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THESIS
DOCTOR OF PHILOSOPHY
By
Denton, Texas
May, 1986
Treacy, Susan, English Devotional Song of the
sertation .
(1688, 1693).
© Copyright by
Susan Treacy
1986
111
PREFACE
the focus of this study can be seen to have been in the van-
iv
devotional song was the genre into which English composers
Page
PREFACE VI
Chapter
I. INTRODUCTION 1
va
VIII. DEVOTIONAL SONG OF THE RESTORATION 331
X. APPENDIX II 419
Transcriptions 422
John Playford, "The Altar." 422
Henry Lawes, "Thy beauty Israeli, is fled,"mm.
1-20 423
Matthew Locke, "Lord let me know my end." .426
XII. BIBLIOGRAPHY 435
Vll
TABLE OF EXAMPLES
Example Page
10-12 199
7. William Lawes, "0 Sing unto the Lord a new song," mm.
42-56 203
11. William Child, "0 Lord rebuke me not," mm. 26-28 . .208
14. Michael Wise, "I charge you o Daughters," mm. 7-10 .210
Vlll
18. William Lawes, "How long wilt thou forget me," mm
9-12 .214
20. William Child, "0 Lord rebuke me not," mm. 31-33 .216
24. John Dowland, "Far from triumphing court," mm. 1-7 .235
37. Tune for Psalm 19, "The heavens and the firmament.".273
ix
41. William Child, "0 Lord my God," m m . 19-20 283
44. Henry Lawes, "To God the Holy Ghost," m m . 1-7. . . .289
7-13 298
51. John Wilson, II. "Thou whose mercies know no bound "
ran. 6-9
X
61. Benjamin Rogers, "Lift up your heads," mm. 1-8 . . .346
73. John Blow, "Oh that mine eyes would melt." Ground, mm.
1-4 377
xa
79. Henry Purcell, "With sick and famish'd eyes."
XJ.1
TABLE OF FIGURES
Example Page
Xlll
Chapter I
INTRODUCTION
and William Fuller had their texts set by Purcell and Blow,
lived just beyond him into the reign of Queen Anne (d.
songs with sacred texts which were used for worship or godly
guished. The first, the psalm, was sung both at home and in
church, and was for more than two centuries practically the
10. Edna Parks describes these as the first hymns and esti-
mates the date of publication as 1559. Parks, op. cit.,
42-43. Parks discusses later settings of these same
tunes for several voices, with or without instrumental
accompaniment.
12. John Perry White, Jr., The Life and Vocal Music of
Benjamin Rogers (1614-1698) ( P h . D ~ d l i l i l t l t l ^ , ~
University of Iowa, 1973). The three pieces are "Lift
U P
/ ? U r n ? e a d s g r e a t G a t e s ' " "Let all with sweet accord,"
and Tell Mankind Jehovah Reigns." White also discusses
the ambiguity of terminology and the fact that, of the
three, only "Lift up your Heads" is designated as a
hymn."
used in three other publications. Harmonia sacra contains
15. Henry and William Lawes, Choice Psalmes put into Musick,
For Three Voices: The most of which may properly enough
sun<
? . three, with a Thorough Base : Compos'd by
He r
" y a n d William Lawes, Brothers; and Servants to His
Majestie, With divers Elegies, set in Musick by sev'rail
Friends, upon the death of William Lawes, And at the end
II of Henry Playford's Harmonia sacra contains, among
well known, and Roger North uses the term when describing
boyhood. We can deduce from this that the family was in the
the lute were used for accompanying sacred lute airs like
the vocal writing ranged from that of the Jacobean lute ayre
and the consort song to the more declamatory and florid can-
1621 contained the psalms set this way for four voices,
26. John Playford, The Whole Book of Psalms: With The usual
Hymns and Spiritual Songs; together with all the ancient
and
proper Tunes sung in Churches, with some of later
Use: Compos'd in Three Parts, Cantus, Medius, & Bassus:
in a more Plein and Useful Method than hath been for-
merl
Y published.. . . (London: Printed by the Company
of Stationers, and Sold by John Playford near the
Temple-Church, 1677).
29. Henry Lawes, The Second Book of Ayres and Dialogues for
One, Two, and Three Voyces (London: Printed by T.H. for
John Playford and are to be sold at his shop in the
Inner Temple, 1655).
and inadequate.
not really consider the genre at all, but takes note of its
tional USe."36
song and its milieu to come into focus. The social setting
the reader knows well already what the function and char-
says were favored by the Puritans, but does not mention that
some were intended for domestic use. 4 " Later Davey mentions
the milieu in which they would have been sung. " Harmonia
were composed.
and William Lawes, Walter Porter, and John Wilson are men-
WaS renam
! ? Choise Musick to the psalmes
of David for 3 voices with a continuall base~ilther for
the organ or theorbo (London: John Playford, 1656).
5
°. Ernest Walker, A History of Music in England, 3rd ed.,
rev. & enlarged by J.A. Westrup (O^foIdT—it the
Clarendon Press, 1952), 192-193.
51
' ySS? ^ ° U n ? ' - H i 5 t o r r ^ B r i t i s h Music (New
York. W.W. Norton & Co., Inc., 1967), 233, 262.
22
its milieu, but one can really not expect more since his
compilation. 5 6
60. Henry Bryce Jordan, The Life and Works of Pelham Humfrey
(Ph.D. dissertation, University of North Carolina, 1956)
64 Ibid
• - ' 142-144.
66
. Joan Colleen Bicknell, Interdependence of Word and Tone
Fur
g e 1 1 f P h — Stanford
^=">£i^Sr^E^ ifrffsfielTs
UnXversi^y, TPhTlX dissertation^
28
in 1688 and 1 6 9 3 . 6 7
tional use." 7 o
72
• Ibid., 63-72.
78
' Poet J ? N e w U Y o r k V a n T h e H M o d Z L ^ e S ' M u s i c i a n and Friend of
America • ^ f Modern Language Association of
America, London: Oxford University Press, 1941).
31
This latter was very useful in that it was really one of the
few studies of an individual composer to focus on the genre
of devotional song.82 similarly, Kenneth Bergdolt, writing
circa 1976 on Jeffreys' sacred music, did not ignore the
composer's considerable output of Latin and English devo-
tional songs, though he really does not discuss the social
and performance milieu of this repertoire.83
79 aW F P h r a S e
' (L™don
^onaon, ?638T
1638). T Evans, OJD. ^ cit.
^ , 141-144.
Psalmes of David
32 ionai
• ee
Musical
Association XCIX (1972-73), 105^115:
s s: s
83. Bergdolt, The Sacred Works of George Jeffreys 4
1976). dissertation^University of~CincTnnafT^' 4
32
and French musical styles had made their inroads, but not
teenth century was inexact and vague, and that even today's
genres such as the chamber cantata, the trio sonata, and the
devotional song.
34
Chapter II
2. Colossians 2:8.
Christian content.7
7. Ibid., 13.
38
had become friends with Thomas More and John Colet, and it
they believed that only the words of the Bible were fit to
10. Le Huray makes the point that Henry VIII at this time
was "considering an alliance with the Lutheran states."
Peter Le Huray, Music and the Reformation in England
(London: Herbert Jenkins, 1967), 371. Another col-
lection, containing both sacred and secular songs, the
first music printed in England, was the XX Songs, anony-
mously published in 1530. Ibid., 370.
41
services.
none did until 1556, when the psalter, now enlarged with
the Genevan exiles who had fled from Queen Mary (reg.
1553-1558), who did not eschew the force she thought nec-
became familiar with the Huguenot psalter and soon set about
11. This was the same year that Edward passed the Act of
Uniformity.
for the next one hundred and thirty years. The ballad, or
Spenser, and those of Sir Philip Sidney and his sister Mary,
1611.17
When Elizabeth became queen the Genevan exiles
returned, but they found that the new queen's reforms and
I use my paper, ink and pen?,- a consort song from his 1588
e su
Scripture with its I t ' P r e m a c y of
England ^ F i ^ r i f ' p r ^ ^ r S s ^ ^ ! l S t o ^ d ° f
_ 2 _ _ ^ 1 6 0 3 Z 1 7 1 4 (London: Longman GrSuF7S5ited7
45
the Chapel Royal and compose music for the Anglican service.
In each song Byrd has labelled one voice "the first singing
part," thus indicating which one has the tune, and which
are the accompanying voices.
get what she wanted from the members of her Parliament while
making them think that her ideas were their own. This com-
more powerful than they actually were. When the queen died
in 1603, she did not provide a successor with her skill and
personal magnetism.
25. In 1598 he had set down his thoughts in his tract, The
Trew Law of Free Monarchies.
48
changes which would bring this about. 26 The Puritan thus was
Puritan mother. 2 7
England, the old authority and the old world views had begun
of his genius to the consort song assured that the genre was
Donne. Donne and the other poets who have since become
within his means and thus of being more and more dependent
gesture which did not truly heal the tensions between crown
and Parliament.
tural aspects of court life, James was much more lavish, and
and dance, but also her own French musicians--a sore point
was the Englishman Richard Dering, who was brought over from
Maria, and their courtiers out of touch with what was going
subjects.
