CHAPTER V. THE HISTORY OF LITERATURE, SCIENCE, AND THE FINE ARTS. Though it is a generally received, and not unfounded, opinion, that from about the commencement of the eighteenth century the English have been far behind the Italians and Germans in secular Music, yet at the dawn of the science,—or, in other words, shortly before the period of the Reformation,—and long after, our composers were not only superior to those of Germany, but equal to those of a country whose climate is thought so favourable to the fine arts, and also on a level with their brethren in the Netherlands, who are by all allowed to have been eminent for their skill in florid counterpoint while in its early state. Indeed Giovanni Tintore (or Johannes Tinctor), a doctor in civil law, Archdeacon of Naples, and Maestro di Cappella to Ferdinand I. of Sicily, attributes to our country man, John of Dunstable, the actual invention of figurate harmony, that is, of music in parts, written freely, and not restrained by the laws of simple. counterpoint. As Tinctor, an author of great authority, could have had no motive for his assertion but the promulgation of truth,-as his testimony is corroborated by that of others, and as he stands uncontradicted by any but prejudiced witnesseswe may, without rendering ourselves liable to the charge of presumption, venture to take the credit of an improvement which has led to results of such importance to the art-results which may almost be said to have given to it a new birth. But the claim which England has to be ranked among the first and most successful cultivators of harmony is proved, beyond dispute, by comparing the works of her composers in the early part and middle of the sixteenth century with those of foreign contemporaries. Without going farther back, and parading before the reader a list of names now only known to the musical antiquary, we will be content to first mention Christopher Tye, admitted doctor in music at Oxford in 1545, whose anthems, particularly one of them in Dr. Boyce's Collection of Cathedral Music, together with his celebrated motet, Laudate nomen Domini, and several compositions in the library of the Madrigal Society, are superior to most and inferior to none of the Italian, Flemish, or French compositions of his time. Tye was music-preceptor to Edward VI., at whose court, as he had been at that of Henry VIII., he continued uninterruptedly in great favour.† Contemporary with him were Thomas Tallis and William Birde, both of them members of the chapel-royal, for which they produced many compositions. Those of Tallis have attained a celebrity exceeded by no music of the same period, and deserve the encomiums which have so liberally been bestowed on them. Several are still in use in our cathedrals, particularly a complete Service, the first, Dr. Boyce tells us,+ that was set in the English language. Sir John Hawkins, however, says that John Marbeck preceded Tallis as composer of the English Liturgy, and is right, as regards the Preces and Responses; but Tallis's setting of the Te Deum, &c., is the first that can be considered in the light of a former says "Doctor, I thank you, and commend your cunning. Tye was also a poet. "Having been taugh: to believe," says Warton (Hist. Poet. iv. 16), "that rhyme and edification were closely connected, he projected a translation of the ACTS OF THE APOSTLES into familiar metre." He completed only the first fourteen chapters, which were printed in 1553, with a very quaint title. The doctor became somewhat peevish as he advanced in years. Anthony Wood relates (Ashmolean MS. fol 189) that Tye, playing more scientifically than agreeably before Queen Elizabeth, on the organ in her chapel, she" sent the verger to tell him that he played out of tune; where. upon he sent word that her ears were out of tune." It was well for the organist that his ears were out of the reach of her majesty's royal right hand. Preface to Collection of Cathedral Music, vol. i. musical composition. Marbeck's Preces and Responses, slightly altered, still continue in use, are consecrated by time, and not likely to fall into desuetude the author, therefore, is entitled to some notice. He was organist of Windsor, and, together with two other members of that choir, and a tradesman, was condemned to the stake for heresy. Bishop Gardiner obtained his pardon, but his colleagues were all burnt for their zeal in religious reformation.* Marbeck made the first Concordance of the Bible, "which Gardiner could not but commend as a piece of singular industry; and King Henry VIII., hearing thereof, said that he was much better employed than those priests who accused him.'"