In 1693 Purcell composed music for the plays, the Old Bachelor, a comedy by Congreve; the Richmond Heiress, a comedy by D'Urfey; the Maid's Last Prayer, a comedy by Southerne; and Henry II., a tragedy by Bancroft. In addition to these pieces he composed music for the "Queen's Birthday Ode," commencing "Celebrate this festival," the libretto of which was written by Nahum Tate. The overture to this ode is the same as that to the "Cecilia Ode" of the same year, transposed one note lower, from D to C. It has been printed in a very incorrect manner by Goodison.
One other ode belongs also to this year. It was written by Tate for the commemoration of the centenary of the foundation of Trinity College, Dublin, and commences "Great Parent, hail." It is supposed that the ode was performed at Christ Church, Dublin, on the 9th of January, 1694; but no information on the subject has as yet been discovered either at Trinity College or Christ Church. The ode was included in Goodison's "Purcell publications."
In 1694 Purcell revised the twelfth edition of John Playford's Introduction to the Skill of Musick. The third part of the work, which treats of The Art of Descant,[46] appears to have been almost wholly re-written by Purcell. The directions for the use of "discords" were quite novel for the time, and so also must have been the paragraph where he says, "Formerly they used to compose from the Bass, but modern authors compose to the Treble when they make Counterpoint or Basses to tunes or songs." Again, in speaking of composition in three parts, he writes, "The first thing to treat of is Counterpoint, and in this I must differ from Mr. Simpson (whose Compendium I admire as the most ingenious book I e're met with on this subject); but his rule in three parts for Counterpoint is too strict and destructive to good air, which ought to be preferred above such nice rules." He then goes on to explain that in vocal music the parts should move smoothly, but that in instrumental music greater freedom would be admissible, and he points out the Italian composers as worthy models. He also gives a "Canon, four in one," by Dr. Blow, of whom he says, his "character is sufficiently known by his works, of which this very instance is enough to recommend him for one of the greatest masters in the world."
To Purcell's labours of this year, 1694, we are indebted for the music to the plays of Don Quixote, Parts I. and II. Purcell only composed a portion of the music required, but amongst the number are two worthy of particular mention,—a duet, "Sing all ye Muses," and a bass song, "Let the dreadful engines." The libretto was the work of D'Urfey.
Purcell also wrote music for a comedy called the Married Beau, by Crowne; for the Double Dealer, a comedy by Congreve; for the Fatal Marriage, a tragedy by Southerne; and also for Love Triumphant, a tragi-comedy by Dryden[47].
To these must be added another "Ode for the Queen's Birthday," beginning, "Come ye sons of art;" and last and best of all, the great "Te Deum and Jubilate" in D, composed with orchestral accompaniments, the first example of such a work this country had seen.
Composed expressly for the festival of St. Cecilia's Day, 1694, the music was published by Purcell's widow in 1697, with the following dedication:—
"To the Right Reverend Father in God, Nathaniel, Lord Bishop of Durham. My Lord, the ambition I have to do the greatest honour I can to the memory of my Dear Husband, by inscribing some of his best compositions to the best Patrons both of the science he profess'd, and of his performances in it, is the fairest Apology I can make to your Lordship; as it was the main Inducement to myself for placing your Lordship's Name before this Piece of Musick. The Pains he bestow'd in preparing it for so Great and Judicious an Auditory, were highly rewarded by their kind Reception of it when it was first Perform'd, and more yet by their Intention to have it repeated at their Annual Meeting; but will receive the last and highest Honour by your Lordship's favourable Reception of it from the Press, to which I have committed it, that I might at once gratifie the Desires of several gentlemen to see the Score, and at the same time give myself an opportunity to acknowledge, in the most Publick and Gratefull Manner, the many Favours Your Lordship has bestow'd on my Deceased Husband, and consequently on
"Your Lordship's