32. Richard Dering, Cantica Sacra, ad duas & tres Voces com-
posita, Cum Basso continuo ad Organum: Authore Ricardo
Deringo Regiae Majestatis quondam Organistae (Londini:
Typis Guil: Godbid pro Joh. Playford in vico vocato
Inner Temple, apud quem prostant venales, 1662).
grant.
views
The Civil war began on August 22nd, when Charles raised
Civil War the two sides were evenly matched; it was not
Parliamentarians. 3 7
to negotiate any more with the King, and so he led his New
block.
Already, on 4 January 1644, Parliament had passed an
mented that
meetings:
player.
Anthony Wood,
was to him that the young Henry Purcell was apprenticed just
Civil War. The final year of the Civil War saw the publi-
53. Many had hoped that Sandys' versions of the psalms would
supplant the doggerel of Sternhold and Hopkins as the
official psalter of the Church, but because of external
events this never occurred. The Old Version was already
firmly entrenched in the worship services of both
Anglicans and Puritans, and thus difficult to dislodge.
Further, by 1638, the nation's outrage against
Archbishop Laud was too great for him to effect any more
changes. Willa McClung Evans, Henry Lawes, Musician and
Friend of Poets (New York: The Modern Language
Association of America; London: Oxford University
Press, 1941), 143.
including the Civil War. Also in that year the aging Walter
voices and continuo, and modeled after the style and texture
catch.
Charles II was a much more astute ruler than his father had
been, and realised that the divine right of kings had seen
its day in England, though he was not ready to hand over all
his power. The new king was politically cunning, and not
became the first members of what has ever since been known
ballads of the time reflect party politics, but the King was
anthems. 5 8
reopened, but for the king and his court the public theatres
Pepys, the diarist, was too young, having been born in 1633,
music.
of the Chapel Royal who had held positions before the Civil
Matthew Locke, was the most forward looking and, with his
67. The Whole Book of Psalms: With the usual Hymns and
Spiritual Songs; together with all the ancient and
proper Tunes sung in Churches, with some of later use:
Compos'd in Three Parts, Cantus, Medius, & Bassus:in a
More Plein and Useful Method than hath been formerly
published (London: Printed by the Company of
Stationers, and Sold by John Playford near the
Temple-Church, 1677). See Nicholas Temperley, "John
Playford and the Metrical Psalms," Journal of the
American Musicoloqical Society XXV (1972), 331-378.
75
the same h o u r . " " Only six years later, in 1678, Thomas
certs which lasted until 1714, the year of his death. His
70. The anthems were Purcell's "I was glad" and "My heart is
inditing," Turner's "Come, Holy Ghost" and "The King
shall rejoice," and Blow's "God spake sometimes in
visions," "Let Thy Hand be strengthened," and "Behold, 0
God our defender." Lawes had died in 1662, and his
"Zadok the Priest" was selected for the coronation.
William Child contributed a Te Deum. See Anthony Lewis
and H. Watkins Shaw, ed., Coronation Anthems: Anthems
with Strings, Vol. VII of Musica Britannica (London:
Published for the Royal Musical Association by Stainer &
Bell, Ltd. 1953).
77
Protestant England.
cessors. 71
letter from seven Whig and Tory leaders inviting him to come
with his army and assume England's throne with his wife,
74. Mary had been offered the throne, but she would not
accept it unless William and she could be joint mon-
archs. William, although a Dutchman, was the son of
Charles I's daughter, Mary; but more important was the
fact that his wife Mary was the Protestant daughter of
79
The law was based in the people,but not all the people—only
partial toward much music apart from the martial sort. 75 The
rather than with the High Anglican Tories, who were the
the era of the Civil War and the Interregnum, and they were
the guidance of the "inner light," was seen to have gone too
79. For the subject who would take the oaths of supremacy
and allegiance, and deny a belief in transubstantiation,
the crown would suspend the recusancy laws. The Test
Act, which required all civil servants and military
officers to receive the Sacrament in the Church of
England and deny transubstantiation, was retained, and
freedom of worship was denied to Roman Catholics, Jews,
and Unitarians. Judged by today's standards the tol-
erance was not very noticeable, but it an advance on
what had existed before.
82
and the idea of man's inherent sinfulness and the need for a
gymen was tremendous, and the new Whig government was quick
83. John Oman, The Problem of Faith and Freedom in the Last
Two Centuries (London, 1906), 105. Quoted in~G^Ild~lT
Cragg, From Puritanism to the Age of Reason: A Study of
within the
church of England 1660 to
' 00 (Cambridge: At the University Press, 1950) , 124.
84
edged that God created the world, and that his ordered cre-
84
' 1696?;| 0land ' Christianit
Y Mot Mysterious (London:
85
85
' " : . J f f e s „ ^ e n s f n ' Zhg Muses' Concord: Literature. Music.
f2| Visual Arts in the Baroque Age ( B l o o m i n g t ^ ? —
Indiana University Press, 1976), 110^
86
Dearnley remarks,
The calm of the Hanover era was paid for by the loss of
Chapter III
and political strife which beset the country during the sev-
itics and not the ordinary daily devotional life which was
Counter-Reformation. 2
196lt°Pment ~ chris
t i a n Piety (London: Epworth"Press,
4• Ibid., 26.
and The Imitation of Christ, and that these were adapted and
instruction for the devout life, and had for several cen-
tions to the Divine Office.i« The books which bear this name
1
' TWO ^ l e Be
£ e d i c t w a s Published at Ghent in 1632.
Two translations of Francis's Rule were published in
Belgium. Richard Mason's translation, The rule and
—- e s e r a p h i c a l f a ther S. FrancIsT~was"~puh-
OUai i n 1635
aifI? « ,? - An earlier translation, by
thur Bell, was The rule of the religious of the thirrf
£rde£ of Saint Francis . . . l i v i n g togethil I ^ c S ^
nit:Le a n d
cloyster (Brussels, 1624).
8. Davies, op. cit., 80-81.
9
' the.1!*5* opinions
exist concerning the etymology of
the word Primer. P.G. Stanwood, in his introduction to
John Cosin s Private Devotions, and Helen White, for
instance, posit the idea that the word stems from the
Latin primarium, or prime, the first of the Little Hours
£?'V i h n ^ o s l n ' ,A Collection of Private Devotions, edited
(Oxford- At W thf r t t h ^ a
* s i s t a n c e o f Daniel O'Connor
p
The TTudor
u
clarendon " s s , 1967), xxiv. White,
d o r Books of Private Devotion, Rfi rV|ariP«
r t h t K
SJSlT ' ^ " ^ ^ " h 5 H d r ^ p o r t s the etymology
£ e . s a Y s is favored by "most authorities." m this
view, Primer was the common name accorded to the liber
themhn1US c
J u s e ifc w a s t h e prime, or most-used, book in
^especiallv ineL^Se ^ r
° f t e n u s e d t o teach reading,
pecially in Latin. Butterworth adds, though, that
slSi? evidence 1 3 a t h a n d of sufficient antiquity to
settle the question." See Charles Butterworth The First
f S ^ i s h Primers (1529-1559) (Philadelphia: U n i v ^ I i t r f f
Pennsylvania Press, 1953), 3. or
95
were in evidence for the first time near the turn of the
10
' t£eie'biSE ? r l V a t e devotion, has traced
their wav to i-hp « monasteries whence they made
tneir way to the secular priests who added them to the
public recitation of the daily office. These devotions
t h l T h i / * Y X n g f ° r m S l b U t b y t h e f o u *teenth century
they had become somewhat standard. The continuity of
glish devotional life, according to White can be see»n
by examining the whole range of these Primers, which
tained t-h , c h a n 9 e s of the sixteenth century main-
ained their place in the hearts of devout laypeople
intrnS P r e s s e d various modifications were'
aCC
Reformation °Unt f°r t h B after the
11
' J ? S ° k % ° f h ° V r s o f t e n contained other additions (e a
Kalendar for saints" days, the Creed, homilies
fo
' b U t £ h e . L i t t l e 0 " i c e , with several or all of
lowin
,m f 9 basic components were the stable
thia5yiSg P ° r t l ° n s : !• Little Office. 2. Offices of
h e t Y P
gradual'aJv£ " r ° f P s a l m s (penitential?
comme at ons
cit!, xxiv * '• 4. Litany. See Cosin,
12. Ibid.
96
• Ibid., xxv.
P
"" D a y ^ U ^ ) — ° m a u n d e r 2£ ££2Z2£ (London: Joh„
97
18. Ibid.
98
Imitation had reached more than two hundred and eighty edi-
retain all that was good about Catholicism but also embraced
from a book; thus they had no esteem for the Book of Common
into two, and put morning and evening prayer back into the
realm of the laity. The Prayer Book was the basis, along
and the Prayer Book; thus they may at times seem to lack a
23
' ^Westminster^'
\Westminster: F T2 W ° "
Dacre
hi
P Si the English
Press,1948), 8^9! Puritans
24
* .f t r f n k f' Anglican Devotion: Studies in the
Spiritual Life of the Church of England betwi^K the
?Xf
Ltd " " l S S l K ^ f f e — °rd M
°vement (London: SciTpress,
102
would give him a form to follow daily and which made pro-
J hn
27
' ° <£Ts-n\Wir^ 4 2
^ ^ SI Offices
103
28
' to
p c a n - ^ e d i S - £ f p ~ °
night from nine o'clock until to one in the morning for the
o'clock and spend the rest of the night in prayer and medi-
tation . 3 2
members would rise very early and meet in the Great chamber
31
' ^r°m th® Life 2l Nicholas Ferrar written by his brother
John and copied by Thomas Baker. These exfcr»i?« £ v
from the Baker MSS. vol. 35 m I J r
Cambrid< e
University L i b r l ^ a^i-qu^ted"n T b i l f 55 3
32. Ibid., 57.
33
' Ippend^"?ed descrl
P t i o n s from the Ferrar papers, see
106
which they had learned, and receive dinner and a penny for
their efforts. All were free until two o'clock, when they
prayers were read and hymns were sung in the Great Chamber.