+ In conjunction with Birde, Tallis composed and printed a noble collection of sacred music, with Latin words, under the title of Cantiones Sacræ. This is still highly esteemed by the admirers of ancient music. Birde, however, is better known as the author of a composition which never can fade, much less become obsolete, while a taste for pure and exquisite harmony shall exist in the country of its birth :-the canon, Non nobis, Domine, is alone an answer to those who deny British talent for music, and its excellence is so indisputable, that some few foreigners have been tempted to claim it for their own respective countries,-for Italy, for Flanders, for France; but in vain: not a doubt now remains on the subject, in the mind of any candid and competent judge. The composer of this was a pupil of Tallis; he afterwards became his colleague as a gentleman of the chapelroyal, and subsequently, in 1575, as an organist of the same establishment. He was a voluminous composer, and deservedly held in high estimation. He was thought the finest performer on the virginal of his day; and that his powers were great may be inferred from his contributions to a collection printed under the title of Parthenia. In the cheque-book of the Royal Chapel, he is styled the 66 Father of Music;" and Peacham, in his Complete Gentleman, speaks of his compositions and moral qualities in very warm terms, adding, that he was excelled by none, 66 even by the judgment of France and Italy, who are very sparing in the commendation of strangers, in regard of that conceit they hold of themselves." Henry VIII. himself may, without impropriety, be named among the composers of church music of the sixteenth century. Sir John Hawkins has inserted in his history a respectable motet by that monarch; and in Dr. Boyce's collection is a full anthem, "O Lord, the maker of all things," a work of merit, to which the editor, a man of diligent research, unhesitatingly affixes that king's name. Some suspicions always and reasonably are excited by royal productions in the fine arts, but there is no want of credible evidence in favour | part of polite education during the sixteenth cen * of Henry's skill in music. Erasmus states that he composed offices for the church, a fact supported by the testimony of Lord Herbert of Cherbury and Bishop Burnet; and Dr. Aldrich, the learned Dean of Christchurch, a man in every way qualified to decide the question, after long and laborious inquiry, determined in favour of the monarch's claim. It may further be said, that as Henry, during the life of his elder brother, was educated with a view to the archiepiscopal chair of Canterbury, and as the clergy were then all well instructed in music, it is not only likely, but nearly certain, that the prudent Henry VII. took care that his son should not be ignorant of a science necessary to his intended profession.† "The Defender of the Faith" was not less anxious that his successor should be skilful in an accomplishment by which himself was distinguished, and Edward VI. not only had the best masters that the age afforded, but profited by the instructions he received, as we learn from Cardan, in his character of this prince; and also from Edward's own journal, wherein he mentions a visit from the French ambassador, who, he says, "dined with. me, and heard me play on the lute,"§ a circumstance which so sensible and modest a youth would hardly have recorded had he not felt conscious of some superiority. But, whatever the state of the art, the age was decidedly musical. Sir Thomas More, even when holding his high office of Lord Chancellor, used to apparel himself in a surplice and sing with the choir in Chelsea Church. The Duke of Norfolk reproved him for appearing in the character of a " parish-clerk;" but the honest and able chancellor defended himself in the words of David,-vilior fiam in oculis meis. That duke's son, the learned, the brave, the high-minded Surrey, to whom our language stands so much indebted, not only excelled on the lute, "then in use by all persons of good education," but was an elegant composer. The music set to his sonnets by himself is "remarkable for expression, for artless sweetness and wild simplicity."** The earl's friend, Sir Thomas Wyat, the poet, who preserved his virtue, and saved, though by his honesty he endangered, his life, in the midst of a court of which his wit and accomplishments rendered him a brilliant ornament, sung, and played sweetly on the lute."++ It is, however, needless to summon many witnesses to a fact hitherto undenied; we shall, therefore, adduce only one other proof of the necessity of music as a See View of the Church, and Nuge Antiquæ, by Sir John Harrington. Holinshed (Chron. iii. 806), speaking of Henry in one of his journeys, says "From thence the whole court removed to Windsor, then beginning his progress, and exercising himself daily in shooting, singing, dancing, wrestling, casting of the bar, playing at the recorders, flute, virginals, in setting of songs, and making of ballads," &c. Burnet's Hist, of the Reformation, part ii. Life of Sir Thomas More, by his great-grandson. Life of the Earl of Surrey, by Dr, Nott, i, cviii. tt Nott's Life of Wyat. tury, taken from Morley's work on music, published in 1597.