The Great Musicians: Purcell

by William Hayman Cummings

The publication of the sonatas was soon followed by another entitled, "A musical entertainment perform'd on November xxii. 1683; it being the festival of St. Cecilia, a great Patroness of Music, whose Memory is annually honoured by a Public Feast made on that day by the Masters and lovers of Music as well in England as in foreign parts. London: Printed by J. Playford, junior, and are to be sold by John Playford near the Temple Church, and John Carr, at the Middle Temple Gate, 1684."

The book, unlike the sonatas, which were beautifully engraven, is a wretched specimen of type-printing, and copies of it are now very rare. The Preface was addressed,

"To the Gentlemen of the Musical Society, and particularly the Stewards for the year ensuing, William Bridgman, Esq., Nicholas Staggins, Doctor in Music, Gilbert Dolben, Esq., and Mr. Francis Forcer. Gentlemen, your kind Approbation and benign Reception of the performance of these Musical Compositions on St. Cecilia's Day, by way of Gratitude, claim this Dedication; which likewise furnishes the Author with an opportunity of letting the World know the Obligations he lies under to you; and that he is to all Lovers of Music, a real Friend and Servant.—Henry Purcell."

The music consists of an introductory symphony, choruses, and soli, with accompaniments for strings, and has a very novel termination to the words "Iô Cecilia." The words are poor, and were written by Christopher Fishbourne,[30] who seems to have been both a poet and a musician, but of no great pretension in either art. Purcell's enthusiasm and industry are well exemplified by the amount of music which he wrote for the first public observance of St. Cecilia's Day in this country. In addition to the ode already mentioned as published, he composed two other odes, one in English and one in Latin; the former is remarkable for being scored without any part for the tenor violin, and without parts for counter-tenor voices, although the latter voice was in great favour in Purcell's day, and his music generally abounds with solos for that voice. The Latin ode is interesting as being scored for three men's voices with accompaniments for two violins and bass. Both these odes remain at present in manuscript. The Fitzwilliam Library at Cambridge possesses a large volume of manuscript music in the handwriting of Dr. Blow, and internal evidence shows that it must have been completed in 1683; it contains the following anthems by Purcell:—1. "By the Waters of Babylon;" 2. "O God Thou hast cast us out;" 3. "Remember not, Lord, our Offences;" 4. "I will Sing unto the Lord;" 5. "Blessed be the Lord my Strength;" 6. "O Lord, our Governour;" 7. "Let God Arise;" 8. "Blessed is He;" 9. "Hear me, O Lord;" 10. "Bow down Thine Ear;" 11. "Jerusalem is Built;" 12. "My Beloved Spake;" 13. "O God, Thou art my God;" 14. "Lord, who can tell?" 15. "Benedicite" in B ♭.

The year 1684 is notable for the remarkable organ competition at the Temple Church, in which the two great organ-builders of the day, Father Smith and Renatus Harris, exhibited their skill by erecting rival organs for the approval of the benchers of the Temple, and which eventually resulted in the selection and retention of the splendid instrument built by Smith. The organ then chosen is still standing in the church, and eloquently proclaims the fame of its builder. How far Smith's success was due to the judicious choice he made of organists to show off the qualities and varieties of his stops, it is only possible now to guess, but certainly no more skilful performers could have been found than Dr. Blow and Henry Purcell. Smith's rival, Harris, was also fortunate in obtaining the services of John Baptist Draghi, the friend of Purcell previously mentioned, and whose skill and popularity as an organist contemporary records frequently mention. Smith's organ had the singular advantage of possessing keys for two extra quarter-tones in each octave, which enabled the performer to use distinct pitches or sounds for G sharp and A flat, and also for D sharp and E flat. Those who are familiar with Purcell's sacred music will readily understand what use he would have made of these additional facilities for modulating into remote keys. In his anthems he frequently wrote chords which must have sounded most crude and harsh on all the keyed instruments of his day, tuned as they were on unequal temperament. Purcell, we know, was on very intimate terms with Smith, who was not only an organ-builder, but also an organist,[31] and it is quite probable that it was at Purcell's suggestion that he added the quarter-tones which constituted so remarkable a feature in the Temple organ. In 1684 Purcell composed yet another "Ode, or Welcome Song, on the King's return to Whitehall after his summer's progress;" the words, commencing, "From these serene and rapturous joys," were written by Thomas Flatman.

In 1685 Purcell was actively concerned in superintending the erection of an organ in Westminster Abbey expressly for the coronation of James II. and his queen. On April 23rd he was paid the sum of 34l. 12s. for his services out of the "secret service money." This organ was evidently a small instrument erected just behind the seats occupied by the "King's Choir of Vocal Music," who sat in a gallery in front of and under a south chancel arch, the second from the transept, whilst opposite them, in a similar gallery, were placed the "King's Instrumental Musick." For the coronation service Purcell produced two anthems, "I was Glad," and "My Heart is Inditing," but it would seem that he did not officiate at the organ, for we find that "Purcell, Blow, Child, and Staggins," sang with the basses in the choir on that occasion.

In this same year he composed an ode in honour of King James, commencing, "Why are all the Muses mute?" and it is very likely that he also composed the music for the tragedy of Circe at or about this period. This play, the work of Charles Davenant, when first produced, was accompanied by music from the pen of John Banister,[32] some of which was published in 1679.

A few years since Dr. Rimbault unfortunately published a portion of Purcell's music to Circe with Banister's name attached as the composer,[33] but he afterwards discovered the error he had fallen into.[34] Circe is one of Purcell's best dramatic works, and contains music which no other composer of his time could have written; it still remains in manuscript. Only music to the first act is now to be found. Perhaps Purcell never completed it.

In 1686 Purcell was again afflicted by the death of a child who had been christened Thomas in remembrance of the deceased uncle. The infant was buried in the cloisters of Westminster Abbey. In this year Purcell composed the music for Dryden's tragedy, Tyrannic Love, in which there are several effective and elegant pieces, notably "Hark, my Daridear," a duet, and "Ah, how sweet it is to love," a song. In addition to this, he wrote another "Ode, or Welcome Song for the King," commencing, "Ye tuneful Muses."