35
arief n ' ] The Returns of Spiritual comfort and
Lett5r4r F °ut 5®££®sented (by e n t e r c o ^ e of
2
L L ? ) -S ^ a d y Letice' Vi-Countess Falkland.
Exemplified
D^aF^o^T? — in the holy Life and
Honourable Lady (LoHaSnTRiSESFd
Royston, 1648), 22. Quoted in White, ibid., 61-62.
36 Jeremy Taylor, The Golden Grove, or A Manual of Daily
Prayers and Litanies Fitted to the Days nf t-h® Week.
^ 1 ^ ifto^Ee^Slli^d,
Practised, Desired: Also Festival Hymns, According to
the Manner of the Ancient Church (London: Printed b^
Royston, at the Angel in Ivie-Lane, 1655)
1
Tavlor D !? j? orks of the Rt. Rev. Jeremy
w l t h r l ' L l f l ' o f ^ ^ F t f 2 2 — S O W r 1C,r iC ot ni nc oa rl ' a n d Dromore:
•i^Ti — - Examination of
His rWritings
re tled b
by the Rt. Rev. Reginald Heber, D.D., r e ~
v o ?° ?r Y the Rev. Charles Page Eden, M.A., 10
ret al . L o n g m a " ' ? r o w n ' Green, and Longmans;
Let al., 1850), facs. edition Vol. LXVII of Anglistica &&
(Hildesheim: Geor g Olms Verlag, 1970)
o o/ — 562.
109
of domestic devotion.
during the night and praise to Him for His creation. Short
1) an act of adoration.
2) of thanksgiving.
3) of oblation.
4) of confession.
5) of petition.
6) of intercession.
7) of meditation, or serious, deliberate, useful
reading of the holy scriptures. 38
Taylor then gives his reader tips on how to read the Bible
respects.
39
' Kirchberger, "Bodleian Manuscripts Relating to the
Ill
ferred. 42
43
. John Cotton (1585-1652) emigrated to New England in
44
' Cotton Mather, Magnalia Christi Americana, or the
ecclesiastical history of New England, from"Tt«?~?TyC<-
E l a n ^ n a in the year 1 6 2 0 . 5 S F
pHiSed-forf3'
I
Moraan T h P p! > ' 277-278. Quoted in Edmund S.
— ? Puritan Family. Religion and
113
Charles II, and the diarist himself was a sincere and devout
lives at this time were the scientist Robert Boyle and his
r r FafI^^L^o^Tiisr.T^lii^ta^rsiw
larnis & Noble inc., 1969); Charlotte Fell Smith,
Mary'Rich, Countess of Warwick, Her Family and Frien
(London: Longmans, Green, and Co., iyu±;.
50
-
116
so many clergy of the day he would not take up more than one
practice of plurality.
54. Ibid.
55. For a complete list of the rules see Appendix II.
118
57. John Playford, The Whole Book of Psalms: With The usual
Hymns and Spiritual Songs; together with all the ancient
and proper Tunes sung in Churches, with some of later
Use: Compos'd in Three Parts, Cantus, Medius, & Bassus:
in a more Plein and Useful Method than hath been for—
merly published. . • . (London: Printed by the Company
of Stationers, and Sold by John Playford near the
Temple-Church, 1677).
58. Henry Playford, The Divine Companion: Being a Collection
of New and Easie Hymns and Anthems, For one, two and
three - Voices, Compos'd by the best Masters, and fitted
for the use of Those who already understand Mr. John
Playford's Psalms in three parts: To be used in Churches
or Private Families, for their Greater Advancement in
119
Chapter IV
then sung praises and prayers to God must bring the wor-
that music
songs set to morality poems, as, for example, with the first
singing of Psalms."
Then sing.
15.19.25.46.67.112.116.
After wrong and disgrace received, Psalme
42.69.70.140.144. 4
4.
Ibid., 364-367.
and Songs of the Church (London, 1623), and was sung to viol
hymns proper to those days were sung, again with viol accom-
wrote
part of this was "to sing a Hymne, & play on the Organ
had read from the psalms and the Concordance, "the shorte
34. 1 2 Hymns were also sung at prayers before bed and, pre-
12. Gibbons and Wither, og. cit., 16. The only difference
in the wording is "and thus sing we," instead of & so
doe wee."
128
uscript, and John Wilson has collated and extracted all the
Fourth Lord North) both his love of music and a strong faith
notes that his abiding joy was in the fact that he was
15. Dale B.J. Randall. Gentle Flame: The Life and Poetry of
Dudley, Fourth Lord North (Durham, N . c T : Duke
University Press, 1983), 29. "The facts in this para-
graph come from 'The Inventorie of Charterhowse July . .
. 1608.' A transcription of this document made by Mr.
Francis Bickley has kindly been furnished by Mr. Oliver
Van Oss, The Master of Charterhouse." Ibid.
time.'i 7
The brother with whom Roger was perhaps the closest was
with the church service, and had the books of the hymns and
tells us that
brother under his wing when young Roger was embarking on his
Roger lodged for a time with his older brother, and the two
Francis and Roger joined forces in the six hymns for a voice
27. Ibid.
135
Anglican, one can imagine that this family music must have
songs & vanity, but plays himself on his Theorb, psalms &
29
. John Evelyn, Diary, 6 vols., ed. Esmond Samuel De Beer
(Oxford: At the Clarendon Press, 1955), IV, 351.
passages from her letters and her diary, among them this
to begg with teares what you aske, and '0 lett them be, 0
Lord, my onely p l e a s u r e . 3 2
reports that the poet had "a delicate tuneable voice" and
good skill, and that "his father instructed him. "He [the
33. For a modern edition see Sir William Leighton, The Tears
or Lamentations of a Sorrowful Soul, transcribed and
edited by Cecil Hill. Vol. XI of Early English Church
Music (London: Published for the British Academy~bv—
S t a m e r and Bell, Ltd., 1970).
enced between her love of music and her love of God. While
the lute, viol, and with her voice, and her deportment, but
confides that
and the two of them sang "a psalm or two". 4 4 On shore leave
friend Mr. Sheply to see Will Howe, who was at the home of
called for the Fiddles and books, and we two and W. Howe and
Mr. Childe did sing and play some psalmes of Will. Lawes and
some songs."47 These psalms must have been from the Lawes
One Sunday (20 April 1662) Pepys walked from church (at
ter ' s "old house in the Fishyard, and there he had a pretty
lutenist, he, Will Howe, the singer and composer Roger Hill,
who possessed a fine voice and had recently had to leave the
Mr. Hill and the boy again joined Pepys for psalms on
Sunday, the 13th of November.54 The same two and Pepys were
1678.
replied
60. Samuel Pepys, The Letters of Samuel Pepys and His Family
Circle, ed. Helen Truesdell Heath (Oxford: At the
Clarendon Press, 1955), 190.
Interregnum and before his trial, he had time for his family
ments .
know from his diary that he was also a lover and practi-
recorded that
67. Dr. Ingelo was Nathaniel Ingelo, cleric and poet, who
befriended the composer Benjamin Rogers and later was
sent to Sweden with the English embassy during the
Commonwealth. Crossley's notes ascribe the verse hymn
to Dr. Henry More, basing this ascription on Ward's
biography of More. Richard Ward, The Life of the
Learned and Pious Dr. Henry More, Late Fellow of
150
78. Ibid.
153
unknowingly shares with the reader his faith and his use of
1663.
81. Ibid.
154
depressed,
life and for music in his plan, but also wrote of the value
Lecture, stipulated
effect that:
note on the first folio. "This Song & Phantasye was made by
been Cantica Sacra, Book Two, which was published just two
Voyces•
music used, and in the uses to which it was put. From the
geois Samuel Pepys with his psalm singing mainly for recrea-
Chapter V
RELIGION
New world-views and new ideas about the arts arose and took
which the artist strove ever more to touch and raise the
aesthetic.
period. 4
D I V I S I O N S Of THE SOUL
'reasonable "Si^kt
Will H txxriruj
r
ExteriorsT<wte
Smell
^ Kncrwii Touch
Powers PASSIONS
'Common Sense Love
SOUL, SENSIBLE ^ ^ Jwteru>r<3 *rux$ Inat "urn. 'C^oo<k< "tVcJcnt: Joy
L future: T>£Sl*€
.Hovwvuj ' PU^s'ical ConcupisctbU fAb»©lu.t«ly: KA.TB.tD
Powers 4 ( Natural EvLlJ Present: Sorrow
<J Sensitive ^ future : F6AR.
(ApptUUs*)1 Jrvt«.lkrUi*<
* V VowuwvtAr^')
Nutrition.
{i
lAtten^Udlry
JVLQE TABLE « Reproduction
CjrowtVv ^VciscLbU -zrtf%cu»x£i HOPZ
Present
.Future t CovJLxQt
p
t v v l v prcstnt
->Nqt«.
DCSPAtR.