* This very clever and still useful treatise is written in the form of a dialogue: the interlocutors are Polymathes, Philomathes, and a Master. Philomathes tells his friend that he is going in haste to get some instructions in music, because, having been the night before at "Master Sophobulus his banquet," and "supper being ended, and music-books, according to the custom, being brought to the table, the mistress of the house," he says, "presented me with a part, ear nestly requesting me to sing. But when, after many excuses, I protested unfeignedly that I could not, every one began to wonder. Yea, some whispered to others, demanding how I was brought up: so that upon shame of mine ignorance I go now to seek out mine old friend, Master Quorimus, to make myself his scholar." The musical establishment of Edward (probably the same as his father's) was upon a magnificent scale, consisting of 114 persons, besides boychoristers, the annual expense whereof was 2209,† a sum equal in value to a much greater amount of our present money. In the list of Gentlemen of the Chapel to Edward VI. appears Richard Farrant, whose compo sitions for the church, simple as they seem, are so solemn, so devout, so tender, and affecting, that they may challenge comparison with the sacred music of any age or country. To this period also belongs the once famous Dr. Bull, organist to Queen Elizabeth, and the first professor of music at Gresham College. His powers as a performer, judging from his own Lessons, in Parthenia, must have been great, in so far as regards execu tion; but his compositions are evidently the result of study, of industry-not of genius, and are now forgotten. His name alone survives. Though music was in its infancy at the begin ning of the sixteenth century, at the close it had made considerable progress towards, if it had not actually arrived at, maturity; and there are many who maintain that the Elizabethan age was the period of perfection, not only of poetry, but of the sister art. They are, perhaps, right, if that species of composition to which the name of madrigal is given be justly considered as the best and highest kind of florid vocal harmony-for some of the greatest geniuses in this style that our country has ever been able to boast, or that Europe has ever produced, flourished during the period at which our history has now arrived. Among these, Thomas Morley (Mus. B. in 1588), one of the Gentlemen of Queen Elizabeth's Chapel, holds a prominent place. His works are numerous, most of them pleasing, and remarkable for a gaiety not very usual in his time. His many madrigals dis A Playne and Easie Introduction to Practicall, Musicke. Folio. 1597. + Hawkins's Hist. iii. 482. His anthem, "Lord, for thy tender mercy's sake," in 'Boyce's Collection, is a master-piece of simple harmony, and, when properly performed-which rarely happens-never fails to excite strong emo-= tion. bees'- Lady, when I behold the roses sprouting** -'As fair as morn'-'Stay, Corydon'-and 'Down in a valley'—with others which, if not equal to the foregoing, are still, many of them, of a very supe rior order. John Bennet, who, we are told by a good musician,† was a gentleman admirable for all sorts of composures, either in art or air, simple or mixed, of what nature soever," published in 1599 a set of madrigals, among which are three, at least, that give him an undoubted right to be noticed here Flow, O my tears;'Thirsis, sleepest thou?' and 'O sleep, fond Fancy." John Milton also, the father of our great poet, though a scrivener by profession, is entitled to be named as one of the composers of this period: his claim is proved by a madrigal in The Triumphs of Oriana, by several Songs for Five Voices, and many good psalm-tunes: the popular one known as York Tune was written by him§. play originality, vigour, and deep musical knowledge, while some few of them certainly betray a familiar acquaintance with the Italian and Flemish masters. His canzonets for two voices are lively, agreeable, and, as well as nearly all that flowed from his pen, are graced by a far more ample share of melody than the productions of his time commonly exhibit. His treatise, before mentioned, was the first that appeared in our language; it long continued in use, and, though in some parts obsolete, yet, as a whole, it still affords much useful information.