Most oblig'd and most Humble Servant,
F. Purcell."
The intention of annually performing the "Te Deum and Jubilate" must have been formed in 1697, the year of publication, as we know that in 1696 Dr. Blow composed a "Te Deum and Jubilate" which were performed. Purcell's work was immediately adopted by the "Corporation of the Sons of the Clergy"[48] for performance at their Annual Festival, and its use continued until Handel, in 1713, composed his "Te Deum and Jubilate" for the Peace of Utrecht. After that time the works of Purcell and Handel were performed alternately until 1743, when Handel's new work composed for the victory at Dettingen displaced the two former compositions. Of course Handel must have often heard Purcell's "Te Deum;" and that he greatly profited by it is evident from the striking resemblance of many passages in his own Te Deum, when compared with that of his illustrious predecessor.
But it must in candour be admitted that the remarkable likeness between Purcell's "Te Deum," as it is now performed, and Handel's "Dettingen Te Deum," is greatly due to Dr. Boyce, who, being a thorough Handelian scholar, re-scored and re-arranged Purcell's work.
Queen Mary died on the 28th of December, 1694, and Purcell composed the music for her funeral, which took place the 5th of March following (1695), in Westminster Abbey. Purcell composed two anthems, to the words, "Blessed is the man that feareth the Lord," and "Thou knowest, Lord, the secrets of our hearts." Contemporary records speak in affecting terms of the solemnity of the occasion;—"the day was dark and troubled, and a few ghastly plumes of snow fell on the black plumes of the funeral car." The procession was attended by the two Houses of Parliament with their maces, "the Lords robed in scarlet and ermine, and the Commons in long black mantles;" the banners of England and France, Scotland and Ireland, were borne before the corpse. On the gorgeous coffin of purple and gold were laid the crown and sceptre of the realm. Inside the Abbey, the whole of the church, nave, choir, and transepts were all ablaze with innumerable waxlights; and a little robin-redbreast, who had found refuge from the inclement weather, constantly flew down and perched on the hearse, seeming to the spectators as if he, too, mourned for the Queen who had been so loved and was now so lamented. Of Purcell's music, Dr. Tudway, one of the choir on this occasion, says: "The anthem, 'Blessed is the man,' was composed after the old way, and was sung at the interment of Queen Mary in Westminster Abbey; a great Queen and extremely lamented, being there to be interred, everybody present was disposed and serious at so solemn a service, as indeed they ought to be at all parts of Divine worship. I appeal to all that were present, as well such as understood music, as those that did not, whether they ever heard anything so rapturously fine, and solemn, and so heavenly in the operation, which drew tears from all; and yet a plain natural composition, which shows the power of music, when 'tis rightly fitted and adapted to devotional purposes." The second anthem, "Thou knowest, Lord, the secrets of our hearts," Dr. Tudway says, "was accompanied by flat, mournful trumpets." This majestic movement is a splendid monument to the memory of Purcell. It has been used at every choral funeral in Westminster Abbey and St. Paul's Cathedral since its first production. Dr. Croft, who subsequently set the "Burial Office" to music, refrained from composing to these words, on the ground that the music of Purcell was unapproachable, and adds, that in composing his own music he had endeavoured, as near as possible, to "imitate that great master and celebrated composer, whose name will for ever stand high in the rank of those who have laboured to improve the English style, in his so happily adapting his compositions to English words in that elegant and judicious manner, as was unknown to many of his predecessors."
Queen Mary died of small-pox, and the memory of her goodness was felt so universally by the people that writers vied with each other in their endeavours to perpetuate records of her worth. I have now before me a volume containing thirty-six odes and monodies to her memory, all published in 1695. Amongst them are an "Epicedium," set to music by Dr. Blow, the words by Mr. Herbert; a Latin version of the same, commencing, "Incassum Lesbia," set to music by Henry Purcell, for a solo voice; and another beginning, "O dive custos auriacæ domus," also set to music by Purcell, for two voices.
Purcell was in a delicate state of health at the time of writing the music for Queen Mary's funeral, yet he seems to have worked with undiminished determination, composing music for the comedy, the Canterbury Guest, written by Ravenscroft; the Mock Marriage, a comedy by Scott; the Rival Sisters, a tragedy by Gould; Oroonoko, a tragedy by Southerne; the Knight of Malta, a play by Beaumont and Fletcher; and Bonduca, or the British Heroine, a tragedy adapted from Beaumont and Fletcher,—this play included the catch, "Jack, Thou'rt a Toper," the admirable duets, "To Arms," and "Britons Strike Home." Some of the music was printed on single sheets immediately after performance, but it remained for the "Musical Antiquarian Society" to issue in 1842 a complete copy of the score, edited by Dr. Rimbault.
Purcell also, on 24th July in this year, produced a "Birthday Ode" for the Duke of Gloucester. The ode commences, "Who can from joy refrain." It was written for solo voices and chorus with orchestral accompaniments. Among the principal singers at the first performance were Mr. Howell, Mr. Robert, and Mr. Damascene.
Purcell also wrote some music for D'Urfey's third part of Don Quixote. Amongst the pieces he contributed to this play was the celebrated cantata, "From Rosie Bowers." This song was frequently reprinted, and with the note that it was "The last song the Author sett, it being in his sickness." It is probable that D'Urfey had hoped to have had the advantage of Purcell's musical skill for the setting of all his verses in the third part of Don Quixote, but it would seem that Purcell was too ill to accomplish the work.
"From Rosie Bowers" was considered so important by D'Urfey that he published the music of the third part of Don Quixote with the following title:—