^Puturt HOR. R.OR.
gerous .
into physical powers, and then into the mental powers. The
passions resided. 5
5. Ibid., 41.
167
6. Ibid., 42.
which the soul felt would be love. If the good were in the
experience fear.
the evil were present, the mind would experience the passion
future evil, the mind would feel the passion of horror, and
evil ends, it was the job of the rational soul to keep the
was held only by man, and had as its faculties the under-
but as God had given men free wills, it could choose not to
follow reason.
9. Ibid., 42.
are analogous and that both have the ability to excite the
writing:
ogies to music.
28. Charles Butler, o£. ext., 57-88. See also the dis-
cussion of these in Gregory Butler, o£. cit., 62-64.
177
the harmonic advances which had been made during the pre-
hills, birds, and even the powers of the underworld with his
as an imitation of oratory.
wrote:
Denmark:
disciplines.
that:
Among the synonyms for prosopopeia are the Latin terms con-
which were, after all, composed with the end of exciting the
passions. 5 6
categories.
D. Interval Figures.
E. Hypotyposis Figures.
56. Gregory Butler, ojg. cit., 60. See also Robert Toft,
Musicke a sister to Poetrie: Rhetorical Artifice in the
Passionate Airs of John Dowland," Early Music XII
(1984), 190-199.
F. Sound Figures.
f [ P
Sm suv-jutl
#5 >3
i yy f y I 1
Soul, SavAouis sv£ -jrinp see, See, His Blesstd Hands $r
,. |
j
d w
i z
*3
(Ex. 2) The two opening phrases, which are the first verse
thou so far off" is sung twice, while "and hidest thy face
a. Measures 1-4.
• 1
b. Measures 6-9
md hud-esttta
6 76 4-*
first treble and bass parts as the words "the slaine" are
the second treble the auxesis is not exact because the rep-
M i
sUint
6
'J *
Very glow.
-mmw£
— —Left be thofe fwect
giifeE^ggpElgipg
Regions where E—ter nal Peace, E i
lita
Peace and M u — f i c k , Mu——Gck, Ma
the Lord, (Ex. 5) from his 1674 Cantica Sacra. The figure
sung first by the soprano and followed only two beats later
sure, that He, God, is the creator, and not mortal man.
A DIVINE HTMN.
Wmi* ky Dr. William Fuller, finurlj Lmi Biftf §f Lincoln. S*kj Mr. Henry FartdL
Ord, what is Man, loft Man, that thou fliould'ft be lo mindful of him I
IT
dbfrg— f—ff-M- •—f—jr-1—
.i
ji
3 S = r t _ - r = t f c r i = t = & - ^ = fc-X—u= P p i S E
Lord, whac is Jdan, loft Man, that thoa fliould'ft 1
be fo miod—fill of him !
^
e — Q
HniiHiiipisi
that the Son of God forfook his Giorjr, his A—bode,
_ -t=¥=z
to become a
poor tormented Man! Lord, what is Man, loft, loft Man, that thoa fliould'ft
be & mindfal of himl that the Son of God for-fook his Glo-.ry, hi, A
#-
diminishing. The fourth verse, "and that for me, for me, O
(and composer).
shown below in William Lawes' "0 Sing unto the Lord a new
play (Ex. 7). In the example cited, the text describes what
was also used to mean any situation where two notes are tied
Example 7. William Lawes, "O Sing unto the Lord a new sonq "
mm. 42-56.
to bimt
^ _*u> b
>'uvi» -their Kings in chomes, to
fi?—-f—r— yl J
fc»l« with
links ir'n, -that they NWF be (T -
- veng ~ - ed
i •them*.
°ff7" E
xclamatio was in theory the upward leap of a minor
sixth, but the term was often used in a general way to apply
p \j ) d
Lord., wlwrt is rry Kept, is yyytj Ucpe ?
^ 1 •1 r^~ ^
•ft
=
w* •• —
P V [r~ r r J- .&•
Lord for J Am Mk,fvr J Am
^ V- . M . I
'Pf'lif t'
Lord, for Jam weak, tm
jor Jam weak,
11 yis
Lord, jvrj tun wwk, jvr J am
WWk,
Jehovah's wrath (Ex. 12)," where the first treble and bass
f J flJ.—^
heavH-te eartk 4HJ
btau-ly 3s- y<k- el Is -thrown^;
i T"
J p
- el Is -tlimm w is his f*rce iisfiuifunsftri
—JL f
the bass part. The descending leaps portray very well the
210
iai t -f-t- f f -}
•+--* f •
O "
t + 3
am •wear - - - y my
9 i e
H
yP°typosis figures were a family of musical-rhetorical
211
64 fi< ure
' m° 3 see Warren Kirkendale,
Circulatio- Tradition, Maria Lactans, and Josquin as
Musical Orator, M Acta Musicologica LVI (1984), 69-92.
212
Example 16. William Lawes, "Behold how good and iovfull "
mm. 17-27.
jj?k' = =5=^r=^^
ke<wl,
•tkattmciown/, <i«MM wib-the
1
iy.c i i H 1
J J' ^f—fr-£= 3=•
w * 1 r 1
r n
beard, ani'weHt
fleetk un-to
f
-the Lord
P frfr
b« -jorc-the
'IIJ l j i r r, i r r i
figure of anabasis.
Example 18. William Lawes, "How long wilt thou forqet me "
mm. 9-12. '
r f
i r
r r
^ a =
/L l:
the phrase, "How long wilt thou hide thy face from me," drop
is ribattuta.
"0 Lord, heal me, for my bones are vexed," this Sound Figure
wratk 05*411$t,
rise HOT
wmtk a -
s* - n ous
yX-to
<W1be hcA4tms»
*>- pik er,
<t«a wUu
^etk - er ?
• #
EXal
°PlL2317-I5illiam Chlld
' "Lord- h
° » they are increased.
his tyod, \n
But4m,0 Lord, Art ny Ae-ftwL- er,
jor himinltis
kA4m,0 Lord, art my dt-jmd -er
5^, tH his
Bta^O Lord, Mt my <U-find - er
l„J, » u
and for the latter the movement must be by "half notes, flat
SaSjCES
Vituperattn' '
71
' aondont^Ma^illtfrfi K st
1 ° ° ^
1970), 75. * - Martin's Press,
AEOl
^ h e P S o ? i k a M i o d n c o n s i ^ e L of s
°^er slow-timed
74. Ibid., 4.
75. Ibid., 1.
225
tinued discant." 7 8
77. Ibid.
79. Ibid., 2.
226
of music. 8 3
80. Ibid.
ultimately did, give way to the concept of the key, and thus
Key." 8 4
key, though not quite in the modern sense, was Roger North,
S json-pTtco-Si]
0 Je- sit! c chejii.-
1p
' * 45
cinctness. "Plain and slow Musik is fit for grave and sad
dance." 89
arts.
Restoration.
233
Chapter VI
w. i- 4
—ciar* -0-
4
songs are not true monodies for they lack those hallmarks of
7. Ibid., 42.
236
now.
JJ
J. 1
IS"' f r {•
r £ i =
a U* m i' it
sacred tree (Ex. 25)," from Campion's 1613 masque for the
10. Spink, English Song, 45. In this masque Lanier sang the
role of Eternity. "Bring away this sacred tree" was
published in Thomas Campion, The Description of a Maske
Presented at the Mariage of the Earle of Somerset
238
Made Men (1617), Jonson wrote that "the whole Masque was
Nicholas Lanier; who ordered and made both the scene and the
settings were for eight voices and the bass line was really
a basso seguente.
was the awkward pause which would result when the solo part
given its own motive, which was then developed just as the
and its contour was more that of a vocal line (Ex. 26).
9 > 1 ° _i J 5 ?—? 1
12
h?—" —-j r 1
4
<U Jo - - sepW per- dl - - - - -to et tris-tis
f 9 Q n* J> — -— H —i ^
^ f =\ f f " 1 ^ ^ "j
sepk per- di -to et -trts-tu ni -
de jo - - - ) J p p =\fls—i—^
/^ w r J
- r - j — "
r 1'
de Je per - - - dl - -to et tris"ti$ ni —
as H — ©
b'tt * * r = |j 1*
e
/»• t _ —| 0—n |J J f pi
p .f * c -J—L Lj-—
tti - - wis «U B^n-i - - min,<U Ben-i - a ^vnin, cle Ben-
p» --
yf
ft f jh' & - " to e ~L ... Jj
^ 1 = f .n. f r '' r r
~ yniS oe pen-t - a - win, de Ben-i - win, <U Ben-
,/y O ^
r
rr r r r
- - yviis ck Ben-i- a - ynLn cic Ben*
'>/ a = r f k = g = .1 .1. i| = w i r f
1
"t"""- M ~ f 1 4- d LA
Continent.
Peter Philips
death in 1628, and conjectures have been made about the pos-
Phalese, 1612).
hand, show that Philips also had one foot in the seventeenth
and more into debt, and he was required to take out loans
could have come in contact with the new music through the
Luzzaschi at Ferrara. 2 6
she finds the melodic style to be less like a motet and con-
28. Ibid.
248
J, r I'p j J j I—1 g . g. J J
9 f = * = — 4 !