* Contemporary with him, and at the same time admitted to the degree of Mus. Bac., was John Dowland, who, according to Fuller,t was the rarest musician that his age did behold." But the author of the Worthies of England was warm-hearted, and liable to fits of enthusiasm, and we must, therefore, admit his superlatives with caution. Nevertheless, the subject of his panegyric was a very elegant composer; his madrigals, or, more properly, four-part songsfor they have none of those points which constitute the stilo madrigalesco-are exquisitely beautiful. He travelled much in France, Italy, and Germany; hence his fame was European. Christian IV., King of Denmark, when in England, "requested him of King James, who, unwillingly willing, parted with him." Consequently he left London for Copenhagen, where, it is supposed, he died, in 1615. He was a celebrated lutenist, but his merit as a performer would now, in all likeli-ginal Book, are some English tunes, supposed to hood, have been forgotten, had it not been immortalised by Shakspere, in his Passionate Pilgrim, where his skill is thus mentioned : Dowland to thee is dear, whose heavenly touch Of all madrigalists, whether British or foreign (and the age in which we are engaged was more famed for its madrigals than for any other kind of composition), the precedence is due to John Wilbye, of whose history we only know that he was a teacher of music, living in Austin Friars in 1598, in which year he published a set of thirty madrigals, and a second book, apt both for voyals (viols) and voyces," in 1609. It is not without great regret, however unavailing, that we find ourselves devoid of the means of recording even the bare dates of the birth and decease of the gifted man to whom we owe such compositions as 'Flora gave me fairest flowers'' Sweet honey-sucking Of what may be called the music of the multitude of the common people of England-during the sixteenth century, our knowledge is rather scanty; but, judging from the specimens that remain, or have yet been discovered, we do not hesitate in saying, that, inferior as it unquestionably is in pathos to the melodies of Ireland existing at the same period, it is on a par with any contemporary production of the continent. MS. collection known as Queen Elizabeth's Vir In a have been once popular, with variations by the great masters of the day. great masters of the day. These, together with a small number to be found in the British Museum, three or four in The Dancing Master, and a few given by Sir J. Hawkins, in his Appendix, are nearly all that we are able to authenticate. Among those in the Virginal Book is The Carman's Whistle, with elaborate variations by William. Birde. The annexed is the air, with Birde's own base: • This, a translation from the Italian, is so pretty a conceit, that we cannot refuse it a place as a note: Lady, when I behold the roses sprouting, Which clad in damask mantles deck the arbours, For, viewing both alike, hardly my mind supposes Whether the roses be your lips, or your lips the roses. + Thomas Ravenscroft, in his Briefe Discourse, 1614. This is a collection of twenty-nine madrigals by various composers, all in praise of Queen Elizabeth, who is extolled for her beauty under the name of Oriana. The poetry, if it may be so called, is contemptible, abounding in the most nauseous personal flattery. The music is, except in some few instances, laboured, dry, and, though what is called learned, scarcely reaches the point of mediocrity in respect to either invention or taste. Phillips, nephew of the poet Milton, says that John Milton, the father, composed an In nomine, in forty parts, for which he was rewarded by a Polish prince, to whom he presented it, with a gold medal and chain. fr 6 4 Lively. 9: 6 That Elizabeth was not less instructed in music than the other children of a monarch who took a pride in being a composer is to be inferred. Camden says that she played and sung" prettily and sweetly," as "became a princess;" and Sir James Melvil's account is equally favourable. But if the queen of England were able to execute all that appears in the volume bearing her name (which we much doubt), she must have acquired more practical skill than, probably, half the professed musicians in her empire could boast. whereof we have any remains: the battle to which our religion, laws, and liberty are so much indebted, was, for aught we know to the contrary, unsung. It appears, however, that, in anticipation of a descent on our shores, the following hymn, in a mixed tone of piety and defiance, was produced, the melody of which is so graceful, and susceptible of so harmonious an accompaniment, that it may be received as a proof of the state of what may be considered our grave popular music at the end of the century.t See vol. ii. p. 234." Elizabeth's greatest triumph-the defeat of the Spanish Armada in 1588-does not seem to have excited in either poet or musician that enthusiasm which might have been expected. The victory of Azincourt produced the first English part-music bearing the date of 1588." For the melody and words of this we are indebted to the First Part of A Collection of National English Airs, edited by W. Chappell, 1838; a work of research and judgment, and which, if continued as begun, will be a valuable addition to our musical libraries. It is given "from a manuscript in the possession of Pearsall, Esq. |