The Great Musicians: Purcell

by William Hayman Cummings

PURCELL.

Music and poetry attained to a high state of cultivation in the reign of Elizabeth; the Queen herself was an admirable performer on the virginals, and by her example and authority did all that was possible to elevate the art of music, and to encourage learned musicians throughout her dominions. This happy condition of things was continued by her successors, James I. and Charles I., but with the establishment of the Commonwealth all music, both of church and theatre, was rigidly suppressed. We read with horror and indignation of the wanton destruction of church organs and other musical instruments, and of the tearing and burning of the various Service-books which had been in use in the cathedrals and collegiate establishments. At Canterbury cathedral "the soldiers violated the monuments of the dead, spoyled the organs, broke down the ancient rails and seats with the brazen eagle which did support the Bible, forced open the cupboards of the singing-men, rent some of their surplices, gowns, and Bibles, and carryed away others, mangled all our Service-books and books of Common Prayer, bestrewing the whole pavement with the leaves thereof." At Rochester cathedral, Colonel Sands, hearing the organs, cryed, "A devil on those bag-pipes," and "one of the rebels" discharged a pistol at the head of Prebend Larken, who interposed and endeavoured to prevent the spoliation of the cathedral. At Chichester cathedral, the officers having sacked the plate and vestments, left the "destructive and spoyling part to be finished by the common soldiers, who brake down the organs, and dashing the pipes with their pole-axes, scoffingly said, 'Hark how the organs go!' They force open all the locks, either of doors or desks wherein the singing-men laid up their Common Prayer books, their singing-books, their gowns and surplesses; they rent the books in pieces, and scatter the torn leaves all over the church, even to the covering of the pavement." At Winchester "They enter the church with colours flying, their drums beating, their matches fired, and that all might have their part in so horrid an attempt, some of their troops of horse also accompanied them in their march, and rode up through the body of the church and quire until they came to the altar; there they begin their work; they rudely pluck down the table and break the rail, and afterwards carrying it to an ale-house they set it on fire, and in that fire burnt the books of Common Prayer and all the singing-books belonging to the Quire; they throw down the organ and break the stories of the Old and New Testament curiously cut out in carved work. The troopers ride through the streets in surplesses, carrying Common Prayer books and some broken organ pipes."

In Westminster Abbey, in 1643, "Soldiers were quartered who brake down the rail about the altar, and burnt it in the place where it stood; they brake down the organ and pawned the pipes at several ale-houses for pots of ale; they put on some of the singing-men's surplesses, and in contempt of that canonical habit, ran up and down the church; he that wore the surpless was the hare, the rest were the hounds."

It would be needless to add to these miserable stories; those who care to read further on the subject, are referred to the quaint old book Mercurius Rusticus, from whence the foregoing extracts have been taken.

So complete was the destruction of church music-books, that examples of the pre-Commonwealth time are now most rare.

Not only were the organs and music destroyed, but musicians, organists, and singers were turned adrift, and had to seek precarious livelihoods by teaching music to the few who cared or were willing to learn the art, or else to escape starvation by adopting some less congenial occupation than that for which they were fitted by nature and education.

If tradition may be relied on, the Protector, Cromwell, was himself a lover of music, and not unwilling, when opportunity served, to assist and befriend musicians.

Cromwell's secretary, the poet Milton, was no mean performer on the organ, and being the son of an eminent composer,[1] would doubtless, with his passionate love for music, be at all times ready to use his sympathetic voice and counsel on behalf of any distressed and poor musician who might petition the Protector for help or redress.

It is well known that the organ which stood in Magdalen College, Oxford, was saved from destruction through the intervention of Cromwell, who privately caused it to be removed to Hampton Court, where it was placed in the great gallery, in order that he might have the frequent pleasure of hearing it; and he also appointed as his organist and music-master, at a salary of 100l. per annum, John Hingston, who had been one of the musicians to Charles I. Cromwell was extremely partial to the Latin Motets composed by Richard Dering, and these were performed on the organ by Hingston, who was assisted by his pupils in the vocal parts. The interesting organ which must have often poured forth its sweet sounds under the fingers of Milton, was, after the Protector's death, returned to Magdalen College; but subsequently the College authorities sold it, and it was removed to Tewkesbury Abbey, where it now stands.