Sur - - - - - ge pro - per - Or CL • mi - C4L me - - - X
rfi-k4 .
y* =\ ' -J——J
Sur - - - - $c pra • per - x a. -
— . 1 |JJ J
J^4. 1
Sur - - -
flv4
J44 J—' J r ^ i i jj J
«L_I
L1 i
rf P
sur at pro - ptr « <K <K - - tVU
j .J j ^
ge pre per* x x - mi -cx mi - - x, a tm, - - - CM-
spent away from his homeland, and none of his music was ever
Gentleman:
Richard Dering
30. Kirwan-Mott, OJD. cit. , 353, says that Dering "may also
have studied there previously," but does not cite the
source of her information. Peter Piatt, in his New
Grove article, cites a 1612 letter of Sir Dudley
250
i'J J J
"Owo ScrapWim, Auo St - - ra pKim. cU. - -
tri r &r f r
1 W S»ntpWim, da* 5# - m - -phimCU - ~ bmty cU-m*
c-; i
= 3 ^
* l p £* &
~ bwtt «l - 4*r*l«l - -ttr-um, <d -tw, - - ter-um
PP i
-bunt a t - - •tertUrnlmrunt, <Utrr, ol"frr«lal'tftriuwt
m mm £
their blood for love of Him. Dering again uses the tech-
252
sacra came out, this time with works in Latin and English by
which exceed these boundaries are touched upon for the sake
of comparison.
three voices and continuo published during the Civil War and
35. Henry and William Lawes, Choice Psalmes put into Musick,
For Three Voices: The most of which may properly enough
be sung by any three, with a Thorough Base: Compos'd by
Henry and William Lawes, Brothers; and Servants to His
Majestie. With divers Elegies, set in Musick by
sev'rail Friends, upon the death of William Lawes, And
at the end of the Thorough Base are added nine Canons of
Three and Foure Voices, made by William Lawes (London:
Printed by James Young, for Humphrey Moseley, at the
Prince's Armes in S. Pauls Church-yard, and for Richard
Wodenothe, at the Star under S. Peters Church in
Corn-hill, 1648).
38. Henry Lawes, The Second Book of Ayres and Dialogues, For
One, Two, and Three Voyces (London: Printed by T.H. for
John Playford, and are to be sold at his shop in the
Inner Temple, 1655).
he took pains to point out within the pages of his two pub-
styles singled out for study from among the seven types out-
bass line for the organ; these were Lawes1 tunes for George
and was even reprinted in 1648, but the time was not auspi-
of them with the Old Version tunes do not bear this out. It
50. Ibid.
262
childhood.
Wither,
stition.
Almost every tune of Lawes begins with a whole note, and the
Come, kiss twe wvtK -those UfS cf ihiM; For, bet -ttr
^%Vi 1 =q
d B
( i —
Sa - - vour name:
1» i r J J •' 1 -e 0 ^ r r r
Lord, Itow il- luS-trious if -lU»j HAm*, Wl^ost Power bffttvHou/n «m4
O»— 1
'" 0 IHB
r j 1'"j 1 1
j i p j
1
»
/Ca — r— Le 1
r
1 f 1 F i
11
-9 " O i- o 1? r J
= , r
[ P
some other psalms with uneven poetic line length Lawes joins
pHim
will w«y<3 ob - SCrve,
-g=- ^ ~g"
Hp m o
CETZ^CE
ir -<£rv<£: m pp
^ipi^
Mar -W iluir
V .i U *
j>v - 6 - -
P Mm
let «dl uv Sweet corx Claf votc-es r<use
jJ °
$ -A—e-
: p ^ m m
f 1 s
pi
oil tUot vncve
J
Aost kuU jfacc? *Wla> wAn«-d»| jmce/TVie
1 I J ^ 0 p P 1
\' • ^ J *-7 D t i p r
y r r j
f=f: J r Hf f
poert pur-Sul with Cru-elL pricU: be by iketr own in
P mi
•flung and <y, - l i w ihene VwctJi o - w -tfonnvn. The
mm j. i= I #
The same melody serves as the first line for two psalms
in two instances. Psalms 46 and 72 have the same first
line, and Psalms 9 and 136 begin with the same melody, which
sounds very much like the beginning of William Croft's hymn
tune St. Anne ("0 God our help in ages past."). Henry Lawes
used only two key signatures in his 1638 psalm settings; ten
psalms (3,4,5,10,13,39,46,47,72,136) have a single B-flat
and two (22,31) have a two-flat signature.
It may be recalled that Schmutzler's third complaint
about Lawes' tunes was their elaborate nature, but a com-
parison with the popular Old Version tunes will dispel this
272
not away thy face," which appeared in the very first edition
£ £ 0 f —Q~
|, „ r r 7}—r-r , ,,
J r i' r m m
Shut net t h a t gate A^Autst me Lord, but Let m t ixter in,.
note style as Henry Lawes' 1638 psalm tunes but lack the
Example 37. Tune for Psalm 19, "The heavens and the
firmament."
¥ r r r r ••
The heavens -tht jirmtwYierct, del wndrrusLj de-cLa.rc y
J
4-^- i' r r r r r " "
The Cj«l om- nt-po--UMt, Kts-works6"wk*fclhftj are.
n
6 » r r" r r r " r r
TKe wonclrows works «f God. ap-peare, bu eweru daues successe,
A " -M u ,1.1 | II I
The niujktswtocHUJuwise-theirma run., -the se^tscunetkug ex-prisse.
within the orbit of the court and were published with royal
the hope that this plain, long-note style would increase his
the other was the sacred concerto, which itself was an off-
58. Sir Thomas Herbert, Memoirs of the Two Last Years of the
Reign of King Charles 1^ (London, 1702), 43. Quoted in
Evans, ojd. cit. , 144.
275
the Caroline ayre with its simple continuo bass. This basi-
and Purcell. The other strand comes from the sacred con-
Chapter VII
William Child
Just one year after Henry Lawes' simple tunes were pub-
English church music, and its style and its importance can
Schiitz. " 2
sixth and the perfect and diminished fourths (Ex. 38), thus
0 L . I <#• — v \"Or~
1 ., :
fly 4 p. r^-V y' " -1
also enabled him to infuse variety and drama into his psalms
most notable exceptions being when one voice sings alone and
"" 9 —
V if7 A™C ^
>
* J — « =
J —J
3. These are "0 Lord my God," "I will give thanks," "Why
standest thou so far off," "Lord, who shall dwell,"
"Preserve me, 0 God,"and "0 that my ways."
my defender," 5 and "I did call upon the Lord with my voice
P mm m
Tre - serve vne 0 jor in tUee h*vt 3 put
p
Pre- serve me 9«l; for
J
# *tU<4
* vw Kftve 3
zgE
^ 1 ' &
i l i
XKUft
| put:
changes in the harmonic rhythm are rapid, and the psalm set-
C»t bed*
duple. Exceptions occur only in "I will give thanks" and "0
Example 42. William Child, "0 Lord, rebuke me not," mm. 1-11
tn tUine in-cta
in twin*
CfirtI, re bl*k<
m
\y*t W9t
a ..
OH, 0
C— m
CfrA,
'0ET-£z
bnk« me net
m i 5
J ££ -
Example 43. Henry Lawes, "To God the Father," mm. 1-23
TtGtdtieFtihtr.
m it
Hon GoJ the Fitter,Md from morttl1fight,thit daub'tl thy fclfvtkk circumfoU
Eternill, with thy quicknlng ni«^;»e lift'to my deidfoolt clcu all my dales with thy
opening three bars of the first song, the vocal line out-
lines only the first two notes of the tonic triad, while the
lable "Fa " of "Thou God the Father" provides the emphasis
tear," both the vocal and the bass line descend in suspen-
The third hymn, "Thou God the Holy Ghost," is, like the
melodically more active both in the vocal and the bass line
than the opening bars of the other two songs. Initially the
Example 44. Henry Lawes, "To God the Holy Ghost," mm. 1-7.
Hou God the Holy G hod, chit fprcad'ft chy wings o re wounded fpirics. B i:h ms
—V4—rj£
iglgliiiii iH=iB
being spread over the wounded spirits of men, and with the
discussed next.
290
2 Tj >•?
f r , O cr >?" 9? S >
S. 5T h ^ ^ 5
8?Sr° 2 nS" g g S-
s- o 5" *• H O Cu n
CT< w 3- » rr da if& | 3 «' i?
S- I „="S & «•
S - "S " 3 e:O r» TW ^ rP £ST Co/Q
V
^ 3- 3 st
£ B- £ ° » • *• > ., ^ 2.
8*
r 8 £. 3 &- o o =T 2
3 o
o* n
qt•tj tr>f U£••
a* »J £ *< •< 9 3 O n
~ *< O s- 5 3. c
u ?; D n ?
W 5- I o * 1 2. i 3
3 2,3 «o-» 5'
CT
Q
< ^ 3
o ^US o*
w t
£2 *< o rr S
o>
S" * § O ^
o f 3, r i. *
" a* V? g" = | ? c.
§
rr §. rt »" FT
O < r/t
» a 6*
Ctj •• *>
o o cr*
3 OQ
I. O
tt>
8
the field of sacred music. That the Puritans were not dour
along with thirty psalms of his own written for the same
those used by Child, with the exception that not as much use
merely doubles the bass vocal line the majority of the time,
were not quite settled in the new style because it was still
concept of composition.
rc»rr r f \ /-f
TrfUSC Hlii UrtfI tKt•
ktmVlftt Vu^k, pmise klmuv VUf SAHC - "tv' ty:
* * - -ft—1 1
^ 4
JpJ » i — 1 i - .. I J—jJ
Trust <4* Lari In.- tkiW<A on, high, priust ViUn uv kls 5*HC-ti'-Uji
f—
)
E
f[ F*
=P £ £
Fa f or i H F' F
/"L -1 K-J *•
4—M
Tnuse Jni Ltfrd. ett -ikmt'im ki^k, Us SahC'ty:
i
f 'j
^ - F — ^ -1 *
\b ' r—f
v\ *=\ - r f f — q i ff r f f f1 H1f r
^fi i
duds;
pnuse Vwnjor Ws pHPU5t h'un wko uv pmvV
1
9 T rhUF r ' — 1 f]
=4 f if f .
