but Ritson says of him: “This admirable writer composed the most beautiful and excellent songs, which no one, so far as we know, can be said to have done before him, nor has any one excelled him since.” This statement is qualified by an exception in favor of Marlowe, a predecessor of Shakspere, and the author of the “Passionate Shepherd to his Love”; and besides, it means that he was the first great poet among the song-writers, who, in comparison with him, might be called mere ballad-mongers. Shakspere’s love for the old, simple, touching music of his native land, shown on many occasions throughout his works, is most exquisitely expressed in the following passage from Twelfth Night:
“Now, good Cesario, but that piece of song,
That old and antique song we had last night:
Methought it did relieve my passion much,