Jf i
U f
-l 1
? J J *J
pmst Wmjor His mighty Acids* praise VumwUd lit, jWfV fx- C€ids\
j. j>pi i =
— ,
f> f f -1——M
jntum hvnjbr Ms ticids, pnusehtMwto ;>v p*wfr ei'UtdSi
/% ^ •
"j* j IT 1
r . ^
A
"f
F>
f- " r~ •
f j '1 1 J 1 i =1
W V U H
yitfl, wK<»v gntjt, it*) Ub'ruy Scwt
T ~
9 •J »'i =\ L i i j
"W hen jrUjt U b ' vi*uj sovvl COV -
rf f yrufe ft m j i> jUU>' - ritutI
yJhcvi yrujt, wUot
f r r J
6 6
P
cow -tkcxAf
m poorest Wl me,
£3=
m -JiuvwU, pOAT'est bakni iJunv pcur-m
p
Soul ccn • tUcu,
nature. Henry had four psalms each with the one-flat and
(Ex. 48).
14. Henry's include "Now the Lord his reigne begins" and
"Our fervent soules on God attend." William ended four
of his psalms in this way—"Praise the Lord enthron'd on
high" (Psalm 150), "0 sing unto the Lord a new song"
(Psalm 149:l-3a,6-8,9b), "Ye nations of the earth, our
great Preserver praise" (Psalm 117), and "In resur-
rectione tua Domine."
P ytArtS
f f CJit'E
when tuttc k«tk tHOW'd upon hm ymrtf, k#tk
i - i -
i s — i P W
^e*res, IVUCH iimt ludk sncw'd Mpm mf Vuurtt, «hm
ttiM* h«tk ftww'd up-
r Q U
¥
vj tares, ••«*»« Jwtlt SHCwU Mf
I H i=
-{ty.
fct-r j jH
#
t> P~
*i-4
l l hi
* 4' j
snvw'i up'-on my kmres.
P J1
•9 L^» -j H 7 1
13~
j**- H »mj Wclc " wvtk 1«h2J
) f
""
^
<Uep jlvr - -
IM- J
=j
witVt ^
—1 1 1
^vJr • •
-J J-—J:
1 1 1
m- Eg!
row$ weuni, as fJcujhshanK turf the ' -iUht groundt
ifJ. i ( r r I ,1 £
J^S plcwjksVuut;twe 1Ut pa - 'tveKT cjrouvui*.
llp
jjroioul, <15 plcvy Uskwtj ttArr pa, - tunt jrovaii'Th*
r i
by saying:
20. Ibid.
closer look shows that Henry does not actually state in his
^ ^ ^ r / a ^ U ^ o r c l o r (Lamentations 2:1).
24. ,*ese
P
i r ?b) -i » groaning" (Psalm 6:6a, 7.
5'; and "How long wilt thou forget me, O Lord
(Psalm 13:l-2b, 3)>
- "Memento, Domine, congregationis
25. "Ne irascaris, Domine, we . .. a n a a "Gloria
tuae," "In resurrectione, tua Domine, ana a
Patri."
26. These are ^Lord thou ^ast been^favourable to thy ^
"Happy sons of Israel, t o r i a in excelsis,
thou, Mary?,;; " f ^ s f ^ ^ J J J ' a t the 5th, 8th, and
Regi/ Regis ( four voices at the unison) r
5th), " R e g i , Regis (for four is harmonious."
"Shee weepeth sore, and Jesus,
302
l ^ ^ e n l l f g l ^ °£
the Modern Language Association of Americ ,
303
sympathies.
John Wilson
but the words are put into the mouth of Charles instead of
the eight years that had followed, the book became a best-
8
30. Philip A. Knachel, 5 * 5 6 , 1 3 ^ ' i & C T K H S T
frJhak!*Pt£e
^roFtKt^raf'the-rrrarSe^lhlrti'-riie editioLin
English and printed ^ " ^ r e i g ^ l a n g u a g e edi-
from circulation." 3 4
the King's devotions are set for three voices, the popular
33. Ibid.
34. Peter Le Huray, Music and £h2 Reformation in England.
1549-1660 (London: Herbert Jenkins, 196 ),
307
one can imagine John Wilson and his friends singing these
consort."36
The texture of Wilson's music is homophonic but for an
occasional passing tone or a simulated imitative entry (Ex.
49). Hubert Henderson, in his dissertation on Wilson s
vocal music, considers the melodic line in Psaltenum
Carolinum to be declamatory,3^ and indeed, as he observes,
35
- snirir
Rnthonv Wood, The Life and Times of Anthony a Wood'
Antiquary, of Oxford, 1632-1695, Described bg ftxmsel^;
r-^11 orfprt rro_
Collected from _His Diaries and Other Papers b^Oxford
Andre
s _ _ r _ pr±nted for the
Example 49. John Wilson, IV. "To thee I fly," mm. 37-40
line, such as No. XIV (Upon the Covenant) (Ex. 50) "Lord I
6 r
Ml l I U
Peatk in mt -tke yudtUsS Jvunds,
i = = £
•gjitJ i
J
uf m pp i
"Decvtk in rv*4 "tkt Wkc Kls "R* - -/UAt sk*uU,Uave kc£>v.
p T* 5
310
52), "Lord those whom thou in vowes has tied," has, like the
Example 52. John Wilson, VII. "Lord those whom thou in vowes
has tied/" mm. 1-4.
LorX w$e wHcm tkou in vcwcS wast tud, yet new Inj <H3 - AHce
m mm m ^ZZzg:
lord "tUose wVwri 4iou in vowM VwSt -tUd, yet vtow by ' twt
^ ' jf f i ^ ;r
38. Nos. VII, VIII, X, XI, XII, XIII, XVI, XVII, XXI, XXIV,
XXVI, XXVII.
311
occurs at the words, "0 let the bitter means that agravate
I-
Walter Porter
(1575-80?-1630).
Porter's acquaintance with the Italian style was con-
anthem for SAATB with verses for soprano, alto, tenor, and
viols), and harpsichord; all are for three parts and display
45. The dedications and prefaces for the 1632 book, as well
as those for the 1657 Mottets of Two Voyces, have been
reprinted in Arkwright, op. cit., 236-257.
is similar." 48
his bass lines are more copiously figured than those of his
with his 1657 anthology, 49 though if this was the case, how
47. Ian Spink, "Walter Porter and the Last Book of English
Madrigals," Acta Musicologica XXVI (1954), 20-21.
26, and at 33 through 40, when the bass singer has a solo
"Who knows what his offences be?," the bass voice begins
recorder?
the chorus only once, at the end, with solo voices alter-
of Henry Lawes and just a few years older than William Lawes
joy in No. XVI, "0 Happy he, who God obeys," to a thirteen-
us thy grace."
the text. See, for example, No. VIII, "Cast off and scat-
Hiib k \ , 1r ff m i r, n )• f -SI I fy ff
r-r-
( LM \<v ~ — J
trated (Ex. 55), or No. XI, "But 0 thrice blessed he," where
m *^ » J i
shall by -(A ven yumd fM.
£ i
George Jeffreys
and thus he could not have had too much influence on younger
sacra.
At some point in his life, Jeffreys had access to some
Father."
for one to three voices, and many English anthems and devo-
two motets for solo bass, '0 quam suave' and 'Speciosus
music from being more widely circulated, and thus he was not
58. Ibid.
326
style.
the Italian style for the later sacred music, but several
in1fcjjU. - nj,
bultf me rwt
]. k ?
t '
C ..
yrit vn wr*tk; have wur-cy an vne,
t
\r> tn wvortk*, have mtr-a^cnnie,
p - .- —w
^tVT-
4,
V 1
c
—0
M in -tkcj wrath; have vntr- - -cy hm*
L-O- ;0 '
4* it
Chapter VIII
king brought with him from his exile in France a taste for-
Italian music.
order.
Churchmen over the years had winced over the doggerel verse
Solemn Musick:
use his melodic line for obvious for word-painting, he, like
Hrk« happy man who in the beaten wayes of carelefs dinners nc*vet
-SSillllltliliiS
blindly ftrayes to the Aflemblyes, nor maintains their part, their Scofis, or
Not all of the six hymns for one voice are composed to
The Church.
The Altar.
A broken A L T A R , L o r d , thy f e m n t relics #
As nothing but
Of my hard heart
Meets in tins f r a m e ,
T o p i n f c thy n a m e .
T h a t if I chance to hold my pcice f
Old Version psalter was the source for the words of the
lished, this time with not only Latin "hymnes" but also
unto the Lord" lacks the B-flat signature of the other two.
Si«0
£
¥ 3 4 3
pi
Stn0 un - to -the Lord,
*
p
•un - -tc 4u Lord,
J' Ji
Lord, 0 yt
• r | — f — T >r
3 crjjVi an • to
0
r i r J
4 f9 •'
8. For a modern edition see John Perry White, The Life and
Vocal Music of Benjamin Rogers (1614-1698) (Ph.D. disser-
tation, University of Iowa, 1973).
343
Psalm 24:7- 10, 1 0 while "Let all with sweet accord," whose
9. Ibid., 115.
avers that the composer did not fully accept the more pro-
career. 1 4
all with sweet accord," are scored for two trebles or tenors
first two in that Rogers has the two voices sing together in
m £
Li^t vjour hods^reot 3«M5 <wvl
2=±
J
0 H ' h J , n i
r
9\m) ecmi»} twwjLmj COMWS, wmI gU> • - iy*» King.
ift r f. r
yCWi wwlslng wwjlwry com«$, <tav6*ntf <wwl glo - nj't King.
i p
6 5
i
s»
Netherlands in 1648.
"Lord let me know my end" and "0 how Pleasant and how Fair."
style.
the bass line of the two-voice version and the first soprano
and complexity the two voices are divided among the five
version.
MtU mint *
U £
j t
» A
wn<
9 i
ntv-fpccuf tha, -Am4Vf-ti'lu tvtru ma
n,
U r ,ttd \U'\
r
V\ VM
I
ff-fr
- =
1
r: Uttr
r \ 7r rn
"
71,
|i V —
Aqt Vj tvt*
vv«
e
k
t
»'H^ n-iytdcj<bu ver
i
ty tvtrywmn
n\ 1
M u h |)
P=
Uv - cvenj twin Wing ts ycthtr van - t -
#
Iiv • u*j, vak - t -
k 9
poet. 1 9
perhaps not surprising since the two men were close in age.
back the key of G minor and the arioso style until measure
trust in the Lord," the key changes back to G major and con-
examined above, the two voices often answer each other imi-
than in the six hymns of his 1671 Psalms and Hymns in Solemn
and his style places him, with Locke, in the new generation
Jackson's anthems begin with texts which cry out for word
painting, and the composer did not shrink from the chal-
r iffir
Set uf tku- «*tf, 3 | God,
i 7r "f*
j1I 1| 1 1
F f f | "f"*
Set ufiJiy* O
i Cr<xL,
I^Naj r J1
t | ..—f--
=3 J f — ^
also one of the first group of boys to staff the new Chapel
b H
' r - f'fc ^-1
ijea, He is tkcyc&tr levt • [y, tlloytlher loot - Uj, ol-toqcther love - U*f
Oti > >—a — f t,r * r f- i•* Bf.f T" Tr-j;t w- f r ^
JVr—-
v PW[J 1 v l Wl 1 S
wr r u= LJij r k Ino r J
by him.
vious year.
advertisement appeared.
206.
Nahum Tate, the poet who had fashioned the libretto for
music.
on the the text "Praise our God," which involves the ascent
of a ninth for the first bass and and a tenth for the second
The above duet was deleted, as was the next work, "Then
thought that the bass voice was too well represented, and
that two G-major works for basses by Locke were too much for
quickly made." The poet has heard "for whom the bell
Now the accent shifts to the up beat for the next two
phrases (Ex. 66) till the end of the solo. At the chorus
to "fear not Death's shady Grotto, 'tis the way to that fair
Ome, bondt Sextm, tike thy Spade, and let my Grave be quickly made;
•i £T —
i j^ c
Thou (tilt art ready for the Dead,like • kind Hoft to make a Bed: I now am come to
Ff
be thy Gueft, let mc in fome dark Lodging reft; for I am weary, full of pain,and
of my Pilgrimage complain: On HeatWi Decree I waiting lye, and all my Wifliei are to die*
CHORUS,
b
Httki itrkl I ittr mj BO, I but mj Ttjfa MJtrmtS, ftrtwtS, mj Um»t FriaUiJmwtt,
records from 1664 indicate that the King provided from his
secret service money 200 pounds "to defray the charge of his
he had had direct contact with Lully and with Carissimi and
67) .
composers, but "Wilt thou forgive that Sin" was twice set to
Ord! 1 have finn'd, 1 have finn'd, and the black Number fwells
-r—f-r—
d -
r M
—**—t | |~
t = t=l 1*
p-t 1 — •—1P-
fin—ful Trnnk a Flood become, and ru- -n to Tears, their
with the words, "When thou hast done, thou hast not done,
for I have more," and these are given exactly the same
369
a. Measures 1-6.
ILT thou forgive that Sin, where 1 began, which was my Sin tho*
Hi m
it were done be-fore? Wilt thou for—gife that Sin, through which I run, and do run
ftiD, tho* flill 1 do deplored When thou haft done, thou baft not done, for I have more.
b. Measures 13-18.
Wilt thou forgive that Sin, by which I've won o-the» to fin, tnd made my Sin their
dore ! Wilt thou forgive that Sin, which I did ihun a Year or two, yet wallowM in a
370
altered text, "and having done that thou hast done, I fear
no more."
already enumerated.
(1648-1708) outlived both him and Henry Purcell, who was a"
a. Measures 9-10.
*—*
£ i
wakes a Sin* that fiepc within, roozet a Crime that
b. Measures 12-14
c. Measures 20-23
Setmd fadtm.
± r
PP
Wo*i me.' Wo*« me! I ha?e# more than Saint P*or did, with
•5". b
L
—J—
d—P-4--I -T~
t = w f !
J—*
matory solo for bass and continuo. The dramatic text, which
tative style, stays around the tonic and the relative major
until the words, "Oh! Oh! take thy Lute," when the sentence
Fawl," a duet for soprano and bass. 3 8 Blow has set the text
been cast down and has fallen from heaven, have so many
the words, "For thou said'st in thy Heart," Blow has set the
a=
P
OW art tbotifc!Tnfrom Heiv'o,
IHB
a
i S
OW art thou fall'n from Heat'n, O lM~c+.fcr i
art thou fall*— -n from Hear**, O lM-d-fer! How art thou feirn from Heat'n,
arttbou fair n from Heat'n, O LM-ct^ferl How art tboti (all'nfrom Heaven,
"I will ascend into the Heav'ns (Ex. 71)." From here
descend and the two voices end together on "be brought down
into Hell."
down! For thou fcid'll in cby Heart, for thou fcid'ft in thy Hart,
—cend into ibe HeavVii. I will exalt my Throne above the Scan of
and on tbem play, and to tbern fing, the happy mournful Sto-riet, the la—
and on them play, and to them ling, the happy mournful Stories
4-1^3 JU.
— 3
»men—-ta—blc Glories, of the gfei— t cru-ci--fy,d King.
•
mutatio toni.
in recitative style.
that mine eyes would melt," 4 1 and now John Blow took the
Example 73. John Blow, "Oh that mine eyes would melt."
Ground, mm. 1-4.
T^frrr"EE3Ej aBEj g
I—1y LI F: •F- 3 39p 0 \'"
^5E3S I P •Ante
fty § Be—hold thy Pro-
1=
dull by comparison.
devotional song have often been mentioned, but the music has
which he would use over the years with ever more ingenuity
a. Measures 1-9.
b. Measures 28-43.
God, eren in thy Armi, er*n in thy Amu, and can there be a—ny to firee-
*?
of Lincoln.
7k ftjdurt.
r~ rTr
oar fed Hearts (hoald da fan fenfelefi things do this, Jnd (hall not
"> — | -
J—f- — p — — F = = l
U !_J—«- 1 1—*=5
t f J- ''
meter changes for the next eight bars to triple for a dance-
"ev'n the Innocent should wish themselves like me, when with
his Death?"
48. See pp. 336-337; Spink, English Song, 213-214, 217, 221,
and Margaret Laurie, "Purcell's Extended Solo Songs,"
Musical Times CXXV (1984), 19, for useful summaries of
these style traits.
385
the accent which is created through the rhythm and the con-
of the song to move the passions of the singer and the lis-
Fool that I wai, worthy a (har—per Rod, toflightthy Courting, O • -my God !
\
I * » *
M t* .b
wm
For thou did'ft woe intrear, and grieve,didH beg me to be hap -py, and to
* *
five*,batIwoa'dnot;I chofe to dwell witk Death, far, far from thee, fcr, (arfromtbee, too
1$ 76
George Herbert was the poet for the next song, "With
?" to "Do not defer . . ." The second slight text modi-
catabasis in the phrase, "I fall yet call," (mm. 17-18), and
a. Measures 1-8.
Ufa fick ^and 1imiflrti Eyes, with doa • *-biing Knees, and weary
V 4! *
—i— i — — — j — T T T — H h
1 1 f f -
Bones, to thee my Cries, id thee mjr Groans, to thee my Sighs, my Tears afcend, no
*
i J T r r r T ~ f i r r r r f r
f r j
[ 4 = —J-«-i—! ! — - U y r $ =
b. Measures 15-25
—I I) H
53fs*:
Lore of my Mind, bow down thine Ear; let not the Windf ftat«
390
tative (Ex. 80). When the soul asks God, whom she addresses
fVn here thy In-flu-cnce; er'n here thyftrongMagnetick Cbarmi I feel, and pane, ind
-ble, like the t—mo-roaa Steel: To lower good,ind Beaurici not Divine, fometimei
-^71—
ri r
nt, and points again to thee. 1 long, 1 long to fee thii Excellence, which at inch
» it *)
probably because the words of the last two lines of the poem
a. Measures 1-3.
-jgrj;- ^
£^ " 1/—0—IT-1—r-*-
Lofe thine Eyes, and flfcp, fleep fc—cure, thy Sool it (are, if
b. Measures 32-34.
finp. Then dole thine Eye* in peace, in peace, and reft fe— core.
Purcell set the lines, "The Musick and the Mirth of Kings
393
variety.
William Fuller again provided words, with some modifi-
for soprano ending with a chorus, this time for two sopranos
major.
chorus in triple time for soprano and bass. The poem was by
bass, with solo verses for all three. "I was glad when they
for alto and tenor solos with a chorus of alto, tenor, and
"0 give thanks unto the Lord," a work which also includes an
period. 5 5
meter.
die for man. The song is composed in three parts, the first
God forsook his Glory," and this too is repeated with some
397
P
Oh!
i Oh! for a Quill, Oh! Oh! for a Quill drawn from your Wing, to write the Praifcs, the
Voice like yours, to fing that Anthem here, which once you fa—
7 7
vMrnm
— — — n g , you fung 2—bofe. Hal It la-jab, Hal—At-
she realises that the young Jesus has been left behind at
recalls happier times, when she was called "of mothers the
how her status has changed at the loss of her son, and how
tative in which she leaves the listener still with her fear
trust in God. 5 7
Abraham Cowley's poetry seems to have inspired Purcell
the Biblical text comes not from Purcell's own era but from
chorus for all three characters. The witch and Samuel sing
Nahum Tate. Tate's poem is set for two bass voices and con-
The tremendous power of the day when the last trumpet sounds
58. See Bodleian Library MS. Don.c.57, ff. 8v-10v; also John
Cutts, Seventeenth-Century Songs and Lyrics: Collected
and Edited from the Original Music Manuscripts
(Columbia: University of Missouri Press, 1959),
198-199. For an interesting explanation of the seven-
teenth-century popularity of the theme of the Witch of
Endor, see Mary Chan, "The Witch of Endor and
Seventeenth-Century Propaganda," Musica Disciplina XXXIV
(1980), 205-214.
401
Example 84. Henry Purcell, "In guilty Night," mm. 140 149
CH0KV5
tr«7*~o
P=»
Faiewel, faiewel, faiewel, £uewel, foewej, faiewel, faiewel, farewei, firewel
Faiewel, faiewel,fiiewd,fiiewel,fcrtwel,fiiewd,&tewel,firewel,fiueweL
mm
Doxology.
a. Measures 1-6.
b. Measures 30-35
404
Measures 48-59
§ilfi§lgip
Ruf fled World en—dure, never Ea— f y j never, never, never
=====3=
ilillilllpe
fslEfeS
bler Flame > Or art thou Friendfhip, yet a n o -
"0 God for ever blest," for soprano and continuo. The first
407
calling out to God to bring him peace from his cares. This
Holy Spirit, "thou most sweet and sacred Dove," asking Him
to visit him and drive away "all sin and sinful thoughts."
a divine hymn for soprano and bass with continuo. The text
come) who was, who was, who was, and is, and is to come § who was, who was,
g$ £
m
come*
y
and is, and is, and is, and is to come} and Is, and
£ Hj 7»
7# $$ 76 4 •
• |
W7 4*1
4fS y
T <
« 7#
74 __«6_
n 76 *
f nrvpp P n J r 'H
§i§HH
who was, and is, and is to come.
i
is, who was, and is to come.
« • *< j
the world. His wish is granted, and he sees before his eyes
realisation that all the things he holds most dear are also
teners to God.
411
APPENDICES
APPENDIX I
actions, & more punctuall actions of each day in the week, &
And to begin with the first & best day of the week, The
every Servant had Their Que) there they always found N.F.
this day made their selves all more comely in Their: best
there was a Hymn sung, & the Organs played to it, which
they thought good, & so all went down to Church (which stood
by [ca. 40] paces from the House at the end of the Garden)
Gownes leading the way, & the young youths in black Gownes
& Mr Collett going before her (after the Children) & then
followed their Sister Collet, & her Daughter, & so all the
Chancell, & the Boyes kneeling upon the upper Step, which
right hand, the other on the left, close to each side of the
wall; Old Mrs. Ferrar & all her Daughters going into an Isle
back of the reading place, where all the Women sat always.
sayd Divine Service, & Responses were made by all present, &
returned home, those that had the office, which were The
* * *
not only what they now learned that week, for which they
were to have for each Psalme a Penny, & some would gain 2d,
some 3d, some 4d. But when all were heard what they had
newly learned the week before, the rest of the time was
learned; which was the chief end of his design, that they
should learn all, & keep perfectly all they had learned; &
weekly, to gain most Mony, & keep those they had learned
most perfectly.
the Psalm Children met him. Being all in, N.F. went up into
sung, the Minister went up into the Pulpit & preached. That
done each returned home, & in the same Order they went, came
they went all into the Great Chamber, and sayd all those
Psalms that day at one time, which they sayd at the other
dayes of the weeke, at the sett houres & time. This done,
again to prayers, all went up into The Great Chamber, & then
they sung a Hymne on the Organs all the time, which ended,
they one after the other came into the great Chamber & there
sayd to N.F. what Psalms & Chapters they had learned, & made
a Clock the Bell touling, they all came to the great Chamber
again, & then that Company, that had the charge to begin
that houres Psalm (for each houre of the day had certain
of each Month, & so ending at the last day of the Month, all
the heads were sayd over, in every Months time, which was
Chaire (upon which Table lay the Holy Bible, & a Common
bowed the knee, & taking every one Their places, (the women
before hand.) Then N.F. went up into the Reading place &
officiated, which done home they all came in decent order, &
(which window looked upon the Church, which stood at The end
without booke, & the shorte Hymne sung, & the Organs playing
to it was only:
that came & did, as at the former houres: Psalms sayd, & a
went in Their Orders, & then was only the Letany sayd every
returned all home to the house: Then at 11: a clock the Bell
Hymne sung &c: they went all to Dinner & while the meate
dayes, the time & houres spent much at one. Dinner ended,
these things performed, all departed the Roome, & each went
where they thought good, untill one a clock. Then the Bell
told for the Boyes to School, & at that houre, those that
say Their Psalms & Head of Concordance, sing a Hymne, & play
on the Organ whilst they sung. There the Old Mrs: Ferrar /
another, such as you heard before was Their work. Then rung
rung to prayers for bed time, so all came up into the great
Chamber, where a Hymne was sung, the Organs playing, & then
APPENDIX II
to direct them.
Church or State.
the Absolution.
VII. The the Minister whom they chuse shall direct what
VIII. That they may have liberty, after Prayer and Reading,
to sing a Psalm.
XI. Every time they meet, every one shall give six Pence
to the Box.
the Poor.
be written.
APPENDIX III
Transcriptions
ted with tern : Wfcofc parti ire ai ihj hand did frame, no wo*k-k,
£ i
t£
tool tmi touch'd tte£ae. A heart
£
'» fucb
«tone,u nothing
\ * *
1G
igiiiiis
W3 Ural
but thy pow'r fothcut: Therefore each p*rt of my bird heart, a * t t , ^
mmm
to tbk fraoc to praife Thy Holy Name. That if I chance «o boldoy
f t,— F t =
— r—_L_
- f
—1—J
6 •• 1
1 E E = =
» Aj®1 ianflific this Altar to be thine
423
p* *
* n<
PH
cUoile
^.^2 t r /f
W } & =± F
1 p N
to -tlie CLMCL, d«4Ul.
sunk, -t*>-4u
40 -the
/fx- . 1 r
ryr f
to -die dead, sunk t» -tW tittui.
-y » 1 i ,
' J J*- 4
T •<
r EE.r ( r
how ore ihe' valiant f*In,
Ipsi P W i
How Are tint,veil - - mutt ^•In? kow w d i t vol - i**tf
P £ j —
J J J
•Hrw »r« -the Vdl v*nt f«ln? UowMT-die Vttt - - - tAKt
— #
£
-How
i
AlTlltf v*t - - - iAwt,-tJie vol - - - - UUlt
i ^ E
p
425
sUWiwj Mouxtauvs
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BIBLIOGRAPHY
1950.
Brennecke, Ernest, Jr. John Milton the Elder and His Music.
No. 2 of the Columbia University Studies in '
COl gy NSW Y rk: Columt>
1938 ° ' ° i a University Press,
Verlagsbuchhandlung, 1969.
721-723.
Purce11
^ttt . setting," Music & Letters
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B l o m " ^ - ^ ^ °StSCript editorT Bill
Mather^ Cotton, ed. The Life and Death of the Renown'd Mr.
Jo
^n • • •, 2nd ed. London: Printed for John
Dunton, 1691.
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Fleet-street, 1698.
Ward, Richard. The Life of the Learned and Pious Dr. Henrv
More, Late Fellow of Christ's C o l l i ^ I F c ^ n b ? i d i ^ T T o
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Letters. London: Printed and Sold by Joseph Downing
in Bartholomew Close near West Smithfield, 1710.
White, John Perry, Jr. The Life and Vocal Music of Bpn-iamin
Ph3T ans55t5ti5^runl^e?fl^i
Music
Henr
* Works Y Purcell. Sacred Music: Part V:
Songs and Vocal Ensemble Music. Vol. XXX of Th« ~~
Furce11 Societ
Y Edition. London: Novello and~~Company
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Unpublished Materials